Fordham Road have just released their eponymous debut album, and it’s loaded with killer material. This prog rock band out of Boston mesh influences like Rush, Genesis, Weather Report and other complex bands with some pop elements here and there. This is the kind of prog rock that could find its way into any listener’s heart.
Opening track “Andrew” bursts into the listener’s consciousness with racing guitars, a brisk lead vocal, and a motivationally up-tempo groove. These four players start in overdrive and keep going without ever letting up. A smooth, flowing lead vocal from Kristian Veech moves with a rapid precision over the upper stratosphere of Mark McCarthy’s lead guitar. The rhythm section beneath this arcing tune hits in all of the right places. This piece reminds of mid-1970s Genesis, when, with Phil Collins fronting, would drum long instrumental passages.
“New Love In New Places” chimes in with a majestic keyboard melody from Veech. McCarthy’s acoustic guitar keeps it pleasantly located in a class rock framework. The acoustic, bass, and drums make a perfect foil for the sweeping keyboard melody that eventually and evenly flows into a guest horn section. The whole effect just sweeps one along with the song’s warm reverie of a past love. Guest musician Mackenzie Oprean keeps the wind in the song’s sails with her French Horn flourishes.
“Midnight Skyways” commences with a slight swish of a synth line supporting a ripple of acoustic guitar notes. This subtle beginning portends something mighty in the offing as this intro piece fades into the jauntier “Eye To I.” While the vocal harmonies and acoustic guitar might remind of softer bands, Fordham Road is still being progressive in the pace at which they keep vocalizing their multitude of lyrics. Eventually, an electric guitar phrase cries out the melody and we feel that sensation of flight, loftiness, and an adventurous ride. A full speed ahead magic carpet ride.
The next three pieces make up the “From Dawn To Dusk Trilogy.” Drum fills keep “Take One” jumpy and loose. Over that an electric guitar bleats a happy line as the lead vocal finesses this tune’s lyrical brightness. Before we know it, we’re knee deep in the guitar phrasing of “The Universal Dream.“ One can feel a little Rush influence in the way the guitar nudges out a melody over a thickness of drums. The vocal reminds of Peter Gabriel’s early Genesis sensitivity. The good news is that these four utilize their influences to come up with their own fresh ideas, creating their own lively soundscape. “Goodnight 617” turns up the prog rock heat. Here, McCarthy’s lead guitar spearheads, in screaming, stop-restart fashion, a brisk round of driving rock and roll. He later makes his climb a spiraling staircase of phrase with hefty support from the rest of the band. It makes the listener feel inspired to hear this sophisticated rock become a soaring, emotive anthem.
After the trilogy section ends, Fordham Road travel coolly into “Moe’s Loganberry Stash.” This neat piece has a jazzy energy and a jazzy horn line that hints at early 20th century speakeasies and piano bars. When the trumpet kicks in forget about trying to label this music as prog, or jazz, or rock. It welds its genre influences into one wide, ranging piece of art that one cannot help but enjoy for its uplifting sweep. By this point in the album, the listener has stopped caring if it’s inspired by Genesis, Rush, or Weather Report because it’s so good,.
“Tom’s Basement Jam” rolls in with a wide, horn carried line. From there, it’s anyone’s guess where this interesting band will take us next. This “Jam” makes the most of ebullient horns, sweeping keyboard lines, and a bopping rhythm section, bassist Joe Everett and drummer Tom Shubsda, who contribute plenty of knobby notes and bulbous drum fills. Eventually, peppering the listener with a chirpy guitar line, the band offers plenty more notes from the now reinvented use of their instruments. Pulpy and explorative, it carries one through a fine kale scope of phrases and grooves.
Jumping in with a punchy unison of instruments, “On The Road” moves at a breakneck pace, the music seamless and adventurous, the vocals smooth, swiftly flowing but remaining catchy, especially a trumpet line that moves in big and bright. It is a jaunty trip through the life of this band and its synth line is candy for the ears and its speedy changes makes for some even more fun. It’s amazing to hear these players eventually let loose because what they’ve done before their frenetic climax has already been edge of your seat entertainment.
The quartet close out with a nod to their opening sentiment. “Same Love In Different Places” chimes in with plenty of pleasant acoustic guitar and piano notes. That tuft of notes supports Veech’s vocal glide before leading into a regal, shiny guitar phrase.
Fordham Hall is onto something good here. Their prog rock tendencies will certainly pull in fans of that genre. Some of their pop influences, jazzy excursions, and lively influences could make them a hit with music fans who don’t necessarily go for prog. It will be interesting to see where their journey takes them.
