Welcome to Part 2 of The Elite Extremophile’s Top 50 Prog Albums of 2021. In case you missed Part 1, it can be found here.Continue reading “Top 50 Prog Albums of 2021, Part 2: 25-1”
Welcome to the first installment of The Elite Extremophile’s Top 50 Prog Albums of 2021. This article will cover places 50-26 on my list, with the top half set to follow on Thursday.
As I always say, I’m sure there are some excellent albums not included in my list. 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.
As I referenced in my Scheduling Note back in November, this list only addresses albums put out between January 2021 and November 2021. Next year’s list will cover December 2021 through November 2022.
Though it felt as if it started off fairly slow, 2021 wound up being a very strong year for progressive rock and metal. Finalizing this list took longer than usual, especially nailing down the specific order.Continue reading “Top 50 Prog Albums of 2021, Part 1: 50-26”
Band: Band of Rain | Album: The Sun King | Genre: Progressive rock | Bandcamp
This is decent, mid-tempo prog that goes more for atmosphere than technicality. (That’s not to disparage the bandmembers’ instrumental chops, though.) The overall sound is lush, and the band skillfully layers different textures and melodies. I also appreciate the many touches of jazz scattered throughout this record. The vocals come off as fairly weak, unfortunately, which does hamper this release, along with a general sense that everything here is too long.
Band: Fanatism | Album: Inverted Evolution | Genre: Progressive rock, Krautrock | Bandcamp
Inverted Evolution has an unhurried pace which allows the band to stretch out and weave wonderful atmospheres. This Swedish act draws heavily from ‘70s hard rock in a lot of their musical vocabulary, but elements of jazz, post-punk, and gothic rock are readily evident, too. Eerie synths, hypnotic rhythms, and progressive song structures are hallmarks of this album. The ending is a little weak (though not bad), but beyond this hiccup, it’s a strong release.
Score: 77/100Continue reading “Odds & Ends: December 27, 2021”
Band: Agusa | Album: En annan värld | Genre: Progressive rock | Bandcamp
This instrumental Swedish act does a great job of weaving themes and ideas together into a coherent, engaging whole. The first of these two epics draws noticeably from the rich jazziness of Camel, and there’s an engaging blues jam which hearkens back to Pink Floyd’s Atom Heart Mother era output. The second song starts as a slow organ jam, again reminiscent of early Pink Floyd. Swedish folk motifs are woven in artfully, and the whole listen is quite satisfying.
Band: A Formal Horse | Album: Meat Mallet | Genre: Progressive rock, Avant-prog | Bandcamp
The sophomore album from this English act has plenty of strange musical passages and striking vocals. Progressive metal influences are obvious in the powerful, hard-hitting riffs. Many of these songs have a sense of impending doom to them, with their vague lyrics and aggressive atmospheres. Despite the many unorthodox riffs, strange word choices (look no further than the song “I’m a Lasagne”), and overall unpredictability, I don’t think this album would be off-putting for someone new to this style of music. The band clearly has a good ear for catchy hooks and surprising twists that keep the listener invested.
Score: 84/100Continue reading “Odds & Ends – December 13, 2021”
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.
Score: 51/100Continue reading “Odds & Ends: September 6, 2021”
Band: Papngu | Album:Holoceno | Genre: Progressive metal, Zeuhl | Year: 2021
From: João Pessoa, Brazil | Label: Independent
For fans of: Mastodon, Magma, ‘70s King Crimson, Oranssi Pazuzu
Zeuhl and metal are two genres which I’ve long felt would make fantastic bedfellows, but almost every instance of an attempted fusion I’ve found has been lackluster. Magma’s Šlag Tanz EP bills itself as jazz-metal, and that’s not too far off the mark; and the bands ni and PoiL frequently have moments where these two styles merge. Most other attempts at blending zeuhl and metal have come off as muddled, meandering morasses of aimless dissonance and irregular drumming.
Brazil’s Papangu, though, might be the best-realized example of zeuhl metal I’ve run across to date. Holoceno, their debut album, has been seven years in the making, and it tells the story of an environmental apocalypse–something Brazilians would understandably have on their minds.Continue reading “Album Review: Papangu – Holoceno”
Band: black midi | Album:Cavalcade | Genre: Avant-prog, Zeuhl, RIO | Year: 2021
From: London, UK | Label: Rough Trade Records
For fans of: Frank Zappa, Magma, ni, John Zorn
I mostly find my music through searching tags like “progressive metal,” “krautrock,” or “zeuhl” on Bandcamp, and I’ve found that’s a pretty good way to stay abreast of new releases. Some bands, though, put only low-effort, insufficiently descriptive tags on their Bandcamp pages (if they have a Bandcamp presence, at all), so about once a month, I’ll browse through the charts on RateYourMusic and ProgArchives to see if I’ve missed anything which might fall under the purview of this site.
The tastes of RYM’s prog fans tend to skew in favor of the avant-garde and harsh, so when I saw that (as of writing), that site’s #1 record of 2021 so far was an avant-prog release from a band I’d never heard of, my curiosity was piqued. Avant-prog and brutal prog (a yocto-genre often featuring overbearing saxophone and aggressive, obtuse structures) are often hit-or-miss for me. Some of it is really daring and inventive, but a lot of it just strikes my ears as masturbatory weirdness and dissonance for the sake of weirdness and dissonance.
Cavalcade, the second full-length release from London-based band black midi, is an exciting, enthralling album that artfully blends the bizarre and bombastic with the restrained and melodic.Continue reading “Album Review: black midi – Cavalcade”
Band: Neptunian Maximalism | Album: Solar Drone Ceremony | Genre: Drone, Krautrock, Experimental metal | Year: 2021
From: Brussels, Belgium | Label: I, Voidhanger Records
For fans of: Om, Sunn O))), Ash Ra Tempel, Van der Graaf Generator’s weirder stuff
I briefly covered Neptunian Maximalism’s (NNMM) last album, Éons, in an Odds & Ends last year. I said that I liked the idea of that album—an abrasive, sax-forward assault of drone, psychedelia, zeuhl, and more—more than its realization. I’m not a big fan of drone, but I sensed that NNMM could put forward something a bit more palatable to my tastes while still maintaining that genre’s aesthetic language.
Solar Drone Ceremony is the second full-length studio release from this Belgian ensemble, and it contains just one 52-minute track. It’s a creepy, occultic album wrapped in befittingly H.R. Giger-inspired artwork showing some sort of sexualized alien ritual.Continue reading “Album Review: Neptunian Maximalism – Solar Drone Ceremony”
Band: Toboggan | Album: Première Descente | Genre: Zeuhl, Progressive rock, Jazz fusion | Year: 2021
From: Clermont Ferrand, France | Label: Independent
For fans of: PoiL, Dai Kaht, Al di Meola, Primus
I covered Toboggan’s debut EP back in 2019, and I really liked what I heard. It was jazzy, funky, and high-energy instrumental zeuhl. Toboggan’s guitar/keyboard player, Etienne Mazoyer, is in another zeuhl band, ZWOYLD, which draws more heavily from traditional prog and psych tones. There’s a lot of shared DNA between these acts, so if you like what you hear here, I strongly recommend checking out ZWOYLD. (Especially their 2016 album, ZGOND.)
The cover art of Première Descente suits the music quite well. The twisting, spiral slide gives a sense of the wild, swerving nature of the songs. Structurally, the individual tracks follow a long-short pattern, with long cuts running 9-14 minutes, followed by sub-two-minute breathers.Continue reading “Album Review: Toboggan – Première Descente”
Artist: Xander Naylor | Album: Continuum | Genre: Progressive rock, Jazz-fusion, Post-rock | Year: 2020
From: New York, USA | Label: Chant Records
For fans of: Return to Forever, early Frank Zappa, Magma, The Mars Volta
There is no shortage of instrumental EPs and albums put out by guitarists. Many of these releases tend to be self-indulgent and focused on technical soloing. Because of that trend, it’s always a refreshing change of pace when I run across someone like Xander Naylor, who functions more as a composer who just so happens to play guitar, rather than a guitarist composing pieces for his instrument.
Continuum is Naylor’s debut full-length record, and it reminds me of Steve Hackett’s solo material. Not so much in sound, but more so in that while there’s plenty of skillful instrumentalism, it isn’t to the neglect of structure or vision.Continue reading “Album Review: Xander Naylor – Continuum”