Band: Custard Flux | Album: Oxygen | Genre: Progressive rock, Progressive folk, Psychedelic folk | Year: 2020
From: Detroit, USA | Label: Independent
For fans of: Comus, Van der Graaf Generator, Jan Dukes de Grey
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”
Artist: Louise Patricia Crane | Album: Deep Blue | Genre: Progressive rock, Art-pop, Psychedelic rock | Year: 2020
From: UK | Label: Peculiar Doll Records
For fans of: Kate Bush, ‘80s and later King Crimson, Pink Floyd
Bandcamp | Spotify
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”
Band: Once and Future Band | Album: Deleted Scenes | Genre: Progressive pop, Jazz-rock | Year: 2020
From: Oakland, USA | Label: Castle Face Records
For fans of: Steely Dan, Electric Light Orchestra, Roxy Music, The Alan Parsons Project
Bandcamp | Spotify
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.
The songs on Deleted Scenes are more focused than on OAFB’s self-titled, much to this record’s benefit. Rich electric pianos and synthesizer tones take center stage for most of the album, and vocalist Joel Robinow has just the right tone and timbre to complement it. Continue reading “Album Review: Once and Future Band – Deleted Scenes”
Band: Cheer-Accident | Album: Chicago XX | Genre: Avant-pop, Prog-pop | Bandcamp
One moment this album is brimming with squirmy, atonal synthesizers with eerie vocal arrangements, and the next it’s mellow, artful pop rock. Despite hailing from Chicago, there’s a very British sense of weirdness to Cheer-Accident’s work, most comparable to the inimitable Cardiacs. Strains of post-punk and folk merge seamlessly with progressive and pop rock to create something truly distinctive.
Band: Dai Kaht | Album: Dai Kaht II | Genre: Zeuhl | Bandcamp
I like Magma a lot. They’re one of my favorite bands, and I’m positive I’ll eventually do a Deep Dive entry on them. However, their shadow is nearly inescapable in the world of zeuhl (outside Japan, at least). Dai Kaht are a Finnish act who draw a huge amount of influence from Magma. Their sound is more guitar-centric than Magma ever were. On a technical level, the musicianship and compositions are complex. For all its oddness, it’s surprisingly catchy, and it is somewhat unusual for a zeuhl act to have guitar as its main instrument. But in the end, this release mostly sounds like an updated version of Attahk. If you like zeuhl, give it a listen, but don’t expect anything groundbreaking.
Score: 73/100 Continue reading “Odds & Ends – May 18, 2020”
Band: Moura | Album: Moura | Genre: Progressive rock, Psychedelic rock, Galician folk | Year: 2020
From: A Coruña, Spain | Label: Spinda Records
For fans of: Pink Floyd (pre-1973), Magma, Van der Graaf Generator
Buy: Bandcamp | Amazon
Near the end of last year, I reviewed the debut album of the band Híbrido. In that review, I praised the label Spinda Records for giving underground prog and psych in Spain a platform. Not long after I published that review, someone from the label reached out and told me to keep my eyes on Moura, a band from Galicia.
Moura’s self-titled debut record is a tour de force of psychedelic progressive rock. This quintet blends the dark psychedelia of Pink Floyd (c. 1968-1970), the compositional and instrumental complexity of acts like Yes and Van der Graaf Generator, and the native, Celtic folk of their native Galicia. This confluence is then draped in a druidic, occult atmosphere that in turn creates a menacing aura. (Galicia is a region in northwestern Spain which historically was populated by Celtic peoples and today retains significant Celtic influence in the local culture, particularly the music.) Continue reading “Album Review: Moura – Moura”
Welcome back to TheEliteExtremophile’s Top 50 Prog Albums of 2019. If you missed Part 1, covering entries 50-26, you can read it here. Continue reading “Top 50 Prog Albums of 2019, Part 2: 25-1”
Though this blog is only about a year old, I’ve been publishing music-oriented year-end lists on my personal Facebook since 2010. Those lists have usually covered all releases—albums and EPs—as well as music from genres outside the progosphere. Since starting this blog, I listened to more new music in 2019 than I had in any previous year, and it was even more skewed toward prog and prog-related output than in years past.
To save myself from having to write (and you from having to read) a 100-plus-entry list full of mediocre releases, I’ve instead opted to publish TheEliteExtremophile’s Top 50 Prog Albums of 2019. This post will cover entries 50-26. Part 2, covering the top 25, will be published on Monday.
I’m not publishing album scores here, and past album scores should not be read into too much. Reviews generally reflect something of a first impression, and after months of listening, albums’ standings rise and fall. This list also features some very good albums which I just never reviewed in full.
As a disclaimer, I’m sure there are some excellent albums not included. This 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, either through this site, via email, or through my Facebook page. Continue reading “Top 50 Prog Albums of 2019, Part 1: 50-26”
Band: Perséide | Album: Parmi les arbres | Genre: Psychedelic rock, Progressive rock | Year: 2019
From: Trois Rivières, Canada | Label: Independent
For fans of: The Moody Blues, Yes, Ange, early Pink Floyd
Buy: Bandcamp | Apple Music
Much of the non-metal featured on this site has its roots planted firmly in the years of 1971-73. That fact is neither inherently good nor inherently bad, but it does lead to the prevalence of certain tropes and trends. Perséide’s roots extend a few years further back. Instead of harkening to prog giants like Genesis or Yes, their music stems most obviously from late ‘60s psychedelia and proto-prog, a la The Pretty Things or The United States of America.
This Quebecois quintet is not wrapped entirely in the past, though. On Parmi les arbres (Among the Trees), modern touches of indie rock are present. These influences make the music feel like a vibrant descendent of ‘60s psychedelia, rather than a rehash. Continue reading “Album Review: Perséide – Parmi les arbres”
Band: Garcia Peoples | Album: One Step Behind | Genre: Psychedelic rock, Progressive rock, Krautrock | Year: 2019
From: Rutherford, (NJ,) USA | Label: Beyond Beyond Is Beyond
For fans of: The Grateful Dead, Gong, The Moody Blues
Buy: Bandcamp | Amazon | Apple Music
Garcia Peoples’ 2018 debut album, Cosmic Cash, easily made my personal top 10 of last year, with its mixture of inventive song structures, psychedelic textures, and fun, loose garage rock atmosphere. Their album from March of this year, Natural Facts, while enjoyable, didn’t quite hit the same highs as their debut. It was more overtly folk-influenced, with significant touches of Americana. It seemed they were charting out a trajectory reminiscent of the Grateful Dead. With this context, this album took me by surprise.
One Step Behind is nearly 40 minutes long but contains only two songs, one of which stretches over half an hour. There remain ample doses of Dead-like jangly guitars, but the band have also included krautrock-like meditation and repetition, as well as technical guitar and keyboard lines I would expect from the likes of Yes. Continue reading “Album Review: Garcia Peoples – One Step Behind”
Band: Handwrist | Album: The Golden Swan | Genre: Progressive rock, Zeuhl, Avant-garde rock | Bandcamp
The Golden Swan was originally envisioned by its composer to have a choir sing in Basque and for there to be symphonic orchestration. Due to budgetary and logistical constraints, these ambitions had to be shelved, but the result is a distinct blend of rock, jazz, and classical music, nonetheless. The four movements of this album flow together seamlessly. Elements of the Canterbury sound are evident, and the jazzy atmosphere makes me think this would have been even better had it been recorded as originally intended. Moments on this album do meander, but those shortcomings are well worth it.
Score: 76/100 Continue reading “Odds & Ends – October 21, 2019”