It’s hard to know where to start with Dream The Electric Sleep.  Do I talk about their debut album? Do I discuss their origins? Their influences?  The excellent album art?

Lost and Gone Forever is a concept album that draws from the band’s eastern Kentucky roots.  Based on the life & struggles of a coal miner & his wife (Jack & Clementine); this album explores a vast musical universe.  There’s a lot to say about the lyrics and story of this album.  I could do a full dissertation on the poetry, symbolism etc.  {My English Lit background is showing.} However, I’m going to jump straight into the music…there’s a lot of ground to cover there as well.

The first track is the title track to the album.  Lost & Gone Forever begins with a yell, a call to the mines if you will, and the sound of an explosion that translates into thudding drums paired with dark reverb’d bass.  The progression builds to a classic prog style guitar intro with a soft, power ballad style vocal.  In spite of the softer vocal it isn’t overpowered by the dark bass; rather they are in balanced counterpoint.  This is an emotional song & the lament is felt in the echoing “lost and gone forever“.  A fun note: if you listen carefully at the end of the song you can hear a snippet of Dark as a Dungeon.

A solid, deep bass line roots the progressive protest song, Coal Dust & Shadows.  A metal-edged bluesy guitar cries out the desperation & pain that the lyrics express.  The progressions are blinding fast in places; screaming guitar licks filled with a drum line that beats like the heart of the earth.  Matt Page‘s vocals rake the sky and you can feel the emotion swelling in your chest as he belts out the chorus.

So much is always left behind/in coal dust and shadows/ Progress is always hard to find/ in coal dust and shadows

A country infused power ballad, Canary is one of my favorite songs on the album.  Banjo, bass & guitar combine in the beginning of the song to set the stage for some major power chords.  Before those power chords arrive though the guitar progression is subtle & it sounds picked almost.  Like the canary of the song attempting flight, the guitars start to soar & then back down several times.  Then as Page lets loose with his voice everything takes off.  We’re careening into the sky & not looking down.  There’s room up here for the power chords, the background vocals and Page.  I find myself lip-synching along, eyes closed & I’m in full rock star mode…getting the crowd to sing along with me.  As the vocals fade out a quiet little banjo plays something innocent til the song ends.

Suddenly I’m slammed with a wall of raucous metal prog & I’m scrambling to make the switch to keep up with The Joneses.  Joey Waters’ pounding drums & face-melting guitar riffs from Matt Page rip me to my feet.  It would feel scattered were Chris Tackett not holding everything down with his excellent bass lines.  We race through the first verse and then an off-tempo slow down for the chorus.  At 2 minutes the progressions become plodding power chords — the movement of life in the mines…then at 3:08 the hi-hat starts to pick up the pace & then quietly we hear the guitar start to rock.  Page’s vocals are rich — “rain on the ground/run underground/bathe me”.  He keeps it low for a while, almost a prayer.  Slowly Tackett’s bass builds, echoing around until Page takes his vocals up and we’re back to metal prog.  Then it’s guitar so fine it makes you want to air-guitar along in your power stance.

Alt-prog at it’s finest, Roots & Fear shows off the band’s considerable talents.  Filled with tempo shifting verses, harmonized vocals & fine fretwork it reminds me of The Killers.  Sweet, sweet prog guitar at 3:13 and the progressions grow into a flying dream.  A brief near acapella section builds back to full volume…then the last minute is exquisite guitar.  Haunting, lovely prog guitar at it’s finest.

Stay on the Line begins where Roots & Fear ended–with gorgeous sustained bass overlaid with a high, delicate guitar.  The addition of percussion fleshes out the dark bottom notes of the bass & we have perfection.  The vocals start out a deep growl that lightens & reaches a higher register at the chorus.  The main progression is this rise & fall with the guitar weaving in & out to complete the tapestry.

The opening progression on Hold Steady Hands is worthy of Genesis or any other giant of prog rock.  Page‘s voice shows yet another facet & I’m hearing Rush.  Again I’m singing along & I dare you not to do the same.

Space rock synths play with the guitar in Listen to Me.  The album mellows out in Echoes Chasing Echoes; acoustic guitar flows like ripples on a Kentucky creek.  Page‘s voice is instantly aged- crackling & slightly scratchy.

Sundown arrives on the sounds of a summer thunderstorm, banjo & some atmospheric guitar.  The main progression is a scorching guitar riff laden with cymbals.  Feeding the feeling of nervousness fueled by the lyrics this song flies by.

From the road a morbid sight/The crowd amasses but it might/Not be the end
They’ve been trapped before /But this seems so much more
I know they haven’t got much time

As the song ends we can feel the heartache set in on lingering bass.

The next two songs  No Air Left & Feel My Way are barely over a minute each.  No Air Left is an acoustic guitar masterpiece.  There’s a lot going on in such a short space.  Feel My Way begins with a minor key progression & blends into an acapella harmony that is rich & layered.  The last :21 of the song is a beautifully discordant barrage culminating in the same explosion that opened the album.

This is This opens with a metal edged guitar & raw vocals.

One step in the wrong direction/One footprint fills up with mud
One wrong word fucks you forever/One wrong word misunderstood

A fantastic percussion feature section calls up Genesis (again) at its best as the progression becomes a living, breathing entity.  Vocal harmonies layer like the strata in the Grand Canyon…add in the guitars and this is EPIC prog!

As the album comes to a close, What Will Be is Clementine’s lament.  Coldplay-esque vocals & simple yet elegant guitar are the perfect ending to what is a wild ride.  Every song has a depth that bears many trips around the turntable.  This is one of the best albums of 2011 & a must have for any true music lover.  There’s so much going on that no matter what your preference in music you’ll find something to like here.  I’m not sure that I’ve even begun to catch the nuance hidden in this gem.  One thing is certain, DTES has mastered the convoluted history of progressive rock & they are ready to rock you.

Dream The Electric Sleep is:

Matt Page - Vocals / Guitar / Keys
Joey Waters - Drums / Vocals
Chris Tackett - Bass