Facing The Illusory Light
Release Date: January 12, 2018
By -Dave Wolff of Autoeroticasphyxium zine
Facing The Illusory Light is the third release I’m covering by Jaime Regadas, following his EP The Old Room and single Sigismunda Mourns (The Desolate Heart). It’s been a few months since his previous single and Facing The Illusory Light is showing improvement on his part, as far as representing where his music is headed. In some ways the formula is similar but this single is four or so minutes longer than the last, which makes more room for experimenting with new ways to convey older ideas. A concealed and contemplative air surrounds the instrumentation, enhanced by the vocals, with more scrutiny paid to Sigismunda Mourns’s classic rock elements. I most appreciate his avoidance of trendy commercial appeal in favor of music reflecting prog-rock musicians who wrote shorter, more radio friendly material without losing sight of their work from the early 70s. There were a few of these bands from 1980 to 1986; while it never caught on many of them composed better songs than many of their mainstream counterparts (Asia and GTR come to mind). I noticed the Rush and Yes influences are arranged with those commercial aspects more tightly and flows more steadily. Emphasis on tempo changes adds dimension and is helping to shape the musicianship into something anomalously stratified and multi-layered. The guitar solos, reminiscent of 80s metal, shine through this tapestry with far more brightness. The single’s release is accompanied by the lyrics, including them gives the song more weight. You not only get a lyrical interpretation of this piece but a broader picture mingling images of lost love with images of pure fantasy. The latter images are as theatrical as the song’s construction from commercial 80s music, classic rock and traditional heavy metal. And there is even some narrative added, with faceless characters facing the end of a tumultuous relationship. Facing The Illusory Light has interested me in hearing future efforts from Regadas.
This review can also be read at AEAzine