TILT

This major slight cannot go on; justice must be done! And I intend to do something about that! There are always going to be some undiscovered albums that simply fall below the radar, for a vast number of reasons, some from poor marketing (though I got a lot of marketing stuff with my order, as well as rave reviews on many prog sites) to bedevilling lack of good fortune or chance. By some utter stroke of internet surfing luck, I settled on Tilt and their debut release 'Hinterland', released in 2016 and was at once intrigued by the remarkable line-up, featuring a few musicians who were quite familiar to me from past prog efforts. Enter bassist and composer Steve Vantsis, together with drummer Dave Stewart who I had seen both live in concert with Fish a decade ago and was really impressed. Add long-time Fish guitarists Robin Boult and John Wesley plus John Beck from It Bites fame. Throw in John Mitchell on the production and mixing (Arena, Kino and a long list of other contributions) to the blend. Vocal duties are brilliantly performed by hitherto unknown to me singer Paul Dourley and a chap called Paul Humphreys does most of the guitar parts on this album.

The menu is at times high octane and powerful, while at others loaded with brooding melancholy, each title expertly constructed, and played with profound passion and fortitude. It blew me sideways upon the very first audition and still love to bits today. On 'Assembly' the dismal atmospherics serve to introduce the pristine voice of Paul Dourley, that unexpectedly explodes half-way through into gritty desolation, choppy electricity in the guitars, snarling synth lines, and a beastly beat. Nearly 9 minutes of musical foreplay that bodes well for the onslaught of quality that kicks off with the title track, a metallic blast laden with persisting guitars, thrashing rhythm section flaying away like there is no tomorrow, all salted up with a husky Dourley evocation of Paul Rodgers (and that is quite the compliment). There is a sensorial attention to detail that comes across as very distinct, this contrast of hard chops with hints of electronic ornamentation as well as a keen sense of dosage.

A quartet of mid size pieces are up next and they do not disappoint at all, quite the contrary! When I first heard 'Against the Rain', the solemn tone completely hypnotized me, Dourley singing with emotional distress on a melody that was made somewhere in the heaven, with minimal accoutrements musically, but when the drums enter and the piano tingles, the guitar shrieks plaintively and the symphonics kick in, there is a terminal chorus that is crushingly beautiful, as the vocalist puts all his sensation into it. Oh my! The curt but punchy 'No Superman' is a bruising onslaught, verging on grungy and modern rock, with another sensational vocal delivery that has a hint of Robert Plant insistence. The greasy guitar shred is a hissy affair, all rage and rancor! 'Growing Colder' is another vocal tour de force, a strong rock voice that knows subtlety, control, and heartfelt impression. The chorus is a 'grower' but hotter than expected, as the piece ends in an orchestral fashion, showing all kinds of cleverness and adventure. 'Strontium Burning' is another sizzler, with Dourley unleashing a relentlessly plaintive microphone performance, polished off with acoustic sensibilities the man has a voice of gold, a rarity in prog for sure. Thumping drums and a screeching guitar finale. Then the proceedings get serious, as in serious prog, with the lumbering doomsday blitz of 'Bloodline', a brooding electronic-laden 9-minute groove -fueled monster, with burping bass and fisted drums, something verging on Porcupine Tree circa 'Fear of a Blank Planet' sliced through by Dourley's vocals that prove to be quite insistent, as are the crunchy guitars and the catatonic drums. An utterly convincing slash of exquisite melodic/metalloid fury. The equally 9-minute-long finale 'Disassembly' harkens to more experimental realms, though the mournful piano acts as a dislocating guide to a mystifying soundtrack that has no restraint, spooky and eerie, beckoning with breathless wonder as Dourley intones 'Is there no God? ', rapt in choral bewilderment.

This is quite the mature prog masterpiece, it must be listened to as a whole and not in parts, as it definitely has a destination in mind for the astute listener. Easily a top 5 album for 2016 and as mentioned earlier, criminally overlooked by way too many fans, pundits, reviewers, and websites. Look at our rating and then go get a listen online, hear for yourself.

5 skewed vicinities