Bless the Impossible Shapes

Local Bloomington favorites The Impossible Shapes are back with their fourth album, a more pristine sound and the world at their feet. Bless the Headless, the newest effort from the four-piece group, promises an exciting new era for the band and aptly captures the Shapes in their finest hour thus far. To the dedicated listener, the album is a deviation from the Shapes listeners know and love, albeit a moderate one. Bless the Headless adds a new element to the band's repertoire, in both production value and the complexity of the musical delivery itself. \nChris Barth (guitar, vocals) says Bless the Headless is the first time the Shapes have all contributed to the recording process as a collective unit, in addition to being their virgin attempt in studio production. While Barth enjoys the cleaner sound quality and concentrated focus of recording in a studio, he says he still prefers recording at home.\nThe Impossible Shapes sound like nothing else coming out of Bloomington. The music has a refreshing originality, while easily maintaining a place within the rock spectrum. It is not the average sing-along bar band found at Kilroy's Sports and is most likely the best local band never heard. The influences range from The Beatles and Donovan to experimental jazz and Syd Barrett. \nThe album opens strongly with "Play with Me," a hybrid of various music styles that introduces the underlying concept of the entire album through it's cohesive ambiguity. Hints of psychedelia and the quick, rock-based feel to the song drive the music and help to grab hold of the listener's attention and not let go. \nAs a whole, Bless the Headless seems to be a return to the "rock as art" concept popularized by The Beatles in the late '60s. The music alone suggests careful craftsmanship, combining hints of pop sensibilities with undisputably artistic undertones. Creative tendencies are revealed further in the stylistic diversity of the album. At times it is almost difficult to keep track of all that the band is trying to convey. \nIn particular, "The Line so Flexible" is a song that changes direction at least five times. It begins with a slow, ethereal approach, breaking into a raw, distortion-filled jam session at the touch of a cymbal. The song bounces between these extremes, complimented by a crisp, proper bridge and a hint of Eastern mystique. This calculated approach proves the Shapes cannot be easily pin-pointed or slapped into any specific genre. Its far-reaching range suggests a refusal of commitment to anything besides their own artistic originality.\nBless the Headless meanders through many styles while retaining an experimental quality. But the band remembers its roots on songs like "Good to Lie" with its soft, harmony-filled vocals, powerful rhythmic drive, and eclectic melodies. With "Always the Way" there is an irresistible quality in its insistent delivery, soothing vocal transitions and beautifully simplistic, sometimes maniacal piano runs reminiscent of Ben Folds with an uncharacteristic edge. Despite the varied musical approaches the band toys with, Barth's voice stays grounded, providing a familiar consistency throughout the album, thus making it more easily digestible.