I briefly touched on Gong’s convoluted history and past output in my review of their last album, 2023’s Unending Ascending, so I will not go into it in depth here. But this lineup–long bereft of any original members but operating under the blessing of the band’s late founder–has just put out its fourth full full-length release, Bright Spirit. In general, this album largely stays in line with this incarnation of Gong’s modus operandi. It’s fun and lighthearted prog with heavy psychedelic infusions.
I like the Canterbury sound a lot, but the modern practitioners of this sound can be a bit like zeuhl. Where zeuhl often devolves into rote Magma worship, so too do many neo-Canterbury acts slavishly strive to sound like Soft Machine or Caravan.
Legs on Wheels is a Mancunian quintet that does an incredible job of taking classic Canterbury influence and melding it into more modern sounds. The band dabbles in punk, psychedelia, and art rock alongside more progressive strains of rock. The music is consistently energetic and varied, and Gobble, the band’s third full-length release, is a delightful listen.
Band: END! Begin | Album:The END! | Genre: Progressive folk | Bandcamp
This collection of four instrumental pieces is a solid follow-up to END! Begin’s fantastic debut LP. The overall mood is a bit more energetic and less torporous here, and I really appreciate getting to see this other side of the band. “Cherry Blossoms” in particular draws a lot from rock music, which is a very exciting blend.
Score: 78/100
Band: Mellow Beast | Album:Grimble, The Worm | Genre: Psychedelic rock | Bandcamp
Mellow Beast’s latest record sees him expand upon the musical universe he has established. The story of this record takes place right after Reactor, his 2023 release. Throughlines are obvious in the music, and there are even connections to earlier releases. The mood is spacy and often-hypnotic while also imbuing some Gong-ish fun and whimsy.
Brighton’s Plaintoid are black with their sophomore album, Flare, two years after their debut. The band maintained their lush, jazzy air while also imbuing their sound with a bit more muscle. On repeated listens of Terrapath, at times I do wish the band had a bit more contrast in their sound. Here, they’ve successfully added a bit more while also maintaining their unique character.
I don’t know what keeps drawing progressive and technical thrash metal bands to outer space, but it seems to be working. Vektor, Droid, Voivod, Obliveon, and plenty of others have plumbed the depths of the night sky for inspiration, and Cryptic Shift continues in this proud tradition. Their 2020 debut, Visitations from Enceladus, is a phenomenal work, with the 25-minute “Moonbelt Immolator” being one of the greatest metal epics of this century.
Their newest release, Overspace & Supertime, is a monumental work, clocking in at nearly 80 minutes over just five songs. Their brand of cosmic, death-tinged thrash is a powerful canvas for their sci-fi storytelling.
Artist: Unda Alunda | Album:Dark Wonderful World | Genre: Progressive metal, Djent | Bandcamp
This is one of the better djent records I’ve heard in a while. Djent still isn’t my favorite style of metal, but this album has a lot to offer. There are fun, jazzy riffs, exciting builds, and dazzling solos. The soullessness common to djent is minimized here, as these feel like actual compositions and not just instrumental wank-fests. Certain songs run a bit long, but aside from that, the record is a success overall.
Score: 76/100
Band: Cervello | Album:Chaire | Genre: Italian progressive rock | Links
Two things first: Firstly, I had a hard time finding this album. I don’t know who is in charge of marketing for Cervello, but they’re doing an awful job. Secondly, this was released with a live album, which I will not be reviewing.
Cervello is one of many Italian prog bands who put out one album in the 1970s before vanishing. Cervello’s sole release prior to this was the 1972 album Melos, and it’s one of my favorites from the era. I didn’t have high hopes going into this, especially considering other dull reunion records I’ve covered recently, but I was pleasantly surprised by Chaire. That may also be because almost the whole original band returned for this. Everyone except their original drummer appears on this album. (Compare that to Semiramis’s recent “reunion” where the drummer was the only original member to return.)
The music here is surprisingly vital, energetic, and original. That classic Italian prog flair is omnipresent, and the compositions are mostly engaging. Some cuts are better than others, and the record sags a bit in its second half.Synth tones can sound a bit dated, or the production can be too glossy, but this is a solid record on the whole. I especially love the more energetic tracks, where the connections with their first record can really be heard.
The new record from this one-man instrumental act draws quite heavily from Pink Floyd. Drifting rhythms and wavering guitars float about, occasionally interrupted by sharper tones. Acoustic guitar is deployed for the occasional bit of earthiness, balancing out this record’s more astral moments. “Maha Nakhom” sees creamcheese dabble in some semi-electronic Ozric Tentacles worship, for a nice change of pace. And though overlong, the closing “3L3K7R0K4CK3” is a charmingly diverse cut.
Score: 74/100
Band: Flowʍolꓞ | Album:Téboly | Genre: Progressive rock | Bandcamp
Flowwolf is a Hungarian band that blends psychedelic textures with progressive song structures for a very satisfying EP on Téboly. The instrumental tones are great, and there are smart contrasts between rich textures and grittier passages. The vocal performances are strong and melodic, and I also really enjoy the dashes of alternative rock that crop up here and there.
The title of Agabas’s latest record is quite fitting. This record is heavy, hard-hitting, and angry as hell. The riffs are punishing, lashing the listener’s ears. There’s a neverending sense of forward momentum, with almost no breathing room. Everything here is maximal, with shouted vocals, pummeling guitars, and squalling saxophone filling up every available inch of auditory space.
Score: 76/100
Band: Ahles | Album:Between Dreams and the Waking World | Genre: Progressive metal | Bandcamp
The debut album (well, sorta; they previously released a record in 2010 under the moniker Born from the Ashes) from this Australian quartet showed a lot of promise. The opening few songs featured a lot of strong melodies, exciting playing, and intelligent structuring. Unfortunately, the second half of the album is quite a bit wobblier, and it’s only hampered by some less-than-amazing lyrics that even I couldn’t zone out. However, they show a lot of ambition and promise, so I’m optimistic they can refine things more on their next release in 2040.
Band: El Castillo de Barbazul | Album:Sobre Finales | Genre: Progressive rock | Bandcamp
This Mexican instrumental quartet has a rather fun, loose, and noisy air about them. The music is complex and chaotic, and it’s shot through with influences from some of prog’s odder micro-genres, like zeuhl and the Canterbury sound. Some songs on this album are absolutely longer than they need to be, but the band’s unbridled enthusiasm always shines through.
Score: 76/100
Band: Donella Drive | A;bum:AXON | Genre: Progressive metal, Alternative metal | Bandcamp
The latest release from this San Antonio-based duo skillfully blends alternative metal, post-hardcore, and prog into a punchy and memorable record. The band balances harsh, aggressive tones and relatively straightforward melodic passages. In addition to obvious influences like Tool and The Mars Volta, they include some funkier elements that evoke acts like Rage Against the Machine and Primus. Some individual songs can run a little long, but the overall listening experience is a fun one.
The Elite Extremophile 