ONCE AND FUTURE BAND

Deleted Scenes is the second album from Oakland prog-pop outfit Once and Future Band (hereafter called OAFB). I was introduced to them via their self-titled 2017 album, which was their first full length release. Their self-titled is a sunny slice of prog-pop with ample jazz and folk touches. However, almost every song on that album felt one to two minutes too long.

The songs on Deleted Scenes are more focused than on OAFB's self-titled, much to this record's benefit. Rich electric pianos and synthesizer tones take center stage for most of the album, and vocalist Joel Robinow has just the right tone and timbre to complement it.

"Andromeda" opens the record with unpretentious piano chords and guitar embellishments. The song skillfully shifts themes, and the many ideas feel unrushed. The second half of the song features a wonderfully jazzy, Patrick Moraz-esque synth solo that builds to a gratifying climax. In contrast to this energetic opening, the second song, "Automatic Air", maintains a slow pace. The multilayered vocals contribute to this song's airy feel, along with the glimmering piano.

"Problem Addict" begins with some clavinet and electric guitar lines that sound like they're right out of Alan Parsons's debut album. It has a downcast feel, but OAFB's inherent warmth seeps through. This warmth can also clearly be heard in the country-tinged, Beatlesesque "Freaks".

The instrumental "Several Bullets in My Head" is the first point on the album where I felt a song overstayed its welcome, but it wasn't by much. It helps that the song's second half is stronger than its first. "Mr. G", another instrumental, has some fun funk vibes and deft soloing.

The album's title track is slightly slower than most other songs, but it maintains a strong sense of urgency. "Airplane" is the simplest song on the album. Its relatively spare, acoustic arrangement serves as a refreshing contrast to all the preceding dense layers of keyboards.

Deleted Scenes closes on its strongest song, the nine-minute instrumental "The End and the Beginning". Opening with plain piano, it gradually builds in grandeur with the addition of jazzy percussion, wordless vocals, and gentle brass arrangements. The drumming is fantastic throughout this whole album, but it's especially noteworthy here. Some of the darker, heavier moments in this song give vague echoes of Van der Graaf Generator and Magma.

Deleted Scenes is exactly the sort of album I was hoping for out of OAFB. They took the upbeat, prog-pop of their debut, stripped away most of the bloat, and added in some more adventurous elements.

Review originally posted here: theeliteextremophile.com/2020/06/08/album-review-once-and-future-band-deleted-scenes/

A Crossover band that sounds like a cross between SANGUINE HUM, CHEER-ACCIDENT, THE CRUSADERS, STEELY DAN, TAME IMPALA, THE BEATLES, HARRY NILSSON, BEACH BOYS, and JANE'S ADDICTION. You may even hear some 10CC/GODLEY & CREME in here.

1. "Andromeda" (4:06) JOHN LENNON and HARRY NILSSON both come to mind as I listen to this sophisticated/quirky pop song. Nice classic 1970s wind up and spit out in the final minute. (8.75/10)

2. "Automatic Air" (4:12) a beautiful, almost floating listening experience. (9.5/10)

3. "Problem Addict" (5:03) another gorgeous song that reminds me of SANGUINE HUM only far more engaging and enjoyable. There's a little Tame Impala here, as well. (9.5/10)

4. "Several Bullets in My Head" (4:16) an upbeat instrumental sounding as if it came from some pop-jazz artist of the 1970s like Hubert Laws, The Crusaders/Joe Sample, or Steely Dan. I LOVE me some Fender Rhodes! (9/10)

5. "Freaks" (2:16) THE BEATLES/HARRY NILSSON and CHEER-ACCIDENT. (4.25/5)

6. "Mr. G" (3:25) a pure STEELY DAN opening. Turns more modern cheer-pop before going jazz pop at 1:40. (8.75/10)

7. "Deleted Scenes" (4:35) again a jazzed up SANGUINE HUM or CHEER-ACCIDENT comes to mind as I listen to funked up STEELY DAN-like songs these. (8.75/10)

8. "Airplane" (3:57) orientalized Ry Cooder-like acoustic sound palette backs Joel's confident lounge singing performance. At 2:00 things move into psychedelic pop realm reminding me of Robert James' WEST INDIAN GIRL or JANE'S ADDICTION/PORNO FOR PYROS. Interesting and beautiful but feels incomplete--like a snapshot: it leaves me wanting to know more. (8.75/10)

9. "The End and the Beginning" (9:06) dynamic and melodic, even cinematic, instrumental. Love the drumming and the DD Horns. Great theme/riffs after the slow down in the seventh minute. (18.75/20)

Total Length: 40:58

While lead vocalist Joel Robinow has a very pleasant, engaging voice (much more so than the lead vocalist of the band I most often compare them to, SANGUINE HUM's Joff Winks), and bass player Eli Eckert is often grabbing my attention, drummer Raj Ojha is for me the star of the show: he is quite the clever chameleon with this styles and techniques. Props to Joel for his keyboard mastery, as well.

A-/five stars; a minor masterpiece of crossover jazzy-pop music. I beg to wonder if every prog lover would enjoy adding this to their music collection, but I highly recommend that you check them out. On Bandcamp!