Album Review: Diagonal – 4

Band: Diagonal | Album: 4 | Genre: Progressive rock, Space rock | Year: 2021

From: Brighton, UK | Label: Cobblers Records

For fans of: The Soft Machine, Gong, Hawkwind

Diagonal had a quick turnaround between this album and their previous release, 2019’s Arc. Compare that timeline to the five-year gap between their self-titled debut and their sophomore album, or to the seven-year hiatus following that. Needless to say, I’m glad they’re putting out music at a brisker pace than they have in the past

I’m also glad that 4 is an improvement over Arc. Arc wasn’t bad by any means, but good chunks of it felt unfocused or needlessly drawn-out. On this new release, the band sounds energized and full of new ideas, and that musical vigor shines through in the five compositions present here.

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Odds & Ends: October 4, 2021

Band: Ars de Er | Album:Other Side | Genre: Progressive rock, Avant-prog | Bandcamp

Ars de Er’s last album leaned heavily into avant-prog and RIO, but Other Side is a little more grounded in “traditional” prog. There are especially strong echoes of Porcupine Tree’s heavier stuff, like Fear of a Blank Planet. This album still has plenty of influences from jazz and modern classical music, which makes the overall palette well-balanced and diverse.

Score: 74/100

Band: Bantamweight | Album: Sounds + Haptics | Genre: Experimental rock | Bandcamp

This is a loud, unsubtle record. The mixture of metal, rock, and electronic elements are utilized to pummel the listener. It’s an intense listen, so in this case the album’s short runtime (only 29 minutes) is a virtue. A runtime of more than 30 minutes would have run the risk of becoming too exhausting. Beyond the intensity, the compositions are creative and full of great textural contrasts. The vocals are powerful and impassioned, and the array of synth tones are able to conjure a wide ray of moods and emotions.

Score: 80/100

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Album Review: Kesem – Post-Terra

Band: Kesem | Album:Post-Terra | Genre: Progressive rock | Year: 2021

From: Los Angeles, USA | Label: Sentient Recordings

For fans of: Astra, Gong, Hawkwind, early Pink Floyd

Bandcamp

Kesem’s debut EP was my EP of the year for 2020. It was a mind-bending trip of 21 minutes that blended progressive rock and space rock with the rawness and energy of classic garage rock. The songs on that EP feature sudden shifts in tone, texture, and mood; and the ample deployment of trumpet made them stand out.

Their first full-length-release, Post-Terra, follows in the same path as their self-titled EP. It feels more polished with smoother edges than its predecessor, but that doesn’t mean the sound is watered down at all. There’s still plenty of astral odysseys and surprises packed into this album.

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Album Review: The Mask of the Phantasm – New Axial Age

Band: The Mask of the Phantasm | Album:New Axial Age | Genre: Progressive rock | Year: 2021

From: Austin, USA | Label: Independent

For fans of: Bent Knee, The Dear Hunter, The Mars Volta

Bandcamp

It is likely unsurprising that the author of a progressive rock blog is not the biggest fan of punk. Post-hardcore is a variety I’m particularly not fond of (mostly due to the vocals), but post-hardcore is also the variety most often melded with prog. There have been some successes in the realm, most notably The Mars Volta’s earliest releases, but a lot of it fails to tickle my fancy.

The Mask of the Phantasm’s debut is one of those uncommon records which uses post-hardcore in a way which I like. There’s an emotional rawness to New Axial Age, as well, which is absent in a lot of prog. Thomas Pridgen (formerly of The Mars Volta) provides drums on this album, and the raw intensity he brings serves it well. All the members of this band perform excellently, from the impassioned vocals to creative keyboard parts, to the strong compositions provided by their guitarist.

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Odds & Ends: September 6, 2021

Band: Antinode | Album:The Canary the Named the Stars | Genre: Progressive rock | Bandcamp

The three songs on this long EP/short LP are solid, spacey progressive rock with subtle touches of jazz, metal, and indie rock. I’m a big fan of the instrumental tones and textures, and despite the songs’ lengths, they never feel like they’re dragging. There’s significant internal variation on all three tracks, and there’s a natural flow to the way the compositions evolve.

Score: 81/100

Band: Big Big Train | Album: Common Ground | Genre: Neo-prog, Progressive rock | Bandcamp

I have never understood the appeal of Big Big Train. They’ve got the occasional decent song here or there, but I’ve never enjoyed an entire BBT album. They often come off as saccharine and glossy, like a worse version of Spock’s Beard. Maybe I’m too much of a dour Debbie Downer to enjoy such unashamedly major-key music, but the opening “The Strangest Times” exemplifies my lack of fondness for this act. It’s bright, sunny piano-pop that doesn’t strike me as particularly proggy in any definition of the word. Successive tracks are significantly better, though it’s still not exactly my cup of tea. Much of this album comes off as soulless and plain, to say nothing of the bloat. The band sounds stuck in the mid-’90s’ prog scene, a sound which was fine for its time but was rightfully cast aside at the turn of the century. The lushness hobbles the band’s ability to make any real splash, and everything on here has been done much better previously by other artists, often half a century ago.

Score: 51/100

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Album Review: Leprous – Aphelion

Band: Leprous | Album:Aphelion | Genre: Art rock | Year: 2021

From: Notodden, Norway | Label: Inside Out Music

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Leprous are one of the bigger names in the current progosphere. I love their first three albums, and Bilateral, especially, is fantastic. Their sound has changed a lot over the years however, and they’ve moved decidedly away from metal in a manner that has left fan opinions sharply divided.

I have not minced words about my disappointment in Leprous’s recent musical direction. To quote my coverage of their 2019 album, Pitfalls, “This album fucking sucks.” My thoughts on Malina, their 2017 release, aren’t an awful lot kinder. I saw them on tour twice in 2018 (opening first for BTBAM and later for Haken), and the experience was dull, to say the least. Pared-back arrangements and vocalist Einar Solberg going, “Ooh-aah” as pulsing white lights blinded me? Disappointing. Both sets were unvaried in their tonal and dynamic palettes: LOUD-quiet-LOUD-quiet, without any deviations to spice it up. Pitfalls was like a studio version of this experience.

Naturally, I didn’t have high hopes for Aphelion. I was fully anticipating this would be another micro-review, like my coverage of Pitfalls, or an Odds & Ends entry. But I’m familiar enough with the band’s output, and I found enough to discuss, that I could write a full-length review.

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Album Review: Between the Buried and Me – Colors II

Band: Between the Buried and Me | Album:Colors II | Genre: Progressive metal | Year: 2021

From: Raleigh, USA | Label: Sumerian Records

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It’s not often I’m this on top of a new release (only three days out!), but BTBAM are one of my favorite bands. They’ve managed to blend death metal and metalcore with the tonal and structural language of progressive rock to forge a distinct niche for themselves.

The decision to do a sequel to their best-known album 14 years after the fact struck many (myself included) as an odd choice, but I did my best to keep an open mind. I don’t pay attention to lyrics, and harsh vocals barely even register as words to me, so if you’d changed the title to something else, I doubt I’d know this was a sequel. It is undoubtedly a BTBAM album, but there’s not much inherently Colors-y about it.

I’m also glad that this album was released whole, unlike the weird, two-part release of Automata. Automata works better as one unified piece, and it’s a full 10 minutes shorter than Colors II. I’ve read some speculation that that may have been due to interference from Sumerian Records. If true, I’m glad they held back from issuing Colors 1.5 and Colors 2. (And side note–why does Sumerian Records have the Sphinx and Pyramids of Giza as their logo? Couldn’t they have used a ziggurat?)

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Album Review: Perilymph – Tout en Haut

Band: Perilymph | Album:Tout en Haut | Genre: Space rock, Progressive rock, Psychedelic rock | Year: 2021

From: Berlin, Germany | Label: Six Tonnes de Chair

For fans of: early Pink Floyd, Patrick Moraz, Phideaux

Bandcamp

While I purposely use pretty broad, amorphous genre definitions on this site, I generally aim to highlight acts who are musically adventurous or inventive. A common way artists spice up their music is through various forms of contrast. This is especially common in metal and various subgenres which start with “post,” where it’s often a harsh-clean contrast. Another dichotomy occasionally used is an electronic-acoustic one.

I’ve previously covered Perilymph, the brainchild of multi-instrumentalist Fabien de Menou. The band’s last album, Deux, was a wonderful blend of synth-led space-kraut balanced smartly against pared-back acoustic passages. Tout en Haut (Eng. On Top) follows in a similar sonic and textural path.

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Odds & Ends – August 2, 2021

Band: Albion | Album:Pryderi | Genre: Progressive metal, Progressive rock | Bandcamp

Albion is the latest in a long line of acts that take the very English genre of progressive rock and make it sound even more English, with a significant injection of folk. Think of bands like (mid-to-late ‘70s) Jethro Tull and Gryphon. This quartet is quite a bit heavier and more bombastic than any of that first wave of prog-folk-rock acts. There are some neat ideas on this EP, but there’s also just a lot of stuff that sounds like it’s been done before. A lot of this is power metal-based, and I will admit, that’s not my favorite metal subgenre. If you’re into some of the more fun-time, corny folk metal acts out there, you might enjoy this.

Score: 62/100

Band: The Dark Monarchy | Album: All Roads Lead to Rome | Genre: Progressive metal, Power metal | Bandcamp

This album has flashes of brilliance, but it never is able to maintain it for too long. The cheese factor on this album is incredibly high, and most of the songs run together into an unidentifiable mush. The opening track, “I Am Lucifer”, is especially strong, but there isn’t enough here to have this record go on for 45 minutes.

Score: 60/100

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Album Review: black midi – Cavalcade

Band: black midi | Album:Cavalcade | Genre: Avant-prog, Zeuhl, RIO | Year: 2021

From: London, UK | Label: Rough Trade Records

For fans of: Frank Zappa, Magma, ni, John Zorn

Bandcamp

I mostly find my music through searching tags like “progressive metal,” “krautrock,” or “zeuhl” on Bandcamp, and I’ve found that’s a pretty good way to stay abreast of new releases. Some bands, though, put only low-effort, insufficiently descriptive tags on their Bandcamp pages (if they have a Bandcamp presence, at all), so about once a month, I’ll browse through the charts on RateYourMusic and ProgArchives to see if I’ve missed anything which might fall under the purview of this site.

The tastes of RYM’s prog fans tend to skew in favor of the avant-garde and harsh, so when I saw that (as of writing), that site’s #1 record of 2021 so far was an avant-prog release from a band I’d never heard of, my curiosity was piqued. Avant-prog and brutal prog (a yocto-genre often featuring overbearing saxophone and aggressive, obtuse structures) are often hit-or-miss for me. Some of it is really daring and inventive, but a lot of it just strikes my ears as masturbatory weirdness and dissonance for the sake of weirdness and dissonance.

Cavalcade, the second full-length release from London-based band black midi, is an exciting, enthralling album that artfully blends the bizarre and bombastic with the restrained and melodic.

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