Album Review: Transit Method - "Othervoid"

Oh, wow.  It’s not very often that you hit play on a record and the first instinct is “this sounds like ‘Permanent Waves.’”  Not to say that Transit Method’s new album “Othervoid” begins with earnest yelling about “SALESMEN!” but the entire affect brings to mind the kind of proto-prog that Rush built a foundation, and indeed a very career upon.

There’s more to it than that, thankfully, or this review would be over already.  What makes “Othervoid” stand out from both the legacy of the bands who have come before and their prog-heavy contemporaries is that they color the edges with enough rock and in particular punk influences to make something so much more than another prog rock record.  

Almost like Jane’s Addiction was re-writing Rush songs (thinking specifically of Eric Avery’s idiomatic stompy-ness on bass,) there’s an edgy accessibility around this record, a baseline of two-four time sensibility that keeps “Othervoid” grounded and prevents it from floating too far into the purely artistic ether.

(A sidebar apropos to nothing – my brother loves Rush but hates Jane’s Addiction because he loathes Perry’s voice.  One of my best friends is the opposite, hating Geddy’s voice.  They have admitted to each other that there is a certain hypocrisy in both arguments.)

Nowhere does all the gibberish we’ve talked about above make itself more apparent than in the single “Psychometry,” which folds together articulate riffs with familiar layered-vocal choruses to make a piece that is both intricate, calculated and eminently easy to listen to.  It doesn’t hurt the band’s case that the guitars are capable of wringing out solos with that soulful, David Gilmour tone that plucks at the heartstrings (both here and particularly in the previous track, “Nightmare Machines.”)

Not done showing their versatility, Transit Method follows this up by laying down a chugging metal thumper with “Another Wasted Life,” and then the swinging, good-time rocker “The Outside.”  The sheer number of permutations this band is capable of are laudable in their own right, and calls back to the history of Rush, who seems to keep coming up over the course of the review and is in many ways an appropriate analog, if not an exact one.  Transit Method is bluesier than their Canadian counterparts, more likely to take journeys towards Thin Lizzy than jazz.  The other important distinction here is that vocalist Matt LoCoco sounds nothing like Geddy Lee; his tone will be familiar to fans of another Canadian singer, Priestess’ Mikey Heppner.  (Worth mentioning, Transit Method is from Austin, Texas.)

Breezing along at a quick and easy seven cuts, Transit Method burns bright at the end with the rollicking “Frostbite,” which rolls together everything we’ve talked about above and combines with a little dash of The Sword’s Austin-metal flavor.  It can’t be said enough – for an album of this type, one of “Othervoid’s” best decisions is to leave piles of fat and gristle on the cutting room floor, leading to seven digestible tracks that make for an album in total fighting shape.  

It’s difficult to encapsulate everything “Othervoid,” and by extension Transit Method, tries to be and maintain any kind of navigational or editorial brevity, which is a complicated way of copping out and saying “take our advice, and just listen to this record already.”  It should be re-stated for clarity – this is not a pure prog record, this is prog-adjacent, and is subsequently much better for it.  The folding of styles and versatility shown here makes for an album that is unique and enjoyable, the best such record in this style since Cave of Swimmers’ “Aurora.”

Album Review: The Jelly Jam - "Profit"

As a rash youth, the phrase “progressive super group” would have just about tested the limits of my musical tolerance, two out of the three words being catalyzed trigger words that would have sent me on a tirade railing against my friends who held things like time signature and poly-rhythm over the heads of ‘normal, shallow, pedantic’ music listeners.

Thankfully, we’ve all grown some and learned that musical definitions are malleable in ways that most other definitions, even artistic ones, are not, so therefore, the idea that King’s X, Winger and Dream Theater could get together and produce material worthy of accolade is much more inviting.  Thus, The Jelly Jam releases their fourth album unto the world and first since 2011, “Profit.”

“Profit” is a concept album meant to not subtly react to the conditions of our times.  It follows the path of ‘The Prophet’ a luminous but weighty harbinger of truth who corrals his Followers (the capital ‘F’ is theirs, not mine,) in an effort to save the world from the aptly named ‘Those Who Will Not See’ and ‘Profiteers.’  The album’s message is one of a dying world subject to destruction due to both environmental and sociological factors, unless The Prophet and his Followers can utilize truth to change the world in short order.

Cynics might make an argument here that “Profit” contains a certain amount of philosophical determinism – that those who value wholesome truth are followers anyway, just followers of a different singular identity who still lack the power to determine their own destiny.  While the Prophet is more likely a convenient way of more easily crafting a narrative around a single entity, there is some weight there, as The Prophet’s followers are called, well, The Followers.

But none of that has anything to do with the music contained herein, which, to some surprise, sounds vaguely reminiscent of the later works of Alice In Chains, and not especially like any of the bands that make up The Jelly Jam.  This is not AiC in that there are long lamentations of wrought and wretched emotion crawling through the muck, but in the sense that the music is very much played out in low tones with quiet power.

The connection occurs most notably twice – first for “Stain on the Sun” which uses a low key, melancholy delivery in much the same fashion as we experienced with Alice In Chains’ “No excuses,” or “Heaven Beside You,”  though without the jangle of acoustic guitar.  Nevertheless, it is the tone of Ty Tabor’s voice that sells a similar story.

The second such similarity comes later for The Jelly Jam’s “Mr. Man,” which thuds heavily with the kind of recurring, infectious thump that Jerry Cantrell infused into classics like “Again” and “Get Born Again.”  “Mr. Man” strikes as the album’s most memorable song, in good part because it stands in heavier contrast to the other tracks.

The Jelly Jam, for all that “Profit” reminds of days gone by more than it is given to flights of progressive fancy, does occasionally find itself in the trap that consumes any number of otherwise talented prog acts, which is that they can get caught in a loop with no exit.  Some of the later cuts on “Profit” like “Permanent Hold” or “Fallen” give way to long musical diatribes that are intricate yes, but repeatable and not wholly exploratory, which makes the pieces drag on unnecessarily.

“Profit” is a fine concept album and a solid lesson in why the tags of genre should not be feared, as the ‘progressiveness’ here is not the high-end flights of fancy that are so often associated with King Crimson or Yes.  That said, the music of The Jelly Jam in this particular instance is interesting but not satiating.

Album Review: iamthemorning - "Lighthouse"

Russian songwriting duo iamthemorning is remarkably creative in their diversity, as the duo takes on many different faces across their new album “Lighthouse”.  Running a complete and thorough gamut between crystalline fragility and jaunty confidence, the beauty of the album lies in that very versatility.  Most albums can be diagnosed by the strengths of their great individual tracks, but “Lighthouse” is better served by addressing the album’s flow as a whole.

Which functionally begins with “Too Many Years” and it wonderfully displays all the open possibilities that iamthemorning brings to the table.  The entire piece is paced by the sanguine but pained vocals of Marjana Semkina, who sings with an elegant, effortless aplomb that shows her character.  The song as a whole is mellow but dotted with the promise of a threatening drum beat, ever-present below Semkina’s swan song.

The duo’s album is a concept, a journey that takes us through the deteriorating psyche of a woman as she struggles against mental demons both real and imagined.  Where the album really shines is in the disjointed, off-kilter pieces that fit the story while concurrently standing out from the baseline idiom of the record.  “Libretto Horror” has a certain devilish smirk in its undercurrent, the piano of Gleb Kolyadin taking on a personality somewhere between Grieg and Joplin.

We see much of the same for “Matches” a similar tune that twists and contorts as the pivotal character spirals deliriously out of control, bending rhythm and melody into a bright but tormented spiral of beautifully composed and artistic progressive music.

The one sour note of “Lighthouse” is that iamthemorning probably returns to the placid well a little too easily, returning there as a home base.  It’s not that the heavy dose of emotionally heavy music is unpleasant, it’s just that it doesn’t speak to the great variety that iamthemorning is clearly capable of.  For all that “Libretto Horror” shines, there are many more “Harmony” or “Clear Clearer” which tell much the same musical story.

Sidebar: there’s a small sticking point in the defining of iamthemorning as a ‘progressive’ act.  Not that the labels really matter, but something about the labelling of this band, based on their presentation and frequent associations with artists from Porcupine Tree and other modern prog luminaries, feels a little too easy.  Iamthemorning is both more and less than what we traditionally think of as prog, a piano duo that creates easy melodies but doesn’t necessarily create the immersive atmosphere that a full prog band is capable of.  It’s neither here nor there, but if you’re picking up this album based solely on its genre label, be warned that the experience within may not quite be what you think it is.

Iamthemorning has nevertheless produced a record that is worthy of praise because of its versatility, even if that versatility isn’t displayed as frequently as it could be.  It’s doubly rare to encounter a record that can be both a pleasant listen and haunting at the same time.  Artists of all genres could take a lesson from the artistic integrity of iamthemorning, and their new record is worth a listen just for that.

Album Review: Mondo Drag - "The Occultation of Light"

Mondo Drag felt the need to relocate.  Following their release last year, the band left the endless, undulating sea of corn fields in Iowa for the dramatically different culture of Oakland, all in an effort to expose themselves (not like that) to a greater variety of musical attenuation.  The result of this holy pilgrimage is “The Occultation of Light,” a perfectly retro rendering of progressive rock as it existed in the heady days of King Crimson and Yes.

And that DNA roots down to the marrow of Mondo Drag, high flying synths and meandering guitars abound, all layered over and over again in rich harmony to weave an ornate web of aural opulence, washing the listener in an oceanic ebb and flow of carefully planned musical themes.  The band isn’t so obsessed with fooling or impressing the listener with obscure time signatures or production trickery, but instead wants to create an immersive experience.  “In Your Head (Part I & II)” begins its life with a flourish of feathering, each instrument working in concert with those around it, eventually pacing out into a clean recitation of more dull (by comparison) tones, the song wending its way to conclusion.

That’s where the patterns between traditional prog and Mondo Drag diverge; Mondo Drag is more concerned with setting a mood than the typical synth-heavy prog affair.  If there is such a thing as doom-prog, then Mondo Drag would fit that epithet perfectly, preferring to let the muted colors of their musical flower bloom slowly over the course of a dewey morning than in a blinding flash of radiant iridescence.  The opening trill of album starter “Dying Light” belies the slow burn that resides within.  The song settles into a slow jam and only occasionally emerges out of it for effect, as this piece rises up into a throwback jam outro that reminds ever so subtly of the soundtrack of a b-grade cop movie in the middle 1970s.

The result of the band taking their time to allow the music its due course is occasionally a double-edged sword.  There are spans of time on the record where nothing notable is really happening, a trait that unfortunately mars the last act somewhat.  “Rising Omen” is an ambient piece that the average fan may likely skip, as it doesn’t really capture the attention of imagination, and even in listening to the full length of “The Occultation of Light” doesn’t really tell an important part of the story.  This trend continues into the opening half of the album’s closer “The Eye” which improves dramatically in pace and impact by its conclusion, but does stumble some in that it lacks a certain urgency that would have sewn up the album’s journey with a satisfying end.  (Now, there is an argument to be made that the end of “The Eye” tails nicely into the open of “Dying Light,” thus turning the album into a fulfilling round if listening to the tracks on repeat, but that seems a very specific set of circumstances.)

So to that end, where the album succeeds best is actually in the shorter selections in the middle, where the band can crank through one idea and continues their album-long smart decision to not force lyrics where they aren’t needed.  There’s nothing wrong with John Gamino’s voice, it’s just that this type of music doesn’t necessarily need a lot of direction for the listener – each individual should be able to conjure his or her own mental image of what’s going on.  Anyway, “Out of Sight” and “Ride the Sky” are where the album shows the most spark, completing one great cycle and concluding the piece, all wrapped up in excellent execution and expressive playing.

“The Occultation of Light” is a well done retro prog record from a band who has often dabbled in heavily psychedelic music, so it’s fair to conclude that Mondo Drag has found an effective niche for themselves.  Prog purists will appreciate the slant in their favor and the incorporation of many hallmarks of their chosen genre, while psych fans will still find value in the album’s deliberate (occasionally too deliberate) pacing.  Laid out, this is a fine effort for Mondo Drag, and perhaps the start of great things to come for them.

Album Review: Aunt Mary - "New Dawn"

Way, way back, there was a Norwegian progressive rock band that headlined shows in their native country and toed the line with heavyweights like Deep Purple and King Crimson on the Scandinavian shores.  That band was Aunt Mary and over the course of thirty some years the magic started to wear off.

Then as the calendar turned past 2010, the occasional reunion show turned into something much more, as the band decided that the time for a new era had begun.  Reunited, the band set out to record new material for the first time in this new millennium….

When disaster struck.  Vocalist Jan Groth was diagnosed with cancer and passed away not long after, urging the band to continue in his stead.  They soldiered on, recordings came together, things were starting to look complete….and again heartbreak darkened the band’s doorway.  Five months after being diagnosed, drummer Ketil Stensvik passed from cancer as well, leaving guitarist Bjorn Kristiansen as the only original member standing in the band.  His conscience heavy, Kristiansen consulted with those around him and decided to continue.

Among his new recruits in the effort to release what would become this album “New Dawn,” Kristiansen brought into the fold Glenn Lyse, 2007 winner of “Norwegian Idol,” a singer who sounds almost like a well-groomed Dave Wyndorf, and “New Dawn,” with a new lineup and a brave face, confronts the masses.

In some of their best moments, this new age of Aunt Mary sound almost like a recall of a very young Aerosmith, as they pounded out the sauntering swagger of “Last Child” in 1976.  The second cut, “Unconditional Love” sounds eerily similar to the “Rocks” single, but there’s a different mood – the wandering bravado of Steven Tyler is summarily replaced by a plain but insightful wondering, which lends some nice depth to the selection.

But stay with me, because this is where the progressive nature sets in.  “Hopelessly Lost” changes pace into a lowdown blues romp, much in the same style as we just witnessed the other day with Supersonic Blues Machine.  It’s got a fun chorus, a breakdown, a two-beat riff, the whole bit.

And then we change again, and the progression really ramps up for “G Flat Road,” an oddly echoed and utterly catchy hum of a song that’s half video game track from the early nineties and half experimental rock tune.  There’s a consistency in the bass line that ties the product together, but on its face this can be pretty abstract.

Not done yet!  We then move onto “I Was Born to Ride on the Wrong Side,” which sharply pivots and we suddenly have a cross of Soundgarden’s “Drawing Flies” and Union Underground’s “The Friend Song,” but with a rock chorus wedged in the middle.  Does it sound out of place?  Sort of.  But does it work?  Sure does.  It might be the best offering on the whole of “New Dawn.”

No, I take that back.  That honor belongs to “Don’t Keep Me Waiting,” the album’s closer, which is a quick ditty that hits with elements of doo-wop and the Andrews Sisters woven into a swing template that is difficult to describe but incredibly fun.  Suddenly there’s a song about waiting on a train platform for ‘my baby?’  Sure.  Makes sense.  Again, hard to describe, but it somehow makes the album work.  Brilliant stuff.

Listen, now isn’t really the time to gripe on Aunt Mary too bad, but it does merit mentioning that several cuts on the back half of the record sort of drop the progressive streak and boil down to songs slightly reminiscent of the E Street Band.  If that’s your thing, there’s added value here.  If not, you may hit ‘next track’ a few times.

So what we end up with here is an album that is vital in the face of loss, which is remarkable in and of itself.  To write convincing emotional content in this form is difficult enough to pull off, but to then make the songs sound optimistic when all is said and done is another feat altogether.  Aunt Mary, through the hardest road and the least likely of all circumstances, is back.