Blue Fog Experiment is the brainchild of Don Bray, former member and lead guitarist for some of the Midwest's most original and introspective bands in the late ’80s and ’90s - Broken Shadows and Tsabaka. Bray embarked on a solo recording career soon after leaving Tsabaka and in 2001 released his first CD project, The Messenger. The CD offered listeners a glimpse into the artist’s unique writing, playing and singing style. In 2008, Bray reimagined his band and began experimenting with more techniques and styles - hence he changed the name of the band from Blue Fog to Blue Fog Experiment. Perfectly comfortable in the studio, Bray continues to write and record playing all the instruments himself. Bray’s latest release, Memories in Neon, was recorded in his home studio in Waterford, Wisconsin. The songs feature lush guitars, melodic bass lines and intertwining vocals and harmonies. The twelve-song album undulates between ‘60s British invasion, ‘70s rock anthems, ‘80s alternative and ‘90s post-grunge pop. Bray’s vocals and harmonies are heavily influenced by The Beatles. Likewise, his learning and playing guitar during the ‘70s and ‘80s comes from that era, while later playing in various bands that ranged from classic rock to alternative, to metal and grunge and pop rock. The artist’s work is influenced by bands such as R.E.M., Gin Blossoms, Stone Temple Pilots, Chicago, The Who and guitar virtuosos like Joe Satriani and Jeff Beck.
The opening song, “Didn’t Know it was You” was influenced by Survivor. You’ll hear catchy pop rock guitar melodies that are reminiscent of the ‘80s. This one kind of reminds me of Rick Springfield, too. On the second tune “Second in Line” Bray states that it sounds like something you might hear on a Cure album. I guess so? Maybe a little of the guitar/bass melody hints at the famed English bands’ sad, but happy, pop melodies, but not their goth/mope rock stuff. “Already There” offers a jangly guitar melody, and a thick, syrupy Rickenbacker bass sound. The guitar solo reminds me of something from the ‘70s, like Todd Rundgren. “Not Going There with Me” has a heavier, moodier feel. “Bib’s Fortuna” named after the Star Wars character Bib Fortuna, is the first of an all-instrumental song and it’s quite good. Although Bray doesn’t normally play these types of songs, he felt like showcasing his capabilities and channeling such legendary guitarists like Joe Satriani and Eric Johnson. On “Collide” Bray admits that this song reminds him of Elton John for some reason. It probably was the flashy piano melody and biting guitar riffs – reminiscent of such songs like “Pinball Wizard.” Oh wait, that’s a Who song, isn’t it? Lots of great drum fills here too, which might have been a tip-of-the-hat to Keith Moon. Next up is “The Flying V” and it features a gritty, rock style. Perhaps it was written and played with the “Flying V” guitar and here, there are some nice finger tapping on the frets to be had. “Give It Away” is a smooth grooving tune. Heavy with the organ synths, bass lines and low drumbeats, this one kind of feels like one of those trippy Deep Purple songs, with a lot of extra funk and soul. Fun song! The next track is the album’s title song – “Memories in Neon” and it features lots of great jangly guitar sounds, extra backing vocals, tambourine and a catchy pop chorus. This reminds me of a few of R.E.M.’s albums, like Reckoning and Document. But then, Bray throws in some funky, wah-wah guitar sounds, which gave this number a new dynamic I wasn’t expecting. “Say It Then” has a reflective vibe. It’s a song about wanting someone back really bad but coming to terms that the past is in the past. Retrospect sucks sometimes. Another instrumental “Autoschediasm” showcases Bray’s piano chops more, with light guitar and drum accompaniment. This was a very interesting song – I thought it was well written and played. It reminded me of those melancholic piano melodies during the ‘70s, made well known by artists such as Bruce Springsteen, Tom Waits and Billy Joel. On the final song, “1000 Miles to Go” Bray was attempting to write in the style of the Beatles on their Revolver album. Hmm, I can think of Tomorrow Never Knows and Ringo’s unique drumming style, but I’m hearing a lot of R.E.M. influence here, too. All things considered, give Memories in Neon a try, I think you’ll enjoy it – there are some well-done gems on this album.
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