Odds & Ends: April 4, 2022

Band: Besna | Album:Zverstvá | Genre: Post-metal | Bandcamp

Besna hails from Slovakia, and they play a variety of melodic black metal and post-metal which artfully weaves together multiple musical ideas. Each of the six songs on this album sprawl without being overlong. The passages blend together seamlessly, and the emotional intensity makes these tracks that much more impactful. I’m also glad that this band sings in their native language, as I quite like the sound of Slovak (and Czech, since they sound so similar, aside from that terrible ř sound the Czechs have).

Score: 82/100

Artist: Tanshuman Das | Album: Progress Report | Genre: Progressive metal, Progressive rock | Bandcamp

Tanshuman Das is a bassist and composer from India who writes music in the vein of ‘90s Dream Theater and similar acts. The music on Progress Report is epic, dramatic, and cinematic. The compositions are intelligently-assembled, and the playing is skillful. This album is a bit longer than it needs to be, but that’s a pretty common issue in this style of music. Overall, though, this is a fun, enjoyable release.

Score: 75/100

Continue reading →

Album Review: Humanotone – A Flourishing Fall in a Grain of Sand

Band: Humanotone | Album: A Flourishing Fall in a Grain of Sand | Genre: Progressive metal, Heavy psych, Stoner metal | Year: 2022

From: Coquimbo, Chile | Label: Independent

For fans of: Elder, Howling Giant, Avandra

Bandcamp

Searching “progressive rock” or “progressive metal” on Bandcamp (my primary means of finding new music) will yield an abundance of stoner acts labeling themselves as prog. Most are nothing special. Songs running 19 minutes does not a prog record make. To be sure, though, there are examples of bands that take the stylistic trappings of stoner rock and successfully meld it with the technical skill and structural ambition of progressive rock. Elder is probably the best-known example, but I’ve covered others, such as Howling Giant and Little Jimi.

Humanotone, a project based out of Chile devised by sole member Jorge Cist, is another strong example of a stoner metal-based act that makes complex, intelligent music. Compared to their rough-around-the-edges 2017 debut, A Flourishing Fall in a Grain of Sand is much more refined. The songs are put together well, and the individual elements of these long compositions flow together smoothly.

Continue reading →

Album Review: An Isolated Mind – A Place We Cannot Go

Band: An Isolated Mind | Album:A Place We Cannot Go | Genre: Post-rock, Drone, Avant-garde metal | Year: 2022

From: San Francisco, USA | Label: Independent

For fans of: Godspeed You! Black Emperor, Boris’s droney stuff

Bandcamp

An Isolated Mind is a one-man project based out of San Francisco. This act plays a chilling, lonely-sounding variety of experimental rock and metal. At one moment, the music may be a screaming wall of Arctic-cold guitars; and the next, it may be a gentle acoustic passage with alluringly warm keys and woodwinds.

I covered their debut album, I’m Losing Myself, in 2019, and I quite liked it. I was not the biggest fan of the pair of long drone experiments at the end of that record, but the preceding music was strong enough that I still put it on my year-end best-of list. A Place We Cannot Go is in the same musical vein, but there are obvious distinctions. This new release is less metallic, more contemplative, and better-focused.

Continue reading →

Album Review: Krallice – Crystalline Exhaustion

Band: Krallice |Album:Crystalline Exhaustion | Genre: Progressive metal, Black metal | Year: 2022

From: Queens, USA | Label: Independent

For fans of: Kayo Dot, Kekal, Mgła

Bandcamp

Krallice, a New York-based quartet, are stalwarts of the experimental/progressive black metal scene. From their self-titled debut in 2008 to now, they have consistently put out high-quality music, and each album has had its own distinctive hallmarks.

Crystalline Exhaustion is the band’s eleventh full-length release. I haven’t listened to their previous album (2021’s Demonic Wealth), but I did enjoy their 2020 release, Mass Cathexis. Crystalline Exhaustion continues in their general vein of spaced-out, proggy black metal.

Continue reading →

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 →

Odds & Ends – December 13, 2021

Band: Agusa | Album: En annan värld | Genre: Progressive rock | Bandcamp

This instrumental Swedish act does a great job of weaving themes and ideas together into a coherent, engaging whole. The first of these two epics draws noticeably from the rich jazziness of Camel, and there’s an engaging blues jam which hearkens back to Pink Floyd’s Atom Heart Mother era output. The second song starts as a slow organ jam, again reminiscent of early Pink Floyd. Swedish folk motifs are woven in artfully, and the whole listen is quite satisfying.

Score: 80/100

Band: A Formal Horse | Album: Meat Mallet | Genre: Progressive rock, Avant-prog | Bandcamp

The sophomore album from this English act has plenty of strange musical passages and striking vocals. Progressive metal influences are obvious in the powerful, hard-hitting riffs. Many of these songs have a sense of impending doom to them, with their vague lyrics and aggressive atmospheres. Despite the many unorthodox riffs, strange word choices (look no further than the song “I’m a Lasagne”), and overall unpredictability, I don’t think this album would be off-putting for someone new to this style of music. The band clearly has a good ear for catchy hooks and surprising twists that keep the listener invested.

Score: 84/100

Continue reading →

Album Review: Cynic – Ascension Codes

Band: Cynic | Album: Ascension Codes | Genre: Progressive metal, Progressive rock, Jazz-fusion | Year: 2021

From: Miami, USA | Label: Season of Mist

Bandcamp

Cynic is one of my absolute favorite progressive metal bands. They’ve got a singular sound that weaves together death metal, jazz, and astral progressive rock. Though they have drifted away from explicit death metal after their 1993 debut, their evolution has been natural, and they’re still recognizably the same band.

Ascension Codes is the band’s fourth full-length album and the first since the untimely deaths of founding drummer Sean Reinert and longtime bassist Sean Malone. These two are sorely missed, but the musicians assembled by guitarist/vocalist Paul Masvidal pay fitting tribute to the unique styles and incredible skills of their predecessors. Notably, instead of utilizing a bass guitarist, the bass parts here are all played on a synthesizer, which lends a unique character to this album in the context of Cynic’s discography.

Continue reading →

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

Bandcamp

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: Huntsmen – Mandala of Fear

Band: Huntsmen | Album: Mandala of Fear | Genre: Progressive metal, Post-metal, Doom metal | Year: 2020

From: Chicago, USA | Label: Prosthetic Records

For fans of: Panopticon, Pallbearer, early Mastodon

Bandcamp

I’ve got mixed feelings on the term “folk metal.” On one hand, you can have some genuinely creative fusions, while on the other hand you have schlock like Korpiklaani. (Korpiklaani are very fun in a live setting, but there’s no denying they are extreme schlock.) Over the last decade or so, there have been some uniquely American attempts at folk metal. Almost all of these have been made with a straight face, in contrast to many of the campier European acts (the aforementioned Korpiklaani, Finntroll, etc.). Panopticon, with their intertwining of black metal and bluegrass, is likely the best-known example, and I’d argue for including Zeal & Ardor’s Satanic spirituals under the “folk metal” umbrella.

Huntsmen’s Americana influences are less in-your-face than either Panopticon or Zeal & Ardor, but they’re nonetheless present in the band’s vocal arrangements, melodic choices, and electric-acoustic contrasts. This Chicagoan quintet also bases their sound in doom metal and post-metal, as opposed to the more common folk metal template of black metal.

Continue reading →