In a word, no. But’s there’s plenty to like about this record.

It’s a fine album—better than their last—but it’s not likely to be regarded as an essential component of 20’s psych.

The overall feel of the album is lighter than most of their previous material. The band is known for heavy riffage, and Force Form Free is often airy and whimsical. In fact, only two of the six tracks—opening track “Left Hand Path” and the title track—flex their muscle in the way we’re used to with Dead Meadow. “Left Hand Path” brings the brawn. The next three are mellow-ish; so, it’s almost jarring when the fifth on the album, the title track, comes in. In truth, though, even the title track has a placid feel to it, just below the surface, and an understated melody line toward the end.

The album starts off with a guitar note followed by the slow, plodding beat of “Left Hand Path”, which comes after a lilting chord progression with two insanely distorted guitars layered on top. Presumably, guitarist and singer Jason Simon plays both guitars and does an incredible job playing them off one another. The effect is hypnotic and otherworldly.

Interestingly, a sound like waving a piece of sheet metal keeps the rhythm, along with the drums, and sets the chord progression of second track “The Lure of the Next Peak”—a mellow, meandering number that moves along at a good clip. Keyboards are used to good effect in creating a space-age spirit.

“Valmont’s Pad”, the second single from the album, is a winner. It’s bold, strutting, and strangely uplifting. This is a happy tune! With its fuzz bass and bright keyboards, the mid-tempo tune sounds like a springtime stroll through the park with flowers sprouting up alongside you as you walk. If this is the band’s new direction, I wouldn’t mind at all.