| Musical Style: Progressive Rock | Produced By: |
| Record Label: Independent | Country Of Origin: USA |
| Year Released: 2025 | Artist Website: KDB3 |
| Tracks: 7 | Rating: 80% |
| Running Time: 41:01 |
KDB3 continues to deliver progressive rock with impeccable songwriting and musicianship. The solo entity of vocalist and multi-instrumentalist Doug Bowers, KDB3 traces to 2008 and its independent debut full length Verite, a 75% Angelic Warlord graded work defining as ‘keyboard driven progressive rock with a heavy 70’s slant’ but ‘(blended with) acoustic and rhythm guitar, piano, Hammond-organ and other instrumentation’ (quoting the review). 2011 sophomore effort Autobiograph (also independent) finds the artist maintaining the progressive basis but ‘branching out musically and embracing styles as far reaching as classic rock, symphonic rock and acoustic rock while also mixing in some heavier guitar driven moments’ (citing the 80% Angelic Warlord review). Third independent album I Fill My Days With Noise from 2018 ‘takes the progressive facets to the next level, referencing how track times have expanded to the extent it features just six songs but over 50 minutes of music’ (85% review).
Bowers, whose lyrics derive from ‘life experiences and his Christian worldview’ (referencing his press material), in the meantime partnered with guitarist Rob Perez (Visual Cliff) for the ‘guitar driven progressive rock’ (noting the 90% Angelic Warlord review) to the independent summer of 2024 debut from EchoVerse, Whispers Between Worlds. Bowers returns in October of 2025 with fourth independent KDB3 album The Fifth in which he also works with Perez in addition to second guitarist Stu Redd and drummer Hayden Welch. The Fifth diverges by sidestepping the guitar driven fortitude to EchoVerse and Autobiograph and lengthy songwriting of I Fill My Days With Noise but retains artist’s innate aptitude for the progressive. In a sense, The Fifth forges its own unique path in finding Bowers exploring instrumental territory (noting two instrumental tracks) and progressive rock on the lighter classic rock nuanced side as opposed to hard rock.
“Forevermore” represents a good indicator of the manifold KDB3 sound, straight on rock tinged with piano, organ and light rhythm guitar but inspiring in terms of the valorous tempo and elevated melody. Artist stands out with his at times classic tenor and others smooth mid-ranged vocal abilities hinting of Michael Gleason (AD). I detect a distinct hint of Kansas. Lyric snippet:
Searching for meaning in the moment and finding truth established in the past
Seeking wisdom from false witness discovering it was never meant to last
The answers there were set somewhere beyond my recognition
And I was left with nothing more than pride
Within my soul, a gaping hole filled with admonition
But You were always there for me
Were I to be fulfilled forevermore
I identify with “In The Designer’s Eye” as seven minutes of soothing progressive rock. Crisp acoustic guitar plays a paramount role alongside atmospheric keyboards, with the moody faculty elevated at moments notice due to time signatures ranging from buoyant passages to those flowing to gentle rhythm guitar. I find the bluesy lead guitar masterfully done. I detect a Proto Kaw influence, with no small measure pertaining to manner in which Bowers takes a spoken word approach akin to Lynn Meredith. Lyric snippet:
Well-kept books in tidy rows, some of science, some of prose
Some containing words no one has read
Thoughts and musings through the years challenge minds and bring forth tears
Forgotten authors pen a common thread
From the place where no eye can see to the land of my destiny
The Artist brings perfection by His hand
Pigments blend in grand design, offering glimpses of the mind
Whose masterpiece will forever stand
“In The Warm Summer Breeze” stands apart as first of albums two progressive instrumental. It is a good one at six minutes, with the opening seconds ‘Floydian’ in terms of dreamy keyboards but drifting ahead mirroring a fusion-like feel as jazzy guitar and classical bass take hold. At the halfway mark tempo elevates to a regal if not foremost bearing to classic rock nuanced licks and chops.
“That’s The Way The Story Goes” represents albums mellowest with its ballad like proclivity. Song emits of the soothing and tranquil, relaxed with its stilly done vocals, polished vocal melodies and piano and acoustic guitar coalescing. Upshot is a locale and on the grand and luxurious side. Lyric snippet:
The leaves turn brown and blow away
The evening's clouds roll in and turn to grey
Bare trees cast shadows in the night
As darkness closes in it dims the sight
You reunite with your goal to calm the storm in your soul
Seasons mark our existence, one to the next they quickly pass
Along with love and loss, sweet memories with time amass
“Another” takes a similar laid back and reserved heading. It impresses as a companion track to “That’s The Way the Story Goes” in also emanating of piano and acoustic guitar but with orchestration playing a decorative role. I particularly take to the classical guitar instrumental interlude. Lyric snippet:
Of the heart - a love that's planted can be taken apart
A life that's granted can quickly depart some say
That for those it's been wrest away
There is hope that again someday
Love will once again find you and stay
One then the other - it's not a trade off but a gift of the heart
Both like no other - different lives and loves - a chance to make a new start
Album returns to progressive instrumental territory with “The Leprechaun’s Pipe”. As this reviewers choice track, it impresses as a medieval influenced joining of the electric and acoustic: fitting edges of distinct rhythm guitar make a heavier rocking statement in terms of former; time signatures to an ethereal and introspective heading point to latter. Either way, guitar team of Perez and Redd make an impressive shred based statement. Imagine UK’s Wytch Hazel having a few too many ‘pints’ at the local pub ahead of returning to the studio and recording a lengthy medieval tinged instrumental.
Closing cut “Turning Point” hearkens back to “That’s The Way The Story Goes” and “Another” but better with added variety. Yes, acoustic guitar, piano and organ assert accordingly but not without rhythm guitar making an assertive statement for the imposing refrain and keyboards generously imbuing the instrumental moments. Overall, it presents with a progressive founding allowing it to better separate from its two ballad counterparts. Lyric snippet:
Take the mantle
Put it on again
Bring it home, renew the ties
Sound the chorus with the grand amen
Stepping up to take the prize
Never longing
Never looking back
Second-guessing what we've known
Make our path become a different track
All because of You alone
The Fifth is another finely done progressive rock solo album from Doug Bowers. Yes, it differs from its predecessors due to backing from the heavier rocking proclivity for an acoustic and piano classic rock nuanced stance instead. Yet, when the album stretches and pursues a heavier direction and allows Perez and Redd to cut loose it truly shines, noting “In The Designer’s Eye”, “In The Warm Summer Breeze” and “The Leprechaun’s Pipe”. Regardless of form, Bowers succeeds from staying true to his progressive rock roots not to mention choice musicianship and songwriting to go in hand. If a fan of artist’s previous work and/or progressive rock, you can do no wrong with The Fifth.
Review by Andrew Rockwell
Track Listing: “Forevermore” (4:41), “In The Designer’s Eye” (6:49), “In The Warm Summer Breeze” (6:12), “That’s The Way The Story Goes” (4:59), “Another” (4:54), “The Leprechaun’s Pipe” (7:03), “Turning Point” (6:21)
Musicians
Doug Bowers – Lead Vocals, Acoustic & Electric guitars, Bass, Keyboards and Percussion.
Rob Perez - Acoustic & Electric Guitars.
Stu Redd - Electric Guitar
Hayden Welch - Drums
