I've always feared that Phish would become some kind of bluegrass/adult contemporary/easy listening band. I've been afraid that their recent simplistic pop leanings might alienate a lot of dedicated fans, or that those same tendencies would be at the cost of their adventurous side. With Undermind, neither extreme has come true. Instead, they have made a solid, somewhat unspectacular album. It's another logical step for a band that, after almost 20 years, is still growing. The fact that Undermind is a markedly different affair than their last nine albums is a feat in itself, with its consistency being a bonus. For Phish fans, this progression is obviously bittersweet, due to their apparently definite breakup. So if this is to be Phish' last album, it's a respectable way to go, though I had hoped for a little more.
Chiefly, it's worth mentioning Tchad Blake, Undermind's producer. Taking Round Room (Phish's previous album) into account, one can only assume that Blake has injected a definite structure to these recordings, both in sound and arrangement. His presence can be felt in the muffled, affected snare drum, which is immediately noticeable to any Phish patron. In the fittingly titled "Scents and Subtle Sounds," the jam section is warm and controlled, as apposed to some of the band's awkwardly excessive stretches on Round Room. Such nuances add to the albums overall inviting quality. "Secret Smile" is Undermind's most lush cut, using the kind of obligingly pretty string arrangements that have become so common in modern music. The orchestration is placed wisely though, never truly sounding like a gimmick. Compared to a lot of Phish's ambiguously silly verses, the lyrics are also surprisingly refined: "Sometimes when the evening's young/ The wind dies down, the setting sun/ Crochets the clouds with yarn so fine/ And fills the oceans with red wine." It's a somewhat weathered sentiment coming from Anastasio, and again proves bittersweet.
Overall, Phish tries to juggle their best virtues while taking frequent dips into the pop/rock arena. Unfortunately, the more rocking tunes follow a similar pattern: A section, B section, Jam. On repeated listens, the method becomes a bit tiresome. It's the fragmented experiments that keep Undermind from being a straightforward batch of songs, and they ultimately provide a much-needed balance. Buried at the center of the album is "Maggie's Revenge," a short interlude that immediately brings to mind the latest from Secret Machines, oddly enough. The rhythm section is key here, locking in amidst a squall of synth and guitar noises. It's about as experimental as Undermind gets.
The only blatant omission in style is a complex, multi-layered piece, in the vein of "You Enjoy Myself," "Reba," and, well, most of Phish's earlier work. On 1998's Story of a Ghost, the sprawling "Guyute" offsets the album's simpler compositions perfectly. Something similar on Undermind might have pleased the fans, but you get the feeling that Phish is beyond such compromise. As it stands, we are left with a pleasant send off from one of the '90s biggest bands.
1. Scents and Subtle Sounds (Intro)
2. Undermind
3. The Connection
4. A Song I Heard the Ocean Sing
5. Army of One
6. Crowd Control
7. Maggie's Revenge
8. Nothing
9. Two Versions of Me
10. Access Me
11. Scents and Subtle Sounds
12. Tomorrow's Song
13. Secret Smile
14. Grind
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