GRICE

Mysterious British multi-instrumentalist enlists the help of some mighty friends to produce this, his fifth studio album release since 2011; an eclectic if Mark Hollis/Porcupine Tree/No-Man-like collection of songs.

1. "Involution" (7:35) No-Man/Tim Bowness with some great atmospheric sound similar to the great David Sylvian/Steve Jansen soundscapes. Great atmosphere, great drumming, great Steven Wilson-like vocal flourishes. A top three song. (14/15)

2. "Damage Done" (5:08) the heavier side of Grice--which makes this song a particular standout on this very Mark Hollis-like album. Another top three song. (9/10)

3. "Winter" (7:16) a David Sylvian Secrets of the Beehive-era / Jessie Colin Young song w/CSN vocal harmonies. (13.5/15)

4. "Without Her" (4:54) sounds like a Paul McCartney vocal and song. Even the quirky, insipid and nonsensical lyrics and nearly upbeat melody lines are quite McCartney-like. (8.25/10)

5. "Saviour" (5:52) a fairly straightforward pop song in the style of some of Britain's 1980s masters. I just wish I heard lyrics, otherwise, this is nothing very special. (8.5/10)

6. "Alarm Bells" (10:26) feels quite a bit like a Mark Hollis song--early Post Rock Talk Talk as well as final solo career. The drumming, spacious soundscape, and Mark Isham/Kenny Wheeler-like trumpet play are the highlights for me despite the nice vocal performance. I'm rather doubtful of the necessity for this song to go on for ten minutes, though. (18/20)

7. "Band of Brothers" (5:09) despite Grice's Mark Hollis performance here this is the song that really reveals his mastery at borrowing riffs, sounds, chord progressions, etc. from a broad spectrum of artists and hit records from the distant past. So many stolen artifices! (8.5/10)

8. "Legend" (5:32) a very nice song that is again highlighted by the wonderful trumpet play, synth washes, and vocal performance (of some more sadly insipid lyrics). (8.75/10)

9. "Polarchoral" (14:05) one of the proggiest songs on the album despite its rather constant pace, chord progression, and jam style; the performances by all of the thickly populated weave's contributors is wonderful, start to finish, though I will single out the drummer, Robert Brian, Indian percussionist, Hossam Ramzy, bass player (Al Swainger), drone Hammond (Grice), and guitarists (pedal steel), and vocalists (Suzanne Barbieri on background vocals). It's just a great weave--very simple and cohesive for the first five minutes--until the vocalists sing their initial dreamy lyrics. After that each and every instrumentalists gets some solo time as the weave becomes more animated and undulating. My favorite song on the album. (28/30)

10. "Lapis Lazuli" (4:09) another atmospheric David Sylvian/Tim Bowness-like near-ambient song. (8.5/10)

11. "Saviour (single)" (4:18) didn't really think much of this one in its "uncut" album version; this is no better. (8.5/10)

Total Time 74:24

B+/4.5 stars; a near-masterpiece of atmospheric progressive rock music.

GRICE is a Wimbledon-born vocalist, multi-instrumentalist, and songwriter. In 2012, he released his debut "Propeller", an outstanding album, which landed in my collection 10 years later, since I was introduced to his craft through Stefano Panunzi, a celebrated Italian composer who has led a couple of Fjieri as well as a steam of delightful solo albums that lean heavily on idols Mick Karn, Japan and its offshoots, which explains the continued presence of Richard Barbieri throughout Grice's discography. This is his 5th release and surely his finest effort. In order to better target his style, let's say somewhere in the Tim Bowness/ Steve Wilson league (the creative duo behind No Man) but one can also detect a strong art rock sense in his romantic singing that has a touch of Bryan Ferry (Roxy Music), Jim Kerr (Simple Minds), Mark Hollis (Talk Talk) or Steve Hogarth (Marillion) due to the smooth delivery and redolent melancholia. This is intelligent, adult, sophisticated, dreamscape prog-pop, accessible but with a twist of smarts, clever arrangements, and a darn beautiful voice. All ten songs (and one single version of "Saviour" as the finale) remain pretty much in the same mould, offering more than enough space and creativity to make each piece a personal, unique, and expressive statement. Therein lies the genius here, a style that is well founded, deeply grounded, hyper-focused and outright inspirational, as it swoons with class, very much a teamwork feel, no extended solos but each guest contributing to the overall spirit with aplomb.

The "Involution" sets the overall forlorn tone quite succinctly, creating a misty concoction, laden with assorted blurred voices, snappy percussive adornments from Robert Brian that convey a chaotic spasm of feelings and impressions, and an acidic lead vocal that waver in the sonic flutter. A sonic anesthetic. The pendulum swings ahead (or so it seems) with the bittersweet "Damage Done", a platform for Grice to show off his considerable vocal ability, the arrangement much sunnier and reflective, jangling guitar arpeggios, delicate piano, and a calibrated e-guitar solo. The power surge is unexpected and obstinate as Brian drums up quite the storm, glowing into a shimmering simmer.

A bucolic "Winter" steers the audience into a laid back, Beatles-ish ballad, hinting of some lost psychedelia, trumpet and flugelhorn spotlights, a dash of Celtic pipes and Al Swainger's pensive double bass. An autumn breeze "that lets the sunlight in", what great timing! "If this is the Winter, we become Spring". Stripped down to the basics, "Without Her" has a faint aroma of Greek tragedy (or is it ouzo?), probably due to the use of a tzouras (a type of bouzouki), a simple but nonconventional song, as the hot Hellenic sun knows no winter snow and Nordic ice. Grice has the ideal voice to carry this off and impress. Another change of pace with the remarkable "Saviour", an obvious candidate for airplay or at least introduction to the art of Polarchoral , a fluent , accessible and even punchy prog-pop track that reveals further the suave voice's sweet influence on the ears. Cello and violin combine for a chamber rock quality to the forefront, though a stinging lead guitar certainly keeps the tempo on full throttle.

Also of note are the two epic pieces, first up the 10 minute + "Alarm Bells" is an exquisitely crafted jewel, which give the instrumental sections way more breath and wider expanse. Here the overall focus is on a more experimental plane, where lofty sounds, vaporous sensations, polyrhythmic intricacy, and that darn trumpet blaring, all together inducing a dreamlike contrast between sad confusion and intricate yearning. Very much in David Sylvian territory but the voice is closer to Hogarth or Wilson. Richard Barbieri certainly provides the "Synthesis and Sonic Pulse" on this luscious track.

The enchanting "Band of Brothers" questions the notion of love as the powerful words are repeated endlessly ("What about Love"?) , a poignant and foolishly gorgeous romantic ballad that should be compelling and seductive. It is. The oooh-ooh backing vocals are beguiling. Pedal Steel guitar gets a spotlight. "Legend" is particularly intoxicating as the hypnotic chorus seeps deep into the psyche, the luscious Luca Calabrese trumpet swaying like a brassy zephyr. More sonic beauty and an anguished voice that convinces with each panting note that we need to "stop the killing".

The second epic, the 14-minute title track is by far the most progressive on the menu, in that it really painstakingly sets the sonic table with all the prerequisites one would expect from a more exploratory track as it imbues some undulating Saharan motifs (yes, the percussive caravan known as Hossam Ramzy), with sweeping female voices that seem veiled in filigree and shadow. The mood is slightly reminiscent of Ferry's throbbing piece "The Chosen One", an absolute cracker that is not as celebrated as it should be. This a mesmerising kaleidoscope of sun broiled sounds that send the mind into the remotest adventure, the quixotic trumpet again finds itself scouring the sand swept horizon. Magical and intoxicating, this is musical hashish.

The magical blue stones "Lapis Lazuli" sets this one to bed, with only a reprise of Saviour as a radio edit bonus track to add another minty candy to the saliva. As befits a gentle lullaby, the silky voice is a gleaming whisper of passion that seeks only to soothe, perhaps even beguile, as Grice handles all the main instruments while Steve Jansen takes care of the jewelry store of "Ghost pads, Bells and Lazurite sonics". Bloody amazing.

I was extremely impressed, even profoundly moved by the deep qualities of Grice's craft, an obvious labour of love, highly polished and detailed and ultimately, enthralling. I found myself quite hypnotized and spiritually medicated at the conclusion, this after only one spin. I fear that upon repeated returns, this may both bruise and then soothe my aching heart. And that is what great prog does to you, it heals. Thank you, Maria Peters of Hungersleep records for the medicinal music. Dr. Grice from now on, LOL

4.5 glacial harmonics

'Grice' is a solo project from UK formed by multi-instrumentalist and composer Jim Peters who has been a member of several different bands and has also written soundtracks for TV programs and movies. Under the name of Grice, Jim has released 3 full length albums since 2012, including his third album 'One Thousand Birds' released in March of 2019.

There were many guests musicians recruited (including a string trio) to help out with this album, though Jim plays most of the instruments and provides most of the vocals. One of the guests is Richard Barbieri from Porcupine Tree and Japan, who provides the synths, provides some of the effects and programming on the title track 'one thousand birds (morning glory)', which starts off this album. Once a slow beat is established by electronic percussion, a lovely piano melody starts with some synth and storm and bird effects in the background. The music is peaceful and melodic. After the halfway point, the percussion effect stops and we're left with a cello and some atmospheric ambience that finishes off the instrumental track. 'Hardest to Reach' picks up the pace with a moderate rhythm, this time provided by drums (from Marco Maggiore who plays the drums throughout this album) and a nice flowing piano and guitars. Vocals start out early with a nice melodic theme. This mellow song is an expressive track at over 7 minutes. Halfway through, there is a spoken word passage in Greek provided by guest Maria Peters.

The music continues with this pleasant and mellow sound that has a soft and lush sound to it for the most part on this album. The vocals easily match the music, which is quite accessible, but with melodies that are a bit more complicated than your standard melody. The lyrics are pensive and at times romantic but also a bit uneasy. Most of the songs have vocals, but there a few that are instrumental also. Some have a degree of drama and a symphonic feel provided by keys and the excellent string arrangements as in 'She Burns'. The songs were written to help inspire introspection to the unconsoled, which explains the pensive attitude present in the music. Various other instruments help provide more depth to the music as does the French horn in 'The Passing' or the autoharp in 'Letterbomb'.

The pace picks up a bit more in 'Hungersleep' and the track is accented by a guitar solo and a bit more intensity. 'As I Am' builds from it's soft beginnings to generate more power with a fuzzy guitar solo in the 2nd half of the song. 'La Foresta Assente' brings in a bit more interest with a heavily percussive and atmospheric track, which I can't help but think would have created a better album if more songs took this direction instead of the more accessible direction that it takes. At over 9 minutes, the longest track on here is 'Comfort Zone' which creates some unease in the dark atmosphere that runs through the track. It later turns into a nice, twinkling track and is one of the highlights of the album. However, on 'Steam', he sings about being out of steam, and tracks like this one proves to be correct. There are too many mediocre tracks here..

For the most part, this album is quite laid back and mellow, and with several medium to long tracks here, some of the tracks drag quite a bit, since there isn't a lot of build up or changes throughout each track. There are some lovely passages and a few places where things do liven up a bit. There is also very little progressiveness to the album overall. In the end, you do get a pleasant listen that is quite accessible, and the small string ensemble gives a lot of depth to some tracks, but in the end, it is somewhat underwhelming.

1928/5000 The London-based art-rock musician, singer / songwriter and producer Grice Peters established his reputation in 2013 with the alt-pop album Propeller. Alexandrine followed in 2015. His urge for dramatic and emotive singing and passion for manipulating both analog and digital sounds creates a challenging cocktail of post-pop songs mixed with modernistic art-rock electronica vibes, expertly supported by passionate vocals that create a unique "musique concr'te".

Grice constructs art-rock songs that breathe introspection. By combining his chanson singer-openness and the feathered strength and vulnerability of his distinctive and resonating voice with a wide range of acoustic and electronic ingredients, he has been rewarded with acclaim in art-pop and progressive rock circles. This offers him the opportunity to cooperate under his conditions with, among others, B.J. Cole, Steven Jansen and Richard Barbieri, who contribute to the song Cry on The Gray Of Granite Stone.

It is not surprising that despite the small contribution from Jansen and Barbieri, Grice's music will be appreciated by lovers of Japan and others. Certainly the closing piece Glass S'ance, played on a glass harmonica, is reminiscent of a combination of Voices Raised In Welcome, Hands Hero In Prayer and Temple Of Dawn by Japan's Oil On Canvas. Opener Change My World seems to be developing as a singer / songwriter song, complete with Steve Hogarth's similar vocals.

In terms of acoustic instruments, Spirit Level is a bit like Crowded House, while Miss Your Love is strongly reminiscent of a modern version of a Cosby, Still & Nash song. But in all those songs the twist is always in the soundscapes in the background and the sweet-voiced vocals of Grice. It makes The Gray Of Granite Stone a surprising and sensational EP by a very talented artist.

GRICE is a vocalist, singer/songwriter, multi-instrumentalist, and producer who was born in London and is currently based in the southwest of England. He began as a drummer, and progressed to play electric and acoustic guitars, electric bass, keyboards, and experimenting with manipulating sounds. In his debut, GRICE has teamed with producer and arranger Lee Fletcher to bring what embodies, in my mind, a modern Beatle-esque Prog/Pop/Art Rock effort. GRICE blends together a rich landscape of instruments, with electronic, trumpet, strings, found sound (including birdsong) and fragments, pedal steel, and full vocal harmonies. The atmosphere is often relaxing, romantic, and dreamy, and quite lush. Propeller is a wonderful album for a quiet, rainy afternoon or a lovely fall day.

Rating: 3.5 stars

Originally written for www.seaoftranquility.org