The Most Anticipated Album by the Literal Actual MOST.
“Of What We Have”
More precision, tighter pocket; The Most shows serious growth in this album without forgetting their crafted sound we know and love.
The 7-piece Math Rock band have taken their time finding a new octave of their luxurious voice within this album and that's exactly what you would want with a sophomore record. We craved development, change, but in a digestible way that made sense with the path they've spent years carving. In every way this album makes sense with making no complete sense, in only the way this eclectic rock band hailing from Connecticut could.
I have been personally following this band since high school, coming out of the same program with all of them, marching in the band with some of them. My dad and I were just talking yesterday about how no one ceremoniously listens to band’s albums front to back anymore. Maybe the die-hard fans of that album, but I think it’s pretty rare to find a new band and then sit down and listen to the whole piece like it’s a movie. So, that is exactly what I did with this album. Taking it in like it was a film, or an Andy Warhol piece, I invited Nick and we sat and listened like theater critics via the Zoom screen. Waiting for interest, excitement, places of such joy that laughter ensues, and we were slapped with all of them, at once, again and again and again.
The band previously released “First Frost” as a single on July 30th as a teaser to their full length, and it is everything you'd want and more from a recording. I have been hearing this song live for some time now and even once in a recording studio in Boston when we tried to schedule The Most on my podcast. It has a timeless quality and an effervescent feeling, allowing it to be played anywhere at any time and to be accepted with wonder. The brass section (including Mike Schmidt and Big Red aka Matt Knoegel) is irrevocably one of my favorite parts of The Most. Starting as a trumpet player myself, to see a rock band take on the big band sounds of Maynard..ext...is beyond exciting, especially in this sexy and intricate way.
I would not say The Most is for everyone. Honest to god - some people could not handle all the changes in the music, the time signatures, the at times pure chaos, but it is for the lovers of music. The lovers of the new. The people searching for that feeling that bubbles up inside of you and pours over your face with joy when you hear something never before heard.
The Literal Actual Most.
In “Reintroduction”, The Most does reintroduce a new sound right off the bat with serious control and brooding ideas, then the horns we know and love come in at :19. I love the way Nick has no problem using all facets of their vocal range, playing in and out of their falsetto. Then at 2:40 we come to the intricate shifts with tempos changing, horns blazing creating an absolute party. I really love the ice-y tone on Nick's guitar and it is clear how much each artist on this album has grown individually to collaborate tastefully here.
Just like when I am listening to the Beatles and I know which song is a Paul song and a George song and so on, it is imminent when listening which songs are Nick’s and which are Connor’s.
“Fingerprints” is the lullaby of this album. For Most fans, this recording has been a long time coming. I can hear the audience screaming the lyrics as I listen.
We as followers are beyond happy to hear it. It has the energy of young Most and I hope they never lose it.
We dive right into “Mile Run”, which gives me a Palm-type of feeling. This track shows again a new sound for the long standing math rock band; a darker, more brooding energy for them. It’s a little bit of an otherworldly sound, almost underwater feeling. This song is full of ping-ponging horn lines, tugging vocals, screaming horns and luscious patterns. Adam Szulczewski has definitely stepped it up a ton for this release, getting better as a drummer and exploring lots of new things as the driving force. The cartoon-y guitar tone and otherworldly sounds play us out, as well as a sick bass line all respects to Sean Pop.
Back underwater again for “It Starts In Your Head”. This was a pre-At Once single, released on band camp as a demo originally in February of 2016. This recording is again fully realized, giving homage to the original (which holds its own even paired with this).
I love this new version with the vocal effect sounding like they are bubbling in the sea. Kind of a mid-Across the Universe running through the circus of dreams type of feeling. I am very happy to finally hear this one recorded and fully realized. I listen on repeat for the woodpecker horns, (glad they kept this from the original track) peeking out to say hello. The band breaks apart before settling into their jazz band roots proving they will hold their own with the NYC jazz cats. This is a very exciting sound to hear from The Most and I do hope they play with it more and more in their future stuff. It seamlessly glides into Mikes Interlude, “Claire"; a resplendent way to end Side A.
SIDE B:
“Deaflat”, a nice nod to “Eaflat” for the fans. Continuing this eerie, mildly unsettling sound. I am sucked in with the 1-minute section. Exciting vocal exploration from Connor Waage and at 1:29- a fu**ing insane fill from Szulczewski.
“running ‘round in circles
and we’re running out of time
”
The songs on this album seep into each other in a controlled, full feeling. “Woah, Hot Cinders!” was performed a lot, but listeners love it. I do miss seeing this one live as you get the full experience of seeing the timey wimey movie sounds being created live and living color by Nick tinkering with the pedals. When the vocals come back in at 4:00 minutes, it has a little bit of a circular wedding-dance feeling to the chord progressions. Feeling almost like “Fiddler on the Roof” at a house show - and it works. The drums and the horns shuffle and roll together forming a beautiful collision.
“Intro to Unlearning” is similar to “Fingertips”. A short, heartfelt piece. With vocals more out front, and low instrumentation. I really appreciate these moments on the album. It gives it a very full and theateresque feeling.
“PLEASE DONT SAY
YOU’RE SORRY”
“Unlearning” was also pre-released as another single for the album on September 18th. It is a driving rock piece with Palm-like guitar quality, sounding a bit like ska at some points and modern Steely Dan in others. On their own, they could sit in at any jazz club or with any rock band, and completely find their way, adding flair and complete control - so when they come together and can take their enormous talents mixed with the ability to let go and the trust they have built as a band, you get songs like this (See section 2:30). The vocals are perfectly sitting on the jagged rocks the band is building with their overlapping beats and sounds.
It’s honestly incredible how it all works when seven musicians are giving their all- all at once.
When we got to “In The Form Of” we were both pretty sad it was ending. But - it was pretty hard to be anything but happy with this album closer containing punky and poppy chord changes with the continuing trail of discordance.
Recorded by Nate Faulkenberry, mixed by James Palko with consultations by Sam Skinner and mastered by Sarah Register the album closes in under 40 minutes- an extraordinarily digestible masterpiece.
Keep an eye out for this band.
FFO: Palm, Maps & Atlases.
I give huge thanks to my listening and editing partner.
