Leprous are one of the bigger names in the current progosphere. I love their first three albums, and Bilateral, especially, is fantastic. Their sound has changed a lot over the years however, and they’ve moved decidedly away from metal in a manner that has left fan opinions sharply divided.
I have not minced words about my disappointment in Leprous’s recent musical direction. To quote my coverage of their 2019 album, Pitfalls, “This album fucking sucks.” My thoughts on Malina, their 2017 release, aren’t an awful lot kinder. I saw them on tour twice in 2018 (opening first for BTBAM and later for Haken), and the experience was dull, to say the least. Pared-back arrangements and vocalist Einar Solberg going, “Ooh-aah” as pulsing white lights blinded me? Disappointing. Both sets were unvaried in their tonal and dynamic palettes: LOUD-quiet-LOUD-quiet, without any deviations to spice it up. Pitfalls was like a studio version of this experience.
Naturally, I didn’t have high hopes for Aphelion. I was fully anticipating this would be another micro-review, like my coverage of Pitfalls, or an Odds & Ends entry. But I’m familiar enough with the band’s output, and I found enough to discuss, that I could write a full-length review.
Albion is the latest in a long line of acts that take the very English genre of progressive rock and make it sound even more English, with a significant injection of folk. Think of bands like (mid-to-late ‘70s) Jethro Tull and Gryphon. This quartet is quite a bit heavier and more bombastic than any of that first wave of prog-folk-rock acts. There are some neat ideas on this EP, but there’s also just a lot of stuff that sounds like it’s been done before. A lot of this is power metal-based, and I will admit, that’s not my favorite metal subgenre. If you’re into some of the more fun-time, corny folk metal acts out there, you might enjoy this.
Band: The Dark Monarchy | Album:All Roads Lead to Rome | Genre: Progressive metal, Power metal | Bandcamp
This album has flashes of brilliance, but it never is able to maintain it for too long. The cheese factor on this album is incredibly high, and most of the songs run together into an unidentifiable mush. The opening track, “I Am Lucifer”, is especially strong, but there isn’t enough here to have this record go on for 45 minutes.
Steven Wilson, likely the biggest individual name in the current world of prog, returns with his sixth solo album. After making a name for himself with his longtime prog metal/rock band, Porcupine Tree, he struck out on a solo career (which I’ve documented here) that has tacked increasingly poppy over his last few releases.
Wilson had commented that he currently does not feel inspired when playing guitar, and his continued gravitation toward synthesizers is evident on The Future Bites. I have to give him kudos for following his musical heart and not kowtowing to prog traditionalists demanding another Deadwing or Hand. Cannot. Erase. I really respect him for broadening his horizons and playing what he wants to play. I wish more artists had that sort of integrity and adventurous spirit.
I’ve been indulging in the lighter side of progressive rock lately. I’ve got a big backlog of black and death metal I need to cover, but progressive folk and art-pop have been scratching my musical itches lately. While not strictly a pop album by any means, Louise Patricia Crane’s solo debut, Deep Blue, draws heavily from acts like The Cocteau Twins and Kate Bush. The music is rife with psychedelic Pink Floyd-isms, and folk influences are liberally scattered throughout this record. King Crimson guitarist and vocalist Jakko Jakszyk was recruited for this project, and his distinct playing style and backing vocals augment the music. Continue reading “Album Review: Louise Patricia Crane – Deep Blue”→
This Czech quintet play a noisy, chaotic blend of post-punk and prog. They make me think of a rawer, noisier Atsuko Chiba, or a more progressive Viet Cong/Preoccupations. Glassy synthesizers shine against jagged guitars, and the compositions twist and surge in exciting ways. Math rock flourishes are common, and squealing guitars contrast against a buzzing background. There are other surprising moments: the keys in the instrumental “Skelněná Krajina” give a feeling not unlike video game music at times, and the sprawling “Ken Kesey” features some electronic inclusions.
Artist: Aurora Ferrer | Album:Night Oracles and Falling Stars | Genre: Art rock, Electronic rock | Bandcamp
This album, while not strictly prog, is evocative of many prog and prog-related acts. The pulsing electronics are usually krautrock-y in nature, and the overall atmosphere is akin to acts like Kate Bush, Peter Gabriel, and Pure Reason Revolution. The compositions are dense, creative, and driving. Particularly praiseworthy are the varied yet cohesive textures in each composition; the album has a distinct feel to it, but no two songs are quite alike.
The Fading Thought is the debut solo album of Greek keyboardist Jargon. Prior to this solo effort, he was one of the founders of the progressive rock band Verbal Delirium. There are some obvious sonic overlaps, but he’s managed to differentiate his solo sound from that of his band. The band’s efforts hew heavily toward certain prog-rock clichés; organ and bombast permeate the music. Jargon’s solo album, though, borrows extensively from chamber music and film scores. Piano and strings are given prominent roles throughout The Fading Thought.
The opening track, “The Film”, lacks traditional rock arrangement altogether. It’s a quiet, bittersweet instrumental led by piano with lush string backing. This flowing composition serves as a strong introduction to this record’s overall tone. Continue reading “Album Review: Jargon – The Fading Thought”→