Not Otherwise Specified

Having set the bar ridiculously high with their debut offering Judgement, Atlanta Progressives Not Otherwise Specified return with album number two Projective Instruments. In truth when I say "their" debut, what I actually mean is "his", with NOS being a one man project masterminded by multi-instrumentalist Craig Kerley, who not only plays all of the instruments in this "band", but sings and produces too. All of which he does to a sickeningly high standard.

Having a debut which garnered many admiring reviews and comments (my own included) is a double edged sword, for not only does it mean that hopefully more people will be keen to sample album number two, but also expectations levels will suddenly be very high. If it worried Kerley, it sure as heck doesn't show, for with Projective Instruments he has equalled the scope, majesty and impressive nature of Judgement, and possibly he's surpassed it. Using an, "if it ain't broke" approach, what's on offer here follows a similar path, with a keen mix of traditional Prog values colliding headlong into a bright Neo sheen and Prog Metal excursions. None of it sounds contrived, none of it comes across as force-fused. Instead Hammond backing lays the foundation for more adventurous keyboard capers and fret flurries – all of which come together in the most natural, if at times hugely energetic fashion. Kerley's guitar playing is captivating, crashing with energy one moment, reserved and constrained the next, while his vocals veer from full throated wails to banks of melodies and harmonies. In truth, if your music collection contains anything from Floyd and early Crimson to Arena, The Tangent or Pallas, right across to Dream Theater or Vanden Plas, then I have no doubt Not Otherwise Specified are an outfit who you will gleefully find room and time for.
Projective Instruments opens ambitiously, a lone vocal setting the scene, before layers of voice are slowly added to create a glorious acappella beginning. To initially present in this manner an album which as it progresses builds complex passages into instantly engaging movements, while allowing an inner depth to reveal more joys across repeated listens, is brave, foolish almost. That it works beautifully for over four minutes, immediately illustrates the care and attention Kerley has crafted each of the songs here with.
Centre piece of PI comes in the shape of the five part "Racing Shadows", a song that builds and builds while ebbing and flowing through numerous themes and ideas. Keyboards set the scene, guitars add body and scope, before vocals push and shove for supremacy. In the end the winner is the song itself with motifs and themes revisited in different styles and approaches, leaving an amazingly cohesive feel to a 23 minute plus song, that is not a moment too long, or second too indulgent.
Impressively this epic doesn't overshadow its shorter album mates, with the atmospheric soothe of "Caveat" offering a clever respite from complexity and exuberance, while "Hold On" goes for the Prog Metal jugular, finding its intended target with frightening precision. "Failing" maintains the intensity, double kick drums laying a foundation for a bulging keyboard-guitar face-off (which bizarrely both end up winning) while "Signal To Noise" is a chiming melodious instrumental piece which meanders into your mind and refuses to leave. Add to that the cleansing, refreshing "Sorbet", where a 70s keyboard swirl reminds of "Focus" by Hocus Pocus, before an almost shouted, yet still melodic vocal adds an edgy slap, and the aforementioned vocal only "Harvest Soul" and Projective Instruments is an album which covers a multitude of Progressive bases, doing each and every one of them full justice. Kerley's production sparkles, but then with a mix and master provided by Jerry Guidroz (Neal Morse) was there ever going to be any doubt on how good this would sound?
Unlike so many Prog Rock/Metal crossovers, what Not Otherwise Specified serve up is neither an exercise in box ticking, or unfocused compromise. Instead Projective Instruments is remarkably focused, intensely engaging, instantly memorable and ultimately, hugely impressive. How many albums, from start to finish, can you honestly say that about?

Track Listing
1. Harvest Soul
2. Hold On
3. Failing
4. Sorbet
5. Racing Shadows
i. The Starting Line
ii. Pitfalls
iii. I'm the Man
iv. Fine Dead Song
v. Again
6. Caveat
7. Signal To Noise
Added: February 15th 2014
Reviewer: Steven Reid
Score:
Related Link: Not Otherwise Specified Online
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Language: english - Sea of Tranquility

Not Otherwise Specified has come to be known as a modern blend between ‘80’s progressive rock and heavy metal ingeniously put together by the multi-instrumentalist Craig Kerley. Following the debut album, “Judgment”, Not Otherwise Specified’s endeavors are reunited once more under the mask of a new album deceivingly entitled “Projective Instruments”.

The album offers the listener a bit out of everything during its seven songs, one longer than the other. Right from the opening track, “Harvest Soul”, an 80’s progressive rock intro with versatile and eerie keyboards that reminds us of Genesis and King Crimson and fast atypical rhythm changes manages to hit all those famous progressive passages between soft and heavy. The song, though it may lack some dynamism at some point, isn’t at all restricted by the rules of the genre. Groovy vocals lead the way to an epic outro where instrumentals take the center of the stage and provide great contrasts between progressive harmonies and dreamy blues solos. The following tracks, “Hold on” and “Falling”, escalate from the classic progressive arpeggios and catchy vocals to Dream Theater-ish riffs and crushing tapping and takes a step back into the past with the aid of the flute’s soft tone. “Sorbert” has a classical pace to it and it best showcases Kerley’s musical background in this entire instrumental piece. “Racing Shadows” manages to reach new levels of technical complexity while the songwriting follows the same brilliant patterns that Genesis used in their earlier songs. Though the voice is the one that really stands out mostly because it has a different range than what you usually hear in progressive, giving the record an interesting groove, this song also progresses towards its end to a theatric and atmospheric driven musical piece through a rollercoaster of repeated tapping meant to put an emphasis on the dramatic solos that intertwine the classic acoustic guitar work with the electric multifaceted madness.

Well, “Caveat” is a special track. It deprives the listener of the progressive contrasting instrumentals and it makes room for gospel vocals. This a capella intermission fits right into the record, allowing the listener to let the rest of the album sink in.

The closing track, “Signal to noise”, is one of the heavier songs off the record and ends the listener’s eerie ride with a cascade of angry riffs following few normal musical conventions whilst building a bridge between the 80’s and the present.

“Projective Instruments” throws the listener into a whirlwind of diverse instrumentals and atypical time signatures. Bottom line, this is what progressive is all about.

Favorite songs: “Falling”, “Racing Shadows”.

Tracklist:

1. Harvest Soul
2. Hold On
3. Failing
4. Sorbet
5. Racing Shadows
i. The Starting Line
ii. Pitfalls
iii. I’m the Man
iv. Fine Dead Song
v. Again
6. Caveat
7. Signal To Noise

Line-up:

* Craig Kerley – all instruments, vocals

Links:

https://nototherwisespecified.bandcamp.com

https://www.facebook.com/nototherwisespecified - Prog-Sphere

Although this is the second release from Not Otherwise Specified, going by the title of Projective Instruments, I must admit that this “band” had escaped detection under my musical radar. The “band” in question is a bit of a misnomer, in that Not Otherwise Specified is a one man, multi-instrumentalist Craig Kerley, and his debut release, which was well received, was the album, Judgment.

Apart from playing all the instruments on the album, Craig sings, and produced the album as well, although he does allow Jerry Guidroz (Neal Morse) to mix and master Projective Instruments.

Music wise, Craig does not meander much from the debut, which I’ve now listened to, but that does not mean this is in any way a retreading of paths already followed. Think Pink Floyd, early King Crimson evolving into Arena/Pallas and then venturing into the domain of Dream Theater and in that mélange somewhere you would find Not Otherwise Specified.

Projective Instruments is a 7 track album with a total playing time of around 63 minutes, with track 4, “Sorbet” at 2:38 minutes, the shortest on offer and then the epic “Racing Shadows” at 23:32 minutes, the longest piece on the album and is a 5 piece suite.

The album starter, “Harvest Soul” (9:46) is a storming piece of work. A genuinely heavy piece of metal, but thankfully lacking the “growled” vocals, which blasts off immediately and then continues to fire on all cylinders, with some very melodic, almost gentle, passages. This is a terrific entry to the album Projective Instruments, which wants you to keep listening to what follows with interest.

“Hold On” (4:04) is again a track which demands attention with superb guitar, amazing synths and a powerful voice and also varies from areas of light and dark. The third track, “Falling” (11:20) fires up with some amazing bass, and is then joined with more guitar and keys. The main component of the tracks thus far, is to move easily from an all-out aural assault, to being gently subdued and this mixture of contrasts is excellent.

The short “Sorbet” (2:38) follows and is a gentle, haunting, acoustic track with superb acoustic guitar and ethereal/plaintive orchestral strings in the background built around a terrific melody line. From the shortest to the longest, “Racing Shadows” (23:32) , which can be split into 5 sections, “The Starting Line,”“Pitfalls,” I’m The Man”, “Fine Dead Song” and “Again.” A piano lead intro with excellent powerful vocals is soon joined by drums, bass and a wind instrument (possibly synth generated?) setting up a track that slowly builds. This is a real tour-de-force of a track with constant ebbing and flowing through many themes and ideas. From the simple, uncluttered areas, it can suddenly soar into a high energy workout. The playing time of this track is suitably disguised by the swings in the music that occur and the 23+ minutes appear to pass much quicker.

A very different track follows this epic with “Caveat” (3:56), which is an a cappella track starting with a solo voice and builds by adding others at different times and then stripping them away again. This is an unusual track that seems to work, but do not ask me why?

The final track, “Signal To Noise” (8:10) has a mixture of radio voices/clips vying to be heard before a plaintive piano theme starts up and an emotive vocal builds, to be replaced shortly by strings and a plucked acoustic guitar, before the vocal reappears. Around the 3 minute mark, there is a fair amount of jagged guitar riffs over some feedback with the vocals drifting down into the mix. Chiming guitars build from around the 5 minute point, leaving the voice “screaming” somewhere, away in the background. The track then shifts completely with another passage of keyboards/strings, before the jagged guitar riffs re-enter the scene and the track is on its way out, having bludgeoned itself, in a strangely painless manner, into your brain.

Projective Instruments is a rollercoaster of an album, in that it can produce moments of sheer poetic music gentleness and just as suddenly sweep everything aside as it “wakens the beast” of pure metal. Not an album for the fainthearted, or those with delicate hearing, but an immensely satisfying listen for all of its 63 minutes. I think that you should clear a space on the shelf for this one.

4.5/5 Stars

Tracks:
Harvest Soul
Hold On
Falling
Sorbert
Racing Shadows
Caveat
Signal To Noise

Key Tracks: Harvest Soul: Racing Shadows: Caveat

Jim “The Ancient One” Lawson-Sr. Reviewer Prog Rock Music Talk

May 6, 2014

Review Provided By Prog Rock Music Talk - Prog Rock Music Talk

Here we have another amazing, multi-instrumentalist "bedroom musician" who has nearly single-handedly put together a progressive album that certainly rocks. A cocktail of hard rock and heavy metal that certainly strains the old speaker cones!

The man in question is American Craig Kerley who has followed up his 2011 Judgement album with a new effort entitled Projective Instruments. Inspired by the likes of Dream Theater, Genesis/Hackett and Spock's Beard, Not Otherwise Specified delivers a style of progressive rock that is hard-hitting with a modern, aggressive edge.

If you are into bands like Dream Theater, then this album is for you. Overall the music has a hard, energetic edge with blistering guitar and keyboard solos, thoughtful and delicate passages and melodic vocals. The opening track, Harvest Soul, sets the scene with heavy guitar riffs, thumping drums and driving keyboards. When Craig's voice enters, you would not be wrong in comparing it to Dream Theater's James LaBrie, as he can certainly belt out the lyrics with gusto and confidence. This is a very strong song that shows Craig's capability as a musician.

Another strong track is Falling, with a great, driving bass at the start, followed by heavy guitar riffs over a Hammond organ sound. The vocal delivery can be aggressive in places, adding to the song's overall punch. Things do slow down in places, with great melodic guitar solos that emerge beautifully from all the previous hurly-burly, before a blistering synth solo jumps out at you. Great stuff.

A short and quiet Hackett (both Steve and John)-style piece, Sorbet, gives the listener a chance to catch their breath. There is some lovely, acoustic, arpeggio guitar-playing, accompanied by a beautiful flute sound and ethereal strings. I would have loved more of this on the album.

The longest track, Racing Shadows, is the tour de force on this album. This 24-minute song packs an assorted bag of moods, styles and colours. From the piano and vocal beginning, it moves to a more up-beat tempo with riffs, keyboard and guitar arpeggios that give way to some melodic guitar solos. Further on, we get some great keyboard work, twin guitar solos, synth solos and strong vocals that turn this track into one epic piece. It concludes with a brilliant Spock's Beard anthemic ending.

All the influences cited at the start of this review can be heard in this track and it is definitely worth checking out. Some of the guitar solos are excellent and ten out of ten for effort on such a mammoth scale.

The last two tracks are a bit bewildering. Caveat, to me anyway, isn't really suited to the album, given what has come before. The song is a very clever and enjoyable a-cappella that clearly demonstrates Craig Kerley's talents as a songsmith but it just seems out of place on this album. If there had been hints of this style in the previous songs then it might have worked better for me. I guess that's why it's called Caveat?

The last track is a cover version of Peter Gabriel's Signal to Noise which also seems a strange decision to include on an album that is full of original material. I'm a big fan of Peter Gabriel, and although Craig sticks close to the song structure, his arrangement doesn't work for me and only serves to highlight that Gabriel's version is an excellent song. Maybe Craig should have included this as bonus material along with Caveat or simply left both off.

This is a very good album indeed and definitely worth checking out. I take my hat off to Craig and his efforts to create this music. The production sheen is not quite as good as some other one-man-band efforts I've listened too, but it's not bad and I score this a very respectable 7.5. - Dutch Progressive Rock Pages

Not Otherwise Specified started as a one-man project back in December 2008, led by multi-instrumentalist Craig Kerley. During the period of six years, Kerley released two studio albums: “Judgement” (2011) and “Projective Instruments” (2014). Not so long ago, Not Otherwise Specified switched to a full band, with tendency of performing live. About this and more than that, we talked with Kerley.

Do you have a specific approach when you work on a song?

I like to think of my approach to songwriting as a disorganized trial and error method. It’s kind of an out of body experience where I sort out ideas that suck from the ones that I like. I generally start out by jamming on one instrument or another and then taking pieces of that jam to create some structure. Basically, I just keep messing around with the songs until they come together into something I enjoy listening to. Once that happens, the song feels finished to me.

How did the writing process for your second album “Projective Instruments” go?

The writing process for this album was pretty laborious. It took me about two years to complete. Generally, I tend to create a skeleton of the song and then listen to it over and over again while taking notes on what needs to be changed, removed, or emphasized. I then go back into the studio to make these changes and listen again, following the same process. With “Projective Instruments” I went through this loop many times before I felt the songs were at a place I was comfortable with. There comes a time, when you realize you could keep editing and revising the song forever. In the end you just have to let go and believe what you created is good enough.

Not Otherwise Specified - Projective InstrumentsWhat was the inspiration behind “Projective Instruments”? Are there any stories behind the choice of name?

The name of the album is based in both the process I use for creating it and my hopes for how it will be digested by those who listen to it. In the field of psychology, projection is the action of taking underlying traits, conflicts, and belief systems, which we are often unaware of on a conscious level, and placing them on an abstract stimulus, such as an inkblot. When this happens, we take these stimuli, which have no meaning in of themselves, and interpret them based on our own personal meanings. A projective instrument is at its most basic level an abstract stimulus, which allows us to project our own meaning onto it. That is my hope for this album. I would love for those who listen to it to find their own personal meanings to attribute to the songs.

Two songs on the album are over 10 minutes. What does writing a song with an extended structure allow in comparison to writing a song with standard length?

I believe that writing longer songs provides an opportunity to more fully develop lyrical and musical concepts and images. Standard length songs are great for conveying singular emotional messages of low complexity, like anger, happiness, fear, and sadness. Long songs, however, allow you to address more complex emotional concepts like ambivalence, uncertainty, nostalgia, and contentment. Additionally, longer songs allow you to convey the process of changing emotional reactions as a function of time and maturity. I feel strongly that there is a place for both formats in modern progressive rock.

“Projective Instruments” was mixed and mastered by Jerry Guidroz, who previously worked with the likes of Transatlantic, Neal Morse, and Flying Colors. In what measure did he contribute to the album’s final form?

Jerry was the first set of outside ears I had on the project. It was wonderful having such a talented individual giving me feedback on what he felt would work best in the sound.

Why did you choose to close the album with a cover of Peter Gabriel’s song “Signal to Noise”? Are there particular reasons behind the choice of this tune?

The primary reason for choosing it is that it has been one of my favorite Peter Gabriel songs for a long time. It has an incredibly understated power in its chord progressions and presentation. So I thought, “What would it sound like if the power wasn’t understated?”

Not Otherwise Specified
L-R: Keith Tuggle, Craig Kerley, Ben Daniels, Brian Arnold, Marty Gelhaar, Jeff Wheeler

Not Otherwise Specified fully transformed from being a one-man project to a band that’s supposed to hit the road. Have you already performed live? Who is in the band, and were any of the members previously involved in any other bands or projects?

Our first live performance is a band will be on Saturday, November 15 at Sweetwater Live in Duluth Georgia. We are very excited about this opportunity to play in front of a live audience, and look forward to many more opportunities in the future. The band itself is made up of six very talented musicians. Ben Daniels (guitar) and Keith Tuggle (bass) have worked together for several years writing very creative progressive rock. Jeff Wheeler (drums) is a big fan of progressive rock and has played in many original and cover bands in the Atlanta area. Brian Arnold (Guitar) is a student of 80s and 90s metal and rock’n roll, and has played in many bands over the years. Marty Gelhaar (keyboards) has had a long career of playing for and providing technical support to many of the top touring acts in the nation. He is a student of Prog and as had the opportunity to play keyboards live for bands such as Yes and Kansas.

You already started working on new songs with the new line-up. How did it go so far?

It’s great having other writers in the process. We are still at the ”rough draft” phase of writing the album, but have about an hour worth of material so far. I am getting many new perspectives from the band members. As a result, I believe this next album is likely to rise to a whole new level.

Do you have a clear vision with Not Otherwise Specified, in terms what do you want to achieve with the band?

More than anything else, I just want people to have the opportunity to hear our music. Our goal is to keep putting out the best progressive rock we can, and to have as many opportunities as possible to perform that music live for the people who appreciate it.

Check Not Otherwise Specified online at:

https://www.facebook.com/nototherwisespecified

https://nototherwisespecified.bandcamp.com - Progarchy