Forq’s fifth studio release Big Party continues a tradition of engaging, amazing and confounding listeners. The brainchild of uber-talented keyboardist Henry Hey, Forq mixes rock, jazz and funk with a formula that is all their own.
On the new album, Hey is joined by guitarist Chris McQueen and drummer Jason “JT” Thomas from Snarky Puppy, and bassist Kevin Scott, known for his work with Gov’t Mule. Given the acumen of these players, you would expect an adventurous ride.
The opening track “Into Bright” exceeds all those expectations, setting a high bar. Hey’s organ lead lines and flight of fancy synth work help form an infectious bedrock, which is supported by the heady rhythms. “BOMP” takes a different but no less satisfying tack. Thomas steps into the forefront of the mix with an inventive drum pattern.
If you’re a fan of tricky time signatures, this one’s for you. Forq’s synth/guitar/drum interplay gives hints of prog-rock, fusion and funk. Yet, at less than five minutes, the song breezes along.
“Dirty Cake” competes for my favorite song on Big Party. There are hints of Steely Dan, with its dirty lead guitar lines, Hammond-like organ, and distorted bass. Including a tasty bass solo adds a funk element overtop of the straight-ahead rock backbeat. “Echo,” with its mournful slide guitar work by guest Jordan Peters, is a stunning ballad. Thomas’ cymbal and rim work add to the moody nature of the song, while touches of Fender Rhodes dance in the background.
Striking but in a different way is “Song For Jim.” The track was written as a tribute to the keyboard giant and producer Jim Beard, and the results are buoyant, infectious and moving. The interaction between the guitar and synthesizer sets the pace as the rhythm section negotiates a tricky time signature.
Henry Hey’s Fender Rhodes signature is earthy, while the rhythm section stretches and breaks out the song’s central theme. Hey also provides a synth solo, which is otherworldly, and then the track takes another left turn with the guitar coda. I’m sure Jim Beard is looking down and smiling.
“Va!,” with its energetic bass/drum intro, Brazilian-like Fender Rhodes passages, and ethereal vocalization of the melody, is weirdness at its finest. The band doesn’t play it safe with the closer. It’s more organ and guitar goodness with touches of ’70s-sounding synths thrown in.
Along the way, there isn’t a single moment among these nine songs that I’d say represents the true essence of the album. Taken as a whole, however, there’s no denying how forward-leaning and occasionally brilliant Forq’s Big Party is.
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