Cosmopolitics: Press

Ralph Nader is a player hater.

At least, that’s what Lawrence’s Cosmopolitics call the first track off their new album, Mental Hygiene. With this first track alone, the progressive rock/jazz fusion/funk band proves it’s here to provide fun, exciting grooves.

Prog rock isn’t an easy pill to swallow. Nor is jazz fusion. Marry the two with some funk licks, and you’ve got a brilliant ball of musical confusion. With 12 instrumental tracks averaging at least six minutes apiece, Cosmopolitics aren’t exactly looking to make converts to its style of music.

But for those seeking something different created by a group of highly talented musicians, Cosmopolitics deliver, as Mental Hygiene provides an entertaining eardrum adventure. Musical influences such as Rush, Yes, Umphrey’s McGee and King Crimson are evident, but Cosmopolitics’ cheerful, honest and unpretentious approach makes the music accessible and exciting.

Mental Hygiene, Cosmopolitics’ second album, includes older tracks from tours past, live favorites and new songs. One of the new numbers, “Robot Sex Junkie,” is possibly the funkiest track on the album. The song features a prominent bass undertone from Andy Kroeker and a masterful guitar sound from Matt Gader. This song, like many others on Mental Hygiene, holds the listener’s interest with varying grooves and head-turning rhythms from drummer Luke Stone.

“Random Acts of Vengeance” shows off the band’s atmospheric jam band side. The song starts out with guitar and bass arpeggios and an ambient keyboard riff from Ken Lovern. Each band member shows off his talents in this seven-minute-long song.

Cosmopolitics keep listeners bobbing their heads and dancing with a complicated formula of mixing lock-step melodies with time-signature changes and persistent, dynamic contrasts.



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To play the game of some purists who, for once (or twice), point their
finger at a frankly productive problem, god how nice it is to enjoy the
scene's forefront spontaneity when you listen to this type of
production! The American quartet keeps going, with an amazing grace and
an unassailable assurance, with the values of improvisation and
perpetual speech. Without ever falling into elevator music nor dullness,
everything is done so the musical ideas are not unnecessarily disguised.

After the first few notes, essential information such as the musicians'
talent (what a rhythmic section !) and taglines themes may reach the
listener without having to ask any questions. Thus, the mind is free to
host an anthology of progressive rock with everything implied in terms
of diversity. But beware, there is no question of going round in circles on the classic lines and hints of fusion heard a thousand times : it is about research and reflection. Polyrythmic and harmonic twists are all at the service of a very precise language, structured around guiding principles that would not be disavowed by the Spock's Beard or even Tool. In addition to this paradox of spontaneity-calculation, these
three men from Kansas treat themselves by plunging their instruments in
some unfathomable abyss, between a couple of melodic-sound experiments,
getting them close to Cynic at times.

The instrumentation is pretty straightforward, but the sound palette is
wide enough to convince on almost any register, which brings clarity to the production. Everything is cleverly staged, always for a good reason, and also very accessible...far from free jazz 's obscurantism that may frighten quite a few persons. A perfectly mastered achievement which may only be lacking a few notes of aerial melody to get a perfect blend of what heavy progressive rock can be like in its broadest expression. A delightful trip with live accents that one should not miss, at least to give a few seconds of existence to these musicians who understood everything of the basics and much more.

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