In the early ‘70s, progressive rock’s center of gravity was clearly in the UK, with the Italians having carved out their own distinct niche as well. In the ensuing decades, prog was largely dominated by Brits and Americans, but since the turn of the century, Scandinavia has become a leader in the genre, with acts like Opeth, Wobbler, and Beardfish.
Jordsjø, a Norwegian duo, follows in the path of their spiritual predecessors, Änglagård. Both acts draw heavily from acts like Yes and King Crimson, but distinctly Norse melodies are woven into anAnglo-prog-inspired backdrop. They’ve been consistently stellar over their career, and 2019’s Nattfiolen was one of my personal favorites from that year.
The lockdowns of the last year-and-a-half interrupted many musical acts’ touring and recording plans. But at the same time, the sudden forced sedentary setup offered many opportunities to write and record at home. Hanford Tape Sessions is one such of those recordings.
UK-based duo Hanford Flyover recorded all this music on a few portable cassette home recording devices. That technological limitation forced the band to keep things pared-back and straightforward, and the contrast to past releases’ lush sounds is obvious. The songs on this album are mostly short and to-the-point, but there are some interesting sonic experiments with satisfying structures.
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.
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.
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.
Nightcap at Wits’ End—the fourth album from Garcia Peoples—shows the band’s continued evolution and refinement of their sound. Their first two albums were psychedelic garage rock pieces with some underlying prog leanings. One Step Behind (their third release) was centered around a 32-minute krautrock opus. This record dials back the scale of things, with only one song topping seven minutes.
The sound presented here is also something of a middle ground between their first three releases. This is undoubtedly a progressive rock album, but it hearkens back to the very earliest days of progressive rock, when the lines between psych and prog were even blurrier than they currently are. It draws a great deal of influence from those first prog bands, such as The Moody Blues, the first King Crimson lineup, and early Canterbury acts like Egg/Uriel.
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.
Band: Abstracción | Album:Abstracción | Genre: Progressive rock, Psychedelic rock | Bandcamp
The debut EP from this Spanish septet draws heavily from the sound of Jethro Tull’s early material, and the liberal inclusion of sitar adds a late-‘60s psychedelic folk feel to the mix. Swirling Hammond organ and echoing electric guitar lines keep the atmosphere lush, while vocalist Catalina Requena’s willowy delivery occasionally bleeds into the instrumental elements. Each song is distinct, but the tonal continuity between the pieces keeps this recording cohesive and coherent.
Band: Ars de Er | Album:La Métamorphose | Genre: Progressive rock | Bandcamp
I’ve run across more Belarusian prog bands while writing for this site than I ever anticipated. The latest of these is the one-man act Ars de Er, which incorporates hefty doses of classical and jazz. Strange harmonizations predominate on La Métamorphose, drawing comparisons to the original big names of avant-prog and RIO. Heavy, metallic guitar lines underpin moments of furious soloing and chaotic rhythms. The atmosphere on this record is oppressive. The strange, diminished chords and haunting keyboard textures make for an anxious, claustrophobic feel.
Custard Flux is the brainchild of Detroit-based multi-instrumentalist and songwriter Gregory Curvey, and this is one of the more unique acts currently active in the progosphere. Custard Flux is a (almost) fully-acoustic band, with electric instrumentation being limited to a small number of guitar solos on this band’s first two albums. Acoustic guitar and harmonium have been the primary instruments this act’s sound has been built around.
Oxygen is Custard Flux’s third album in as many years, and it’s their best and most diverse yet. While the sound is still primarily acoustic, it’s been augmented with ample saxophone and violin. Electric guitar—in its rare appearances—feels more integral to the compositions, rather than being a solo laid on top of a fully-acoustic piece. The compositions are also the most daring and progressive they’ve recorded yet. Continue reading “Album Review: Custard Flux – Oxygen”→
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”→
Deleted Scenes is the second album from Oakland prog-pop outfit Once and Future Band (hereafter called OAFB). I was introduced to them via their self-titled 2017 album, which was their first full length release. Their self-titled is a sunny slice of prog-pop with ample jazz and folk touches. However, almost every song on that album felt one to two minutes too long.