The Ghost Next Door : ""Classic Songs of Death and Dismemberment"

These guys play a moody blend of 90s-flavored prog rock. The lyrics are front and center, with social observations and commentary on the state of the world at the heart of the songs. "It Takes a Village" is the first song that finds the grunge-flavored croon taking a jarring turn into a Faith No More-like rap. The bass player is highly skilled and perhaps even the album's underrated VIP as he keeps the grooves shifting under it all. "Diatribe" is the first song that shifts into a heavier direction, though the aggression is short-lived as they are drawn back into more speculative melodies that fans of Dream Theater might be into. They dance off odd time signatures and explore shadowy sonic spaces with an admirable sense of adventure that might be this band's strength when it clicks in place. 

Students of music will be able to pick out the varying influences as they crop. If this came out in the 90s it might be some next-level "DK" manages to keep a more angsty tension to its sinewy groove. They share a great deal of common ground with bands like Dog Fashion Disco in moments like these, though with Steve Vai-influenced guitar passages. "Nothing Then Nothing Again" finds the vocals belted with more grit, but not a growl either. Melody is still given priority as they resist the urge to fully give in to their anger in the way a metal band would. This restraint should be appreciated. I like the lurking groove of the more rock-minded "The Hit That Hits Back". The hook is subtle but thoughtful. It reminds me of how good the '90s were for prog rock. It was underground but thriving. 

I am not huge on guitar solos, so if you play one that grabs my attention, you are doing something right as it is normally something I tune out. These guys consistently knock it out of the park with them. "Atlas" is even more brooding. However, the chord progression brightens a bit by the end. At times these guys remind me of a less grooving I Mother Earth. It has that mid-90s growing away-from grunge feel. They fire off on more guitar solos and jam them out.  "First Person Shooter" slithers around a dark labyrinth, not unlike early Tool. They go from one taunt and creeping to another on "I am the Monster". It has the clock ticking syncopation, which is very "Lateralus" like. Lyrical it examines his relationship with himself which I can appreciate. "Epitaph" flows almost like some of the Cure's more morose moments.  Though it builds into a heavy section I am not sold one which is weird as these guys were all in heavier bands. I hoped "Wax & Wane" would be a  Cocteau Twins cover. But it's not. I will give this album an, 8.5, it's interesting progressive rock that takes notes from Tool.This is being released on Ripple Records.  

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