| Musical Style: Progressive Rock | Produced By: Doug Bowers |
| Record Label: Independent | Country Of Origin: USA |
| Year Released: 2018 | Artist Website: KDB3 |
| Tracks: 6 | Rating: 85% |
| Running Time: 52:07 |
It reassures to know that the Christian progressive hard music scene remains alive and well. One of its better-known players is Neal Morse, whom whether as a solo artist or part of The Neal Morse Band has gained reputation as the ‘king of progressive rock’ despite several strong challenges to the throne. Supernal Endgame is a worthy contender with its joining of the worshipful and progressive on its pair of albums Touch The Sky - Volume 1 (2010) and Touch The Sky - Volume 2 (2014) as is Time Horizon in approaching all things progressive from an AOR standpoint on its 2015 release Transitions. Taking a heavier stance is Sombre Holiday and the Gothic progressiveness to its four album career (and counting) spanning from 2009 to 2017 and Jupiter VI with the Pink Floyd influences to its 2014 sophomore album Movable Walls. Best of the bunch might be the progressive metal to Affector, a multi-national acts whose 2012 debut Harmageddon received a well-deserved 100% Angelic Warlord review.
It would be a good idea to throw the name KDB3 into the hat. The brainchild of multi-instrumentalist and vocalist Doug Bowers, KDB3 got its start in 2000 with an independent demo release followed by full length debut Verite (75% Angelic Warlord review) and sophomore album Autobiograph (80% review) in 2008 and 2011, respectively (both also independent). Artist, whose lyrics come from ‘life experiences and his Christian worldview’ (in referencing his press material), returns in the fall of 2018 with his third independent release, I Fill My Days With Noise. Whereas his first two albums fell within progressive rock confines - even if lightly so at times - I Fill My Days With Noise takes the progressive facets to the next level, referencing how track times have expanded to the extent it features just six songs but over 50 minutes of music.
It would not be out of line to suggest, as a result, that the ‘soaring, majestic, symphonic progressive rock’ basis to I Fill My Days With Noise warrants comparison to the artists above referenced due in no small part to ‘its interesting segues, time signatures, and melodic transitions with lush soundscapes and well thought out instrumentation’ (again, artists press material). It deserves note, nevertheless, that I Fill My Days With Noise is by no means progressive metal, although it rocks heavily in places in falling well within the ‘guitar driven progressive rock’ category as opposed to that keyboard driven. The list of international guest guitarists to appear on the album, including Chuck Tidwell, Billy Holmes, Mark Thompson and Mike Burstein, plays no small role in this capacity.
Opener “Pitfall & Snare” represents a good indicator of the manifold KDB3 sound. At seven and a half minutes it is just the right span for a progressive song - accessible but not crossing into epic territory (artist leaves that for later!) – in gracefully moving its length to a delectable joining of keyboards and acoustic guitar but with the occasional rhythm guitar appearance. When further factoring the delicate yet sweeping refrain not to mention artists smooth classic tenor croon, I am reminded of Presents Of Mind era Tiles. Instrumentally, things shine as ominous overtures give way to raging lead guitar and finally piano. Lyric snippet:
The world we share is troubled as it has always been
By nightfall it has doubled seems evil gets the win
But what He whispers in our pleasure He shouts to us in our pain
He will guard us for forever and forever is our gain
For I am with you everywhere
Through dark and despair, the depth of our soul is laid bare
Though pitfall and snare the light of the world is still there
One of albums shortest ensues in the five and a half minute “Time From Time”. A wide array of influences present, beginning with the unnerving Sabbath-ish bass to open the two minute instrumental build up but also the Rush like rhythms as the song navigates its keyed up verse sections. Layered vocal melodies even touch upon Yes. Best part, however, might be the cool Hammond B3 throughout to allow a deep-rooted sense of seventies based groove. In the end, “Time From Time” hearkens back to the early KDB3 material with its understated progressive facets.
Not so the nine-minute “Brand New Day”, which expands upon the progressiveness as first of the albums three epics. Significant portions are instrumental, including the first three in which grand piano and violin lead the way in similar fashion as prime Kansas. A segue is made to acoustic guitar and keyboard for the verse sections to ensue, with corresponding resonance warmly tincture to touch upon the worshipful. Halfway through and we return to instrumental territory as an extended stretch to feature blues lead guitar gives way to a bridge that slows to a standstill, only to have impetus pick back up for the closing five minute instrumental run.
Subsequent cut “Lear Jet Gospel”, as its title implies, takes an apologetic approach to the ‘prosperity gospel’ and televangelists. It breaks down between two parts over eleven minutes, with the first slowly maneuvering to a richly done joining of piano, guitars and keyboards ingrained over periodic layered vocal melodies. Song reaches its apex for the second to feature an interspersing of instrumental passages - including moments that rock heavily in places with searing lead guitar - with montages of recorded voice over narrations from various televangelists to get the point across in pointed fashion. Fittingly, “Lear Jet Gospel” closes to narration from Hebrews 13:5. Lyric snippet:
How can they be so influential? These wolves in sheep's clothing that prey on the poor
From pulpits of gold so essential, in palaces large they plead from us more!
Whipping up a raptured congregation with promises beyond their dreams so wild
Pilfering the innocent young mother of means, which could be used to feed her child
Deceiving through a gospel warped to their design
Fleecing all the gullible to take all they consign
Riches stored in heaven compared to those on earth
Will be there forever with ensured eternal worth
Five-minute “Troll” approaches from a heavier standpoint. With its front to back firm guitar presence, the song sets a bounding tone reveling in the decidedly up-tempo in walking a fine line between the jazzy and fusion based (lead guitar work is incredible) and the pop driven (am I out of line to suggest a hint of The Beatles?). I might describe this as artists least progressive, albeit it is no less worthy.
Closing things is fourteen-minute magnum opus “Far Away”, another guitar based track that while not quite metal falls within the hard rock category all the same. Standout moments including the hard charging guitar instrumental opening to feature a mid-point break accented by Yes-like layered vocal melodies and initial verses to trade off between atmospheric piano-based moments and those impelled by more decisive rhythm guitar. As the song peaks upon reaching its mid-point, the heavier rocking fortitude magnifies only to give way to the mammoth length instrumental run to cover the final six minutes. Lyric snippet:
Is there any reason to wonder?
To voice what my soul longs to say
From You did I so freely wander
And find myself so far away
Why is it that I aspire
To have all things my own way
Knowing full well Your desire
To fill my heart – but, not today
Is this freedom that I'm after
Is this freedom found within
Could it have led to my disaster
Could it have caused my life's chagrin
I now have motives that I'm seeking
I now seek with a clearer mind
Progressive aficionados will take great pleasure in KDBR and its third album I Fill My Days With Noise. And rightly so, when factoring the lengthy songwriting - at times of epic proportion - and every bit manifold song structuring to spotlight twists and turns galore not to mention showcasing a strong leaning towards the instrumental. You also have to factor the total package in light of the able musicianship and solid production for an independent release. Lone constructive commentary is that I wish the album was available on CD (with better cover art) as opposed to being a digital only release- perhaps it will be re-released as a hard copy (including vinyl!) in the coming future.
Review by Andrew Rockwell
Track Listing: “Pitfall & Snare” (7:32), “Time From Time” (5:25), “Brand New Day” (9:20), “Lear Jet Gospel” (11:12), “Troll” (4:54), “Far Away” (13:56)
