PERHAPS

This album has become one of the most reviewed from the year 2012, due to direct activation of PA reviewers. It consists of one single composition called 'Volume One' that lasts almost 38 minutes. It's composed by bassist Jim Haney, the rest of PERHAPS is Sean McDermott on guitar and Don Taylor on drums. I've never been very keen on this sort of trios; even with RUSH I prefer the phases including some keyboards. This music feels so technically oriented (brain over heart, you know) that the band probably is adept to perform it live as excellently as on record.

Since I mentioned Rush, I must point out that this music is similar to Rush only marginally. (Those more familiar with this kind of stuff can give you better comparisons. MARS VOLTA which I haven't listened to, is mentioned.) First it's all instrumental. It is mostly heavy power play and the musicianship is excellent, but instead of Rush's uplifting hard rock PERHAPS comes closer to experimental prog rock - such as 'Lark's Tongues in Aspic' by KING CRIMSON - with some Fusion in it. To me the first eight or so minutes are plain boring: fast and furious playing that lacks clear melodies and emotion. But my reception does warm up a bit during the track. Later on the guest musicians (sax, trumpet, strings) add some needed colour to the music. Sorry to say this, but to my ears the guitar sounded - or at least that's my impression now after hearing the piece twice some hours ago - quite the same all the way (I'm talking of the SOUND per se, I'm not saying the playing lacks dynamics and variety, far from it!), and also the percussion lacks the surpriseful width of Neil Peart's amazing work with Rush.

My interest has never been caught by mere technical brilliance ("X notes per second"). But there is more to it here, otherwise my listening experience would have been much more negative. I often get a bad mood when hearing "noisy" music that leaves me cold emotionally. Instead of staying in my frustrated first impression I had no difficulties paying close attention to the whole piece and turn the cassette over when it ended, and re-listen to it immediately. Clearly I prefer the latter half of the piece with more guest playing, and the music started to reach my emotions too... rather faintly though. I got some psychedelic vibes and the favourite part featuring a saxophone resembled distantly the more avantgardish, RIO-ish end of Canterbury (Henry Cow, Hugh Hopper and such). With these more interesting spots I raise my rating from two stars to three.

Extra points should be given to this band for existing in Boston, where despite having two world class music institutions (The New England Conservatory and Berklee), the city has for decades taken a hostile attitude toward experimental forms of rock music.

I find myself enjoying this single-track album immensely. The music, to me, is highly reminiscent of late-era Captain Beefheart (around the time of "Shiny Beast"), with a heavy emphasis on the agressive jazz fusion aspects of the sound. I admit, that this may not be the kind of music the casual prog fan might appreciate, but for those who enjoy a raucus rollercoaster ride, with fierce soloing, this is a true pleasure.

So I was asked to write a review of the album by the band, and honestly I struggled with the request for a week or two, mulling my thoughts and opinions. Honestly, I waffled, at times I thought that it would be better for all parties involved if I didn't write a review, other times I felt that I should write one. Finally, I decided that good or bad, I was going to give my feedback.

The production and sound of the album is very good, even more so when you consider that this was a live recording. I would have preferred that the bass was mixed a little hotter, but again, in a live setting, you often don't get everything that you want.

The musicianship is phenomenal and utterly chaotic. Major props to the chops (see what I did there) of drummer Don Taylor for playing the drums like he was in a knife fight. For the majority of the piece, he doesn't as much keep the beat as he augments the melody with one of the longest drum fills on record. Jim Haney and Sean McDermott are equally aggressive and chaotic on their various guitars.

For me though, this was a little too chaotic. With all three musicians synced up throughout the piece, there was very little to keep me grounded amid the waves of notes. There were parts that I started to enjoy, but just about when I latched onto them is exactly when something exploded and went off in a different direction.

I struggled with the rating but finally settled on two stars based on the guidelines of this site; 2 stars = Collectors / Fans only. The truth is that I'm not a huge fan of chaotic music and while this CD certainly has moments of amazing musicianship, it did not transcend the chaos and connect with me. If you're into Lark's Tongue and similar music, I recommend that you give it a whirl. For me though, it just wasn't my cup of tea.

This is in my opinion the second best album this year, after Anglagard's Viljans Oga, and I've never liked a math rock album this much. However, this is not entirely math rock. It's more of a combination of most styles of progressive rock, in a continuously evolving order, constantly changing in feeling. The start of the album is known to be slow, a long mysterious synthesizer wave that takes more than two minutes before the song really gets started in a wild explosion of quick guitar lines and loud drumming. It goes from easy jamming to a small build-up, and back again, and that continues for around six minutes. Then, the guitar fades away, and a squirting trumpet takes over with an acid-jazz-rock-like solo. This part sounds a lot like the instrumental section of 21st Century Schizoid Man, with the drums and bass doing a sort of rhythmic improvisation and the trumpet sounding like KC's mellotron. After that, the song 'stops' for a while, with a part that sounds like the end of TaaB pt. 1 (Yes, it all sounds like something else), picking it back up with the quick guitar play of the first part, but this time better. It's more rhythmic, more logical, and there are some very memorable parts. At 28 minutes, when the music has repeated itself enough to get you comfortable, but it's just not annoying, they make an end to it. Well, not really the end, but the start of the final build-up. The drums lead the music here, and eventually, the violins and the guitars follow. The last seven minutes feature an epic haze of GYBE-like post rock. This is a real highlight of the album, leaving you stunned. The most amazing is how well this fitted after the rest of the album. After the uncontrolled mix of emotions, the musicians now really get it together and that creates a feeling of satisfaction. The album has rounded itself up and the journey is over. The album is original, interesting and modern, but still not perfect. First of all, prog fans who prefer more calm music will eventually get annoyed by the constant push and the rough drums. Besides, the first part sounds a bit too messy, even for math rock. It appears to be a bit lost, as the guitar line keeps shifting between styles. For me, this album will be rounded down to four stars, although I would have rather given it a 4,5. Great album, especially for fans of avant, Zeuhl, math rock, eclectic prog, post rock and maybe even jazz-rock. Too bad it's not available as a cd (yet).

'Volume One' - Perhaps (7/10)

A couple of months ago, Perhaps approached me with the request that I check out their album, then very newly released. Since then, I've watched from afar as acclaim for their debut has steadily increased. It is- to my limited knowledge of the genre- one of the most acclaimed and momentous math rock albums to be released this year. Although "Volume One" consists of a single track, Perhaps have created a dense and complex first impression. Although their eclectic mix of atmospheric, progressive, and fusion rock styles demands several listens to properly sink in, "Volume One" is a wild ride with a bouquet of gifts for the patient listener. In spite of the scattered and occasionally meandering composition, Perhaps have established themselves as a band with seemingly limitless potential.

For those- like me- who are less involved and engaged with the math rock world, it's an often energetic derivative of post rock with a penchant for wacky guitars and dissonant tonal patterns. Perhaps' sound can't be purely defined as such, but it's a good place to start. Although "Volume One" is given a cold, gradually building opening, the guitar eventually erupts into a flurry of technically impressive licks and twangy riffs, often fusing lead and rhythms together effortlessly. Considering the impressive edge of Sean McDermott's guitar playing, it's an interesting touch (or lack thereof) that he keeps his guitar tone clean and relatively plain throughout. Although the live production is crisp and clear, "Volume One" feels raw and unmodified, a trait made impressive by the fact that the music is so impressive from a technical standpoint. Other reviewers have compared the album's opening with Yes' glorious "Close to the Edge" opus, and I'd tend to agree; it's easy to see a resemblance between Dermott's frantic playing and Steve Howe's distinctive rock-oriented fingerpicking.

Although the guitars are the most pronounced element of Perhaps' sound, the rhythm section is equally as impressive. Don Taylor's drum performance is a solid mix of rock rhythms and jazzy percussion. Particularly during the album's most energetic moments, Taylor demonstrates a very keen ear for left field time signatures and impressive tightness. Bassist and main composer Jim Haney's performance is the most subtle of the trio, but also the most consistent. While the other two instrumentalists go wild, he provides support with an endless stream of catchy grooves and bass hooks. Perhaps have a strong chemistry together as an act, and the live recording gives them an opportunity to play off of each other; it's an organic performance that you rarely hear on a studio album.

Although "Volume One" begins as a strictly math rock affair, it's not long before they show their other faces, those being the forms of atmospheric post-rock and jazz fusion. Although Don Taylor's drum performance always betrays a hint of jazz, the album takes a plunge into strict fusion territory once the guest musicians start showing up. Tom Weeks and Brian Murphy offer saxophone and trumpet solos respectively, giving "Volume One" the temporary vibe of being a recorded jazz club performance. The trumpet in particular really works for Perhaps' sound, with a wondering solo that instantly recalls Miles Davis. Perhaps also enlist the help of a string section. The violins, viola and cello (arranged by Ben Talmi) do for Perhaps' post-rock angle what the trumpet and sax did for their jazz fusion. The album closes with a wonderfully fleshed out climax that will draw strong comparisons to the cinematic sound of Godspeed You! Black Emperor. It's unfortunate that the strings and post-rock approach are not explored to a greater extent on the album, because it makes up one of the most impressive passages on the album.

Although the performance is fluid and consistently impressive, the structure of the composition falters occasionally. This is not to say that there is filler anywhere on "Volume One", but there are times where Perhaps' enthusiasm for performance leads them into indulgent waters. The jazz fusion passage that takes up a good piece of the album's centre seems to go on for longer than would have been optimal. While the album begins with a fierce momentum, the psychedelic, Mars Volta-esque jazz soundscapes are not nearly as sonically pleasant as the rest of the album, nor do they share the depth of their more structured passages. Listening to "Volume One", there's a great deal of it I really love, but the album's patchy midsection can feel aimless to the verge of tedium.

"Volume One" is raw and eager, and its eclectic, experimental take on instrumental rock takes some listening to appreciate. It's certainly rough in areas, but that's part of its charm; Perhaps' musical direction is honest and unpredictable. They rest at the crossroads of fusion, math and post rock, and the result of the combination is richly enjoyable, although the band has left plenty of room to polish up their act. It's taken me some time to warm up to, but I can see with some certainty that Perhaps are one of the most interesting new acts to come out this year.

Even after reviewing music for more than twenty years, I am still pleased when I am contacted by a band I have never heard of and am asked if I would mind reviewing their album. So after hearing from bassist Jim Haney, I went off to Bandcamp where I had a couple of surprises. The first is that there is only one song on the album, but it is 38 minutes long to be fair, and that it is also possible to buy this on cassette! I mean, when was the last time you bought anything on tape! Perhaps are a Boston trio of Jim, guitarist Sean McDermott and drummer Don Taylor, and this was recorded live in the studio with assorted guest musicians who come and go during the piece, providing sax, trumpet, cello, viola and violins.

The one word that really sums this up is "intense" as in many ways it is quite draining and almost too much to take in one go. I know that this is a mixture of composition and improvisation but there are some obvious break points and personally I would have preferred if this had been cut into smaller chunks. But as it hasn't, it's a case of dive in and keep going right to the end. I am not surprised that this album has been reviewed so much, and also am not surprised that every reviewer seems to pick on a different element (although Yes and Krautrock are fairly consistent themes). These guys mix Art Zoyd with Protest The Hero, Miles Davis with Steve Vai; it really is all over the shop as it brings together free form jazz with mathrock and progressive to create something that is both intriguing and quite hard to listen to at times.

All of the guys are brilliant musicians, and they obviously have a deep understanding of each other and they can lock in tightly when they need to, providing great complex runs and hooks, while there are other times when they all go off on tangents and one wonders if they are even in the same room. There is a false finish to the album at about 28 minutes, and I did wonder if we were going to be 'treated' to the longest outro of all time, but they break free of constraints and the climax is superb. This is something that can only be appreciated by those who want their music not only to break down boundaries, but to stamp all over them and bury them under a morass of minor chords so that they never darken their ears again. To get this, visit perhaps.bandcamp.com

I can't believe anything like this came out of 2012! This Boston trio of bassist Jim Harney, guitarist Sean McDermitt, and drummer Don Taylor (and some outside help too) recorded this truly mindbending work called Volume One, which clocks around 40 minutes. This is some truly intense playing and jamming, these guys made it seem so effortless, but in reality extremely difficult to pull this off (this was the same reaction I got from the title track of Colosseum's Valentyne Suite, the intense passages were very difficult to pull off, but the band made it seem so effortless). At times the music features rather distorted guitar, other times, more jazzy, other times more in the space rock vein. These guys rarely give a rest, but there are some calmer passages. Check out the drumming too. I can't believe what I was hearing. Perhaps the finest new recordings from a new band I have ever heard! I acquired a cassette (and a download) of this from the band's website (as I don't let old technology go, as I continue to own cassettes and LPs along with CDs, just as I do VHS along with DVDs and Blu-Rays). This group deserves to be on a label, so their material can be available on CD. Amazing stuff you need to hear!

The first seven minutes of Perhaps' Volume One is some of the most challenging, frantic, and rewarding music I have heard this year. To think that three guys recorded this live in a basement only adds to the impressive quality of the performances, which last for a full 37 minutes and cover a myriad of styles and techniques. The main point of reference is Post- Rock, but not necessarily in the vein of GY!BE or Mogwai (that will come later); I am most reminded of Don Caballero and An Endless Sporadic, two groups I quite admire and it appears Perhaps does too. If I had to sum up Volume One in five words? Umphrey's McGee meets Mr. Bungle.

The intro to Close To The Edge is recalled in the first two minutes, but the next five establish Perhaps as a new power-player in the Math Rock scene. Immediately, the virtuousic playing of Jim Haney (bass), Sean McDermott (guitar), and Don Taylor (drums) is on display: But don't expect any Rush or ELP from this power trio; Perhaps never sits on one riff or pattern too long so as to allow it to stagnate, yet the transitions are fluid and not jarring. After the initial onslaught, we are treated to a guitar solo, Drum/Sax solo, and finally a trumpet solo about 20 minutes in. This is the only section that drags for me personally, as the five minute trumpet solo wears a bit too long before it morphs into a space-rock jam. Sean McDermott does not recall David Gilmour however...his Frippian figures are raunchy and unusual in this context, which I really appreciate. By the 27 minute mark the group whips out another furious run of head-spinning notes which makes you wonder "how are they STILL doing this?" Finally, the last 5 minutes pay homage to heroes Godspeed You! Black Emperor and Mogwai, and end Volume One on a more traditional note.

My only complaint of Volume One has nothing to do with the music itself, but its delivery: The only physical format of this release is on cassette. While the retro appeal and indie aesthetic is endearing, I have no way to play the silly thing. Sure, I can burn a CD to listen to in the car, or put it on the iPod, but give me the genuine article. I know this is just a fundamental difference between Gen-Xers such as myself and Gen-Yers as Perhaps appear to be, but it is worth noting. What I have no reservations about is the live performance capabilities of the band, which I look forward to if they ever tour the Midwest. You have absolutely nothing to lose by streaming/downloading Volume One, and I highly recommend doing so right now.

I live in Fort Worth Texas. Not your stereo-typical prog rock hot bed of activity. In the old US'of A, Pennsylvania and Boston are where it's at when it comes to prog rock heaven. This trio of musicians from the Boston rock and reverberate like an agittated, fire ant funeral mound, swooning over Yes's "Close to the Edge's Solid Time of Change. " (Think Steve Howe's spidery guitar intro), And that's just the first several sizzling minutes of Perhap's "Volume One" prog opus, sweet, bitter suite.

Wait a minute, wait an hour, wait a lifetime. Perhaps Perhaps will singe the skin off my ear drums for 33 and a 1/3 more minutes? And as if you didn't know, the answer is a resounding yes! They mesmerize and rock at the speed of "Man or Astro Man," gnashing baby teeth through half a dozen King Crimson sleeping tablets. "Volume One" is reminiscent of a "trip the light fantastic", effervescence tornado, or an incandescent permanent wave rushing past a charge of the light brigade, through a flurry of keleidoscopic acid flashbacks, with a blurred soundtrack background, drenched in Coltrane kaos, and Miles and miles of trumpet.

Perhaps "Perhaps" will crush you? Or perhaps you will crush hard on Perhaps, like I did for their replendent math rock. A riff, a riff, my kingdom for a riff! Hush! But I can't shush, because I'm over a cliff for Perhaps! And I'm laughing out loud, because in an era where delux editions of many prog albums cost upwards of 30 dollars, I only had to pay Amazon 89 cents for Perhap's tour de force, cerebral bomb blast glass of Prog Rock laudamum! 9/10

This band is an instrumental music power trio from Boston: Jim Haney ( bass and composer), Sean McDermott (guitar ) and Don Taylor (drums). This album consists of one song titled "Volume One" (like the album itself) with a duration of nearly 38 minutes, played in continuity, with only two or three pauses done as silences. It has very energetic playing by the three members of the band, sometimes chaotic and noisy. Recorded live using analogue tape equipment, and with the aid of a sax and trumpet section and some strings, and sometimes adding some "electronic" noises, their music has several influences : Hawkwind, King Crimson, Emerson Lake & Palmer (without keyboards) and even Yes. I don´t know if they had the music written in scores or if it was recorded in parts, because the changes in structure are very frequent and I think that maybe they had some basic musical structures and they also had some parts on which improvisation was let free. There are also some influences from Jazz music and Jazz-Rock music on which the King Crimson´s influences are more clear for me. Some parts are also influenced by Avant ?Garde music, and the guitar playing sometimes sounds very influenced by Robert Fripp. The three main players are very good musicians, as they play without losing the continuity and the speed of the music. They sound like they rehearsed a lot playing together. Sometimes the music sounds "angry", "furious" and very heavy and aggressive. By the 30 minutes of duration, a string section is used to accompany the music of the trio in which seems the last part of the song which also finishes in an energetic mood. I think that they did some editing and processing to the recordings, adding some sound effects to some instruments like the trumpet. It is a very good job, and being recorded using tapes and without using computer technology and Pro-Tools makes it much harder to do it. It was released on cassette tape. A strange thing because this kind of recording media is now "out-of-fad" and less used by the general public. In conclusion,it is not the kind of music that I listen to very often but sometimes it is good to listen to energetic heavy music like this.