| Musical Style: Progressive Rock | Produced By: PJ Bostic |
| Record Label: Ocean Willow Music | Country Of Origin: USA |
| Year Released: 2021 | Artist Website: PJ Bostic |
| Tracks: 10 | Rating: 85% |
| Running Time: 51:07 |
Fourth solo album Faith Of Least Resistance from vocalist and multi-instrumentalist PJ Bostic is capably performed, well written and adeptly produced, and one of the better progressive rock releases of 2021. Better known as Paul Joseph Roraback, artist go his musical start in the Pacific Northwest as touring drummer with Bloodgood from 1992 to 1993 prior to co-founding alternative rock band Grammatrain, which released five studio albums after signing with ForeFront Records. A move to Austin, Texas subsequent to the breakup of Grammatrain led to Bostic touring and recording with Texas guitar legend Monte Montgomery in addition to acting as drum technician to renowned drummer Terry Bozzio (Zappa, Missing Persons).
With the decision to pursue a solo career, he assumed the name Bostic to honor the wishes of his late grandfather Paul Bostic. Three albums ensued over the next eight years, including debut Bullies At The Border (released on Ocean Willow Music in 2008 and independently three years later) and follow up efforts 3MS (Three Minute Song) and Light Me On from 2013 and 2015, respectively. Musically, Bostic draws upon the influences of Rush, Pink Floyd, Porcupine Tree and King’s X with songs ranging from shorter, hard hitting numbers to longer epic dreamscapes, while lyrically reflecting his passion for the truth of historical Christianity. Hence, the musical and lyrical direction to Faith Of Least Resistance.
Album opens to its shortest track in the three minute “The Camera Lie”. With technical drum fills and Rush style rhythms to start, song exudes of the towering as vivacious energy and vibrant but understated hooks point towards an underlining heavy rock quality. Artist’s classic tenor vocals trade off with swirling King’s X style vocal melodies.
Play on words cut “Riches To Rags” takes the lighter and more melodic tone. Rock as opposed to hard rock is the feel, as interweaving bass and distant acoustic traces lead the way to the flowing from left to right channel vocal harmony driven refrain. Artist exhibits his progressive nature with dual instrumental runs. Lyric snippet:
The road to hell is paved with good intentions
And many bricks make up its false foundation
And all of those that glued the stones together
Have sealed their fate and changed their state forever
Riches to rags to riches to rags
Open the eyes of America
A return to hard rock territory, “Blue Light Gaze” impels at a mid-paced clip to crunch heavy guitars all the while wondrous harmonies, driving rhythms and elaborate drumming hold sway (progressive genre fits perfectly with artists manifold timekeeping abilities). Three songs in, and while the Rush influence is unmistakable, I also cannot help but be reminded of Tiles and Torman Maxt, albeit Bostic’s pure and crystalline vocal qualities provide an exclusive feel.
“Two Of Me” reveals as a divine and glorious ballad, with layered vocal melodies again pointing to prime King’s X (think Gretchen Goes To Nebraska and Faith Hope Love) not to mention Lovewar and early Galactic Cowboys. In the end, one of those effective songs I identify with as basic but not simplistic- in other words, it is possible to be ‘progressive’ but without extending into epic-time-signature-outside the box territory. Lyric snippet:
Surviving a lifetime of painful debris
Has found me dragging my anchor at sea
I’m still just a man made of skin and bone
And sometimes temptation
Can trump control
If healing would only come closer to me
“Shadow” ensues as one of albums lengthiest at just under seven-minutes. It proves dark, brooding and moody, revealing a pensive bass line and eerie keyboards its span as a generous melody abets (song fails to come across cumbersome despite the length). Instrumentally, artist reveals a bluesy side to his soloing- played with a great deal of fire and emotion.
Closing Faith Of Least Resistance is Neal Morse style mega epic “Unmasking The Emergent Wolf” in which multiple but separate songs (in this case five) combine for a unique whole. As its title implies, song focuses on false teaches and wolves in sheep clothing within the contemporary church.
“Bellum Adversus Haereses”, first of the five, starts to narration from Matthew 7:15 and 2 Timothy 4:3 ahead of morphing into an ominous instrumental with interplay between haunting keyboards and trudging momentum to speak of the doom like as guitars (both ethereal and hard rocking) maneuver in and out of the mix.
“God Of All Creation” succeeds to an opening amalgamation of offbeat sound effects and rolling drums before coming into creative form: staunchly done moments to see drubbing guitars trade off with a melodic nature as impetus settles down for a more placid statement. A protracted instrumental interlude running the gamut from atmospheric overtures to rumbling feedback to flow from the left to right channel helps carry the song out past seven minutes.
I believe in the God above all creation
I believe in the God above all nations
The blood at Cavalry paid a price for me
I will speak for the truth
And the light of salvation
“Glitter And Gleam” represents albums heaviest. It bases upon borderline metal guitar riffs but intersperses around passages that while not quite as implacable, uphold swarthy melody to entice with repeat play (back and forth and back and forth again). Song presents as another choice example of songwriting that is progressive but not to fault.
A false teaching fragrant of compromise
The unholy order of a deity that gets you by
The path is now easy
And the gate is wide
The scripture is discarded
And you’re teaching from between the lines
“New Heresy” begins to a majestic instrumental build starting calm and laid-back only to elevate to melodic hard rock form as driving impetus powers in. Retreating to a more relaxed nature upon reaching its initial verse sections, song elevates a finesse-filled disposition as intricate bass and searing guitar leads further lend to the disconsolate lamenting. Interestingly, artist at times lowers his register to draw vocal comparison to Phil Keaggy.
Christianity infected
With Gnostic esoteric mythology
Automatic writing is accepted
With spurious cosmic energized theology
A new age heresy
Albums classic rock influences title track kicks in at once to a ton of lower register groove that gives way to scorching feedback. “Faith Of Least Resistance” decelerates to a near stop as vocals with a distorted edge step in for the initial verse sections, deriving of a forward aspect as fortitude builds on the way to the luminous refrain. Big doses of groove return for the initial instrumental excursion, while vibrant soloing closes out the final seconds.
You’ve discovered just another
One of history’s heretical rites
A revelation from a mystical prevarication
An illusional confusion
Fragmentation of political plight
Led astray and betrayed
By the angel of light
Faith of least resistance
The path is wide and easy
On Faith Of Least Resistance, PJ Bostic specializes in reinforcing the progressive but not to fault while emphasizing other musical forms. Artist ably handles majority of the recording process, including vocals, drums, guitars and bass in addition to production and mixing duties, as a one-man band project. Several guest musicians contribute keyboards. Able production and solid packaging led further value. If a fan of progressive rock with a Rush influence imbued with elements of King’s X and Pink Floyd, then Faith Of Least Resistance comes strongly recommended.
Review by Andrew Rockwell
Track Listing: “The Camera Lie” (3:16), “Riches To Rags” (5:24), “Blue Light Gaze” (4:10), “Two Of Me” (3:55), “Shadow” (6:47), “Bellum Adversus Haereses” (4:13), “God Of All Creation” (7:12), “Glitter And Gleam” (5:46), “New Heresy” (4:47), “Faith Of Least Resistance” (6:12)
Musicians
PJ Bostic - Lead Vocals, Guitars, Bass & Keyboards
Casni Roraback & Coca Roraback - Keyboards
