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Time Turns Elastic

Trey Anastasio, Don Hart & Seattle Music

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Album Review

It's never been easy to pigeonhole Trey Anastasio, but even armed with this knowledge Time Turns Elastic, his symphonic collaboration with Don Hart, still manages to surprise. Anastasio has flirted with orchestral pieces before but this is a full-blown, long-form composition arriving in ten movements, its luxurious strings recalling Gil Evans, and Anastasio's twinkling single-note leads alternately bringing to mind Larry Carlton and Jerry Garcia. Not all of Time Turns Elastic is instrumental: by the time "Landslide" starts four songs in, vocals are brought into the tapestry, but they're used as a way to pull the piece into focus, not to push it in a pop direction. Certainly, Time Turns Elastic wasn't meant to be sampled track by track, it's designed to be consumed in one sitting, to feel the waves of sound ebb and flow, to experience the subtleties in what is Anastasio's most intriguing and successful foray into art-pop to date.

Customer Reviews

something new

As one who's never cared much for classical/orchestral music, I'm not sure I have the experience to rate this as a purely orchestral album, so I will review it merely as a fan of Phish and Trey's solo work. Trey as experimented with orchestral music before, and a good sample of that is the recording of "Guyute" on his Seis de Mayo album. Given the orchestral arrangements of that and other Phish songs, it is clear that Trey has a talent for thinking and writing music in a classical fashion, you can hear it in Phish's more ambitious works like "Divided Sky." Time Turns Elastic takes those types of songs a step further. As one who is easily bored by classical music, I was very happy to find that the album never slows down or whimpers along, it kept my attention through the entire listen and I'd very happily listen to it again and again. The music twists and turns and flows very smoothly from one movement to another and does a very good job of painting a picture in your mind. It's very exciting to hear Trey's first guitar notes. I had wondered how an electric guitar would fit into an orchestral piece, and Trey does a very remarkable job blending his notes with the orchestra, flowing along with the music, allowing the instrument to add its own touches to the music but without hogging the show. The mix presents the orchestra as a separate "instrument" from the guitar, which I think very much works in the favor of the piece as a whole. The guitar never gets lost, yet never overwhelms. The vocals are also very well placed and mix very well with the music, especially near the end. The highlight for me was the 3rd movement, although the entire album was quite fun to listen to.

much better than the phish version

this should have been released before the phish version because it is much better and when phish plays it it sounds like a trey song done by phish which is exactly what it is. this is awesome though. what other rock guitarist could do this??? trey is truly a genius

Beauty and Wonder

Trey's compositional skills are the highlight here. Between Hart's orchestrations, Trey's playing and the lyrical content of this work, it's no wonder he wanted to take time off of Phish. (However, I am one of many who was excited and relieved to hear they were back together.) Very few jam band front men could do what Anastasio has done here. He's captured elements of rock, jazz and classical to combine them into a new type of jam - Orchestral Jam. He's much more than a front man, he's stretching himself into areas where he knows many phans might not follow, but he remains musically true to himself. I cannot help but think of the great 20th century composer, George Gershwin as I sit here listening to this piece. It's absolutely beautiful. Cheers Trey - here's one PhishPhan who is loving all the different musical directions you're working through. Keep traveling that road. You should write works like this more often, but, you know, still play with Phish too!

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