Review: Herin – Hiding in Plain Sight
Herin
Not only does this album mark the debut solo release for Tiles’ iconic Chris Herin, but it marks, for me, the first album I’ve ever encountered which deals with the tragedy of one of the worst afflictions of humankind – dementia. This collaborative effort – Herin incorporating an expansive cadre of musicians/singers – is a victory for both the artist and the disease.
Dementia
Ok, sadly, there is no victory for the disease (yet), but the willingness to expend the emotional energy and artistic creativity for 50 some minutes of music which serves to illuminate the depth of dementia’s impact on the afflicted – and upon their loved ones – is praiseworthy and noteworthy all in the same breath.
Tiles
Chris Herin has been one of the most underrated songwriter/guitarists/keyboardists in progressive rock for quite some time now … basically since the release of the first Tiles album in 1994. That record was so amazingly refreshing and creative during an era when rock music, especially progressive rock, was taking a back seat to the surge of the depressing dirge of suicidal groove called “grunge.” The upbeat and “inspiring” sincerity of that debut Tiles album remains unsurpassed. Not only was the self-titled debut a tribute to what had gone before, but also a statement of endurance and perseverance.
Incidentally, the last we heard from Tiles (or Chris Herin) was the 2016 release Pretending 2 Run, which was reviewed on these pages – an epic masterpiece of progressive rock brilliance. See review HERE.
Soundtrack to the End of Mind
Keeping it spartan, the CD is housed in a digipak with 12-page booklet including lyrics and credits. Hugh Syme provides the artwork, illustration and designs so while simple, the images are creatively impactful. This is appropriate as the focus here is clearly on the words – the music serving emotively as the soundtrack to the end of mind.
Animated Not Alive
Appropriately, the opening “Warning Signs” – featuring Saga’s Michael Sadler on vocals – is warmly familiar to fans of Tiles rock. This is in part due to the virtuosic drum groove laid down by Shane Gaalaas (very Mark Evans-like) and the bass groove laid down by Keven Chown (who also played on that Tiles debut). Not only does the song succeed in bridging Herin’s musical heritage with this solo debut, but the words serve as introduction to the subtle way in which “things change” overnight with the mind.
“Get up from a dreamless sleep/Unaware what’s happening/All you used to be lies buried inside/In decay and in disguise/Animated not alive”
Descent Into Darkness
Subsequently, “The Darkest Hour” features a pulsating bass groove intro (which flows throughout the entirety of the song) followed by mandolin and flute by none other than Martin Barre (Jethro Tull). The description here – featuring vocalist Mark Mikel – delves more deeply into the loss of orientation which is part of the cognitive decline in dementia. The almost lilting and happy vibe of the song stands in paradox to the darkness of the cerebral hour.
Symphonic Night Hymn: Darkness Falls
Discipline’s Matthew Parmenter is featured on “Living in the Night” which is a symphonic, light-hearted number where Herin’s mandolin playing will once again feel familiar to fans of Tiles. This song has an almost hymn-like quality with the oboe and English horn lending the song a symphonic quality, this also in part due to producer Terry Brown’s programming.
Heart’s Memory
Fortunately, the tandem of this gem and the subsequent “The Heart of You” represents one of the brightest moments on the album. The song is, in essence, a tribute to Herin’s father and the memory which the artist will always carry with him. Peter Frampton is featured on lead guitar while Herin handles the acoustic guitars and banjo. Not surprisingly, this one has a bit of that blues Frampton/Clapton vibe, especially on that beautiful ride-out solo.
Enemy Within
Contrastingly, Randy McStine‘s (Lo-Fi Resistance) sylvan voice graces “Secretary Adversary” which is another song with that old Tiles sound, yet more rhythmically straight-ahead. The cleverness of Herin’s words shine forth once again…
“In the haze behind your smile/Wheels grind slowly in reverse/As confusion obfuscates a cruel truth/A knight without his armor/A king without his crown/The mercenary draws his sword”
Wrinkle in Prog
Additionally, McStine, who has collaborated with great prog acts like King Crimson, Porcupine Tree and musicians with King’s X, Spock’s Beard, Sound of Contact, is once again featured on the upbeat “A Wrinkle in Time,” one of the most beautifully crafted songs on the album. Similarly, Herin lets his guitar influence show in the first segment of the song, sounding much like Alex Lifeson, but with a “wrinkle in prog” pulls it back on the second section of the song into the original Herin style and sound.
Bass Warm
One thing noteworthy about the sound mix on this recording is that it is bass end heavy, Chown’s bass guitar, which churns steadily throughout most of these 11 tracks, features prominently in the mix. This is surprising for a digital recording to sound this “warm” and vinyl-like, but secondly, it’s surprising that the guitars of Herin and friends aren’t more to the front of the mix. The result is a record which is both satisfyingly listenable at all levels of volume and comfortingly familiar to fans of the genre (Rush/Tiles).
Silent Dignity
Interestingly, speaking of Rush, Alex Lifeson contributes electric and acoustic guitars on the Matthew Parmenter lead ballad “Second Ending.” This warm lament boasts quite an arsenal of instruments as well with violin, banjo and steel guitar mixed into the soundscape. In some ways this song, both musically and lyrically, reminds me of Queensryche’s iconic “Silent Lucidity.”
No-Man Tree: Safe House Down
On the other hand, “Safe House (Isolation)” is a more experimental, ethereal song which features Colin Edwin (Porcupine Tree) on bass and programming. The Tim Bowness (No-Man) vocal lead is haunting and almost Beatles-esque but perfectly depicts the disorientation, paranoia and fear which accompanies losing one’s anchor to reality.
“Too much noise and I disappear through the floor/Smoke and mirrors open distant shores/Safe inside behind the darkened door”
Drum Clinic
One fair criticism of this collaborative effort might be that on an album which features no less than 8 different drummers, one might expect a bit more diversity in the style and rhythms of the percussion. With a few exceptions, the drums take on more of a supportive role on Hiding in Plain Sight, which isn’t necessarily bad, but might impact the interest (from a musical standpoint) of some of the fans of more instrumentally driven prog rock.
Building a Wall…
Next, “Slow to Crumble” revisits some of these themes of the slow, uncontrolled deterioration of the mind but this time features Cody Bowles on vocals in another light rocker with great melodies. Once again, this juxtaposition of light, happy lilting with the incredibly devastating sadness of “mind fall” depicted within the lyrics is both genius and disturbing. The song perfectly resonates with the struggle many victims of dementia endure; great moments of elation and joy undermined by moments of intense frustration, confusion and rage.
“Some things I should say, haven’t been said/Some things I wrote haven’t been read/I keep to myself by building a shell/By building a wall that will not crumble”
Night is Day
Notably, McStine, one of the strongest vocalists here, returns a 3rd time on “Wilderness Years,” a more melodic AOR number featuring saxophone solo and the gentle drumming of Jimmy Keegan (Spock’s Beard/Pattern-Seeking Animals). The song almost feels like a reprise of sorts, beautiful. [Incidentally, for those not aware, its not uncommon for those afflicted with dementia to sleep during the day and wake during the night, the bane of many a caretaker spouse/child.]
Elegy to Collapse
Finally, the elegant “White Dandelions,” once again featuring Parmenter on vocals, serves as both a musical and lyrical coda/farewell, the style here more akin to a slow jazz dirge than rock reprise. Walter White is featured on horns and Parmenter on piano.
“I am at your side/I apologize/Bring you the news/It’s time to die/White flags fly … Goodbye”
This soft farewell honors the quiet exit from this physical world which many victims of dementia often experience.
Taps
Overall, Hiding in Plain Sight is a remarkable, yet concise, musical journey which is equally moving on both a human level of experience and as an exploration of Chris Herin’s songwriting and instrumental talents beyond the realm of his output with Tiles. Whether a fan of the artists and their style of music or one who knows all too well the devastation of suffering associated with dementia, Herin and friends have not only handled the subject matter with insight and grace, but they have delivered a wonderful collection of light progressive rock gems. Bravo.
1. Warning Signs (5:06)
2. The Darkest Hour (4:32)
3. Living in the Night (4:40)
4. The Heart of You (4:09)
5. Sacred Adversary (5:06)
6. A Wrinkle in Time (6:15)
7. Second Ending (5:47)
8. Safe House (Isolation) (3:45)
9. Slow to Crumble (4:52)
10. Wilderness Years (4:12)
11. White Dandelions (3:39)
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