Only Linda Richman from Coffeetalk could argue that Tampa-based improv, fusion-rockers Poetry n Lotion are neither Poetry nor Lotion. The all-instrumental, foursome have a style of fusing sounds that can only be described as free form, musical poetry doused in an industrial sized bat of lotion or better yet, lube. It's slippery and at times all over the place; yet in a completely polished and seemingly effortless way. Their latest studio album, Kentucky Monkey, fuses every genre from progressive metal to reggae to funk, without sounding sloppy or un-arranged.

Having been on the Tampa-circuit since 2006, Poetry n Lotion has become a quintessential live show in the Bay area. They're tight, they're on point and they know how to keep a crowd movin' and shakin'. It's one thing for an all-instrumental band to rock out a live, local show but it's quite another to transcend that energy into a worth-a-shit, studio album. It's not always a successful feat but PnL pulls it off with Kentucky Monkey. The chemistry between the four guys is undeniable, not only on stage, but as well as mastered into seven, neatly-packaged tracks.

Often times, in mostly instrumental bands, musicians can find themselves in a self-absorbed power struggle, with each member trying to out-play the next. It becomes about who can play the loudest or who's solo is more bad-ass. Guitarist Matt E. Lee, bassist Tom Murray, drummer John Nowiki and mandolin player Jim Page only compliment each other on the band's latest release.

The first track off the 7 song LP, "Jugglers Despair", kicks off with an up-beat, Spanish guitar-type of rhythm and sets the bar for the rest of the record. If there is any theme for the album, it would be about breaking down genre barriers. This is apparent when track two, Lotion Rag, jumps into a knee-slappin', mountain-jam worthy number, complete with kazoos and all. Each song showcases a dramatically different style of music yet seems to transcends flawlessly into the next.

Murray holds down steady and funky bass lines on neatly constructed songs like "Serpentstance", which was one of my favorites off the album. "Serpentstance" finds Lee and Murray teasing back and forth between up-beat, flamenco style guitar and classic reggae, it's a ton of fun. The song, Scary, finds the guys getting into some pretty heavy metal-esque riffs with Nowiki busting out vivacious, on-point drum solos. Scary sounds like background music you would hear while defeating Bowser's Castle on Super Mario Brothers. It's the darkest song on the album and an interesting change of pace.

Mandolin Player, Jim Page, showcases an all-encompassing knowledge of genres throughout the entire album, and his instrument seems to sing on tracks like "Underdos"e, it's really quite beautiful. Every member has their equal chance to shine on the latest recording, and they do just that. Kentucky Monkey manages to achieve the difficult task of balancing mapped out arrangements but still maintaining an edge.

The entire LP, more or less, seems to be a showcase of four down-right talented musicians playing at their finest, rather then a conventional "play it safe," theme-driven album. The guys take chances on, Kentucky Monkey, and it pays off. It's almost like listening to a Buckethead record. At times you find yourself thinking, "that arrangement doesn't really make sense, or that shouldn't work," yet it totally does and it's mesmerizing. Kentucky Monkey definitely goes in the worth-a-shit pile for me. Try not to knee slap during "Lotion Rag", you can't do it.