TWENTY PILLS WITHOUT WATER

A substantial return to form. After the willfully experimental noodling of "Frosting" (fun to create, I'm sure, somewhat less so to listen to), and the determinedly different "You Know What They Mean", this is a far more focused and coherent effort. It feels like the absence of the more avant-garde influences previously present in the band have resulted in a slightly more mainstream, but ultimately far more listenable and enjoyable set of songs. The Python-esque "Cowboy" aside, there are tunes and inventive production a-plenty here, with the implausibly titled "Big Bagel Manifesto" in particular standing out as a potential classic, full of lush chord changes and virtuoso vocal beauty.

Despite the loss of founding members and BEN Levin and Jessica Klon (who have moved on to devote more attention to their own other projects), the Boston-based progressive rock band goes on, here releasing their sixth since their 2011 self-titled debut.

1. "Enter" (0:47)

2. "Forest" (5:07) interesting, very Eastern musical palette that, in my opinion, would probably be better without any contribution from a Western-oriented (KATE BUSH-like) drum kit. Lots of distorting psychedelic effects on nearly everything and everybody--at least, until the electric piano break in the fourth minute. I absolutely LOVE the restart and finish! (9/10)

3. "I Like It" (3:10) great bleed over from the previous song with sustained though unstable strings synth note/chord to which Courtney eventually sings sounding like something from the 1980s: Siouxsie and the Banshees or Laurie Anderson. She is so fricken talented! Great bass/synth bass play from Vince Welch and the strings and violin arrangements are amazing! One of the coolest songs the band has done in a long time. (Maybe the best, most engaging things I've heard from them since Shiny Eyed Babies.) (9.75/10)

4. "Illiterate" (3:28) Once again the band treads into the World Music pop blending world that Peter Gabriel really exploited in the 1980s, and once again Courtney morphs her voice into something totally unexpected: something sexy, sassy, aloof, and disinterested. Amazing! Genius! (9/10)

5. "Big Bagel Manifesto" (5:12) here Courtney morphs yet again: treading onto the grounds that Julia HOLTER and Elizabeth HEATON have elevated to such esteemed heights. A song that may be close to achieving perfection. (9.75/10)

6. "Cowboy" (2:57) old-time acoustic guitar with an old-time front porch singing imitation. Tough to pull off, but they do. Wow! And then the way it gets sucked down a distortion hole in the alley of barking dogs! Who would have ever expected anything like this on a Bent Knee album?! (4.75/5)

7. "Never Coming Home" (4:00) despite a retro-poppy opening, this one serves as a brilliant blend of several highly recognizable, wildly eclectic styles. Very clever and well done--end eminently enjoyable. And, (believe it or not), incredible lyrics--such a poetic selection of words. I am completely under a spell! This could--should--be a radio hit! (or should have been back in the 1980s!!) Great guitar and keyboard effects at the end, Chris and Courtney! (9.5/10)

8. "Comet" (0:45) a synth wash bleed over from the previous song within which a dream scenario of a family eating at the family dinner table. Somehow this serves as a bridge between "Never Coming Home" and "Drowning."

9. "Drowning" (6:40) a fairly simple, straightforward song that is totally reliant on Courtney Swain's vocals and lyrics. It's okay. Courtney's great but I guess I'm always hoping for something more in a progressive rock song--more change, development, hooks--something. The one encouraging thing I can say about this is that it is gorgeous if drawn out a little long. (8.75/10)

10. "Lawnmower" (5:03) more based in bucolic, acoustic-sounding instrumentation (acoustic guitars and bass!)--almost like a proggy folk song--this one succeeds. I love the use of power chords and "I never mow the lawn" lyrics to convey the symbolism of accepting/resigning one's comprehension that one's loved one is never coming home. (9.25/10)

11." DLWTSB" (3:23) another surprisingly well-conceived and cheeky blend of retro sounds and styles delivered with absolute perfection. The first half sounds very much like an outtake from The Flaming Lips' Yoshimi Battles the Pink Robots; the second half like something from a 1980s New Waver like DEPECHE MODE, SIMPLE MINDS, or MADHOUSE. (9/10)

12. "Exit" (2:39) a large banked chord of sustained-yet-subtly-morphing synth strings swells before slowly decaying into a Lethe-like river of floating soul-fluid. Beautiful, dreamy, uplifting, and inspirational. The perfect bookend to the opening song for this nearly-perfect masterpiece of an album. (9.75/10)

Total Time 43:11

This is an album I enjoy so much that I can see myself listening to it every day for quite some time: it's filled with so many ingenious and effective nuances and layers that it'll take a long time to get to really know much less distinguish and memorize each and every song--songs that are definitely all unique and thus deserve this kind of attention. It is an endeavor that I greatly look forward to.

I am so surprised with the absence of such virtuoso musicians as Ben Levin and Jessica Klon how able and wonderful are the bass and guitars throughout this album. (Great job, Chris and Vince!) At the same time, I think this is Courtney Swain's breakout "solo" album: She somehow chameleonically transmforms her voice and the emotions and very- personhood she possesses with virtually each and every song on this album. I am left stunned--humbled before her skills and talent. And I mean no disrespect to her stalwart crew of supporters: they are absolutely brilliant! But, come on guys, Courtney is the show! As an overall soul-sucking album, this might be as good or better than Shiny Eyed Babies! (I'll let you know in a few months the staying effect this album holds when compared to that of their 2014 masterpiece.)

A/five stars; a masterpiece of very diverse and impressively innovative crossover progressive rock music. Without doubt, this is an album that is an essential listen (if not acquisition) for any self-professed lover of progressive rock music.