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: : Frogg Café
– Fortunate Observer of Time : :
Out of all their releases, this third one is best. These frogs have
grown from tadpoles to adult amphibians and now they’re hopping on all
fours. As younglings, they were already developing music that was well
above the average. Whether or not they were ready to play with the big
dogs, or progs in this case, was merely a matter they would resolve in a
later saga. The story has come full circle. This is their most superior
and sophisticated creation yet. This is undoubtedly the most uplifting
out of all their records and it’s one of the biggest surprises of the
year. Moreover, their most recent advancements are the ones that work
best for them. They have really progressed beyond their previous
installment, “Creatures.” There will be no going to the dark side in
this third act of the trilogy. To the contrary, this one brings us some
light that we’ve needed for some time.
There is something a little flowery in the music this time around.
Considering their comparisons with The Flower Kings, I wouldn’t be
surprised if the paternity tests prove to be positive. While there is
certainly crossover between The Flower Kings and Frogg Café, by no means
is there any mimicry happening here. It’s just a clever collaboration of
innovative ideas with ones that have already been proven. Then again,
their greatest strengths revolve around their use of trumpet and other
instruments atypical to rock music. I have never heard these types of
instrumentations used so effectively in these kinds of compositions. I
guess you could say I’ve never heard them used this way at all. It is
truly clever how they integrated trombones, marimbas, congas, cellos,
and flutes seamlessly into the mix, but it’s the trumpet that really
outshines them all.
These frogs are true fans of progressive rock themselves. Not to
mention, they are all music teachers by trade. This combination results
in the culmination of many captivating cuts. The café is open for
business and full of atmosphere. The selections are savory, the fluids
are fragrant, the beans are richly-roasted, and the odors are amorous.
Take a seat, kick back, and sip on your balmy beverages while these
frogs flabbergast you with a fog of progressive gratification.
Here’s what you can expect to come to fruition in Frogg Café’s latest
edition:
Track 1: Eternal Optimist – This is so different than anything that came
before, it is almost bewildering. It’s folksy, yet it aerates an air of
eccentricity. It’s obvious this music was heavily influenced by their
stint as a Frank Zappa tribute band. It’s an odd choice for an album
opener, because it is unexpectedly unlike anything they’ve ever done in
the past. Despite the history, it won’t take long for you to warm up to
it.
Track 2: Fortunate Observer of Time – The title track starts out with
almost the exact same notes as Karmakanic’s At the Speed of Light, but
ultimately goes in an alternate direction. Rather than a wild plunge,
this one soars up into the skies. As sure as Darth Vader is Luke’s
father, this is the best track to come from them so far. What’s weird is
that it’s completely instrumental. Bill Ayasse’s violins are so
stunning; they put the Mellotron to shame (my apologies for this
blasphemous outburst). Bill makes his mark on this masterful and
melodies excursion in more ways than one. While Nick Lieto’s trumpet
takes us on a tranquil trek, his bass tiptoes casually close behind.
While I have nothing against their singing, this is just the most
blissful work they’ve ever managed to create.
Track 3: Reluctant Observer – It didn’t take long to break box office
records. This one tops the previous blockbuster. The opening lays down a
thick layer of soft sod. As time elapses, the stems sprout from the
sumptuous soils that cover the ground. This has the quaintness and
quirkiness of Flying Food Circus, but it’s accompanied by vocals that
are closer to a Las Vegas lounge act. What’s great about this song is
that while it’s long, it has a number of unique bridges. Themes
reappear, but there is almost no true repetition. There are so many
exceptional elements in this song, it is sure to cause an epidemic.
Majorie Ayasse adjoins her astounding harmonies to a chorus that’s
already highly contagious. This results in widespread panic. Each of the
string instruments, whether guitar, violin, or marimba, contribute to
the mass hysteria. Chances are you too will fall victim to this outbreak
of melodic malaria.
Track 4: No Regrets – As each song so far has subsequently surpassed the
prior track, this one keeps the streak alive. This one is a total holy
cow. While earlier works may have been closer to Zappa, this one really
shows their Flower King tendencies. There are several passages where
hardcore fans would be hard-pressed to tell the difference. Nick’s
trumpet solo is terrifyingly terrific. The trombone, marimba, and congas
give this compelling cannonball much added weight.
Track 5: Resign – This short song is exactly what one could expect from
James Taylor and it works well as an easy interlude between two potent
pieces.
Track 6: You’re Still Sleeping – This brings in acts from all over the
globe. It takes awhile for them to get setup. Then about halfway
through, clowns, trapeze artists, lion tamers, the whole three-ring
extravaganza, gets going in a rush. This instrumental passage is a lot
like what we found in “No Regrets” and it has a ton of hustle and
bustle. These instrumental sections happen to be my favorite parts of
the album. I’m sure you’ll find each one of them just as welcome.
Track 7: Abyss of Dissension – At 14:38, this is longest track on the
album. Aspects of it are dark and dreary, yet it fancies the merriment
of a Mardi Gras celebration. It starts with a king’s coronation and then
gets outright groovy. As the beat begins to penetrate your space, you’ll
become mesmerized by the music. A soft and silky aura invades the area
around you. You’ll start to gel as these velvety sounds surround you.
With a yawn, you’ll lose complete consciousness. When you come back from
this cozy coma, you’ll feel both violated and relaxed. It’s as if you’ve
been massaged from head to toe without your prior consent. Andrew
Sussman’s bass is the most mischievous element in this allegedly lewd
act. Later on, Gentle Giant breaks from the surface with a spectacular
shard of acapella harmonies. This is followed by creepy avant-garde
vocals and sounds, which oddly enough, share a similar disposition with
Sleepytime Gorilla Museum. The ending of the song is both unique and
creative, but this remaining slice is so cold, it will chill you to the
bone.
Track 8: Release – The real wrap-up came in the previous track. This
delicate and diminutive ditty is just the wind-down and the music here
is completely classical. In this brief encounter, we hear a flute from
Sharon Ayasse along with other classical instruments. It’s an absorbing
recital to cap the crown’s precious jewelry. Overall, the production is
polished, the compositions are classy, and the songs are smooth and
shiny. All in all, the results of this album are simply priceless.
9/10
Reviewed By:Josh Turner
: : Visit the Artist’s Website : :
: : Discography : :
Frogg Café - 2002
Creatures - 2003
Fortunate Observer of Time - 2005
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