Music Review #30:

Umphrey's McGee
Local Band Does OK
2002
Self-Produced

A fate that jam bands can many times have is one that with so much time and effort focused on large and epic live performances, actual studio albums can come to be rather lackluster in effort. Phish and the Dead are the most notorious for not sinking to this level, and less well known is Umphrey's McGee, a band rising more in popularity as more and more albums are released. 

Obviously taking after Phish, the band's second and more "official" album Local Band Does Okay is more or less an emulation of the 80's band. Bayliss recreates Trey Anastasio's relaxed playing style, which can shift suddenly depending on something abrupt like a tempo change. Cinninger's drumming is much akin to that of Jon Fishman, the very eclectic yet talented drummer of Phish. This works well with the plethora of percussion instruments that McGee has to work with, and luckily are used in their on ways and not played in one cacophony. Speaking of plethora, the number of instruments that McGee crams into each song is quite extraordinary, yet does cause a lack of cohesion between tracks, making for a song list that varies wildly from one to the other. This could be positive depending on how you want an album's structure to be- for me, I prefer a certain level of unity when one song transitions to another, but of course that's just me. 

In summary this album is a step in the right direction, yet the orchestra of goofy instruments is not quite enough to differentiate Umphrey's McGee from Picture of Nectar-era Phish. As for someone who does like Phish and listens to them on a regular basis, this is not much more than retreading of the same ground that has already been beaten, and interesting variations already composed. Again though, the album does show some promise for the band's future. This local band did OK.

2016 - The Frying Pan & Thatcher 

Originally written for Prog Archives on 5/20/2016.

Visit the site at www.progarchives.com

Music Review #29:

Yes
Time And A Word
1970
Atlantic Records








Yes- a timeless band. They never really do change, do they? Especially back in their early 70's heyday they were doing the same thing many other prog bands: reveling in the scene that they had intruded on. Yes was equally as fervent to produce their masterworks, but they were perhaps on the top. This, of course, was after 1972 when their hit Fragile slammed the charts and gave new light to it's other brethren. Antecedent to this, Yes was still releasing a few releases to test the waters, notably their self-titled debut as well as Time and a Word. Out of the two of them, I like them both. Except, after listening to this album, it's grown on me so much that I absolutely adore it.

The band is of course a symphonic prog band. Thus, they have an obligatory motif of acoustic echoing and orchestral-style instrumentation contained within these couple of guys. I must say that this is excellent. Of course they've done it amazingly especially on later releases, but A Time and a Word gives you a little sample of what they've got going for them and for you, the listener in the future. The album features some beautiful previously stated acoustics as well as amazing vocals. Every instrument is played to it's full extent and is free of public criticism due to this (as stated before), before Yes became extremely popular. Something that's not exactly positive but I wouldn't take away from it is how not as accessible it is compared to their other releases. It features a lot more material from the heart as opposed to fancy time signatures to please time-weathered prog folk as well as the general consensus of the modern music world. It isn't anything displeasing; in fact for me, it's even better because there's less radio-friendliness and more true light-hearted experimentation coupled with occasional ominous overtones.

This album is one for the books. It is most definitely on par with the likes of Close to the Edge and Fragile, and is much better than The Yes Album with followed it up. I suggest you go pick up Time and a Word as soon as possible if you haven't already.

2016 - The Frying Pan & Thatcher 

Originally written for Prog Archives on 1/22/2015.

Visit the site at www.progarchives.com

Music Review #28:

Rusted Root
When I Woke
1994
PolyGram Records






Rusted Root made a impossibly gigantic leap from their independent-label debut, Cruel Sun in 1992 to When I Woke in 1994. Many of the favored songs were picked out and remastered to fit for their second album. Aside from the revamped songs the album follows very closely to the prior; a perfect blend of tribal/world music, rock, bluegrass, roots, and plain-old rock. Every band-member being able to play percussion also allows for intricate rhythmic complexity not seen in many other bands in the 90's, or of that century for that matter. Rarely is electric guitar used, and the band instead used Glabicki and Berlin's playing in unison to create a mesh of duel melody that is constantly on perfect beat. Going back to Glabicki, whose intense, artfully strained voice perfectly coincides with the music. Berlin's background vocals of course add further depth as well. 
The faster, more climactic songs are where 'Root's expertise shines. 'Ecstasy', 'Send Me On My Way', and 'Martyr' (two of which are from their debut), and a personal favorite of mine the joltingly energetic and pounding 'Laugh As The Sun'. There's even some surprising RHCP influence sprinkled in with Rusted Root's tribal style like in 'Cat Turned Blue' and 'Food and Creative Love'. Finally there is the criminally underrated epic 'Cruel Sun', which is a song that holds an experience that can only be obtained from listening. 
When I Woke is indeed one of my favorite albums of all time, and it's hard for me to not gush about it. I think any self-proclaimed music aficionado should have this one on high priority.

2016 - The Frying Pan & Thatcher 

Have a nice day.

Music Review #27:

Phish
Hoist
1994
Elektra Records







People who like and follow the band Phish seem to forget this one, something that I'll admit I've done on several occasions. A mid-90's album that sort of rehashes and mellows down the art-rock style they developed on Rift, Hoist is an album that inspired a similar playing style of a blend of soft rock epics, shorter more eclectic pieces hailing to their earlier days, and blanket rock-and-roll. This particular style is one of my personal favorites of the band, and in my opinion led to some fantastic songwriting that was able to remain simple yet still have that edge of complexity (see Billy Breathes). Highlights of Hoist include the hard rocking 'Down With Disease', incorporating some funkiness spewed by Gordon, the mellow epic 'Lifeboy', and 'Sample in a Jar'. Perhaps my favorite track is the eclectic closer 'Demand', which subtly shifts moods several times throughout, from boisterous to more avant-garde to extremely climactic-so much so that the song ends with a literal crash and the sound of mourning a Capella. It is slightly worth noting that there is a lyrical reference in the song to 'Squirming Coil', a track on the 1990 Lawn Boy album.

 Hoist has an overall sense of clunkiness and doesn't have the best flow if you listen to it in one go. As for individual tracks, there are some definite keepers that I found catchy and extremely memorable They would of course be added to the vast Phish live repertoire. Mediocre? A bit. But I still suggest that it deserves at least a try, no matter if you are a 'phan' or a prog-enthusiast or simply a fan of rock.

2016 - The Frying Pan & Thatcher 

Originally written for Prog Archives on 5/13/2016.

Visit the site at www.progarchives.com

Music Review #26:

Leprous
Bilateral
2011
Inside Out Music

(Written on 10/22/14)

"Bilateral" is the second studio album by the Norwegian metal act Leprous.

I have to say, I'm not a huge fan of the progressive metal genre. There is just something about it that I can't really explain, it just prevents me from really getting into it.

However, I love everything about this band.

Unlike other bands (which I can express some sort of distaste for), this band has done nothing that I really dislike. In fact, most of their releases are perfect, especially this and their most recent album, "Coal". I know a ton of people really like "Tall Poppy Syndrome", but honestly the album didn't really affect me as much as "Bilateral". It could be from the fact that the track 'Acquired Taste' was the first piece of music I heard from the band. I instantly fell in love with it and it's parent album.

One of the things I love about Leprous is the way they can shift and change their music in such a creative way, that their more unique than most bands I can name. This album really expresses that.

While most Leprous tracks are seven to eight minutes, the tracks on "Bilateral" range from three minutes to six minutes. I feel that instead of having an entire album dedicated to long epics, short(er) songs give way for more creative input. Each track has more time put into it and less filler to take up space on it. Even when they do have a longer track on this album, it is done well. The longest track, 'Forced Entry', is pretty great in the way of vocals and instrumental value. Two great songs that are favorites of mine are the previously mentioned 'Acquired Taste', and the titled track 'Bilateral'. Both are great songs and I highly recommend them for anyone wanting to get into Leprous.

One thing I'm totally thankful for is the removal of the constant screaming that was highly present in "Tall Poppy Syndrome", along with now absent organ. Now it's in the right place and actually sounds good.

Anyways, I totally recommend either this (or Coal) for anyone who wants to listen to a great progressive metal band like Leprous.

Music Review #25:

DragonForce
Sonic Firestorm
2004
Noise Records







"Ready your breakfast and eat hearty... For tonight, we dine in hell!"

Mmm...cheesy goodness. DragonForce are those guys that made that super hard song on Guitar Hero, right? 'Through The Smoke and Flames'? Jokes aside this was one of the first "real" metal bands I encountered at a young age. The technical prowess and pure speed of it was very attractive; it wasn't exactly something I listened to on a regular basis. But as I grew older I listened to more and more of the same genre, and discovered new music. Did I ever forget about Sonic Firestorm? Of course not!

This album is a pristine example of all the good parts of 00's power metal. The rocking symphony of pounding drums, shredding guitar, and the godly voice of ZP Theart. Combine that with lyrical imagery of fantasy, of sprawling hills of green, chivalrous knights, fantastical beasts of mythos, all forming into one powerful attack on the senses. Many of the songs have a long run time as well, leading for long and intricate epics. Some of the more atmospheric songs (Soldiers of the Wasteland) appeal to me more with that comfortable arena-metal sound.

This would go on to inspire an even larger audience for the band, as well as more rising potential on later albums. Quintessential for the power-metal everyman or even a hardened veteran. Godspeed, you fiery gods!