BSharp wrote:
Sits right in the sweet spot between prog and fusion (as I feel it). Starts in 7 like many prog songs but it seems more of a rhythmic phrase than a numbers game. Then there's the amazing harmonic construction and chord progressions, first opening to major chords based on the 8-tone diminished scale (alternating half and whole steps).
So many awesome things going on here. Emmett describes it very well harmonically, so I'll rave on the sound palettes: I loved the bass tone with that Trillian slap bass, the Evolution Infinity sounded great (I've got the Strawberry and the Dracus, and both rock very hard, from Orange Tree Samples. I'll take a look at the Infinity). I'm always a sucker for an electric piano sound with some funkiness and high up in the mix. I dug that riff and comp throughout most of the tune.
I really dug your solo as well, rocking the violin sound. Linnstruments are still on my radar as a possible Christmas splurge. Lots of good expressive bends and mods going on there.
The breakdown to the slow, contemplative section at 3:36 is a very nice change of energy. Almost dreamlike, and then some dissonance on the geetars coming in. At 5:12, we get a nice string section and the rythm section kicks it back up and----we're out. Wow, well done!
I also agree with Emmett's characterization as halfway between fusion and prog. Call it "Frog." (Don't.) "Prusion"?
I'll just call it "awesomely rocking" and definitely proggy. And whenever I listen to one of Jeremy's latest, I always say "Well, Steve, you slacker, back to the studio and get to working!" You are highly inspirational, sir, and thank you for sharing your awesomeness with us, Jeremy!