ZIP TANG

It may have been five years since their last album, and they misplaced a founder member during that period as well, but the band have come back even stronger than they were previously. This time they have also delivered a concept album, where they tell the story of Marie, an orphan who is abused by her adoptive father, which in turn leads to Marie living on the streets and all that entails. Some elements of the story can also be found in the cover art, the result being an album which in many ways is quite dark, certainly from a lyrical perspective. This is not the first progressive concept album to touch on dark subject matters, and my mind is immediately drawn to the likes of Salem Hill's 'The Robbery of Murder' and Tr3nity's 'The Cold Light of Darkness', with the former dealing with a child's loss of their father by a drunk driver and the plan to seek revenge, while the latter also deals with the subject of child abuse. In each case, the band understood that to deal with a subject matter of that gravity they also had to really stand out musically and that is very much the case also with Zip Tang.

At times, the music is gentle, when they are dealing with something quite emotional, with lulling picked guitars and the sound of traffic while at others it is incredibly jagged and abrupt. The saxophone is used sparingly, which means when it comes in it always has an immediate impact, but right from the beginning one is enthralled as Fred and Perry hit it off as if they have never been away and Andrew seems as if he always been by their side with some wonderfully complex bass runs. The bass is often also kept quite high in the mix, providing a real aural balance to the guitars and vocals, while keyboards are often used just to fill in sound as opposed to take leading roles. The music takes us on a journey, the lyrics telling the story on the way, in a perfect combination which involves the listener throughout. I was sent this as a single track, with no breaks, so each time I listened to it I had to play it all the way through, and that is the only way to get the full majesty of this. It needs to be played from start to end, preferably on headphones, and become involved and engaged with the story. It is majestic, stark, rocky, fresh, complex, multi-layered yet full of space, with the result being their best release yet. Please let's not wait for another five years for the next one guys!!

No Earthly Help

That is to say lyricist/guitarist/vocalist/impresario Perry Merritt and ZIP TANG side-kicks bassist Andrew Bunk plus drummer Fred Faller see little hope for lost souls in this day, in this age.

If I'm reading this concept album correctly, and hearing it for what it offers (a lot!), sweet Marie born to an abandoned addict mom careens from danger to disaster to death- unwatched, uncared for, unimportant.

ZIP TANG

Here's an ace outfit from Chicago, USA creating eclectic progressive music, laying down four albums from 2007 through 2015, losing then finding a bassist (who really punches up the energy here)...and devoting some years to writing and perfecting this creative tour de force.

COLD COMING

It reminds me of the ominous statement "Winter is coming..." from a certain epic series (books, TV)- the cold of public apathy, shelters that aren't, families in name only, predators waiting the young and vulnerable, a shredded safety net.

So this album, utilizing poetry of brutality, neglect, and heedlessness- yet with the loveliest imagery, conveys the tragedy and horror of being seen as subhuman, or worse, invisible.

Music

Somehow ZIP TANG welds together these poetic images with sometimes biting, sometimes hard driving, sometimes melancholic, sometimes symphonic progressive music.

And that gutsy, punchy bass guitar just propels it along.

Not to slight the guitar and synthesizer wizardry or the beautifully complementary, tasteful drumming. NO programmed drums can compete with a flesh and blood drummer using an acoustic drum-kit.

Plus the saxophone that wistfully, moodily weaves in and out bringing jazzy textures to the mix.

Synthesizers and keyboards bring sweetness and fullness.

Vocals

Near as I can make it, Perry does the vocal work, utilizing his sometimes tender, sometimes raspy lead voice, then utilizing distance and closeness, and some fine harmonies as well.

It all works so well together. The tempo and mood changes. The flow of tunes. The images of dank bridges, menace, pimps and pushers and prostitutes, the little ones forced to survive no matter what.

Mother Mary

An apparition? A kindly spiritual presence that does not rescue but is always present and encouraging? A hazy drug dream?

Regardless of how you hear it, she's key.

We are allowed to believe- to hope- that sweet Marie, punching bag, orifice, and human refuse, finds a home in the vast multiverse, the glimpse of stars in her eyes.

In Sum

Just all around wonderful eclectic progressive music with a conscience and a heart.

My Rating: 4.25 out of 5 poetic aspirations

Concerning the line up we will hear Fred Faller on the drums again with a solid contribution as expected. Due to Andrew Bunk though they are having a new bassist in the ranks. And his first dedication is to offer a punchy bass line for the ultimate lift-off. Perry Merritt, as usual, rules with all the other necessary duties, which also includes song writing and the sound mix. Eh, if I'll get it right, Marcus Padgett does not appear as an official band member anymore, since 2015 at least. But he can't release, you may see it like that. Or, the other way round, they can't make the next move without having him involved. Anyhow, it's a benefit either way, he will add some nice jazzy glimpes to the fold with his saxophone, that counts. Now, continuing the opened story, Marie finds herself alone and forgotten. And that's where her odyssey begins ... The lyrics are encrypted, overall formatted in rhymes, which makes it rather difficult for me when it comes to this part of the show.

Transmigration - one or two may feel the 'Cold Coming'. Physically, winter in Chicago is said to be rather heavy. As well as mentally in the same way. According to the conceptual context this is quite a challenge, I mean to deliver enjoyable rock music songs anyhow. Though it works, really. Divided in three sections, the brilliant title track proves that, rounds it all up. Please reserve enough time for this masterpiece especially. Beware of Dystopia! Surrender? No way! I'm losing my fear, as long as such albums will appear on the scene again and again. 'Cold Coming' marks a wonderful Heavy Prog work, melodic moments all over the place, but also provided with enough rough edges. Stylistically let's say similar to the band Tiles, if you're asking for some reference. Definitely recommended, easily to check on their bandcamp page.

The jagged approach is back, along with gentler sections (which may or may not include acoustic guitars), but this time the feeling is of dynamic contrast and the different sections working to accentuate the other instead of competing against them. They twist, they turn, and Rick is providing an absolutely filthy bass sound which ensures that the acoustic guitar is stark in it's difference. The music is sharp, with venom and bite, refusing to conform to what people think progressive rock should be like, but it easily moves from this to something smooth and more relaxing, but one can never be sure of what is coming next.

At times this is strongly commercial, but then they throw in some Zappa-like twists which takes the song in a totally different direction. The guys could easily have thrown in the towel with the departure of Marcus, but instead have revitalised and produced an album which has a great deal in common with their early works while also moving in a new direction. 2017 saw the band again go through a shift with the departure of original founding member/ bassist Rick Wolfe, but thy have found a new bassist and will soon be recording their next album which is a concept that Perry has been working on for the last couple of years. Zip Tang is not a name known by many progheads for some reason, but five albums in they're not slowing down. This is an excellent return to form and I am looking forward to the next one with great interest.

Although there are times when the heavy attack and jaggedness normally associated with the band can be easily heard, there are plenty of others where the band slow it down and take it more easy. The impression is of a band that is in flux, and I get the impression that this was a hard album for them in many ways. There is definitely a lot less sax from Marcus on this release, and while Fred is driving this far more forcefully from the back, there are times when it comes across more like Tangerine Dream than Poisoned Electric Head or Mr. So & So, which is how I normally associate them. When they hit it hard, they are still very much a force to be reckoned with, of all their albums this is my least favourite as although there is significant contrasting styles it doesn't always gel as it should.

'Feed Our Heads' was released in 2010, with the same line-up from the previous albums, namely Perry, Fred Falller (drums), Marcus Padgett (keyboards, woodwind and vocals) and Rick Wolfe (bass, mandolin and vocals). The band move between multiple styles, so one is never sure what is going to come next. Their jagged attack is reminiscent of early Mr So & So combined with Poisoned Electrick Head, while there is also plenty of Zappa, Soft Machine, Gentle Giant and kitchen sink. Yes, definitely lots of kitchen sink. One minute they can be frenetic with music so sharp that they are all at risk at cutting themselves on the notes, and then they move into a mandolin folky number with flute and acoustic guitar, and drums that have a major impact by not being involved at all! I really enjoyed their first two albums, and this continues in the same vein, showing that here is a band that is truly progressing through the music by refusing to sit in any particular area for too long, and within individual numbers there is so much going on that the only way to enjoy it is by paying close attention.

But, for all the cleverness and intricacy, this is still an incredibly enjoyable and accessible album which is a delight from start to end.

Due to their ambitious approach I once was pleased with the 2008 'Pank' album, though lost connection after that for what reason ever. Just right now in August 2015 the Chicago based band have a new album ready that shows them reduced to a trio - yet for the first time missing former keyboardist and saxophone player Marcus Padgett. Okay, where does the new ZIP TANG 2.0 expedition take us now? Hah! Easily to imagine really, when you're going to consider the album title. So much for the obvious knowing, or what?

Eleven songs are offered, provided with a lot of twists and turns. They are extending a quite unpredictable workout - yes, that stays even after several listening sessions. So I had to rewrite this a few times, since I occasionally faced problems to pin down the album for some mysterious reason. In any case they don't take it too seriously overall, well, this is not lacking of subtle humour ... just taking the album cover into account for example. Don't have the lyrics at hand, but in between I can hear them searching for the Plastic Jesus, oh yeah.

So let me pick Big Crunch to start with - maybe ambigious, maybe freaky - musically the opposite of a crisis because my favourite excerpt - though possibly has a cosmological meaning too. There's certainly a psychedelic flavour to state on this occasion. Surprisingly I could detect a few references to other bands here at the very start - placed with intent or not - like Fates Warning's 'Still Remains' or 'Zoombiance' by Rinse, Repeat. And other diffuse reminders which I can't name until now. Food for thought, still. On top of it this just is part of a declared song couple.

Which means the acoustic guitar driven Line comes prior. An excerpt provided with nice polyphonic vocals and yep ... inviting to sing along. You might sense it in the meanwhile - this album instantly won't be that accessible, like a pop oriented album would come along of course. A jazzy component takes a backseat (no sax, lesser keys) to the benefit of a more hard & heavy rocking attitude. It's Perry Merrit who has an important impact more than ever, due to the lead vocal and keyboard/synthesizer task, plus the whole guitar dominance, the latter often double- or even multi-tracked (rhythm and solo), also taking the acoustic part into account.

Rick Wolfe (punchy bass) and Fred Faller (lively drums) are suitable companions moreover, and this altogether - based on many overdubs - will guarantee a really lush and vibrant sound. Not a 'live in the studio' result with other words, I'm quite sure concerning the mix it took a bunch of hours to come to a final solution. Is it my pure imagination, or are they provoking a lot of references and relations? Some more examples needed? When the Cigarette Burns Perry counters with sireen alike guitar. And they will offer us the opportunity to Delete The Hole via head banging. Or alternatively, is there anybody out there to stop the Maniacal Calliope?

Bang! Brilliant! Their private Shangri-La is a well thought out curiosity, which needed some time getting used to. Based on my experiences gradually the wonderful melodic contours come to the fore more and more, weirdness turns into trickiness. Shortened to a three-piece affair ... so what, this does not imply limited opportunities quite naturally - no, not necessarily. They compensate this with virtuosity and creativeness, and last but not least they are definitely able to rrrrrock the house! 4.5 stars so far!

Rick Wolfe, Perry Merritt, Fred Faller and Marcus Padgett have a lot to answer for. The main case against them is that they have released some of the most inspiring and true progressive music that one is likely to come across. All that you have to do now is go out and discover it. Wonderful stuff. www.ziptang.net

This is powerful stuff, music that is truly progressive as it refuses to be pigeonholed into any particular area and is always driving forward. The proghead can only listen to this with a smile on his face as it hits so many bases. It is not often that prog music really defies categorisation or comparison but with this release these guys have done it. Intense and complex, at times simple and spacious, this is progressive music that demands to be heard. www.ziptang.net

You can't accuse this quartet of one thing: being unoriginal.From the first couple of tracks you will face a band with its own sound, that is a unique blend of Psych/Alternative Rock with typical American vocals but also with a strong jazzy feel in the instrumental sections with powerful saxes and guitars and also elements from Funk and Soul in their beats.''Doctor Plush'' is another different-sounding track.A mix of Psychedelic and Space Rock with a very AOR-like chorus and once more strong jazzy leanings.''Like We Did Before'' is almost full FLOYD-ian with some good guitar breaks and solos, while ''Beta'' has an evident Fusion atmosphere with good guitar/sax interplays and trully atmospheric synthesizers.Not every track in here is succesful, as ''With a twist'' and ''Searching for treasure'' tend more to typical US Alternative Rock than anything prog, but even this way the band finds some space for some decent bluesy solos, not to mention the odd presence of mellotron sounds.Zip Tang make also an ambitious attempt of covering E.L.P.'s classic track ''Tarkus'' in a very unique way and partly manage to make out a sound of their own.There is a strong jazzy approach by the band in a very contemporary way that hardly makes the listener even think that sometime this was a 1971 composition.With dominant use of saxes and guitar distortions and less keyboard presence, ''Tarkus'' obtains a new, totally different identity of its classic edition and this fact makes it very interesting.

A step to the right direction for the band or an excessive blend of unrelated styles?Partly the first, partly the second.The final feeling though is rather positive despite some minor flaws and the album comes recommended, especially to fans of innovative prog releases with a strong modern flavor.