Dreamer of the Dawn" (4:03) a song that sounds a bit like GUNS 'N' ROSES with some RUSH basics, but as Cody's vocals and drumming go on I'm feeling that we're experiencing a new, though retro-oriented, sound. The vibe of the 70s is strong within ‘Dreamer Of The Dawn’, a track that rips along at a lovely pace, led by the drumming of Bowles, accompanied by waves of synths, spritely guitar playing, and a killer chorus that gets immediately lodged in your head.

Well as a Rush , Zeppelin fan it would be hard not to start thinking this should be good - and like I say it wears it's influences front and centre. Such is their skill, however, that Bowles and Comeau manage to beguile me in an equally strong way, and I’m drawn utterly into the slower, more introspective soundscape that they create, especially as the intensity builds throughout to deliver a rousing, spinetingling finale to the album. Reflections" (5:43) a bit of a stylistic departure from the Rush scene on this one--at least, insofar as the vocals and verses; the choruses are all Rush. II,” an 18 minute space opera that tells the tale as old as time – the battle between good and evil. The bass work as the song develops is superb, throbbing with intensity, whilst the delicate guitar touches accent the brighter, bolder chords delightfully, bathing the complex track with an immediacy and warmth that is often out of reach for lesser acts.

The duo of Kevin Comeau (bass, guitars, keys/synths) and Cody Bowles (drummer and singer), joined forces with one of rock’s greatest producers, David Bottrill, to record this album.

The Shadow" (3:44) a song that effortlessly conjures up ancient masters of the classic Hard Rock/Heavy Metal genre including KISS, TRIUMPH, DEF LEPPARD, and, of course, THE SCORPIONS' "Rock You Like a Hurricane. It doesn’t miss a beat from beginning to end, winding its way effortlessly through a vibrant, colourful, and engaging soundscape that twists and turns with the kind of fluidity that you wish all ‘epics’ of this length could muster. As the vocals start, you are now fully enveloped into this science fiction story of a fantastical indigenous futurism concept. While playing guitar alone and upfront, Kevin is willing to trust us enough to bring us through his journey of enchanting vulnerability. Right Way Back" (3:51) Cody's heavily-effected voice in the verses makes this obvious RUSH song different--more LED ZEPPELIN/ROBERT PLANT-like--but then his laid back approach in the chorus sections makes me think so much of the seemingly-effortless genius and maturity of a young PETRI WALLI of 1990s Finnish psychedelic rockers, Kingston Wall, as well as, somehow, PRINCE.

There is the Fearless concept story told over several songs, time changes galore, virtuoso playing, this is prog for the modern day warrior.

At the 2:30 mark, Kevin comes in with a screaming guitar solo, with beautiful harmonized parts that make you think of Brian May’s extremely catchy and cohesive melody lines that are undoubtedly singable.Through the combination of Crown Lands’ writing and passion and David Bottrill’s immense production, we are presented with a monster progressive rock record. Despite the band's acknowledgement of having grown up feeding off of 15-second sound bites, they have done quite an admirable job of holding onto the motifs of their 18-minute suite for more suitable lengths--which is much more in line with what we Baby Boomers are used to and looking for.

Please consider supporting us by giving monthly PayPal donations and help keep PA fast-loading and ad-free forever. Every drum hit, every chord, every tinkling keyboard note, and every bass string pluck can be heard and enjoyed.II" (18:00) Rush 2112, sprinkled with a little Triumph, Thin Lizzy, Nazareth, Ozzie, and even Carlos Nakai. Lady of the Lake" (5:06) more acoustic guitar but this one you know is leading up to a full-on rock anthem. There is no point in this song that you will stop tapping your foot, nodding your head, or singing along to Bowles’ extremely catchy melodies. On their 2020 self-titled debut album, Crown Lands resembled a raw blues-rock power duo harbouring latent prog- ock affinities, vacillating between dirty boogie grinds and pastoral reveries.