Odds and Ends – March 21, 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.

a1945761875_10 Band: Cheeto’s Magazine | Album: Amazingous | Genre: Progressive rock, Pop, Progressive metal | Bandcamp

This album was a disorienting experience. Cheeto’s Magazine blend sunshiny pop with metal riffs and complex structures. The closest analogue I can think of would be A.C.T., though this has an even more aggressively poppy edge. The songwriting is consistently ambitious, and there are some moments reminiscent of Dream Theater’s better output. I give them a lot of credit for ambition, but the juxtaposition of metal with those bubblegum synths is often jarring.

Score: 69/100 Continue reading “Odds and Ends – March 21, 2019” →

Album Review: Amalgam Effect – Sketches

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Band: Amalgam Effect | Album: Sketches | Year: 2019 | Genre: Progressive rock

From: Denver, USA | Distributor: DistroKid

For fans of: Jethro Tull, Phideaux

Buy: Bandcamp | Amazon | Apple Music

Long song cycles are nothing new to the field of progressive rock. Bands have been filling whole albums with pieces meant to be listened to as one extended piece since the early 1970s, and Amalgam Effect’s third album, Sketches, is a great new addition to this particular variety of progressive rock album.

Sketches tells the story of Alan Quill, a clerk who writes in his free time. The story is about trying to balance the desires of an artist against the drives and demands of living and succeeding in a world where art rarely pays the bills. Calvin Merseal, Amalgam Effect’s drummer and lyricist, has written a book called Quill, which tells the story not just of Sketches but of the two preceding albums. (I’d highly recommend both of those, as well.) Continue reading “Album Review: Amalgam Effect – Sketches” →

Album Review: Syrinx – Embrace the Dark – Seek the Light

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Band: Syrinx | Album: Embrace the Dark – Seek the Light | Year: 2019 | Genre: Heavy/Traditional metal, Progressive rock

From: Vancouver, Canada | Label: Church Recordings

For fans of: Queensrÿche, Rush, Fates Warning, Iron Maiden

Buy: Bandcamp | Amazon

Optically, it may be weird to use genre labels including both the words “traditional” and “progressive” to describe the same band. But truth be told, many progressive rock acts do little to progress rock, and traditional metal provides a broad enough template to allow a lot of innovation. Syrinx take their base sound from the realm of bands like Judas Priest and Black Sabbath. But they add the structural complexity and ambition of early prog-metal bands like Queensrÿche alongside aesthetic flashes of some ‘70s prog giants like Yes and Rush. Embrace the Dark – Seek the Light is full of fun and energetic riffs, but there’s a healthy dose of rhythmic weirdness and structural abstractness.

After opening with a short, swirling instrumental, Syrinx dive right into a shining example of their hybrid sound. “Time out of Place” is carried on the back of a tight, anxious riff during the verses, and the chorus features a cascading synth line that could have featured on a classic Rush album. The ensuing “Devil’s Soldier” opens with a soberer tone, but it doesn’t take long to launch into a more aggressive timbre. While one of the less-proggy tracks on the album, it’s engaging, and the vocals, a hoarse semi-shriek, are especially striking. Continue reading “Album Review: Syrinx – Embrace the Dark – Seek the Light” →

Album Review: Guy Hatton – I Am Concentric

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Artist: Guy Hatton | Album: I Am Concentric | Year: 2019 | Genre: Jazz fusion, Space rock

From: Rochester, UK | Label: Pantechnicon Recordings

For fans of: Return to Forever, Gong, Al Di Meola, Soft Machine, King Crimson’s jazzier side

Buy: Bandcamp | Amazon | Apple Music

Guy Hatton is a prolific multi-instrumentalist specializing in high-energy jazz, jazz fusion, and progressive rock. His previous releases have had significant funk and Latin influence, featuring bouncing bass, congas, and rich synth textures.

Here, Hatton plays guitars, bass, and keys and programs all the drums. A pair of guests are also brought on for this album to play saxophone and additional keys. The album title is taken from a quote by Salvador Dalí, “It’s true I am eccentric, but in the same time, I am concentric!”, which features in both the opening and closing tracks. It’s a fitting quote to inspire this album—the music is weird, wonky, and off-kilter. At the same time, it’s carefully constructed and complexly layered, with guitars and synths piling up to make an intricate mesh. Continue reading “Album Review: Guy Hatton – I Am Concentric” →

Lesser-Known Gem: Mezquita – Recuerdos de mi tierra

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Band: Mezquita | Album: Recuerdos de mi tierra | Year: 1979 | Genre: Progressive rock, Flamenco-rock

From: Córdoba, Spain | Label: Chapa Discos

For Fans Of: Yezda Urfa, Gentle Giant, Mahavishnu Orchestra, Flamenco music

Córdoba was a stronghold of Islamic culture and influence from its conquest by the Umayyads in 711 until its recapture by the Castilian-Leonese king in 1231. Those five centuries of Islamic rule left an indelible influence on the region’s culture, most notably in music and architecture.

Mezquita was formed in Córdoba in 1978, in the wake of the death of Francisco Franco and Spain’s transition to democracy. This quartet drew heavily upon local Andalusian history as a center of Islamic culture: “mezquita” is Spanish for mosque, the album cover features Arabic text, and the music is powered by Moorish influences alongside Spanish ones. Continue reading “Lesser-Known Gem: Mezquita – Recuerdos de mi tierra” →

Album Review: Not Otherwise Specified – Deadweight

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Band: Not Otherwise Specified | Album: Deadweight | Genre: Progressive rock | Year: 2019

From: Atlanta, USA | Label: Weeping Angel Studios

For fans of: Dream Theater, Kansas, IQ, Riverside, Spock’s Beard

Buy: Bandcamp | Amazon | Apple Music

When progressive rock first emerged as a distinct genre, the United States were slow to make a sound for themselves. The Brits were the genre’s progenitors, and they largely defined its archetypes and evolution. “Anglo-prog” is an awfully broad swathe of musical styles, but it conjures up a definite set of sounds. The Italians forged a unique niche, and the French, Spaniards, and Yugoslavs had their own identifiable quirks as well, to say nothing of Krautrock.

The American sound that eventually did emerge was pioneered by bands like Kansas and Starcastle: derived from the Anglo sound but grander, more bombastic, and less subtle. Not Otherwise Specified (NOS), while unmistakably modern, draw heavily from that mid-70s American sound. Continue reading “Album Review: Not Otherwise Specified – Deadweight” →

Album Review: Dream Theater – Distance over Time

Band: Dream Theater | Album: Distance over Time | Genre: Progressive metal | Year: 2019

From: Long Island, USA | Label: Sony Music

For fans of: You know if you like Dream Theater or not.

Buy: Many options

I must be some sort of masochist. Every other year or so, Dream Theater put out an album, and I self-flagellate by listening to and thoroughly disliking it. The last time Dream Theater put out a good album was in 2004, with Octavarium, and even that was spotty at moments. I’m pretty sure I’m still traumatized from just how bad their last album, 2016’s The Astonishing, was.

Nonetheless, Dream Theater are one of the founders of progressive metal and one of the giants of the contemporary scene. From the early ‘90s into the early ‘00s they put out a string of fantastic records, including two of the most vaunted albums in all of progressive metal. So, it’s with a sense of obligation that I subject myself to every new release from this band, knowing it will likely be uneven and masturbatory to the extreme. Continue reading “Album Review: Dream Theater – Distance over Time” →

Album Review: Ananda Mida – Cathodnatius

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Band: Ananda Mida | Album: Cathodnatius | Genre: Psychedelic rock, Progressive rock, Stoner rock | Year: 2019

From: Venice, Italy | Label: Go Down Records

For fans of: ‘80s King Crimson, Spock’s Beard, Led Zeppelin, Kyuss

Buy: Bandcamp | Amazon | Apple Music

Italy has a proud history of producing some of the best progressive rock out there. At its peak in the early 1970s, the Italian scene was arguably on par with the British. The Italians carved out a unique sound for themselves, drawing heavily from jazz, classical, and folk and singing in their native language. Even now, a few bands play in this distinctly Italian style. Ananda Mida are not one of those bands.

That’s by no means a swipe against Ananda Mida. I’ve listened to and thoroughly enjoyed both their albums, but if you had played their music for me and asked me to guess, I would’ve told you they sound like they come from the American Southwest. They’ve got that sunny, desert-y stoner vibe commonly found in bands from the region. Blues riffs loomed large on their debut, 2016’s Anodnatius, interspersed with spacier interludes and a handful of more adventurous moments. Their new album, Cathodnatius, keeps that desert vibe, but they’ve amped up their experimentation, drawing influences from sources as diverse as early 1970s Pink Floyd, new wave, and math rock. Continue reading “Album Review: Ananda Mida – Cathodnatius” →

Odds and Ends – February 18, 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.

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Band: Cosmocracy, Inc. | Album: A Ride Across Your Mind | Genre: Progressive rock, Psychedelic rock | Bandcamp

This is a delightful album. It’s a high-energy, progressive garage rock piece, and it’s a ton of fun. The guitars have a distinctly bluesy twinge, and the keyboards lend a wide, galactic atmosphere. The bass tone used here comes across as downright funky. The vocals are a little rough and weak, but I’m hoping that’ll be improved on future releases. This band have some room for improvement, but they’re starting off strong.

Score: 80/100 Continue reading “Odds and Ends – February 18, 2019” →

Album Review: Piah Mater – The Wandering Daughter

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Band: Piah Mater | Album: The Wandering Daughter | Year: 2018 | Genre: Progressive metal, Progressive rock, Death Metal

From: Rio de Janeiro, Brazil | Label: Code 666

For fans of: Opeth, Riverside, Porcupine Tree/Steven Wilson

Buy: Bandcamp | Amazon | Apple Music

Piah Mater are a Brazilian trio performing a style of progressive death metal highly reminiscent of Opeth’s classic material. That’s not an easy sound to execute, but these guys pull it off excellently. Had Mikael Åkerfeldt and his crew put this out, this would be hailed as Opeth’s best album since Watershed.

After the brief, idyllic opener, growls and aggressive, chugging death metal riffs take the spotlight and drive “Solace in Oblivion” forward. As is to be expected of a band so heavily drawing from Opeth’s sound, these extended pieces have frequent breaks of quiet jazz guitar and moments of soaring clean vocals. Many of the softer moments would not feel out of place on a Camel album. The narration on this song is pretty corny, but it’s a minor issue overall. Continue reading “Album Review: Piah Mater – The Wandering Daughter” →