What does progressive music sound and look like nowadays? Back in its golden age, for the most part, prog-rock was played by serious-looking musicians wearing silk garments and writing songs about alien planets, sunken islands and cities populated by gods and demons. It was entertaining enough, audiences felt, that some of those bands filled out stadiums and got their albums in Top 10s across the world.
What about now? Not everyone is as fun, anchored in the present, or willing to laugh along with the audience as Zach Tabori. Most prog-rockers, I’m sorry to report, are even more serious than before, prize studying music over playing it, and imitate the classics. Their humorlessness has caused interest in this type of music to wane.
Perhaps there is hope. And if so, any remedy will include the music of Zach Tabori. Influenced by the Zappa dynasty and aware that memes and complex musical compositions make good company, Tabori delivers “Attack of the Clout Chasers,” comedic hard rock that will tickle your belly until you’re ready to cry “Uncle.”
Album opener, “Rotten,” lets you know exactly who you’re dealing with straight off the bat. Tabori fancies himself as the villain of his own story. But while you’re busy smiling, note the strong singing and tasteful acoustic guitar playing.
Don’t get too comfortable, though. This is Zach Tabori’s self-run theme park, and you’ve just been strapped in. The gentle introduction transitions suddenly into the hardcore-punk delirium of “Nann Ray.” The ride stops suddenly at the very top. And the avant-garde sounds of the bridge are your hint to close your eyes. No, there’s no final drop, just a glorious Queen-like outro.
Next, “…In a Thin White Shirt” brings aggro alt-rock sounds to a memorable lyric that dissects the thorny topics of romance and sexuality in the Western World circa 2025.
This is a post-prog-rock world. And Tabori’s among the few who understand this. He expects that you know what to expect from a prog-rock band. He expects that a bit of absurdism is just the ingredient to tie everything together.
It’s no coincidence that Tabori has a former employer and guitar hero, Dweezil Zappa, contribute to the appropriately titled “Vanite ou la Mort,” a song where siren calls are merged with flashy guitar heroics.
Dweezil’s father, Frank, would surely get a kick out of song titles like “Taliban Boogie” or “Jazz to Showcases our Musicianship,” and likely have someone go down to the archive to check if those titles aren’t yet part of the extensive Zappa catalogue.
But remember, this is all a ride. You’re meant to fear for your life, and end up being alright. You’re meant to be entertained. “Let’s Get Stick Together” with its manic pitch-shifting brings to mind the similarly minded comedy-rock genius of Ween.
And where does it all leave us? Unable to get too comfortable. “End of the Fucking World,” begins on a moody electric guitar arpeggio, and ends with vocal harmonies flankated by violins. But where’s the joke? Not in the song. That one’s real, and one more reason to think of a gag in order to get through the day.
Zach Tabori’s created, with the “Attack of the Clout Chasers” album, progressive rock that serves modern audiences. It’s tragic in places, funny overall, and supremely well-executed.
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