Album Review: Wobbler – Dwellers of the Deep

Band: Wobbler | Album: Dwellers of the Deep | Genre: Progressive rock | Year: 2020

From: Oslo, Norway | Label: Karisma Records

For fans of: Yes

Wobbler are indisputably one of the top dogs of the modern progressive rock scene, and I quite like them. However, I view them as one of the most overrated acts out there. They’re certainly not bad, not by a wide margin. Nevertheless, From Silence to Somewhere (their 2017 release) is ranked 28^th all-time on Prog Archive’s list of the top prog albums, which is ridiculous. It’s a very good record which cracked my personal Top 10 that year, but it certainly ain’t the 28^th-best prog album of all time. At time of writing, Dwellers of the Deep ranks 52^nd on that same list, and that’s even more egregious. (That list, aggregated off user reviews, has all kinds of other odd inclusions and exclusions, and I’ve got my own gripes about that site’s users’ biases.)

I also find the progosphere’s eager deference to this band off-putting, and I’ve witnessed an awful lot of hand-waving at just how Yes-y they’ve become over their last few albums. Their Yes-iness isn’t an inherently bad thing. Rites at Dawn is my favorite of their records, and that is arguably their most blatantly Yes-like release. But after a while, such obvious aping of another act’s sound does begin to wear thin, and Yes varied their sound more than Wobbler have. To reiterate: I like Wobbler, but I don’t view them through the same irreproachable lens that many other prog fans seem to hold.

Now that I’ve gotten my expository rant out of the way, I can address the album at hand. Dwellers of the Deep is this Norwegian quintet’s fifth full-length release. Upon first listening to it, I was struck by the fact that I could identify no appreciable differences between this album and From Silence to Somewhere. The sound palette hasn’t been shaken up, the albums’ structures are similar, and the melodies feel too familiar—bordering on re-trod. However, the strength of Wobbler’s baseline sound is such that even with these considerations in mind, Dwellers of the Deep is still a pretty good record. Not amazing, but pretty good and worth listening to.

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Odds & Ends – November 16, 2020

Band: Arcade Messiah | Album: The Host | Genre: Progressive rock, Progressive metal | Bandcamp

Arcade Messiah is a one-man project out of Ireland that mixes progressive rock and metal with earworm melodies and intriguing electronic touches. Hints of post-rock and stoner metal permeate this album, and each song works wonderfully with the next. This release reminds me a lot of ADHD-era Riverside with its strong hooks, varied textural palette, and adventurous spirit. The Host artfully threads the needle in a way that many acts are unable to. This album strikes a balance of metallic bombast and smooth melodicism.

Score: 89/100

Band: Babel Trio | Album: The Martyr | Genre: Stoner metal, Progressive metal, Greek folk | Bandcamp

I’ve previously discussed this Cretan trio, and I found their blend of Greek folk melodies, progressive songwriting, and sunbaked fuzz truly refreshing. In lieu of guitar, the lead instrument in this band is a modified electric lute, which imbues the songs with a unique timbral quality. The Martyr took a bit longer for me to get into than their previous album, but it gradually grew on me over several listens. This distinctly Hellenic stoner metal kept drawing me back in with its uncommon melodies and well-structured compositions. Compositions range from charging to plodding, and that diversity of atmosphere serves this record well.

Score: 80/100

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Album Review: Acid Mess – Sangre de Otros Mundos

Band: Acid Mess | Album: Sangre de Otros Mundos | Genre: Psychedelic rock, Progressive rock | Year: 2020

From: Asturias, Spain | Label: Spinda Records

For fans of: Mezquita, The Mars Volta, Fuzz

Bandcamp

I’ve discussed Spinda Records and their consistently high-quality underground prog and psych before. Moura’s self-titled debut—released by Spinda in March—might just wind up being my album of the year, but my year-end list is still taking form. The latest release from this label is the third album from Acid Mess, Sangre de Otros Mundos (Blood of Other Worlds).

The album opens with “El Reflejo de Su Piel” (“The Reflection of Your Skin”). The first half of this song is slow and atmospheric: clean guitar echoes as a squiggly, fizzy synth line winds its way beneath. That suddenly erupts into a distinctly Spanish guitar riff imbued with metallic aggression. Handclaps add a distinct textural element, and swirling organ, though low in the mix, makes everything feel fleshed-out.

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Album Review: Xander Naylor – Continuum

Artist: Xander Naylor | Album: Continuum | Genre: Progressive rock, Jazz-fusion, Post-rock | Year: 2020

From: New York, USA | Label: Chant Records

For fans of: Return to Forever, early Frank Zappa, Magma, The Mars Volta

Bandcamp

There is no shortage of instrumental EPs and albums put out by guitarists. Many of these releases tend to be self-indulgent and focused on technical soloing. Because of that trend, it’s always a refreshing change of pace when I run across someone like Xander Naylor, who functions more as a composer who just so happens to play guitar, rather than a guitarist composing pieces for his instrument.

Continuum is Naylor’s debut full-length record, and it reminds me of Steve Hackett’s solo material. Not so much in sound, but more so in that while there’s plenty of skillful instrumentalism, it isn’t to the neglect of structure or vision.

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Album Review: Garcia Peoples – Nightcap at Wits’ End

Band: Garcia Peoples | Album: Nightcap at Wits’ End | Genre: Progressive rock, Psychedelic rock | Year: 2020

From: Rutherford (NJ), USA | Label: Beyond Beyond Is Beyond

For fans of: The Grateful Dead, early King Crimson, Procol Harum, Uriel, Spirit

Bandcamp

Nightcap at Wits’ End—the fourth album from Garcia Peoples—shows the band’s continued evolution and refinement of their sound. Their first two albums were psychedelic garage rock pieces with some underlying prog leanings. One Step Behind (their third release) was centered around a 32-minute krautrock opus. This record dials back the scale of things, with only one song topping seven minutes.

The sound presented here is also something of a middle ground between their first three releases. This is undoubtedly a progressive rock album, but it hearkens back to the very earliest days of progressive rock, when the lines between psych and prog were even blurrier than they currently are. It draws a great deal of influence from those first prog bands, such as The Moody Blues, the first King Crimson lineup, and early Canterbury acts like Egg/Uriel.

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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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Album Review: Wills Dissolve – Echoes

Band: Wills Dissolve | Album: Echoes | Genre: Death metal, Progressive metal, Progressive rock | Year: 2020

From: Houston, USA | Label: Hypnotic Dirge Records

For fans of: Opeth, Isis, Enslaved

Bandcamp

Album-long songs have a rich tradition in progressive metal. Edge of Sanity’s 1996 album Crimson is the best-known of these, but Inter Arma, Meshuggah, and others have dabbled in this format. And that’s not even touching on the countless albums where the individual tracks flow together. And while any band can put a 30-plus-minute track to record, it takes another level of skill to make it consistently good. A good album-long song needs to make sense as one song, as opposed to feeling like a handful of short songs smooshed together.

Echoes—the second release from Houston-based quartet Wills Dissolve—consists of solely the 32-minute title track. The swirling, psychedelic black hole cover art is fitting for this record. The music is huge and intergalactic, yet immensely heavy and crushing.

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Lesser-Known Gem: Armando Tirelli – El Profeta

Artist: Armando Tirelli | Album: El Profeta | Genre: Progressive rock, Jazz-rock | Year: 1978

From: Uruguay | Label: SEM Label

For fans of: Rick Wakeman, Premiata Forneria Marconi

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It’s been a while since I posted a Lesser-Known Gem entry. There’s been a ton of fantastic music released lately, and I can’t keep up with all of it, but there have always been great albums that simply get missed. El Profeta is one of those records. Released in 1978, this album failed to get much traction outside of Uruguay at its release, or in following years.

Armando Tirelli, prior to releasing his solo album, was the keyboardist for the Uruguayan jazz-rock group Sexteto Electrónico Moderno. SEM was not a prog band, but there were ample classical and jazz influences. I’m no expert in South American music (so I can’t specify genres), but SEM also had a distinctly South American feel to their music. Tirelli would use a lot of that classical and jazz experience when composing El Profeta.

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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.

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Odds & Ends – September 14, 2020

Band: The Garin | Album: The Garin | Genre: Progressive rock | Bandcamp

The Garin hail from Kazan, Russia, and the band mixes prog, psych, and indie rock into an enjoyable package. This EP has four songs which bounce and twist energetically. Jazzy rhythms frequently crop up, and cosmic synthesizers often get a starring role. The vocals are a bit weak, but beyond that, the compositions are strong. “Yurei” is simultaneously influenced by shoegaze and ‘80s thrash metal, which makes for a unique experience, and “Duomo” closes the recording out with a guitar solo that evokes the best moments of ‘90s Pink Floyd.

Score: 79/100

Band: Hail Spirit Noir | Album: Eden in Reverse | Genre: Progressive metal, Progressive rock | Bandcamp

Hail Spirit Noir have been one of my favorite metal acts since they debuted with Pneuma in 2012. Mayhem in Blue, their 2016 release, was the only album to give Terminal Redux a run for its money in my personal best-of list for that year. Their unique synthesis of black metal and late-60s psychedelic rock and folk has been nothing short of brilliant. On Eden in Reverse, HSN has brought their sound up to the mid-1980s, with rich, creepy synthesizers taking over where swirling organ once dominated. While most of the album is quite strong, it’s definitely their cleanest album to date. I really missed the raw, abrasive black metal fury which was more prominent on their earlier records. The glossy synthesizers often only underscore just how slick everything sounds.

Score: 74/100

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