Ominous Seapods - The Guide to Roadside Ecology 1995

The Ominous Seapods' second album, The Guide to Roadside Ecology, was recorded in the studio instead of at a gig and it shows. By 1995, the lineup of Dana Monteith (guitar/vocals), Max Verna(guitar/vocals), Tom Pirozzi (bass/vocals), Brian Mangini (keyboards), and Ted Marotta (drums) had definitely solidified. By this time the band was playing 200 gigs a year. The production on this disc is improved from 1994's Econobrain. The Ominous Seapods' strength is teasing nuances out of the melodies, if not strictly in songwriting. Drummer Marotta once said that little dynamic shifts can affect how and where the song progresses. The Ominous Seapods are about those organic nuances and about having a good time. Overall this is an improved effort. AMG.

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Ominous Seapods - Econobrain 1995

The Ominous Seapods' debut album was recorded live at Bogie's in the band's hometown of Albany, NY, on January 28, 1994. The indie record sounds like one, and showcases some fine instrumentalism built around largely weak songwriting. (The lyrics and vocals were definitely the band's weakest link in 1994.) One song sounds like a Dana Carvey routine: "I never met those people I didn't know." "Anything Is Possible" showcases one of the problems with Econobrain: The vocals are recorded poorly and are ridiculous: "Anything is possible when you've only been alive for...24 hours." When Dana Monteith takes off on guitar solos, the music reaches its peak. Jamming is definitely the band's forte. But lyrics just get in the way of the jam. The band's alignment with the "gobi" music scene and drugs deflects attention to the lack of cohesion in their songs. Structure and organization mean little to that state of mind. As such, the good guitar work, funky bass, and fun spirit rule supreme. Though the recording of Econobrain is uneven at times, the LP is recommended if you like the Dead orthe Freddy Jones Band. Overall, Econobrain sounds like one long jam without much variation. Sometimes when the singing gives way to soloing, it is unclear if it's been heard somewhere before. The use of piano in "Millworker's Lament" is a nice addition and one of the only variances to the Seapods' early formula. The Ominous Seapods definitely found a popular niche, but, while solid, did little to expand the genre. AMG.

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Ominous Seapods - Matinee Idols Late Show 1998

Released as a promotional companion disc to the band's live album Matinee Idols, Late Show finds the band taking chances on a number of a stretched-out numbers. Beginning with an introduction that comes off like a demented parody of Bill Graham's introduction of the Grateful Dead on One From the Vault, the band launches into "Mr. Blood," the relentless hardcore tune that keys off a set of the 'pods bizarre pop culture/sci-fi melange. Through several large jams based on classic rock covers (including the Who's "Sally Simpson" and Kingfish's "Jump for Joy"), the band runs through textbook examples of tension and release improvisation. On some levels, the band is the very epitome of a generic band, playing perfectly within the boundaries of what a jam band is. At the same time, the band does this incredibly well, from Max Verna's nuanced voice and Duane Allman-influenced guitar playing to Ted Marotta's straight-ahead drumming to Tom Pirozzi's relentlessly melodic basslines. It's okay, too, because the Seapods helped define the genre. It's hard to find a jam band having more fun. AMG.

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