PAUL CUSICK - FOCAL POINT - 2009

Focal Point' is a beautiful album with Pink Floyd style vocals and very innovative instrumental sections throughout. There are moments of pure melancholy with an ambient atmosphere unparalleled in prog such as 'Touch', and there are huge wall of sound guitars in tracks such as 'Everblue' and the catchy 'Scared to Dream'. There is so much to recommend this album including the well executed vocals and especially the use of keyboards and jazz fusion drum patterns from Cromarty. There are no epics on the album, the longest track is almost 7 minutes (Fade Away) but the songs seem to blend together on one theme. Many prog influences abound on the CD. 'Focal Point' track 1 is a terrific instrumental with ELP piano riffs and even an estranged angular guitar riff over a keyboard strings pad. A solid heavy guitar riff locks in over the prog piano. The track is reminiscent of early Dream Theater or Porcupine Tree. This track segues immediately without break into 'Everblue' that has a great riff and very heavy handed orchestral style strings using a keyboard. It captures a rather gloomy ambience. The words are simple 'where have all the flowers gone... look the other way, nothing more to say.' You can guess the theme from this I guess which is based on destroying the planet due to carelessness. A very Rush or Yes Philosophy that have both covered this territory. The guitar solo on this is commendable too. Cusick plays so well on every instrument it is astounding how talented he is. The structure of the song is atmospheric and very proggy throughout, at times we hear piano, distorted guitar, drums, bass and keyboards that have a mellotron effect - very impressive. 'Fade Away' begins with the piano and keyboard pads that are so sublime, subtle and fluid. A trumpet type sound echoes over until the vocals begin (as low as Roger Waters) ... 'there's a house where I once played on a hill so far away.... the memories slowly fade of the childhood games I played. I sit and watch my son and daughters growing taller day by day, where are they now, these memories, as I grow older they fade away.' The theme of loss and regret is strong. It is one of the best tracks. I love the guitar solo that is simple but effective. A very calming, slow melancholy track that is somehow uplifting and continues to build in the instrumental break until the track fades down and we hear the sound of children over a sublime orchestral section. 'Soul Words' features a heavy bassline and nice harmonies of Cusick and er... Cusick. A heavier feel on this track that wakes you up, good riffing and more innovative lyrics over a sustained high keyboard strings pad. 'Scared To Dream' begins with more piano and the harmonies are once again very Pink Floyd. This is a darker track about the fear of sleep and the pain of losing everything. I love the way the drums crash in on this track over a driving incessant heavy guitar motif. The lyrics are about the sense of alienation and huge pain of loss. 'Familiar faces and those places where I go... the sudden pain of losing all the things I know, I'm scared to dream...' On each track, there are enough time signatures to keep any metronome on its toes, and the instruments are played with virtuoso style as only Cusick can play. He is a very talented performer and at times I am reminded of the work of Neal Morse or Spock's Beard. The special effects of a telephone call and a constant ringing add to the ambience of 'Touch' - one of the highlights for certain. It begins with another isolated lonely piano using minor keys giving that empty, ethereal mood. A quiet track with very somber vocals about reflecting on what might have been. The phone calls remind me of 'The Wall' of course but they are used equally effectively here. The person calling keeps getting an answering machine so 'Nobody Home' you might say
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Fans of Porcupine Tree, listen up- this album has quite a few similar ingredients, and should please those who enjoy Lightbulb Sun or In Absentia. Although a decidedly average album, this has a few surprises in store, and can prove quite good as a progressive pop album. It is definitely worth checking out.

"Focal Point" Recognizable chords (from a certain classical piece) begin the first track, but the stay is brief. I like the subtle Mellotron in the background, and the crunchy guitar tone is a good tone. Although short, it's a good little introduction to give an idea of what Paul Cusick can do.

"Everblue" Harrowing synthesizer and smooth vocals make up this dark track. Overall, and especially during the guitar solo, the music sounds like modern King Crimson.

"Fade Away" A light piano and some strings give a lengthy introduction before the song proper begins. This piece does sound like Pink Floyd a fair bit, like a Roger Waters-led track right off The Wall.

"Soul Words" This more upbeat track is a lot like heavy Porcupine Tree, especially due to the sound and the vocal harmonies.

"Scared To Dream" However, this one sounds more like softer Porcupine Tree, led by a gentle piano and a very good vocal melody and performance. It doesn't stay low-key the whole time though, and takes a heavier approach during the second half.

"Touch" A sparse piano with cavern-like reverb begins this one. The verses are grim and almost whispered. It's quite an interesting track with some really great bass work and drumming. The female operator throughout the track is also a nice "touch."

"Senza Tempo" This is a lovely instrumental interlude, full of Mellotron and electric guitar.

"Big Cars" The gritty guitars and electronic noises are not to my taste, but make for a pretty good rock song once things get cranked up. If anything, it's another Porcupine Tree close cousin.

"Hold On" Not to be confused with the Yes song of the same name, this actually could be, since I feel this piece was written for Rabin-era Yes- it's that good!

"Hello" Unfortunately, I find the final track to be weak, laced with soft piano and dreary vocals. I really think the previous track should have finished the album up- this should have been placed elsewhere or left off altogether. Given my apathy toward it, the latter seems the better choice.
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