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Travis Larson Band Suspension (self-released on Precision,
2001)


Although the Travis Larson Band looks like just another shredder
guitarist with a rhythm section to repeat dull riffs so he can solo for
seven minutes each song, Suspension shows a few interesting
original slants on the instrumental shred guitar style that place Larson
slightly above the multitude of guitarists retreading the instrumental
guitar ground of Steve Vai and Joe Satriani.  

Suspension, the Travis Larson Band's second CD, features Vai type
playing and guitar sound, but in a rock trio setting with lead guitar,
rhythm guitar, bass and drums.  Compared to the effects-drenched guitar
bits, layered synths, and vocals and samples in the lush arrangements of
someone like Vai, Suspension sounds refreshingly sparse and
clear.  Larson's songs move through melodic phrases and solos, often
with spartan clean electric or acoustic guitar passages.  The riff
based, instrumental rock/metal style has basic riffs and grooves laying
a foundation for guitar melodies and solos to take the forefront.  Rare
use of synths, like the mellow breakdown in "934," and the clean piano
in the slow fusion groove of "Sandusky Trail," add texture without
swamping the uncluttered band sound.

The rock instrumentals like "934" and "Powerdown" push a driving beat
through occasionally lengthy but always fiery solos.  The fusion
sounding ballad "Return to Zero" builds as Larson solos smoothly in 9:8
time.  The sluggish rendition of "Georgia on My Mind," with guest
bassist Vic Wooten of the Flecktones, plods along with excessive guitar
and bass solos and flat, uninspired drumming.  This sinks the snappy
rock trio vibe built up over the first four tracks, but the record
rebounds with "Sandusky Trail" and "Frantic Manic."  The syncopated
trudge of "Squeeze & Shake" sounds like the Flecktones' "Almost 12." 
Many shred guitarists throw in some acoustic guitar to profess an artsy
or mellow side, but Larson's skilled acoustic guitar and the
accompanying bass on "Times Like These" shine equally with the electric
work on the record.  

The rhythm guitars sound thick and chewy, and Larson's creamy lead tone
soars effortlessly over the band grooves.  Guitar overdubs provide
harmonies for the leads and rhythm tracks under the solos, but without
muffling the dry rock trio feel.  The snappy drumming, like the
syncopated groove in "934," and the bouncing, trebly bass work by
Jennifer Young support the ensemble.  The production, by Larson and
Young, sounds completely professional. 

In the bio on the TLB website, Larson cites Vai and Steve Morse as
influences.  His lead style is rife with signature Vai licks and flashy
tricks, but the more subtle and mature influence of Morse's songwriting
just barely creeps into the music on Suspension.  If Larson can
further develop his songwriting maturity and rein in his guitar solo
chops a bit, he'll stand out more than just a bit above the crowd of
shredder guitarists leading eponymous bands.  

Reviewed by Scott Andrews [scottandrews@his.com]

More Info:

http://www.travislarsonband.com/ 
 


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