BEN BOSTICK, Become Other

Truth be told, I’d much rather have had the opportunity to immerse in and write about any of Ben Bostick’s previous five albums over the past decade, which established him as a contemporary Americana great whose folk-blues influenced approach gave us rollicking rockers like “Feelin’ Mean” as well as lyrical acoustic gems like “Absolutely Emily.”

But who are any of us to argue with the ever-evolving muse of a musical genius – even when he does an intense, musical mind expanding 180 and creates an intricate, completely fascinating heavily synthesized four-movement rock/rap symphony, as he does on Become Other, an album that’s definitely out there. It’s possible that longtime Bostick fans struggling to appreciate their hero’s wild, eclectic attempt at a mythical hero’s fascinating, sometimes gentle and intimate, often wildly dramatic journey from proverbial darkness to light.

They should thus know that he was inspired to engage in a radical exploratory departure when his wife played an AI country song and he thought about the one thing AI, for all its benefits, cannot achieve: produce things of real meaning beyond facsimiles of meaning. In his immersive sonic world, where every note and nuance is self-generated, every word, every note, every turn of musical and lyrical phrase of the album’s opening is transmigrated and refashioned into the creativity that awaits.

Somehow, despite the diversity in vocal tone and surrounding sonic energy, everything somehow connects meaningfully as we follow our protagonist from the harsh despair of Movement I (“The Tangle,” “Heavy Heart,” “Star Crossed”) and Movement II’s valiant attempt to escape that plunges him into more hopelessly dark places (the lead single “Flying High,” “GNTL HZ,” “Eyes in the Vines”) through Movement III’s struggle against himself, the at last unveiled mysterious enemy (“The Weaver,” “Cocoon,” “Become Other”) and Movement IV’s glorious, long-awaited metamorphosis and emergence into a brighter, gratitude filled realm of limitless vision (“World Without Measure,” “By Darkness Forged,” “Transfigured Night”).

Throughout the colorful, super trippy and richly cinematic soundscapes, there are also gentler pieces like the synth instrumental “GNTL HZ” and the mysterious moody ballad “Eyes in the Vines” that showcase Bostick’s long established grand way with infectious melodies and the tender side of his vocal artistry. He also wants to share a few “fun facts” with loyal fans who he hopes will stick with him through his musical expansion.

Despite guitar being his primary instrument, there’s no guitar on Become Other. Amanda Belair, whose beautiful vocal harmonies add emotional depth to “Flying High,” recently completed a world tour with Roger Waters. And – not surprisingly, Bostick studied Howard Shore’s Oscar winning scores from the Lord of the Rings trilogy to understand how he used themes and leitmotif. Lots of folks bitch about AI taking over for human creativity, but Bostick flips the script with an immense response that takes his artistry not just to another level but far into the symphonic rock stratosphere!