(Self-released, CD, digital download)
Progressive rock has never been all that popular. Long a bastion for awkward, zit-plagued boys, prog rock typically has about as much mass cultural appeal as tabletop fantasy games or live-action role-playing. Basically, if you’re looking to form a prog-rock act, then don’t deceive yourself into thinking about riches, fame or even critical acceptance outside of a few diehards.
Despite this gloomy forecast, Elephants of Scotland, a Burlington act that proudly flies the prog aquila, decided to form in 2010. If there’s any truth to the bio on the band’s website, Elephants of Scotland formed in order to be unpopular. Vocalist and keyboardist Adam Rabin initially wanted to make noncommercial and tragically unhip music that paid homage to 1970s prog pioneers such as Yes, Rush and Kansas. Execute and Breathe, the band’s second release, certainly meets these original qualifications.
But given that this record can qualify as “progressive,” Execute and Breathe comes up decidedly short with regard to musical innovation or even experimentation. In eight ditties, the album cultivates a milquetoast air of middle-aged Muzak. “Amber Waves,” the album’s third track, is soft and unthreatening enough to sound like the music that comes as stock with every computer purchase.
In another instance, “A Different Machine,” which is the album’s relative hard rocker, makes a rather bland political statement by suggesting that machines, humans and religion have now all blended together into a disorienting tapestry full of disassociation. Instead of edgy, Elephants of Scotland just sound grumpy.
While Execute and Breathe is mostly underwhelming, it is undeniably loyal. This record hits all the standard prog-rock tropes, from the multipart composition (“Endless, Pts. 1 and 2”) to the keyboard solo on “Mousetrap.” Fans of the genre have plenty to rejoice about. But, again, the question remains: How can progressive rock be “progressive” if it’s formulaic?
That’s the ultimate disappointment with Execute and Breathe — it’s predictable. Undoubtedly Rabin, Ornan McLean, Dan MacDonald, John Whyte and Greg Skillman can play, but their playing, on this record, goes nowhere interesting.
Execute and Breathe by Elephants of Scotland is available at elephantsofscotland.bandcamp.com.
This article appears in Summer Preview 2014.
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Interesting view of a great band. Out of curiosity what is your favorite band(s), and genre of music. Thanks
What is with all the hatred of prog rock? No one has ever convincingly explained this to me. If we’re talking tropes, I’m inclined to think the “down with prog rock” trope is about as inspired as “what’s the deal with airline peanuts?” Music critics seem to be drawn to this assumption in the same way third graders are drawn to making styrofoam solar systems for their science fair displays: it’s been done so many times before.
Whoa…when did mockery become an acceptable substitute for critical thinking for the editors at Seven Days? If you don’t like something, that’s all well and good, but express yourself beyond a high school rag level; I’d expect something more sophisticated, substantive, and professional from Seven Days. The Burlington music scene, which includes both fans and musicians alike, deserves serious, well-written analysis of local music, whether it’s a positive or negative review is irrelevant. This is simply juvenile verbal masturbation – good for you, Ben.
This article says more about the reviewer than the album.
It could be said that critics are simply unaccomplished wannabe musicians with an axe to grind, especially when they dismiss an entire genre of music and its fans in one fell swoop. But you could also say you haven’t made a great prog album until its gotten shitty reviews which is the ultimate validation of your craft. It took 40 years for Rolling Stone to warm up to Rush, when their popularity got so big they could no longer be ignored.
Intelligent people can have differing opinions but this guy tips his hand pretty early on that he’s more interested in juvenile snobbery & name-calling than he is critical analysis. Apparently 7D hasn’t changed its practice of publishing reviews which positively reek of the author’s desperation to demonstrate how clever and cool they are.
Young man, Greg Skillman writes most of the lyrics and does not appear musically on the record. I’m sure he can play but just not with this band. Please stick to reviewing music that you’ve invested something in, thanks.
Our letter to the editor:
Your review of our new album was especially disappointing and, for your sake, embarrassing. Benjamin Welton starts off the piece by dismissing an entire genre of rock music and then horribly stereotyping its fans. Our fans. The job of a music reviewer is to rate the music within the context of its genre. The job of Dan Bolles as the editor is to weed out petty snobbery and personal agendas. Both failed unquestionably on those marks.
Welton writes, “don’t deceive yourself into thinking about … critical acceptance.” It was clear from this first paragraph that the writer was intent on hating the album. It was also clear, given a few plain factual errors, that the writer didn’t really listen to the album before debasing it. Our lyricist did not “play” on the album, kid.
To be clear, we are not upset about the criticism of our album because, frankly, the journalism was just so puerile. That name-calling and over-simplified level of discourse has its place on cable news and anonymous web site comments, not in Seven Days. This same newspaper gave our other album an intelligent and even-handed review just one year ago.
We didn’t expect effusive praise – nor would we find any real value in that either. But bashing Progressive Rock is hackneyed and it’s lazy writing. The review says more about you and your writing staff than about what we actually recorded. We’re not out of line to expect a respectful and reasoned consideration. We know you can do better; your readers demand better; and the Vermont music scene deserves better.
Adam Rabin
Elephants of Scotland
http://youtu.be/jK2v0Ub5Cmw
Sorry to be so formal with a letter to the editor and all, but I’ve gotta take a public stand for a much-maligned musical genre that has yet again taken a beating — this time in the pages of my favorite paper! Just read the review of Elephants of Scotland’s latest, and it took me aback. Any review that begins with a sweeping, judgmental dismissal of an entire musical genre and its fans is not going to go well for a band from that genre. Seems unfair for someone with a displayed — and contradictory — apathetic loathing for progressive rock to review a new CD from a progressive rock band.
Worse, your writer’s “opinion” is really a regurgitation of the mainstream, Jann Wenner-and-Rolling Stone-bolstered negative stereotype they’ve been flogging since the genre’s inception. Adding error to injury, the review is factually incorrect in its assessment of the success of progressive rock bands, with the false assumption that none has attained “riches, fame or even critical acceptance outside of a few diehards.”
Any cogent points made later are lost in the post-fusillade smoke after your writer’s ignorant and misinformed opening salvo at progressive rock fans and bands. As he manages to also savage gamers and LARPs, it’s actually a broadside against geek culture in general. The guy’s got some issues. I know it’s not always easy, but please try to better match your reviewers with the releases they review. Thanks!
Mike Luoma, DJ for The Point 104.7 FM
I started my musical study in 1971. I studied jazz guitar and big band arranging at Ithaca College. I have been playing and studying nonstop since then. Point is, I am qualified to formulate opinions about music. My opinions are based on criteria that I apply when I listen to any type of music. Melody, harmony, dynamics, instrumental proficiency. Here’s my review: Execute and Breathe is a great fucking record. I dismiss the review by the uneducated jerk with a thesaurus.
Robert Gagon – solo artist and leader of Small Change (The Premier Tom Waits Tribute Band)