Odds & Ends: July 1, 2024

Band: April 1830 | Album: The Adventures of Space Pig | Genre: Progressive rock | Bandcamp

This Philadelphian band claims to write songs about “pig failure,” and that alone grabbed my attention enough to give this record a spin. (For what it’s worth, the vocals are relatively low in the mix and somewhat willowy, so actual themes of pig failure can be hard to discern.) The music is energetic, often drawing from pop and punk. Certain passages remind me of Cardiacs, if Cardiacs were a very synth-forward, female-fronted band. It’s fun and inventive, and I had a good time listening to this.

Score: 78/100

Band: Custard Flux | Album: Einsteinium Delirium | Genre: Psychedelic rock | Bandcamp

Custard Flux’s fifth full length album is their first fully-electric endeavor. They’ve ditched their (mostly) acoustic schtick, and it has resulted in a pretty good release. The band tightened up their songwriting after 2022’s bloated-as-hell Phosphorus, and that renewed focus is appreciated. The music here is catchy and punchy, and the swirling, psychedelic textures are enjoyable. Hints of alternative rock crop up on occasion, too.

Score: 76/100

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Odds & Ends: June 3, 2024

Band: Cloud People | Album: Simulacra | Genre: Progressive rock, Jazz-fusion | Bandcamp

This Norwegian sextet’s debut album is themed around conspiracy theories, and it’s a pretty fun listen. The music ranges from delicate and anxious to fairly heavy and aggressive. Bits of tinfoil-laden narration are woven into the music in a way that enhances the overall effect. I love the keyboard tones the band deploys, and saxophone is integrated wonderfully. Electronic elements are incorporated smoothly to give many cuts an edgy, sci-fi feel.

Score: 78/100

Band: Rhùn | Album: Tozzos | Genre: Zeuhl, Avant-prog | Bandcamp

Last year, Rhùn put out Tozïh, their second album, ten years after their debut, Ïh. Tozzos was recorded at the same time as Tozïh, but the band opted to wait and release two separate albums instead of one double album, and I’m glad they did. Tozzos is enjoyable, but it’s not on the same level as Tozïh. Here, the band incorporates more overt avant-garde influences, which aren’t always a success. The weirdest bits of acts like Frank Zappa and Samla Mammas Manna are difficult to synthesize, and while Rhùn mostly does a good job, significant swaths of this record come off as muddled and unfocused. I still enjoy this record overall, but there are some drawbacks to it.

Score: 70/100

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Odds & Ends: May 6, 2024

Band: Caverns Measureless | Album: Caverns Measureless | Genre: Progressive folk | Bandcamp

Scottish one-man experimental act Caverns Measureless plays a creepy, unsettling, and adventurous variety of folk-rock on their self-titled sophomore album. Acoustic guitar and mandolin plink alongside violin and flutes, while the occasional brash stab of electric guitar sends the atmosphere careening in another direction. The compositions are wiry and fluid, often changing path suddenly. All the songs here are complex, creative, and moody.

Score: 76/100

Band: Hizbut Jámm | Album: Hizbut Jámm | Genre: Psychedelic folk | Bandcamp

Hizbut Jámm is an interesting quartet. It consists of two Poles on guitar and drums, a Senegalese musician on guitar and vocals, and a Burkinabe musician playing the kora–a type of lute from West Africa. The lyrics are sung in Wolof and French, and West African melodies and scales are woven into the music. But this fusion also draws heavily from the tradition of Euro-American psychedelia. Textures are lush and dreamy, and the overall mood is hypnotic. Hizbut Jámm is an entrancing listen, and it’s a rewarding experience both as passive background music and as the subject of more active listening.

Score: 83/100

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Odds & Ends: April 1, 2024

Band: 55YT MQRT | Album: 55YT MQRT | Genre: Space rock, Progressive rock | Bandcamp

This band’s name might look like a license plate number, but their sound isn’t nearly that ordinary. They play a vast, cosmic variety of heavy psych and prog, and the album art of an astronaut traveling through an ancient temple is weirdly fitting. The soundscapes are vast and huge, and everything has a massive amount of weight behind it. Even though this album is a bit on the long side, it works. This is the sort of music where stretching out benefits the band.

Score: 80/100

Band: AKU | Album: Solipsism | Genre: Jazz-fusion | Bandcamp

The six songs on Solipsism effortlessly blend jazz and progressive rock into a rich, organic melange. Each of the four members of the band puts on a great showing. Guitar is the lead instrument more often than not, but the keys are smartly deployed and add a great depth. The bass playing is punchy and energetic, and the drumming is skillful and varied.

Score: 78/100

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Odds & Ends: March 4, 2024

Band: Caligula’s Horse | Album: Charcoal Grace | Genre: Progressive metal | Bandcamp

My view of what is actually popular and successful is probably skewed by where I spend my time online. A lot of that time is on Reddit, and a not-insignificant portion of that time in turn is spent perusing r/progmetal. One of the most beloved bands on that subreddit is Caligula’s Horse, and if you’ve paid attention to my comments on other darlings of that subreddit (Nospūn, recent Leprous, and recent Haken) or compared my year-end list to theirs, it should come as little surprise that this is a band that’s never really clicked with me.

Their brand of prog metal is melodic and in the same general vein as Dream Theater. The vocals are clean, and there’s a strong emphasis on majestic climaxes. Everything is well-played, and the songs are smartly-structured, so I’m struggling to articulate why this record isn’t resonating with me. It’s not particularly derivative of any one act, but I suppose there’s not much that really stands out about it either. The production is a bit soupy, as the guitars bleed together into an indistinct distorted mush, and the vocals get swallowed up by the backing. That lack of definition can make it tough for individual elements to stand out.

Score: 66/100

Band: Ellesmere | Album: Stranger Skies | Genre: Neo-prog | Bandcamp

Ellesmere is an Italian band whose music draws heavily from neo-prog and ‘80s arena rock. It’s big, loud, complex, and showy, and if you like acts like Marillion, IQ, or Asia, you’re probably going to like Ellesmere. The production isn’t great, and the vocals are fairly rough, but nevertheless it’s clear the music has some strong bones. The 12-minute title track is especially good, featuring smart structuring choices and dynamic musicianship.

Score: 71/100

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Odds & Ends: February 4, 2024

Band: Everything Oscillating | Album: The Taboo Against Knowing Who You Are | Genre: Progressive rock | Bandcamp

Everything Oscillating is an instrumental act that focuses on flashy, technical shredding. Two of the three members are the guitarist and bassist for the Seattle-based band Moon Letters, whom I’ve covered a couple times. EO does a great job threading the needle of balancing flashy instrumental antics and engaging songwriting. The best moments here call to mind classic bombastic ‘90s and early ‘00s prog bands like Liquid Tension Experiment and Transatlantic, with a bit more of a classic heavy metal influence. Jazz and Latin flavors are included naturally, and the (abbreviated) instrumental cover of “Achilles’ Last Stand” is done well, too. (I feel like I could write a short essay on my love for the original version of that song, and EO absolutely does it justice here. It’s right up there with “Carouselambra”, “In the Light”, and “The Rain Song” among my favorite Led Zeppelin cuts. (I know, shocker, my favorite Zeppelin songs are all among the band’s longest.))

Score: 79/100

Artist: Peter Gabriel | Album: i/o | Genre: Art pop | Bandcamp

Peter Gabriel’s first new album in 20 years is enjoyable. It’s decent, fairly arty pop with some good melodies and interesting ideas. His vocal performance is strong, and the production is clean, crisp, and professional. Compositionally, though, it doesn’t stand out. Post-rock flavors weave themselves into Gabriel’s usual somewhat-spacey writing style. It’s competent but not particularly memorable. i/o comes in two different mixes: the so-called “bright-side” and “dark-side” mixes. These two mixes are not meaningfully different. Yes, if you listen to each song’s bright and dark version, you can tell them apart, but the differences between the two are insubstantial, surface-level, and borderline-gimmicky. Publications (especially prog-focused ones) that included this on their best-of 2023 lists make me question if they just reflexively put every release from major ‘70s players on their year-end lists, regardless of quality. (In fact, I know several included Yes’s abysmal The Quest on their 2021 lists, so I suppose they do.) If you want some keyboard-forward art-pop to put on in the background, i/o will work, but this album doesn’t leave a lasting impression.

Score: 63/100

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Odds & Ends: December 25, 2023

Band: Frankie and the Witch Fingers | Album: Data Doom | Genre: Progressive rock, Krautrock | Bandcamp

Frankie and the Witch Fingers remind me a lot of Osees. The music is fierce, energetic, and shot-through with punk influences. But the riffs are usually weird and angular, with uncommon meters. Despite a lot of the overt, aggressive tendencies of this band, the music remains relatively accessible. There are plenty of melodic hooks and catchy riffs and themes. “Syster System” is one hell of an earworm, and “Doom Boom” has a groovy, King Gizzard-esque feel to it.

Score: 80/100

Band: Gong | Album: Unending Ascending | Genre: Progressive rock | Bandcamp

Once you get outside the very big names of progressive rock (Yes, Pink Floyd, Genesis, etc), Gong is one of the better-known second-echelon prog acts. I’m honestly not that familiar with their output beyond their Pot Head Pixie trilogy of the early 1970s. Looking over their Wikipedia article however, they have been incredibly prolific, with numerous projects labeled “So-and-so’s Gong” also being considered part of their oeuvre. Maybe I’ll eventually do a Gong Deep Dive, but seeing all the various Gong-adjacent projects makes that a daunting prospect. I’ve also discussed Yes being a ship of Theseus, but they ain’t got nothin’ on Gong. There’s a whole damn Wikipedia article on the topic. Just look at this graphic!

Moving onto the music of Unending Ascending, it’s pretty decent. It’s psychedelic in feel, with a lot of space rock elements. The playing and compositions are complex and thoughtful. There are some weaker moments, like the sleepy and overlong “Ship of Ishtar”, but most of the record manages to be engaging and entertaining. Despite none of the current members of Gong having been in the band prior to 2007, they do a great job of maintaining the spirit of the classic Gong sound.

Score: 77/100

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Odds & Ends: December 18, 2023

Band: Hashshashin | Album: Śaraṇaṃ | Genre: Post-rock, Afghan folk | Bandcamp

The latest release from this Australian act draws upon the Central Asian folk-meets-progressive metal flavors of their last release and hones them even more. Here, much of the focus is on an Afghan instrument, the rubab. It lends a distinct folky and esoteric character to these three songs. This EP is both meditative and impactful, drawing from Afghan folk traditions and modern progressive and post-rock scenes.

Score: 74/100

Band: Mellow Beast | Album: Reactor | Genre: Space rock, Progressive rock | Bandcamp

Mellow Beast’s third release of the year is their strongest of the bunch. Many of this band’s releases are interconnected and tell the story of the land of Hyperion. As such, this release focuses on the story of a gnome trying to save Hyperion after a great cataclysm. The music is psychedelic and awash in effects-laden guitar lines. There’s a fine line being tread here between tight, focused, melodic passages and a desire to stretch things out and jam. It all works together excellently, and I love the way musical themes are occasionally repeated to give everything a sense of continuity.

Score: 83/100

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Odds & Ends: December 11, 2023

Band: CHROMB! | Album: Cinq | Genre: RIO, Avant-prog | Bandcamp

CHROMB!’s appropriately-titled fifth album, Cinq, is a solid return to what I love about them. I wasn’t nuts about their 2020 release, Le livre des merveilles. One of their trademark characteristics is their frenetic, madcap energy, but that release saw them try to trim back those elements of their sound. Cinq has that irrepressible oddness and liveliness I love, but it’s been distilled into shorter, more focused compositions. As much as I love their sprawling 2016 release, 1000, sometimes you just want 33 minutes of to-the-point avant-prog.

Score: 78/100

Band: Howling Giant | Album: Glass Future | Genre: Heavy psych, Progressive rock | Bandcamp

Though nothing here matches the scope or scale of their 2020 epic, “Masamune”, Glass Future provides plenty of solid music. Hints of the band’s stoner roots can be heard in their riffs, but the arrangements are lush, thoughtful, and complex. Organ adds a powerful richness to the sound, and the vocal performances are strong. Melodies are catchy, yet inventive and unique. The songs on this album are all relatively short, but they don’t feel rushed.

Score: 80/100

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Odds & Ends: December 4, 2023

Band: Antisoph | Album: non satis | Genre: Progressive metal | Bandcamp

This German band’s latest release is a pretty neat 3-song EP. The riffs are inventive, weird, and abstract, and the vocal performance is pretty strong as well. I like the bits of jazz and post-metal influence they included in this release. The one downside is that not all of these songs needed to exceed seven minutes.

Score: 72/100

Band: The Flood | Album: Tail of the Whale | Genre: Progressive rock | Bandcamp

I like this album a lot; probably more than most folks, and for pretty specific-to-me reasons. The music here is solid, even tossing aside my own specific fondness. It’s often slow-moving, lush, and impassioned. Jazz and classical touches are incorporated quite nicely. The vocals are a bit weak though, and I could see them grating on some people. But that’s honestly part of the reason why I like this album. When I was first really getting into progressive rock, I did it primarily through a number of now-long-dead-or-defunct Blogspot sites with links to Mediafire or Rapidshare. And The Flood reminds me a lot of the bands I discovered through those sites: rich, symphonic prog from mainland Europe with slightly-rough production and a vocalist with a noticeable accent. (For a few examples of bands like this, check out Prof. Wolfff, P2O5, Womega, or Phylter.) It’s a very specific sort of nostalgia from my high school and college years that I don’t expect many to relate to. But this is my site, and you’re here to read my opinion.

Score: 81/100

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