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The manner in which I first discovered Rachel Flowers is, I would imagine, similar to the way that many others learned of this remarkable artist. Videos on YouTube showcased her astounding ability on synthesizers and other keyboard instruments. I witnessed her playing some incredibly challenging pieces from the likes of Keith Emerson.<\/p>\n
What I didn\u2019t know then \u2013 and in fact have only just discovered \u2013 is that Flowers is a formidable composer in her own right, as well as master of many more instruments than I might have guessed. And if all that weren\u2019t enough to impress mightily, Flowers has a great voice, and superb command of that instrument as well.<\/p>\n
All of those assets are on brilliant display on Bigger on the Inside<\/i>, her fourth album (fifth if you count 2017\u2019s Hearing is <\/i>Believing<\/i>, the soundtrack to a documentary film made about Flowers). She has been blind since shortly after birth, but from a listener\u2019s perspective, that\u2019s only important insofar as it makes what Flowers achieves all the more noteworthy.<\/p>\n
And none of all that would matter much in the context of an album review were it not for the fact that Bigger on the Inside<\/i> is a fantastic record. Nine songs written by the artist (her mother Jeanie provides lyrics for one of those), it\u2019s a showcase for her incredible talents. The album opens with \u201cA B,\u201d a fully-developed instrumental that kicks off sounding a bit like Red<\/i>-era King Crimson, then shifting seamlessly into a sort of progressive jazz bag. The band is astounding \u2013 superb drums and bass and forceful guitar work, all backing up keyboardist Flowers.<\/p>\n
At least that was my initial though. Y\u2019see, Flowers plays all<\/i> the instruments on Bigger on the Inside<\/i>. And once the new listener is drawn in by the tour-de-force that is \u201cA B,\u201d they\u2019re treated to yet another surprise: after a dramatic church organ introduction, \u201cTake Me Away\u201d pulls back the curtain for a wide-screen orchestral passage. All goes quiet, and then Flowers starts to sing. She\u2019s possessed of a lovely, deeply expressive voice that simultaneously communicates power, fragility and a sense of wonder and awe.<\/p>\n
\u201cTake Me Away\u201d is the album\u2019s second-lengthiest track, but even at nearly twelve minutes, not a moment is wasted. Halfway through it turns into a pop tune, but please note that I\u2019m using the term pop here in a manner that fans of Steven Wilson\u2019s The Future Bites<\/i> would understand. Miley Cyrus this artist is not. And devotees of extended keyboard solos that display virtuosity and a strong sense of melody (in other words, Caravan fans) will delight in the track\u2019s extended organ workout.<\/p>\n
\u201cToo Much\u201d is gentle, crystalline piano ballad with some intriguing, understated percussion. Multiple vocal overdubs reveal that Rachel Flowers isn\u2019t simply a powerful lead singer; she\u2019s a superb background singer, too. And the instrumental work never lets down even the most demanding listener. \u201cToo Much\u201d sounds like a scintillating single.<\/p>\n
Flowers\u2019 pop sensibility is highlighted yet again on \u201cLove Today.\u201d A delightful lead guitar break is tantalizingly brief. \u201cThis is the Way I Am\u201d is the co-write with mom; the instrumental component of the song is a skittery, syncopated arrangement that might remind some listeners of Gentle Giant. Flowers explores her vocal range here, but in a way that serves the song and isn\u2019t the least bit showy or indulgent. Oh, and it features another tasty keyboard solo.<\/p>\n
While \u201cDarkness\u201d start out quietly and contemplatively, it develops into a moody prog rocker. Flowers\u2019 understanding of musical dynamics is a thing to behold; she has an innate sense of how to employ those dynamics in the context of a pop-grounded song.<\/p>\n
Another just-short-of-12-minutes track, \u201cFeel\u201d places melody first and foremost. An impressive variety of tones and textures characterizes the song, and a gentle, dreamy midsection gives way to a soaring extended instrumental break that find Flowers doubling her parts on guitar and keyboards. She may well be one of the best progressive rock groups<\/i> ever to exist.<\/p>\n
\u201cBeautiful Dream peels all of those instrument away, leaving a solo piano and a solitary voice. It\u2019s lovely and heart-rending, and somewhat uncommonly for the prog idiom, the lyrics are solid. And Bigger on the Inside closes with the delightful \u201cWith You,\u201d a tune that brings together all of the strengths that have cascaded upon the listener for the previous hour. The tune builds in intensity as it progresses.<\/p>\n
As emotion-filled musical thrill rides go, Bigger on the Inside<\/i> is hard to beat. And if you\u2019ve read this far, you will not be surprised to learn that Rachel Flowers\u2019 latest album is shortlisted for my Best of 2021, coming soon.<\/p>\n","protected":false},"excerpt":{"rendered":"
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