Fearless

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Despite the band's acknowledgement of having grown up feeding off of 15-second sound bites, they have done quite an admirable job of holding onto the motifs of their 18-minute suite for more suitable lengths--which is much more in line with what we Baby Boomers are used to and looking for. Right Way Back" (3:51) Cody's heavily-effected voice in the verses makes this obvious RUSH song different--more LED ZEPPELIN/ROBERT PLANT-like--but then his laid back approach in the chorus sections makes me think so much of the seemingly-effortless genius and maturity of a young PETRI WALLI of 1990s Finnish psychedelic rockers, Kingston Wall, as well as, somehow, PRINCE. This is not a Geddy Lee vocal, no sir, it's one that could compare with the greatest of the greats: Robert Plant, Steve Perry, Klaus Meine (The Scorpions), and, of course, Ozzie. Covering 2112 to Signals, the first stretch of this track is a textbook example of Rush's classic years. The opening piano notes hint at something slightly different, a hint that is fully realised as the track develops.

There is no point in this song that you will stop tapping your foot, nodding your head, or singing along to Bowles’ extremely catchy melodies. Kevin fingerpicks his way through a stunning chord progression that keeps your mind at ease the entire time. And yet, there’s a certain authenticity to the production courtesy of Dave Botrill, who worked with the likes of Rush and Mastodon in the past, meaning that it’s not sterile or lacking warmth. A power duo from Canada, Crown Lands play a style of progressive rock with classic rock and psychedelic leanings that would normally not even cross my mind to check out.At the 2:30 mark, Kevin comes in with a screaming guitar solo, with beautiful harmonized parts that make you think of Brian May’s extremely catchy and cohesive melody lines that are undoubtedly singable. The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products. And the lyrics, 'If life is a wheel / Please, let it spin,' has that Neil Peart enthusiasm and optimism for life. It may not be my usual ‘thing’, but good music is good music, and ‘Fearless’ contains some sensational progressive rock music that is impossible to ignore.

As a sophomore follow up to their self-titled debut album, it truly shows that the evolution of the band is undeniable and limitless. Meanwhile, there’s a slightly heavier, darker vibe to ‘The Shadow’ that slots right into my personal wheelhouse. smack in the middle of classic Rush or strays closer to Spell with some temporary deviations that sound like neither. Virtuoso and engaging Canadian duo – guitarist/bassist/keys player Kevin Comeau and singer/drummer Cody Bowles - fuse pomp, pop and rock on brilliant 2nd LP. Following the 18 minute album opening masterpiece is, “Dreamer of the Dawn”, a 4 minute rock song that has the blood of Rush darting through its veins.Practice and emulation pays off for self-described Rush worshippers Kevin Comeau and Cody Bowles with this, the closest I've ever heard to capturing the purity and distinctiveness of Rush's great 2112. Lady of the Lake" (5:06) more acoustic guitar but this one you know is leading up to a full-on rock anthem. This dynamic duo has really shown us that they don’t need to be “accessible” or “radio friendly”; rather they strive to create enlightening and entertaining music that reaches audience not only through their music, but also their mission.

The halfway mark of the song is an arpeggiated synth riff in the 11/8 time signature, that has the likes of Brad Fiedel’s score to 1984’s sci-fi/horror classic, The Terminator. It follows the story of the main character, Fearless, who sees his planet being colonized and destroyed by the interstellar syndicate by harnessing the power of the sun to destroy his planet for profit and greed. Recorded at Universal’s studio in Toronto with producer David Bottrill (Rush, Muse, Tool, Mastodon) Fearless came together over a six-month period, in short, intense bursts between tours. While playing guitar alone and upfront, Kevin is willing to trust us enough to bring us through his journey of enchanting vulnerability.

So much so, that it’s an album winging its way to me as I type, one that I cannot wait to add to my CD collection. Crown Lands have always been a study in contrasts—and that goes beyond the unique cultural composition of Jewish multi-instrumentalist Kevin Comeau (he/him) and Two- Spirited Mi'kmaq singer/drummer Cody Bowles (they/them).