Wes McClintock, 'Open Dream' (Review)

The conceptual approach to what Wes McClintock did to make his latest funk-rock album, Open Dream, is something that happens in movie production or when a label puts money behind an artist. Think Trent Reznor to prep for The Downward Spiral. Two post-pandemic years in the making for an indie artist is out of complete love for the project. 2018's No Service was created under different circumstances and also, altogether, a different album. Open Dream unionized Wes' relationship with his wife Lyra in the sense that her artwork serves as the cover for the new album and it was the reason for their move from Toronto to a bigger house in New Brunswick, to complete it. Also, this guy is from one of my favorite Canadian bands, the Wilderness of Manitoba! The last record he did with them as bass-man is 2014's Between Colours.

Funk rock or not, Wes McClintock's 'Open Dream' Has It All

I bring up funk rock because any bass player must at the very least study the. The opening track "Sky" has that 70s-era backdrop with keyboards, which might be from a David Bowie record. Wes has dealt with this kind of thing before on his previous album with Pink Floyd. He uses electronics and vocal filters that give an otherworldly feel and doesn't leave the pop element behind with these songs. "Imaginary Songs" feels like he just rode a wave and the bass line adds more Oomph along the way.

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Speaking of electronics, I love the way "Falling starts off with those keyboards and the robotic vocalization, and then the bass pops everything right into place. It's "Waiting In Line" that's got me pulling O.T. in that I can't figure out what 80s song it sounds like. I've reached out to friends and I've gotten The Church and A-Ha and I'm sure it's somewhere in there but no. This album is bass-laden in that it takes the lead. He rocks it out with "Breaking Into Nothing" but he also shows his mastery of the keys when it adds a layer of atmosphere, whether it be sung or strictly instrumental matters not. It could have been a seven-minute track and a great piece of prog rock.

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"Last Time" is probably one of my favorite tracks on the album. It flows with patience and gives Wes the cover he needs to showcase his vocals in one form. A great arrangement and one that's already bleeding into my mind as a track to remember. Sometimes I get Deftones vibes throughout the album because of the dramatic flair. McClintock has a theatricality to him. I mean, listen to "See It" where you'll get some of that drama in the chorus and the bass climbs. "Promises" reminds me of a slower version of David Bowie's "Untitled No. 1" off of Buddha of Suburbia. This entire album as a whole is a concept album where Wes clearly describes the transition from pandemic quarantine to relocation and a sense of relief. I could not help but feel how great of an album this is. Wes has come to a point where he is able to put an album he was sweated over, knowing it's perfection, and that perfection translates here too.