REVIEWS: ATTENTION DEFICIT The Idiot King back to artists page Discography • Audio • Tour Dates • Links Click here for reviews of Attention Deficit's Attention Deficit. Click here for Ytsejam's Michael Manring interview Tim "Herb" Alexander (Primus), Alex Skolnick (Testament) and Michael Manring (Michael Hedges) have returned for their second album together, combining their influences and talents for a sound which I can best describe as heavy, funky, instrumental fusion based on a proggier Primus, a less-spacey Ozrics, instrumental Zappa and various other influences I am incapable of detecting. The paces vary from almost New-Agey mellow to energetic metallic/Primus-like heaviness, always retaining a high level of progressiveness, production and musicianship, with a good blend of jazzy improv technique and above-average song-writing feel. The fact that it's personally not my favorite kind of music at the moment is arbitrary; there should be lots of funky proggy AI-readers who will dig this. Most tracks range from 3-5 minutes, with 3 tunes clocking in at the 7-minute mark. Opening track "American Jingo" is probably the most psychedelic piece, and since the liner notes cite that synthesizers were not used, Skolnick must be praised for getting some quite spacey sounds from the guitar; it's my favorite cut of the album. "Any Unforeseen Event" certainly has a distinct Zappa "Black Napkins"-like easy mellow jamming to it, with ever-impressively farty fretless serpentine bass á la Les Claypool from Manring. The longer "Risk of Failure" has some very sweet agile and delicate picking from Skolnick. Naturally Herb remains a vital force throughout, addings those Primus-like alternate tones to his toms. "Dubya" is a cool kick-backer, featuring more fluid lead-licks from Skolnick. "The Killers Are To Blame" has some free and fluid wailing lead-guitar similar to that of the Spacious Mind and intense rolling tribal drums, making it a stand-out from the rest. Another favorite is "Nightmare on 48th St" with its heavy-ass scaley spiral super-shred via Skolnick and progressive percussive attack; towards the end it's the dirtiest moment on this fairly-clean disc. – Aural Innovations –––––––––––––––––––––––––––––––––––––––––––––––––– Attention Deficit are back to pick up where their first album left off. The Idiot Kings is a detour from the experimental madness of the first album, they have moved into a more free-form jazz feel with some funny commentary on the Bush/Gore presidental elections. American Jingo: This song picks up where their first album left off, three guys doing their own thing which comes together to make a great sound! This song was an excellent choice to lead off the cd. It has a catchy bass hook that acts as a foundation for AS and MM to do some unison melody lines, as well TA and MM have some parts where they play in unison as well. In places this song gets very atmospheric with TA doing some nice open feel drumming. Of course, AS solos are amazing showing jazz, experimental, and rock influences. Any Unforseen Event: This track would be appreciated by strict jazz fans. AS plays a chorus-full guitar sound using complex chords, a trademark of a true musician who has done his homework. MM also shows us how hewas able to make a living playing on jazz albums. This song is a highlight of MM's musical style and taste. I have never really heard TA play jazz before but once again he backs-up my statement that he can play a beat of ANYTHING! The Risk Of Failure: The intro is like something from a seventies horror show with flooding bass and chorus driven guitar for atmosphere. The tension is then broke with a jazz melody done by AS that gives the song an upbeat feel. The groove is strong as TA ties all this together with his unique style of drumming. I can't imagine this project without him! The breakdown is amazing, low foundation bass and drums while AS performs a tribute to jazz / fusion guitar. This is my favorite track. Low Voter Turnout: This is where we get a taste of the experimenting that was happening on the first album. MM slapping-popping with funk style, enter the madness. AS plays from speedy jazz runs to open picking to leave room for MM and TA to explore. How TA plays over some of these riffs, I'll never know! During the guitar solo I don't know whos experimenting more AS or MM, it's all nuts. Unclear, Inarticulate Things: MM flying during the main theme and AS joins in like a wasp, buzzing about. The change at 0:56s is comparable to King Crimson, which I haven't heard in Attention's music before. This would showcase TA's ability to find a groove over anything best. How does he do it? RSVP: The opening of this track is reminiscent of seventies Weather Report with Jaco Pastorius, open fretless bass. The uptempo sections show an influence by Return To Forever on the way AS plays. This song allows MM to show why he is one of the best at what he does, while Tim and Alex provide a superb grounding for him to play over. Alex does some neat soloing in the end which remind me of Allan Holdsworth, a man I haven't seen on his influence list. My Fellow Astronauts: I believe this track was a throw back from the days when Tim was in Primus. Alex has the exact same feel as Ler would provide over Les Claypool's insanity. Tim jumps back to home with his feel in this one. One difference is AS's solo, which is more free jazz than the soloing of Ler. This is a fun track to listen to. Dubya: I find this track reminds me of the instrumental guitar albums I was hearing a few years back. Straight ahead drumming with a good bass supporting line. This gives AS tons of room to solo, taking from the styles of Eric Johnson and Steve Morse. This is a highlight more for AS than for Attension Deficit as a group, hats off to AS. The Killers Are To Blame: The guys start to experiment with sounds here. MM using a distorted bass tone which is keyboard-like, TA drums are low, booming and sound like he is playing a football field away. Lastly is AS who shows that little is more by playing extended single notes to add to the mood. This track highlights TA's skills behind the kit and he once again surprising the listener with his choice of playing. Nightmare On 48th Street: This track is pure insanity!! The guys decide to let everything go to hell in a handbasket. AS is flying along the fretboard like a madman will TA keeps up and MM plays some great foundation. Just when you think there is a break in the madness, TA takes the insanity to a whole new level! The is a pause when we think the track is over, but it's back to the intro theme once again. Whew, this song is a workout. Public Speaking Is Easy: The last track, a place to try new things and explore new territory. Attention Deficit blows that definition out of the water! First, I need to explain how the sounds are achieved. Tim puts his symbols ON his drums while he's playing, Manring put PAPERCLIPS on his bass strings and Alex decides playing with a PENCIL might be fun. I won't try to explain what is going on during this track, you'll have to listen to it for yourself. Overall I would say that Attention Deficit has raised the bar by releasing back-to-back ground breaking albums, I hope they can keep this up with a third album. – Status Seeker –––––––––––––––––––––––––––––––––––––––––––––––––– The band that is responsible for this all-instrumental CD has a very ironic name. The music contained on this piece of plastic takes time, and if you have an actual attention deficit, it's best you not to attempt to listen to this particular work.     Many of the titles of the songs, as well as the title of the CD itself, have to do with our recent Presidential election and the many problems associated with it.  "Low Voter Turnout," "Dubya," and "American Jingo" are three such titles. Without going into how one song or the other is good for this reason or that, I'll just say that the overall sound of the CD is excellent. Hats off to the recording engineer, because the noise that happens when the pick makes contact with the string or the stick hits the drum skin is brought out very clearly.   Bassist Michael Manring (Michael Hedges), who actually got the group together back in 1994, initially to play on his solo project, has a very upfront style and his instrument is prominent throughout. On most every song, I actually felt as though I could've "touched the sound."   The musicians playing along with Manring are drummer Tim Alexander (Primus) and guitarist Alex Skolnick (Testament), both of whom are master players and bring tons of experience and expertise to these unusual compositions.   Attention Deficit attempts to "describe," in musical terms, how they feel about the state of American culture (the group's name is in itself a statement to that effect), and the poignancy and humor of the way Americans live their lives and respond to what's going on around them, particularly in the midst of a confused electoral process. It's an interesting theme to use in approaching a project and an equally interesting theme around which to write songs. If you're an American who's tired of talk and who has time enough to hear a different, yet equally valid type of commentary, this CD is definitely for you. – Ben Likens for Midwest Beat –––––––––––––––––––––––––––––––––––––––––––––––––– This being the second disc by the instrumental trio, it is not surprising that there is a sense of familiarity that surrounds the playing of the individual members as well as the finished songs. Familiarity is not a bad thing in this case either, as what energy you would think lost by people just knowing themselves and each other too well is actually magnified. So, when Alex Skolnick (Savatage, Skol-Patrol, Testament) dips his wing a bit, Michael Manring and Tim Alexander (A Perfect Circle, Primus) duck, but only until Skolnick passes and then they latch on for the ride until it is their turn to fly. Synergy is the word that most people use when describing the band, and as I can find nothing better, I will use it as well. Though, I do think that there is something even deeper than that happening here. "The Risk Of Failure" is the disc's best example of how three virtuosos can subdue ego and become an army of one voice. This is very likely the best track that any of the musicians has ever been involved with and that is a very large pile of recording, mind you. "Unclear, Inarticulate Things" begins with a bumble bee bass solo that sounds almost as if it were looped. How can any human play that fast and with such clarity and perfection? The disc was inspired, in part, by the goings on in Florida during the last U.S. presidential election, but sans a vocalist, Attention Deficit could have named the songs anything else and the music would have been as fitting a soundtrack. If instrumental fusion/jazz/metal is your thing, you cannot do much better than this disc that proudly claims that, "Once again, no synthesizers" were used. – Open Up And Say –––––––––––––––––––––––––––––––––––––––––––––––––– Once again Magna Carta records combines three artists with vastly disparate backgrounds to form a true progressive supergroup. Michael Manring, often bass player for the late Michael Hedges joins with ex-Testament guitarist Alex Skolnick and Primus drummer Tim Alexander for Attention Deficit's second recording of Jazz and freeform jamming. Political themes abound in the titles, but the calamitous musical structure reflects the election chaos that was unfolding as this album was being recorded. Obviously born of experimentation, these eleven instrumental pieces weave through structures, keys, timings, and musical thoughts while showcasing new levels of musicianship for Manring, Alexander, and Skolnick. Tracks like "The Risk of Failure" demonstrate their ability to maintain complex rhythmic ideas and a cohesive melody and slide into a tidal and rolling improv. Manring's bass work is unbelievable as he switches from melodies that counter the guitar to rhythm work tightly interlaced with Alexander's drums. A truly dynamic and tasteful player, Manring knows when to support and when to shine. Alexander explores new levels of rhythm with some of the greatest drum work of the year. At 2:30 of "Unclear, Inarticulate Things", he exhibits his ability to be solid and still everywhere but tight on the beat. Skolnick's guitar playing in no way departs from the astounding performances of his bandmates. Take heed: this is not the Alex Skolnick you may remember from thrashing Testament days. You will hear no screaming leads or contorted two-hand tapping lines or furious sweeping. Instead, you will hear a musician with a new level of maturity in his playing tearing out some of the greatest and most inspired (and inspiring) Jazz guitar work in years. Skolnick lets it all go on "My Fellow Astronauts" with a lengthy and streaming solo that is one coherent thought even through its moodswings. A solid musician, Skolnick has stepped to a new facet of playing and seems to fit comfortably. On The Idiot King, three familiar musicians shine with fresh, unfamiliar, and brilliant facets of musicianship. – Smother –––––––––––––––––––––––––––––––––––––––––––––––––– If you've read my review of Attention Deficit's debut, you know that I didn't care much for the music they were making. And while I had a hard time listening to that album, I am having a hard time not listening to The Idiot King. I keep playing it over and over again, intending to write down my thoughts about it, but instead I just listen to it. So, guess what folks, I'm urging you to seek this out. One of my favorite instruments is the guitar, which won't surprise those of you who've read my other reviews. Well, just on the basis of the guitar playing by Alex Skolnick alone, I am quite satisfied with this album. His lines are either lyrical and warm or distorted and fuzzy, with varying tempos, and always interesting. But that doesn't mean this is a guitar album, far from it. This is definitely a trio, and while each is given their own space, no one performer dominates. While this might seem like a) an obvious comparison to make and b) that I've heard no other bassists, Michael Manring's fat tone reminds me so much of Tony Levin. It is an open and inviting tone that draws you into the music and makes you feel comfortable. Tim Alexander's, drumming is very solid and dynamic. I love to hear a drummer who uses the full breadth of his kit, knows when make the cymbals shimmer, and when to make them crash with force – Alexander is one of those drummers. The extreme abstractism of Attention Deficit is gone, which is good for me, but for those who really liked their debut, you may think the trio has gone one step back towards commercialism. I don't think they have really, but I think they have found each other's groove a lot better. The toss-it-together feel has been replaced by give-and-take interaction. And the grooves they create here are interesting and often exciting. One is almost on the edge of their seat, wondering just where the track is going to go next, and there is a freshness that tells me you'll have this feel each time you listen to it no matter how often you do so. What you will find on the The Idiot King is a tapestry of music that is often angular with experimental-jazz-y textures. On "Any Unforeseen Event" Alex Skolnick's lines are, as mentioned above, lyrical and warm; light without being lightweight. "The Risk Of Failure" begins in a very Crimsonish way, but suddenly Skolnick lets loose with a distorted, and what I can only describe as fuzzy, guitar lead that made me think of the keyboards in Genesis' "Abacab" during the outro. It's that raw, husky feeling. But that's the only similarity to Genesis, as otherwise latter day Crimson is an apt comparison. "RSVP" begins very mellow, you think perhaps an acoustic instrumental ballad, but after a few sections, you'll think of Rush. But then it veers off in another direction, allowing for a Manring bass solo that just about sings in deep, rich, throaty tones. I hear a hint of Greg Lake in the bass' voice, but nothing, obviously, as concrete that I can mention any one specific ELP track. "My Fellow Astronauts" is darkly funky and slightly playful. You can almost see the video – perhaps too literal, but spectacular test flights of rockets blasting into the air, the affects of g-forces on the human body, astronauts going EVA, etc. The track is quite energetic, but also has a serious undertone that says subtly that space is a dangerous place. Not sure what they were thinking as they were recording this, but one might think of the international spacestation being constructed at present. "The Killers Are To Blame," gives Alexander the main focus, and he uses the extra space to play some thunderous drums – my notes read: thrumming like a racing heart; like a particularly violent thunderstorm. Dark atmosphere is created by the guitar and bass being mixed way back; any other place and the track wouldn't have the same impact. The next track, "Nightmare On 48th St" is very heavy, with speedy guitar runs, pounding bass and drums – it is "Flight Of The Bumblebee" on speed, a plane streaking across the sky, trying to break the speed-of-light barrier. "Public Speaking Is Very Easy" is phat and funky, all I could think of loose and floppy lips contorting themselves to the music. Well, now I guess that's awfully fitting as old Dubya does have a hard time getting his lips to pronounce words correctly...so this works on a subliminable level. Erm, subliminal, that is. In fact, there is a track called "Dubya," which is a very serious sounding track, though one might expect something very irreverent given the title. I suspect the music was composed and then given titles rather than the other way around. The track titles, and the album title itself, if you haven't already guessed (or know otherwise) make reference to the recent US "election" and the "winner" of that election. Oh, I've only scratched the surface. But I had to get at least this much out of me to give you a mere taste of what delights await you. And, honestly, I was tentative about even giving this release a listen, which may be bad form, but it's the truth. I was expecting to dislike it, but I can honestly say that I love it. I think you will, too. Very very recommended. – Progressive World –––––––––––––––––––––––––––––––––––––––––––––––––– Michael Manring (bass), Tim Alexander (drums), and Alex Skolnick (guitar) are Attention Deficit. The Idiot King is the interesting title of their new album. What makes it so thought consuming is the fact that this is all instrumental music. It's you, the music, and your imagination. I couldn't picture what it all meant until I read the press kit and then looked at the titles of the songs. This is all about America suffering from ADS, and the media controlling our thought processes and lifestyles. Do we all have the attention and focus of a household dog? Who is the king of the idiots? Think about it for a minute. I will let you come to your own conclusion with those thoughts. On to the music! This is a super group power trio of the premier degree. All three men are respected veterans of the industry. These talented men don't have any one particular focus or influence; they seem to be able to put everything together quite nicely regardless of their varied backgrounds and musical directions. I heard some expert genre blending on every track. The bass playing reminded me of Stanley Clarke. I know at some point Manring must have listened to some Return To Forever, as I was reminded of that group several times while listening. Skolnick did sound like Al DiMeola at times too. Alexander didn't sound like Lenny White...he did sound quite amazing, but not like anyone else I have ever heard. Well, enough with the comparisons and gushing. This is a great album, and it is unquestionably a tour de force of instrumental fusion. I am completely captivated by music like this. There is a good mix of rockers with heavily flavored jazz tracks to give the entire endeavor a balance and feel that is highly unusual. It remains consistently unyielding in a very good way. I noticed how strong the bass is throughout this recording, its obvious that Manring is the predominant instrumentalist. He is in complete command and his personality just overflows through his bass strings. Because of his upfront take charge attitude, the other two members benefit from him taking the lead. Skolnick is a fiery and empowered six-string maestro, while Alexander keeps perfect time with Manring, which I am sure, is no easy task judging by the odd time signatures that music of this nature creates. It's exponential; one musician starts were the other left off and so on and so forth. This a very complex sequence of songs that would give any reviewer a daunting task to pick apart and break down, so you know what? I am not going to even attempt to do so. Why? Because it isn't necessary, it's an immense album from start to finish. If you aren't convinced after reading what I have to say about the validity and exceptional talent that this group has, then go to Wal-Mart and buy a Britney Spears album or something, you are hopeless. Hey, just get this CD you will love it. That is assuming you know about music, and are sophisticated enough to understand and appreciate the complexities and many minutiae of fusion. If you qualify, then go grab a slice musical perfection for your collection now. – Muzikman Reviews –––––––––––––––––––––––––––––––––––––––––––––––––– The kind of projects that crop up in our style of music mainly is built around the nucleus of some famous prog icons. Not this time though. When Michael Manring recorded his solo album Thonk in 1994 he asked Alex Skolnick and Tim Alexander to help him out. That collaboration was such a treat that Manring approached the Magna Carta stable and asked whether at all he could team up with Alex and Tim once again in order to create some new groundbreaking instrumentals [as Attention Deficit]. The result was the album of the same name followed here with their second, The Idiot King. With Tim and Alex having been part of Primus and Testament, respectively, the approach towards the music is less "prog" than one might expect, as, of course, it features heavy guitars throughout. The threesome has succeeded into delivering the right follow-up to Attention Deficit, once again filled with technical highlights. Also in the studio these guys have worked their asses off as you can witness from the backward "loops" on "American Jingo." Manring's fretless bass in "Any Unforeseen Event" reminds me of John Giblin, whilst the music becomes a melting pot of Brand X, Return to Forever, Weather Report, Mahavishnu Orchestra and Frank Zappa topped with a nice layer of Pat Metheny. The nice thing about Attention Deficit is the fact that each of the songs, although strictly instrumental, kind of tells a story. There's depth in the compositions, a lot of melody is added, whilst the whole is served in a very lyrical way. The interplay between bass and drums during "Low Voter Turnout" simply is breathtaking. Guitar and bass try to push each other off the road during "Unclear Inarticulate Things." Jaco Pastorius re-lives during "RSVP," whilst Metheny gets a gold medal during "Dubya". The vitamins come pouring out of our speakers by means of a well-thought out balance between technique and melody, something most of these projects seem to suffer from. Attention Deficit is a garage where they do a makeover from a total loss into a top range convertible with door handles made from the purest gold and a dashboard set off with real diamonds. You'd be an idiot if you wouldn't go for a test drive! – Progressive World –––––––––––––––––––––––––––––––––––––––––––––––––– When semi-famous musos attack, the results can often be gruesome, a hundred-note pileup of dense riffage and egomaniacal overplaying. Not so, with Attention Deficit. Comprised of guitarist Alex Skolnick (formerly of metalheads Testament), bassist Michael Manring (once a mainstay of new age label Windham Hill) and drummer Tim Alexander (formerly of Primus, currently of Laundry), AD put their prodigious chops to good use on eleven fierce 'n' fragile sound paintings allegedly inspired by the recent presidential election (songs titles include "Low Voter Turnout," "Dubya" and, of course, the title track). The trio is far more interested in making all manner of strange tones and twisted licks coalesce into intriguing, unusual melodies than in adding to the overstuffed catalog of shredfests. Manring's Jaco Pastorius-inspired fretless work and Alexander's polyrhythmic percussion have an amazing ability to wander over the melodic terrain while remaining staunchly attached to the groove. Skolnick is a marvel, jettisoning any hint of his poodle-haired past by tastefully anointing the songs with all manner of jazzy licks and shimmering textures, rarely giving vent to the speed demon he once was. With a wonderfully appealing melange of taste, imagination and humor, Attention Deficit has the ability to draw forth more moans of pleasure than gasps of awe. – High Bias ––––––––––––––––––––––––––––––––––––––––––––––––––

ATTENTION DEFICIT The Idiot King