4th album from this fine artist that remind me of Xavier Phideaux. Flirting with Pink Floyd, Beatles, Moody Blues, Alan Parsons Project, Barclay James Harvest and Steve Hackett to mention some of the most obvious influences, Rick brings us a fine piece of beautiful symphonic rock that stays interresting and vital throug out the whole album. A fine piece of work indeed! HIGHLY RECOMMENDED

Rick Miller has been composing, producing, performing and recording since the early 1980s, gaining a great deal of production experience while working at Sound Design Studios in Toronto and later in his own studio in Lakefield, Ontario, all the while honing his skills as a singer and songwriter. Early this century, Miller turned his attention to progressive rock, the music he grew up listening to, and released four prog CDs between 2004-2009. Falling Through Rainbows (2009) is his latest; this is the new Unicorn Digital edition. Rick lists his influences succinctly as The Moody Blues, Pink Floyd, Steve Hackett, and Gabriel-era Genesis, but its the first two that dominate, such that Falling Through Rainbows can easily be described as a cross between The Moodies and Floyd. Miller sings and plays guitar and keyboards (lots of Mellotron), assisted by other musicians on flute, cello, guitar, violin, and drums. This is old-school melancholy, and those David Gilmour-style guitar leads are just what is needed to shift The Moody Blues out of the late 1960s into the 1970s progressive rock era.

Nouvelle bonne surprise en provenance du Canada ! Actif dans le monde la musique depuis les annees 80 mais concentre sur le progressif seulement depuis lan 2000, Rick Miller propose ici son quatrieme album solo, mais le premier sur sur le label Unicorn. Inconnu donc pour la plupart des melomanes progressifs, ce musicien possede la meme demarche artistique quun Phideaux par exemple, et avec le meme talent qui plus est. Plus influence par Pink Floyd peut-etre, Rick Miller offre un melting-pot dinfluences, parfaitement maitrisees bien sur, parmi lesquelles on reconnaitra les Moody Blues, Jethro Tull, BJH, les Beatles et meme Alan Parsons Project. Neuf compositions (de 4 a 8 minutes), superbement mises en son, sont ainsi au programme de ce Falling Through Rainbows qui devrait vraiment ravir les adeptes de Phideaux. Oeuvrant au chant (superbe voix !), aux guitares (Tres influence par David Gilmour !)et aux claviers (beaucoup de mellotron !), Rick Miller se voit entoure neanmoins de nombreux invites, a la batterie notamment, mais aussi au violon et a la flute. Rick Miller est donc un sacre songwriter, talent quil met au service de la cause progressive de tres belle maniere. Raffine et abouti...

Although Rick Miller is no stranger to the DPRP with five previous CD’s to his credit I can tell you very little about the man. His last release The End Of Days from 2006 was certainly well received and provides some interesting pointers of what to expect on this follow up. A tad misleading however is Miller’s futuristic cover painting based on the well-worn theme of a winding road to a precarious mountain top citadel (the only thing missing is an armour clad warrior riding some other worldly beast). The artwork is certainly a far cry from his pastoral landscape that graced the last release. On the musical front he handles the vocals, guitars and keyboards with additional guitar contributions from Barry Haggerty. ‘Drumatisms’ (as the sleeve notes would have it) are provided by the ambiguously named Will.

The song titles suggest an air of gloom which reflects the musical tone of the album, especially the first four tracks. As a result, to my ears at least they sound a little samey despite the crafted execution. Lords Of The Abyss sets the tone with a low-key ambient intro with atmospheric mellotron and guitar. Miller’s vocals have a deep, resonant quality with a measured delivery that at times takes on the tempo of a Gregorian chant. The songs melodramatic mood intensifies culminating with a blistering guitar solo. Eternal Moonlight follows the same pattern this time incorporating a tolling bell and ethereal female voices with the holy ambiance of a cathedral choir. In contrast Miller’s heavily processed voice is a throwback to the edgy sound of 21st Century Schizoid Man. And on the subject of King Crimson the lush mellotron backdrop during Angel Of My Soul is another reminder of their earlier years. The title song also includes a memorable song section with Miller all but spitting out the defiant words. During You Are Gone, the final song of this opening segment the guitar sound is more spacious reminiscent of Mark Knopfler’s picking style.

As we move into the second half of the album the mood changes, starting with For The Love Of You which is a song of two halves. To begin with it has a stately pace that echoes Pink Floyd’s Comfortably Numb before morphing into a biting rocker with distinct Nickelback overtones. My Nightmare lives up to its name with stark guitar and keys punctuations seasoned with a welcome dose of crisp drumming. It’s followed by the evocatively titled Footprints In The Snow which appropriately has the albums loveliest melody performed with polished harmonies worthy of The Moody Blues. Following the brooding intensity of some of the previous tracks, The Moon And The Stars sounds like a classy slice of pure pop and is no less enjoyable for that. In addition to the strong chorus it also boasts a silky smooth sax break which came as a surprise considering that no such instrument is credited. A deep breadth at the start of the final song suggests that a barrage of sound is about to be unleashed which fails to materialise. Instead Dark Is The Night is an acoustic ballad evocative of Crosby, Stills & Nash and even The Eagles providing a surprisingly mellow folky conclusion.

There is no doubt that this is a thoughtful and supremely constructed album that scores high marks on virtually every level. The singing, playing, writing, arrangements and production are all superb especially when you consider they’re mostly as a result of the labours of one man. The songs for me improve as the album progresses which is something of a rarity given that the reverse is often the case. The burning melancholy that pervades the album is probably best appreciated through headphones with a glass of your favourite tipple to hand. Having said that it also sounded good to me in the car so who said that driving music had to be the anthemic sing-along variety?

The End of Days is the latest release from Ontario-based Rick Miller, a musician with a diverse resume of past musical efforts, including TV scoring and new age releases in the 1980’s, one of which has sold in excess of 30,000 copies world wide. The material on The End of Days is richly symphonic progressive rock, with a slight electronic and modern edge. Points of comparison include Alan Parsons and Pink Floyd (from an electronic/production standpoint), as well as possibly the Moody Blues and Genesis (symphonics and tone).

Title track and album opener “The End Of Days” is a pulsing, nearly organic sounding piece of dark symphonic prog, with a chilling, mechanical arrangement over the living, beating rhythm. The lyrics tell of the end times, of regret and loss and confusion, and are spoken by a number of narrators, including a priest and one of the converted. While certainly spiritual in nature, neither the lyrics nor the delivery are proselytizing in any way.

“The Knives of Indifference” features a fantastic guitar solo over solemn organ and mellotron sounds. This is modern symphonic progressive at its best, bereft of any pretense, and pure in delivery. Considering the self-produced nature of this release, the production here is well worth noting, as instruments have their own defined space in the mix. The arrangements are densely packed, yet the overall result is a sound that is rich and full, rather than muddy and poorly defined.

“The Prisoner” carries on the lyrical themes present in “The End of Days,” while “The Prisoner’s Escape” works as a sort of second part, although there are no musical interconnections between the two parts. The songs maintain the darkly rich arrangements that push this release above a majority of the symphonic progressive music being created today. Miller’s vocal delivery, while restrained, maintains intensity throughout, and his addition of sitar and Eastern modalities in “The Prisoner’s Escape” are inspired and add an extra layer of interest to the composition.

“I Can Hear The Sunrise” is a very camel-inspired track, with weeping electric guitar easily evoking comparisons to Andy Latimer. The arrangements are lush, with string synths and mellotron dominating. After the emotional opening fanfare, the song pulls back to flute over a quiet, gentle synth pad, continuing the comparisons to Camel. Latin percussion and simple, elegant acoustic guitar completes the mix, while lyrically the song brings things full circle. The album opened with darkness and despair, and as it closes, a new beginning is seen, musically and lyrically. Despite the inclusion of a brief, country-esque epilogue in “Face Into the Wind,” “I Can Hear The Sunrise” is truly the album closer, and is an impressive track.

2006 has been a surprising year for new symphonic progressive bands. In an earlier review I mentioned how impressed I was with the debut release from another symphonic progressive band, Deluge Grander. Rick Miller’s The End Of Days is another pleasant surprise, and should be eagerly sought out by fans of traditional progressive rock.

Rick Miller takes us on a journey to the end of days. The gloomy title neatly covers the overall atmosphere of this album. This is not the kind of music to play quietly in the background while doing your things because it won’t exactly lift your spirits. It kind of loses impact in this way. But if you listen to it carefully with the headphones the album shows an undeniable splendour. Even though in the beginning the songs might sound monotone and sometimes even dull they start growing on you after a while and expose their strengths.

A looming atmosphere is found in the lyrics as well as in the way Rick Miller’s vocals delivers them. Sometimes his singing reminds me of the Ayreon song My House On Mars from the album Universal Migrator: The Dream Sequencer. I hear a dark undertone in a couple of tunes on this disc that is somewhat similar to Tiamat’s Johan Edlund in above mentioned song.

I think the dull side of this album lies in the way the songs have a slow pace with an often stringent rhythm. Like for example in both The End Of Days and The Prisoner this tempo is almost identical and a bit annoying even. The beauty of the album though is found in the way the songs are thoughtfully constructed with a keen eye for detail and smart use of diverse instruments.

Perfect example of this is the beginning of The Knives Of Indifference where an acoustic intro is followed by a neat bass groove accompanied by an angelic female voice. When the flute enters together with the acoustic guitar an idyllic atmosphere is created. And this great track has the electric guitar crying out a delicious melody. The female voice with the bass line returns again just before the guitar wraps up the song playing the same theme all over again. It gives this song a smart variety.

Soma Of Your Soul has the same atmosphere with acoustic guitar and flute. The saxophone parts are splendid. Especially when the saxophone solo is followed up by an electric guitar solo Rick Miller is showing his talent for creating captivating music.

But The Prisoner is boring with an annoying melody that pretty much makes up the whole song even though there is some nice piano here. Then I rather hear The Prisoner’s Escape. This track has an enthralling Eastern melody throughout the song that will have a dancing snake out of the basket in no time! The most progressive piece of the album is surely instrumental Eating Goya with some admirable electric guitar again and modern sounding keyboards. The lyrically more optimistic I Can Hear The Sunrise has me enthusiastic as well with the flute and first-rate acoustic string work competing for the emotive impact of the song.

Rick Miller is pretty much responsible for everything on this independent release but his website mentioned Sara Young on flute and Kristina Vowels for the female vocals. The album comes with a neat cover with a tranquil image painted by… Rick Miller!

Soooooo Much for Your Soul: a review of
The End of Days by Rick Miller

Let me state first and foremost that I have a bias in favor of Rick Miller’s music. Mind you, I have never met, collaborated with, or even spoken with the man himself. Our only correspondence has been the odd email exchange. And even this has been only a rare occurrence, punctuated by weeks or even many months of silence. However, Rick has made not just one or two, but three CDs worth of material that I wish had come from my own mind. In short, he is making the kind of music I aspire to.

His latest offering is the somewhat dark and foreboding The End Of Days. On this particular outing, Mr. Miller has moved altogether away from the sweetness and light which was displayed in tracks like I’m Alive from The One. Even though that track had its dark side as well. Now all veneer has been stripped away. Actually, one item I found that I missed was the excellent female vocals on previous efforts. And just when I though they were completely absent, they appear out of the blue.

But for the most part Rick’s own voice propels us through the gamut of offerings here. Hearing him sing is not so surprising as he has vocalized on previous outings. This time however he has managed to grasp the feeling of desperation that flows throughout the CD. The CD opens with the title track. And I am compelled to say that Rick’s voice makes me think of what Neil Tennant of Pet Shop Boys fame would have sounded like. Had he been less interested in West End girls, or boys for that matter, and more interested in the creepy house on the hill!

The End Of Days holds the listener in a primal dirge punctuated by ethereal guitar solos and disembodied strings. Which sound as if they are playing in a valley a million miles away. Rick’s pronouncements accentuate the breaks like a new age town crier. Then swells of industrial synth waves reinforce the sense of foreboding until the track concludes. Although it sounds as if this track merely moves away from the listener rather than ends.

The Knives Of Indifference. Ah yes! Here are the lovely female vocals of old. Shimmering flutes and crystalline swells can not cover the underlying despair of the track. Which soon reverts back to the flavor of the overall CD. I do wish I had written that bass line. Accusatory tones and descriptions are the fare once the track hits its stride. This track is like running through an abandoned house by the sea at midnight. Anticipating the next room, next turn, and next stairway. And at last making your escape while maniacal laughter follows you out. Or is it all in the mind? Top track!

The Prisoner begins with what can only be described as a skulking riff. As if the footsteps of the criminal in question have been set to music. An Arabic feel leads us into visions of Saracens chasing an escapee across the desert on a moonlit night. The prisoner seems to be crying out. Realizing the futility of the chase. And resigns himself to damnation.

Soma For Your Soul starts with a start. That sense of when you are in the miasma of almost being asleep. Only to wake suddenly. As the veil is lifted and you regain your composure. The flutes and acoustic guitars give way to sultry saxophones and phantom voices. It’s as if you are watching it all from a distance. As if you could be part of the surroundings, but have elected to remain shadowed as you watch the entire scene change. A mental and spiritual intoxication.

The Prisoner’s Escape conjures up more Middle Eastern and Indian imagery. Only this time the prisoner is quite clearly running for his life. Condemned and with nothing to lose, his escape is a double-edged sword. As he knows that he is doomed to repeat his crime. We leave the prisoner in stasis. Never quite resolving his fate.

Echoes Of You. The obvious loss and yearning of our narrator is apparent. Is this missing person a victim of the Prisoner? Maybe he is crying out for one who he has murdered? Is it the subject of the title track? Perhaps one of the phantom voices from Soma? Or maybe this one is too personal for an outsider like me to wonder about. I do apologize if so. A great track for the curious.

Eating Goya. Well, I hope that I am correct in stating that this piece was inspired by Francisco José de Goya y Lucientes the Spanish painter. As there are multiple elements here which bring his work to mind. The intro evokes the Spanish countryside. If you have ever been there, you will understand. Then, violence takes hold as in his painting of the execution of the Madrid defenders. Or his many images of bullfights. Lush mellotron choirs bring to mind the clothed and nude Majas, The Parasol, and The Greasy Pole. And he did enjoy painting himself a bit! This is a song written after a museum visit.

I Can Hear The Sunrise begins to bring a more hopeful note to the CD. And the resolution to all the darkness is near. The sentiment here is to let go of the past. And accept what has happened. As we all must do at some point in our lives. And begin not with a clean slate. But perhaps one that is rough around the edges. But still functional despite its flaws. The desperation of a soul who wants to carry on.

Face Into The Wind. Salvation, acceptance, and closure. Our faithful narrator is free.

I found so very much to enjoy on this CD. While I have admired Rick’s work since I stumbled upon it on the Internet one evening. This may very well be his best to date. It is hard to say, as he has covered many areas. From the lovely I’m Alive to the Steve Hackett tribute Return Of The Acolyte to the atmospheric Limberlost. He never ceases to release fine music. And The End Of Days is an outstanding addition to any collection. Simply put? GET IT!

Progressive rock meets new age! Perhaps this is the best way to describe this fascinating piece of work. This album is plenty of influences: Pink Floyd and Rick Wakeman, but also Vangelis and Terry Oldfield (Mike’s brother indeed) and the strange atmosphere that was created in the Twin Peaks soundtrack.

Rick Miller is a composer and producer of new age music and releases his work independently. With Dreamtiger he will be able to cross the borders of the genre and tempt progressive rock lovers to listen to his music. Normally, new age music is very atmospheric, often dreamy and without real climaxes. This album combines these elements with real progressive rock ingredients. The drums are much heavier than usual in the new age genre and have a rock character, although I’m quite sure that an acoustic drum hasn’t been used and that’s a shame. There are quite some guitar solos on this album and they are quite enjoyable too.

Vocals are less important and when present they rather have the function of an extra instrument. In Dreamtigers there are some lovely female vocals, reminding of Imogen or Julie Cruise, but alas there’s no information to be found about the singer. The combination of these voices though, with flute and guitars is magnificent.

Die hard progressive rock fans will find this music too soft. The production could have been more powerful indeed, but as a mix of new age and progressive rock I find this album very valuable.

The first audition of the music of the multi-instrumentalist, Canadian Rick Miller which is already his fourth CD. I do not know any of his previous CDs and there is little information concerning the CD, Dreamtigers. There is a voice which is feminine and fairylike and a real battery is used although the music is more or less instrumental. I know that Rick plays in a group which is of the Progressive Rock genre and I will try to get more information on that point and also concerning the preceding CDs which are presumably New Age works of art.

If it is true as is stated in the review by Prog Nose that the music of Miller is a mixture of New Age and Progressive Rock, I believe that more Progressive Rock is present even though “Gods of a Distant Land” may be clearly a piece of New Age, whereas “The Call” is more rock and blues.   It is an album concept that has an epic feeling which is evident and that may confuse the Prog Nose reviewer. I think that only the famous fairy like voice resembles New Age music in my opinion. With “Spanish Fly” this is even more evident.    Thus, here one can forget electronic music and the New Age as the principal element in my opinion.   It is also true that the music is very atmospheric and soft but, in my opinion, does not resemble Pink Floyd, with the exception of “The Call”.   On the other hand there are many elements which are like Genesis, or more specifically Steve Hackett with the guitar such as in “March of the Demons”, but also the different sounds of the Mellotron (Ghost of a Common Man), B3, the voices of crying children in “Dreamtigers” and “Ghost of a Common Man”.   An excellent concept , a good Progressive Rock epic, very soft, this is what this CD is all about.

Première écoute de la musique du multi-instrumentiste Canadien Rick MILLER qui est déjà a son 4 ième Cds. Je ne connais aucun des précédent Cds et il y a peu d'information sur le Cd de 'Dreamtigers'. Il y une voie féminine et féerique et une vrai batterie est utilisé, quoique cette musique sois plutôt instrumentale. Je sais que Rick joue avec un groupe dans le genre rock-progressif et je vais tenter d'avoir plus d'information sur cela et les précédent Cds supposément des travaux New-age.

S'il est vrai d'après la revue de Prog Nose que la musique de Miller est un mélange entre le New-Age et le rock-progressif. Je crois que le rock-progressif est ici beaucoup plus présent quoique 'Gods of a Distant Land' sois carrément une pièce New-age / Ambient et 'The Call' qui est plutôt rock, bluesé. C'est un album concept, alors il y a un 'feeling' plutôt épique et évidant, celui-là même que dois confondre le Prognoséein je pense, la fameuse voie féerique seulement ressemble à la musique New-Age a mon avis et encore. Avec 'Spanish Fly' cela est plus qu'évidant. Alors on peut oublier ici la musique électronique et le new-age comme principal élément a mon avis. C'est vrai aussi que la musique ici est très atmosphérique, douce mais elle ressemble peu a mon avis à PINK FLOYD, à l'exception de 'The Call'. Par contre il y a beaucoup d'éléments comme GENESIS, plus spécifiquement de Steve Hackett avec la guitare comme dans 'March of the Demons', mais aussi différent son de Mellotron (Ghosts of a Common Man), B3, voies d'enfants qui crient dans 'Dreamtigers' et 'Ghost of a Common Man'. Un excellent 'concept', un bon rock-progressif épique, et très doux, voilà ce qu'est ce Cd.

"I think Rick Miller’s Starsong is nothing less than brilliant. It is one of the most effective sounds I know of. I use it in my classes to assist me to guide people into deep states of relaxation"

“Excellent very spacey music, long strung out flowing chords. There ought to be more of this wonderful music but I really haven't anything else similar in my collection, although it sounds a little like the touching pieces of Suzanne Doucet, Klaus Schulze, and Tangerine Dream.”