Hip tastemakers would flip out about Mantis if it was an album released by anyone but Chicago jam-band kingpin Umphrey’s McGee. “Cemetery Walk II” is a piano-driven number with skittering techno beats and burbling synth-pop flashes; the effect is like The Postal Service remixing Joe Jackson. “Turn & Run” is an askew rocker with keyboard squiggles resembling the paranoid textures of Talking Heads and Devo, while “Red Tape” conjures prog-a-saurs such as Yes, what with its Dungeons & Dragons-y keyboard flourishes and layered harmonies.
More
These forays into gnarled prog are a creative improvement over the hippie-leaning classic-rock references (think Doobie Brothers and Steve Miller Band, for starters) found on previous Umphrey’s releases. But prog is also a genre well suited to the album’s elegant, rich production; just listen to the animated strings and lively woodwinds on the cinematic, jazz-influenced single “Made to Measure.”
Those who prefer Umphrey’s meandering side might find the album’s shorter tunes off-putting. Still, it’s misleading to say that Mantis eliminates spacey sprawls: The bloated, 12-minute title track contains Pink Floydian atmospheric jams, triumphant post-rock rumbles and plenty of histrionic shredding and guitar squeals. It’s also the least focused song on Mantis, which proves that brevity (gasp) seems to suit Umphrey’s McGee quite well.
Previous Discussion: