by Dean Wolfe, Prog Dog Media [Album Released Nov. 25, 2022]
I remember back in the day when guitarists like Eddie Van Halen, Yngwie Malmsteen and Steve Vai were raising the standard of electric guitar playing to god-like levels. This had a dual effect of inspiring a new generation of guitarists but at the same time discouraging new musicians from even trying.
Thankfully the current generation of guitarists dropped any inclination to hide their secret sauce from the masses and opt instead for the transparency of teaching lessons online for anyone willing to give shredding a shot. After all, it all boils down to at least some natural inclination, invested time and discipline.
Morgan Reid is a Toronto born guitarist of notable ability, who is releasing his first solo instrumental prog metal album. He is a member of UK-based Bloodshot Dawn. On his new overall 'heavy' album he performs as well as produces and composes. He even plays piano one track.
I'm happy that this new album Terran is more substantial and creative than I had originally expected. I might be forgiven, considering Reid's obvious prowess as a speedster around the fretboard. I had needlessly worried the music would be secondary and just serve as a platform to endlessly show off.
I am a fan of traditional prog rock from the 70s, but have been actively learning to appreciate prog in all its forms, old and new. 70's prog this is definitely not, but despite that, I did detect hints of Steve Hackett compositional style (Genesis/solo) in parts. I won't lie- hearing how classic prog still has an influence 50 years later, no matter how subtle, is reassuring.
It's a well-produced album, being pleasant and balanced to the ear throughout, except track 9 seemed overly bright (small complaint).
The album starts off running, and as a listener I found it a bit like trying to get into the door of a moving street car- you kind of have to already be moving forward to catch your ride. The bass stands out on a few of the tracks more than the rest, but is generally pat down in supporting role along with the drumming which is quite technical overall, with modern style 16th bass kick notes throughout the album, familiar to the modern prog metal genre.
'March On' is the spot where I felt some Steve Hackett vibes.
'Goliath Online' is very djenty, and shreddy and having grown up through the old school days was reminded of Steve Vai and van Halen with the screaming fast playing and heavy squaks. This song more than any other did feel more like a showcase for the guitar playing rather than a composition for melody's sake, but that's fine- as the whole album is not like that, and frankly, plenty of guitarists want that.
'Djinn & Juices' has a middle eastern vibe- it's fun and has great bass parts. To me it's very Yngwie Malmsteen- a bit masculine, maybe macho even, with a melodic chorus and fascinating guitar harmonies.
'Terran', the title track, maintains a Steve Vai level of amazing-ness. It gets interesting compositionally speaking, and has lots of innovative textural shredding. I found it motivational. You will shake your head at the incredible speeds and wonder how he does it.
In 'A Formless Icon' Reid shows off some amazing fanning technique work. The track has a cool symphonic vibe. It has 'cool dips'- sorry, that's the only way I can describe it. This song marks the first easing off at the gas pedal for the album, if only briefly. This track as some exceptional synth textures.
'Chimerism' is my fave. Finally some messing around with the time sigs in weird and affecting ways! Super wonky, time-bending and tricky, with heavy synth- again recalling a bit of Steve Hackett.
Up next is 'Grand Champ' (featuring distinguished cellist Friedrich Thiele) is probably the catchiest song on Terran- the 'hit single' if that was necessary. It's got an immediate catchy chorus. The descriptor 'trimphant' comes once again to mind. As I listen through this album I'm impressed by how much work went into it. We are introduced to a stunning cello section that adds so much to the overall character of the album. It feels like a natural fit.
'Obsidian Interlude' is a short and lovely piano composition, not played by a guest musician, but by Morgan Reid himself, reminding us that he is a gifted musician. It brings balance to the album so far, and is a perfect breather/break.
In 'Bending Light' we return to the slammin' and great big feeling vibe, and the only track on the album with a less then perfect mix or mastering job (It's too bright).
'Intrinsic Code' features a very exciting and cool descending riff. It's more of a 'song' song. I can almost imagine a singer wailing away on this track unlike all the previous tracks. It's got a very likeable and melodic chorus. Stated simply, it got me head boppin'. I wonder at this point, where does Reid get his energy? What a wonder!
'Sirsasana' is a quick tone poem where Reid solos with himself playing lead over a clean guitar. Id like to hear more minute-long pieces like this in the future!
During the last track 'CRISP' it happened. I did a record-playing equivalent of a double-take. Who knew Morgan Reid was holding anything back after 11 tracks? "Let's hear that track once more," and I hit repeat. I'm impressed when the best is saved for last. This is a damn high level frenetic energized track. There's some unique disconnected-sounding riffing and some fine compositional work including some bold dissonance. The bass sounds great in this track. For a third time that word comes to mind: triumphant. Plus elation. It's crazy fast. There's some interesting multi-tracked hammer ons in the back ground. The last moments of this album feel like an archicteurael cupola- or crown on a beautiful, functional building. I dare say Morgan Reid should feel proud of an album WELL DONE!
Watch the interview with Morgan Reid HERE
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