WHOOPGNASH

I don't think John Erickson, WHOOPGNASH's guitarist would mind me calling his playing Holdsworthian, with the legato and fast runs, but he steers well clear of the Holdsworth-clone pigeonhole. (There are a number of professional jazz guitarists who are happy to be known to playing in the style of Wes Montgomery without being slavish, so let's avoid any hassle when somebody adopts and adapts a Holdsworthian approach?) This album is a much more exuberant, extrovert album than recent albums by Holdsworth - who IMHO has been more cerebral/intellectual with his jazz fusion output through the 90's. Whoopgnash as a listening experience, has to be taken as a work by all three members of the band, not simply that of an excellent guitarist. The drums and bass are a real treat, adding synergistically to the whole, sounding unlike any Holdsworth rhythm section I remember, while giving an energy similar to that heard with Wayne Krantz's rhythm section on Greenwich Means. One nice bonus, is in that I've found myself whistling several of the main themes of tunes on this album - and I can't remember doing that for a long time!!! Check out my favourite track 'Too Hammered To Be Legit' for where the Holdsworth similarities start and finish.

An excellent debut album. A most strongly recommended album.

Well, the endless axe adventures of Allan Holdsworth, down through his helter-skelter career has left dents in the brains of many a guitarist, (mine included). Whoopgnash's John Erickson is severely dented by the Holdsworthian monolithic guitar benchmark. Erickson is no copycat but has caught the drift of what happens in a Holdsworth tune perfectly. His band; Bill Paul on drums, Drum KAT/synth and Keith Norton on bass follow along easily at breakneck speeds, stop-n-go time sigs, and accentuate unison jams, rim- shot tight. Erickson's attacks on solos are clean, expressively driven and fly along at legato phrasings that will make most fusion fans drool.

If you have dug Holdsworth for years, then enjoy this Erickson cat skittering all over that I.O.U./ Metal Fatigue era sound. Bass work and drum lines are fine too with Erickson interweaving intricate finger rolls and subdued backing soundscapes in Texan, Eric Johnson's style. We tone down the fusion-fueled, frenzy on "Reunions" and my mind is cast into dreamworlds of chordal ascension to the stairway lit by heaven's portals. Erickson's emotive lead is precisely voiced like a soul crying out for answers to life's myriad of set backs. Wonderful cut! A wealthy amount of exactly the type fusion that typifies the best to be heard is right here folks. And executed with pizazz. Get this CD and help one more unknown fusion group make it big time. Don't believe me? Just sample "Sissy- Boy Slap Party"! You'll see the light too. Highest of recommendations.