Band: Chafouin | Album: In C | Genre: Minimalism, Krautrock, Math rock | Bandcamp
For their latest release, Chafouin tackle minimalist composer Terry Riley’s 1968 work, In C. This work has been covered by a number of other rock bands, most notably Acid Mothers Temple. The music has a tense, anxious feel to it, and the ritualistic repetition calls to mind other proggy subgenres, like krautrock and zeuhl. King Crimson’s work on THRAK also bears similarities, with the jagged, hypnotic, interlocking guitar lines.
Score: 79/100
Artist: Clarissa Connelly | Album: World of Work | Genre: Progressive folk, Experimental pop | Bandcamp
Before addressing the music, let me just compliment this album cover. I love that goofy, devious-looking piano. The music on World of Work is piano-forward, and Connelly’s voice is distinctive and emotive. Arrangements are minimal but inventive, and the vocal arrangements are intricate and charming. Things are rather sonically similar song-to-song, so it can kinda bleed together into a bit of a mush by the end of the album. I still like it overall, but a bit more variation would’ve been nice.
Score: 75/100
Band: Isobar | Album: Isobar IV | Genre: Progressive rock | Bandcamp
San Jose-based Isobar’s fourth album comes a little over a year after their third, and my feelings on the two albums are just about identical. It’s well-played, thoughtfully-crafted instrumental progressive rock that draws from the genre’s 1970s heyday. There are plenty of fun passages woven into this record, and if you’re into Änglagård, you’ll probably find something to like here. I enjoy all the little jazz, folk, and Canterbury flourishes. However, the main stumbling block this record hits is its length. Everything feels too long. Every song could have been at least a minute shorter, if not more, and that adds up to a listening experience that can border on tedium. 66 minutes is simply too long for what this record is trying to do.
Score: 64/100
Band: Mamaleek | Album: Vida Blue | Genre: Experimental rock | Bandcamp
Mamaleek is a band that is pretty tough to classify. They have the gurgled vocals and raw aggression of many metal acts, but elements of avant-garde classical and jazz music are woven in as well. At moments, Mamaleek reminds me of their fellow Bay Area avant-garde metallers, Giant Squid. The music on this album is dark and mournful, and the emotional weight of everything is conveyed very effectively. Psychedelia, blues, doom, and more don’t so much weave together, but rather they chaotically slam into one another, somehow resolving into powerful musical statements.
Score: 82/100
Band: Piah Mater | Album: Under the Shadow of a Foreign Sun | Genre: Progressive death metal | Bandcamp
Piah Mater’s last album, The Wandering Daughter, was one of the first albums I ever reviewed for this site. I enjoyed it overall, but I did complain it was a bit too close to classic Opeth. Their new record is certainly still Opeth-y, but they’ve established a more distinct sound for themselves. Dashes of black metal can be heard throughout the record, and jazz elements are prominent. “Fallow Garden”, in particular, has an extended sax-forward section which varies between smooth and harsh; and “In Fringes” mixes in folk-jazz between crushing riffs. Under the Shadow of a Foreign Sun does an excellent job of continuing Opeth’s musical legacy without just sounding like a clone.
Score: 84/100
Band: Zeal & Ardor | Album: GREIF | Genre: Avant-garde metal, Alternative metal | Bandcamp
Well, this is disappointing. Zeal & Ardor softened up their sound in a very dull, wimpy way. Even the heavy moments have a pillowy, unimpactful feel to them. There are good moments on the album, but a lot of the compositions feel half-baked. The electronic elements on GREIF are the strongest, with the gentler moments feeling samey and sleepy.
Score: 59/100
The Elite Extremophile 