Album Review: Dreadnought – The Endless

Band: Dreadnought | Album:The Endless | Genre: Progressive metal, Post-metal | Year: 2022

From: Denver, USA | Label: Profound Lore

For fans of: Tool, Neurosis, Panopticon, Baroness

Denver’s Dreadnought are back with their fifth full-length album, The Endless. Their previous release, 2019’s Emergence, was a wonderful evolution in their sound. It demonstrated continuity with the sounds of their prior records while also being distinct within their discography.

In many ways, my assessment of The Endless is pretty similar. This album sees the band moving slightly away from their doom metal roots and incorporating a greater amount of post-metal influence. The band continues to demonstrate excellent compositional skill, and the interplay of the dual vocalists is wonderful. The songs here are slightly terser than usual, with none topping 10 minutes.

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Album Review: Regal Worm – Worm!

Band: Regal Worm | Album:Worm! | Genre: Progressive rock, Psychedelic rock | Bandcamp

From: Sheffield, UK | Label: Quatermass

For fans of: Caravan, Diagonal, Egg, Perilymph

Bandcamp

Jarrod Gosling (also known by the alias of Varrod Goblink) is back with another album under the Regal Worm moniker. Last year’s The Hideous Goblink was a wonderful piece of buzzy, progressive psychedelia with a clear sonic throughline.

On Worm!, Regal Worm’s fifth full-length release, the sound palette is a bit more diverse, but this pays dividends. While the songs don’t flow together seamlessly like on the last Worm release, there’s still a unique energy to Gosling’s music. The overall feel of Worm! Is lighter and more playful than its predecessor; there’s no 19-minute opus called “The Satan” on this one.

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Odds & Ends: September 6, 2022

Band: General Admin | Album: techno techno techno techno | Genre: Math rock | Bandcamp

Leave it to a math rock band to have such an odd album title. (Then again, I might be disappointed by a math act giving a record a straightforward name.) The four tracks on this EP are energetic, anxious, yet also fun. The riffs are flashy, of course, and many of the melodies are surprising. It’s a to-the-point release that comes in, makes a statement, and does its job well.

Score: 77/100

Band: Gospel | Album: MVDM | Genre: Progressive rock | Bandcamp

MVDM is made up of just the titular 21-minute song (which actually has a much longer full title). The song was originally written back in the mid-2000s but lay unfinished for over a decade. This epic features lush, languid synths, technical, mathy riffs, and impassioned hardcore punk-style vocals. The song is exhilarating and features a ton of raw intensity.

Score: 91/100

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Album Review: Ashenspire – Hostile Architecture

Band: Ashenspire | Album:Hostile Architecture | Genre: Avant-garde metal | Year: 2022

From: Glasgow, UK | Label: Aural Music

For fans of: Ulcerate, Tomarum, Arcturus, Deathspell Omega

Bandcamp

Certain albums click with me immediately. Some of them I wind up absolutely loving, like Moura’s self-titled or Papangu’s Holoceno. Others fall from my graces fairly quickly, like Hand. Cannot. Erase. or Devin Townsend’s Deconstruction. Yet other releases, meanwhile, take a while to sink in. Even if I didn’t totally love it on the first listen, I keep feeling drawn back to it; and on subsequent spins, my enjoyment only grows deeper.

The second full-length album from Scotland’s Ashenspire is one of those albums that really grew. On the first listen, I liked it. It’s an incredibly dense record, so I knew I was going to need to revisit it. By the third time I made my way through this opus, it had become a serious contender for my album of the year. The blend of black metal and avant-garde influences is incredible, and the raw anger of this record truly shines through.

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Album Review: The Light in the Ocean – Deep Reef Dream

Band: The Light in the Ocean | Album: Deep Reef Dream | Genre: Progressive rock, Progressive metal | Year: 2022

From: Minneapolis, USA | Label: Independent

For fans of: Devin Townsend, echolyn, Spock’s Beard, Transatlantic

Bandcamp

The Light in the Ocean is a Minneapolis-based quartet with a penchant for sea life. Both this record and their prolix 2020 album–The Pseudo-Scientific Study of Oceanic Neo-Cryptid Zoology–have featured cephalopods on the album art; and their 2019 debut heavily focused on seafaring. I wouldn’t have expected such themes from a band based in a landlocked state. (Then again, many a Hawkwind song is about space, yet they live on Earth.)

The music on Deep Reef Dream feels like a logical next step in their sound, based on what I heard on their last album. This release has more heavy moments than its predecessor, and the band has fully integrated both violin and trumpet into their songwriting. The music remains both complex and accessible, though. The album is also much less lyrically-focused, with six of the nine songs being instrumental.

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Album Review: Phaneronaut – Anabasis

Band: Phaneronaut | Album:Anabasis | Genre: Zeuhl, Post-rock, Progressive electronic | Year: 2022

From: Munich, Germany | Label: Independent

For fans of: Magma, Pink Floyd c. 1969, Dreadnaught, Faust

Bandcamp

Phaneronaut is a one-man project out of Germany with an inclination for weird, experimental electronics and sharp contrasts in tone. In the three years the project has been active, they have been quite prolific, so I have not listened to their whole back catalog. What I have heard, though, is strongly reminiscent of early krautrock acts, often landing somewhere between Neu! and The Cosmic Jokers.

This album, then, marks something of a shift in Phaneronaut’s sound. Originally envisioned as having two contrasting halves–a “wood” side and a “metal” side–the project evolved into something else, though the “metal” concept remained. Thus, where previous works are synth heavy and quite electronic, Anabasis features sounds (synthesized or otherwise) that use metal in their production. So the celestial synths of earlier works are reduced, and now there are much earthier tones, meant to portray a (possibly hallucinatory) journey to heaven.

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Album Review: Louison – Magnetic Feel

Artist: Louison | Album: Magnetic Feel | Genre: Jazz-fusion, Math rock, Progressive electronic | Year: 2022

From: Paris, France | Label: Independent

For fans of: newer Ozric Tentacles, Return to Forever

Bandcamp

Louis de Mieulle is a multi-instrumentalist and composer I’ve previously covered twice on this site. Since his last outing, there have been a few changes. He’s moved from the US back to France and rebranded as “Louison.” His new album, Magnetic Feel, is much more electronic and synth heavy than either of his Sideshow albums. He also performs (almost) all the instruments, whereas those two prior releases were recorded with bands. This solo approach has also forced him to be more structured in his songwriting, and considering some of my comments on Sid€show 2, that’s probably a net good.

Not everything is different on Magnetic Feel. Though de Mieulle bills this album as “cyberprog” and “retrofuture,” there is a grounding in jazz-rock, math rock, and the contemporary prog scene. Like the two Sideshow albums, this is entirely instrumental, and there’s a strong sense of sonic continuity across the ten songs here.

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Odds & Ends: August 1, 2022

Band: Bekor Qilish | Album:Throes of Death from the Dreamed Nihilism | Genre: Black metal, Progressive metal | Bandcamp

Bekor Qilish is a one-man project hailing from Italy. The songs are full of high-energy shredding, technical soloing, and some really great keyboard textures. The production is fantastic, as well. This release (the title of which is impressively cliche for the famously-verbose world of one-man black metal projects) clocks in at under 30 minutes, and that works in its favor. There is absolutely no fat to trim, even in the sprawling and atmospheric closing track.

Score: 85/100

Band: Birth | Album: Born | Genre: Progressive rock, Psychedelic rock | Bandcamp

I really liked Birth’s self-titled EP last year, and their debut LP contains rerecorded versions of those three songs. The album as a whole is a bit mixed, however. Songs like “Cosmic Tears” and “For Yesterday” are fun, engaging slices of retro-prog. They’re obviously going for the sounds of 1969, but it’s well-enough played and written that I don’t mind. But then others, like “Descending Us” and “Another Time” lack that spark, making the retro sound feel more like a crutch. Overall, there’s a lot to like here, but it’s not without its drawbacks.

Score: 70/100

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Album Review: black midi – Hellfire

Band: black midi | Album:Hellfire | Genre: Avant-prog | Bandcamp

From: London, UK | Label: Rough Trade

For fans of: Frank Zappa, Magma, Cardiacs

Bandcamp

Last year, black midi made a fairly big shift in their sound. They moved away from the post-punk sounds of their debut and instead dove headlong into progressive and avant-garde rock. Cavalcade is a fantastic record that brims with anxious energy, and Hellfire feels like a natural evolution.

The music on this record is powerful and befits its title perfectly. The band has described their new album as an “action film,” and the songs here are exhilarating enough to match that description. The lyrics are action-packed as well, often presented as hellish or dystopian narratives. Tight riffs full of jazz and math-rock touches permeate this album alongside odder inclusions, like country and showtunes.

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Album Review: Porcupine Tree – Closure/Continuation

Band: Porcupine Tree | Album:Closure/Continuation | Genre: Progressive rock | Year: 2022

From: Hemel Hempstead, UK | Label: Music for Nations

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After years of waffling back and forth over whether or not he’d ever revive the band, Steven Wilson has brought Porcupine Tree back to life. While Porcupine Tree remained in limbo, Wilson remained in regular contact with both drummer Gavin Harrison and keyboardist Richard Barbieri. However, Wilson lost touch with bassist Colin Edwin, so he does not appear on this album. Instead, Wilson handles all the bass parts himself.

The title for this album is quite fitting. I honestly doubt Porcupine Tree are going to record another album together. Wilson’s increasingly poppy solo career belies that heavy progressive rock probably isn’t what he wants to focus on now. And Harrison has stated that his style of drumming is very physically demanding, and he’s unsure how much longer he can continue playing this style of music. The band’s ambiguous position following The Incident left pretty much everyone unsatisfied, so this album feels like a way for Wilson to close the book on Porcupine Tree on his own terms.

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