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.
Italy has a proud history of producing some of the best progressive rock out there. At its peak in the early 1970s, the Italian scene was arguably on par with the British. The Italians carved out a unique sound for themselves, drawing heavily from jazz, classical, and folk and singing in their native language. Even now, a few bands play in this distinctly Italian style. Ananda Mida are not one of those bands.
That’s by no means a swipe against Ananda Mida. I’ve listened to and thoroughly enjoyed both their albums, but if you had played their music for me and asked me to guess, I would’ve told you they sound like they come from the American Southwest. They’ve got that sunny, desert-y stoner vibe commonly found in bands from the region. Blues riffs loomed large on their debut, 2016’s Anodnatius, interspersed with spacier interludes and a handful of more adventurous moments. Their new album, Cathodnatius, keeps that desert vibe, but they’ve amped up their experimentation, drawing influences from sources as diverse as early 1970s Pink Floyd, new wave, and math rock. Continue reading “Album Review: Ananda Mida – Cathodnatius”→