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

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Odds & Ends – July 12, 2021

Band: BaK | Album:Crater | Genre: Progressive rock, Progressive metal | Bandcamp

BaK is a bombastic Australian act which blends the sound of acts like Pain of Salvation and Dream Theater with Middle Eastern instrumentation and rhythms. The closest parallel to BaK is probably the Tunisian power metal act Myrath, though some of the weaker moments on this EP do remind me of Grorr. The integration of those more exotic influences is done better than most acts who attempt similar genre fusions, but it’s still really tough to not come off as corny.

Score: 71/100

Artist: Christian Cosentino | Album: Lawn | Genre: Progressive metal | Bandcamp

This proggy atmospheric black metal album makes extensive use of lush, programmed orchestration. Many parts of this record feature piano as a co-lead instrument alongside guitar, and strings are almost always present. Normally I’m not the biggest fan of this type of arrangement, but I credit the success here to the fact that he went in a more atmospheric direction, instead of something more traditionally proggy, technical, and overblown.

Score: 81/100

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Odds & Ends – June 7, 2021

Band: Caligonaut | Album: Magnified as Giants | Genre: Progressive rock | Bandcamp

This solo project from guitarist Ole Michael Bjørndal features members of Wobbler in supporting roles, most notably in backing vocals. The vocal arrangements, combined with the Mellotron-focused compositions, make this a very Wobbler-y album. This project is what I had hoped Dwellers of the Deep would have been. While no individual track rises to the same level as “Merry Macabre”, this is a far stronger overall release. The four songs sound well-planned and finely-honed. It’s hardly groundbreaking stuff, but it is consistent, enjoyable, and well-formed progressive rock in the classic Anglo-prog vein.

Score: 86/100

Band: Coevality | Album: Multiple Personalities | Genre: Progressive rock, Jazz fusion, Math rock | Bandcamp

All the individual songs on this record are strong in their own right. The musicianship is fun and flashy without being too indulgent, and the band draws from a nice tonal palette. However, when packaged into a full-length record, it just feels too long. After about 10 or 15 minutes I find myself losing interest. Perhaps someone more into jazz would enjoy this record more than I do.

Score: 67/100

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Odds & Ends – October 12, 2020

Band: Days Between Stations | Album: Giants | Genre: Progressive rock | Bandcamp

Though technically not a member of the band, ex-Yes multi-instrumentalist Billy Sherwood produced and contributed heavily to this album. This band is extremely Yes-y, almost to the point of distraction. It’s a skillful aping of Yes’s sound, but it does leave me wanting a bit more originality at moments. I’m also not wild about Sherwood’s production; this album sounds thin and washed-out. However, if you’re craving something in the vein of (good) ‘90s Yes, these guys are a decent way to scratch that itch.

Score: 70/100

Band: Enslaved | Album: Utgard | Genre: Progressive metal | Bandcamp

This is certainly an Enslaved album. It’s melodic black-ish metal with frequent intrusions of harmonized clean vocals and prominent keyboards. Enslaved’s albums tend to grow on me over time, but they’re also often structured significantly differently. This record feels like Enslaved are trying to be more accessible. The songs are shorter than usual, and the band’s black metal background is played down. When RIITIIR (my favorite release from this band) came out, it didn’t click with me at first, but I felt the itch to revisit it. I don’t think I’ll be having much urge to put this album on repeat.

Score: 72/100

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Odds & Ends – April 13, 2020

Band: Catapulco | Album: Pulpo | Genre: Progressive rock, Hard rock | Bandcamp

Pulpo, the second album from German band Catapulco, opens with the 17-minute suite “Sina”. On both this song and the rest of the album, Catapulco clearly draw inspiration from early ‘70s hard rock acts, and the vocalist’s delivery has an almost Southern twang to it. Much of Pulpo sounds like Molly Hatchet trying to do prog rock. There are some neat ideas on this record, and overall I enjoyed it, but at points it is derivative enough to be distracting. The lyrics also are distractingly trite, but as these guys are non-native Anglophones, I’m more than happy to cut them some slack.

Score: 69/100

Band: Intronaut | Album: Fluid Existential Inversions | Genre: Progressive metal | Bandcamp

I avoided this record for the better part of a month because I confused this band’s name with that of Astronoid, a group I emphatically dislike. Once I realized this mix-up, I gave this a listen, and I was glad I did. The music is pummeling, sludgy, melodic, and exciting. I’m especially impressed with the vocal performance here. My one complaint is that this record feels a tad long. Even if they would have chopped off one song or maybe shaved 30 seconds off every song, I would have enjoyed this release more.

Score: 82/100 Continue reading “Odds & Ends – April 13, 2020” →