ONE OF THE MANY

Here is a consistently focused artist that just keeps on giving every year sterling musical adventures, that pay homage to the early glory years of Progressive rock. Yes, there is an obvious Floyd reference, as well as the Moody Blues and early Alan Parsons Project, in that the proposed material is smooth as the finest silk, and contrary to some pundits who may state that his craft is just the same composition over and over again, I must state that this would be a grossly unfair and a rather cheap characterization. Because upon closer scrutiny among the 13 Rick Miller albums I have in my collection, there are endless examples of variation, alteration, and progression. He does his thing and its extremely entertaining, especially if, like me, you enjoy adventurous mind music that takes you somewhere that is way more interesting that the daily and impertinent media sludge we are subjected too, for way too long. Plus, I admire petulant rebels who refuse to bend over and spread 'em!

A shimmering introduction with the 8 minute + "Atrophy", a velvety concoction that possesses all the Miller trademarks, a leisurely developing melody with soothing keys, bumping bass and percussive pace, with a series of glittering guitar interventions, while Rick' hushed and gentle voice, tells the tale, "As time slips through my hand". A slight Egyptian sonority adds the needed mystery, various voice effects thrown in theatrically, and capped off by a blazing solo from the Barry Haggarty guitar, as the arrangement glides higher into the stratosphere. Change of pace on the measured "Time Goes On", as Rick settle down on his piano, guitars twanging in the sound corridors, hushed voice, and a quivering lead axe blast, as the acoustic guitar proposes a crystalline contrast, a most pleasant little composition.

Speaking of contrast, the tortuously volatile "The Lost Years" is garnished with celestial female vocals and a raucous (rock) rhythm guitar riff that would make the stoned Keith smile, rapid shifts of tone and finally, another extended bluesy Haggarty rant, all kinds of mini-transitions as to prepare for a mid-section that adds cinematographic grandeur, a trait that Miller has perfected over the decades. When Rick states "I am your knight in white satin", I cannot help but grin at the overt hint. This is perhaps one of his finest compositions yet, a classic Miller track that has all the condiments to excite the taste receptors, including a rather dreamy yet solemn outro.

A breathtaking instrumental "She of the Darkness", is the proud owner of a heartbreakingly gorgeous melody played on the flute by Giulia Cacciavillani, shrouded with dense orchestrations, a pastoral acoustic guitar from Kane Miller and an elegant piano accompaniment. Simply magnificent.

The title track reverts back to familiar territory, a flowing lilt that does have a Floydian feel , what with the gentle rhythmic pulse, the voice effects, the bluesy guitar flourishes and Rick seizing the microphone once again, less hushed and more immediate, as the main melody will adhere to your senses from the very first spin, as if this was 'One of the Many' times his material had offered up such pleasures. The daunting lyrics are particularly clever 'The truth gets torn to tiny bits, so we can reach a million hits'. My everyday thoughts precisely, as bold-faced media lying has become the new messiah.

The grand epic is up next with "Perchance to Dream" a colossal 13 minute + effort, the appropriate platform to stretch out the arrangements and literally shoot for the stars. The flute, piano and voice combo settle once again the score (excuse the pun), adding lush choir vocals, a current fixation of mine. Again, the lyrics are highly expressive, with the current trend of disbelief firmly stated. "You place your trust each day in the machine, you want to believe, but life is not what it seems. I don't care if I ever see another day of reality. Look back through the years, I once dried your tears". Gulp! Yes, I have become uncomfortably numb! I long for the gentler, perhaps even naïve days of my youth. A series of profound guitar solos underpin the sorrow of the burgeoning importance of the negative narrative, banishing the goodness to the sin bin. A masterful performance once again. The siren is calling on "Wonderlust", a beckoning to some kind of finality, a revelation or simply just an end and perhaps an eventual rebirth. Sorrowful choir, acoustic guitar, and a stark cello surge from Artem Litovchenko and Mateusz Swoboda conspire to illustrate the dread, sliced wide open by razor sharp electric guitar surgery, amid all the Gothic Valhalla intensity.

The final track acts as a bonus track (the brooding lyrics introduced after the musical credits), asking 'how long does a lifetime last'and referring a moody 'Days of future past'. It is the natural finality that as we veer towards the golden years, nostalgia kicks in. We will ALL eventually return to those pleasant moments in our past where we found solace, love, understanding, compassion, and peace. Old Souls, old memories.

Kudos for the recent artwork, as Old Souls, Altered States and this latest one, are all attractive renditions of the music inside. This album is my favourite from this artist, and I urge the discriminating sonic adventurist to go out and get endless bliss from this release. I certainly did and will, as this was one of the many times I listened.

5 Sole souls

Rick Miller has been active since the last decades of the 20th century, during a period when progressive rock had already passed through its phase of greatest popularity, dominated by bands such as Yes, Genesis, and King Crimson. However, the music of these and other groups from the '70s had a significant impact on Miller, inspiring him to delve into classic progressive ideas, with complex arrangements, diverse instrumentation, and ambitious lyrical themes. Miller's musical style is characterized by his attention to detail and the use of many sound textures. He employs a variety of instruments, but is particularly known for his skill with keyboards and guitar. His music often features layers of atmospheric keyboards, emotional guitar solos, and a solid rhythm section that serves as the backbone for his expansive compositions.

He began his recording career in 1984, with One of the Many being his 18th album and undoubtedly one of his most ambitious achievements. As he has been doing in a prolific manner, Miller delights his audience with charming, polished, and passionate musicality. As always, the clear influences of names like Pink Floyd and Moody Blues are evident; however, they coexist with his own musical direction and commitment to artistic integrity, as well as a strong desire to explore the unknown. This is a journey through rich and textured soundscapes that challenge conventions and expand the horizons of auditory perception?therefore, it is worth remembering that good headphones are always welcome.

"Atrophy" begins the album by smoothly sliding into a world of sounds where time becomes a mirage and emotions intertwine in a magical dance. "Atrophy" is more than just a song; it's a transcendental journey through the realms of melody and narrative. In this sonic oasis, Miller's music flourishes in its fullness, blending a palette of sounds that captivate the senses and soothe the soul. Meanwhile, Miller delves into the perspective of someone who is experiencing an emotional struggle with memory loss.

"Time Goes On" is a track that exudes an aura of serenity and introspection from the moment Rick emerges with his first piano notes. The delicacy with which the music unfolds and its sense of fluidity and movement is extremely fitting with its narrative suggesting a reflection on the nature of death and the fear it often evokes. Meanwhile, guitar and violin dance in perfect harmony as they lead a grand piece - despite its short duration.

"The Lost Years" is the kind of dynamic and multifaceted music that brilliantly navigates an emotional rollercoaster full of heartwarming sonic twists and turns. A thematic exploration of nostalgia and regret, highlighting the intricate web of past relationships and how memories can persist, haunting and shaping present life. The guitar lines are the best on the album, sounding like a confession and delivering truly raw emotion. Its dreamlike ending is like bidding farewell to something precious and irreplaceable.

"She of the Darkness" is an incredible instrumental track led by wonderful flute work. Its ethereal chords echo like the gentle sigh of wind through the trees, evoking a sense of serenity and contemplation. This celestial melody is then enriched by the dense orchestrations that surround it, creating a rich and lush sonic tapestry that fills the space with a feeling of grandeur and majesty. Guitar, piano, and a brief "guitar attack" complement the track wonderfully well.

"One of the Many" has a beginning that is hard not to evoke Pink Floyd, enveloping us in a sonic haze while ethereal vocal effects add a celestial dimension to the composition. It addresses the challenges of the digital age and highlights the role of technology and media in today's society, as well as the importance of critical discernment when consuming and sharing information. With its unique fusion of captivating melodies, intelligent lyrics, and an incredible sensitivity to sound, it is a classic example of Miller's talent in creating sublime music.

"Perchance to Dream," with its over 13 minutes, is the epic of the album. It's not just a musical journey, but an emotional odyssey that transports us through a myriad of feelings and profound reflections, where Rick Miller skillfully uses each musical element to create an immersive sonic experience in a lyrical theme that addresses both dreamlike and real elements. It's also possible to include a contemplation on the essence of life and how we perceive the world around us, conveying an enigmatic atmosphere, longing, and reflection on existence, leading listeners to ponder the essence of reality and human experience. Anguishing guitar lines, delicate flutes, atmospheric keyboards, and a solid rhythmic section create majestic soundscapes, where the deeper we sink into its sad and melancholic melody, the more we are transported back in time, to a place where smiles were easier and the world seemed simpler.

"Wonderlust" is a composition that overflows with emotion and depth, evoking a complexity of feelings and images that speak directly to the soul. In this invitation to explore the mysteries of existence, we find a sublime blend of melancholy, beauty, and introspection. It's a soundtrack for meditation where the focus is on life's journey delivered in a mix of beauty and sadness, and even an attraction to the unknown. Each of its elements is essential, from the incisive guitar to the stirring cello and celestial choir; everything works in perfect harmony to create a sensational auditory experience.

"Another Time" not only closes the album musically but also serves as a gateway to personal reflection and introspection. It invites us to dive into the depths of our own experiences, recognizing the beauty and complexity of human life. Acoustic and accompanied by some cello flourishes, along with a moderate beat from the rhythm section, it's a beautifully melancholic conclusion to a brilliant album.

One of the Many once again showcases Miller's ability to weave complex sonic elements with melodic sensitivity, offering richly detailed and nuanced layers to be explored. The intricate instrumentation and sophisticated arrangements provide a rich and immersive auditory experience, rewarding even the most discerning listeners and progressive music enthusiasts with a musical journey that never fails to surprise and impress.

On the other hand, for casual listeners who may not be as familiar with progressive music, One of the Many offers an accessible and inviting entry point into an intriguing sonic world. The captivating melodies and memorable hooks make the music instantly appealing, providing an auditory experience that is both stimulating and rewarding.