Band: 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”
Band: In Mourning | Album: Garden of Storms | Genre: Melodic death metal, Progressive metal | Year: 2019
From: Falun, Sweden | Label: Agonia Regords
For fans of: Edge of Sanity, Opeth, Agalloch
Buy: Bandcamp | Amazon | Apple Music
In Mourning are a Swedish metal band who play in a style very similar to that of their fellow countrymen, Opeth; but they’re distinct enough to avoid the label of “Opeth clone,” something for which the current prog-metal scene does not want. Opeth’s classic material is some of the best progressive metal ever recorded, and there’s been a yawning, Opeth-shaped hole in the scene ever since they switched to playing unimpressive, unimaginative retro-prog.
In Mourning have been around for nearly two decades, giving them plenty of time to develop their own unique flourishes within the framework of progressive melodic death metal. Garden of Storms is their fifth full-length release and a noticeable step up in quality over 2016’s Afterglow. The songwriting is strong, and there is a smart degree of interplay between distorted and clean sections. Continue reading “Album Review: In Mourning – Garden of Storms”
Band: Handwrist | Album: The Golden Swan | Genre: Progressive rock, Zeuhl, Avant-garde rock | Bandcamp
The Golden Swan was originally envisioned by its composer to have a choir sing in Basque and for there to be symphonic orchestration. Due to budgetary and logistical constraints, these ambitions had to be shelved, but the result is a distinct blend of rock, jazz, and classical music, nonetheless. The four movements of this album flow together seamlessly. Elements of the Canterbury sound are evident, and the jazzy atmosphere makes me think this would have been even better had it been recorded as originally intended. Moments on this album do meander, but those shortcomings are well worth it.
Score: 76/100 Continue reading “Odds & Ends – October 21, 2019”
Odds and Ends is a segment where I do brief reviews of albums I either didn’t prioritize for longer-form reviews, or ones for which I don’t have that much to say.
Band: BLASTAR | Album: Construct | Genre: Progressive rock, Jam band | Bandcamp
I really loved BLASTAR’s debut album, so I was very excited when I saw them announce their latest release. On Construct, they’ve opted to go fully instrumental. The music is cosmic and high-energy, and the overall sound has shifted more in the direction of jam bands like Aqueous or Umphrey’s McGee, with jazz and folk tones. As I’ve frequently said, it can be tough to make an instrumental album consistently engaging, but this does a good job of holding the listener’s attention. That’s not to say it doesn’t have faults, but it’s enjoyable on the whole.
Score: 77/100 Continue reading “Odds & Ends – June 20, 2019”
Band: All Traps on Earth | Album: A Drop of Light | Year: 2018 | Genre: Progressive Rock
From: Stockholm, Sweden | Label: AMS
For fans of: Änglagård, Magma, early King Crimson, Wobbler
Buy: Bandcamp | Amazon | Apple Music
Any discussion of All Traps on Earth requires at least briefly discussing Änglagård, the band’s progenitor.
Änglagård were one of the best (read: one of the few good) progressive rock acts of the 1990s. They put out two classic albums, Hybris (1992) and Epilog (1994). These releases brought the sounds of classic ‘70s prog acts like Yes and Gentle Giant into a new era with a fresh twist and breathed new life into the long-out-of-favor genre. Those two albums deserve every bit of the praise they get. In 2012, 18 years after their last one, Änglagård put out their third album, Viljans Öga, to much acclaim. (I like it overall, but I think it’s too long and doesn’t do anything too special.)
Based on their past release schedule, Änglagård’s next album won’t be out until 2030, so in the meantime, the band’s bassist, keyboardist, and drummer have formed All Traps on Earth. This band’s debut, A Drop of Light, feels very much to be the spiritual successor of Viljans Öga. Both albums are mostly-instrumental, feature vast, Mellotron-soaked suites, and display a high degree of complex songcraft. But both also feel like they’re lacking some impact. Continue reading “Album Review: All Traps on Earth – A Drop of Light”