Side projects from famous musicians often give them the chance to express themselves in different ways. Many artists have taken the plunge, and I often find that their solo work is more thoughtful, and more introspective than their regular bands. Free from the constraints of their fellow bandmates, you are treated to the kind of music that inspires an artist, stripped down to its bare bones in many cases. GHOST ATLAS is the side project of Jesse Cash from the Progressive Metalcore act ERRA, and this is his third solo album. Titled “Dust of the Human Shape,” is has 12 songs.

“Void Voyeur” is first, and it’s a wonderful opening song. It has hard edges at times, reminding you of Jesse’s roots, but it is precisely its ability to deliver big hooks and memorable vocal harmonies among smooth seas that make it so good. “Panorama Daydream” is another winner, featuring smooth, creamy, and expressive clean vocals with another big hook in the chorus. Hot fitting is it that the best part of the album so far are the vocals, coming from a vocalist? “Gaps in the Armoire” is an acoustic led song with thoughtful vocals that rise during the chorus, expanding with a harder edge, and you are reminded of the pure joy of his clean vocals.  “Seeker (Stretch the Night)” has an amazing keyboard line and is so damn catchy. It’s almost like Jesse took a time machine back to the 1980’s, because the nostalgia of that time came rushing back to me in waves.

“Riding the Blindside” has a great bass line, and the surprises keep coming. Listen to the energy and the big vocal hooks in the chorus…they are so lush, they melt into you, yet they are so hard, they stand alone. “Tomato Red” is a stripped down, acoustic song that has dreamy, ethereal melodies, and sad but catchy piano parts, and it flows through you like a gentle, sweet rain on your lips.  “Polyphonic Mind” has more guitar presence, but the focus remains on the strength of the vocals. One of the things that Jesse does best as a solo artist is deliver a memorable chorus, and this song is no exception. The title track has another great piano line and lush vocal harmonies. “I don’t wanna breathe in the smoke,” he muses.

“Death Confetti” closes the album, and it’s beautifully sublime in every sense of that phrase. For me, it serves as a final slowed down breath of pause to an amazing album. As a music consumer, if you don’t slow down occasionally and look around, you can easily miss albums like this. It’s a simple album in terms of instrumentation and vocals, but it is so effective at waking up the inner self that you have choked down so far you never thought it was possible. Forget labels, just leave all your musical conventions at the door and explore “Dust of the Human Shape” with the kind of innocence and wonder that you had as a child.