MEER – Wheels Within Wheels Review

[Cover art by Helena Haglund and Simen Sandbæk Skari]

What is a wheel? The dictionary definition, probably penned by the Pol Pot of dictionaries, would claim that it is: “a circular object that revolves on an axle and is fixed below a vehicle or other object to enable it to move easily over the ground.” But is that all it is? We think of wheels in so many different ways. Is a snake eating its tail, casually referred to as an ouroboros (talk about a mouth full of marbles!)  also a wheel? Is the Price is Right spinny thing also a wheel? Is Wheel of Fortune a wheel? Isn’t life itself merely a wheel revolving until the bearings seize up and the life force propelling it is snuffed out? Yes, friends. A wheel is all of this and more. And also less (fewer). 

You might be wondering what all this talk about wheels is for. Well, for starters this here album is entitled Wheels Within Wheels. Pretty terrible title you might say. ‘Yeah, well, you know, that’s just, like, your opinion, man.’ Shockingly more important is the fact that people never tire of saying, ‘you don’t have to reinvent the wheel.’ Why people are so obsessed with the invention of the wheel is beyond the scope of this writer. But what this writer can tell you is that one thing progressive music seeks to do is, aside from the obvious idea of progression, reinvent. And MEER (all caps) are one a progressive band that spans a tremendous amount of sonic territory.

MEER has released an album every four years dating back to 2016. Are they releasing albums to coincide with the American election cycle? Well, we don’t actually have enough science to know that. What we do know is that the band has a whole boatload of members (eight just like Chanukah) and each one of those members (including a brother/sister combo) is musically and artistically gifted to a level that most can only dream. Described as a ‘pop orchestra’ MEER goes far beyond that simple label venturing into the territories of djent, classic rock, 1970s pop and more. 

The delay on the guitar that opens the fifth track, “Golden Circle,” is reminiscent of modern day pop. What follows is a lively, orchestral track that bounces, sways and shimmies across a glittering ocean of catchiness. It’s Abba meets Rainbow meets Sia. It’s Lorde meets St. Vincent meets John Legend. It’s Sheila E. meets Madder Mortem meets Elton John.. And at four-and-a-half minutes it could be a certified pop hit back in the days when people weren’t obsessed with Twitter and the 3-second news cycle.

Perhaps the most astounding tune is “Today Tonight Tomorrow.” Which refers to time and time is sometimes referred to as a wheel (just check out the book series). Somewhat of an orchestral masterpiece the track opens simply with a piano stomping on an arpeggio. The lead is handled as always by the endless vocal talent contained in MEER . As it opens the listener can picture the Broadway stage. A spotlight highlights a lone singer as a pianist softly twiddles away in the corner. A violin softly plucks out a rhythmic melody leading to an outburst of orchestral might. With high-ticket price vocals and a tough for the slow build of tension the track eventually explodes into a guitar solo built for Satriani. 

What becomes most fascinating is that MEER doesn’t have ripping guitar solos on every track. Perhaps three or four times a track with this level of talent. Rather, they use it sparingly and to maximum effect as the guitar slowly fades out and leaves the orchestra to carry on the sorrowful tune. What is also fascinating is how that track fades softly into the following track, “Mother.” What’s on display is MEER’s ability to tell an entire story. Additionally there is a glimpse as to why it takes them four years to put out an album. This level of well-thought out cohesion across an album takes time, patience and a massive cast of characters with names you’d find on a commercial lutefisk boat manifest in the office of the lord high admiral.

Is it metal? No. Can you get fucked? Probably. Heavy metal and its subgenres and adjacent genres have a simply thing in common: musical complexity. The listeners are a broad swath of global citizens largely concerned with riffs, evil, being alone, and face paint. They are also one very simple and crucial key to life: adventurous. So you don’t have to reinvent your wheel but you can definitely step outside your comfort zone, roll up the windows in your tiny European car and belt out the glorious melodies of MEER.