Phish Swims On April 23, 1992 - niversity Journal (U Virginia) by Ellis Goddard About seven years ago, where a gigantic rhombus sits in the middle of a large Vermont field, a unique musical caserole began. It's hard to capture the flavor in stagnant typeface, but... Imagine the phrases and orchestration of King Crimson taken to a Parliament level of funk. Add the psychedelia of Pink Floyd, a bit of Spyra Gyra, a carnival version of the Oak Ridge Boys and a blend of rock sounds somewhere between Ten Years After and AC/DC. Cube the energy level and add more nonsense that I can describe, and the result will floor you: the unrelenting, unclassifiable, four-man "band" Phish. It's Zappa without the controversy, in a Warlock-like atmosphere without the baked bluegrass. The amazing repertoire tops 150 songs, of which nearly 100 are originals. Ten of the tunes constitute the semi-nonsensical Gamehenge Saga, lead guitarist Trey Anastasio's senior music thesis entitled, "The Man Who Stepped Into Yesterday." But that tale -- of the Lizard's attempt to regain the Helping Friendly Book from the evil King Wilson who can't seem to have any fun -- only adds to the magic of live performances, which in the past have included roller-blading and _en_ _masse_ audience percussion with boxes of macaroni. On stage, drummer Jon Fishman also plays the vacuum cleaner and bagpipes. Dual trampolines, which offer great syncopation for jams between Anastasio and bassist Mike Gordon, were last fall handed to an audience that competed for them in a series of "Rock, Paper, Scissors". From Fishman's impersonation of Neil Diamond to humming organs from Page McConnel, the magnificent madness is never-ending. You may have missed Phish's recent visits to Charlottesville's Trax and Richmond's Floodzone: rising popularity brings over-flowed crowds everywhere. You may also have missed their recent broadcast on National Public Radio's "Mountain Stage." But you _can_ catch their new album, arguably their best. _A Picture of Nectar_ is Phish's third release, and their first undre a new Elektra contract -- which, by the way, includes assured permission for audience taping. More varied that their previous releases -- the excellent debut album _Junta_ and the follow-up Lawnboy, which includes their classic "Fee" -- PON shows talent and range which are as crystalline and intense boxed as they are live. The tightness, complexity, and brilliance allow remarkable success in the studio, where most performance-oriented bands are limited and bland. You may pick up on the overdubbed additions of hospital paging and telephone touch tones, but you won't get bored by a "pop" sound of overproduction too slick to be entertaining. Even the cover art is a pleasantly confusing cross of distorted images. PON's 16 tracks include both new tunes and new arrangements. For those familiar, "Glide" offers a pleasant acoustic departure from the more racaous live version. Gamehenge gets an addition with "Llama", with possible local references such as "torquoise over the mountains" [Blue Ridge Mountains]. Fishman's new "Faht" displays diversity and creativity unlikely ever to be performed live. The first single released, a stirred-up "Chalkdust Torture", is gaining rave reviews and sales throughout New England; the chorused message, "Can't I live my life young?" well encapsulates the album. Each piece warrants a megillah of praise, but I have a word limit. Besides, the collective nuances need audio expression. That's why they have instruments. Ecstatic audiences, and a great club manager, apparently bring Phish back to town happier and more "psyched" every time -- they've played five Trax shows so far, each increasingly insane. Given their talent, range, and antics, there may be few more small club gigs. So, watch for their next visit and catch the train where it's comfy while you can. Meanwhile, watch for PON's Billboard rise. Phish, like one of their original titles, seems "Destiny Unbound."