Today Is All We Have
The Deaton LeMay Project‘s core is a partnership between
Roby Deaton ( Keyboards ) and Craig LeMay ( Drums and Percussion )
Guest Artists on “Day After Yesterday”:
Hadi Kiani (vocals)
Ehsan Imani (guitar)
Joel Gregoire (guitar)
Josh Mark Raj (guitar)
Heavy Progressive Rock
Here’s an album to pick up if you like keyboard-centric, rich, active, dynamic progressive music, with some stunning lead and backing guitars, and powerful, expressive clean vocals.
Whoa! That sounds like something I’D like
And indeed I do.
This one caught my attention right off, with the edgy opening to “Storm the Castle”, with crisp drumming, tasty guitar work, and those wondrous keyboards.
Just a few keyboards. Just a few drums.
Then it switches things up
The title track begins with heartbeat sounds, sighing synthesizer, and lovely acoustic guitar work with atmospheric, gentle keyboards in the background. That acoustic guitar takes center stage using harmonics and jazzy voicings to create a mood.
(Clever titles, eh?)
This three-part piece, “The Past”, “The Future”, and “The Present” (yes, in that order), tell a time-bending tale, and forms the heart of this album.
Plus it’s the first time we hear from the vocalist, who brings supple and emotive passion to these tracks.
There are regal, majestic keyboards, driving and heavy guitars, when the vocals enter. Pummeling drumming propels the energy- “Man is beast, and beast is king”.
The bewildered protagonist finds himself alienated, and approached by a wizened elder who tells him, “You could have made a difference, but you were too busy to see.”
All set to spritely, then deliberate music, and at times soaring, searing lead guitar passages.
Finally, The Present
With a maelstrom of keyboard sounds, we find the protagonist confronted with the past and future, in which, surrounded by the full band in force, we learn that we can “Mend the present”, and that all we can do is act NOW to impact the future.
And thus ends the Tri-Overture.
Once again the mood shifts, with that fine acoustic guitar, and vocals, sometimes in a call-and-response, bringing emotion heightened by sweet synthesizer themes and tempered with strings, saying, “Destiny… will unfold and fade away.”
Pulsing, promenading keyboards, then heavy guitar enters, with solemn organ lines. Chiming synthesizers set the stage, as we hear guitar and synthesizers trade lead lines, moving into ponderous, then mystic textures with rich keyboards.
Event Horizon, Parts One and Two
This all-instrumental two-parter begins with gorgeous arpeggiated piano maneuvers, then the tastiest, most minimal drum accents that grow, and the sound of fretless bass lines murmuring.
Part Two changes with synthesizers, then guitars, with some very spry, supple lead lines, leading to unison bass/guitar/keyboard. We hear some tasty twin-guitar leads in a heavier ending.
And the Keyboard Extravaganza…
…”Voice of Freedom”. On this one I thought, “Maybe DLP should be ‘ELP‘!”
I was reminded of Keith Emerson’s fiery keyboard wizardry on this track in which the chiming Hammond organ gets a fierce workout. Lots of shimmering keys and twinkling synthesizers, lots of intricate arpeggios in a wall of sound.
The soaring vocals sing, “Voice of freedom never sways”, undergirded by those mighty sounds and regal passages.
Wow! What a fun ride on a cascade of excellent heavy progressive rock!
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