Regal Worm is a solo project by Jarrod Gosling, one half of the duos I Monster (trip-hop) and Cobalt Chapel (psychedelic rock). Regal Worm blends Gosling’s usual psychedelic leanings with more progressive and ambitious song structures. His last release under this moniker, 2018’s Pig Views, was my favorite album that year, so I naturally had high hopes for this release.
The album cover for The Hideous Goblink lives up to its name. It is an ugly piece of art and not nearly as enchanting as the art on his past releases. However, this is an instance where that old axiom about book covers and judging them holds true. Regal Worm’s fourth full-length release is a fantastic collection of songs which sound like one unified whole. The six compositions here all work in harmony with each other to deliver something fantastic.
Band: Ars de Er | Album:Other Side | Genre: Progressive rock, Avant-prog | Bandcamp
Ars de Er’s last album leaned heavily into avant-prog and RIO, but Other Side is a little more grounded in “traditional” prog. There are especially strong echoes of Porcupine Tree’s heavier stuff, like Fear of a Blank Planet. This album still has plenty of influences from jazz and modern classical music, which makes the overall palette well-balanced and diverse.
This is a loud, unsubtle record. The mixture of metal, rock, and electronic elements are utilized to pummel the listener. It’s an intense listen, so in this case the album’s short runtime (only 29 minutes) is a virtue. A runtime of more than 30 minutes would have run the risk of becoming too exhausting. Beyond the intensity, the compositions are creative and full of great textural contrasts. The vocals are powerful and impassioned, and the array of synth tones are able to conjure a wide ray of moods and emotions.
Band: Antinode | Album:The Canary the Named the Stars | Genre: Progressive rock | Bandcamp
The three songs on this long EP/short LP are solid, spacey progressive rock with subtle touches of jazz, metal, and indie rock. I’m a big fan of the instrumental tones and textures, and despite the songs’ lengths, they never feel like they’re dragging. There’s significant internal variation on all three tracks, and there’s a natural flow to the way the compositions evolve.
Band: Big Big Train | Album:Common Ground | Genre: Neo-prog, Progressive rock | Bandcamp
I have never understood the appeal of Big Big Train. They’ve got the occasional decent song here or there, but I’ve never enjoyed an entire BBT album. They often come off as saccharine and glossy, like a worse version of Spock’s Beard. Maybe I’m too much of a dour Debbie Downer to enjoy such unashamedly major-key music, but the opening “The Strangest Times” exemplifies my lack of fondness for this act. It’s bright, sunny piano-pop that doesn’t strike me as particularly proggy in any definition of the word. Successive tracks are significantly better, though it’s still not exactly my cup of tea. Much of this album comes off as soulless and plain, to say nothing of the bloat. The band sounds stuck in the mid-’90s’ prog scene, a sound which was fine for its time but was rightfully cast aside at the turn of the century. The lushness hobbles the band’s ability to make any real splash, and everything on here has been done much better previously by other artists, often half a century ago.
Albion is the latest in a long line of acts that take the very English genre of progressive rock and make it sound even more English, with a significant injection of folk. Think of bands like (mid-to-late ‘70s) Jethro Tull and Gryphon. This quartet is quite a bit heavier and more bombastic than any of that first wave of prog-folk-rock acts. There are some neat ideas on this EP, but there’s also just a lot of stuff that sounds like it’s been done before. A lot of this is power metal-based, and I will admit, that’s not my favorite metal subgenre. If you’re into some of the more fun-time, corny folk metal acts out there, you might enjoy this.
Band: The Dark Monarchy | Album:All Roads Lead to Rome | Genre: Progressive metal, Power metal | Bandcamp
This album has flashes of brilliance, but it never is able to maintain it for too long. The cheese factor on this album is incredibly high, and most of the songs run together into an unidentifiable mush. The opening track, “I Am Lucifer”, is especially strong, but there isn’t enough here to have this record go on for 45 minutes.
The lockdowns of the last year-and-a-half interrupted many musical acts’ touring and recording plans. But at the same time, the sudden forced sedentary setup offered many opportunities to write and record at home. Hanford Tape Sessions is one such of those recordings.
UK-based duo Hanford Flyover recorded all this music on a few portable cassette home recording devices. That technological limitation forced the band to keep things pared-back and straightforward, and the contrast to past releases’ lush sounds is obvious. The songs on this album are mostly short and to-the-point, but there are some interesting sonic experiments with satisfying structures.
Welcome to Part One of TheEliteExtremophile’s Top 50 Prog Albums of 2020, this site’s second-annual best-of list. It’s also my tenth year of writing year-end music roundups. The first eight were posted on my personal Facebook. Check out Part 2 here.
2020 was a banner year for progressive rock and progressive metal. There were so many fantastic albums released, and paring this list down to just 50 was often a painful process. Even more difficult was deciding on the exact order of these albums.
Like I said last year, I’m sure there are some excellent albums not included. This site is a one-man operation (in relation to reviewing, that is; my editors, Kelci and Dan, have been tremendously helpful), and I simply cannot listen to everything that gets released. I also have my personal biases against some rather popular trends in prog, which affected the composition of this list. But if you’ve got recommendations, do not hesitate to shoot them my way.
Band: Alustrium | Album:Insurmountable | Genre: Death metal, Progressive metal | Bandcamp
The music on this EP is played with incredible precision, and the density of riffs-per-minute is impressively high. However, it also feels like this band’s main goal was to play as fast as possible, and even across such a short EP, that gets exhausting. There’s also nothing particularly unique about this release; this is rather boilerplate tech-death.
This band heavily channels Porcupine Tree in just about every regard. It’s a skillful facsimile, right down to the tones of the individual instruments, and the songs are well structured. There is also the occasional outside influence, such the odd jazzy lick here or there. On the downside, this album is pretty long-winded. Only one of the six songs comes in under eight minutes, and most cuts could have benefitted from some trimming.
Band: Giraffes? Giraffes! | Album:Rite of Summer | Genre: Post-rock, Math rock | Bandcamp
Giraffes? Giraffes! is one of my favorite math rock bands, and this EP—consisting of just one 15-minute song—more than lives up to expectations. As is to be expected from this duo, the guitars are nimble, the drumming is deft, and the multi-parted composition keeps you guessing. The sounds range from blazing, finger-twisting licks to mellow psych-folk, and it all works beautifully.
Band: Firelink | Album: Firelink | Genre: Atmospheric black metal, Progressive metal | Bandcamp
I like Firelink’s self-titled sophomore album, but it doesn’t do too much to stand out from similar acts. The songs are well-constructed and well-played proggy black metal with atmospheric leanings, but nothing about it differentiates it from the rest of the rather saturated black metal field. Every now and then, I’m just in the mood for some good ol’ black metal shredding, and this is great for that. Just don’t go into this expecting anything all that distinctive.
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.
I’ve been indulging in the lighter side of progressive rock lately. I’ve got a big backlog of black and death metal I need to cover, but progressive folk and art-pop have been scratching my musical itches lately. While not strictly a pop album by any means, Louise Patricia Crane’s solo debut, Deep Blue, draws heavily from acts like The Cocteau Twins and Kate Bush. The music is rife with psychedelic Pink Floyd-isms, and folk influences are liberally scattered throughout this record. King Crimson guitarist and vocalist Jakko Jakszyk was recruited for this project, and his distinct playing style and backing vocals augment the music. Continue reading “Album Review: Louise Patricia Crane – Deep Blue”→