THE MERCURY TREE

The Mercury Tree is an American progressive rock band that finds its roots in Portland, Oregon. The band is a trio that first started out as a solo project of Ben Spees in 2004. The project turned into a full band in 2006 with the addition of two more members. After the release of four short works, "Five Seven" in 2007, "Eerie" and "Eerie B-Sides" in 2009 and "Descent" in 2010, The Mercury Tree released their debut album "Pterodactyls" in 2011, followed by a short live tour in the West Coast. The Mercury Tree's second album, "Freeze In Phantom Form" was released in 2012. It was followed by "Countenance", "Permutations" and "Spidermilk". These albums were released in 2014, 2016 and 2019, respectively.

So, "Permutations" is the fourth studio album of The Mercury Tree and was released in 2016. The line up on the album is Ben Spees (vocals, guitar and keyboards), Oliver Campbell (backing vocals and bass) and Connor Reilly (drums). The album had also the participation of Aaron Clark (space guitar) and Tony Mowe (alto and baritone saxophones).

Almost two years after "Countenance", The Mercury Tree was back with a new album called "Permutations". This album proves one thing. This act definitely represents one of the most innovative prog bands on the current scene. The Mercury Tree is another of those bands that creates great music but they do not get enough recognition for that. The unique mix of progressive rock, post-metal, math rock, experimental and spacey psychedelic is what this trio from Portland is known for since the release of their debut EP back in 2007, "Five Seven", and it's something that they continued doing with "Permutations". The band obviously doesn't give a damn about any stylistic limitations in their music, and although their tracks are rather lengthy, it gives them enough time and space to make different experiments.

"Permutations" has ten tracks. The first track "Symptoms" shows off the best of what the album has to offer. It's utterly frantic and intensely emotional. It shows post-progressive rock contrasted with avant-garde and psychedelic ambiance. It doesn't take much for the band to show the beauty of improvisation, as the lengthy song format possibly gives an insight into the band's song writing process. The second track "Exhume The Worst" comes the closest to the band's alt-rock roots. The thick atmosphere, quietly mixed singing with some screamed backing vocals, pedal effects and disorienting rhythms, all make of it a truly unique track on the genre. The third track, the title track, takes the album into a strange territory. It opens with some languid guitars that soon give way to King Crimson-esque interlocking guitar and keyboard lines, building an insane climax. The deranged feeling this track provides is taken even further with sudden tempo changes. The fourth track "Ether/Ore" enter to a land of dislocated strangeitude. Probably, "Ether/Ore" is even more original than "Permutations" is. It's strange and odd but it's great too. The fifth track "Placeholder" is a spacey ballad, finally providing a break from the aural chaos. The bitter lyrics are sung in a numb and detached manner, leaving the listener floating in space until he finally manages to muster the energy to address with the rest of the album. The sixth track "Unintelligible" features numerous sudden shifts in mood and dynamic, from soaring melodies with stuttering yelled vocals, all ending with a disorienting tempo decrease. The seventh track "Sympathesizer" keeps that tempo play going, as it changes tempos through its entire duration while still managing to be probably the album's most accessible track. The eighth track "Seek And Release" is another track that develops into another strange and new territory in contrast with the previous track. But it's enjoyable enough in its willingness experiment and whilst remaining accessible, logical, unpredictable, surprising and exciting. The ninth track "Prometheist" has a great guitar and bass works. However, despite its clear quality, I feel like that it's probably a bit underwhelming and could benefit the album from being cut just for brevity's sake. Somehow, it feels like it treads similar ground to the preceding tracks. The tenth track "Deep Five" closes the album in a good way. This is a track that reminds me the style of King Crimson with a great keyboard work. The bass and the drum sections are also excellent. The vocal harmonies are excellent too.

Conclusion: "Permutations" is absolutely a crushing album but at the same time is a constructive and creative release full of energy and power. On this album, the band owns the sound by making it obedient, what's shown through the unification of all the diverse parts. The great thing about The Mercury Tree ultimately marks their ability to let them drift playfully and thus express emotionally everything that can be imagined. That makes their music extremely human and just as diverse as each of us really is. "Permutations" represents something against the monotony and over-one-comb scissors that the world, and we ourselves, and everyday life try to present to us. The Mercury Tree definitely has a lot to offer with "Permutations". It serves as a way for The Mercury Tree explores their more experimental tendencies. There's no question that the band is at the top of their game, and "Permutations" is surely one of their greatest achievements.

Prog is my Ferrari. Jem Godfrey (Frost*)

1. "Grown Apart" (5:25) man these guys work with microtones, tonal shifts, and note-bending has come so far! The "odd" musical nuances are no longer so abrasive or cloying as they've mastered the art of making it all flow "beautifully." (9.25/10)

2. "Similar Self" (5:43) this one opens like it came out of the techno-pop scene around 1984. Ben Spees' vocals are heavily-treated as many of the vocalists in the mid-80s were, but even the supporting instruments seem to have a quirky 80s vibe to them--like The Cure or Talking Heads. But then, at 2:06, the music becomes more like The Smiths meet The Clash cum The Specials. A lot of the woven riffs remind me of black midi as well, but the vocals continue to trumpet out like early BONO. Cool! (9/10)

3. "Dreamwalking" (4:16) brilliant smooth singing over quite syncopated and polyrhythmic (even African sounding) music. I like the introduction of the Who-like keys in the third verse followed by Ben's dreamy (and then raunchy) singing. (9.25/10)

4. "Recursed Images" (6:22) psychedelic echo-vocals with straighforward time signatures within which microtonal and "old standard" guitar play trade off in extended instrumental passages. But then that crazy fourth minute comes with building tension over an ominously unstable Crimsonian rhythm track. Another totally brilliant and refreshing sound scape that seems to somehow draw from the past masters of the 1960s like The Beatles and (9/10)

5. "Stay the Corpse" (5:34) another song whose basic rhythm track and instrument palette immediately brings up the late 1970s and early 1980s--a more aggressive (Alice Cooperized) version of The Cure or perhaps The Clash. Very steady driving music. (8.75/10)

6. "Binary" (3:46) the song with Nick Prol's help on the vocals proves to be a likable and interesting one but, in the end, presenting nothing really new or astonishing other than the amazing-as-usual rhythm section. (Drummer Connor Reilly is so versatile!) (8.875/10)

7. "Self Similar" (4:57) opening with a great sound palette--deep in the bass and odd-timed in the drums--Ben Spees' vocals add a calming beauty in the way that Mark Vennart with British prog band OCEANSIZE used to. (The contributions of Gabriel Riccio, Tom Shad, and Deja Indigo Yerger are noticeable and appreciated. I really like the microtonal guitar "piano" adding quick arpeggi in various parts of the song as well as the great drumming. (9/10)

8. "Dark Triad" (9:26) opening with an instrumental palette that sounds very Southeast Asian playing some oddly-timed weave of non-Western scaled instrumental play, Ben enters with his smooth, almost plaintive voice that doesn't really fit until the third minute when he matches the melodic line of Damon Waitkus' tongue drum. Mathematically, this is a very cool construct; however, with my very-biased American-trained nervous system, I find these unusual and non-Western melodies and harmonies at times quite challenging to accommodate much less enjoy. Still, from a King Crimson point of experience I am very appreciative of what I hear here. The "Run Like Hell" prog-almost-disco motif that starts at 6:20 helps me to reset and get in the Asian groove that follows--until the more familiar Western metal power chord progressions a minute later. Did I mention how awesome Oliver Campbell's deep bass play throughout is? Such a power trio! (Nice high note at the 9-minute mark, Ben!) (or is it Oliver?) (18/20)

9. "After the Incident" (7:30) So strange to be hearing these odd (non-Western) chords and chordal progressions worked into more traditional metal and progressive rock musical forms. It's rather amazing how well the band can do this: making it interesting while still making it enjoyable as well. (Great vocal melodies, Ben! Not an easy job to do!) My favorite song on the album. (14.5/15)

Total Time:

The delicate, almost "beautiful" voice of lead singer Ben Spees is sometimes at odds with the intricate and sometimes raw-feeling musical forms he is trying to sing with and within, so it always takes me a few listens of a Mercury Tree album in order to get used to the whole. Evenso, this album has hit me at the perfect time: it's as if something was missing in me and this helps to fill the void.

A-/five stars; a minor masterpiece of truly progressive rock music. Highly recommended to any and all progheads who think that they are still open to the "progressive" part of prog music.

1. "I Am a Husk" (4:48) offers a toned-down introduction into the band's new sound. A kind of display of KAYO DOT plays THE WHO. (8.25/10)

2. "Vestments" (4:39) opens with fast moving "Discipline"-like multi-instrumental weave before several guitar tracks begin to display their atonal microtones. Virtuosic, to be sure, but enjoyable to Western ears? It will be a challenging scenario--one that I fear will not bode well for The Mercury Tree's fan base (though many hard core experimental musicians will appreciate and love this). The vocals and more comfortable bass and drum lines help make this one more easily accessible and, perhaps, enjoyable. (9/10)

3. "Arc of an Ilk" (6:35) an amazing composition of angularities pulled off with jaw-dropping dexterity and flawless team timing. The problem is, that it's not "pretty" or very engaging. It is entertaining from the vantage point of watching and appreciating virtuosi at work. (8.75/10)

4. "I'll Pay" (6:22) fascinating and incomprehensibly complex there are some nice vocals and melodies (especially in the repetition of the title in the background vocal chorus) here above the and great musicianship. (9.25/10)

5. "Interglacial" (1:45) feeling quite Asian in its melodic sensibilities, this brief instrumental is surprisingly pretty. (5/5)

6. "Superposition of Silhouettes" (3:43) aside from the chromatic chords, this one has a pretty, accessible sound and structure--quite like a pleasant TOBY DRIVER song (and the closest thing to old Permutations-era TMT). (8.75/10)

7. "Kept Man" (3:15) microtonal PORCUPINE TREE anyone? (8.25/10)

8. "(Throw Up My) Hands" (2:59) pure TOBY DRIVER discordant minimalism and beyond! (8/10)

9. "Disremembered" (7:07) what starts out as a stark Ben Spees solo effort turns into a 60s-ish surfer song á la Dick Dale with a totally twisted modern approach to it, then back into the stark motif of the opening section, before turning into a KING CRIMSON-esque exercise in odd tempoed polyrhythms. Stunning construction and performance. I just wish it were a little more enjoyable from a melodic sense. (13/15)

10. "Brake for Genius" (3:32) The song that gave me the Jane Siberry comparison. (8/10)

11. "Tides of the Spine" (4:33) The almost normal acoustic guitar work makes this song partly accessible. (8.75/10)

This album--The Mercury Tree's ffith of this decade--often has a Ben Spees solo album feel to it--especially the middle four songs of the album, "Intergalcial" to "(Throw Up My) Hands." Aside from the aforementioned Toby Driver, the only other artist I can compare Ben's singing style to--an artist who uses such unpredictable and often angular melody lines--would be Canadian muse JANE SIBERRY. My rating for this album might be higher if I could hear and make sense of the lyrics, but, alas! I am "blocked" from comprehension of sung words by a lifelong learning defect. While I am mentally blown away by the skill, dedication, practice, and mental dexterity that goes into being able to play, write, work collaboratively with such experimental musical scales, my own ability to enjoy myself while listening to music like this is challenged to a point that I am sad to admit is beyond my control. No matter how hard I try to distance myself, to chose a different perspective to come at this music from, I just can't seem to find pleasure in the experience. It's work. The musical harmonics on display are even, at times, repellent to me. I thoroughly enjoy the challenge--I've spent over seven months with this album now--and have from the beginning truly appreciated the genius involved in creating such music, but, in the end, I find myself feeling exhausted and dejected by it. Reviewing this album has been so challenging by the fact that I found myself having to choose to rate each song according to likability and accessibility rather than skill and virtuosity. Usually, I am able to incorporate consideration for both of these very important elements of art, but here I felt cursed to actually have to choose between the two. I guess my reasoning is two-fold: I'm seeking internal resolution to my personal feelings for the work and I'm trying to offer accurate and true commentary to others as to whether or not they might enjoy seeking out this album for their listening pleasure. I highly recommend that each and every one of you take this album for a spin for your self to see what you think. I'd actually be interested to see comments of your reactions.

Four stars; a remarkable display of progressive progressive rock music--one that certainly pushes boundaries (as well as buttons). I'm not sure this album will be everyone's cup of tea but it is certainly recommended that you try.

Before anyone would want to throw rocks at me, I want to start this review by saying: I obviously AM aware that this album was written using a 17-note microtonal scale and I am not opposed to jazzy progtunes such as Seven impale, King crimson, as well as some of the other Mercury tree albums. So even though I must admit that I had some doubts when sitting down to have my first go at this album, I did still want to believe that I will be the right audience for this wicked idea and tried to keep an open mind.

Unfortunately the first listening proved me wrong right off the bat, as simply speaking I could not even finish it. I did get further into the album with the second and third listens, however it did not change either my rating or my opinion that it is a flawed idea to build a whole album on the concept of a 17-note scale. In my view there is a REASON why an octave is split in 12 equally-spaced notes. It sounds right, it sounds more natural, the human ear is much more used to it. I really appreciate the idea of a few musicians going against this flow though (gosh, how difficult it must have been to learn such cord progressions!), however listening to the end result feels more like buying a beautiful car without wheels. I can go out to the garage every once in a while to rest my eyes on its beauty, however a car is for driving, so if I cannot do that then why buy one?! In other words, Spidermilk is great musicianship and excellent talent mixed with innovation, yet many "traditional" proglovers will consider it to be more like a fail, a musical experiment gone wrong, because for them it will just sound dissonant noise that hurts the human ear when taken in big doses. So unless you are seriously into avantgarde / progressive jazz and have a stomach for weird stuff, you may find it very difficult to get a grasp on Spidermilk and find ANY melodies to hook on to in this serious amount of chaos rambling straight on for 50 minutes. Two more things to add would be that the drummer at least is trying to save what he can (luckily there are no scales for him to follow), but what the singer does (singing using a 12-note-scale for 17-scale-songs) again achieves the opposite for me. If it did not sound dissonant enough by then, this throws me off even more.

Maybe if I had not listened to so much "traditional" prog before my ears would not bum so hard now? Maybe that is true. And so kudos to everyone who gave this a five-star-rating. I understand why and I really envy you guys. Yet I am landing firm on a 2-star-rating for the first time on this site.

What an amazing, yet unsettling album! I love it!

"The Mercury Tree" comes from Portland, Oregon and is a Heavy Prog band that has been around since 2004. They have gone through a few line-up changes through the years and have had some changes in their overall sound through their 5 full length albums that they have released to date. Their latest album is called "Spidermilk" and it boasts the use of a 17 note microtonal scale. That in and of itself sounds intriguing. This album was released in April of 2019 with the following line-up: Ben Spees on vocals, guitar and keyboards; Connor Reilly on drums; Oliver Campbell on bass; and Igliashon Jones on guitars. Tony Mowe also appears as a guest on alto and baritone saxophones. There are 11 tracks on the album ranging from just under 2 minutes to just over 7 minutes.

The sound of this album is quite unique. There are the microtonal scales that give it the unique and maybe a little alienist sound. The guitars go from a jangly sound to a heavy progressive sound in many of the tracks, and you even get a sense of later King Crimson style arpeggios and chord progression, but add in that sound of the microtonal harmonies and you can add a good amount of dissonance in there too. The vocals, in contrast, are not as dependent on the microtonal scale, so you get this almost pop sound in the vocals (not melody-wise, but tone-wise) and a completely non-commercial sound in the instruments. It's actually a cool sound, kind of jazzy in an abrasive way, yet totally progressive and unique. I love it! But then I tend to love the quirky stuff as long as it is done smartly. When the vocal harmonies come in using the 17-note scale, that is when things really get interesting. That must have been tough getting those tones right.

When you listen to "Arc of an Ilk", you will really notice the odd harmonies. Starting out like a jazzy riff, things go south fast when the vocals start, because this time, the melody is in half tones, and that should completely throw you off. Just wait until you get to the part where the synth plays the repeating atonal chord. By using microtones, it may seem the guitars or vocals are sliding into position giving you the feeling that things are slightly out of tune, but they are not. This all makes sense, and it is something that may not sound right when you first hear it, but if you give it several listens, you'll start to understand how genius this whole thing is.

The song "I'll Pay" is a masterpiece in it's own right with some nice dynamics, changes in tone, crazy bass riffs and totally off the wall passages. Later in the track, the band moves very smoothly into Kayo Dot territory. Yes this is Heavy Prog, but the band's sound definitely moves deep into Avant-Prog territory with this wonderful album.

The instruments were all purposefully tuned to this microtonal scale which give it the unique, yet very nice texture and sound. The album also took 2 years to completely create, and much of that time must have been learning the harmonies and perfecting the sound. I know this is definitely not going to be to everyone's liking, but you can't deny the sound is unique, challenging and groundbreaking, and above all, 100% progressive. Those that love that kind of music will love this, and lovers of RIO/Avant-Prog will love it too, not to mention lovers of progressive jazz. I know this much, I love it! And with the genius behind this music makes it a must have for those that want to be on the cutting edge of progressive music. 5 stars without hesitation!

Call it noise-rock suspended and then smashed in the atmosphere, or dream-rock propelled off a cliff and hitting the ground, the sonics The Mercury Tree crafts crams the headspace with agitated unrest and strung out rapture, amply displaying the raging and fervent fire that exists at the heart of the beast known as The Mercury Tree.

Album-starter 'Symptoms' is actually one of The Mercury Tree's best tunes, running on restless drum rhythms, an ominous bass line thrum, majorly warped guitar lines, and hazy, androgynous-sounding vocals. The powerful guitars fire on all cylinders, swerving off the road, then realigning themselves before picking up the pace and skidding around the bend. A noisy conflagration of sound hits the middle and end sections of the song with abrasive and more delicate notes colliding and spinning out of control.

Next number 'Exhume the Worst' is immersed in lurching guitar burn and a ponderous drum beat and is a test to the less intrepid eardrum.'Spees hovers sweetly and lightly over the noise, leavening the harshness with his pleasantly mild vocal tones.''Permutations' revels in its staticky, fuzzed-up ambience that's cut with loops of warped, tape recorder-like sounds.'It is one of the centrepieces of the album which easily showcases the band's trajectory on their way of progress. 'Ether/Ore' comes on like an experimental barrage of serrated guitar jags and a dynamically propulsive drum beat.'Spees' vocals rise from the deep, and are still indecipherable.'The song's spine, with its recognizable verses, is pop in construct while the chorus arrangements slay with blazing guitar pyrotechnics and effects.'The song features guest appearance from saxophonist Tony Mowe, who adds another dimension. Its claustrophobic ending makes it sound quite a blast!

This burns out into the smoldering embers of comedown 'Placeholder' with the drawn out piano section fading away amid the brighter sparkle of slowly chiming guitar-bass interaction.'It's a delightful respite from the aggressive fury that preceded it.'This lull turns into the full-on narcotic sway of another style-changer 'Unintelligible.''Spees pulls out his gently soporific vocals amid the twiddle of gleaming drum beats and delectably woozy guitar grind.'But this beginning is a deceit because mid-way through, the sonics amp up in intensity with the rhythmic churning of bending guitar distortion and a more kinetic drum beat.' By the end of the song, the guitars and drums are voraciously consumed by an all-encompassing devolution of immolating noise.

'Sympathesizer' is probably the most catchiest song on the album. It varies in speed ranging from an almost drone to a more fast- paced prog piece. Tony Mowe once again provides his saxwork, but this song also features the former member Aaron Clark who does some guitar work.

The remaining three songs wrap around 25 minutes of music which goes from Porcupine Tree-inspired 'Seek and Release,' to a well- control and balanced 'mess' on one of my favourites 'Prometheist.' The closing epic 'Deep Five' just confirms the prior allegations that 'Permutations' is the band's most progressive record out to date. It was hell of a task to beat 'Countenance,' but they did it. And they did it with style.

1. "Symptoms" (6:59) opens the album with an edgy weave of instrumental sounds and rhythms--much of it microtonal, though there is a bit of a djenty base to it all. Once the vocal's odd melody and odd sound enters and establishes its place, the song takes off in a PROGHMA-C kind of full-speed ahead way. Heavily-distorted guitars, heavily-echoed vocal; this could be straight off of a KAYO DOT album. The rapid fire guitar and keyboard arpeggi in the fifth minute are replaced by a new section of Bill NELSON-like quirky-odd vocal melody. The two sections alternate into the sixth minute, shift key and scales, taking on somewhat more of a DEVY TOWNSEND sound and feel through to the end. An unusual, perhaps even unique, song. The band's musicianship (and confidence) is astonishing. (13/15)

2. "Exhume The Worst" (4:56) is a very odd sound and feeling "love song." PORCUPINE TREE would have loved to created this one. Some interesting and odd almost-BEACH BOYS background vocals end the chorus section before the song returns to a chunkier-bassed version of the opening. At 2:30 we here the vocalist's first scream/growls. The multiple guitar leads interwoven in the fourth minute's instrumental section are fascinating--so unusual! An odd, edgy song that I'll probably end up loving more than I do at the moment. (8.66667/10)

3. "Permutations" (10:42) Opens with some vascillating keyboard notes and "tuneless" guitar notes before the vocal talks to us. Acoustic guitars and spacey keyboards enter and establish an odd rhythm and pacing before layered voices contribute a kind of rondo of the repetition of a lyrical phrase. At the two minute mark plucked strings bring in a dissonant series of rising and falling arpeggi while an almost punk-like bass and GG vocal harmonies sing over the top. Djenty lead guitar solo ends and leaves us in a vacuum into which the "tuneless" guitar notes return. Vocals. At 4:30 we actually hit a very beautiful section--vocally and soft minor key instrumental weave--which builds and builds into a very violent crescendo at 5:30 and is then sustained for 30 seconds before returning to the "beauty" melodies of a recapitulation of the "vacuum section." Interesting section with reversed lead guitar at the end of the seventh minute leads into heavy weave over which a more dissonant vocal harmony is sung. The djenty rhythm section is danced within by the rapid-fire "plucked strings arpeggi until at 8:53 everything quiets down into a MAUDLIN OF THE WELL-like acoustic section with breathtaking beauty, both vocally and melodically. Gradually electric walls of sound build around the falsetto vocalizations before playing out to the song's end. Wow! What an odd, interesting ride! (18/20)

4. "Ether/Ore" (4:08) has such an odd electro-pop percussive foundation over which treated and untreated vocals, saxes, keys and guitars play--an odd weave--kind of early TODD RUNDGREN-esque while at the same time being again somewhat near the Bill NELSON/BE-BOP DE-LUX zone. Brilliant but odd as [&*!#]! (9/10)

5. "Placeholder" (4:32) familiar piano and bass chords give this a bit of a jazzy feel but the vocals are so TOBY DRIVER-like! I am thinking that this is by far the most accessible yet psychedelic of all songs thus far. A really cool, odd, yet gorgeous song. Gabriel RICCIO (THE GABRIEL CONSTRUCT) would love this one. The yelled near-rap in the final minute sung over the long drawn out angelic vocals in the background are awesome. One of my favorite songs of 2016! (10/10)

6. "Unintelligible" (5:06) this one has some of the craziness energy of a ZA!/OCEANSIZE song to it. I love it! (8.875/10)

7. "Sympathesizer" (4:42) has some cool full-wall of sound foundation (not unlike those used by Terria-era Devin Townsend) over which all kind of odd and creative sounds and instruments are added. (8.875/10)

8. "Seek And Release" (5:46) shows some RADIOHEAD influence. And OCEANSIZE. Again, yet another song that develops in a hitherto uncharted territory. Unpredictable and utterly surprising and exciting. (9/10)

9. "Prometheist" (9:00) has a Post Rock-with-oriental-instruments sound with Bill NELSON like vocals and, later, angular, djenty bass and guitars. This could be a KARNIVOOL or VOTUM song! Absolutely awesome guitar and bass parts in the sixth and seventh minutes! The last 90 seconds play out in a kind of spacey, latent-power play--one is never sure whether or not the band is going to leap back out into dynamic decibelia! (9/10)

10. "Deep Five" (10:32) employs some King Crimson basics that have become widespread throughout prog world in the last 30 years over which a deceptively emotional, beautiful and understated vocal establishes itself. This singer is a special force! And the vocal harmonies are equally amazing. The polyphonic instrumental weaves in the fifth minutes are quite wonderful--as is the keyboard and bass'n'drum section that follows. Gamelan like percussives and buzzing synths and synth water sounds play in the soundscape over the steady, insistent drums and bass. This is heaven!! What an awesome way to close out this revelatory album. Brilliant!! One of my favorite prog epics of the 21st Century! (20/20)

Even though I am blown away by this fresh new music, I have a feeling that this is a real grower--that it will climb in my esteem with each and every listen. Really cool stuff! Heavily recommended to all prog lovers. This is one gift that will keep on giving for a long, long time! Check it out! THis one is pushing the envelope! In all directions!

A minor masterpiece of progressive rock music; soon to be cherished as an eternal masterpiece.

I don't even know where to start here. Microtones, 3 and 4 part vocal harmonies (sometimes more?), angular riffs that don't sound like copies of the 2000 math rock/metal bands that exist already, odd approaches to songwriting, vocals that sound just a little bit like Bob Drake? Heavy sections that bring to mind a desperate alien soul trapped in a human incapable of understanding any of the thoughts created by her mind? Why am I ending these sentences with question marks? Where am I?

I am a dog, tied to a park bench. My owner left me there, hoping that someone would take me home, as he decided to kill himself. He couldn't stand the thought of leaving me alone in that apartment for several days to eventually feast on his dead body. Dogs might be the most loyal animal but even they get hungry. What brought him to this point? It couldn't have been me. As I sit on the park bench, no one comes for me. There's been an outbreak. An attack? People are fleeing the city, frightened. I chew through my leash to get away and sniff the air for my owner. I miss him. I find his body and mourn my loss, but feast anyway. A lost animal in a dead city. There might not be any hope but there is freedom.

This is music that will make you question things. I have never listened to the Mercury Tree before, but this makes me interested to hear anything Ben Spees and company have ever touched. Ben, the guitarist, vocalist and keyboardist, mixed the album himself and deserves some credit for keeping everything sounding organic and clear. The mastering job is surprisingly nice as well. Nothing is over compressed but it still feels loud.

I guess the closet comparisons I could find would be 5uu's, less chaotic PoiL moments, or early Thinking Plague with Ex-Girl style vocal harmonies at times, but this isn't as immediately off-putting as any of those groups. (Though I usually love the off-putting.) In fact, as complex and strange as this album might be, I never find myself thinking that they went too far, and when listening to this entire album it seems apparent that this music could only exist right now. Each over-the-top expression feels justified and never tiring, each influence necessary to create the end result, but far removed from those sounds. There are plenty of moments of reserved beauty, especially towards the end of the album. There are also sections that will leave you without reference points other than to consider odd combinations in your brain. Just stop it. Listen to it.

This is my favorite album of the year so far.