One of the great things about the decentralization of the music industry has been the ability of niche record labels to proliferate. As evidenced by the minuscule amount of good zeuhl from the 1980s, if you played an unpopular genre of music, it was tough to get your recordings a proper release. Now, though, I can name several labels that either specialize in or put out a significant amount of zeuhl. Soleil Zeuhl is the oldest of these, founded in 1999. More recent ones include Dur et Doux, Guerssen (primarily doing reissues of obscure past releases), and today’s focus, Baboon Fish.
Baboon Fish Label is a French zeuhl label that, lately, has averaged about one release a year. What this label lacks in quantity, they make up for in quality. They released an album by Nebulous Sun last year, which made it onto my year-end list; and I also am quite fond of their 2017 release from The Orvalians. The most recent release from this label is the self-titled debut from self-described “angular rock” band Cratophane. That “angular” label describes a lot of what Baboon Fish specializes in, and it’s especially fitting for this experimental instrumental act.
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.
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.
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.
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.
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.
Band: Abstracción | Album:Abstracción | Genre: Progressive rock, Psychedelic rock | Bandcamp
The debut EP from this Spanish septet draws heavily from the sound of Jethro Tull’s early material, and the liberal inclusion of sitar adds a late-‘60s psychedelic folk feel to the mix. Swirling Hammond organ and echoing electric guitar lines keep the atmosphere lush, while vocalist Catalina Requena’s willowy delivery occasionally bleeds into the instrumental elements. Each song is distinct, but the tonal continuity between the pieces keeps this recording cohesive and coherent.
Band: Ars de Er | Album:La Métamorphose | Genre: Progressive rock | Bandcamp
I’ve run across more Belarusian prog bands while writing for this site than I ever anticipated. The latest of these is the one-man act Ars de Er, which incorporates hefty doses of classical and jazz. Strange harmonizations predominate on La Métamorphose, drawing comparisons to the original big names of avant-prog and RIO. Heavy, metallic guitar lines underpin moments of furious soloing and chaotic rhythms. The atmosphere on this record is oppressive. The strange, diminished chords and haunting keyboard textures make for an anxious, claustrophobic feel.