DOOMSDAY AFTERNOON

Big, symphonic prog, with fairly unique instrumentation, and solid songwriting: What's not to like?

Not much, so I can confidently give this a 4-star rating, though definitely essential for the neo, symphonic, and perhaps folk proggers out there.

On the flip side, despite the many positives, there is also a hint of cheesy pomposity (not much, but it's always in the back of my mind). After seeing the group live--something which I immensely enjoyed, by the way--I couldn't help wondering why it took so many musicians to get this sound. Part of the reason is that not everyone is involved all the time, and Doomsday Afternoon is so varied that it sometimes doesn't feel terribly cohesive. It's well written, and everyone plays and sings what they are supposed to, but there's also less room for most of the contributors to really dig in.

Nitpicks aside, Doomsday is a very fun album, full of prog candy, ready for immediate consumption and enjoyment (read: not a "grower" album). It's full of different sounds and textures, but all very well produced and crystal clear, although some might even find it just a bit overproduced. Regarding the plot and lyrics, they are passable and never detract, but my main focus is mostly drawn to the melody and instrumentation.

I enjoy the bookend tracks the most (the "Doom Suite), and feel that on these the full "power" of the lineup is fully realized. I also heartily enjoy Formaldehyde each time, with a very effective half-and-half structure of folk in the beginning and upbeat prog to finish.

Definitely a solid addition to any prog collection, and always fun and enjoyable. For whatever reason, Doomsday Afternoon never completely, totally engages me as a prog masterpiece might, but it certainly shows the potential of the group to compose a prog masterpiece at some point.