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YOU ARE LITERALLY A METAPHOR

Consider The Source

Eclectic Prog


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Consider The Source You Are Literally A Metaphor album cover
3.90 | 71 ratings | 2 reviews | 11% 5 stars

Excellent addition to any
prog rock music collection


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Studio Album, released in 2019

Songs / Tracks Listing

1. Sketches from a Blind Man (7:29)
2. The One Who Knocks (7:43)
3. Unfulfilled and Alienated (3:04)
4. It is Known (11:45)
5. They Call Him the Smiling Assassin (7:29)
6. Misinterpretive Dance (9:20)
7. You Won a Goat! (7:19)
8. When You've Loved and Lost Like Frankie Has (6:51)
9. Enemies of magicK (11:47)

Total Time: 72:47

Line-up / Musicians

- Gabriel Marin / Guitars
- John Ferrara / Bass
- Jeff Mann / Drums, Percussion



Releases information

Label: Consider the Source
Format: CD, Digital, Vinyl
March 1, 2019 (CD, Digital), May 30, 2019 (Vinyl)

Thanks to mbzr48 for the addition
and to TCat for the last updates
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CONSIDER THE SOURCE You Are Literally A Metaphor ratings distribution


3.90
(71 ratings)
Essential: a masterpiece of progressive rock music(11%)
11%
Excellent addition to any prog rock music collection(38%)
38%
Good, but non-essential (25%)
25%
Collectors/fans only (21%)
21%
Poor. Only for completionists (4%)
4%

CONSIDER THE SOURCE You Are Literally A Metaphor reviews


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by TCat
SPECIAL COLLABORATOR Eclectic / Prog Metal / Heavy Prog Team
5 stars If you only hear one new album this year, make it this one. This is definitely a favorite for me. The music is amazing, eclectic and beyond belief at times. I'm telling you, don't bypass this one!

"Consider the Source" is an Eclectic Prog band from New York and was formed in 2003. They utilize some interesting sounds including micro-tonal scales including Indian and middle-Eastern influences. They have released 6 full length albums since their formation, including "You Are Literally a Metaphor", released in 2019. The band currently consists of Gabriel Marin on guitars, John Ferrara on bass and Jeff Mann on drums and percussion.

"Sketches from a Blind Man" hits the strange and eclectic sound right off the top with a funky and upbeat bass line with the unique sound of the eastern influences in the guitar. There are many electronic and synth sounds in this also, including some of the percussion, but the drums themselves are organic. The micro-tonal sounds mesh in an interesting sound when combined with the standard rock bass line. The melody is quite interesting and goes through several variations with many different sounds and meter/tempo changes. "The One Who Knocks" moves to a jazz sound with a nice strummed guitar and more effects created from looping. The unique sounds continue as the three talented musicians continue their unique style. The bass is heavy in these tracks and the guitar is sometimes recognizable and others, completely unique and strange, but the music is excellent, interesting and quite catchy. Halfway through, the drum established a clunky tango rhythm and the guitar plays along with an almost trumpet like sound. It is hard to believe 3 people can create this sound. Tempo changes, textural changes and lots of progressive traits, this album is full of them.

"Unfulfilled and Alienated" is the only track on the album that is less than 6 minutes. It is a very fast, speed rock track with those mid-East influences quite obvious and a complex bass and rhythm section going on underneath. This one will get your head swirling with its amount of notes in both guitar and bass and the crazy drumming. So much packed in a small space. "It is Known" slows things down a bit with an atmospheric guitar and simple bassline. This is very spacey and psychedelic with some nice effects, almost similar to Ozric Tentacles. Its not too long before things get more complex, especially with the bass line, but the theme keeps things anchored. The whining guitar that plays the melody is a cool sound. At 4 minutes, everything abates and the guitar almost sings a new melody at first against a minimal background, but things intensify as it goes along. After 6 minutes, we reach a new level of complexity as things go wild. And then, OMG that bass issues some rapid fire notes along with the guitar. Awesome! Hold on a minute while I pick my jaw up off the floor. Finally at 10 minutes, the craziness returns to the original theme.

"They Call Him the Smiling Assassin" finds a danceable, mid-Eastern style in the middle of a chaotic beginning. The bass is quite heavy and it follows the traditional sounding guitar. Adding in some funk, the bass makes it all relevant while the guitar keeps it traditional at the same time. The track is dark, fast and fun all at the same time, with a wildness that makes you want to get up and dance like a chicken. Later, it takes on a Primus style craziness as the bass and guitar fight for prominence. It's like there is no time for a breath here. The theme returns at the end of the track. "Misinterpretive Dance" is a bit more sane as far as the melodies are concerned, but the ever changing meters give the track its title. It's complex and melodic at the same time. Eclectic is definitely the right word for this amazing music and yes, it does get totally crazier as it continues. Finally, after 7 minutes, things become more grounded as the main theme returns but the tricky meter changes are still there.

"You Won a Goat!" is the next track. It starts with drums only before rapid fire bass and guitar play an obvious Indian inspired melody very fast and lots of humor mixed in. Later, things calm a bit while a moaning micro-tonal guitar solo comes in and things build back up again. Soon, craziness ensues as you have come to expect by now. Excuse me, I have to pick up my jaw again. "When You've Loved and Lost Like Frankie Has" is a lot slower, but with a sneaky rhythm. Amazing guitar effects again with that unique micro-tonal sound and a chunky bass line that sounds like a soundtrack to a off-beat spy movie. The guitar sounds just like a synthesizer because it is so smooth as it slides between notes. The last track is another 11+ minute closer called "Enemies of MagicK". It begins very ominously with crazy dark guitar effects. Then we go into rapid fire mode again with almost djent style drumming and bass, but a slow vocal effect played by the microtonal guitar keeps things from total chaos. I'm not even going to try to give you a play by play on this one, it is constantly changing and returning to different melodies throughout. Textures, meters, styles keep changing, yet it is still coherent and amazing.

Going into this album, I did not expect this at all. Eclectic is definitely the word for this, and so is unique and amazing. As crazy as things get sometimes, it always keeps your interest as you want to hear what happens next. The effects are excellent, the musicianship is out of this world. There are many times throughout this album I was just speechless. This is definitely a contender for the best album, and it is a strong one. If you don't listen to a lot of new music, then this should be one of the few that you listen to. How could you not praise this amazing music? How could it be that only 3 people can make a sound as full as this? How could this band be ignored for so long? I'm telling you, this is one of the most awesome things I have heard this year and maybe even this decade. You must listen to this, it is crazy good! Huge bass, guitar, drums and effects all the way through.

Review by BrufordFreak
COLLABORATOR Honorary Collaborator
5 stars Some of the strangest music I've ever heard, combining all kinds of synthesized electric guitar work and computer-glitch/noise like sounds with heavy, technically jaw-dropping stop-n-start music--and all from a trio! Some of it is like music intended as soundtrack to computer games that has gone wild and others like hyperactive traditional Middle Eastern folk-rock! And GREAT song titles!

1. "Sketches from a Blind Man" (7:29) great opening/opening song to lure listeners in: spacey eerie guitar-generated sound over chunky avant-garde bass and aggressive drums in an odd time signature. The eeirie lead guitar sound actually creates a repeatable melody that gets into your head and stays there. Lots of incidental computer-like sounds flitting in and out of the soundscapes. In the fourth minute, guitar sound drops an octave or two, tempo straightens out and bass sound and style also shift, as guitar melodies change, though also remaining engaging and interesting. The bass player is really good! Another sound change at 5:40 in guitar lead and drum-triggered bass before everybody kicks back into full octane to give one heck of a show for the final minute. (13.5/15)

2. "The One Who Knocks" (7:43) acoustic guitar (!) and high-end bass open this before drums kick in to signal shift into full song structure with chunky active bass and low-end guitar plucking. Around 0:50 there is another shift in sounds and structure with guitar producing more high end tremolo or e-bow solo melody-making. Some nice Latin chords and sounds in bridges and several sections. It's like being on a motorcycle taking a trip through some big city, witnessing the wide diversity in neighborhoods with each turn down different streets. "Trombone" sound generated by the guitar in scaled down fifth minute, shape-shifts into flugelhorn and then into MetalSantana for the sixth. Bass and drums go into wild frenzy at 6:15 to bridge to more melodic, high-powered final minute. (13.5/15)

3. "Unfulfilled and Alienated" (3:04) opens with launch into full-speed reminiscent of the classically-based power metal of Yngwie Malmsteen. The melodies are almost Gypsy/Eastern European/klezmer, the bass play just like Les Claypool. High skills on display here! (9/10)

4. "It is Known" (11:45) gentle two-note bass chord arpeggi and bare-bones drumming support another spacey guitar sound in the lead. The melodies played by the guitar in the first two minutes are very Hawaiian sounding. At the two minute mark a "chorus"/B section begins with more frenetic drum and bass play as guitar doubles up and plays a higher octave, more piercing sound for its voicing of the melody. The A-B cycle takes about 90 seconds to come around again, but then in the fifth minute the music drops into a spacious lounge-bluesy support mode as Jeff Beck-like guitar squeals and screams its slide-guitar-like swamp blues. The rhythm section intensifies a bit at the 6:00 mark before bridging into an all-out MAHAVISHNU jam. Wow! This guitarist can move! The bass player, too! Machine gun notes throughout the eighth minutes. I am totally caught by surprise and blown away! The eighth and ninth minutes see a trading off of rapid fire noodling between the bass player and the guitarist, the former at the high end of his instrument, the latter in the lower end of his. At 10:25 they come back together to support the recapitulation of the melody themes used in the first two sections to the finish. (22.5/25)

5. "They Call Him the Smiling Assassin" (7:29) opening like the introductory melding that occurs in a lot of Middle Eastern music, finally coming together at 0:35 to establish a very Middle Eastern sounding song. The instruments are playing in very syncopated, staccato, and unified fashion until a switch after 90 seconds in which the guitar begins to sound like a Middle Eastern violin. The pacing becomes almost a Wild West cadence as guitar changes and shifts his sound in ways that seem to mimic a variety of traditional Middle Eastern instruments--though, in the fourth minute he brings it all into the 21st Century with a highly synthetic sound. Then there is a quiet section in which guitar disappears and drums perform an interesting solo on "traditional" Middle Eastern percussion instruments. Then there is a wild and schizophrenic bass guitar solo in the sixth minute in which several lines (tracks?) are occurring simultaneously. More hand percussives in the seventh minute before an acoustic ME instrument rejoins and re-builds the comradery that the song opened with to the finish. (14/15)

6. "Misinterpretive Dance" (9:20) opens with an instrumental weave that displays some of the softer sounds and playing styles of the band members. Nice. Computer synth incidentals (from overdubs) begin making their appearances in the second minute as the second verse plays. Chorus in the third minute. The guitar sound and styling is quite reminiscent of some of AL DI MEOLA's Spanish-styled electric guitar sounds from early in his solo career. The music turns heavy with walls of sounds and PRIMUS-like humor in the music in third and fourth minutes before returning to a more steady jazz-metal sonic wall for the sixth. Odd rising guitar note in the seventh minute supports bass soloing before going bat-crazy in an Outer Limits synthesizer display while bass and drum frenzy. Things smooth out around 7:20 to return to the AL DI theme before shifting back into the SLEEPMAKESWAVES-like opening themes for the ninth minute and then going metal crazy in the final minute. (18/20)

7. "You Won a Goat!" (7:19) if Jeff Beck had been born in Harlem in the 1990s this is what he and his band may have sounded like. Again, Middle Easterns sounds, styles, and melodies seem prevalent here. It's as if the guitarist is trying to be both Jeff Beck, Jan Hammer, and Jean-Luc Ponty! (13.5/15)

8. "When You've Loved and Lost Like Frankie Has" (6:51) a This Is Spinal Tap reference (from the title)! The music opens like it's from a Hawaiian-Rastafarian ballad! So weird and surreal! (12/15)

9. "Enemies of magicK" (11:47) like a crazy ride inside a pinball machine! Definitely the song with the weirdest sound palette on the album. (21.75/25)

Total Time: 72:47

All stunningly performed songs with totally unpredictable flows and sound palettes, I'm just not sure I like it; I don't hate or dislike this music but my brain hurts!

4.5 stars; a near-masterpiece of progressive rock music that I'm rating up for the fact that it truly lives up to the "progressive" aspect of our celebrated musical genre; Consider The Source is definitely pushing boundaries!

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