THANK YOU SCIENTIST

American Crossover Prog ensemble Thank You Scientist are one of Prog's Millennial Generation darlings--What can I call it? Prog's 5th Wave?--contemporary to other likewise hailed beloveds such as Haken, The Dear Hunter, Bent Knee, Leprous, and Between the Buried and Me. Considered owing to the success of Coheed and Cambria, though early on showing their own abilities as musicians and composers, Thank You Scientist is still one for the books; a band of immense talent and vision who are still delivering exceptional, modern Progressive Rock and Prog Metal today. Their debut LP, Maps of Non-Existent Places, follows one year after their likewise noteworthy EP The Perils of Time Travel (2011). To age myself in a different way than other reviewers here, Maps came out at a time when I was actually new to the Progressive 'genre' overall, after I had graduated high school, the summer following my senior year (haha, I told you). Thanks to YouTube especially, it was an album from that time that you just couldn't not hear, in a sense. I don't know what it means if you missed this or albums like Haken's Visions or The Mountain, Mastodon's Crack the Skye or The Hunter, Leprous's Tall Poppy Syndrome, Transatlantic's The Whirlwind, Scale The Summit's The Migration, or really any early The Dear Hunter, for instance. These were big albums, to say the very least.

And onto our album, it starts with the remarkably a capella "Prelude", a beautiful display of vocal talent. Hard to say if featured alongside Salvatore Marrano in the vocal ensemble are otherwise credited vocalists Tom Monda (TYS's guitarist), Andrew Digrius (their horns player), or non-member Mark Radice; more is more, right? Leading directly into the Pop/Ska Punk-inspired intro to "A Salesman's Guide to Non-Existence", the Coheed comparisons can easily be made, not that Marrano's voice, specifically, isn't in its own way distinctive. Super strong vocal melodies are here in the chorus; highly memorable, at that. The horn section is obviously not limited to Punk-derivation, drawing from Jazz as well (maybe think Snarky Puppy, though I'm sure there's more convincing comparisons out there). Masters of composition, in my opinion, the bridge, in its relative simplicity brings that much more complexity to the whole. It's almost as if there were two bridges. And it's especially in the latter part of this bridge that their Post-Hardcore influences do come out. A band very of its time. Next is "Feed the Horses". Some of these sonic ideas, however ahead of the curve they may have been (I'm not sure I can quantify that), do now feel a tad dated (similar to listening to early Caligula's Horse for me). There's still certainly strengths here, I can not deny. The saxes of Ellis Jasenovic are certainly one of those strengths, counterpointing with guitar riffs and horn stabs. The section nearing the end, likewise featuring more distinctly Russ Lynch's viols, is one of its most interesting moments. Regardless, not as drawn to this as the better known "A Salesman's Guide".

Immediately of greater interest is "Blood on the Radio", the longest song at over 9 minutes, with a Latin feel and, in that, some great rhythms. There are some vaguely Alt Metal ideas, even as the song morphs and shifts into greater complexity approaching minute 3. Definitely a general showcase of drummer Odin Alvarez here (certainly an interesting name, I'll add). The instrumental section in the middle, including some great Andalusian-like handclaps, is most delectable, finishing out with a trumpet solo from Digrius. And following vocal return, Monda delivers an unsurprisingly sweeping guitar solo. Back into relatively Coheed-esque territory, the guitar has a light twinkle to it on "Absentee", reminiscent somewhat to Math Rock. The acoustic rhythm guitar certainly adds a very different vibe to this track, the mix overall being pretty clean. The song itself doesn't do a whole lot to me, but I'm always brought back around, at times like this, when the musicianship is as exemplary as it is here (the fantastic sax solo in the middle, for instance; later, the breakdown nearing the end).

Finally back to material I certainly recognize, and apparently for good reason, next is "Suspicious Waveforms". It starts off with this really cool instrumental section, balled up in contrapuntal tension, eased up as the ensemble comes together. Really cool rhythms here and then a great violin solo. This is then followed by solos from sax and trumpet, and finally, after what feels like deliberation, Monda brings in his best solo thus far, followed by an insane, modern Fusion bass (I've been meaning to mention bassist Greg Colacino) and a (very brief) drum solo. The flow of the song is certainly satisfying, and it's a killer jam I couldn't help but bop my head and bounce my leg to (or is that the Adderall really soaring through my veins?). This is one of those thangs I want from modern Prog. Next is "Carnival", another with relatively clean instruments, its sharpest elements in the form of strings and horns. The guitar here, riffing seamlessly in between everything, still sounds fantastic. Some of the ensemble attacks throughout are just rapid-fire fast. With much of this, we are back in 3rd-Wave-era (Emo) Post-Hardcore composition. And then we are brought to great surprise, with the change in rhythm (simplified with just guitar, bass and drums) as we get a full violin solo from Lynch. Refreshing to me, really.

In somewhat foreign territory for the album, "Concrete Swan Dive" is next, with clean, direct rhythm section and buzzing horn stabs. The breakdown nearing minute 2 is really something! The lyrics strike me as an interesting inner war, apparently targeted at God, skeptical of salvation, skeptical of divine love, if I can pinpoint it. It's one of the most interesting songs in a bit, compositionally speaking. Suddenly, a wild guitar solo comes in full power, full steam ahead. In for more surprises? Up next, we enter Raga with the intro to "In the Company of Worms", rapidly developing into Heavy Metal, pinch squeals now included. This song is heavy. The tension and vocal melodies feel pretty familiar, but perhaps they're just somewhat similar to our second track here, "A Salesman's Guide". Another head-bopper, for sure. Did Tom Morello just step into the booth? This guitar solo is wild. And then wilder. And wilder? haha. Yet another super powerful number. And finally, we have "My Famed Disappearing Act", another track which has proven difficult to shake. More incredible lead guitar here at the start before more infectious melodies, vocally some of the best on the album. As with numerous other moments throughout, I'll suggest a band who I presume was likewise inspired in part by Thank You Scientist, whom I saw now years ago, and whom I hope are still around: Mid Atlantic Title (their EP Sonic Bloom, 2017, is available online, at least). In the second half, we get soft gang vocals backing Marrano; again, the vocals are just great here, so the more the merrier. Again, guitarist Tom Monda takes up the helm and, as proved time and again, carries the track to that next level within just a few bars. To close, one of the best on the album, easily in the top 3.

Really a solid album overall, let alone being the band's debut full-length. Highly recommended, and well-rated, far as I'm concerned.

True Rate: 4.25/5.00

A release that I didn't even know existed! The Perils of Time Travel is the 2011 debut EP of Crossover Prog maestros Thank You Scientist. One thing that was answered for me is that now, since the start, Salvatore Marrano (vocals) and Tom Monda (guitar) are the core members. It's a tried and true relationship, given their consistent (and consistently good) output since 2012 (again, I didn't know this EP was out there until today).

And what an opening statement this seems to be from the get-go! The EP opens with "Grin". Very familiarly them, the musicianship is on point, it's Hook Central, it's got funk and spunk and a great beat, and it's a greater collective of performers than "the norm". This song also features specifically violin front and center, which is certainly something I love in any Prog subgenre (including Fusion). There's something apparently Eastern in the feel and tone.

More straight-ahead, but with jazzy affectations is "Abandonship" [Oh! I see what you did there!]. Pretty good melodies and some interesting sort of start-stop rhythms throughout. The bass "solo" and the popping drums in the final moments of the song are quite nice. Interesting stuff looking back like this. I feel though that this really is that time period clearly on display.

Up next is the very cool, perhaps East-Euro-influenced "Leave Your Light On". Jazzy and peculiar sort of vibe. I like. Keyboards are light (like a Rhodes) and the track has a great, bouncing beat. Somewhat quietly progressive compared to their material to come (at least the majority is fairly straight), but a phenomenal song nonetheless. Especially in the fourth minute with this beautiful, virtuosic solo from Monda. Wowza! Soaring and all over the fretboard.

Then it's the tongue-in-cheek named "Make Like a Tree (Get Out)". And this features (what I thought was) some really cool mallet percussion (on the front and backend), but I feel like this song is basically more intricate, fully realized/orchestrated Alternative Rock (again, very of the time). Prog comes out a bit (though that Coheed comparison specifically can be made here) by minute 2. Great beat on this one and just a well-constructed song. And then this ending is just sweeeet. Awesome use of reeds over a quirky beat.

Finally, we have "Gemini", which once again feels like a more explicit Coheed and Cambria callback. Great rhythm(s), one of Marrano's strongest, though sweetest vocal performances of the whole. And all of the instrumental layers are really working on this one. And the rhythmic complexity throughout is really ear- catching to me. A lot more metal influence in here, but then with stuff like the delicious sax solo around minute 4 there's this jazzy thing ever present. They really do a great job of melding all of their influences together into a fairly unique and modern take. Best song on the album, I think, and a helluva closer to more than a solid debut release.

Exciting to have yet another release from the (I think) excellent Thank You Scientist (and I'll take just an EP), and exciting to come to a release that has been so well received here (a weighted 4.55/5.00 average from 24 ratings when I got here). Spoiler: it's much deserved (I was debating hard on the weight of the last track, to be honest, though). Their fifth release overall and their second EP (the first being their debut release from a whole decade before!), this is Plague Accommodations. Freaky-deaky title matched perfectly with spooky-kabuki cover art.

No time is wasted with our opener, "Gigglebutton" (I lol'd at that title, by the way), a barrage of trumpet and guitar over fun and funky everything else! Great track. And then it's juxtaposed by the almost sultry and undeniably cool "Creature Comfort". The occasionally contentious Claudio-esque vocals of Salvatore Marrano (never knew his name) are prominently featured here. I like him. He's certainly very talented. Again, this is a cool track. Nice melodic hooks and just excellent musicianship that we know them to bring. And the blazing sax solo.... yeeeeeesh... Wild.

Into our second half, next we have "Soul Diver". This is bright and upbeat, like a weird mix of vidja games and ska(?) in the intro. Then this verse is just lovely and the underlying bass and the sharp drumming... It's awesome. Heavy, but not brutal. There is that consistent tie I feel to Coheed that they've had throughout their career that is certainly present here. I felt I had to turn this one up (maybe it was a little too quiet in mixing, but this is a good thing: I wanted to hear what the hell was going on here). Around minute 2 there is just this crazy attack from all sides. The melody is infectious and, again, it's just so upbeat, through and through. A real head-bopper. Around minute 4 there's this sick breakdown, not losing a beat, with a wicked performance from the drummer and then... this dive-bombing solo from the sax once more. And it's all over the place... I want to understand haha. And then is that a guitar solo? I'm trying to keep up. Very impressed. Great jorb, guys. Seriously.

Finally, we have the title track, "Plague Accommodations". This main melody is just alright, but they do know how to keep your attention, just as always anyhow. Mmmmm! This chorus(?) is awesome though! Hell yeah! "Another stitch has come undone." With that line there is this disgustingly dope rhythmic shift and this continues on in like different colors and shades and... Wow. Before minute 3, all falls away except for the underlying backbeat making way for the guitar solo. Tasteful and metallic here. Such a talent [Side note: I looked outside and this guy with this epic gut who's illegally parked across the street just took his shirt off haha.]. I don't even know where that weak melody from the start even went! Everything is on fire after, say, that first minute. We have another, more traditional breakdown and the horns are explicitly on fire. Someone call 911. Super horny (me too?). Excellent, excellent. At least check out this one.

Well done, gois. Keep it comin'.

True Rate: 4.5/5.0

So after a break, I am feeling rejuvenated to review again. So, Thank You Scientist, this is a band I never actually heard before listening to this album, but the name did Interest me, plus the album cover looked really cool, so I was very interested from the start. So I decided to listen to it and see what this cool new album was all about. After all, with an album cover like that, you kinda have to see what the album is all about.

That album starts with a prelude. Nothing too crazy, but the harmonized voices bring a sense of beauty and chills. This reminds me of those harmonies from Moon Safari, specifically Constant Bloom. Still nothing too special but I feel like this perfectly leads into the album in a nice and smooth direction.

Next track is A Salesman's Guide To Non-Existence. This punches you right in the face with some awesome guitar and horn playing. This song wastes little time to get you hooked for some awesome music. This album has a good blending of jazzy musical works and more punkish sorta metal music. It reminds me a lot with bands like Protest The Hero, The Mars Volta, and Coheed and Cambria, especially the vocals of Salvatore Marrano. Everything just flows so well to where it never feels too forced or hyperbolizing a certain aspect of their similar yet distinct sound. It's honestly quite amazing from the get-go.

The next track is Feed The Horses. This track is similar to the last, however it goes for a more horn driven and more creepy sound. Kinda reminds me of Filistata by Stolen Babies. While it is different, it does retain the same quality of the last track, and adds its own flair to make it feel refreshing. I also think I hear a bit of Gentle Giant, which is always appreciated.

After that, we got Blood On The Radio. This continues the trends laid out by the last 2 songs, and makes them even more bouncy, progressive, and bountiful with some awesome experimentation with some eclectic instrumentation, while keeping true with the ideas that were set out beforehand. What I love is that this track knows when to really change gears to where everything feels fresh every minute and every second. It also never overstays its welcome, being only 9 minutes in length. That's really what I love about this album, the songs are short enough to get through but long enough for them to last, and this track excels at this. The horn on this song is by far the best though, it's jazzy, it's smooth, it's cool, and I feel like it fits insanely well with the harder rock sound.

Next track is Absentee. This track is considerably a bit slower in tempo, but way more exciting in feel and grandiose sounds. It utilizes its slower tempo to create a beautiful sound, still keeping the already iconic sound, but utilizing those ideas and instrumentations to create a more beautiful and elegant, almost symphonic feel through the song, and I absolutely adore it. Sounds like a song you'd hear in your head when you're determined to fight or win in a tactical battle. It's super awesome.

The next song is Suspicious Waveforms. This song is the only one from the band that I'd say is more jazz than rock, especially with the lack of vocals and the lack of any really hard rock elements aside maybe near the end point really. This song is definitely different from the rest, but I feel like it fits pretty snuggly with all these songs. However this is probably the least best song on this album. It's not bad, far from it, I just feel it is sort of lacking with the lack of vocals, and I love instrumental stuff, but I feel like this song deserves some sort of vocal performance, even if it's like for only a minute in the song.

The song after that is Carnival, and honestly I really do enjoy this song a ton, super cool and upbeat, likewise from this band's sorta style. However I think this kinda shows the underlying issue with this album. All the songs are extremely good, yet they feel a bit samey in sound. Not too much to get under my skin, but I would appreciate it if they decided to go more eclectic and experimented more. Heck the last 2, minus one song, Concrete Swan Dive and My Famed Disappearing Act, kinda also feel the same from the stuff we experienced. While I do love this sound, it's definitely one I want more out of than the same sorta sounds that came to pass with the previous songs.

Now, that song that wasn't mentioned with the previous paragraph is In The Company of Worms, and that's because while small, they did try out a bit more of a middle eastern sorta sound at the start, and honestly this is what I want more out of the band. Mixing styles with their already unique blending of jazz and hard rock to create something completely new and refreshing, and this is honestly my favorite song on the album because of what it tried to do, even when it was for a few seconds.

So I think this album is honestly really great. Super awesome in sound and performance, and it definitely feels like a love letter to bands in a sorta similar style while also trying to be their own thing. However it does suffer a bit from songs having a similar sound from one another, a great sound, but definitely one I wanted more out of. Other than that, this is great and one I'd definitely recommend checking out.

In my opinion, Thank You Scientist, are one of the best modern prog bands. Their music is a fusion of heavy rock, jazz, soul, R&B, and metal. It definitely takes an open mind to appreciate because this is not background music. There is a lot going on and it demands your complete attention with zero distractions. There are so many subtle nuances that will pass you by if you don't focus. It also should be played loud, preferably on a system with speakers, not buds, that aren't made of plastic. For the vinyl fans, there is an etched copy available. Etched vinyl has music on one side and an etched design with no music on the other side.

"Plague Accommodations" is the bands fifth release (second EP) and is distributed on the bands newly created - Flying Jangus Records. Clocking in a bit over twenty minutes there is not a wasted second. Superb songs, musicianship, and humor that this band has in abundance. It begins with "Gigglebutton" an instrumental fusion number that sounds different from anything they have done before. Great groove and the brass section get a workout. Unfortunately, the song ends too quickly at 1:55. Next up is "Creature Comfort" that begins softly then slowly morphs into that unique sound that only TYS have. No other band could pull this off. Love the brass arrangement that begins at 3:05. Catchy chorus and the sax solo kills. Off into jazz-metal territory. "Soul Diver" has some very energetic drumming with some very fast double bass sections, the violin solo is awesome and reminds me of something Ponty would play. Finally, the intricate bass/drum/violin riffs are off the chart and the song fades with a cool syncopated rhythm that ends with layered A Capella vocals. The last song, "Plague Accommodations" is another upbeat ditty with an off-kilter time signature. Love the effects Tom uses on his guitar and the jazzy break with the fierce guitar solo rips my head off! Of special notes, the rhythm section is so spot on and tight that it's scary, and Salvatore's voice, as always, fits the music perfectly.

This is definitely one of my top five for 2021, but unfortunately since it was released without much promotion, I think this will go unnoticed. 4.5 stars. Great EP.

I was thinking about doing a long and thorough review on this album. That was the first sign I hadn't listened to this recently. Well, I just have, and I've realised that if I do what I call a "thorough" review, I'll be here writing it until next Sunday.

This is because Thank You Scientist, being Thank You Scientist, expanded on their older work and made one of the most eclectic and musically varied albums ever. An album so eclectic and musically varied it would take ages to describe and judge properly. An album, nevertheless, that has helped shape new/modern prog. But I'll get on. 

It contains jazz fusion with "Wrinkle" and "Shatner's Lament", it expands on funk with "Son of a Serpent", it adds a bit of metal with "Swarm" and "Terraformer", and classic prog with "Everyday Ghosts" (I say "classic prog"... not really classic, just prog - and odd, experimental prog at that). Thank You Scientist are more imaginative than ever on this album - there's nothing like it.

Or is there? Well, they're certainly not the only band that's "imaginative". Another band whose music I was reviewing recently, Pyramid Theorem, has a similar use of fusing prog, new experimental methods and, in their case, metal. This, of course, does not mean they are similar bands and part of some new sub-genre - in fact, they're nothing like each other, Pyramid Theorem is progressive metal and Thank You Scientist is jazz-experimental-fuelled crossover prog - but this does not alter the fact that when a band of prog metalheads is using similar methods as a band of prog "what on earth is this?"s... something like a new wave of prog is coming, is what I'm driving at.

Anyway, back to this album - nothing like has been seen before this day and age, even though other bands in this day and age are coming close. And, on that note, before I start waffling on and on forever, I reach my conclusion.

It's got normal prog, jazz and funk influences, a hint of metal, a general experimental approach - surely anything you'd ever want in a prog album. Therefore, five stars. Expanding on that, I give my two requirements for a five star album:

1. The songs must all be excellent.

2. It must work brilliantly as an album.

Every song is good - or failing that, excellent. "FXMLDR", in my opinion the best track, meets, I think, the requirements for a classic - an amazing song, I will say no more. As for the second requirement... The tracks couldn't have been arranged better, but after a while it does give you a bit of a headache. That, however, does not prevent it from being a masterpiece, and since PA says a masterpiece must be five stars, I'll let them off there.

So... five stars. I expect to hear even better on their next attempt, though! Maybe six stars!

Next time, I think I'll review something easier - Wish You Were Here, maybe. Or Permanent Waves.

Thank You Scientist have pushed progressive metal into previously uncharted territory. By forgoing the standard keyboardist accessory piece and swapping in a violinist and several wind instrumentalists, Thank You Scientist bring ska-punk, jazz fusion, and jam band sensibilities to a genre that has been historically resistant to those elements. While the band's first record 'Maps of Non-existent Places' could be considered something of a classic, 'Stranger Heads' brings more varied and experimental song writing to the fore thus resulting in one of the most colorful listening experiences you will ever encounter. Thanks to the success of their most recent 2019 release 'Terraformer', Thank You Scientist is poised to become one of the powerhouse prog acts of the next decade.

I've been listening to Terraformer for a couple of months religiously every week, trying to come up with a consistent reason why my inner snob tells me this is a five-star album. This is my attempt of explaining it.

This album has been received by critics as a great album, albeit overly technical and lacking some of the emotion present on Maps of Non-Existent Places and, especially, Stranger Heads Prevail. However, here's the thing: Thank You Scientist, at least from my point of view, is by itself an overly technical band from the beginning, seeing the amount of things happening at the same time on any song of theirs (even on interludes), given the amount of members of the band. However, on this album, the duration amplifies that effect.

While listening to any Thank You Scientist album, my brain very easily fades their music into the background because I believe it gets tired of trying to understand all of the things happening at once. If this happens to me while trying effectively to focus, I imagine how easily most people tap out on a casual listening, and that can give the impression of technical wankery. For that, it's a good thing that I persisted on listening to it for quite some time before reviewing it, because this is an album that starts with a bombastic impression (aka Wrinkle), becomes an average album after 2-3 listens, and then starts growing back on you, to the point where you feel like putting it on repeat without feeling the need to pull your hair off anymore. Much like Yes' Tales From Topographic Oceans or any Ayreon's cheesy Opera.

I believe the band knows that this is a hard listen, and therefore interludes and breather songs are more in place than on the two previous records, such as the beginning of Birdwatching and New Moon. As it's noticeable, these breathers become longer as the album advances, as you're probably becoming mentally more tired as it progresses.

If you don't lose faith too quickly on Terraformer, moments like Anchor's bridge, or Terraformer (the song) victory-like character really begin shining through, and the impression of over-technicality begins to fade. This is not easy, and definitely does not take less than 10 listens, I'd say. But, once you're able to really appreciate the work that is done here, you might as well believe this is a five-star masterpiece, topping all previous records.

My primary complaint with Thank You Scientist's debut effort, the 29-minute The Perils of Time Travel (2011), was the lackluster material, although I also didn't think much of what I viewed as their conventional, latter-day AOR approach. Terraformer is their third album since then, and things have improved. I'm not a prog-metal fan, and prog-metal fans, for all I know, might not consider Terraformer to be metal, but to me, that's the fairest characterization. Anyway, Thank You Scientist seems to have settled on a more interesting style, and one that's probably more unique. The strengths of The Perils of Time Travel - - the singing, for example, and the overall sound quality - - remain, and the compositions are noticeably better. In particular, the melodies are stronger and the lyrics are cleverer.

But I have a new complaint: at an hour and 24 minutes in duration, Terraformer is way too long. There's a good 35 minutes of material here, but that's the length of just one of the two discs. Maybe I can illustrate my point with "FXMLDR." This eight-minute track isn't simply a two-minute ditty repeated four times. It has distinct movements which benefit from a bit of extra time to develop. But by the 4:22 mark, we've already heard each verse and refrain element at least twice, and the following two minutes are taken by interesting-enough prog jamming that nevertheless conflicts, in my view anyway, with an otherwise accessible song. Since the final two minutes or so is a good encapsulation of the foregoing six - - including the vocal sections - - it seems clear that Thank You Scientist is capable of being concise. Most of the other longer songs on Terraformer strike me as just that - - longer than they need to be.

There are some enjoyable King Crimson references across the album, from the 1970s KC sax/trumpet section on the album-opening "Wrinkle" through the introduction of "Terraformer," the last song on the second disc, which reminds me of Discipline-era Crimson. And is it just me, or does singer Salvatore Marrano do a decent Michael Jackson imitation, especially on "FXMLDR?"

In short: the good news is that Terraformer is a good thirty or forty minutes of neo-prog/prog-metal from an oddly-named New Jersey outfit. The bad news is that the album is more than twice that long.

I'd like to preface this review by saying that this is more of a fusion band/album than crossover, but there are so many genres that make an appearance that it's hard to call this album just fusion. If you've ever wanted to hear an album that has so many genres represented, this is where you should start

This septet (comprised of bass, drums, guitar, viola, sax, trumpet, and vocals) is fresh and bends the definition of genres like I've never heard. Seriously, give this album (or either of their other two masterful albums) and tell me that you can't hear a million genres, such as folk, flamenco, jazz, Eastern music, or just prog. This album is more balanced than their previous releases, giving more room to breathe between the sheer bombast presented by many of the tracks. (Think of this as "Frances the Mute" (The Mars Volta) and "Stranger Heads Prevail" as "Deloused in the Comatorium".) My only complaint with this album is that it is a bit on the long side, but if you have 84 minutes to sit down and listen to music, you won't regret listening to this.