Phish, a Vermont-based quartet and the current king of the “jam band” genre, released its ninth studio album, entitled “Round Room.”
This latest effort came following a two-year hiatus in which the band took time off from performing and recording together, and undertook various projects. The band’s fan base, a collection whose magnitude is snowballing into an ever-growing flock of Phish-heads, is eager for this latest unveiling.
A band defined by its legendary live shows in which the audience doesn’t know what to expect next, Phish is less appreciated for its studio work. What makes its studio releases original, however, is that the content, or themes of the albums, clearly differ from one to the next.
Unlike previous releases, “Round Room” showcases a mellow softness outlined with jazzy undertones in lieu of common characteristics such as funky, upbeat, rock-blues or bluegrass tracks. Bassist Mike Gordon’s increasing vocal role is a fine complement in such songs as “Friday,” “Mock Song” and the fanciful title track.
When fans search for a new assemblage of rocking, climactic set-ending songs, they will have a hard time finding many in “Round Room.” There are some tunes like “46 Days” and “Mexican Cousin” that can undoubtedly take off and go in the midst of the fiery intensity the foursome can create.
The former is a track which may be labeled the album’s “pop song,” and the latter is a ballad which sounds like it was created late one blurry night, scribbled on a cocktail napkin. Listeners who prefer “jamming,” the musical spontaneity the band is noted for, would most likely enjoy this record compared to some that have preceded it. Songs like “Pebbles and Marbles,” “Seven Below,” “Walls of the Cave” and “Waves” storm out in a fantastic fit of free-form bliss.
From a lyrical standpoint, music fans looking for sincere and heartfelt love songs, the colossal takeover of corporate America or somber sob stories of growing up amongst the hardships of society should consider other artists.
Frontman Trey Anastasio and fellow songwriter Tom Marshall create more of a fictional or fantasy world that inhabits their lyrics and stories, often taken from the perspective of someone or something else. It is a style where the listener is forced to use his or her imagination to connote meaning.
This album is truly a fine example of the songwriters’ creative whim. In “Anything But Me,” Anastasio sings about the life of a satellite, a tiny wave and a raindrop.
“I am just a raindrop that accelerates without control, losing bits and pieces in descent ’till I’m no longer whole.”
In “All of These Dreams,” as the title would suggest, fans listen to the possibility of pursuing long time dreams.
“Knowing the cache of dreams up on that hill beckons and sways but won’t bend to your will.”
“Round Room” highlights Phish’s diverse and genuine abilities, talent that has catapulted the band to a wider realm of recognition.
It is quite clear, however, that this release, as is the case with the band itself, is not for all tastes. It is even questionable if the true fans of the music will appreciate the work, as expectations for this break-ending CD are naturally quite high.
