Local Exposure: January 20th, 2000

Local Exposure
CD Reviews of Area Musicians

Jeremy DePrisco
Mandala

by Jason Timoll

A mandala – a matrix or model of a perfect universe, the nurturing environment of the perfect self in ecstatic interconnection with perfected others. While the term “mandala” has its origins in Buddhist tradition, Jeremy DePrisco’s album is decidedly Americana.

In Buddhist usage, “mandala” is a pretty heavy concept. It is a blueprint for Buddhism, conceived as an attainment not only of an individual’s ultimate liberation and supreme bliss, but also as the release and bliss experienced by someone fully integrated with his or her environment and associates. Like the term “satyagraha” in Hinduism, “mandala” speaks to the pursuit of enlightenment and balance in a timeless universal existence. While DePrisco’s work isn’t quite that heavy, it does reflect an idealism that resonates throughout the entire album — rendering the title appropriate for the text.

DePrisco has many exceptional qualities in both his writing and his delivery. The most notable is that all of his lyrics are understandable. In a world where the likes of Dave Mathews and Rusted Root have set the standard for enunciation, it is almost unnerving to understand clearly every single word at first listening. Midway through the album, I knew I would be more critical of enunciation in every one of my future reviews. In many cases, an artist does not feel strongly enough about the lyrics to want the emphasis to be on the meaning as much as the sound. But with DePrisco’s well-crafted writing and musical structure he can let you have it the way it was written. In a presentation similar to Roger Miller and with the stylistic sensitivities of Jethro Tull, Jeremy DePrisco packs a complete package.

Right from the first track of this CD, it is clear that the remaining songs will not be predictable. First comes the greeting of a wailing guitar over a non-traditional rock foundation. There are no guitar hero sections of any of these songs that allow the listener actually to look forward to and appreciate the tasteful uses of the electric guitar throughout. “Promises,” the second track, is true to the hybrid quality mentioned earlier. The structure of the song is reminiscent of old Traffic or Jethro Tull, but the delivery is almost as straight as Pat Boone. It is also the first indicator that DePrisco, like any artist making a run at the big show, knows the most effective place to bring the hook in his songs. “Promise me your love, in your darkest hour” is the chorus — short, sweet and in your head for hours.

Track three, “Give Me A Break” is only challenged by track nine, the biggest leap on the album. Out of context, one might hear it as a punk or British Ska song with heavy guitar and quick chant lyrics. It works in the context of this album, but requires some preparation for the transition. It is also the first song that has its own socio-political voice. This song seems to have been written for big brother’s benefit.

Tracks four and five were my favorites on this album. “Shadows On My Walls” has a rather droning Pink Floyd quality to it. It’s almost trippy, with a lot of dark minor and flat chords in it. Peaceful nonetheless, it seems to distinguish itself from the pack. “Someone To Touch,” track five, hints at the Celtic jig style that awaits you more clearly in track six. Like a Sergeant Pepper’s, it utilizes dome form of canned horns or organs that is rather undistinguishable but suits the song well. “Word Traffic,” track six, uses a more straightforward Celtic style guitar over country leaning backdrop. An adept producer as well, DePrisco reached into his bag of tricks to find a sample of a revving vehicle engine to place amidst these melding styles to offer a song that is derivative of nothing I have listened to before. Aptly “Morning Blues,” track seven is … guess what? The first traditional blues song on the record. It is honest, well-structured and, well, blues!

In its latter part, this album has a nice balance of many of the different styles offered up in the meat of it. Track eight is rather standard rock. Track nine, mentioned earlier, is a folk-calypso-style song that could just as easily be off the latest Jimmy Buffet album. In track twelve, DePrisco uses a sample of his own voice taped at the age of three to begin the song — a very well executed touch of creativity. Tracks eleven and twelve are both songs that, like many others on this album, address issues of introspection and commentary on the human condition. Track eleven is more mysterious, while twelve is less dark and more inspirational.

Trying to summarize this CD would do it a disservice. It is many styles of music with more than one theme. None of the styles clash, though some of the songs are very ambitious for the greater content of the album. While the content is not particularly religious, the words are spiritual and meaningful. From peeling open the CD and reading on the album cover the complex meanings of the word “mandala,” to listening to the last track, the listener gets the sense that Jeremy DePrisco would like to make this world a better place by prompting us to think about the little things we do that affect us as individuals and in relationships. This record is well thought out and quite effective in its mission.

To find out more about DePrisco and his performance dates go to www.mindspeak.com.