From epic solos that Guitar Hero enthusiasts can only dream of to '80s dance beats and "Dark Side of the Moon"(1973)-inspired jams, "Mantis"(2009) has it all. The latest album by the Midwest-based Umphrey's McGee demonstrates the band's trademark diversity in songwriting. It also has some of the best tunes the band has ever assembled.
For those unfamiliar with the group, imagine if Phish, Pink Floyd, Incubus and a slew of other progressive rock, metal and jam bands all came together. Although the album is definitely of the rock variety, it's impossible to fit it into one sub-genre. Progressive, experimental and improvisational rock come closest but don't fully describe everything the band has to offer.
Unlike some of the band's earlier releases, the songs on "Mantis" were all written in the studio, and it shows. Each of the 10 meticulously crafted songs feature fantastically layered arrangements. The level of forethought, polish and overall musicianship is far greater than most other modern rock bands. For an album with as many different movements and sub-genres as "Mantis" contains, the overall flow and coherence is quite impressive.
The opening track, "Made to Measure," is a concise, catchy tune with the word "single" written all over it. The song is full of Umphrey's famous syncopated rhythms and chord-changes, but the overall driving melodies are surprisingly catchy. Ending with a brief "Breathe in the Air"-style jam with slide guitar aplenty, "Made to Measure" is in itself a perfect summary of everything the band can and will do in the following 50 or so minutes.
The brief and aptly-titled "Premable" separates the opening song from the first of many epic tracks. The third song, "Mantis," at nearly 12 minutes in length, is a testament to Umphrey's skill as songwriters in that the eponymous track never stays interesting all the way through. It captures the spirit of the band's usual improvisational approach to songwriting and live performance with all the fixings of a well-produced studio cut.
This is a different Umphrey's McGee than one might find in copies of its many bootlegged live shows, but it is ultimately better. However, the album, like the band itself, may not be for everyone. Half the songs are over five minutes in length, but in the case of "Mantis," the ending is often well worth the wait. Despite the energy that drives the record, it occasionally gets bogged down in the complexity of what it is trying to accomplish.
Another frustrating trend in Umphrey's earlier work resurfaces here as well, and that is the relative weakness of the vocals. This weakness may result from mixing, not singer, guitarist and songwriter Brandon Bayliss' ability. The vocals don't ever pack the same punch and distinction as the other instruments. This track is an outlier, as Bayliss established earlier that he can carry a tune, and the rest of the album has such a stellar and well- mixed production.
Sparse and effective strings are woven throughout the album. The fourth song, "Cemetery Walk," features some brilliant and complex layering. Diverse guitars growl over a basic rhythm of piano, drums and bass. Each repetition of the closing phrase brings in a new layer of white noise that adds to the piece's powerful atmosphere.
Unfortunately, the only song that lacks the same level of atmosphere and excitement is the closer, "1348." With a 12-minute epic like the third track, one expects something truly grandiose to finish off the album. Instead, uninspiring "1348" leans more towards metal. Umphrey's McGee leaves a fairly disappointing taste in the mouth after "1348" ends with some guitar and drum work that immediately and regrettably calls to mind Dragonforce.
Aside from "1348," each of the tracks on "Mantis" is interesting in its own way. More often than not, the songs hold a wealth of unpredictable movements, some truly epic instrumentals and an overriding confirmation that Umphrey's McGee is a master of its trade.
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Mantis
Umphrey's McGee
Sci Fidelity Records
