THE UNDERGROUND RAILROAD

You know that killer riff that Emerson plays starting about 30 seconds into "Tarkus"? I don't really want to hear it 3 or 4 times on the same cd from another band some thirty years later!

But that's about my only complaint on The Underground Railroad's second cd "The Origin of Consciousness". I mean, I almost expect to hear some derivative sounds on any new prog cd these days, and these guys are all clearly talented enough to pull off some complex polyrhythmic ELP stuff mixed with fusion. But I thought they went to that well just a few too many times here; I will concede that the final track ("Julian II") contains some themes from the first track ("Julian Ur"), so some repetition is expected there I guess . Not that this is a bad cd - I did give it 4 stars! I enjoy the Porcupine Tree-like vocals, and I'll listen to any guitarist who emulates Allan Holdsworth. The sounds of Spock's Beard and Echolyn also come to mind on a few tracks. But one of my other difficulties with this cd is that I can't take quite this much of the dissonant vocals and song structures - I need more frequent breaks of harmony and melody to resolve the tension, especially when the lyrics are obtuse and delivered somewhat darkly. (Actually, much of the art on the cd booklet is representative of the music.) And there are certainly many stretches of virtuosity displayed throughout the cd, but sometimes the solos don't seem to go anywhere - it's sort of like watching continuous one-minute snippets of great chase scenes from different movies, but never getting to see the outcome of the chase. Maybe they're trying to put too much into a limited space?

Favorites for me are the 11-minute instrumental "Love is a Vagabond King" (which really is excellent!), "The Canal at Sunset" and the 8-minute opener "Julian Ur"...in that order. This is complex music played well; but it's not an easy listen, and may require multiple listens to fully appreciate. I'm intrigued enough to concede that this kind of talent deserves at least that much of an opportunity.

The title of the debut album by The Underground Railroad is 'Through and Through', and the band was formed by Bill Pohl and Kurt Rongey. Both Bill and Kurt have graced these pages before, with their debut releases 'Solid Earth' and 'Book In Hand' respectively. In fact, they have been playing with each other for over ten years, but it was only in 1994 that they joined forces in the Bill Pohl Group. By 1997, they had the album written and felt that it was time to change the name of the band.

The album was not completed until the end of 1999, and was named after the longest piece on the album, 'Through and Through", which is over twenty minutes in length. This is a very complex and complicated album, which takes a great deal of listening to. They have obviously been influenced by the UK Canterbury scene, and have also taken on elements of King Crimson's more experimental work and some jazz. The result is an album that while undoubtedly clever, sometimes takes the listener into areas that are unexpected. While this is not in itself a bad thing I did sometimes get the impression that this was complexity just for its' own sake instead of following a musical thread.

A difficult album, but one that someone into experimental/jazz-based prog may enjoy.

Originally appeared in Feedback #60

Complex prog from Fort Worth,Texas,US.The band was found by guitarist Bill Phol and keyboardist Kurt Rongey in 1996 after the demise of the group Anne Hand.Bill and Kurt were already familiar with the music industry,having released solo albums in the past years,and recruited Matt Hembree and John Livingston to response on bass and drums duties respectively.Their debut ''Through and Through'' was released on Laser's Edge in 2000.

What this guys present here is a super-technical Progressive Rock with evident vintage references,like trying to push GENESIS',YES' and KING CRIMSON's sound a bit further.Symphonic Rock is combined with Avant-Fusion and if you can imagine BIRDS AND BUILDINGS jamming with ATAVISM OF TWILIGHT you will get the picture.Here you will face a guitarist,who's style is split between ROBERT FRIPP's breaks and ALAN HOLDSWORTH's acrobatics,a keyboardist who can't decide the path between symphonic synths and distorted electronic sounds,a bass player and a drummer exploring all possible jazz patterns and vocals often close to these of PETER GABRIEL with a dramatic edge.The delivery is almost always deeped in dissonance with a few harmonic and pastoral breaks thrown in for good measure.Yet the album still keeps the listener's attention all the way with those dramatic shifting moods,the grandiose atmosphere,the interesting time signatures and the well-crafted arrangements despite the ultra-high level of virtuosity.

''Through and through'' is not an album for everybody.If fast and constant breaks and changes give you a headache,stay away.If technical performance and adventurous music is among your preferences,grab this one immediately.Warmly recommended.

I can only conclude after reading so many positive reviews about this album that it's "over my head". I just can't get into this music. I didn't like it the first time I heard it, and after many listens I can at least appreciate it but I can't enjoy it.

"Julian Ur" opens with dark sounds that build. Piano takes over then a full sound. It settles quickly with vocals. Some drastic mood and tempo swings on this one. The synths are melancholic before 5 minutes and the song stays that way to the end. "Julian I" features some nice chunky bass. The vocals are almost in the background throughout this album, almost like they were mixed too low. Synths dominate around 1 1/2 minutes. "Love Is A Vagabond King" is an instrumental and it's actualy upbeat early on. Lots of synths then the guitar leads a minute in followed by piano. Then the drums take their turn before 2 minutes. Guitar is back. Chunky bass before 4 1/2 minutes. Piano comes in as it settles right down 7 1/2 minutes in. "Halo" has these synths and vocals that come and go. Piano after a minute. Spoken words before 2 1/2 minutes then it kicks in instrumentally as vocals stop. Vocals are back 6 minutes in as it settles. Piano ends it.

"The Canal At Sunset" is mellow to open then the tempo picks up as vocals come in. This is almost a straight forward track. "Metaphor" opens with some huge bass before we get a beat with piano and guitar. Vocals follow. Great sound 2 minutes in. "Creeper (The Doorman Pt.2)" is the longest track at 13 1/2 minutes. Piano to start as reserved vocals come in. A fuller sound 3 minutes in. I like the section around 8 minutes where the bass throbs until 10 1/2 minutes in when it settles with vocals and piano. "Julian II" opens with lots of keyboards and drums. Vocals 1 1/2 minutes in as it settles right down. It kicks in heavily after 3 1/2 minutes. The piano and drums are outstanding a minute later and so is the guitar that follows. Best song on the album.

Critics seem to like this band, i'm having trouble in that regard.

This is one of my favorite albums of the 21st century. Dense but meaningful, it takes several listens to appreciate, but it doesn't wear out its welcome for me, as I still find new things to appreciate as time goes on. The only flaw is a slight sameyness to the sounds, but other than that this is almost a masterpiece.

When I first listened to this album, the opening track reminds me to jazz music like those played by Chick Corea especially with the piano work. As the music moves along, I remember Echolyn as having similar style with the opening track "Julian Ur" (7:45). It's because of Chick Corea music is typically has no vocal except some with Flora Purim. This album by Underground Railroad has vocal line which is sung similar with Echolyn. The music in fact turns into slower tempo with keyboard solo, guitar solo and vocal line. The guitar work is really stunning. It then flows into faster tempo with next track "Julian I" (2:37) which reminds me to the combination of Weather Report and Brand X. The keyboard work at the background is really nice, especially when it's followed with guitar solo. It's quite unique in terms of composition because the rhythm section comprises heavy riffs like any typical rock / metal music but the melody line (through vocal) is jazzy in nature. "Love Is a Vagabond King" (10:40) provides great combination of piano, guitar and dynamic drums at the opening, followed with guitar solo in the vein of Allan Holdsworth. The song features nice breaks among transition pieces through nice piano work. I personally enjoy the exploration of guitar solo in the middle of the track which has a combined style of Allan Holdsworth and Jeff Beck. This is one of excellent songs this album offers.

"Halo" (8:21) opens the music with a combined work of keyboard and acoustic guitar followed with mellow vocal line, backed with long sustain keyboard work. The piano work that follows and also the guitar melody are truly stunning and this kind of music confirms me to the style of Echolyn music, especially in vocal department. What follows is a graet musical interlude demonstrating bass guitar, piano, guitar and dynamic drumwork. The basslines look very tight and quite dominant. The piano solo makes the music floating and it flows wonderfully from one segment to another. The guitar solo follows the musical interlude. It's stunning!

"The Canal at Sunset" (4:17) starts mellow with guitar and piano work followed with drums and vocal. "Metaphor" (2:59) starts with a dynamic bass lines and the following music is really like Echolyn or Finneus Gauge - it's excellent stream of music - especially with its complex guitar and piano work. Wow! I like it. "Creeper (The Doorman Pt. 2)" (13:26) is an epic which starts mellow and it moves into Holdsworth-like music through the sound of keyboard. It reminds me to Holdsworth's "Metal Fatigue" album. I can sense the bass guitar playing is really wonderful especially in this track. The album is concluded nicely with "Julian II" (8:54).

Overall, it's an excellent addition to any prog music collection and it's best offered to those who have been familiar with Echolyn, Finneus Gauge, Brand X, Allan Holdsworth or in fact Bill Bruford first three albums. I recommend this to all of you and I'm sure you will be satisfied. Keep on proggin' ..!

Peace on earth and mercy mild - GW

I can't believe another reviewer ditched this album BECAUSE it was "overfilled it with top notch playing and head crashing signatures" The melodicism is incorporated within the harmonic complexities of the dense arrangements, otherwise you just may be browsing in progressive music by mistake. This contemporary music is a synthesis of many forward thinking trends in bands from Henry Cow to Bill Brufford. Simply beautiful and dynamic progressive fusion. Do not take it for what it is not. This is not proto prog or neo prog or something over-simplified that will insult my intelligence. This is amazing thinking man's music with rich harmonic and melodic texture in a fusion framework with arresting improvisation incorporated into dense King Crimsonesque compositions. a great cd!

“How can you believe him? He likes Neo!” – that’s what I already hear, submitting this review. First of all, this is MY point, and if you disagree, make a 5-star review for this one! :) Again, I appreciate good playing, dense musicianship and complex music. But if it isn’t supplied with enjoyable and memorable melodies, well-written structures and emotions, I’m simply getting bored. I was sitting listening through this album wondering how many good things here could have been invented but not! They decided to do it in their own special way. OK, if you like heartless mega-complex ear-hurting Avant Symphonic, go and get you this candy. I’ll abstain this time.

I rarely bash modern bands, since I know how it’s hard to make a record and release album. But THE UNDERGROUND RAILROAD did nothing to please my tastes; hence this is purely egoistic point of view :) OK, these guys didn’t care for throwing at least one memorable melody in their album, but they overfilled it with top-notch playing and head-crashing signatures. Their Jazz and even Avant leanings are obvious, so I guess they are simply misplaced in Symphonic Prog genre. Or is this Symphonic MathRock? Anyway, if Prog for you is a good playing first and complexity for its own sake second, get this one. If you care for emotions, melodies, enjoyable moments etc, forget about these things for an hour.

When "May-Fly" (3:52) starts to roll at my CD player, my first reaction about this album is something like Finneus Gauge or Echolyn's music with more ambient in textures. You might recall its similarity with Allan Holdsworth or even with Phish - even though the latter has wide range of music styles. For sure, the first track has given me a good impression of how good the quality of The Underground Railroad music is. I especially enjoy the combination of guitar and piano works.

"The Comprachinos of the Mind" (10:18) starts off with longs keyboard solo work followed with jazz-rock music style and unique singing style. This is typically similar with Allan Holdsworth's music. Keyboard plays important role as basic foundation of overall rhythm section while guitar inserts its solo augmented with keyboard - wonderfully. The music interlude offers guitar solo (howling sound) in ambient rhythm section. It's definitely like a Holdsworth's guitar solo. Next track "In The Factory" (5:35) starts off with inventive keyboard work in an excellent harmony. The music flows like a jazz-rock fusion music with long sustain keyboard as main rhythm section.

"The Doorman" (10:05) is another long track like second track with unique singing style. The music reminds me to the early music of Steve Hackett solo albums. This track is quite strange in terms of styles because at some segments remind me to the music of early Genesis but at another segments like Holdsworth solo album with interesting keyboard and drum solo.The concluding track and album title "Through and Through" (20:13) is an epic with various music styles. Sometimes it goes melodic and at other segments are a bit of avant- garde.

Overall, this is a good addition to any progressive music collection. This album is worth to purchase as the music is quite unique and sometimes it's difficult to classify what band that similar with this band. If you are hungry to explore, and be open mind with, wide variety of styles, this album would fulfill your needs. Keep on proggin' ..!

Peace on earth and mercy mild - GW