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

Continue reading “Odds & Ends – November 16, 2020”

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.

Continue reading “Album Review: Wills Dissolve – Echoes”

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

Continue reading “Odds & Ends – September 14, 2020”

Album Review: Moura – Moura

mouraBand: Moura | Album: Moura | Genre: Progressive rock, Psychedelic rock, Galician folk | Year: 2020

From: A Coruña, Spain | Label: Spinda Records

For fans of: Pink Floyd (pre-1973), Magma, Van der Graaf Generator

Buy: Bandcamp | Amazon

Near the end of last year, I reviewed the debut album of the band Híbrido. In that review, I praised the label Spinda Records for giving underground prog and psych in Spain a platform. Not long after I published that review, someone from the label reached out and told me to keep my eyes on Moura, a band from Galicia.

Moura’s self-titled debut record is a tour de force of psychedelic progressive rock. This quintet blends the dark psychedelia of Pink Floyd (c. 1968-1970), the compositional and instrumental complexity of acts like Yes and Van der Graaf Generator, and the native, Celtic folk of their native Galicia. This confluence is then draped in a druidic, occult atmosphere that in turn creates a menacing aura. (Galicia is a region in northwestern Spain which historically was populated by Celtic peoples and today retains significant Celtic influence in the local culture, particularly the music.) Continue reading “Album Review: Moura – Moura”

Album Review: Orange Clocks – Metamorphic

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Band: Orange Clocks | Album: Metamorphic | Genre: Space rock, Psychedelic rock | Year: 2020

From: Rushden, UK | Label: Bad Elephant Music

For fans of: Pink Floyd, Hawkwind, Ozric Tentacles, Elder

Buy: Bandcamp | Apple Music

It’s often interesting to see acts evolve across successive albums. Even within the realm “progressive” genres, some bands don’t change their sound very much. Meanwhile, others engage in wild genre-hopping on the regular. More often, you find something like you do with Orange Clocks. Their 20-song 2017 debut album was chock-full of narration and brief interludes. The music was also somewhat unfocused, drawing heavily both from early Pink Floyd and the broader world of funk.

Metamorphic, the band’s second studio album, alleviates many of the issues of their debut. The sound is more consistent, and the distracting narration is gone, giving their sophomore release a more mature feel. The presence of stoner/desert rock is considerably more pronounced as well, and elements of krautrock and drone have begun to be worked in. Continue reading “Album Review: Orange Clocks – Metamorphic”

Album Review: Vinyl Dial – The Flight of the Crown Hawk

vinBand: Vinyl Dial | Album: The Flight of the Crown Hawk | Genre: Progressive rock, Space rock | Year: 2009/2019

From: Bedford, UK | Label: Seaside Tapes

For fans of: Porcupine Tree, Pink Floyd, Hawkwind, Pulsar, Tool

Buy/Listen: Stream Bandcamp

Vinyl Dial has had an unusual creative trajectory. The Flight of the Crown Hawk was originally recorded and released on MySpace in 2009. However, in 2019 it got a remaster and was officially released on Seaside Tapes, a label focused primarily on DIY-electronica and vaporwave. In the intervening years, this one-man project has put out a handful of electronic and vaporwave releases, in addition to other space rock/prog rock releases.

The Flight of the Crown Hawk is not shy about just how much of the music is inspired by Porcupine Tree’s early work. The first proper song, “Shapes in the Clouds”, begins with spare acoustic guitar, airy synth pads, and murky, effects-laden vocals. It slowly slithers along for its first half, and the guitar solo sounds like it’s straight off Porcupine Tree’s Signify. The song’s second half plays with stranger rhythms, heavier guitar tones, and cosmic synth leads. Continue reading “Album Review: Vinyl Dial – The Flight of the Crown Hawk”

Odds & Ends – December 2, 2019

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legendryBand: Legendry | Album: The Wizard and the Tower Keep | Genre: Power metal, Progressive rock | Bandcamp

For all the hackneyed, cliché, sword-and-sorcery heavy metal imagery Pittsburgh’s Legendry evoke in their artwork and lyrics, the music is ambitious and inventive while remaining surprisingly accessible. They walk a fine line straddling traditional metal, power metal, and progressive rock with their speedy riffs, dramatic vocals, and soaring solos. The Hammond organ adds a distinct character that helps Legendry stand out from other traditional metal acts.

Score: 84/100 Continue reading “Odds & Ends – December 2, 2019”

Deep Dive: Porcupine Tree & Steven Wilson

pt deep diveWelcome to the third installment of Deep Dive, where I take an in-depth look at the studio discographies of some of the giants of progressive rock and progressive metal.

For those who don’t feel like reading this massive entry, I’ve included a TL;DR and ranking of albums at the end. I’m opting to explore albums chronologically, as opposed to a ranked-list format. The context in which albums were made is important, and this is an element often missed in a ranked list.

My first two entries in this series focused on some of the giants of progressive rock’s 1970s heyday. For this entry, I wanted to focus on something heavier, which means someone more modern. After weighing a few options and starting Deep Dive entries on a couple other artists, I settled on Porcupine Tree and Steven Wilson.

Porcupine Tree covered a wide style of music until their disbandment in 2010, ranging from space rock to art pop to progressive metal. Wilson has maintained that experimental spirit in his solo career, covering similar ground across his five solo albums. The early-21st Century progressive rock renaissance we’re currently enjoying may not have happened at all, had it not been for the wide success of Porcupine Tree, which opened the door for many, many other acts.

As a disclaimer, this essay does not cover all of Steven Wilson’s myriad musical projects. The man is too prolific for me to reasonably address all those projects in this one essay. I am solely focusing on Porcupine Tree and his solo material. No-Man and Bass Communion don’t fit this site’s purview; and while Blackfield and Storm Corrosion may fall under the margins of progressive rock, I simply don’t like their output and would not enjoy reviewing them in-depth. I also do not plan to discuss his remastering work on classic prog albums. I do highly recommend his King Crimson remasters, though I’d avoid his work on Too Old to Rock n Roll: Too Young to Die!, as mentioned in my Jethro Tull Deep Dive. Continue reading “Deep Dive: Porcupine Tree & Steven Wilson”

Album Review: Perilymph – Deux

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Band: Perilymph | Album: Deux | Genre: Krautrock, Progressive rock | Year: 2019

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

For fans of: Brainticket, Vespero, early Föllakzoid

Buy: Bandcamp | Amazon | Apple Music

Germany has been at the epicenter of cosmic, experimental rock music that incorporates electronic elements since the early 1970s. The genre is called krautrock, after all. (The term was initially—rightly, in my view—rejected by German artists; the English music press invented the term in order to write off the movement.) Perilymph both adheres to and bucks this genre’s Germanness: this act is a one-man project based in Berlin, though the man behind it, Fabien de Menou, is French.

Regardless of whence Perilymph hails, Deux, this act’s second release, is a wonderful blend of psychedelia, progressive rock, and spacey textures. Continue reading “Album Review: Perilymph – Deux”