This Czech quintet play a noisy, chaotic blend of post-punk and prog. They make me think of a rawer, noisier Atsuko Chiba, or a more progressive Viet Cong/Preoccupations. Glassy synthesizers shine against jagged guitars, and the compositions twist and surge in exciting ways. Math rock flourishes are common, and squealing guitars contrast against a buzzing background. There are other surprising moments: the keys in the instrumental “Skelněná Krajina” give a feeling not unlike video game music at times, and the sprawling “Ken Kesey” features some electronic inclusions.
Artist: Aurora Ferrer | Album:Night Oracles and Falling Stars | Genre: Art rock, Electronic rock | Bandcamp
This album, while not strictly prog, is evocative of many prog and prog-related acts. The pulsing electronics are usually krautrock-y in nature, and the overall atmosphere is akin to acts like Kate Bush, Peter Gabriel, and Pure Reason Revolution. The compositions are dense, creative, and driving. Particularly praiseworthy are the varied yet cohesive textures in each composition; the album has a distinct feel to it, but no two songs are quite alike.
Normally, I try to cover albums released within the last year or so on this site. I do make exceptions, with my occasional entries in my Deep Dive and Lesser-Known Gem series. This particular album, however, falls into something of an odd spot. Released in mid-2014, Muzykal’nye Vibratsii isn’t quite old enough for my completely arbitrary cut-off date of 20 years for Lesser-Known Gems. But it is certainly lesser-known, and it’s definitely a gem.
Looking at this album cover and listening to the music on this record, it’d be understandable if you mistook this for some underground, avant-garde release from somewhere between 1978 and 1985. But that is an aesthetic multi-instrumentalist Konstantin Zed purposely cultivated on his debut album. The Bandcamp page for this album describes it as art-punk, which, despite few punky moments, is oddly fitting. It draws heavily from the artsier side of post-punk and new wave.
Kayo Dot have long been one of the more amorphous acts in the progressive rock and metal scene. There’s often a great deal of variation between their individual albums, with their last couple releases being relatively soft and synth-heavy. Compare that to their vaunted debut, Choirs of the Eye, where the band started off as an avant-garde metal act. Of late, though, they’ve been incorporating more and more influences from the 1980s, particularly post-punk and gothic rock.
This fusion continues on Blasphemy, the band’s ninth studio album. This release also sees Kayo Dot reviving a bit of their metal roots. I would not call this a metal album, but it’s their most aggressive record in a while. Those heavier tones complement the coldness of the goth influences, and bandleader Toby Driver has managed to write another distinct album. Continue reading “Album Review: Kayo Dot – Blasphemy”→
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”→