Murfreesboro prog-metal quintet Flummox has released its third full-length studio album, Southern Progress, out of Needlejuice Records and into their passel of influential area metal put out since 2012.
Southern Progress stands as a testament to the process of visibility, a modern precedent of acceptance, a theme found throughout the band’s work, within a framework of anthemic references created by Flummox lyricist and lead singer Allyson Dellinger, seemingly for anyone experiencing, or alienated by, dysmorphia.
Flummox has also created an accompanying, historically raucous, show-to-show-improvised metal stage act, but this Southern Progress, in particular, hits a bit deeper and more personal.
And, it’s a masterpiece. (A magnum opus, even, but only being the band’s third album, perhaps many more experiences will follow in a long, illustrious future life of Flummox.)
The intro of “What We’re In For . . .” ascends and flows from bouncy, circus funhouse quirk into the dissonance of a solid, sick metal riff, then into a mix of the two for the verses, landing on a sort of game-show waiting music, and displaying characteristics of Frank Zappa’s arpeggiator skills throughout.
A march of spontaneous metal-jazz fusion, pure rock fury, punk punches and even some metal-country makes Southern Progress as progressive as it gets as it leads a stimulating and intellectual progression.
The title track of the album, “Southern Progress,” stands as an all-around, local arcade-banger smash and the best example of Southern Progress’ bang-for-the-buck without weirding you out too much at first, but then becoming a soundtrack for jumping up and grabbing a blimp out of the air and riding it down with your teeth and bare hands.
On a softer note, the lyrically insightful “Nesting Doll” is just as strong a candidate for the album’s single.
There are eight more tracks, each and all their own journey through the Bob Barker, Zappa and Sabbath metal of a Flummoxed mind, that also make this piece of art something to be truly heard (and seen).
Powered by local audio engineer Chase McCutcheon on one of the two lead guitars, with Jesse Peck on the keys, percussion sorcerer Alan Pfiefer on drums, Flummox bassist and lead vocalist Allyson Blake Dellinger, and the other half of the guitar tandem, co-composer Max Mobarry, they’ve solidified this concept in good company across the U.S.’s Southeastern states while becoming somewhat of an empowering poster child for the area’s trans community. All players chip in with their disciplined, team-oriented intricacies to make a wondrous, local quintet that can execute such a concept.
The Southern Progress tour is currently wrapping up a three-week run alongside OG conceptual touring band Mac Sabbath, with openers The Dickies, Guttermouth and Ben Katzman’s Degreaser at specified dates, the last four of which are May 7, in Cleveland, Ohio; May 8 in Ferndale, Michigan; May 9 in Grand Rapids, Michigan; and May 10 in Chicago. Flummox shows are worth long-distance turn-and-burns.
Find Flummox’s Southern Progress across the icons at YouTube, Apple Music, Pandora, and iHeart, as well as at flummoxed.bandcamp.com.
