EXCAVATIONS OF THE MIND

Honestly, I was gravely disappointed in this album upon first hearing, and I really have no idea why. I'm not saying this album is a "grower," though, because when I reluctantly played it a second time, I scratched my head and wondered what the hell I'd heard that made it such a ruinous first listen. I remain puzzled. I'm chalking it up to a bad day. Sky Architect's debut is an enigmatic labyrinth, where nearly every turn is riddled with delight. Navigating the place still proves a challenge- the musical transitions are warped and counterintuitive- even after months of hearing the album, it still manages to surprise, like those shock videos on the Internet- no matter how many times the scary face pops up over the maze, those anticipatory feelings remain in the gut. The only difference is that the feeling here isn't dread- it's exhilaration. Heavy, complex rhythms charge the listener around every corner, the vocals remain clean and satisfying, the compositions are bold and varied, and the musicians, while individually impressive, work together to craft a hair-raising rush of a musical experience.

"Deep Chasm (Part. I)" Choral Mellotron and a dank guitar fade in, creating a dissonant, uncanny introduction. What follows is an unexpected, very loose keyboard-led bit of jazz rock. Powerful lead guitar advances the piece into a tighter but more spacious territory.

"Deep Chasm (Part. II)" Flowing into an acoustic guitar and bass duet, the first bit of vocals appear, reminding me a bit of The Dear Hunter. Overall, the song takes me back to 1990s alternative pop rock music, maybe like Fastball. The bouncy verse slides into a smooth, captivating refrain. The instrumental section keeps that feel, but unleashes a nasty spider of a riff, perfect for some otherworldly solos. Piano and drums provide a crashing catharsis, serving alongside bright, hopeful guitars.

"Deep Chasm (Part. III)" The music leaves behind a brief, breathy piano.

"Deep Chasm (Part. IV)" The fourth and final part of "Deep Chasm" dives into the chorus of the second part- a perfect move. This transforms into dramatic spoken word and pomp rock reminiscent of Adrian Belew. The remaining instrumental music, for me, channels heavy, early Spock's Beard.

"The Grey Legend" After such a stunning journey, one might expect something to ease the blisters on the ears, but tough luck- in terms of sound, it takes off where the last track left, but best of all, keeps the inventive motifs coming. That dark piano theme grabs me each time. Expect waves of Mellotron, acoustic guitar, and a vocal similar to Porcupine Tree. A rapid instrumental section in 7/8 takes off- no rest for the weary! Much of the latter half of this twelve-minute feast consists of various solos over some incredibly complex rhythms, all culminating in that shadowy piano motif.

"Russian Wisdom" Several guitars, again in 7/8, maintain a bouncy rock feel, but this soon gives way to a traditional Eastern European-like bit of music, laden with synthesizers, not unlike something Kansas might have pulled in the 1970s. The vocals, however, are smooth and easygoing- almost lounge-like.

"Excavations of the Mind" The title track features uneasy, almost maddening piano, guitar, and bass. Heavy, complex rhythms come in, led by a quavering organ. The music abruptly stops, and a single acoustic guitar takes over. The vocal melody here is amazing and pleasant; it is a part of the album I look forward to on every hearing. The lead guitar's interpretation of this vocal melody is likewise terrific. As always, the instrumental moments are full of energetic creativity.

"Gyrocopter" Intricate piano weaves around a flurry of other instruments in this terse closer- an excellent and unanticipated ending.