THE WAY (E)

TCP (Temporal Chaos Project) is a project by three American musicians, namely Initiator Blake Tobias (keyboards, programming, bass), Jack Wright (guitars, drums) and Henry Tarrnecky (vocals, lyrics). A number of guests participate on Mellotron, guitar, bass and drums to make the sound even more powerful and varied. The production duties were done by Tobias, who really did a good job. Tarrnecky’s voice is quite characteristic, somewhere in between the voices of Peter Gabriel, Fish and Davey Dodds (Red Jasper). The music is neither ordinary nor simple, but it’s definitely prog! In the first track you'll discover elements from Yes, UK and early Genesis. Moreover you'll hear some interesting changes in key and tempo and nice guitar solos and bass playing. Early Genesis (Nursery Cryme) can be heard throughout I'm Me when Tarrnecky’s deeper voice is combined with Mellotron sounds and acoustic guitars. Later on drums, bass and organ continue to sound like that famous band. However, the composition and the sound of the lead guitar are original, so you can appreciate the nostalgic, melancholic sound combined with a superb modern approach. Mankind is somewhat more pop oriented and shows some influences of Yes with Trevor Rabin and from The Alan Parsons Project. In Heavy Billy somewhat more heavy music can be heard with good duels between organ and guitar alternated with beautiful symphonic pieces. Sounds of real sheep can be heard at the beginning of Sheep, followed by a classically oriented piece by keyboards. Laidback symphonic vocal parts are alternated by more powerful instrumental parts featuring guitar and organ. In He's Like You you'll hear a strange combination of the more sophisticated melodies by King Crimson and passages sounding a bit like the early Marillion. Road To 2012 contains a very nice symphonic keyboard driven intro that leads to a mid-tempo instrumental song with superb guitar playing by Wright, but the bombastic keyboards remind me of Royal Hunt. The slower song Hypatia has two faces: a dreamy side and a more Marillionesque side, but the changes in key and guitar soloing are different from that band. The track She opens rather slowly and symphonic, but the first interlude reminds me of the South American influences as in the track The Light by Spock's Beard. But in this case the leading instruments are not acoustic guitars, but deep sounding synths, organ and the electric guitar. The music build up to an orchestral climax and ends in Genesis style. The title track by Wright, starts off with echoing guitars and some parts of the song with flute and Mellotron samples remind me again of the early seventies Genesis, but in a way you shouldn’t have the impression that these guys are copying, just the sound is similar but yet again all changes in style and the more complex melodies are quite original. The final track Liberate Me is all instrumental. A gorgeous up-tempo piece by bass, drums, piano and organ and heavenly guitar playing by mister Wright. Some orchestral interludes emphasize the classical background of (at least) Blake Tobias.

In conclusion I can only say this album combines the best characteristics of the legends in prog music with astonishing original compositions and superb craftsmanship of all musicians involved. A really nice offering and I would like to invite anyone to check this album out more than once!