RICK MILLER

Rick is back with the eighteenth studio album, and although it took sixteen years from the debut to the next one, he has certainly made up for it since then, with this his eighth album in 10 years. He has again been joined by long-term musical compatriots Sarah Young (flute), Mateusz Swoboda (cello), Barry Haggarty (guitar), Kane Miller (guitar, violin) and Will (drums & percussion) and Giulia Cacciavillian (flute) is continuing the role he started on the last album, while we also now have a second cellist in Artem Litovchenko.

Here we find Rick at some of his most dreamy and reflective, moving strongly into the symphonic sphere with music that has been heavily influenced by late Seventies The Moody Blues and it is an absolute delight. I have been fortunate enough to have heard and reviewed every release by Rick since 2009's 'Falling Through Rainbows' so this is the twelfth I have come across, and there is no doubt in my mind that not only is he one of the most prolific artists in the genre he is also one of the most consistent. Although his style does change here and there (last time round I said he was inspired by Steve Hackett) his quality control is second to none and I have yet to hear something from him which is short of excellent. His arrangements, combined with his melodic vocals and guitars always makes for an album which is worth playing on headphones and truly falling inside.

The title cut commences with the sound of the internet (it is a modem booting for all of you who are too young to remember the travails of trying to connect), and lyrically is one of his strongest indictments on modern society as he reminisces on the time before the machine where we had to think for ourselves and mis/disinformation were words we had not come across outside of propaganda. The artwork reflects that, as in a post-apocalyptic world all the faceless people stare at their screens and is very powerful indeed. Rick is channelling Pink Floyd, Alan Parsons, The Moody Blues, GTR, Hackett and so much more in yet another essential release.

Rick Miller, one of the most consistent names in the prog scene, delivers yet another masterpiece with "One of the Many," an album that stands out for its impeccable recording quality and emotional depth. As is typical of Miller's work, the production is exemplary, offering a clean and immersive listening experience, especially when enjoyed on a HiFi sound system. Each track is carefully crafted, with subtle tones that come together to create a sonic atmosphere that transcends mere entertainment, transporting the listener to distant and imaginary soundscapes.

"One of the Many" is a work that demands attentive and mindful listening, rewarding the audience with an introspective journey through the universe of Crossover Prog, a subgenre that Miller explores masterfully. The suite "Perchance to Dream" is one of the album's highlights, offering a rich and engaging musical narrative that exemplifies Miller's ability to tell stories through sound and melody. Another standout track is the final one, "Another Time," which serves as the emotional peak of the album, providing a perfect moment of rest after an immersive journey through the prog world.

The album cover art deserves special mention, as it perfectly complements the musical experience proposed by Rick Miller. The surrealist image, with its nuances and details, elevates the sensations provoked by the music, creating a synergy between the visual and auditory that is rare to find. In "One of the Many," all elements come together to form a cohesive and impactful whole.

In conclusion, "One of the Many" is an album that deserves to be celebrated, a must-listen for prog fans, and a valuable addition to any collection. With its evocative soundscapes and pristine production, this work by Rick Miller earns a well-deserved 4 stars, further solidifying the artist's legacy in the world of progressive rock.

Canadian composer, multi-instrumentalist, and prog rock artist Rick Miller has been around for many years (has released 13 albums since 2000), but this is the first album of his I have heard, and it is quite wonderful. A moody, somewhat dark, but very melodic and beautiful concept album dealing with issues of emotional struggles, memory issues, nostalgia, and loss. The obvious musical reference here is Pink Floyd, as the mood, style, and sound is undeniably Floydesque, but with various other elements reminiscent of The Moody Blues, Mike Oldfield, Porcupine Tree, and The Alan Parsons Project. This is an excellent album that unfortunately seems to be getting lost in the shuffle of bigger name releases as no one seems to be talking about this one, but it is quite wonderful from start to finish. Even with the obvious musical references, Miller has constructed a wondrously vivid and creative musical gem here. Best tracks: Atrophy, The Lost Years, One of the Many, Perchance to Dream, Another Time. Rating: 4 stars

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.

Rick Miller is a Canadian multi-instrumentalist who has been active since the mid-80s and has mostly been associated with the genre of progressive rock, wherein he incorporates some elements of new age music and the like, always displaying a strong affinity towards the tonality and expression dear to artists like Pink Floyd, Steve Hackett, or even Alan Parsons, giving his music this celebratory yet somewhat derivative edge. All of this, I believe, is fairly well portrayed by his 2023 release titled 'Altered State', a pretty calm and gently monotonous collection of songs that evoke a strong inspiration from the music of the artists previously mentioned.

As Miller drifts between dreamy and cinematic guitar passages, always cinematic and tranquil, through more electronic or folky elements that give another dimension to the album overall, the music always remains a little unimaginative, especially given the strong resemblance to an Alan Parsons project, as if his musical DNA has been injected into the sound of 'Altered State'. Nevertheless, some of the guitar highlights on here are tasty and rewarding, the tone of most of these songs is enjoyable, and the bluesy edge present here and there is absolutely fine. The vocals hardly stand out as excellent (something this album has in common with many Steve Hackett albums, for example) and the music does not really present anything groundbreaking, nor too exceptional and unheard of in the realm of progressive rock, making this album slightly derivative and forgettable, but fine enough for what it is.

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

In 2022 Miller returned with his seventeenth studio album, again sticking with his tried and trusted line-up of Sarah Young (flute), Mateusz Swoboda (cello), Barry Haggarty (guitar), Kane Miller (guitar, violin) and Will (drums & percussion) although second flautist Jaye Marsh is no longer involved and has instead been replaced by Giulia Cacciavillian. While I am not sure I would call this a concept album, I would certainly say that many of the songs sit on a theme and if the cover art had shown a wolf instead of a lizard and a frog I would not have been surprised, given we have "New Moon Prelude", "Wolf Moon", "Half Moon" and "Full Moon Rising".

Musically we have moved more into the areas of Steve Hackett, and it would not take much for one to believe that "The Trap" is a long lost track which was recorded for 'Acolyte', but there are still plenty of influences from classic Barclay James Harvest, Alan Parsons Project and Pink Floyd. I also find it interesting that there are songs here which one would imagine with a different arrangement could well be considered folk rock, such is their style. The layered vocals, the non-rushed guitars, have a very different approach to so many others which are out there, and the result is an album which gently moves from symphonic to folk all the time staying very progr4essive but also bringing it plenty of atmosphere and ambient trends. It is very much an album for the listener to fall inside, to be removed from the daily stresses and strains and instead be taken away to somewhere very different indeed.

The way to get the most out of this album is by playing it on headphones when there is no possibility of being disturbed, where one can allow the music to take control and for the listener to be swept away on the wings of their own imagination. Yet another simply wonderful album from Rick, a worthy addition to his canon

Here we have Canadian musician Rick Miller back with his sixteenth studio album, for which he has kept the same line- up as he had for 2020's 'Unstuck In Time' with Sarah Young (flute), Mateusz Swoboda (cello), Barry Haggarty (guitar), Kane Miller (guitar, violin) and Will (drums & percussion) although they have now been joined by an additional flautist in Jaye Marsh. Miller of course provides all other instrumentation, vocals, and produced the album as well as writing all the material. I have always felt that Miller is massively under appreciated within the prog world, yet he continues to put out wonderful albums year after year, and just seeing his name on the cover of a release is a guarantee of great music inside, although I must admit I have not heard any of his albums before 2009's 'Falling Through Rainbows', but the minimum I have given any of his releases since then (and I have been fortunate enough to review all of them) has been 8/10, with a fair few 10/10.

Pink Floyd has always been an influence, but there is also much on here that one could relate back to early Barclay James Harvest while Alan Parsons Project is also involved somewhere along the line. Miller is crossover in its truest sense in that he has no boundaries and instead goes where ethe muse takes him, so we can be symphonic in some places and folk in others, always with his emotional and haunting vocals bringing the listener deep inside. While many of his influences do reach back in time, this never feels like an album from nearly 50 years ago but instead is fresh and new. Designed to be played on headphones there is often a simple complexity within, so while the underlying structure may be fairly basic and moving quite sedately there could well be a complex guitar melody laid over the top, always with the layered vocals taking us along for the ride. There is never any stress or rush within his music, with an almost ambient feel to much of what he produces, and we are invited into his world as opposed to being hit over the head and dragged in, which is a refreshing approach and something I have become very used to over the years. He is a master of his craft, and I am not sure why he has never really gained the attention and acclaim he deserves, but here is yet another Canadian music producing progressive rock music on his own terms and very fine it is indeed.

RICK MILLER started in 1983 in the field of electronic music and decided to continue in symphonic progressive rock, PINK FLOYD and GENESIS in sight; he returns for his 17th album to his loves of the beginning by reconciling the atmospheric, the electronic and the symphonic; sweet, captivating melodies with manly jolts; crossover bathed in sounds of Floyd, ENYA, VANGELIS and ALAN PARSONS.

'Altered States' intro on pure VANGELIS, trippy, pure prog juice; a Floydian key then ALAN PARSONS for the keyboards; languorous as a musical marshmallow, the 6-string shows the striking force unfolding a ballad and a synthetic prog break as we no longer imagined; a little flute to melt, the entrance slap. 'New Moon Prelude' archaic interlude with tribal percussions on steel drum and flute from the highlands to recharge before 'Wolf Moon' occurring, between the nocturnal atmosphere and the spatial atmosphere, with spleen, emotion and contemplative air; languorous voice, long sinuous melody interspersed with wild orchestral breaks, a dark cello that makes you dream or nightmare, ah this wolf. 'Borrowed Time' follows on a declination of Soundtrack of film, between orient and lord of the rings with elves in front; sweetness, tranquility of sound and melody with the flute of Sarah and Giulia; introspective and melancholy latent moment introducing a radiant guitar.

'The Trap' interlude melody that kills with cascading angelic flute, cinematic sound effects, purely orchestral, destabilizing serenity; the unstoppable progressive piece. 'Old Secrets' dark, avant-garde floydian, bewitching voice for a dreamlike ballad that is worth more than the last GILMOUR. 'Half Moon' grandiloquent folk-oriental-atmo interlude showing the work of composition, to listen to with headphones, magnificent. 'A Dream Within A Dream' returns to the title sung between MOODY BLUES and BARCLAY JAMES HARVEST, with the guitar solo which raises the feeling until the final melodic slide. 'Full Moon Rising' usually the big title here a cinematic effect to close the album on a dark, disturbing air, like what it's not marshmallow on all floors.

RICK MILLER always amazes me offering a sound planned in advance, but where progressive touches always hide and leave you speechless. it is melodic but very well done, a state of symphonic grace much better than many current so-called melodic compositions that are not very full and emotional; in short, this concept album on ambient and atmospheric nature is still worth its weight. Jewel with a 4.5 in the genre.

The continuation of a long journey in the heart of a musical empire at the crossroads of tortured introspection and spiritual fulfillment. The eponymous title, opening the album, is perfectly timed: the vaguely tribal percussions give rhythm to a strange tempo dance, in which the flute, the rock guitar, the synth layers cross, question each other, measure each other, under the celestial judgment of Rick's vocal. To establish and succeed such a structure in hardly more than 6 minutes, it is a challenge. "Blood of the Rose" continues a certain dreamlike paradigm instilled by the flute melody, but on a much more aerial global tone, carried by a floydian and noticeably atmospheric guitar; we go from darkness to reverie, or almost. This is what can sometimes confuse with Rick Miller (or on the contrary, force the admiration): his music installs us in an atmosphere to extract us almost immediately, but with a surprising tonal continuity. The same logic is applied with the next track, "Castle Walls", which breaks the musical structure once again and opens a boulevard towards an emotional emphasis between melancholic oath and spiritual appeasement - with a bright melody that imposes itself to the ear, carried by the vocals and magnified by the choirs. But the masterpiece of the album is indeed "The Dark Lady": it is a concentrate of Rick Miller's know-how, a real slap in the face which is not the least surprising paradox when you know by heart the recipes he has been applying for at least 10 years. The first half is pure artist: everything is there, favorite instrumentation, cavernous vocals, rhythm breaks, diluvian guitars and promises of the end of the world. The second half is no less 'Gilmourian', but with a charge of heavy cavalry and space rock that we don't know with the Floyds. The bass is demonic, and a synthetic deluge from another world suddenly paralyzes your senses, before fading away once in unexplored limbo, to come back in force afterwards; classic conclusion taking back the theme of the beginning. But what a power! Out of the ordinary. To be discovered without delay for the followers of Gilmour's Floyd. A music both very inspired by the great standards of the post-rock of the 90s, and in a way unique in its kind. For me, to be ranked among the 5 best of Rick to date, including 'Dreamtigers', 'Angel of my Soul', 'Dark Dreams' and 'Unstuck in Time'.