by Alex Cosper
July 19, 2017
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The opening track, "Dinosaurs" features heavy guitars that almost drown out the vocal harmonies, but it's still possible to detect melody. The chorus even sounds kind of hooky, but the way it's produced doesn't lend itself to the pop world. It's more like music deliberately crafted for fans disconnected from the the mainstream. A lot of it has some of the same characteristics of Bay Area underground bands of the late 1960s. The second track "The River" has the same type of presentation in which the recording sounds like it was not meant to be perceived as songs with standout melodies. It seems more like an attempt to capture a live band sound in which the lyrics aren't meant to be audible.
"Weird Little Minds" has more of a captivating sound, at least in the underground sense. Some of the melodic interludes give it variety, but there's still a sense this song is meant more for background music at a party. There are driving guitar leads that dominate the mix. It doesn't sound like a duplicate of any of the psychedelic bands of the era, as it maintains its own musical fingerprint, but conforms to the concept of lots of voices over-powered by a sonic layering of drums and guitars. The vocals are similar to garage rock bands such as 13th Floor Elevators, but it's difficult to understand any messages in the lyrics.
The song "Man Who Knew Everything" has an interesting title, which is repeated several times. The overall guitar sound is psychedelic, without crazy leads on top of everything else. "You Will Go" is a slower-tempo song, but there's still no clarity as to what picture is being painted. The performance works as avantgarde, but there's definitely no connection with any attempt to be commercial. It's music that could work as a soundtrack to a film that captures the sounds of free expression in an art community. The lead guitar stands out a little more in this track, as it adds to the sonic flavoring, although there's no sense of memorable distinct melody.
"Dog Gets High" is a song that starts out in a dimension outside of conventional songwriting. The vocals are soaked in studio effects. It doesn't sound bad, it's just hard to imagine what the music is about beyond fitting into the 60s counter-culture puzzle. There's a sense that this song is meant to be fun and trigger a party atmosphere, but the lyrics are lost in the translation. "All Is As It Should Be" starts out as riff-oriented and develops into another example of a song with obscured lyrics and lots of swirling effects. The title track "Further!" bends into a more straight-ahead rock direction and even some of the lyrics can be deciphered. By the chorus, however, it's back to the unclear format of lots of vocal effects balanced with trippy guitar effects.
The final track "Time + Travel = Time" stays within the same realm of being more a showcase of garage rock production than a musical statement. Voices stacked on top of each other creates a dizzy-in-the-head effect, but not any type of powerful communication that you might get from a Jefferson Airplane album. It's music that is defined more as a genre of rock than a collection of songs that contain nuggets of knowledge. This album seems best suited for people who like dissonance, liquid guitar textures and an emphasis on anti-commercial sound.
The above review is sponsored by Independent Music Promotions. It is written by Alex Cosper, who gives honest opinions, based on years in the radio industry of making decisions on the commercial value of music, along with opinions as a musician and music fan. Bio information is provided by the source that represents the artist. These reviews are meant to be descriptions of the artists and music to help individuals interested in exploring independent music gain broader perspectives on these professionally promoted artists.
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