TOLLHEIT (USA) Piper’s Honey
My introduction to multi-instrumentalist and ostensibly even wunderkind Robert Doucette was earlier this year when I discovered the “Guilty Pleasures” album, an impressive insight into a talented musician who does all the music, lyrics, recording and mastering himself. Only 11 months later, he pushes out this outstanding symphonic prog opus that caught me completely by surprise, forcing my hand into taking a closer look and decide upon a review. Combining the modern tools at the disposal of musicians today and eschewing all the possible ego clashes that make band albums so excruciatingly uneven (from slop to genius and everything in between), the ability to being confident as the sole creator is certainly facilitated with available technology. Well, for the record, Tollheit is a German word that can mean madness as well as awesomeness, and Robert delivers both within a kaleidoscope of various talents, highly proficient in keyboards interplay on a wide variety of ivories with thrilling guitar lines when required, a stunning voice that came unexpected as it is helped by AI generation (somehow unavoidable in the near future, as auto-tune has been around for so long already), delirious saxophone abilities, and clever lyrics when called upon to elevate the arrangement. But most of all, Robert forges wonderfully orchestrated epic pieces that hold up well to intense scrutiny, never plodding needlessly and constantly aware of the dynamics needed to keep the flow relentless. Melodically, the level of quality is maintained throughout, obviously inspiration is not a dried-up oasis in the desert (he is from Arizona, after all).
The album has 2 mighty epics and two more compact pieces to offer the discriminating and adventurous listener. The emphatic “The Nectar of the Gods” ignites the nearly 17 minutes of the incandescent fuse, an immediate dive into cinematographic realms, closing one’s eyes and opening up the mind to new sonic adventures. Piano and organ duel as if engaged in a melodic race to some distant finish line, vocal and choir joining in the melee of ‘cosmic design’. The unhurried mellotron symphonics collide with temperamental piano motifs, as if looking back on time past, echoing the vital desire of melancholia in the urgent saxophone display (wow). Divine sweetness, indeed.
The shorter and yet finest track here “Follow the Piper” has a stamp of classic prog clearly embossed on one’s brain from the very first audition, with more of that brassy ‘saxuality’ that conquers all ills in an instant. Launching a funereal bass, a charring guitar rasp and a despondent piano will hypnotize me all day and mostly, all night, the core melody slowly emerging from the gothic mist, the supple sax feeding the guiding light, urgently indicating the challenging road ahead.
The scintillating “Sunset Reverie” flows for almost 22 minutes, laden with impetuous movements that delight, from bombastic and explosive musical fireworks to reflective and emotional passages that provide just the right amount of drama and passion. Learning the piano has paid dividends for the young Doucette, as he glides impeccably over the ivories at his disposal, the sophisticated vocals saturated in sadness, serene orchestrations washing the horizon with grace, a panoramic vista that exudes vastness and freedom. The emphatic lyrics highlight the fact that we are all victims of expectations (ours and petulantly, those of others), forging ahead somehow against many barricades and impediments, yearning for quiet rescue from all the madness (Tollheit). The throttling percussive onslaught serves as a manifesto for a massive rebel yell, defiance and courage until the last gasp. The ebb and flow are remarkable undertaken, constantly challenging, forever dreaming, and proficiently articulated. The boisterous sections are dazzling delights when divergent with the swooning symphonics, the harmonics obstinately preserved with overwrought vocal arches, ‘beyond the reach of stars. The magnificence of the sun setting on another day, promising both rest and a tomorrow.
After such a grandiloquent colossus ,“A Grandchild Roach“ yearns for a more composed impression, though the overall mellotron, synthesizer, piano and organ work are out of this world, as if a soothing symphonic ballad would be a preferred contrast to all the previous exaltation. That is why there is a feeling of predictability, just like this album eventually ending, right behind death and taxes. The overall impression is closer to Wind and Wuthering Genesis (a huge compliment, BTW), with some skilled keyboard soloing for good measure. The primary melodic theme is tidy and concise, a dash of poignancy, settling the score on a most pleasant note, with a sweeping fadeout.
An artist to follow, the future is bright.
4.5 darling shepherds