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.
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”
Band: Ak’chamel, The Giver Of Illness | Album: The Totemist | Genre: Krautrock, Psychedelic folk | Bandcamp
The Totemist is a swirl of ritualistic atmosphere and repetition. The murky aura augments the contrasts between the sharp notes of the acoustic instruments and the omnipresent, sinister drone. The compositions morph in naturalistic ways, and subtle touches of jazz are worked in amid the faux-shamanic folk, resulting in something quite creative.
Band: Cthulhu Rise | Album: Last | Genre: Progressive rock, Jazz-fusion | Bandcamp
This instrumental Ukrainian band reminds me a lot of Liquid Tension Experiment. The roots of the act’s sound clearly derive from Dream Theater-style melodic prog metal, but jazz plays a large role here too. The individual musicians flaunt their chops on the three songs here, but the soloing always comes off as purposeful. Each track is full of surprising twists and turns, with few ideas sticking around for more than about a minute at a time. Somehow, it avoids feeling disjointed.
Score: 84/100 Continue reading “Odds & Ends – March 9, 2020”
Band: Atsuko Chiba | Album: Trace | Genre: Progressive rock, Math rock, Post-punk, Post-rock | Year: 2019
From: Montreal, Canada | Label: Mothland
For fans of: The Physics House Band, The Mars Volta, early Portugal. The Man, Cardiacs
Buy: Bandcamp | Amazon | Apple Music
The 1980s produced a lot of very good music. I’ve got a soft spot for some synthpop, and I love genres like new wave and post-punk. However, that decade, particularly its latter half, was not especially kind to progressive rock. In the current musical landscape, though, both progressive rock and post-punk are on the cultural and creative upswing. Occasionally, there is the rare nexus of both those genres’ revivals. Atsuko Chiba are one such nexus.
On Trace, their second full-length release, this Quebecois quintet lean into the dark, jagged rhythms of bands like Joy Division and Wire while mixing these influences with the complexity and technicality of math rock. Ample synthesizers, inventive melodies, and nonlinear song structures add to their prog bona fides. Continue reading “Albums Review: Atsuko Chiba – Trace”