There is an extraordinary list of supporting artists who contribute to Chris Herin’s first solo outing Hiding in Plain Sight. Chris is the Tiles band’s songwriter, guitarist and keyboard player and name-checked in the credits are Alex Lifeson, Colin Edwin and Randy McStine, amongst others. For those of you like me, who haven’t come across them before, Tiles are an American band, their music described as ‘progressive with a hard rock edge’, and I will soon be diving into their back catalogue as Hiding in Plain Sight is an exceptional album, containing a broad mix of progressive rock styles framed in eleven neat, digestible five-minute-ish chunks.
The inspiration behind the album was the artist’s personal experiences of his father’s ten-year struggle with Alzheimer’s disease and the lyrical themes are starkly descriptive of the challenges faced by his father and his family. However, the interest provided in the mostly upbeat musical settings of the songs ensure that the listener can be both engaged and moved by the story-telling but also buoyed by the musicality. To be honest, I’m not sure that the balance is always quite right, and I will return to that question later.
The first ‘side’ of the album which, for me, is made up to the first five tracks, is more or less, a journey through the ages of prog. It starts with a classic opening salvo, the dynamic, high octane Warning Signs on which lead vocals are delivered by Michael Sadler from iconic Canadian neo-prog band Saga. The track’s musical style is rooted in the 1980’s with straight-forward heavy guitar chords, thumping drums, and Sadler’s precise vocal delivery. It climaxes with an exuberant and scene-stealing guitar solo. It’s good, old-fashioned, meaty prog rock, but it certainly does not provide the blueprint for what is to follow.
The first single release is the second track in the set, The Darkest Hour, and features Jethro Tull luminaries Martin Barre on flute and guitar and Doane Perry on drums. The Eastern-style guitar sound and flute in the opening section place the musical inspiration somewhere in the early 1970’s, but the catchy chorus and Martin Barre’s intricate and melodic guitar playing give it a modern day feel and makes it an obvious choice for a lead single. The Darkest Hour turns out to be a bit more American AOR-leaning and it appears that as a songwriter Chris Herin can scatter his brand of prog stardust onto pretty much any style.
As if to emphasise this, next up is Living in the Night a piece of 60’s psychedelic-folk rock awash with woodwind and string arrangements that is executed with a deft touch and maintains a splendid balance between pure deference and distinctive inspiration. However, this piece is a good example of how the song and the story don’t always appear to be in synch with each other as there is much more ‘light’ than ‘night’ in the whimsical musical setting of this song.
The next song The Heart of You references the 90’s, and of course we all know that for prog rock fans this was not the best of times. It sounds like this could have been the B-side to the Rembrandts’ Friends theme tune and although Peter Frampton’s featured guitar solo is pleasant enough and the sentiments of the lyrics fill a more uplifting and heartfelt space in the album’s narrative, it lacks the distinctive touch of its predecessors.
Secret Adversary continues the journey through the prog timeline with a more up to date 2010’s style clean, prog / rock crossover sound featuring vocal harmonies, multiple changes in pace and tempo and more complex arrangements, and a well-placed, contemporary-sounding coda closes ‘side one’. This introduction to the Chris Herin sound has been an absolute pleasure so far, providing something comforting and familiar but just that little bit different, and the scene is set for Chris to provide a more modern setting for a suite of songs on ‘side two’ that continue the lyrical theme but are much less derivative of past influences and showcase his talents for imaginative song-writing.
A Wrinkle in Time and Second Ending are fine mini prog epics, each coming in at over six minutes and given just a bit more time and space to develop. The first of these tracks is on the rock spectrum, incorporating a pleasant acoustic instrumental bridge, whilst the second is more melodic and contemplative, coaxed along by an infectious melody picked out by guitar and then re-used to superb effect across a range of stringed instruments.
Safe House (Isolation) is an acoustic song pitched perfectly for Tim Bowness to provide a characteristically immaculate rendition and this is followed by White Dandelions, a poignant poem that speaks of the final days of life against a backdrop of gentle jazz piano and brass accompaniment. These two songs are a timely reminder of the emotional weight of the subject matter, and possibly more of this contemplative approach would have been expected to be used across the album. It may have made for a more powerful and emotive listening experience.
The final two tracks, Slow to Crumble and Wilderness Years, seem to address the personal impact of dealing with grief, a heavy subject for the lyrics, but which Chris has chosen to set in a couple of upbeat pop/rock songs that I have to say are great tunes. The occasionally jarring juxtaposition of the lyrical themes set within the musical arrangements is the only piece of the jigsaw here that feels out of place. Should I be tapping my feet so vigorously to the beat whilst contemplating the uncomfortable situations being described to me? It’s a slightly uneasy feeling, maybe suggesting that some of the tunes were already ‘in the can’ before the lyrics were added to fit the concept? Having said that, overall, the album sounds great and it has the professional polish that comes with being able to call on such a fine ensemble of collaborators.
The subject matter and concepts tackled here will surely speak volumes to those of us who are in a similar position, or who may find ourselves wrapped up in the same agonies in the future. Hiding in Plain Sight is a fine solo album that will hopefully help Chris Herin to deal with the aftermath of a heart-breaking situation, as well as providing food for thought for us all.
TRACK LISTING
01. Warning Signs (5:07)
02. The Darkest Hour (4:33)
03. Living In The Night (4:41)
04. The Heart Of You (4:11)
05. Secret Adversary (5:10)
06. A Wrinkle In Time (6:15)
07. Second Ending (5:49)
08. Safe House (Isolation) (3:41)
09. White Dandelions (3:40)
10. Slow To Crumble (4:52)
11. Wilderness Years (4:12)
Total Time – 57:11
MUSICIANS
Chris Herin – Electric & Acoustic Guitars, Banjo, Keyboards, Backing Vocals
~ With:
Peter Frampton – Guitar
Alex Lifeson – Guitar
Martin Barre – Guitar, Mandolin, Flute
John O’Hara _ Keyboards
Doane Perry – Drums & Percussion
Michael Sadler – Vocals
Terry Sampson – Lead & Backing Vocals, Keyboards
Kim Mitchell – Guitar
Cody Bowles – Drums, Vocals
Kevin Comeau – Guitar
Jeff Kollman – Guitar
Shane Gaalaas – Drums
Tim Bowness – Vocals
Colin Edwin – Bass
Randy McStine – Guitar
Kevin Chown – Bass
Matthew Parmenter – Lead & Backing Vocals
Mark Mikel – Lead & Backing Vocals
Johnathan Blake – Drums
Ben Riley – Drums
Gary Craig – Drums
… there may be more
ADDITIONAL INFO
Record Label: Laser’s Edge
Country of Origin: U.S.A.
Date of Release: 1st November 2024
LINKS
Chris Herin – Website | Facebook | Bandcamp | YouTube | Instagram