(Delayed) Music Review #89:

Electric Wizard
Electric Wizard
1995
Rise Above Records








Electric Wizard. A band that countless Doom acts have cited as major influence in their music, an influence that is not hard to see the reason behind. Many bands appeared in the 90's, such as Sleep, Katatonia, Anathema, etc., and began laying into the sound Black Sabbath had debuted years prior. All of these bands had their own interpretations of the genre- some were slower and groggier, some were heavier and more brutally angry. But in my opinion none of these bands grasped the idea as firmly as Electric Wizard. The band's debut is a legendary one, and although it appeared years after the likes of Sleep and Anathema had their say, Electric Wizard's 1995 eponymous gets practically everything I expect of a Doom metal album right.

Electric Wizard is powerful, loping, almost serene in it's trudging splendor. It's slow, fuzzy crunch combines elements of the early 90's metal with the band's reinvigorating sounds. This album's introduction of new ideas was, in layman's terms, revolutionary. The album shines much in the department of epics, specifically the title track and 'Behemoth', which lives rigorously up to it's name as a gargantuan, practically filthy track filled with the best sludge you'll ever hear. The musicianship is excellent; Electric Wizard is a three man team of Jus Osborn, Tim Bagshaw, and Mark Greening. This lineup was one that remained intact until around 2003 (circa We Live), where Greening and Bagshaw departed only to be replaced by Justin Greaves and Rob Al-Issa respectively. This original lineup is perhaps the most dynamic and musically-virtuous the band ever got, for the stamina and skills of these musicians has been unparalleled by many of their peers. The parts where the band shines are particularly in the Sabbath-like sections, i.e. where there's more rock and roll influence, such as title track (as well as 'Wooden Pipe' I suppose) and 'Stone Magnet'. These two act as bookends to the album, being the closer and opener respectively, which sort of adds to both the songs and album's quality. Both have similarites; both are dark, muddy and heavily distorted, However they are sort of the more traditional/easily digestible tracks. They make a listen-through of the album both a comfortable yet and the same time new experience. 

EW's debut is nothing short of a spelling out of the greatness of the band's potential. It's a mind-bending, mind-altering experience from start to finish. Highly recommended. 

 2016 - The Frying Pan & Thatcher 

Have a nice day! 

Music Review #97:

Floor
Dove
2004
No Idea!







Two or so months ago, I wrote a review for the Floridan doom metal band Floor's debut, their self titled. In the review I praised everything about the album, calling it "a masterpiece of doom metal music". A few months have passed and after listening to the album several times over, I've come to the realization that it wasn't nearly as good as I thought. The vocals by Steve Brooks were downright unlistenable at times, the album was annoyingly flat and one-note through the majority of it's run-time, and the the album was so short that it wasn't really even a lasting experience. I also stated that I loved the "punk" elements in the album, to which I've also come to realize are nonexistent. The closest it comes is Brooks' clean vocals, but as aforementioned, those are borderline not passable. 

This rapid barrage of epiphanies sort of felt like a cop-out to me, as I'd had so much respect for creativity that wasn't really even there in the first place. I felt like I cheated my own emotions. I needed some solace, some recompense from this band I had liked so much. Thus, I moved on to their second album, titled Dove.

Thank the gods. Everything I thought I liked about Floor's debut is here in actuality, and it is goddamn glorious. There's actual punk influence, actually good vocals, and that wonderful sludge is still palpable. Let's be a bit more specific, though.

I've always liked fusion bands, especially when it comes to metal. So when I discovered Floor's punk and hardcore punk (which they most likely learned from playing with Spazz in '94) aspects to their overall doom metal style, I was thrilled to say the least. These were sort of just hinted at on the self-titled, but here they are flagrant. The wonderful thing however is these aren't the only influence on this record. Floor takes elements from classics like Black Sabbath, from the hardcore punk movement of the 70's and 80's, and about everything in between. In order to do this correctly though, Floor would have had to make some drastic changes:


1. Be more energetic.
2. Be more melodic.
3. Blend in with each-other musically
4. Tune down heaviness in order to showcase slightly more complex songwriting.

These are some big steps that are difficult for any doom band to take. First off, Floor's debut was obviously not one that was melodic or energetic. The guitars monotonously cranked out usually 5-6 note variations, but extended to three or so minutes. Where the complexity really shined through was the drumming. Jeff Sousa didn't really feel like a doom drummer like Chris Hakius- he wasn't nearly as slow and trudging as one might expect a drummer of his kind to be. While this factor could have been utilized to great effect, it unfortunately was not. Dove fixes that by having Vialon and Brooks easily keep up and making actually great, fast-paced songs. Blending was another big problem for Floor; by each other the band was fantastic, but they lacked the cohesion to create thought-provoking music like they should be. I tend to chock this up to playing on only splits for the 10 years before their first record, so they weren't exactly familiar on their own just yet. Dove is much better about that; like I said before the band is much better paced about than before, mainly due to them being much more melodious. Finally there's the issue about heaviness. What of the biggest things Floor's known for is their crushing, laboriously unforgiving heaviness. But this also created a problem: Floor couldn't continue only crunching out ultra-heavy riffs without risking musical integrity. So on Dove they made a choice to tune it down. A hard choice it might have been, but it worked wonders for the band's aesthetic. There was more room for better bridges, more interesting vocal harmonies, and much better stoner effects than before.

The tracks themselves are wonderful. Unlike the criminally short run-time of the debut, Dove cracks a healthy half-hour. This much more lengthy album length is due to the whopping 18 minute long title-track epic, who's quality rivals that of Sleep's Dopesmoker. If you are at all missing the heaviness of their 90's work or their debut, then I suggest you check out either the epic or'Floyd', the latter being more akin to "Kallisti" from the S/T. But like I said before the best songs are those that are more fast-paced, and for that I suggest the aforementioned 'In A Day' or my personal favorite 'Figure It Out'. Although the production and volume mixing can be a bit wonky at times, at others it can be so well mixed (like at the end of 'Figure It Out') that it becomes almost entrancing. 'Namaste' would be okay, however it suffers from a short length and badly produced/sung vocals. Overall though, Dove has a fantastic track-list that I just can't stop coming back to.

Dove is much more of a romp through an essential doom release than Floor's prior effort. Everything shines from the increased musicianship, improved production, and far better written songs. Floor's Dove, for me, is the new doom standard.

2016 - The Frying Pan & Thatcher 

Originally written for Metal Music Archives on 11/16/2016.

Visit the site at www.metalmusicarchives.com

Music Review #96:

Voivod
Post Society
2016
Century Media

The Odd Voivods are back with a gargantuan EP, titled Post Society.

Unlike most other bands, Voivod hasn't really lost much momentum as the years have gone by. Owe this to the uniqueness of the band's sound or influence or what you will, but no matter the reason Voivod hasn't (at least to my perceptions) had a dip in stamina.

A lot has changed over the 32 years following the band's debut; Voivod's blurring of the lines between progressive and thrash metal has made fruition of countless genius ideas that seldom other bands have even considered. So with all this taken into consideration- how is their new EP?

For one, Jean-Yves Thériault has been replaced after three decades, instead taking his place is Dominique Laroche. Rocky's metal repertoire is scarce, however he has played for blues musician Steve Hill. Other than that the lineup remains unchanged. Music-wise, Voivod goes back to their roots. The progressive inclinations of prior albums like Nothingface or The Outer Limits are a bit less prominent as they once were. Instead, what Post Society really is is a thrash metal release. This isn't really surprising when looking at Target Earth, an album that was very much just thrash-oriented. The only truly progressive song on this album in my opinion is that of 'Polluted Alcohol', an epic that goes through a variety of different stages in real Voivod fashion. Combine this with the classic monotone vocals of Snake, then you've got a song for the ages. The other songs are good too, but like I said they're all more run-of-the-mill thrash songs (which might I add is not in fact a con) which might be enjoyed more by others. Other than that the Hawkwind single 'Silver Machine' gets a cover on here, also true to Voivod's name. Something I've always praised the band for is their covers, and they haven't disappointed me yet. It is a bit lesser than the original; lacking the space-rock element makes the cover have a more stripped down feel than the original. Nevertheless the band cleans it up and makes for one hell of a song. Fantastic.

Like the eternal beast, Voivod walks on. Is there a stop for them in the future? Who knows. At this rate these guys show no obvious signs of stopping. Post Society is pretty good. Yeah.

 2016 - The Frying Pan & Thatcher 

Have a nice day! 

Music Review #95:

Grand Funk Railroad

E Pluribus Funk

1971

Capitol

One of the better power-trios out there, Grand Funk Railroad (like many other hard rock blues rock bands) made their debut in the late 60's, specifically 1969. Bands of their caliber were popping up left and right, including but not limited to Led Zeppelin and Humble Pie, but GFR were able to make something of themselves rather well. A year after it was released the band's debut hit gold certification in 1970, their second album following suit. In 1971 GFR hit what was possibly the most prolific moment of their career, performing a live show at Shea's Stadium, with their ticket sales equaling that of the Beatles and their show in 1965. The only difference being The Beatles' took weeks to achieve, whilst Grand Funk took only three days. So it is pretty safe to say that the band was at their peak in the early 70's, at least commercially. When it comes to reviewing the music however, sales from other people are irrelevant to personal opinion, so here's my opinion on Grand Funk's first three years.

Grand Funk was doing very well for themselves it's true, but their album faced mostly critical panning regardless of their sales. This could be for a variety of reasons, but most likely the band was thought to not distinguish themselves from the flood of hard rock bands emerging in 1969. Now don't get me wrong, there were factors that differentiated these bands, but they were rather general and well-encompassing. On one side you have the loud and proud, bands that relied mainly on distorted guitars and blasting sound. On the other you had bands that experimented a bit more, incorporating more classic blues/bluegrass into their heavy style- a more progressive style if you will. I believe Grand Funk belonged mainly to the former category, while Humble Pie, Zeppelin, and Uriah Heep belonged to the latter. In general the bands from the more eclectic camp were lauded by critics and were (anecdotally) more likely to be cited as influence for bands in the future. Grand Funk, Thin Lizzy, and other bands like them remained more a product of their time rather than a lasting emblem of history. This is not to say that Grand Funk should not be given commended for their style, which as aforementioned they were in their early days. However it was obvious that after 1973's We're An American Band, thought of generally as the band's opus, GFR started to sag under the weight of their overbearing swagger and cockiness, becoming almost comical in their musical undertakings. Regardless it is always a treat to explore bands in their prime, and luckily in the same year of that famous performance, GFR released two albums, the second of which we'll be checking out today.

E Pluribus Funk, whose title is a jeu de mots of the United States' then-motto "E pluribus unum", was released in November of 1971. As previously mentioned, it is the second album the band released in 1971, the first being Survival. Survival wasn't as much of a commercial success as albums that preceded it, nor was it a creative one. For example, drummer Don Brewer never quite enjoyed the sound of the drums on the album due to producer Terry Knight's insistence that he cover the skins with tea-towels, a technique he learned from Ringo Starr in the 1970 Beatles film Let It Be. E Pluribus Funk tosses these inane ideas and substitutes it for a more raw and conventional construction. Knight's production quality is very organic, like many other blues bands at the time, making the record easily retain a 70's quality of sound. The track list for this album is quite short, but makes up for it with a few extremely good choice tracks. 'People, Let's Stop The War' is a funky, crunchy power trip, titularly repeating the same jargon in circulation throughout the decade. You know, hippies might have been taken more seriously if they made more music like this- just saying. 'Loneliness' is one of GFR's best; an orchestra-aided ersatz-progressive rock epic who's slow tone actually musters up some pretty legitimate emotional material.

All in all if you've heard of Grand Funk and you wish to get involved this isn't the worst place to start. It's a good introduction, and a good showcase of the band's talents. I'd say "magnum officium" to this one.

 2016 - The Frying Pan & Thatcher 

Have a nice day! 

Music Review #94:

Dave Matthews Band
Crash
1996
RCA









To say that Dave Matthews Band is well known is an understatement. Approximately two decades after their formation, they had sold over 30 million record copies worldwide, and are one of if not the only group two have 6 consecutive albums hit number one on the Billboard chart. Whilst DMB is known for their most radio friendly material, like 'Crash Into Me', the band has a profound set of epic material on much of their early material. Believed to be the band's first stellar hit was that of 1996's Crash, an album with much to offer and little to take back.

Described mainly as part of the 'jam' band scene, Dave Matthews Band encompasses a handful of different genres into their live performances, the more prominent of these being jazz. Dave Matthews has stated in interviews that his jazz influence came from the likes of Abdullah Ibrahim and Miriam Makeba. While these artist's jazz aspects originate entirely from Matthew's preferred South African scene, these African influences aren't exactly prominent on Crash. Instead, there's a more warm-blooded, swaggery style of pseudo-jazz rock that brings elements from commercial pop rock to make a wonderful twist. The album, while not as profound as say Before These Crowded Streets (1998) with it's grandiose complexity, Crash has it's fair share.

Admittedly Crash is a primarily alternative rock release. There is a clear Barenaked Ladies or R.E.M., or even Phish influence on tracks like 'Say Goodbye' and '#41', especially when it comes to Matthew's guitar playing. These tracks sort of meld into each-other if they become to dull, which they entirely can, but being what the band is primarily known for, the pop-rock songs are played extremely well and are full of heart and emotion. But when the album hits more complex music, lord does it hit well. The beast that is 'Two Step' is perhaps one of the greatest songs to come out of the 1990's, with it's melodramatic tone, somber choruses, fantastic hooks, and of course that bari-sax! It's truly one of DMB's best and is of course my number one recommendation from the album. Now 'Two Step' is really the only song that goes all-out in the vein of progressive music but there are numerous aforementioned alt-rock slammers that are well-know- for good reason. '#41' blends eclecticism with flashy film-score emotional value to great affect. 'Crash Into Me' is by far the most well known song from the band's repertoire, and it's not bad. It's by far one of the more simple songs from the tracklist, but it's cheerful tone and playful lyrics are enough to make it notable. 'Proudest Monkey' is a very interesting song, clocking in at a whopping 9 minutes, but it hits numerous structural high points throughout it's run time. Imagine 'Crash Into Me', but longer, more improvisational, and more interesting lyrical quality. That's basically what the song is, and to someone like me that's greatly appreciated.

The greatest think by far about Dave Matthews Band however is Dave Matthews' Band. This band has what I think to be some of the most talented musicians ever put on an album. Now personally I think soppy songs for them are a restriction of true perfection in the long-run, but I'm always happy with what I've got, as well as solace of more illustrious material in their near future after Crash. On board with Dave Matthews' throaty howl is electric guitar god Tim Reynolds (a highly underrated musician), Stefan Lessard on bass, and LeRoi Moore and Boyd Tinsley as the two-man orchestra between the violin and the horn section. My only partial complaint is Carter Beauford's drumming. To say he's bad would be a denial of reality but I can't help that think that on this album (and consecutive ones), he's way overdoing it. You're playing pop, man; keeping it simple creates catchier material, at least for me. Simple drum fills could easily keep a good balance with the material provided, but I suppose going overkill works just as well financial-wise. Granted it does get much more fitting on later albums, but for this the over-complexity just seems abnormal when sitting next to something like '#41'. Just a thought. Even with that though the band has such a wonderful, unspoken cohesion that just makes them play so well. It truly is one of the highlights of the band in general.

Crash, while slightly entry-tier for someone more willing to get into it's progenitors' material, is still a colorful, inspiring release. Slow down to check this Crash out.

2016 - The Frying Pan & Thatcher 

Originally written for Jazz Music Archives on 10/27/2016.

Visit the site at www.jazzmusicarchives.com

Music Review #93:

Phish
Big Boat
2016
JEMP








Big Boat is a bit of a return to basics for Phish. Two years later after Fuego (2014), an album that was nothing short of a re-invigoration for Phish, the band decided once again to team up with famed producer Bob Ezrin- who if you don't know has worked with the likes of Pink Floyd, Deep Purple, Kiss, Hanoi Rocks, and others- and have crack at a second round.

Phish, like any other band, has a formula. This formula goes something like this: 3-4 bouncy, eclectic tracks, 2-3 rock n' roll and/or hard rockers, 1 (maybe 2) 10 minute + epic, and throw in a few slow ballads for good measure. Over the years I've found myself very comfortable with this formula, as Phish is able to follow it without replicating previous creative choices to an insulting degree. It's obvious there's a difference between these set tracks on each album- 'Down with Disease' is different from 'Character Zero', 'Sample in a Jar' is different from 'Theme From the Bottom', etc. But this time around, of all times, Phish decided to turn the tables (at least slightly), presumably to turn down the tedium. There is a few more funk rock tunes on here than were present on Fuego (which really condensed them into the bombshell that was '555'), but most of them are pretty good. 'Friends' was an absolute anomaly for me on the first listen, because it actually had sole vocals and songwriting attributed to drummer Jon Fishman of all people (this doesn't happen too often if I'm correct). It serves as sort of the theme for the album, and rightly so. It's a loud, thundering song that sets an adventurous mood quite well for the rest of the experience. 'Home' is a McConnell track, and unfortunately not his best work. Balanced between bland, linear pop rock and overwrought noise, it's a tough listen even for what should be an easy listening song. The only notable fast-paced track is 'I Always Wanted It This Way', another McConnell one, but this time a strange Foster The People-esque indie rock song with a synth-pop beat. It's really so strange for Phish that I'm not sure exactly how I feel about it, but it's not too horrible (definitely not among the band's worst).

The slower/bouncier songs are where I believe Phish shines and always have shined. I've already talked about 'Breath & Burning' in my review for the promo single, but I do stand by my opinion that it is rather good. 'Tide Turns' is one of my favorites, with a confident horn and brass section parroted by Fishman's powerful drumming. The pseudo-epic 'Miss You' is very similar to Billy Breathes (1996)' 'Waste', albeit stretched out for two or so more minutes. I prefer Waste's quiet atmosphere to this, but it rings true of Phish's talent for writing good cheesy songs. The only truly quiet ballad is none other than 'Running Out Of Time', a wonderful ditty that takes some elements of CSN&Y to create a wonderful song worthy of some of Phish's best. 

Now for something a bit closer to home for some of you reading this. Phish has created a variety of epics and suites over the years- some 25 minutes ('Union Federal'), some 10 ('Demand'). They contain some of Phish's most prolific work: their most creative atmospheres, best musicianship, best lyricism, best everything. As Phish progressed these epics became less of jams and more substantial, moving pieces of art. I believe this transition might have hit it's peak in 2002, where the band included four different epics, all with their different qualities and attributes. After Phish reconvened subsequent to their hiatus, they compressed all of their talent into one specific song. This was none other than 'Time Turns Elastic', a suite written by Anastasio that was originally 29:38 but was compressed down to 13 for Joy (2009). It was a crowning achievement for the band, with each movement shining in their respective ways and bringing out all different kinds of emotions. I've been hard pressed to find an epic that surpasses it in quality (except 'The Divided Sky', personal-taste wise in that regard however)- the title track for Fuego didn't, so all that's left to this date is whatever's on Big Boat. For that, we have 'Petrichor', a song I've been eagerly waiting to hear since the track-list for Big Boat was announced in September. And I must say, it comes close. Veeeeerry close. But not quite.

'Petrichor' has a much floatier atmosphere than the dark-tinged 'Time Turns Elastic', but has the advantage of a full-blown brass and string section to accompany it. It gives off a strong film-score vibe than many of Phish's previous works, which depending on your feelings towards that certain genre, could appeal to you in different ways. The quadruple-edged blade that is the full-band vocals of Phish adds brilliantly to the almost Floydian-like atmosphere, the latter which makes itself loudly and proudly pronounced specifically towards the second half. Like I say with great epics, I believe personal experience is the only way to truly get a feel for it. Sorry if that's a cop-out.


Another quick note:
The production is fantastic, as usual. Bob Ezrin made a point to have this album be as if not more crisp and clean than Fuego, making this interesting divide between the quasi-amateurish Fuego and Big Boat. He is truly fantastic and I wish him more luck in the future with his endeavors.


After all this fanboy jargon, I think a TL;DR is necessary. Big Boat is a mature, billowing album that delivers Phish in a satisfying and new way. If this happened to be Phish's last effort, I'd be completely fine with that. But I know that's not the case, because Phish aren't ones to give up in the long-run. Here's to many more phases of phun, boys.

 2016 - The Frying Pan & Thatcher 

Have a nice day! 

Music Review #92:

Engine
Engine
1999
Metal Blade












The reason I've found that most people even know about the band Engine is mainly the band's singer, Ray Alder. Alder is best known for his work in the progressive metal outfit Fates Warning, taking over from previous vocalist John Arch in 1987.

The 90's were a strange time for Fates Warning, especially at the time of nearing the 21st century. 1997's A Pleasant Shade of Gray was an album that was all over the place, a collage of neo-classical industri-prog that split their audience down the center. But with all with Fates Warning going all out artistic on their albums, somewhere along the line, Alder decided to take a break and do something a bit different. Enter Engine, a supergroup formed by Alder himself. On board was some familiar faces of the past few decades. These include Armoured Saint's Joey Vera on bass, Agent Steel's Bernie Versailles on guitar, and punk band Face To Face's Pete Parada on drums.

Now if you're expecting something similar to the complex prog that I mentioned before on this album, you're sorely mistaken. Engine's first (and most notable) album was released in September of 1999, and is the most blatant alt metal album you could find at the time. Unapologetic post-grunge influence combined with the dark, edgy stylings of seasoned metal veterans- what could go wrong? Not much to be honest. The songwriting isn't complex, lyrics aren't overthought or needlessly poetic, Engine is just a 9 track collection of some pretty good alternative metal material. Like I said before there is a palpable dark quality to the album, mainly given off by Alder's somber vocals and Versailles' slow, echoing riffs that seem to blend into each-other as each song progresses. Engine draws from a variety of influences, such as 90's Soundgarden, Staind (particularly on my personal favorite 'You're Awake'), and a variety of other hard rock/ alternative metal bands at the time. Sometimes Alder's voice reflects a bit of Jonathan Davis' at times. Melodic tones are also used to great affect, notably 'Tree of Life' and 'Falling Star'.

This isn't progressive material, and if you're looking for that kind of stuff I suggest just keeping up to date with Engine's members' original bands. But if you're looking for some supergroups formed by great musicians, then I suggest you check out this little-known group. It's worth it.

2016 - The Frying Pan & Thatcher 

Originally written for Metal Music Archives on 10/16/2016.

Visit the site at www.metalmusicarchives.com