(((O))) Review: Sons of Ra – Standard Deviation

Frank Zappa once said this; “Information is not knowledge. Knowledge is not wisdom. Wisdom is not truth. Truth is not beauty. Beauty is not love. Love is not music. Music is the best”. A perfect sense of poetry on why the Grand Wazoo himself cited the philosophical depths of art and structure when it comes to the different genres of playing music on your CD player, record player, on your phone, playing on your guitar, or wherever it takes you, it is the soundtrack of your life.

I felt that same situation whenever I would have albums that had a huge impact on my life, growing up. Whether it was Pink Floyd’s Dark Side of the Moon, John Coltrane’s A Love Supreme, Rush’s A Farewell to Kings, Genesis’ Nursery Cryme, or Steven Wilson’s To The Bone, it stays with you, no matter what. But here, now and for a very long time, here’s something that just took me by surprise.

Here is a Chicago-based trio who have been around for two decades carrying the fusion of prog, jazz, math rock, and avant-rock to the core. A band called Sons of Ra have etched themselves into their musical D.N.A. and the power of a thrilling metallic crunch that’s waiting to be unleashed. Their new album Standard Deviation is as explosive, volcanic, and ferocious that is waiting for the doors to be kicked down, non-stop.

For Erik Oldman, Keith Wakefield, and Michael Rataj, they have proven themselves that they aren’t just a jazz-rock trio, but a trio who can balance between the forces of metal, jazz, bossa-nova, and the rock in opposition movement that comes in handy. There are moments in their music where it reminded me at times of fellow Norwegian maestros Krokofant and Elephant9 featuring guitarist Reine Fiske, plus a bit of The Mahavishnu Orchestra throw in the middle of this deep-dish pizza.

There were moments on Standard Deviation that are broken down to be experienced, again and again as I delve into the heart of the band’s music. From the Brazilian bossa-nova segment behind ‘Intrepidation’ there is some incredible flute work, heavy conga vibes, Oldman’s nod to Omar Rodriguez-Lopez of The Mars Volta, Rataj’s powder-kegging drum patterns, and an uprising climax before heading down the tropical beaches in South America.

But that’s not all. Oldman uses his mighty powers behind the crescendo, tidal-waving attack with its organ-driven mobility behind ‘Vashkar’. It comes out of the cave with its shrieking, full-on scale assault as Erik adds tension to give Keith and Mike a chance to go out in a blaze of glory.

There are some nods to Ace Frehley’s guitar section behind ‘Detroit Rock City’ from KISS’ Destroyer album which almost reminded me of the big crash sequence at the end, followed by a car exploding at the end of the song while the trio gets down and funky for a delicious taste of the ‘Porous Silver’ which lays down some bluesy, Django-like swing.

You can hear supplements of Michael Hedges’ playing in the composition, the 1950s Bebop Jazz vibration, Wakefield stealing the show in the midsection on his bass guitar, arpeggiated guitars that descends from Iron Maiden’s duo guitar work from Dennis Stratton and Dave Murray before traveling down Wes Montgomery’s territory. I mean, how unexpected can you get when it comes to Sons of Ra?

The opening, turned droning composition behind ‘Disintegration (Alabama Revisited)’ reflects of the grief-stricken intro, but detailing a time when America was at war during the 1960s with itself. There’s a militant doom, Fripp-like structures for a brief moment, crying out to the gods, the hope for peace is miles away, and the galloping nightmares that approach you nonstop as you prepare for battle and decide to rather sacrifice yourself than give up the dream.

Standard Deviation is an album that needs no introduction if you’re very new to Sons of Ra’s music. Its strength, power, and full force is all the evidence that you need to come with vengeance, and prepare to endure the wonders of jazz rock at its best.