Somehow it manages to be inventive, fresh and new, yet managing to stay accessible and soon the listener wonders how they managed to live their musical lives without ever coming across these guys before. Posted Thursday, March 23, 2017 Review 1704489 Wow. This is also probably the proggiest, most musically dense song on the album, with many riffs not just switching between melody, but completely different styles, with many standard rock and metal riffs, while also having ones with rhythmic interplay of bands like Meshuggah, with certain riffs even dropping down to further sound like this. From here, the final three songs are a bit of a mix, with Concrete Swan Dive, while being incredibly dense, as with every other song here, leaving me feeling cold, really underwhelming for the way the vocals really don't mesh with the instrumentals, at least not to me. Interestingly, the vast majority of progheads who have come across their music think that they are amazing, so how come they aren't more well-known? Not an uncommon trait especially under the crossover banner. Please, do yourself a favor and listen to them. Of course, Marrano's voice plays a main role during the whole album, being a crucial element of Thank You Scientist's sound.
Pre-orders for Stranger Heads Prevail also begin today. They are from New Jersey and have been playing successful live shows to eager audiences for some time now. The vocals are acute and sweet, while the music has a circus-like feeling. Overall, this album is incredibly impressive in a massive amount of ways, especially in terms of having such a distinct identity, along with often balancing enjoyability with technicality excellently, before ramping both up to the absolute extremes. The song's length is over nine minutes, but they pass so fast with a blink of an eye, which means it has naturally grew on me.
Users who ignore this rule will be banned from the site. I must admit a certain bias as trumpet player myself, the inclusion of lots of clean and technical trumpet definitely makes it easy for me to love this music, but lets be fair, the music is just generally easy to love. And the chosen album is Stranger Heads Prevail, the latest effort of the weird ensemble of Thank You Scientist, an album that shows advocates of classic prog that the current scene is well nurtured and thriving. Yes, they can go off into tangents when they wish to, and Tom is an amazing guitarist, but it is the sheer joy from the music that makes one keep going back for more. I do find that the constant energy does get a bit tiring by the end, but that's mostly fine, as the songwriting is often good enough to still make it a great listen.
They mix Coheed and Cambria with a gentler version of Protest The Hero and manage to make djent, jazz, pop and prog sound as if they were destined to be together. That said, this is where the album can start to slightly fall apart in places, as by this point, the extreme, unending bombast and chaos leads to the tracks starting to blend together to some extent. It is strictly forbidden to share links to albums via file sharing sites Zippyshare, Torrent, Kingdom Leaks etc. This is another favorite of mine, without a doubt. Once everything calms down and a crackling sound appears, things look like they'll become slightly quieter, only to then bombard the listener with the mind bending, rhythmically complex intro of Feed The Horses, before it breaks down into the main verse, which happens to be funky and very clearly inspired by Michael Jackson. Best songs: A Salesman's Guide to Non-Existence, Feed the Horses, Blood on the Radio, My Famed Disappearing Act Weakest songs: Suspicious Waveforms, Concrete Swan Dive Verdict: If you enjoy highly bombastic music, then I think that you'll find a lot to like about this, similarly to if you're a fan of The Mars Volta or enjoy brass instrumentation.
Posted Monday, March 6, 2017 Review 1699107. To purchase and to check out bundle options, head to www. The jazz feeling is simply delicious, I love how in spite the challenging composition, the music could be catchy and easy to dig. If someone asked what genre this belongs to, one would probably argue that it is jazz rock with a spoonful of pop and a hint of metalcore. The final three songs manage to be much more interesting, with Rube Goldberg Variations being an infinitely more entertaining instrumental than Suspicious Waveforms, with this one flipping through styles at a rapid pace, while also being by far the most crafted song the band has written so far, constantly progressing while still holding onto the key elements of what makes it great.
It is rare to discover a band truly formed and with strong direction on their very first release. The first song after the acapella intro, A Salesman's Guide To Non-Existence comes in guns blazing, immediately establishing the sort of powerhouse this band is, with a great guitar riff that within a few moments is built upon with the strings and especially the saxophone following the main melody, before breaking down into an amazing, layered verse with sections with vocal harmonies to add further 'fullness' to the sound, for lack of a better description. Despite being one of the most straightforward songs on the album, the sheer density of it is incredible, even going as far as to have a small electronic breakdown. And still, this band manages to sound original, which makes it even more incredible. Sal somehow manages to always stay in control, no matter what is going on around him, and his style certainly adds to the overt commerciality of some of the material.
Even from the opening notes of The Somnambulist, you can tell that the album will generally have a more restrained feel to it, as despite the chaos that takes place within the first 15 seconds, everything still feels very subdued. The lyrics are also excellent, with the powerful chorus conveying them well, and the change of tone into something sounding completely hopeless and distraught sweeps through. Overall, while nothing particularly amazing for the band, the rest of the song is an enjoyable, jazzy rock piece that is quite a suitable opener. A move back to music for the masses without sacrificing their progressive core. Again we are being treated to a band that want to mix so many different styles and musical influences that it is superfluous to even mention them, but when Coheed and Cambria lay down next to Frank Zappa who is cosying up to Mars Volta, then one knows that one is in the presence of something quite special indeed.
Furthermore, if you're someone who doesn't like the softer moments on such albums, then Suspicious Waveforms will help with that, because with the complete lack of vocals in this song, the instrumentals are free to go wild, leading to the majority of the instruments getting their own solos, each of them being amazingly technical, but I find that it goes on too long and loses its way by the end. It is rare to hear music this complex, invigorating and exciting that is also incredibly commercial. The label is best known for being owned and ran by Coheed and Cambria lead singer, Claudio Sanchez. Listening to this album is a great experience, but now I am truly excited because I will see Thank You Scientist on stage next Progtoberfest at Chicago, and am sure it will be an unforgettable experience. While a septet isn't really that unusual in music, the instrumentation being portrayed by some of the line-up certainly is. This slight lukewarmness is immediately destroyed by my personal favourite song by the band, Caverns, jumps between riffs excellently in the intro before transitioning into a section almost devoid of brass, instead having a wonderfully interweaving melody involving the guitars. Fortunately, after a string of some flawed songs, In The Company Of Worms comes back incredibly strong with an ethnic, psychedelic intro that reminds me of something from Dzyan's Electric Silence.
While the foundation of the band is still clear to see, with the pop and ska elements being fused with jazz, metal, and the insanity of The Mars Volta all still being there, but with more room to breath within tracks, along with certain compositional problems no longer being present, namely the lack of any track that goes too far off course and ends up losing its way. We've seemed to have become so hostile to the idea of accidentally making a catchy tune, that musicians will try to avoid it at all costs. The musicians are all very talented at their ability to follow each other's cue as they meander through complex technical workouts without ever compromising the free flow melodic delivery of the songs at hand. Best songs: Caverns, Rube Goldberg Variations, Psychopomp Weakest songs: Need More Input, Epillogue: And the Clever Depart Verdict: The easier of the albums by the band to get into, with a much less dense overall sound and many moments of wild experimentation that are far less caffeinated than you;d find on their debut, suggested to those who enjoy the Mars Volta or complex, jazzy music in general, although this album is far from inaccessible to more casual listeners anyway, at least in parts. This is the only instrumental track off the album, by the way.
While the years of this decade have passed, Thank You Scientist has developed a wonderful, unique sound that shows a truly interesting crossover of prog rock, metal and jazz that now has landed in their second studio album entitled Stranger Heads Prevail, which shows a step forward from their previous releases. So, to conclude, this a refreshing and modern album with enough variety to appeal to any prog or jazz fan, so listen to this, specially if you like stuff such as Snarky Puppy, Coheed and Cambria, Anathema, or any prog in general really. Some of them fall short on originality, but I can asure you, this band excels in originality all the while sounding as if they're paying tribute to the giants. What on earth could an album be like? I will begin with a personal anecdote: I was studying abroad by the time of this release Sep-Oct 2016 and that was the first time I travelled outside my home country and this album reflects somewhat my experience abroad: I was eager to meet new people, speak other languages, be part of another culture; and while I was living that life, I came across this band, who, as I back then, took risks, had a good time and turned this album into something not seen very often. In the final part there is a killer guitar solo.