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!

Music Review #24:

Phish

The Siket Disc

1999

Elektra Records

The Siket Disc is the one and only instrumental album recorded by the American band Phish. It was released via mail order to Phish fans in 1999, but wasn't in stores until 2000. The album is a very quaint little piece of obscure music, and features some pretty good material.

As aforementioned, the album consists of only instrumentals, so Anastasio's vocals are not involved in any way. However, this does lend a pro to the album where it allows him to show off his guitar skills with more prowess. The styles of the tracks revolve mostly around lounge music, with some hints of progressive rock; the entire album is extremely laid-back, and does not over-exert itself to a great extent. The album opens up with 'My Left Toe', which recycles a continuous two notes which makes for a very irritating melody and an unpleasant experience for me. However, it does lead into possibly my favorite track on the album, 'My Name is Slick'. This song subtly combines funk and lounge-jazz which makes it very fun to come back to when you're working or just want to relax. The first side ends with 'What's The Use', a Floydian-inspired epic which use blunt, 60's psychedelic humdrum with deep and echoing guitar chords to make for an interesting space rock tune. 'Quadrophonic Toppling' and 'Albert' are both short but sweet guitar/bass led songs. The former features a very hypnotic bass line by Mike Gordon, even with it featuring only a few different notes. 'The Happy Whip and Dung Song' is perhaps the most vibrant the album gets, featuring the slow muddle seen on 'What's the Use' but more chaotic guitar playing.

This album was slightly hard to critique, due to it being so minimalist in nature. A factor that has made it not too popular, but in my opinion adds very well to a certain aesthetic that it gives off. It is indeed very different from other Phish albums, but for a hard to explain reason it is one of my favorites. Mostly I believe it is from the slow and very simple style that has the instruments being lightly played instead of extremely intricately, and still being able to be fun and enthralling. I would suggest that you listen to it before you obtain it, because it is really a "different-cup-of-tea" kind of experience.  

2016 - The Frying Pan & Thatcher 

Have a nice day.

Music Review #23:

October
October
1979
{Unknown}







Late 70's jazz with mid-60's flair.

October's a band that aren't well known at all, only releasing two albums in the span of two years. They use a fairly standard jazz fusion sound with dollops of experimentation. Something that I noticed was a hint of Krautrock, mainly like Neu! or Can in their earliest incarnation. Pat Carson has a style extremely similar Jaki Liebezeit, especially on the track 'Mainspring'. At times the instruments fumble and start to trip over each-other in a haphazardly sort of way, causing for awkward segues that sometimes don't even come, causing for a song that is mainly flat and uninteresting. The production as well is rather...bad. When there are vocals they are incoherent and practically not there, and some of the background instruments can get lost in the hubbub. This little gem however is a pretty interesting look at the jazz fusion genre when it was on the cusp of a new decade, and I would suggest forthright.

2015 - The Frying Pan & Thatcher 

Originally written for Prog Archives on 12/13/2015.

Visit the site at www.progarchives.com

Music Review #22:

The Moody Blues
Seventh Sojourn
1972
Threshold Records

The Moody Blues had steadily edged their way into the 70's, having formed eight years prior. Seventh Sojourn, ironically enough the band's eighth album, was the last before a short hiatus the 'Blues took before re-emerging in 1977. Touted in their early days as a skillful art-rock band, Seventh Sojourn is an album that encompasses the classical influence from their earlier days, as well as more of a Simon-Garfunkelian style. Many of the songs on the album are in the vein of dreary-orchestral rock songs, with Hayward singing his breathy vocals with echoing melodies accompanying him.

Seventh Sojourn is very heavy on boisterous, climactic pieces, and from start to finish is a ride for the senses. From 'Lost In A Lost World', the choral-rock piece with lovely violin work as well as the bass riffs by Ledge, to the fast paced break-neck closer 'I'm Just A Singer (In A Rock And Roll Band)' that evens ends with clapping as if this album was just a giant spectacle with the world as it's audience. The only problem the album suffers is this level of symphonic power does sort of lose it's edge while going through a full listen. Don't get the wrong impression though, because such an experience is still highly recommended in the long-run. If you are a fan of the band or just that more loosely-interpreted side of prog, then this album is for you. One of the best albums I've heard in a while.

2016 - The Frying Pan & Thatcher 

Originally written for Prog Archives on 4/30/2016.

Visit the site at www.progarchives.com