ERIC GILLETTE

As I remarked about Eric Gillette's Winter Solstice EP from the previous year, A New Day is likewise categorized as 'Stage & Screen' on the EP's Discogs page. The former--as I referred to it in its review, a 'seasonal concept'--sported little in the way of dynamic compositional interest and had simple 'orchestration' in the form of piano/keyboard, light (selective) percussion and what I assume to be programmed string arrangements. And I've frankly expected much of the same here. This EP focuses on a song cycle representing 'an entire day', much like the Progressive Rock 'original' album-about-a-single-day album, Days of Future Passed by The Moody Blues (1967).

"Sunrise" begins our day and so naturally begins our album here. It does start off so beautifully, with soft strings. I will say, Mr. Gillette hit this pretty much out of the park. An almost New Age, just left of Ambient track, bringing to my mind the ever-modern Post-Rock idiom. Especially once the drums come in in full, and I mean like a legit drum set (not the silver screen drama of timpani), it is all Post-Rock. Some will be more excited about this, you can be sure. And already, just to make a point of his last one, this album is significantly more interesting than Winter Solstice. Next is "Bloom", a plunky piano met soon enough with frankly lush string arrangement. I had already mentioned Gillette's use of specific chords. The strings die away so our quietly optimistic piano can shine. Fade to black... And then, still in the middle of this track, a dark return? Honestly caught my ear. Pretty dramatic number. Didn't expect to say this damn much.

For a total shift in style, and to additionally impress me in a sense, "A New Day", our title track, is a bright Country/Old-Time bit of instrumental music. Dynamically very interesting. We even get a solo fiddle over arpeggiated mandolin, it sounds like. For Prog standards, I'll make as clear as possible, just shy of 'Good'. So, yes, in many ways, on its own, clear of this site's standards (generally), a pretty darn good song indeed. And already, our day is reaching its close, the next song being "Sunset", a sweet, short number which has harmonic tension and a bit of darkness; how fitting. This is the sort of standard of song (not as appealing to me) that the prior release was chock full of. To follow is "Dusk", an even more pressingly dark track featuring more of the sort of straight-laced movie percussion of that prior release, as well. It's good. I'm just not feeling its future playability.

We are then graced with "Moonlight", another moment where I feel like he really knows what he wants out of a piece and just a showcase that he knows what he's doing. Again, as stated in my other review for the now much-mentioned previous EP, I figure these string arrangements are programmed and, other than that honky tonk fun earlier, I assume that's mostly been the case. This is a lovely number, certainly. Still, less staying power than the start of the EP. Finally, with our New Day now old, we have "Midnight". And now we're talkin'! This is some tension! It's like a war haha. We get these really intense percussive elements, calling to mind for me that one battle scene from The Two Towers. Pretty darn cool. So, really, if anything on this album pulls its ratings up, it's this one. Truly cinematic piece, too. I just wish there was more of that nonsense [a compliment] from its start in here, sheesh.

Neal Morse Band guitarist Eric Gillette released his cover of the Tchaikovsky Christmas classic "Dance of the Sugar Plum Fairy", delightfully putting his own Prog Metal spin on it. This general mode and approach to Christmas tunes is naturally pretty familiar, and I must add, in a good almost nostalgic way, it made me think of Manheim Steamroller, whom I heard quite a lot toward the end of each year growing up.

The cover has a playthrough video available on YouTube, released Dec. 20, 2020, where Gillette says he "always wanted to do a cover of this song and put [his] own twist on it." Performed in a modern Prog Metal style, I will admit it's even better than expected. Keyboards provide string backing and a lead melody 'acoustic' piano. The track is well-suited for this treatment, there's no doubt about it. This is certainly telling of his abilities, especially as a guitarist and drummer. A duel key and guitar solo nearing minute 2 was one of the strongest, most exciting moments. Thereafter, jazzy piano takes the center stage as the rhythm shifts into a cool, swinging feel. The result is some tasteful Fusion. Still in solo mode, we look to lead guitar (hard not to trust somebody with a Music Man) to close out this new bridge section. He returns to the song's main theme. Pretty fantastic overall.

Really, though, if you want an (in my view) somewhat more progressive take, Bela Fleck and the Flecktones' Progressive Bluegrass rendition featured the wondrous Alash Ensemble--three incredibly talented Tuvan-Mongolian throat singers and multi-instrumentalists whom I had the privilege to see in a small Unitarian Church for my birthday just earlier this year(!).

Known for his work as lead guitarist for the Neal Morse Band, Eric Gillette has in recent years put out releases such as this one, Winter Solstice (2019), a light-fare seasonal concept, followed by the song cycle A New Day (2020). Given the focus, I was wary of potential enjoyment, and it needs to be said right away that these are a(n apparent) departure from the norm [I've not heard anything outside of the NMB by or featuring Gillette].

This wintery EP begins with "Snowfall", causing me to agree with Discogs' estimation of 'Stage & Screen' for these releases. A single piano is married to swelling strings and a pulsing, though calm beat. I mean, it feels like that "Feather Song" from... uhhh.... Forrest Gump. For these tracks that are admittedly fine, and in their simplicity are well-performed, etc., yet have (in their simplicity) nothing much to offer (especially in the way of progressive ideas), I'm giving individually a rating of 1.5/5.0 [I wonder what the straight album average is going to be /s].

Next is "Winter Solstice", a soft, yet somewhat tense number with some tasty chord choices, I have to admit. I expect the remainder of the release to follow the standard of "Snowfall". And thus far, it's acoustic piano and strings. Not bad. Moving, even lovely at times. But what is there to say? Bringing a little more drama to the table, we get a return of thumping percussion on the far more positive "Mountain Song". Nothing more to add, really. Finally, we have "Frozen Tundra". We return to a more solemn feel here, all brought low and softened. The string accompaniment and other flourishes under the hood do provide something moving, I would like to say. This is stronger still in the second half, with added percussion and a new melody introduced. I'm wary to admit now that this is in any way exceptional to the whole, though. It isn't.

Plenty of loveliness, sure, but I have a feeling the majority here aren't going to have a lot to pull from or say about this release. If it hypothetically had much else to provide, this True Rate may be different, and therefore may even have been a round-up. Not the case...

True Rate: 1.5/5.0

Apparently, this album came out last year, but it has only just come to my attention. Eric has of course been lead guitarist with the Neal Morse Band for some years, and here he is back with his second solo album. Those expecting prog in the same vein as his "day job" will find a few similarities here and there, but mostly this is melodic prog metal with influences taken from throughout that scene. I had convinced myself that the drummer just had to be his NMB compadré Mike Portnoy due to what is going on behind the kit, but further investigation revealed that it was none other than Thomas Lang (John Wetton, Robert Fripp, Glenn Hughes, Robbie Williams, Kelly Clarkson and many others). Also involved are Haken members Diego Tejeida (keyboards) and Conner Green (bass), so overall this is quite some musical powerhouse.

Those who have seen NMB will know already that Eric is a strong singer in his own right, and this is very much an album of songs as opposed to mass instrumental workouts. Of course, there are times when the note density is incredible, and he does his best John Petrucci impression, but there is way more on here than just Dream Theater complexity and long songs. Of course, he is used to the odd epic here and there when working with Neal, and it would have been surprising for there not to be one included, and the eighteen-minute-long "Escape" is stunning in the way it moved and folds. This is an album that will certainly appeal to those who enjoy prog metal, but it is way more than "just" that, with elements from Haken, DT and the softer sides of Neal Morse all being blended together in a way that is both immediate and makes for compulsive listening. This is superb from start to end.

Eric is known as the guitar player for Neal Morse band, but he is also a great singer and in this album, he shows his talent. He surrounded himself with Haken bass player Connor Green and keyboardist Diego Tejeida. The result is spectacular with this powerful and melodic Progressive Metal in the lines of Dream Theater, Haken, and NMB. The first song takes you in the pure John Petrucci style with the guitar riffs."The Aftermath" delivers a typical keyboard break Haken style and a guitar sound that is not without reference from the powerful style of Threshold. "The Escape" is the gorgeous epic of the album starting slowly to gets heavier and faster after 5 minutes and for the first time, you can almost hear Eric vocals like he sing in NMB. This song has some complex instrumental parts with the symphonic arrangements in the background and the multiple breaks led by Diego Tejeida in a jazzy style. The second part of the album starting with the song "Empty" is in a more relaxing mood but still intense emotionally where Eric shows his great voice. "All I Am" is to me the best of the last semi-ballad tracks of the last three, and how can you resist to a singer that put his heart out like that in a love song. This is not the most original album, but for those like me who enjoys that kind of melodic Progressive Metal, it's a nice addition to your Prog Metal albums alongside with the best ones of that genre.

Eric Gillete is for sure one of the new talented multi instrumentalist in prog rock/metal world who was taken under the wings of famous Neal Morse in last years. Being part on Neal Morse Band in The grand experiment, where he already showing a great potential in guitar department, and vocal aswell. Under his name he released two albums one in 2013 and second this year 2016 named The great unkown. Well what we have here on this lates album is quite competent, complex prog metal with fine musicianship all around. He gathered around him some top players, the keyboards and drums from Haken fame and the bassis was and is part of Peter Gabriel band. So, The great unkown is a blistering, energic prog metal release who will pleases all fans of the genre, I was hooked from first listen. His playing, on his main instrument guitar is exemplary here, he is playing with an amazing ease, on all pieces. Aswell his voice is fiting perfectly into dis kind of music, I really like his vocal parts here. The first part of the album is the best from here and among the most intresting tunes in prog metal field from this year for sure, pieces like title track with almosta Neal Morse attitude in places but infused with prog metal passages, the lenghty 18 min plus Escape where Gillette truly shines an effectiv and well done combination of Haken/Dream Theater. The second part of the album is only ok, here he slows down little bit the pace and even is quite entertaining, the overall experince for me is only good and nothing groundbreaking like first part of the album. So, in the end even the influences are evident here from Haken, Dream Thater or Neal Morse, Eric Gillette's The great unkown is a true prog metal release who needs to be discovered, worth it from start to finish. Solid musicinship and intresting pieces. 3.5 stars for sure.