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Undermind was not meant to be Phish's swan song, but that is exactly what it has turned into. A band that has covered all its bases on past albums has now made a beautiful composition that flows like the water they so often reference. Undermind looks to the past and sends us off into the sunset with a soundtrack to accompany us.
Songs such as the title track "Undermind," a poppy, bouncing cut that follows you around like a lonely dog, show the band has matured in terms of songwriting and composition. They have further distanced themselves from the silly lyrics employed in the past and moved to reflection and experience for their material. While the extended jams on this disc are almost non-existent, tracks like "A song I heard the Ocean Sing" and "Scents and Subtle Sounds" clearly have open endings that will be sure to get a few plays on the final tour. While other pieces like "Crowd Control" and "Two versions of me" are clearly more pop than punch, they still bleed true Phish. Closing Undermind with a nod to the past and the playful easygoing nature that defined the bands early days is the acapella "Grind." The previous ten studio releases have taught fans to expect the unexpected and hopefully they have learned to embrace it as well. This album is no exception.
Andrew J. Warren
JamBase | San Francisco
Go See Live Music!
It is no accident that the album cover for Phish's twelfth and final studio album looks similar to another Fab Four's final album: The Beatles, Let It Be. And like Let It Be, Undermind feels like a collection of songs documenting the different phases of the band bringing it up to the present. While there have been many articles both critiquing and praising what Phil Spector did to the songs of The Beatles, most of what will be written about producer, Tchad Blake's involvement should be positive.
Mr. Blake who is known for his creative production work with Peter Gabriel, Tom Waits, Los Lobos and Soul Coughing, is coming in to work with Phish for the first time and brings a discipline (that was sorely lacking on their self-produced Round Room) while also letting the band try new ideas.
The highlights of this album are not in the places you might expect to find them. There are no epic jams or flat out rockers. It's the songs not penned by guitarist, Trey Anastasio and lyricist, Tom Marshall, which are the most enjoyable. Page McConnell's "Army Of One" sounds more than anything like a band that has been calling Vermont home for over 20 years. "Access Me" by bassist, Mike Gordon, is a bouncing, catchy tune that reflects his recent experiences playing as a duo with Leo Kottke. And just under two minutes, Jon Fishman's "Tomorrow Song" is an optimistic chant that would be at home in the streets of New Orleans.
The other songs on the album fall a bit flat and show a band treading on familiar ground. "The Connection" is the band's single and comes off lacking inspiration, almost contrived. "Scent and Subtle Sounds" reaches back to when long, tight composition were the bands songwriting focus, while the closer "Grind" finds the band singing together in the barbershop quartet style, also featured in days gone past.
It's a solid final offering from the band but certainly not their greatest achievement. More than anything it hints at the interesting possibilities these four will achieve on their own after their last show as Phish is played in August.
Shane Tobin
JamBase | Worldwide
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