Album Review: In Mourning – Garden of Storms

Band: In Mourning | Album: Garden of Storms | Genre: Melodic death metal, Progressive metal | Year: 2019

From: Falun, Sweden | Label: Agonia Regords

For fans of: Edge of Sanity, Opeth, Agalloch

Buy: Bandcamp | Amazon | Apple Music

In Mourning are a Swedish metal band who play in a style very similar to that of their fellow countrymen, Opeth; but they’re distinct enough to avoid the label of “Opeth clone,” something for which the current prog-metal scene does not want. Opeth’s classic material is some of the best progressive metal ever recorded, and there’s been a yawning, Opeth-shaped hole in the scene ever since they switched to playing unimpressive, unimaginative retro-prog.

In Mourning have been around for nearly two decades, giving them plenty of time to develop their own unique flourishes within the framework of progressive melodic death metal. Garden of Storms is their fifth full-length release and a noticeable step up in quality over 2016’s Afterglow. The songwriting is strong, and there is a smart degree of interplay between distorted and clean sections. Continue reading “Album Review: In Mourning – Garden of Storms” →

Album Review: Halcyon Reign – The Voyage

Band: Halcyon Reign | Album: The Voyage | Genre: Progressive metal | Year: 2019

From: Sydney, Australia | Label: Independent

For fans of: Mastodon, Opeth, Dream Theater

Buy: Bandcamp | Amazon | Apple Music

Halcyon Reign are a trio hailing from Sydney that play a brand of progressive metal which borrows heavily from Mastodon’s most-acclaimed era. It’s sludgy yet melodic, complex yet accessible, and a successful album overall. However, some of the Mastodon influence can be a bit on-the-nose. The most egregious example is the album artwork. Mastodon’s Leviathan, a retelling of Moby-Dick, features striking artwork of the white whale and the Pequod. Similarly, The Voyage—while not based on Moby-Dick, as far I can tell—features a monstrous white whale charging at a ship.

Moving past the artwork, though, The Voyage stands on its own as a strong, enjoyable album. Many riffs are rooted in sludge metal, but the band incorporate other influences, including jazz and folk, to create smart contrasts and interesting textures. Continue reading “Album Review: Halcyon Reign – The Voyage” →

Album Review: Garcia Peoples – One Step Behind

Band: Garcia Peoples | Album: One Step Behind | Genre: Psychedelic rock, Progressive rock, Krautrock | Year: 2019

From: Rutherford, (NJ,) USA | Label: Beyond Beyond Is Beyond

For fans of: The Grateful Dead, Gong, The Moody Blues

Buy: Bandcamp | Amazon | Apple Music

Garcia Peoples’ 2018 debut album, Cosmic Cash, easily made my personal top 10 of last year, with its mixture of inventive song structures, psychedelic textures, and fun, loose garage rock atmosphere. Their album from March of this year, Natural Facts, while enjoyable, didn’t quite hit the same highs as their debut. It was more overtly folk-influenced, with significant touches of Americana. It seemed they were charting out a trajectory reminiscent of the Grateful Dead. With this context, this album took me by surprise.

One Step Behind is nearly 40 minutes long but contains only two songs, one of which stretches over half an hour. There remain ample doses of Dead-like jangly guitars, but the band have also included krautrock-like meditation and repetition, as well as technical guitar and keyboard lines I would expect from the likes of Yes. Continue reading “Album Review: Garcia Peoples – One Step Behind” →

Micro-Review: Leprous – Pitfalls

pitfalls-cover-1000-740x740 This album fucking sucks. It sounds like Muse, but even worse. “Sky Is Red” is the only decent song on the album.

Score: 24/100

Odds & Ends – October 21, 2019

Band: Handwrist | Album: The Golden Swan | Genre: Progressive rock, Zeuhl, Avant-garde rock | Bandcamp

The Golden Swan was originally envisioned by its composer to have a choir sing in Basque and for there to be symphonic orchestration. Due to budgetary and logistical constraints, these ambitions had to be shelved, but the result is a distinct blend of rock, jazz, and classical music, nonetheless. The four movements of this album flow together seamlessly. Elements of the Canterbury sound are evident, and the jazzy atmosphere makes me think this would have been even better had it been recorded as originally intended. Moments on this album do meander, but those shortcomings are well worth it.

Score: 76/100 Continue reading “Odds & Ends – October 21, 2019” →

Album Review: Sonora Sunrise – The Route through the Canyon

Band: Sonora Sunrise | Album: The Route through the Canyon | Genre: Psychedelic rock, Krautrock | Year: 2019

From: Barnaul, Russia | Label: Trail Records

For fans of: Hawkwind, Can, Ozric Tentacles

Buy: Bandcamp

After running across this band, I’m starting to doubt if the American Southwest puts out any desert rock. I’ve previously discussed acts from Venice, Sydney, and The Netherlands that draw inspiration from the arid lands of California and Arizona, and now I’ve found this band from Siberia. Perhaps I shouldn’t be too surprised; the band name would be a bit too on-the-nose for a group actually from the region. It’s not as if the Altai region is entirely dissimilar to the Southwest. It’s mountainous and semi-arid in places, albeit much, much colder.

Despite the desert imagery in the band’s name, and despite the fact that the music itself on this album evokes desert imagery, Sonora Sunrise don’t rely much on the blues. Instead, they opt for a more expansive, meditative sound full of lush synth pads and cosmic guitar arpeggios. The individual songs are unhurried yet mostly feel to be appropriate lengths. There’s also an impressive amount of sonic diversity. Krautrock, space rock, stoner rock/metal, and ambient music all get their own turn to be in the foreground. Continue reading “Album Review: Sonora Sunrise – The Route through the Canyon” →

Album Review: Kayo Dot – Blasphemy

Band: Kayo Dot | Album: Blasphemy | Genre: Experimental rock, Gothic rock | Year: 2019

From: Brooklyn, USA | Label: Prophecy Productions

For fans of: maudlin of the Well, Leprous, Type O Negative

Buy: Bandcamp | Amazon | Apple Music

Kayo Dot have long been one of the more amorphous acts in the progressive rock and metal scene. There’s often a great deal of variation between their individual albums, with their last couple releases being relatively soft and synth-heavy. Compare that to their vaunted debut, Choirs of the Eye, where the band started off as an avant-garde metal act. Of late, though, they’ve been incorporating more and more influences from the 1980s, particularly post-punk and gothic rock.

This fusion continues on Blasphemy, the band’s ninth studio album. This release also sees Kayo Dot reviving a bit of their metal roots. I would not call this a metal album, but it’s their most aggressive record in a while. Those heavier tones complement the coldness of the goth influences, and bandleader Toby Driver has managed to write another distinct album. Continue reading “Album Review: Kayo Dot – Blasphemy” →