Album Review: K’mono – Return to the ‘E’

Band: K’mono | Album:Return to the ‘E’ | Genre: Progressive rock | Year: 2021

From: Minneapolis, USA | Label: Ephemerol Night Terrors

For fans of: Yes, Camel, Genesis, Uriah Heep

K’mono is a Minneapolis-based trio that are not shy about fully embracing the sounds of the early 1970s. Doing a wholehearted embrace of retro-prog can be a risky move. Most of the acts I’ve run across who take this route end up releasing records which are middling retreads of ideas done better half a century ago. There are certainly strong examples of unashamed retro-prog, though: Ring Van Möbius’s most recent album is fantastic; Chromatic Aberration’s debut (which I covered earlier this year) is a strong reimagining of Rush’s classic sound; and even my favorite punching bag Glass Hammer has a couple good records under their belt.

Return to the ‘E’ is K’mono’s debut record, and even without seeing this album’s tags or reading its description, it’s clear that they’re trying to evoke the imagery of famed album cover artist Roger Dean. A fantastical landscape of mushroom forests is the backdrop to some dark lord facing off against a trio of warriors, with the band’s logo written in a flowing, flourished style.

Continue reading →

Album Review: Jordsjø – Pastoralia

Band: Jordsjø | Band:Pastoralia | Genre: Progressive rock, Progressive folk | Year: 2021

From: Oslo, Norway | Label: Karisma Records

For fans of: Änglagård, early King Crimson, Yes, Jethro Tull

Bandcamp

In the early ‘70s, progressive rock’s center of gravity was clearly in the UK, with the Italians having carved out their own distinct niche as well. In the ensuing decades, prog was largely dominated by Brits and Americans, but since the turn of the century, Scandinavia has become a leader in the genre, with acts like Opeth, Wobbler, and Beardfish.

Jordsjø, a Norwegian duo, follows in the path of their spiritual predecessors, Änglagård. Both acts draw heavily from acts like Yes and King Crimson, but distinctly Norse melodies are woven into anAnglo-prog-inspired backdrop. They’ve been consistently stellar over their career, and 2019’s Nattfiolen was one of my personal favorites from that year.

Continue reading →

Album Review: Hanford Flyover – Hanford Tape Sessions

Band: Hanford Flyover | Band:Hanford Tape Sessions | Genre: Progressive rock, Psychedelic rock | Year: 2021

From: UK | Label: Fruits de Mer Records

For fans of: Cheer-Accident, Phideaux, early Pink Floyd

Bandcamp

The lockdowns of the last year-and-a-half interrupted many musical acts’ touring and recording plans. But at the same time, the sudden forced sedentary setup offered many opportunities to write and record at home. Hanford Tape Sessions is one such of those recordings.

UK-based duo Hanford Flyover recorded all this music on a few portable cassette home recording devices. That technological limitation forced the band to keep things pared-back and straightforward, and the contrast to past releases’ lush sounds is obvious. The songs on this album are mostly short and to-the-point, but there are some interesting sonic experiments with satisfying structures.

Continue reading →

Album Review: Neptunian Maximalism – Solar Drone Ceremony

Band: Neptunian Maximalism | Album: Solar Drone Ceremony | Genre: Drone, Krautrock, Experimental metal | Year: 2021

From: Brussels, Belgium | Label: I, Voidhanger Records

For fans of: Om, Sunn O))), Ash Ra Tempel, Van der Graaf Generator’s weirder stuff

Bandcamp

I briefly covered Neptunian Maximalism’s (NNMM) last album, Éons, in an Odds & Ends last year. I said that I liked the idea of that album—an abrasive, sax-forward assault of drone, psychedelia, zeuhl, and more—more than its realization. I’m not a big fan of drone, but I sensed that NNMM could put forward something a bit more palatable to my tastes while still maintaining that genre’s aesthetic language.

Solar Drone Ceremony is the second full-length studio release from this Belgian ensemble, and it contains just one 52-minute track. It’s a creepy, occultic album wrapped in befittingly H.R. Giger-inspired artwork showing some sort of sexualized alien ritual.

Continue reading →

Album Review: Stone Healer – Conquistador

Band: Stone Healer | Album: Conquistador | Genre: Progressive metal | Year: 2021

From: Mansfield, USA

For fans of: Howling Sycamore, Baroness, Isis

Bandcamp

Over the last few years, I’ve run across a number of bands which fuse the harsh aggression of black metal with more melodic influences and often-clean vocals. Acts like Howling Sycamore and Antisoph were my primary introduction to this style, and Stone Healer is a recent discovery who might be my favorite of the bunch, so far.

Not only do they meld the more extreme end of metal with something a bit more accessible, they often toss in post-metal, folk, and alt-rock touches. This results in a rich, varied record that also feels like one cohesive work.

Continue reading →

Album Review: Ciccada – Harvest

Band: Ciccada | Album: Harvest | Genre: Progressive rock, Progressive folk | Year: 2021

From: Athens, Greece | Label: Bad Elephant Music

For fans of: Gentle Giant, Gryphon, Renaissance, PFM

Bandcamp

“Retro-prog” does not necessarily need to be a negative term. It usually is, and I most often deploy it when describing unoriginal Yes and Genesis clones. But there are acts who manage to successfully evoke certain elements of the first wave of progressive rock without being derivative. The most enjoyable of these draw from oft-overlooked corners, such as the Italian scene and progressive folk acts like Comus and Gryphon.

Harvest is the third record from Greek septet Ciccada, and it is easily my favorite of theirs so far. All the prog tropes are here—long and obtuse song structures, retro-futuristic synth tones, and top-notch musicianship—but they’re blended with under-utilized and unexpected influences. The eclectic inclusions range from jazz to Greek folk to the Canterbury scene to Baroque music, and beyond.

Continue reading →

Album Review: Bobby Shock – Street Angels

Artist: Bobby Shock | Album: Street Angels | Genre: Progressive rock | Year: 2021

From: New Jersey, USA | Label: Independent

For fans of: Chris Squire, Patrick Moraz, The Alan Parsons Project

Bandcamp

Bobby Shock is a New Jersey-based composer and multi-instrumentalist, whose last album—The Unforeseen—was a pleasant surprise for me last year. It was lush, diverse, and bass-forward. The compositions were unquestionably smart and progressive, but the music was still accessible.

Shock’s latest release continues with that general trend. The obvious focal point of this album is its 20-minute title track, but the other four songs are no less enjoyable.

Continue reading →

Album Review: Æthĕrĭa Conscĭentĭa – Corrupted Pillars of Vanity

Band: Æthĕrĭa Conscĭentĭa | Album: Corrupted Pillars of Vanity | Genre: Black metal, Progressive metal | Year: 2021

From: Nantes, France | Label: Independent

For fans of: Ihsahn, Enslaved, Panopticon, Van der Graaf Generator

Bandcamp

Progressive rock and progressive metal are notorious for high-minded concept albums which feature dense, intricate worldbuilding full of invented names and esoteric jargon. Ranging from the complex, Kobaïan mythos of Magma to Dream Theater’s multiple over-the-top multithreaded stories, you often don’t need to range too far afield to find a record which sounds like it started off life as an idea for a sci-fi novel.

Æthĕrĭa Conscĭentĭa is a French quartet which uses saxophone-infused progressive black metal to tell their tales of astral mysticism. Their 2018 debut, Tales from Hydhradh, is a powerful record which marries jazz, prog, and metal elements beautifully. Their 2021 follow-up, Corrupted Pillars of Vanity, takes that strong base and improves on it.

Continue reading →

Album Review: Frummyrkrið – Dauðans Myrkri

Band: Frummyrkrið | Album: Dauðans Myrkri | Genre: Post-metal, Black metal, Progressive metal |

From: Akureyri, Iceland | Label: Independent

For fans of: Enslaved, Misþyrming

Bandcamp

Edit: This band’s Bandcamp page has vanished, and there does not currently seem to be a legit way to acquire this album. There are also rumors that this band is actually Brazilian, but I have not found any confirmation on that. I will update this as more info comes out.

Second Edit: They’re back!

I’ve previously talked about countries punching above their weight in musical influence relative to their population. Arguably, no country does this better than Iceland. With a population smaller than most mid-sized cities, this island nation has an impressive crop of musical ambassadors representing post-rock (Sigur Rós), black metal (plenty of acts, but most notably Sólstafir and Misþyrming), and whatever the fuck Björk is (Björk).

Frummyrkrið (Icelandic for “Primordial Darkness”) is a new band composed of three siblings. Dauðans Myrkri (The Darkness of Death) is an impressive debut which skillfully weaves influences such as traditional prog, ambient music, and “Viking metal” into distinctive Icelandic black metal. (I could write a whole rant on my distaste for the term “Viking metal,” but it does conjure up a specific style of music which is applicable here.)

Continue reading →

Album Review: Genghis Tron – Dream Weapon

Band: Genghis Tron | Album: Dream Weapon | Genre: Progressive metal, Cybergrind | Year: 2021

From: Poughkeepsie, USA | Label: Relapse

For fans of: Cynic, Gorguts, Justice, the more electronic side of krautrock

Bandcamp

Part of the reason these reviews have been less frequent as of late is that I’m simply having a harder-than-usual time finding new music which really speaks to me. Unless it’s a fairly big-name act, I don’t have much motivation to write 400-800 words on a record where the score will be in the 50s. Thankfully, Dream Weapon came along and snapped me out of that funk.

I’d never heard of Genghis Tron before this album, and I can see why that might have been. They were initially active in the mid-2000s before taking a 13-year hiatus. I’d also never heard of the cybergrind genre, but it’s a fitting name. It takes the aggression and energy of genres like mathcore and grindcore and pumps it through synthesizers galore. (Interesting sidenote: “mathcore” is considered a real word by MS Word, but “grindcore” is not.)

What this record almost reminds me of is Justice’s debut album. Where † is an electronic album with a significant hard rock/heavy metal substrate, Dream Weapon feels like it’s coming from the other direction. It’s definitely a metal album, but electronic music thoroughly imbues its DNA.

Continue reading →