Forq’s fifth studio release Big party continues a tradition of exciting, astonishing and astounding listeners. The brainchild of the supremely talented keyboardist Henry Hey, Forq mixes rock, jazz and funk in a formula all its own.
On the new album, Hey is joined by guitarist Chris McQueen and drummer Jason “JT” Thomas of Snarky Puppy, as well as bassist Kevin Scott, known for his work with Gov’t Mule. Given the acumen of these musicians, one would expect an adventurous journey.
Opening track “Into Bright” exceeds all of these expectations and sets the bar high. Hey’s organ lead lines and edgy synth work provide a stirring foundation supported by the intoxicating rhythms. “BOMP” takes a different but no less satisfying tack. Thomas steps to the forefront of the mix with an inventive drum pattern.
If you’re a fan of tricky time signatures, this song is for you. Forq’s synth/guitar/drums interplay brings to mind prog rock, fusion and funk. And yet, at under five minutes, the song is a breeze to follow.
“Dirty Cake” competes for my favorite song on Big party. There are echoes of Steely Dan with its dirty lead guitar lines, Hammond-like organ and distorted bass. A tasteful bass solo adds a funk element to the straight-ahead rock backbeat. “Echo,” with its mournful slide guitar work from guest Jordan Peters, is a stunning ballad. Thomas’ cymbal and rim work add to the moody nature of the song, while echoes of Fender Rhodes dance in the background.
Standing out, but in a different way, is “Song For Jim.” The track was written as a tribute to keyboard giant and producer Jim Beard, and the result is upbeat, stirring and moving. The interplay between guitar and synthesizer sets the tempo, while the rhythm section negotiates a tricky time signature.
Henry Hey’s Fender Rhodes style is earthy as the rhythm section expands and brings out the song’s central theme. Hey also delivers a synth solo that is out of this world 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/drums intro, Brazilian-style Fender Rhodes passages and ethereal vocalization of the melody is craziness at its finest. The band takes no risks on the final track. It’s more organ and guitar sounds with a touch of 70s synths.
There isn’t a single moment among these nine songs that I would say represents the true essence of the album. But overall, there’s no denying how progressive and occasionally brilliant Forq’s Big party Is.
