SUFFOCATING THE BLOOM

'Suffocating the Bloom' is the second full-length studio album by Echolyn. I never fully understood the Gentle Giant comparisons that Echolyn received, though there are a few songs in there discography that do indicate an influence of Gentle Giant, and those few songs are found on 'Suffocating the Bloom' and the following record, 'As the World.' When the band regrouped after a hiatus, caused by a bad deal with Sony Records, their sound evolved slightly, though every album from 'Cowboy Poems Free' to 'I Heard You Listening' still very much sound like Echolyn. When I listen to Echolyn, I hear an amalgamation of influences that all combine into one, original sound. I know there are certain people out there who claim that progressive rock belongs to the UK, which is ludicrous. No one country can own a musical genre as music is a universal language that is inclusive to people from all walks of life. Echolyn, are an American progressive rock band from Philadelphia, Pennsylvania.

The album opens with "21," starting with a synth melody that then leads into punchy Paul Ramsey drumming which sets the song in motion. This is the perfect opening track to energize the listener right from the beginning. The song is face-paced with Brett Kull's impressive run-up-the-neck guitar riff that sounds like a scale exercise. As the title suggests, the lyrics are about what it feels like to be 21 years old. Ray Weston's vocals are theatrical. Apparently, "Winterthru" was the song that Sony heard from Echolyn that got them signed to their label. Unfortunately, the Sony deal was a debacle. This, like "21," is an uptempo number with Beach Boys-esque vocal harmonies during the chorus. The melody of "Jingle Bells" is referenced at the end of the song. The gorgeous "Memoirs from Between" starts acoustically and is, instrumentally speaking, stripped down. The vocal harmonies are beautiful. The second half of the song builds to the great "set a course..." (or, should I say "Santa Claus") climax that reminds me of the Würm section of "Starship Trooper" by Yes. "Reaping the Harvest" is a strange, atonal interlude with dated synth tones. I usually don't understand the excessive Gentle Giant comparisons Echolyn receives, with the exception of certain songs such as the next song, "In Every Garden." This song is heavily inspired by Gentle Giant, and I love it. One lyric references "I Know What I Like (In Your Wardrobe)" by Genesis. "A Little Nonsense" is a jazz fusion song that uses dissonant microtonal vocal harmonies during the chorus. "The Sentimental Chain" features exquisite classical guitar and flute interplay which seamlessly transitions into "One Voice," which is a power ballad. The vocals are passionate, the flute is calming, and it all ends with an Our Father prayer. The album picks up in pace with the uptempo "Here I Am." The saxophone melody during the chorus is brilliant and the ending is atmospheric.

The last piece of music on the album is the 28 minute epic that is "A Suite for the Everyman." This is one of my favorite Echolyn epics and is a great representation of what this band was capable of. "Only Twelve" is a twelve tone exercise that was eventually expanded into the suite. Paul Ramsey powerful drumming, Ray Weston's intense, almost operatic vocals, Chris Buzby's epic church organ, and Tom Hyatt's slap bass makes "Bearing Down" sound huge. The "Only Twelve" theme reprises during "Twelve's Enough." A drumline is featured during "Cannoning in B Major." The title track closes the suite with lush acoustic guitar as the album ends the same way it began with that subtle synth melody.

In conclusion, "Suffocating the Bloom" is a dense, complex 90s progressive rock album, further proving that even during the grunge era, prog was not dead. This album may be overwhelming at first listen as it was for me, but it's a rewarding album to return to. The music of Echolyn, especially during this period, is easily some of the most intricate music I've ever heard. At the same time, they manage to capture the same intricacy even in more subdued songs. It will always be a mystery to me that this band, along with their contemporaries (The Flower Kings, Spock's Beard, etc.) were never more successful. I think that more of the world ought to hear these guys. Their music is timeless and more daring and adventurous than most music that came after it. How could this album not be a 10/10?