BIG BOAT

Big Boat is a bit of a return to basics for Phish. Two years later after Fuego (2014), an album that was nothing short of a re-invigoration for Phish, the band decided once again to team up with famed producer Bob Ezrin- who if you don't know has worked with the likes of Pink Floyd, Deep Purple, Kiss, Hanoi Rocks, and others- and have crack at a second round.

Phish, like any other band, has a formula. This formula goes something like this: 3-4 bouncy, eclectic tracks, 2-3 rock n' roll and/or hard rockers, 1 (maybe 2) 10 minute + epic, and throw in a few slow ballads for good measure. Over the years I've found myself very comfortable with this formula, as Phish is able to follow it without replicating previous creative choices to an insulting degree. It's obvious there's a difference between these set tracks on each album- 'Down with Disease' is different from 'Character Zero', 'Sample in a Jar' is different from 'Theme From the Bottom', etc. But this time around, of all times, Phish decided to turn the tables (at least slightly), presumably to turn down the tedium. There is a few more funk rock tunes on here than were present on Fuego (which really condensed them into the bombshell that was '555'), but most of them are pretty good. 'Friends' was an absolute anomaly for me on the first listen, because it actually had sole vocals and songwriting attributed to drummer Jon Fishman of all people (this doesn't happen too often if I'm correct). It serves as sort of the theme for the album, and rightly so. It's a loud, thundering song that sets an adventurous mood quite well for the rest of the experience. 'Home' is a McConnell track, and unfortunately not his best work. Balanced between bland, linear pop rock and overwrought noise, it's a tough listen even for what should be an easy listening song. The only notable fast-paced track is 'I Always Wanted It This Way', another McConnell one, but this time a strange Foster The People-esque indie rock song with a synth-pop beat. It's really so strange for Phish that I'm not sure exactly how I feel about it, but it's not too horrible (definitely not among the band's worst).

The slower/bouncier songs are where I believe Phish shines and always have shined. I've already talked about 'Breath & Burning' in my review for the promo single, but I do stand by my opinion that it is rather good. 'Tide Turns' is one of my favorites, with a confident horn and brass section parroted by Fishman's powerful drumming. The pseudo-epic 'Miss You' is very similar to Billy Breathes (1996)' 'Waste', albeit stretched out for two or so more minutes. I prefer Waste's quiet atmosphere to this, but it rings true of Phish's talent for writing good cheesy songs. The only truly quiet ballad is none other than 'Running Out Of Time', a wonderful ditty that takes some elements of CSN&Y to create a wonderful song worthy of some of Phish's best.

Now for something a bit closer to home for some of you reading this. Phish has created a variety of epics and suites over the years- some 25 minutes ('Union Federal'), some 10 ('Demand'). They contain some of Phish's most prolific work: their most creative atmospheres, best musicianship, best lyricism, best everything. As Phish progressed these epics became less of jams and more substantial, moving pieces of art. I believe this transition might have hit it's peak in 2002, where the band included four different epics, all with their different qualities and attributes. After Phish reconvened subsequent to their hiatus, they compressed all of their talent into one specific song. This was none other than 'Time Turns Elastic', a suite written by Anastasio that was originally 29:38 but was compressed down to 13 for Joy (2009). It was a crowning achievement for the band, with each movement shining in their respective ways and bringing out all different kinds of emotions. I've been hard pressed to find an epic that surpasses it in quality (except 'The Divided Sky', personal-taste wise in that regard however)- the title track for Fuego didn't, so all that's left to this date is whatever's on Big Boat. For that, we have 'Petrichor', a song I've been eagerly waiting to hear since the track-list for Big Boat was announced in September. And I must say, it comes close. Veeeeerry close. But not quite.

'Petrichor' has a much floatier atmosphere than the dark-tinged 'Time Turns Elastic', but has the advantage of a full- blown brass and string section to accompany it. It gives off a strong film-score vibe than many of Phish's previous works, which depending on your feelings towards that certain genre, could appeal to you in different ways. The quadruple-edged blade that is the full-band vocals of Phish adds brilliantly to the almost Floydian-like atmosphere, the latter which makes itself loudly and proudly pronounced specifically towards the second half. Like I say with great epics, I believe personal experience is the only way to truly get a feel for it. Sorry if that's a cop-out.

Another quick note: The production is fantastic, as usual. Bob Ezrin made a point to have this album be as if not more crisp and clean than Fuego, making this interesting divide between the quasi-amateurish Fuego and Big Boat. He is truly fantastic and I wish him more luck in the future with his endeavors.

After all this fanboy jargon, I think a TL;DR is necessary. Big Boat is a mature, billowing album that delivers Phish in a satisfying and new way. If this happened to be Phish's last effort, I'd be completely fine with that. But I know that's not the case, because Phish aren't ones to give up in the long-run. Here's to many more phases of phun, boys.