Band: Antinode | Album:The Canary the Named the Stars | Genre: Progressive rock | Bandcamp
The three songs on this long EP/short LP are solid, spacey progressive rock with subtle touches of jazz, metal, and indie rock. I’m a big fan of the instrumental tones and textures, and despite the songs’ lengths, they never feel like they’re dragging. There’s significant internal variation on all three tracks, and there’s a natural flow to the way the compositions evolve.
Band: Big Big Train | Album:Common Ground | Genre: Neo-prog, Progressive rock | Bandcamp
I have never understood the appeal of Big Big Train. They’ve got the occasional decent song here or there, but I’ve never enjoyed an entire BBT album. They often come off as saccharine and glossy, like a worse version of Spock’s Beard. Maybe I’m too much of a dour Debbie Downer to enjoy such unashamedly major-key music, but the opening “The Strangest Times” exemplifies my lack of fondness for this act. It’s bright, sunny piano-pop that doesn’t strike me as particularly proggy in any definition of the word. Successive tracks are significantly better, though it’s still not exactly my cup of tea. Much of this album comes off as soulless and plain, to say nothing of the bloat. The band sounds stuck in the mid-’90s’ prog scene, a sound which was fine for its time but was rightfully cast aside at the turn of the century. The lushness hobbles the band’s ability to make any real splash, and everything on here has been done much better previously by other artists, often half a century ago.
It’s a Monday, but I don’t have a review for you. I was absolutely slammed at work last week, but I should have a bit more breathing room now.
Considering how close we are to the end of the year, and considering how many records there are I haven’t reviewed but would love to touch on, I will be increasing the frequency of Odds & Ends posts between now and mid-December. I’m not sure how many I’ll wind up posting, but I’d expect at least 4 between now and the end of the year, as opposed to the expected two.
I’ll also be taking off the weeks of Dec. 21 and 28, to allow myself adequate time to finish my year-end best-of lists and to allow Kelci and Dan adequate time to proofread them. Those can be expected in early-to-mid January.
I’ll be on vacation for the next few weeks, so this site will be going on a brief hiatus. Posts will resume Monday, January 13, 2020 with my Top EPs of 2019 list. My Top 50 Albums of 2020 will be posted in two parts the following week, on January 20 and 23.
Stay tuned, and enjoy the holiday(s) of your choice!
I’ve written before of France’s unique place in the world of progressive rock. Of the countries with distinct national sounds, theirs has always been the most unashamedly weird, fusing progressive rock with jazz and avant-garde music. Zeuhl was an almost-exclusively-French genre for the first twenty or so years of its existence, and two of the five founders of the Rock in Opposition (RIO) scene were Francophone. (Univers Zero were from the French-speaking Wallonia region of Belgium.) PoiL, the experimental Lyonnais trio, are one of the most prominent contemporary bands carrying on this tradition.
Last year, PoiL fused with the band Ni to become three-sevenths of the supergroup PinioL. Ni’s particular brand of experimental rock music has frequently bordered on metal, and on Sus, it sounds as if some of that may have rubbed off on the guys in PoiL. PoiL lacks a guitar player, but that doesn’t stop the band from laying down their heaviest music to date. The bass on this album crunches and snarls; the electric piano pounds out weird, dissonant chords; and the drumming is downright virtuosic. Continue reading “Album Review: PoiL – Sus”→