INDIVISION

This is the latest project by the duo of Erich O'Dell and Brian Eschrich, with the name of the band emanating from the distance between them. You really wouldn't have thought so from listening to this, and I suppose that is a testament to the bond between them and the clearly professional use of modern technology in the writing, performing, and production of the album.

This work is basically one long slab of music running at about an hour long, with the main suite bookended by a prelude and finale. However, they have, very wisely in my opinion, split up the entire suite into clear and distinguishable sub parts, a la Rush 2112 (and there are very strong shades of that great act and album in the prelude and finale). There are, therefore, eleven divisible parts to Indivision the suite, and there is a whole lot going on within. The duo have pulled off the very difficult task of constantly engaging the listener throughout, and the only track that, to these ears, feels as if it really doesn't quite know what direction it wishes to go in is Creeping Fade. However, even with this slight whinge, there is a lot to enjoy in that track, especially when it starts to rock very heavily.

This is an original album, although very firmly rooted in the North American tradition of prog. You do, therefore, get clear reminders of the band's influences, which I would place as Rush, Spock's Beard, and Dream Theater especially, with flashes of Porcupine Tree and King Crimson (Perpetual Decay is extremely Crimsonesque), also quite evident. Yes, I know the latter two bands are not North American, per se, but both have made albums in that tradition, especially Crimson with their personnel in latter albums.

Whilst the music is, in the main, harmonious and rather upbeat (I especially enjoy O'Dell's guitar work, which contains frequent flashes of genius), the lyrics are, by contrast, somewhat dark, and strike me as the writer (O'Dell) attempting to come to terms with the growing passage of time and relationships. There is certainly some very pleasing poetry at play here, and this is, lyrically as well as musically, a mature body of work. O'Dell's vocal style reminds one strongly of Neal Morse, and he is an accomplished vocalist. Equally, Eschrich is very clearly a strong percussionist and drummer, and I do enjoy his orchestral keyboard effects, and especially his piano segments, which very strongly complement the guitar. For no better example of this versatility, listen to the fantastic conclusion of Time's Abyss, backing a superb lead guitar riff, acoustic guitar, and strong rhythm, and the spacey symphonic passage on Closing The Book.

Finally, what is nice about this LP is the fact that, unlike many of the works sent to us to review, the production is at all times crystal clear, and no listener could possibly criticise the band for clarity of sound or performance. This, obviously, makes a huge difference in terms of the listening experience, and they are to be congratulated.

I like this album, and enjoy it more with each listen. Rating it is somewhat difficult, because I feel it falls between a three star and four star review perfectly. It is very good, and passages contain sheer excellence, with absolutely no filler or throwaway tracks at all. For evidence of that, listen to the marvellously spellbinding instrumental segments, Rapture and Singularity.

3.5 stars then, if we had such a rating, but rounded up to an excellent rating of four stars, because this strikes me as one of the best modern crossover albums I have heard in a while. Lots of influences, originality, and music veering from the extreme mellow to commercial rock and thence to heavy prog make for an extremely pleasing album. There is, I hope, a strong future ahead for this act.

My thanks to Erich O'Dell for making this CD available to me for this review.