I repeatedly misread the title of SympVibes' latest recording as "Primer" instead of the real title, Premier. Both are appropos in this instance. As an overall album, it could be considered a first-rate release. There is a lot of energy on most of the tracks, and that makes for a really fun listen. And the soloists will often take risks, and whether they nail them or not, it is always better to take a risk than be milquetoast safe the entire time. It is also a blueprint on how to create an album that falls just short of being spectular in all aspects. Thus, a really good album that wants to be great!

The talent is abundant in the group. Musically, they've maintained master-level technique for the past serveral recordings. Here the sound is rich, balanced and energetic, often bordering on infectious. Riffs, modes, and hooks in both the solos and the backs abound, earworming into the middle of your soul.

Kantwon Rogers is obviously the star of the group at the moment, clocking in three of the more unique deliveries on the album: Say Amen (Saturday Night), No Tears Left To Cry, and One Too Many. And while I do love the coloring and control throughout his entire vocal range (those high notes in Say Amen, w00), I don't think it opens the album very well. I had more fun listening to Burn The House Down. Though to jump into the middle to critique the arrangements, I don't understand the last minute of that track. The tempo and stylistic change doesn't add anything to its overall quality. I was all in for the first two minutes. Same for the squareness in the background of No Tears Left To Cry; the heavy quarter note downbeat really takes me out of the rhythm of the track.

Though arranging-wise, I am intrigued by the two overlaps (my new coinage for intertwined songs): Bad Bad News / One Too Many and Attention / How Long. Chad Bullard and Alex Schwartz respectively did admirable jobs creating storylines with their paired songs.

Tracking serves its purpose in masking the tougher songs farther down in the selection. You have to be a real fan to make it to tracks seven and eight, as these are by far the two weakest moments on the album. I do love a bass crooner, but the arrangement exposes some intonation weaknesses throughout and Sunday Candy seems like a throwaway track and incomplete.

Premier will satisfy any longstanding SV fan (raises hand), but tracks 1-6 will definitely attract newer listeners, and that's really what today's album-making is all about.

The three phrases RARB reviewers use the most when a tracklist is pretty varied: "a yearbook album" / "this is a mixed bag" / or "there's something for everyone". We'll go with the latter, because it's more positive, and if you're covering the 1961 song Moon River from Breakfast at Tiffany's alongside your r&b pieces, that's the most appropriate phrase for the ride.

But the only ride we're boarding at the beginning of Premier is a deluxe liner to A-Town because Say Amen (Saturday Night) is worth a first-class ticket. It's so passionate and fun, led by maestro of soul Kantwon Rogers, that I yelled "YES!" when the track ended, like I just heard it live on campus. That's power. I love it, frankly don't need to hear anything else because that was a full meal, but let's keep going.

It's mostly coach seating for the rest of Premier, but again, we get an awesome track so let's not despair too hard. Commonplace issues include simple "dm, dm / ba da da!"-style arrangements (notably: Burn The House Down). Tenors that need more breath support and energy for their big moments (see: Attention / How Long). Shaky, insecure singing (the backgrounds for Moon River). And brash bass lines on wide open vowels (The Other Side Of Paradise). This is all heard frequently in the collegiate realm, and tends to keep groups at the "okay" vs "really kickin'" level. Make the most of your rehearsals by singing like it counts every time — tight blend and passionate energy are hard to produce convincingly artificially.

It's worth mentioning that the other really popping song, No Tears Left To Cry, is also sung by Rogers. That's a singer who can work every note. He's a full masterclass on effective vocal performance. You'll likely also dig the groove and joyful celebration of Sunday Candy, undoubtedly even swaying along to the Symps.

I don't like to encourage cherry-picking because it's good to taste the whole orchard of fruits when a group has worked hard enough to release an album, but I'm telling you, hit up Rogers on Say Amen. Then, stay tuned for the next Symp release.

It is difficult to root against the Sympathetic Vibrations after such solid outings on their previous EPs Disintegrate and Stairwell Sessions. And while their latest album Premier has an in-your-face quality to its sound with some tantalizing solos, it misses the mark in other areas.

The Sympathetic Vibrations have all the qualities to do a great deal of justice to pop and r&b selections: appropriate song selections, charismatic and skilled leads, and a large sound that really brings the energy. Unfortunately, a number of tracks on Premier fail to launch.

No arguments can be made against the group's talent. Specifically, much of the solo work on this album carries a number of tracks.

Some of the crowning moments of Premier center on the stunning lead vocalists for Say Amen (Saturday Night), No Tears Left To Cry, and Bad Bad News / One Too Many. Each track boasts lead vocals that are downright stunning and expressive. While each track is indeed a team effort, displaying better than adequate foundation work by the backing group, many satisfying qualities such as phenomenal range, gritty emotion, and spectacular pacing make it impossible not to give love to these lead vocals.

Leads are extremely important in not only helping to breathe life into songs but also giving them meaning. The Sympathetic Vibrations' soloists really help in making their tracks pop!

Listeners will also enjoy the group's take on  715 — CRΣΣKS. Collectively, this is the album's best track. The track takes on a life of its own, as it feels like an intimate conversation between the group and a single listener. And while the track is incredibly rich and full sounding, it does a great job at incorporating empty spaces, keeping a hold on the listener's attention from start to end. The lead vocalist knows how to steer the ship and bring the rest of the group along. The track is deep and laden with emotion, easily the most you will hear on the entire album.

So, where does Premier struggle? Often in its repetition, such as on Burn The House Down and The Other Side Of Paradise. The arrangements need a bit more dazzle to them, instead of feeling as if they are on cruise control. Additionally, some tracks struggle with emoting. It is not enough to sound loud; listeners need to feel the intensity in a grand way. This goes for both the group and some soloists. Furthermore, the production itself could be more consistent as certain songs such as Bad Bad News / One Too Many have moments where certain voice parts stand out and sound shaky.

Premier is an album that can be a bit of a mixed bag. Some of it lands well audibly, and some of it has its shortcomings. The Sympathetic Vibrations have the talent. They just have to properly focus and direct it.