Welcome to Part 2 of The Elite Extremophile’s Top 50 Prog Albums of 2021. In case you missed Part 1, it can be found here.
Continue reading “Top 50 Prog Albums of 2021, Part 2: 25-1”Top 50 Prog Albums of 2021, Part 2: 25-1
Tag: electronic
Top 50 Prog Albums of 2021, Part 1: 50-26
Welcome to the first installment of The Elite Extremophile’s Top 50 Prog Albums of 2021. This article will cover places 50-26 on my list, with the top half set to follow on Thursday.
As I always say, I’m sure there are some excellent albums not included in my list. This site is a one-man operation (in relation to reviewing, that is; my editors, Kelci and Dan, have been tremendously helpful), and I simply cannot listen to everything that gets released. I also have my personal biases against some rather popular trends in prog, which affected the composition of this list. But if you’ve got recommendations, do not hesitate to shoot them my way.
As I referenced in my Scheduling Note back in November, this list only addresses albums put out between January 2021 and November 2021. Next year’s list will cover December 2021 through November 2022.
Though it felt as if it started off fairly slow, 2021 wound up being a very strong year for progressive rock and metal. Finalizing this list took longer than usual, especially nailing down the specific order.
Continue reading “Top 50 Prog Albums of 2021, Part 1: 50-26”Odds & Ends: December 6, 2021
Band: Devour Every Star | Album: Antiquity | Genre: Progressive metal, Trip-hop | Bandcamp
This is certainly one of the more distinctive genre fusions I’ve run across. Buzzy black metal merges with spacey instrumental hip-hop passages to forge a distinctive sound. It’s spooky and laid-back, and it’s definitely worth looking into. As a whole, it feels a little long; I think this style may be better suited to a 20-minute EP. Nonetheless, it’s quite unique, and this act shows ability beyond simply being a curiosity.
Score: 70/100
Artist: Ehsan Gelsi | Album: Ephemera | Genre: Progressive rock | Bandcamp
This instrumental piece was commissioned by the city of Melbourne to celebrate Melbourne Town Hall’s 150th anniversary, thus it prominently features the town hall’s grand organ as its primary instrument. Ephemera is grand and majestic in its harmonious marriage of reedy organ and lush, liquid synthesizers. The whole album is quite warm, and it feels midway between Mike Oldfield and Rick Wakeman. Elements of classical and electronic music are regularly incorporated, making this a surprisingly diverse record despite its limited sound palette.
Score: 80/100
Continue reading “Odds & Ends: December 6, 2021”Odds & Ends: September 6, 2021
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.
Score: 81/100
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.
Score: 51/100
Continue reading “Odds & Ends: September 6, 2021”Album Review: Frummyrkrið – Dauðans Myrkri
Band: Frummyrkrið | Album: Dauðans Myrkri | Genre: Post-metal, Black metal, Progressive metal |
From: Akureyri, Iceland | Label: Independent
For fans of: Enslaved, Misþyrming
Edit: This band’s Bandcamp page has vanished, and there does not currently seem to be a legit way to acquire this album. There are also rumors that this band is actually Brazilian, but I have not found any confirmation on that. I will update this as more info comes out.
I’ve previously talked about countries punching above their weight in musical influence relative to their population. Arguably, no country does this better than Iceland. With a population smaller than most mid-sized cities, this island nation has an impressive crop of musical ambassadors representing post-rock (Sigur Rós), black metal (plenty of acts, but most notably Sólstafir and Misþyrming), and whatever the fuck Björk is (Björk).
Frummyrkrið (Icelandic for “Primordial Darkness”) is a new band composed of three siblings. Dauðans Myrkri (The Darkness of Death) is an impressive debut which skillfully weaves influences such as traditional prog, ambient music, and “Viking metal” into distinctive Icelandic black metal. (I could write a whole rant on my distaste for the term “Viking metal,” but it does conjure up a specific style of music which is applicable here.)
Continue reading “Album Review: Frummyrkrið – Dauðans Myrkri”Album Review: Genghis Tron – Dream Weapon
Band: Genghis Tron | Album: Dream Weapon | Genre: Progressive metal, Cybergrind | Year: 2021
From: Poughkeepsie, USA | Label: Relapse
For fans of: Cynic, Gorguts, Justice, the more electronic side of krautrock
Part of the reason these reviews have been less frequent as of late is that I’m simply having a harder-than-usual time finding new music which really speaks to me. Unless it’s a fairly big-name act, I don’t have much motivation to write 400-800 words on a record where the score will be in the 50s. Thankfully, Dream Weapon came along and snapped me out of that funk.
I’d never heard of Genghis Tron before this album, and I can see why that might have been. They were initially active in the mid-2000s before taking a 13-year hiatus. I’d also never heard of the cybergrind genre, but it’s a fitting name. It takes the aggression and energy of genres like mathcore and grindcore and pumps it through synthesizers galore. (Interesting sidenote: “mathcore” is considered a real word by MS Word, but “grindcore” is not.)
What this record almost reminds me of is Justice’s debut album. Where † is an electronic album with a significant hard rock/heavy metal substrate, Dream Weapon feels like it’s coming from the other direction. It’s definitely a metal album, but electronic music thoroughly imbues its DNA.
Continue reading “Album Review: Genghis Tron – Dream Weapon”Top 50 Prog Albums of 2020, Part 1: 50-26
Welcome to Part One of TheEliteExtremophile’s Top 50 Prog Albums of 2020, this site’s second-annual best-of list. It’s also my tenth year of writing year-end music roundups. The first eight were posted on my personal Facebook. Check out Part 2 here.
2020 was a banner year for progressive rock and progressive metal. There were so many fantastic albums released, and paring this list down to just 50 was often a painful process. Even more difficult was deciding on the exact order of these albums.
Like I said last year, I’m sure there are some excellent albums not included. This site is a one-man operation (in relation to reviewing, that is; my editors, Kelci and Dan, have been tremendously helpful), and I simply cannot listen to everything that gets released. I also have my personal biases against some rather popular trends in prog, which affected the composition of this list. But if you’ve got recommendations, do not hesitate to shoot them my way.
Continue reading “Top 50 Prog Albums of 2020, Part 1: 50-26”Odds & Ends – November 16, 2020
Band: Arcade Messiah | Album: The Host | Genre: Progressive rock, Progressive metal | Bandcamp
Arcade Messiah is a one-man project out of Ireland that mixes progressive rock and metal with earworm melodies and intriguing electronic touches. Hints of post-rock and stoner metal permeate this album, and each song works wonderfully with the next. This release reminds me a lot of ADHD-era Riverside with its strong hooks, varied textural palette, and adventurous spirit. The Host artfully threads the needle in a way that many acts are unable to. This album strikes a balance of metallic bombast and smooth melodicism.
Score: 89/100
Band: Babel Trio | Album: The Martyr | Genre: Stoner metal, Progressive metal, Greek folk | Bandcamp
I’ve previously discussed this Cretan trio, and I found their blend of Greek folk melodies, progressive songwriting, and sunbaked fuzz truly refreshing. In lieu of guitar, the lead instrument in this band is a modified electric lute, which imbues the songs with a unique timbral quality. The Martyr took a bit longer for me to get into than their previous album, but it gradually grew on me over several listens. This distinctly Hellenic stoner metal kept drawing me back in with its uncommon melodies and well-structured compositions. Compositions range from charging to plodding, and that diversity of atmosphere serves this record well.
Score: 80/100
Continue reading “Odds & Ends – November 16, 2020”Album Review: Thy Catafalque – Naiv
Band: Thy Catafalque | Album: Naiv | Genre: Avant-garde metal, Hungarian folk | Year: 2020
From: Makó, Hungary | Label: Season of Mist
For fans of: Kekal, Agalloch, Botanist
I found this album in a record store and was struck immediately by the cover art. After quickly consulting the Internet to make sure this wasn’t going to be something I’d hate, I decided to gamble and bought it without first listening to it. And boy, am I glad that I did.
Thy Catafalque is a one-man project based out of Hungary, and Naiv is this act’s ninth full-length album. By the way, this is a catafalque; I’d never heard that word and needed to look it up. On it, sole full-time bandmember Tamás Kátai blends black metal, electronic elements, and Hungarian folk music into something distinctive.
Continue reading “Album Review: Thy Catafalque – Naiv”Album Review: Kekal – Quantum Resolution
Band: Kekal | Album: Quantum Resolution | Genre: Progressive metal, Avant-garde metal | Year: 2020
From: Jakarta, Indonesia | Label: Independent (digital), Eastbreath Records (CD)
For fans of: Krallice, Atheist, Kayo Dot
I’ve been a fan of Kekal since about 2008 or so. I don’t recall where or how I ran across them, but they were promoting themselves by offering free downloads of four of their albums. (That offer still stands on their site, by the way.) Three of those albums are varying degrees of good, with 1000 Thoughts of Violence perhaps being my favorite of their releases. On the other hand, Audible Minority is simply bad. And it’s that inconsistent track record that always makes me a little apprehensive when Kekal release new material. I absolutely loved their 2018 album, Deeper Underground, but the album which preceded that—2015’s Multilateral—was inconsistent and muddled.
When I first heard Quantum Resolution, I was a little nervous, as it just wasn’t quite clicking with me. I couldn’t put my finger on it, but this did not feel like one of Kekal’s better efforts. After giving the record a few spins, though, it has grown on me substantially. I’m used to certain artists’ releases growing or wearing on me. That’s bog-standard for me with Inter Arma, Steven Wilson, and Enslaved; but I usually know how I feel about Kekal after the first listen. That’s why I’m glad I decided to give this album another chance.
Continue reading “Album Review: Kekal – Quantum Resolution”
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