There are hardly any bands I can compare Socratic to if I wanted to go about that way trying to explain to you what they sound like. The way they sound is defined by the originality with which they write and perform, as well as sophistication in the delivery of their revolutionary music. This is clear from the very beginning of Lunch for the Sky. How many pop-punk records have an opening track of classical piano backed up by drums, guitar, and bass played with such passion that makes them all seem part of a symphony orchestra?
        The style of this rock-solid record changes only slightly after Track 1. Instead of relying mainly on the piano riffs to carry the music, each song is written with a flawless sense of balance between each instrument. The piano, not just something to fall back on like some other bands seem to think, still admittedly stands out beautifully. It plays the part of an additional guitar, sometimes note-for-note supporting the vocals and sometimes providing a second or third underlying melody that gives Socratic’s music an incredible sense of three-dimensionality. While Socratic would still be a fully functional, enjoyable, and original band without the piano, it most certainly would not be Socratic. What sets them apart is the seamless incorporation of ivory keys into the upbeat hurricane of spiritual singing, crashing drums and cymbals, and strings zealously plucked and strummed. With such an obstacle already passed with flying colors, the possibilities are endless, and Socratic demonstrates that by giving each track on
Lunch for the Sky a completely different vibe from every other song on the CD. It shows in lyrical theme as well as skillfully composed melody.
        “Alexandria As Our Lens,” for example, is a danceable song about a bus driver, shamelessly humorous and honest. It also features what might be my favorite line off the entire album: “Hey all you screamo, what’s the deal? When any talent that you lack is covered up by the fact that you can scream loud—really loud…” It’s followed by “Tear A Gash,” a bitter and furious letter to a loved one who’s about to marry someone else. Even if, for whatever reason, you can’t stand intelligent and innovational piano rock, I’d find it hard to ignore a band that can write in such a wide array of sub-styles as Socratic does, and successfully too.
        What else is there to say? I certainly can’t say “well, we’ve all heard this before,” because to say you’ve heard anything even remotely like Socratic would be ridiculous. And no, anyone who got infuriated by my use of “piano rock,” Something Corporate and Socratic are completely and unmistakably different. From “I Am The Doctor,” which sounds like the climax track of the most awesome musical yet to be written, to “Too Late Too Soon,” more slow-paced than its fellow tracks, I would challenge you to think of anything at all you can say is as marvelous as Socratic. I won’t challenge you, though… because I guarantee you won’t be able to come up with anything. Just relax and enjoy this album for what it is.
        What is it, then?
        One of the top ten albums of 2005 is what it is. It’s also the CD to start with if you don’t believe that piano music can get you dancing like a maniac.
...
A.A. '05
::Reviews::
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       LUNCH FOR THE SKY
       
Drive-Thru Records

1)
Theme From Your Mother's Garden
2) Alexandria As Our Lens
<< 3) Tear A Gash >>
4) I Don't Wear A Coat
5) The Dense Indents
6) She's The Type Of Girl
7) I Am The Doctor
8) Too Late Too Soon
9) U And Left Turns
10) Lunch For The Sky
11) We Burn Houses
12) Spots I've Been And Go
13) B To E
14) Spending Galore
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