Album Review: Arctic Sleep – Kindred Spirits

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Band: Arctic Sleep | Album: Kindred Spirits | Genre: Doom metal, Progressive metal, Post metal | Year: 2019

From: Milwaukee, USA | Label: Independent

For fans of: Agalloch, Fates Warning, Subrosa, Yob

Buy: Bandcamp | Amazon | Apple Music

The story of this album began late last year, when I received an email announcing a Kickstarter campaign to fund a physical release of Kindred Spirits. I’m often hesitant about pre-ordering much of anything, but I liked 2014’s Passage of Gaia enough that I decided to go for it. I received the LP a few days before the album’s official release, and I was pleased to find I liked this album even better than the last.

Arctic Sleep, hailing from Wisconsin, is the brainchild of multi-instrumentalist Keith D, who handles every instrument except for drums. Kindred Spirits is the seventh release from the band. It’s not a radical departure from Arctic Sleep’s usual sound, but it’s an evolutionary step that sees continued refinement and development of a unique niche. Continue reading “Album Review: Arctic Sleep – Kindred Spirits” →

Album Review: Perilymph – Deux

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Band: Perilymph | Album: Deux | Genre: Krautrock, Progressive rock | Year: 2019

From: Berlin, Germany | Label: Six Tonnes de Chair Records

For fans of: Brainticket, Vespero, early Föllakzoid

Buy: Bandcamp | Amazon | Apple Music

Germany has been at the epicenter of cosmic, experimental rock music that incorporates electronic elements since the early 1970s. The genre is called krautrock, after all. (The term was initially—rightly, in my view—rejected by German artists; the English music press invented the term in order to write off the movement.) Perilymph both adheres to and bucks this genre’s Germanness: this act is a one-man project based in Berlin, though the man behind it, Fabien de Menou, is French.

Regardless of whence Perilymph hails, Deux, this act’s second release, is a wonderful blend of psychedelia, progressive rock, and spacey textures. Continue reading “Album Review: Perilymph – Deux” →

Album Review: Howling Sycamore – Seven Pathways to Annihilation

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Band: Howling Sycamore | Album: Seven Pathways to Annihilation | Genre: Progressive metal | Year: 2019

From: San Francisco, USA | Label: Prosthetic Records

For fans of: Watchtower, Cormorant, Coroner, Voivod

Buy: Bandcamp | Amazon | Apple Music

Howling Sycamore’s self-titled debut was one of the strongest metal releases of 2018. The music was an engaging mixture of thrash, black, and progressive metal, and Jason McMaster has some of the most striking and distinct voices in modern metal. I’d been anticipating the release of their follow-up ever since McMaster had first posted about it online, wondering what sort of direction they’d go in.

Seven Pathways to Annihilation is, in many ways, a series of contrasts to Howling Sycamore. Where the band’s debut was a lean, 37-minute assault, this record sprawls. Not just in its 50-minute runtime, but the individual songs feature more internal tempo and dynamic variation. Even the album cover is an inversion from the debut. The blue, multi-pronged bolt of lightning contrasts against the bare, orange sycamore tree of the first album. One place the two albums do not clash is in the quality of the music. Seven Pathways to Annihilation is a fitting successor to the band’s fantastic first album. Continue reading “Album Review: Howling Sycamore – Seven Pathways to Annihilation” →

Album Review: Moon Letters – Until They Feel the Sun

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Band: Moon Letters | Album: Until They Feel the Sun | Genre: Progressive rock | Year: 2019

From: Seattle, USA | Label: Independent

For fans of: Yes, Genesis, Camel

Buy: Bandcamp | Amazon

Moon Letters are the first of my fellow Seattleites to be featured on my blog. I’ve seen them live a handful times, and they put on a fantastic show. I was introduced to them when they opened for Pinkish Black at the show with the most confusing lineup that I’ve ever personally been to. (The four bands played retro-progressive rock, Bulgarian folk, punk, and spacy gothic rock.)

This group, like many in the contemporary progressive rock scene, heavily base their sounds on the giants of the genre. Yes and Genesis are their two clearest influences, but the songwriting is original enough for them to rise above the territory of schlocky knock-offs and stand on their own as a distinct band. Continue reading “Album Review: Moon Letters – Until They Feel the Sun” →

Album Review: Baroness – Gold & Grey

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Band: Baroness | Album: Gold & Grey | Genre: Sludge metal, Progressive metal, Hard rock | Year: 2019

From: Savannah, USA | Label: Abraxan Hymns

For fans of: Mastodon, Adrift, Inter Arma

Buy: Many options

Baroness are one of the biggest acts in all of progressive metal. Their first two albums (Red Album and Blue Record) are beloved by the prog metal community for their creative fusions of sludge metal, progressive rock, and some surprising pop sensibilities. Their sprawling third album, Yellow & Green, was a noticeable step down in quality, featuring a lot of music that sounded like attempts to make radio-friendly hard rock. There was still good music here, but it should’ve been cut down to one album. Purple, released in 2015, was a step up. It was a metal album, for sure (and a pretty good one, at that), but it still wasn’t on par with those first two albums.

So, with Baroness’s recent ups-and-downs in mind, I approached this album somewhat cautiously. The singles were okay on the whole. Some were certainly better than others, but this is a long record, so I tried to keep an open mind.

The music itself is varied in its quality. The addition of guitarist/backup vocalist Gina Gleason works very well. Her backing vocals add a rich, new character to the music, and she and lead vocalist John Baizley sound great together. Continue reading “Album Review: Baroness – Gold & Grey” →

Album Review: Pinkish Black – Concept Unification

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Band: Pinkish Black | Album: Concept Unification | Genre: Space rock, Gothic rock, Experimental rock | Year: 2019

From: Austin, USA | Label: Relapse Records

For fans of: Van der Graaf Generator, Bauhaus, Magma

Buy: Bandcamp | Amazon | Apple Music

It’s really tough for me to describe Pinkish Black. I love their music; it’s a fantastic, innovative blend of different genres, but it’s packaged in such a way that they’re tough to sum up. The band consist of a keyboards-and-drums duo, but they’re on a metal label and are often mentioned in the same breath as doom metal bands. I’ve heard them referred to as “doom metal for people who don’t like metal,” which isn’t a terrible description. The music is heavy, in that it’s emotionally weighty. My go-to word for describing these guys is gloomy. At the same time, mixed in with this melancholy is a keen sense of musical adventurousness and ambition. The lush synth tones resemble those of acts like Eloy and Ozric Tentacles, though little else in this band’s repertoire resembles those acts.

Concept Unification is Pinkish Black’s fourth full-length album and their first in four years. Their last release, 2015’s Bottom of the Morning, was one of that year’s highlights. Compared to past releases, the sound palette here is very similar: spacy, echoed vocals; bass-heavy piano; lush, cosmic synthesizers; and sparse but powerful drumming. The songs on this album are more experimental and ambitious than past releases. This record is probably their most challenging release, though highly rewarding. Continue reading “Album Review: Pinkish Black – Concept Unification” →

Odds & Ends – June 20, 2019

Odds and Ends is a segment where I do brief reviews of albums I either didn’t prioritize for longer-form reviews, or ones for which I don’t have that much to say.

Band: BLASTAR | Album: Construct | Genre: Progressive rock, Jam band | Bandcamp

I really loved BLASTAR’s debut album, so I was very excited when I saw them announce their latest release. On Construct, they’ve opted to go fully instrumental. The music is cosmic and high-energy, and the overall sound has shifted more in the direction of jam bands like Aqueous or Umphrey’s McGee, with jazz and folk tones. As I’ve frequently said, it can be tough to make an instrumental album consistently engaging, but this does a good job of holding the listener’s attention. That’s not to say it doesn’t have faults, but it’s enjoyable on the whole.

Score: 77/100 Continue reading “Odds & Ends – June 20, 2019” →