Umphrey's McGee
Mantis
Sci Fidelity Records
By Kevin Hakansson
Anything and everything that Umphrey’s McGee does is a major undertaking. The Midwest prog-jam sextet’s catalogue is full of spaced out jams, double-bass driven moans, and even a few pitch-perfect pop tunes; the band definitely make it a point to be eclectic. Each of their records are finely produced by seventh member Kevin Browning, each perfectly sequenced to show off the versatility the band thrives on. Most notably, though, Umphrey’s has taken the live show to a new level of grandeur. Their multi-hour, Dead-esque shows are major productions, to the point that record liner notes credit monitor engineers, stage managers, and lighting technicians, on top of Browning‘s live sound work. Oh, and just about every live performance the band have played for the past five years is available at www.umlive.net. How’s that for intricate?
Ironically enough, Umphrey’s McGee start their latest opus, Mantis, with a tune that’s rather simple. While “Made to Measure” does feature the unique touch of a full string section, the song is actually quite straightforward. Brendan Bayliss and Jake Cinninger trade vocal passes, while the entire band syncopates a basic melody into something a bit more involved. A dizzying clarinet passage brings the song to a close; a quick glance at the record’s credits reveals that said clarinet line was played by one of this generation’s finest woodwind players, Bela Fleck sideman Jeff Coffin.
“Made to Measure” proves a bit of an odd choice of an opener, considering what follows. The second track, a 36 second theme called “Preamble” turns out to be just that, a thematic lead in to the songs that follow. First is the title track; turns out Mantis is a fitting title to the album, as the song of the same name proves to be the album’s most memorable. After the tune starts with a dissonant, semi-tone filled chug, and Cinninger takes a moment to wank an anthem of a guitar solo, the record really kicks into gear, with “Mantis”’s initial vocal line. Bayliss sings the uplifting first line, “We believe there’s something here worth dying for,” showing off one of the keenest minds for melody in the business.
That’s hardly where this one ends, though. After Bayliss and Cinninger harmonize till their hearts’ content, “Mantis” takes a radical turn, becoming a depressing dirge toward the middle of its 11+ minutes. The undeniable energy of the guitars brings this one out of its rut, though, Bayliss and Cinninger joining the returned string section for the soaring ending.
From there, “Cemetery Walk” doesn’t let listeners down. After a decidedly subdued, trippy intro, the band, led by the piano of Joel Cummins, gets a little funky. Bayliss howls another intoxicating set of verses over his band’s driving rhythms, augmented by a Mega-Man-esque guitar lick that’s the focus of the song’s subtle chorus.
That same tasty guitar lick was just too good for the band to leave alone. The next track is a postscript of sorts; “Cemetery Walk II” turns that cartoonish guitar lick into something a little more Umphrey’s. While Cummins pounds out the melody on his piano, drummer Kris Myers turns this one into a bump n’ grind, beating the hell out of his kick drum and mixing things up with his hi-hat, while a healthy dose of programming adds to the club feel.
While a run-of-the-mill band’s apex may have been reached after Umphrey’s finishes “Cemetery Walk,” there’s still plenty left in the tank of South Bend, Indiana natives. “Turn & Run” and “Spires” both clock in at over seven minutes, and while neither produces the album-defining vocal moments that its predecessors contain, both do further prove the eclectic, versatile instrumental prowess of a band that would likely enjoy success if they abandoned vocals altogether.
Umphrey’s McGee end Mantis in a fashion that seems only appropriate. “1348” is an absolute whirlwind. Starting out with the heartbeat of the kick drum, this tune, like many others, takes a moment to breathe before Bayliss and Cinninger take a moment to duel over the slap bass of Ryan Stasik. Sometimes beautiful and peaceful, the two guitarists also take time to distort things a bit, displaying the metal influence that colors all of the band’s albums. Fittingly, the two also trade a few verses vocally, before they join the rest of their band in shredding the song to a finish.
Musically, Mantis is something to behold, but doesn’t truly stand out among the band’s other three studio albums. What does stand out is the detail that’s gone into the record’s release. A copy of the record, when placed in a computer, allows listeners access to bonus content at www.umphreys.com/mantis. The band is releasing new bonus content every month, starting with a 16-page set of liner notes. Extensive preorder options also were available to fans, including multiple media formats and further access to downloadable bonus content. The band and Sci Fidelity Records put together a fresh, unique album buying experience for hardcore Umph-heads, a process that was as over the top an experience as fans have come to expect.
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