From the "djent" sound created in the 1990s and perfected by bands like Tool, Meshuggah--and even Death, Atheist, and Cynic--comes a more atmospheric version of Progressive Metal that I have fallen for that has been expressed well by bands like PROGHMA-C, KARNIVOOL, VOTUM, THE CONTORTIONIST, and KETTLESPIDER. The big difference between this sound and the old seems to come from the influx of both synthesizer textures within the weave of sound as provided by keyboards and other effects but also the use of more ambient and electronic sections within the song structures as alternatives or contrasts to the chugging guitars and basses and their shredding pyrotechnics. Though the use and inclusion of keyboards is not a requirement to be a part of this formula, it is quite common as the key ingredient.
Below you will find an ordered list of my favorite "Atmospheric Djent" albums.
Mysterious Polish Prog Experimental/Post Metal band Proghma-C appear out of the shadows of 16 years of silence since their one and only previous release (which just happens to be my #1 favorite studio album release from Y2K9!) The result is more than satisfying . . . if you give it a chance. Released in 2025 by Mystic Productions, the album had sat in a drawer for over ten years before being released to digital media on September 5, 2025, with most of the material having been composed and recorded in the 2015 period after new vocalist Patryk Zwoliński had been announced to have replaced previous vocalist Piotr Gibner.
Line-up / Musicians:
Line-up / Musicians:
- Paweł "Smaga" Smakulski / guitars, synthesizers
- Łukasz "Kuman" Kumański / drums, production
- Patryk Zwoliński / vocal
- Matteo Bassoli / bass
With:
- Arek Litkowiec / bass
- Irena "Ira" Zięba / spoken word vocals (2), background vocals (1)
1. "Oceanic" (26:55) a wild ride of wildly-contrasting styles and sound palettes sewn together as a suite. It opens with an organ-fed atmospheric palette with tuned percussion keyboard MIDI instrument revealing a somber motif that could be ULVER, could be LEONARD COHEN, could be Giancarlo Erra's NoSOUND, but is definitely highly evocative (in that Nordic way)! In the fourth minute the music slowly transitions into a fully-sequenced take on modern Berlin School that sounds like Tim Hecker and Steve Hauschildt before some squeaky-violin sounds and heavy djent guitar chords begin eeking their way into the sonic field. In the background one can hear a kind of distant choir of ghosts making wordless notes and chords but then the djent metal takes over full blast as lead singer Patryk Zwoliński sings in a mid-range, using multiple tracks to add to and embellish the field with multiple forms of voicings. This is awesome! By the eighth minute the band is charging along at full speed like a cavalry riding into battle across the open fields of Pomerania. Then things settle into an equally-dense but far more melodic and harmonically-rich motif in which Patryk hits some really beautiful vocal harmonies. But then it's over and the band launches into the battle, fighting with full force, all energies being loosed in a melée of chaotic 360 degree output. The use of synthetic game station-like computer synthesizer noises over the top of this whole section reminds me of the kind of walls of sound that Jem Godfrey churns up with his FROST* project. As we enter the 13th minute the battle seems to have come to an end--or else we've switched scenes--cuz things get soft and gentle, pensive and retrospective--very much in the vein of fellow countrymates Riverside and/or Retrospective. This TOOL- and PEARL JAM-like section is quite awesome. At the very end of the 15th minute the music elevates back into high intensity with Patryk doing some amazing growly-screams to push the band into its djent-mode again--but this turns far more melodic as both guitar, bass, and synthesizers introduce melody lines that work with one another harmonically. 90-seconds later we're transitioning into some of the most dirty, full-spectrum metal djent that I've ever been immersed in! Amazing! I feel purged and healed--and that's even before coming out the other end into the hypnotic guitar Math Rock pattern that flows into the 19th minute before drums and layers of vocals rejoin. Again there is a feeling of Mariuz Duda music, production, and vocal performance here with so much going on all at once in a fairly straightforward passage. Amazing! It's Lunatic Soul and Riverside both at the same time! But then the percussion and drum work seem to take us into uncharted territory with the bass and guitars following along (as if they are the support system to Kuman's amazing rhythm work). What a dedication to camaraderie! I love this! In the 23rd minute it all suddenly ends, leaving behind layers of gentle though consistently-heavy low-end synth washes, guitar arpeggi, and variable volume synth drones warbling to the forefront. Am I sane? or am I being reprogrammed? (Or, to follow the song title: is that what it feels like to drown?) In the beginning of the 26th minute a low droning bass synth remains as a DOVES-like electric guitar arpeggiates some lovely chords up top for the bedding for a complex weave of multiple voices to sing their closing remarks. This is so Doves, so Ulver, so Pearl Jam, and so amazing! One of the best long-playing prog epic suites of the 21st Century! A song that has continued to get better and better with each listen I've given it. (54.25/55)
2. "Stay" (5:16) opening with a rich, multi-layered soundscape of electronica sounds and repeating organ/electric piano chords. Singer Patryk Zwoliński enters with his deep voice singing in English sounding like , singing a verse before layers of guitars, bass, keys, and prog drums join in for the next couple verses. At 3:30 the band launches into a more metal passage of rapid fire bass drums and tom-tom interplay over which a three-chord pattern of dirty djenty guitar chords and background choral vocals start chanting the song title--which carries through until the song's sudden end. A very cool song that draws me back for more. (9/10)
3. "Inexplicable breakdowns" (9:06) oscillating bass notes and ætheric layers of electronic sounds open this one, providing the landscape for guest vocalist Irena Zięba to her two minute "contra feeling" monologue--in perfect British English. Brilliantly separated into isolated and effected into a linear succession of multiple compartments of the sonosphere, Ira seems to be telling us of the fallout of her psychotic experience of seeing things on the open sea, of isolation and delusional thinking, even admitting to her 30-years of total self love which turned into an attempt to make herself invisible (and abnegation) by taking on multiple lovers while feeling absolutely no feeling or attachment to any of them. When she speaks of her parent's decision to die by refusing to eat one can finally comprehend that this person is totally disconnection to any emotional capacity--is totally lacking any empathy. And yet her vocal is so honest, so revealing and matter-of-fact, the affect of her recitation so brutally honest, that it make its effect totally erotic, totally seductive. Then Patryk's voice arrives as the band ramps up their atmospheric metal soundscape into something that starts around 5:24 to rival PEARL JAM's iconic finish to "Black"--only these guys extend it for three minutes before unwinding with some gorgeous heavily-reverbed piano chord play--three and a half amazing minutes! Awesome song! I find no fault with it--wouldn't change a thing; I applaud the absolute genius of it. (20/20)
Total Time 41:17
Total Time 41:17
There is a lot of electronic work on this album which sometimes takes the atmospheric portions of the music further away from. When I first listened to this music back in the Autumn of 2025 I was a little intimidated, didn't quite have the time to focus and give myself to the music. But I've kept it on the shelf for further revisitation--and I am so glad I did! I have to admit, however, that I never expected it to blow me away to this degree.
97.94 on the Fishscales = A+/five stars; an absolute masterpiece of progressive rock music--one of the best 21st Century studio albums I've had the joy and privilege to review. ABSOLUTELY ESSENTIAL for any self-respecting prog lover.
2. PROGHMA-C Bar-Do Travel (2009)
In this 2009 release from Polish band, PROGHMA-C, self-proclaimed “musical evolutionists," I have found my favorite metal album of all time. Most songs feel as though I’m hearing the rhythm section of TOOL with lead guitar work akin to U2’s THE EDGE Evans, keyboard work reminiscent of VANGELIS in his 70s, 80s, and ambient/New Age soundtrack era, and some of the most diverse vocal stylings I’ve ever heard on an album—coming from lone vocalist extraordinaire, Piotr 'BOB' Gibner. Gibner’s screaming/growling is actually fitting, melodic, and easy to decipher; his narration on “FO” is awesome, and his versatile singing voice crosses between that of MAYNARD JAMES KEENAN, MR. BUNGLE/FAITH NO MORE’s MIKE PATTON, and DEPECHE MODE’s DAVID GAHAN. In short, this is a sadly overlooked, under-appreciated album that must be rescued from obscurity.
1. “Kana” (9:05)
opens with some odd electro/world sounds before an awesome mix-meter rhythm section settles in. The treated vocal has a very cool TED NUGENT feel to it until the growling begins. Around 1:30 the music switches to muted guitar/bass rhythm with ‘BOB’ Gibner’s vocals taking on quite a Maynard James style and feel. But it’s such an awesome combination! The “chorus” is really a full-frontal return to the opening themes. Then in one of the band’s trademark surprise twists, the lead guitar stars doing some Edge/Adrian Belew like playing. With the return to the B section I notice for the first time the David Gahan timbre in BOB’s voice. Such an awesome voice! At 4:22 another unexpected turn occurs with an almost POLOICE “Synchronicity” section—definitely a jazzed up, ANDY SUMMERs-like lead section. 5:05 we return to the original rhythm but broken down to such sparse sound with snare, hi-hat and guitar doing their syncopated odd metered rhythm. Then at 6:03 enter the eerily echoing and slow decaying slow guitar arpeggios—like something from an Eno Ambient album—and yet the metal rhythm section continues! This is simply incredible music! These guys truly are innovators and “musical evolutionists.” I urge all of you to at least listen to this first song—it’s available on YouTube (as are all of the album’s songs as well as the album as a whole). (10/10)
2. “FO” (6:40) opens with some awesome Edge-like guitar play before Gibner’s slightly treated voice begins reading/reciting a narrative in English. At 1:28, the music breaks, some odd percussives fill the space, then we return to the odd-metered syncopation and vocal narration for a little while longer, until at 2:08 the growl-screams take over. Then, surprise!—at 2:42 a soft, beautifully sensitive voice similar to that of MARIUZ DUDA takes over the singing. But this guy is better! He has such amazing control and the ability to do some shockingly subtle things with his vocal instrument! At the four minute mark we are treated to a bare-bones breakdown of the rhythm while a BLADE RUNNER-like horn-synthesizer slowly shifts its pitches while at the same time At 5:14 all but the drums disappear while a series of slowly strummed chords fill the center while odd spacey synth noises float around behind and around. Incredible song! Incredible ending! Another song I URGE you to listen to! (10/10)
3. “Spiralling To Another” (9:31) opens with some very spacey, etheric guitar play before the familiar syncopated, mixed-metered rhythm section establishes itself. Gibner’s voice enters with his Mariuz Duda sound—yet so much more sensitive and emotional. At 2:52 it gets heavy and the growling crashes into the field—but it never detracts or overwhelms the incredible music going on and lyrically can still be understood. Guitar chords strummed singly Then the music seems to ‘get stuck’ as guitar notes, bass line, cymbol play and choppy vocal play. A return to rapid rhythm sets up for guitarist Parweł 'SMAGA' Smakulski to do his awesome EDGE EVANS stylings. At 7:22 the full-force barrage of rhythms and growl/screams returns while SMAGA continues his trance-like guitar strumming. At 8:20 the music turns full metal, feeling like a TOOL song playing into infinity—then it stops! Another awesome song. While not quite as good as the first two, it too deserves a (10/10) in my opinion. (The other two should be turned up to eleven.)
2. “FO” (6:40) opens with some awesome Edge-like guitar play before Gibner’s slightly treated voice begins reading/reciting a narrative in English. At 1:28, the music breaks, some odd percussives fill the space, then we return to the odd-metered syncopation and vocal narration for a little while longer, until at 2:08 the growl-screams take over. Then, surprise!—at 2:42 a soft, beautifully sensitive voice similar to that of MARIUZ DUDA takes over the singing. But this guy is better! He has such amazing control and the ability to do some shockingly subtle things with his vocal instrument! At the four minute mark we are treated to a bare-bones breakdown of the rhythm while a BLADE RUNNER-like horn-synthesizer slowly shifts its pitches while at the same time At 5:14 all but the drums disappear while a series of slowly strummed chords fill the center while odd spacey synth noises float around behind and around. Incredible song! Incredible ending! Another song I URGE you to listen to! (10/10)
3. “Spiralling To Another” (9:31) opens with some very spacey, etheric guitar play before the familiar syncopated, mixed-metered rhythm section establishes itself. Gibner’s voice enters with his Mariuz Duda sound—yet so much more sensitive and emotional. At 2:52 it gets heavy and the growling crashes into the field—but it never detracts or overwhelms the incredible music going on and lyrically can still be understood. Guitar chords strummed singly Then the music seems to ‘get stuck’ as guitar notes, bass line, cymbol play and choppy vocal play. A return to rapid rhythm sets up for guitarist Parweł 'SMAGA' Smakulski to do his awesome EDGE EVANS stylings. At 7:22 the full-force barrage of rhythms and growl/screams returns while SMAGA continues his trance-like guitar strumming. At 8:20 the music turns full metal, feeling like a TOOL song playing into infinity—then it stops! Another awesome song. While not quite as good as the first two, it too deserves a (10/10) in my opinion. (The other two should be turned up to eleven.)
4. “Spitted Out” (1) (3:20)
establishes itself with another heavy complicated rhythm—this one sounding/feeling quite like a FAITH NO MORE song. At 1:30 the vocalist enters with his growl/screams. 20 seconds later he switches to more normal screaming, again, not unlike the rap-styling of FAITH NO MORE’s MIKE PATTON, before returning to growls. (8/10)
5. “Spitted Out (Out)” (3:57)
is the album’s second (part? or version?) with this title. It starts out with a completely different sound—establishing a kind of KING CRIMSON “Discipline” weave amongst its musicians. Slowing down, breaking it down, speeding it up--the band toys around with the riffs and beat before letting the SMAGA break out with a proper metal electric guitar lead (the album’s first!) Though nothing earth-shattering, the guitarist’s confidence with bending the song’s key to his chormatically shifting scales is noteworthy and admirable. (9/10)
6. “So Be-live” (5:48)
opens with a fade in with electric (Fender Rhodes?) piano and jazzy bass and drums and finger icked electric guitar parts weaving into a slow and methodic tapestry. The whispery voice used by BOB is quite perfect for the litl and fluidity of the music. At 2:04 the music shifts toward the now more familiar TOOL-like rhythm structures. BOB’s “Duda voice” gives this section a very RIVERSIDE-like feel. But then--surprise!--the distinct shift to the DAVID GAHAN voice occurs as synth playing portamento in the background toys with the song’s mood in a VANGELIS-kind of way. Then—wow!--growl/screams take over and add an amazing intensity to this incredible song! (10/10)
7. “I Can't Illuminate with You” (2:29)
opens with what sounds like a sustained note being bowed on the lowest ranges of a stand-up double bass. As the intro plays out it becomes evident—with the help of all the other BLADE RUNNER_llike “future”/space sounds—that the note is coming from a Vangelis-like synthesizer. The song, it turns out, is actually an intro to the next song, as it seamlessly bleeds into and becomes…
8. “Naan” (8:57) opens with another syncopated mixed-meter rhythm but this time the VANGELIS-like keyboards and playful JAN AKKERMAN-like rhythm work of the lead guitar pronounce something new and fresh. At the one minute mark all instrumentation merge into a 30-second single chord. Awesome. Then BOB’s sensitive Duda Voice enters to break the spell. The ensuing music scape is TOOL-like yet flittering about are the EDGE-like guitar effects. The vocals which follow are unmistakably DEPECH MODE-like. What an amazing vocal talent!! And an amazing lyric! So powerful! Not Duda, Gahan, Keenan, or Patton could hold a candle to the light of this singer! At 6:28 there is a shift into a discordant chord sequence with a whispered voice and syncopated snare and bass section. At 7:25 the music has evolved inot full band paly again, with BOB’s “Maynard voice” taking over. Echoed growls belnding into the cymbol play are the last vocals to be heard in this one. Awesome! Again! (10/10)
8. “Naan” (8:57) opens with another syncopated mixed-meter rhythm but this time the VANGELIS-like keyboards and playful JAN AKKERMAN-like rhythm work of the lead guitar pronounce something new and fresh. At the one minute mark all instrumentation merge into a 30-second single chord. Awesome. Then BOB’s sensitive Duda Voice enters to break the spell. The ensuing music scape is TOOL-like yet flittering about are the EDGE-like guitar effects. The vocals which follow are unmistakably DEPECH MODE-like. What an amazing vocal talent!! And an amazing lyric! So powerful! Not Duda, Gahan, Keenan, or Patton could hold a candle to the light of this singer! At 6:28 there is a shift into a discordant chord sequence with a whispered voice and syncopated snare and bass section. At 7:25 the music has evolved inot full band paly again, with BOB’s “Maynard voice” taking over. Echoed growls belnding into the cymbol play are the last vocals to be heard in this one. Awesome! Again! (10/10)
9. “Army Of Me” (Björk Cover) (6:33)
opens with waxing and waning synth note—(sounds like a Prophet 5)
before the standard Proghma-C/Tool rhythm track establishes itself. Then the vocal is introduces—understated and delicate—before an absolutely stunning multi-tracked vocal chorus is unleashed on us. Alternating back and forth from controlled single voice to , passing through empty spaces and synth-solo-dominated sections, we are treated to a song whose original version is both lost to me and immaterial. This is an awesome song no matter who wrote it! (10/10)
I don’t think I’ve ever given out so many 10/10s in a review before, but that's how highly I think of each song; this is a reflection of how much I enjoy listening to this entire album. One of my all-time favorite driving CDs. I do also want to mention how incredible I think the mesmerizing and yet tight is the work of drummer Łukasz 'KUMAN' Kumański and his cohort on bass, Michał 'VASKI' Górecki: they carry out the complicated, sometimes breathtaking rhythms flawlessly. Mega kudos, boys.
96.67 on the Fish scales = a five star masterpiece. This is one of those times that I wish I could post a rating of 6 stars—to indicate something incredibly special. The band claim that their music is intended to contribute to “Enhancing the palette of our musical universe.” I for one think that they are succeeding in this capacity. This is fresh stuff! HIGHLY RECOMMENDED to ALL progheads!
I don’t think I’ve ever given out so many 10/10s in a review before, but that's how highly I think of each song; this is a reflection of how much I enjoy listening to this entire album. One of my all-time favorite driving CDs. I do also want to mention how incredible I think the mesmerizing and yet tight is the work of drummer Łukasz 'KUMAN' Kumański and his cohort on bass, Michał 'VASKI' Górecki: they carry out the complicated, sometimes breathtaking rhythms flawlessly. Mega kudos, boys.
96.67 on the Fish scales = a five star masterpiece. This is one of those times that I wish I could post a rating of 6 stars—to indicate something incredibly special. The band claim that their music is intended to contribute to “Enhancing the palette of our musical universe.” I for one think that they are succeeding in this capacity. This is fresh stuff! HIGHLY RECOMMENDED to ALL progheads!
3. THE CONTORTIONIST Clairvoyant (2017)
This Indiana-based band has matured and, if truth be known, mellowed (matured?) over the seven years they've been recording and releasing excellent Metal-oriented heavy Prog albums, but this is their best. They have mastered individual restraint and understated performances in favor of group chemistry, group composition, and seductively gorgeous heavy prog music. Simply stunning.
Line-up / Musicians:
- Robby Baca / guitar
- Michael Lessard / vocals
- Joey Baca / percussion
- Cameron Maynard / guitar
- Jordan Eberhardt / bass guitar
- Eric Guenther / keyboards
1. "Monochrome (Passive)" (4:58) So many creative computer/Hal 9000/synth openings on this album, of which this is the first. As it amps up into heavy guitar and bass distortion it fits! It works. Then the song settles into a softer, almost NuJazz groove, with some great guitar and keyboard interaction. I haven't heard this creative and innovative keyboard work in years! (10/10)
2. "Godspeed" (3:14) fast opening and abrasive, settling into great weaves to support Michael Lessard's restrained vocal. Amazing subtle effects and contributions throughout--especially the restrained yet virtuosic guitar work. Michael actually lifts his voice in that last minute just before the guitar does the same. Awesome! (9.5/10)
3. "Reimagined" (3:17) gorgeous heavier song on the KARNIVOOL or VOTUM scale of latently heavy prog with an awesome sound palette. I love the "breathe" section in the third minute. (9.125/10)
4. "Clairvoyant" (7:37) is the first true metal, djenty song on the album (IMHO)--complete with chorale-styled vocal sections and machine gun bass drum pedal play. Really gorgeous transitions and chorus sections; nothing too difficult or abrasive but all played to group perfection. Also the most diversified and chameleonic song on the album. (13.5/15)
5. "The Center" (7:34) a smooth, gorgeous song that continues to build while Michael Lessard seduces us with his incongruously sedate vocal. Is he the new Maynard James Keenan? Just brilliant! Reminds me of my favorite song from 2016 by THE MERCURY TREE, "Deep Five." The ambient turning electronic symphonic final two minutes sure caught me by surprise! (13.875/15)
6. "Absolve" (5:12) brilliant restraint shown on this vocal despite the yearnings of the music to soar! Makes for a great tension between the two. Another song that has so many melodic, even pop-music anchoring points that it's hard to not marvel at the "amping" effect they achieve with their bass and guitars. At 5:05 the song shifts, kind of cuts out, while a spacey, post-explosion techno-synth concerto slowly builds and bleeds into the next song. (9.125/10)
7. "Relapse" (6:14) opens as an odd synth experiment with spacey vocal for the first 1:30 before the heavy rock instruments enter. Synth washes and sliding power chords finish off the first half before a piano-based, computer-paced section with Lessard saying "They're clairvoyant." Interesting sliding-tremolo guitar solo in the fifth and sixth minutes. It even gets a little djenty at times. (9/10)
8. "Return to Earth" (6:15) spacious and atmospheric genius that lets loose at the 1:20 into a heavier (though simple) and still gorgeous and inviting prog song. Vocalist Michael Lessard has the silky smooth pipes to keep the listener engaged despite the frenetics of his mates. It's like a mellower version of a KARNIVOOL or LEPROUS song. (8.875/10)
9. "Monochrome (Pensive)" (9:24) very nice song that, unfortunately, takes seven and a half minutes to finally soar to the heights one might expect from a nine and a half minute "epic" BUT, it does soar--and satisfy, on many levels. (18.5/20)
92.92 on the Fishscales = A-/five stars; a minor masterpiece of gorgeously woven heavy prog. My nominee for the Best Heavy Prog album of the year (2017)--and maybe Most Creative Keyboard Player in Eric Guenther.
4. STARE AT THE CLOUDS This Clear Divide (2016)
More outstanding djenty atmospheric prog out of Australia. Like country-mates KARNIVOOL and Polish prog masters VOTUM, these musicians know how to create great melodies and moods within heavier musical walls of sound--and they are even better at building over or deftly interspersing their songs with awesome atmospheric, almost shoegazey passages!
Line-up / Musicians:
- Keelan Butterick / vocals, guitar
- Seb Key / guitar, vocals
- Evan Jackson / bass
- Jacob Grindrod / guitar
- Cassandra Key / drums, piano, percussion
1. "Prelude" (0:42) opens the album with some atmospheric guitar notes and constant keyboard soundscape in order to set up the barrage of sound that is unleashed at the beginning of #2. (4.5/5)
2. "The Falling" (3:31) opens with some full-brunt walls of sound very similar to the VOTUM and KARNIVOOL style of recent years. Great vocal also fitting into the VOTUM "First Felt Pain" style. At 2:50 the tempo is downshifted a few steps before falling away for a soft little atmospheric keyboard end. (9/10)
3. "Concurrent Abreaction I: Presage (The Hunter)" (8:22) opens strongly with vocals joining in soon after. But the song pauses and slows before the first minute is out for a sustained reset before returning to the opening pace and heaviness. It's a bit like being in a car that is driving in traffic--stop lights and all.
The totally atmospheric section that begins at the end of the third minute is so cool--rolling, jumping bass lines and drums playing off one another while the guitar arpeggi and keyboard backgrounds accompany the soft vocal. At 4:34 the djenty bass and guitars return for a little display of their own. The vocal that eventually tries to join in is, unfortunately, a bit incongruous. Another soft, atmospheric section begins at the six minute mark--this one less pretty, less satisfying than the last--and soon gives way to another barrage of djenty guitar.
The shifts from heavy, djenty walls of sound to atmospheric, almost Shoegaze soft sections throughout this song are quite interesting--and, now that I'm used to them, awesome. (18/20)
4. "Concurrent Abreaction II: Ocean (6:31)" opens very sedately, spaciously, until the very end of the second minute when some slow, heavy guitar-based walls of sound establish themselves in a kind of FOREIGNER "Double Vision" way. All ensuing song development is slow and methodical with nothing much very surprising or exciting save for a return at the 4:40 mark (to the song's end) to the shoegazey-atmospheric sound of the opening. (12/15)
5. "Concurrent Abreaction III: The Outside" (6:20) opens with some atmospheric guitar play over an interesting uneven time signature bass and drum rhythm. The vocal that joins in repeating "inside my thoughts" is a nice touch. As a matter of fact, this is the first song in which the lyric and vocal perfectly match the music being expressed beneath. At 3:34 the djent wall of sound is unleashed in a KLONE/ALIC IN CHAINS way--with vocalist reaching up to scream his lyrics along with the escalation in sound volume. This is, however, but a brief crescendo before all falls back to the more floating atmospheric levels of the opening section. (9/10)
6. "Concurrent Abreaction IV: Lucah" (4:26) is a song that again reminds me of a YANN LIGNER-led KLONE song for its first two minutes. Then it becomes a totally different song--an instrumental that contains some gorgeous ROBIN GUTHRIE-like atmospheric guitar chord play and guitar effects--for over a minute before returning to the KLONE-like grungy heavy metal sounds introduced in the opening section. The heavily treated GUTHRIE-like guitar can be heard contributing single note arpeggi throughout. This is awesome! One of my top three songs for the album. (10/10)
7. "Concurrent Abreaction V: We Lie In Shadows" (5:41) opens with some fun drum exercises before the shoegaze guitar sound joins in. Long, sustained FRIPP-like guitar notes accompany and soar over the other guitar, bass, and drum play. Beautiful! This is another beautiful albeit heavier version of a COCTEAU TWINS/shoegaze-styled song. Even the heavier buildups in the second minute take nothing away from the incredible syncopated, stop-and-play melody and rhythm play here. As a matter of fact, the densification that occurs at the end of the third minute within the multiple arpeggiating guitars is stunning! And the SYLVIAN-esque atmospherics in the middle of the fifth minute, too! Probably my favorite song on the album. (10/10)
8. "Concurrent Abreaction VI: Sehnsucht" (4:03) is an ENO-esque ambient ocean raft ride in which long note harmonized vocals and Fripp-like sustained lead guitar notes waft in and out of the gorgeous foundational music. Certainly a top three song for me. (10/10)
9. "Dead Letters" (2:27) is an instrumental that sounds like a reprise of an earlier theme played slightly more clearly and with different approaches to the drums, keys, and guitar sounds used. Still, gorgeous with memorable melodies used throughout. (10/10)
10. "Cutting The Ties" (5:33) is a rather low profile attempt to tie up loose ends and end the concept album on an even keel. Such a great sound! (9/10)
92.27 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock music. I love this album! Stare at the Clouds has produced a masterpiece of atmospheric djent.
5. EARTHSIDE Let the Truth Speak (2023)
Line-up / Musicians:
- Jamie van Dyck / guitars, keyboards, backing vocals
- Frank Sacramone / keyboards, backing vocals
- Ryan Griffin / bass
- Ben Shanbrom / drum, backing vocals
With:
- Sandbox / percussion (1)
- Keturah / vocals (2, 7)
- Pritam Adhikary / lead vocals (3)
- AJ Channer (Fire From The Gods) / lead vocals (4)
- Larry Braggs (Tower of Power) / lead vocals (6)
- Sam Gendel / tenor saxophone (6)
- VikKe / vocals (7, 8)
- Duo Scorpio / harp (7)
- Gennady Tkachenko-Papizh ("Russia's Got Talent") / vocals (8, 9)
- Daniel Tompkins (TesseracT, Skyharbor) ) / lead vocals (9)
- Baard Kolstad (Leprous) / drums (10)
1. "But What If We're Wrong?" (4:30) what is basically a two-chord song is transformed as if by magic by the ingenious layering of very active instruments above and around the core. It's as if the band turned something one dimensional and linear into something four-dimensional and subatomic! Awesome! (9.25/10)
2. "We Who Lament" (8:44) presenting one of those rare vocalists from the Layne Stayley, Ian Kenny, Einar Solberg class: a female vocalist named Keturah (Allyson), who is from Malawi. Here Earthside present one powerful, impactful, and refreshing song. It is a rare thing to behold to find a song that is driven so completely by the drum kit--and in a creative, melodic, and intrepidly multi-dimensional way that I am even more astounded as I listen to it each and every time! The section between 5:10 (or even 4:30) and the song's end is one of the most dynamic, creative, virtuosic sections of progressive rock music that I've ever heard! Ever! The band seems to create something that flits in and out of three, four, and, at times, five dimensions! And I absolutely love the choral shouts in the background over the awesome djent music of the final 90 seconds! Pure prog perfection!
Easily the best drum performance that I've heard of all year. (Mega Kudos, Ben Shanbrom!) And bassist Ryan Griffin's djenty bottom-dwelling salvos stick with Ben all the way. Amazing synchornization! And Keturah's vocal performance is definitely one of the best on the album (and this is an album of phenomenal guest vocal performances). (20/20)
3. "Tyranny" (8:39) I love djent! the way those bass chords hit me in the chest! This song presents a little more of the piano-djent heard from France's KLONE and even Denmark's VOLA. Despite an opening motif that is perhaps a bit too drawn out, this song has excellent flow, development, shifts and (in the second half) melodic themes with impassioned play and vocals--a refreshing and nearly flawless song that gives so much more with each and every listening. I don't like the fact that it's not until the fourth minute that we, the listener, get to hear the true power and talent of freelance vocalist Pritam ("Pritzz") Adhikary. As a ballad singer, he's good, but as an enraged metallurgist, he is one of the best I've ever heard.
Again the way this band mysteriously creates such engaging melodies with such a "big" and multi-dimensional sound is astonishing. There is a big shift, stylistically, at 4:40, into a gorgeously spacious, intensely atmospheric (almost Dream Pop) soundscape of guitar and bass arpeggi accompanied by Pritam's airy, floating, upper register vocalise. But then at 5:58 Pritam and the band break back into the heavy palette of the prog metallists while, somehow, retaining the conveyance of absolutely heart-wrenchingly gorgeous melodies. Miraculous! (As is Pritam's sincerely heart-felt performance in those final minutes.) Not even KARNIVOOL, VOTUM, or THE CONTORTIONIST have ever done it so fully, so perfectly, so effectively! One of the best progressive metal songs I've heard since this year's Ok Goodnight and Nw Obliviscaris albums hit my ears. (19.75/20)
4. "Pattern of Rebirth" (4:40) a more standard Prog Metal vehicle for vocalist AJ Channer (FIRE FROM THE GODS, Austin, TX). The keyboard parts are my favorite--reminding me of one of my all-time favorite Prog Metal tunes from Portland's THE MERCURY TREE, "Deep Five." I love the rap in the final 90 seconds with other voices woven over the three-range djent chords. (8.875/10)
5. "Watching the Earth Sink" (11:46) opening with some solo electric guitar play, classical guitar style like MAUDLIN OF THE WELL do. Guitarist Jamie van Dyck, one can tell, has had some serious classical guitar training (and commitment). In the third minute bass, rim play, and a second guitar track are added before Ben Shanbrom offers his toms. Tensions rise as the weave builds in the second half of the fourth minute, but then at 4:15, Ben's drums hit third gear and the rest of the band follows suite. In the sixth minute Ben's kick drum turns insistent metronome, leading the band into some awesome NEIGE/ALCEST-like walls of Shoegaze-metal with Ryan Griffin's awesome djent chord bass play right there with him. These guys are so tight! Jamie steps in with his screaming lead guitar to take us even higher before things calm down for a bit in the seventh minute while Ben and Jamie seem to "talk" to one another through their instruments. At 8:15, then, comes the real calm before the storm as Frank Sacramone's slow-playing descending Fender Rhodes arpeggi provide a wonderfully eerie pause while we wait for the ultimate dénouement (we all know it's coming)--which arrives slowly in the tenth minute, ushered in by Ben's driving tom and roto-tom play, while Jamie's guitar chords start to scream with increasing urgency. Some distant background vocals, big bass chords and low end fillers join in as chaos ensues. No lyrics or guest singer here. Just pure instrumental heaven (though not quite as creative or multi-dimensional as the opening three songs). Still, an awesome song. (22.25/25)
6. "The Lesser Evil" (10:59) vocalist Larry Bragg (TOWER OF POWER) leads this one over some excellent, layered keyboard work. Though not as Soul/R&B as one could expect with Larry's pedigree, there is definitely a completely different side of Earthside on display for the first 3:20 of this. Horn blasts and very deep chunky bass enter and (bass) take over as Larry's vocal definitely gets more R&B-familiar (not unlike a cross between Jeffery Osborne and Phillip Bailey). Incredible vocal performance. Hard to believe this is happening on a prog metal album! Amazing saxophone solo/work (and vocal) in the ninth minute! Mega kudos to these artists for not only taking a chance on this odd chemistry but for making it work! And work it does! This is one heck of a song (and Larry Bragg is one heck of a singer!) (18.75/20)
7. "Denial's Aria" (5:26) Welcome ViKKe (and, in a supproting role, Keturah) as well as harpist Dua Scorpio. With harp, keys, deep bass thrums, and infinity guitar notes, the vocalists here wow and entertain with an incredibly innovative and creative weave of theatrical storytelling. Not really a full metal song, but incredibly powerful in its entirely unique and laudatory creative delivery. Heavy and emotion-packed. Who knew Soul/R&B could mix with metal? (9.5/10)
8. "Vespers" (2:41) more excellent keyboard work painting a lush, dreamy, even jungle-like soundscape within which several voices and vocalists (including ViKKe and Russian nature-singer sensation, Gennady Tkachenko-Papizh). I love this song! (5/5)
9. "Let the Truth Speak" (10:47) Daniel Tompkins (TESSERACT, SKYHARBOR) takes the lead vocals this time with Gennady Tkachenko-Papizh playing a supporting role within this very thick walls-of-djenty KARNIVOOL-like sound. Very impressive vocal performances but the music is surprisingly "straightforward" for a djent-metal song--sounding a lot like some of LEPROUS's dirtiest songs (like "Slave" or "Coal")--no dancing string-theory multi-verse circles around the quantum core. (17.5/20)
10. "All We Knew and Ever Loved" (9:19) a cinematic prog homage to bands like GOBLIN and MIKE OLDFIELD that employs the value-added services of long-time LEPROUS drummer, Baard Kolstad. (In the video of the recording of this session, the two are seen split-screen duelling, synching, and weaving within and around one another in really entertaining ways.) Frank's heavy church organ is awesome throughout but truly essential to that magnificent crescendo at the end. (18/20)
Total Time 77:31
One of the most creative, progressive rock albums I've heard in a long time. The engineering feats achieved here alone constitute no small miracle of sound production: music that many times feels as if it goes beyond three dimensions, taking the listener beyond the confines of space and time.
93.05 on the Fishscales = A/five stars; a total masterpiece of progressive rock music in the truest sense of that which is "progressive." Definitely an album that belongs in every "prog lover's" music collection. For metal heads I should think those first three songs alone would make the price of admission worth it. All hail to these torchbearers of the progressive spirit of "progressive" rock music!
Another heavy prog band from Poland. There sure is some great music coming out of Eastern Europe! And this one clocks in at no less than 69 mintues!
Line-up / Musicians:
- Maciej Kosinski / vocals
- Alek Salamonik / guitar
- Adam Kaczmarek / guitar
- Zbigniew Szatkowski / keyboards
- Bartek Turkowski / bass guitar
- Adam Lukaszek / drums
Harvest Moon kicks off with a real gem--a piece that betrays very little of the heavier, more metal-oriented stuff to come.
1. "Vicious Circle" (8:13) takes the listener on such a nice ride through quite a diverse range of soundscapes. It starts off with a slow picking acoustic guitar that is backed by a cool organ sound. When drums and bass finally join in a great electric guitar solo completes the intro section. Settling into a very steady slow pace, the vocalist enters with a very strong, soulful presence. As things amp up at the chorus everything is working so well: no over play or show-boating. Then there is an ominous lull, which fulfills all expectations when a heavier section kicks in (with some great lead guitar arpeggios and bass and drums). At 4:45 we are back to lull. A very delicate 'distant' electric guitar and organ play a little before the beginning section is recreated (with a bit more play from the organist). This time, however, the solo section is much expanded and displays much more energy and technical instrument play--especially from the drums, bass, and lead guitar. Vocals rejoin to complete the song but the ride plays out with a minute of very eery space noise. An incredibly gorgeous song--one that has taken be completely by surprise. The dextrous subtleties exhibited by all of the musicians are nothing short of astonishing--drummer Adam Lukaszek is astonishing! Whoever played that amazing guitar solo in the seventh minute is extraordinary! A top three song. (14.75/15)
2. "Cobwebs" (5:01) sounds quite a bit like it could have come off of PEARL JAM's Ten despite the presence of some growl/screams and engineering effects. Luckily, the music is not detracted by the screams. A great song for the Octane Radio listeners. (8.75/10)
3. "First Felt Pain" (6:52) starts out with a very heavy modern metal sound (stereotypically signaled by the machine gun riffs from the kick drum). But that's just the first minute. At 1:05 a pause is filled with a fast strumming acoustic guitar before the heavy rhythms rejoin in a flow that supports the vocals (which are surprisingly melodic). The instrumental solo sections are still steeped in modern heavy metal. At 3:45 an emotional acoustic section ensues that feels so powerful and heartfelt--including the guitar solo and engineering effects (panning background vocals). At the six-minute mark, all sound drops away leaving some layers of very eery industrial noises which play out to the end. Very effective! An incredibly unpredictable--and numinously wonderful--song. (14.333/15)
4. "New Made Man" (5:27) has a very familiar classic rock feel to it, a simpler, more straightforward song structure, but, when put into the context of this whole album, it holds a very stunning presence. It sounds very much, to my ears, like a cross between early DAVID BOWIE and the Aussie glam rockers, ICEHOUSE--or THE RE-FLEX. At 3:10 the song breaks down to arpeggiated acoustic guitar and some random sounding tickling of the piano ivories. Very pretty! Quite a melodic gem! (9.75/10)
5. "Numb" (5:01) is a gentler, almost LUNATIC SOUL song with layered vocal harmonies sung over a very simply picked acoustic guitar and some hand percussives. The final minute and fifteen seconds plays out with some "windy"-sounding synth washes.
Overall, "Numb" sounds a lot like a Southern Rock classic from the likes of THE ALLMAN BROTHERS BAND or THE MARSHALL TUCKER BAND or even KANSAS or BLIND FAITH, TRAFFIC, or THE ATLANTA RHYTHM SECTION. Again, another surprise in terms of this band's musical dexterity. An excellent song. (8.875/10)
6. "Ember Night" (6:58) "slows" things down to a very standard heavy metal pace. Unfortunately, for the first 3:35, the song does very little musically to make it stand out from the rest of the metal scene--and certainly does little to help it hold up to the album's previous stellar five songs. The jazzy lull from 3:34 to 5:15 does nothing new or exciting. A return to the harmony vocals and the first sections of music add nothing--continue to bore me. It just never engages or does anything special despite the great production and sincere musicianship. (13/15)
7. "Bruises" (7:43) begins with some acoustic guitar play over some synthesizer washes. The vocal and rhythm section kick in to establish a slow, almost piano jazz song. Then the music begins to build--first the more insistent rhythm from the bass and drums, then the lead guitar starts to warm up--but then everything drops out to leave just a soft piano and the vocalist--who, though heart-felt, seems weak of voice. Staccato acoustic guitar strumming restarts the song--ushering in the full-scale heaviness of the band. Now the vocal fits better! But, then, the soft piano (and, this time, drum) supported emotional vocal section returns--this time to much better effect. At 5:28 when the full power of the song is finally released it is working: great drumming, great chord sequences, great vocal performances (including background vocals) and great melodies. The final 45 seconds allows the piano, delicate drum play, and whispered voice to bring the song to decay. A beautiful, heart-wrenchingly emotional song. A top three song, to be sure--one that haunts me long after the album has stopped playing. My favorite song of the album. (15/15)
8. "Steps in the Gloom" (7:51) begins with synth wash and reverb-electric guitar notes, soon joined by delicate piano play and soft-jazz kind of drum and bass play. When electric guitar starts to play in the second minute the electronic keyboards are doing some very interesting things. The vocalist enters around 1:45 sounding quite relaxed and laid back. His emotions are soon amped up as the band kicks into a section of driving sound. Back to softer, and even ambient section reminiscent of some of the things DAVID SYLVIAN, RYUICHI SAKAMOTO, and TREVOR HORN were doing in the 1980s.
Awesome strumming and soloing from electric guitars around the five-minute mark. And the bass play! This guy is getting off, too! Best instrumental section of the album! The final 90 seconds is a kind of SEAL/"Crazy" return to the song's main vocal followed by an ambient outro. A really odd song that defies categorization yet definitely one of the album's best. Another top three. (15/15)
9. "Dead Ringer" (6:52) begins with a rolling bass line and steady, strong drum pace to back what sounds like a DAVID BOWIE-like vocal performance. The heavier chorus section betrays a different path (though Bowie had his metal-like moments--and may have used this stylistic approach were he peaking in the post-90s Prog Metal era.) Cool guitar work at the 3:10 mark followed by hollowed out section with rock-steady drum, muted bass, and slow, muted vocals. Excellent! It then rebuilds to full-scale onslaught on our senses. I love the powerful, firm-but-understated drum-work throughout this song! The song 'ends' at the six-minute mark while another cinematic display of ambient synth play carries the song out to its end 52 seconds later. (14.5/15)
10. "Coda" (6:32) begins like a cross between PEARL JAM and TOOL before shifting into a brief delicate section. AT 1:45 the synths and electric guitars enter with some really new, fresh sounds, the song's feel and rhythm and tempo shifts, the industrial synth takes over for a bit, then it all comes racing back into a full-out metal bang. For 30 seconds. A 30-second spacey section is talked over in a BONO-like voice before the band climbs back into banging mode--with some nice (though stereotypic) support vocal harmonies. This could be a ARJEN LUCASSEN song! Were I one to key in on lyrics, the story here might prove to be quite interesting, the musicianship is, however, unmistakably great. Yet another eery space wash synth journey plays out the final minute of this song. (8.75/10)
11. "Numb - A Reprise" (2:35) ends the album with a return to the acoustic side of this band of talented and creative songwriters and rock solid performers. Solid if not extraordinary. (4.5/5)
This album is a real shocker to me in that I find myself liking it far more than this year's new release from fellow prog countrymates, RIVERSIDE. There is much more dynamic energy here--as if VOTUM really cares about every note of their music, as if they are really into their music--into engaging and at the same time hyping up their audience. As much as I appreciate the creativity and leadership of MARIUZ DUDA and RIVERSIDE, I have to say that with Harvest Moon, a new band has usurped the crown of Poland's prog scene. That band is named VOTUM.
Hail to the new king! Long live the king!
94.23 on the Fish scales = A/five stars; a pretty darn near a perfect album and definitely a masterpiece of creative, energetic progressive rock music.
7. NE OBLIVISCARUS Exul (2023)
One of Australia's most popular and ground-breaking Metal bands is back with another album straddling the fence between black metal and symphonic prog.
Line-up / Musicians:
- Xenoyr / harsh vocals
- Tim Charles / clean vocals, violin, viola, keyboards
- Benjamin Baret / lead guitars
- Matthew Klavins / guitar
- Martino Garattoni / bass
- Dan Presland / drums
With:
- Emma Charles / additional violin
- Alana K / additional vocals
- Dalai Theofilopoulou / cello
1. "Equus" (12:13) Danny Carey (TOOL)-like drumming opens this before being joined by bass, guitars, and violin. Tim Charles has a GREAT voice--one that compares to all of the greats. And the play of bassist Martino Garattoni is movin'! The music here is tremendously engaging and melodic, smoothed out by the wonderful presence and arrangements of the orchestral instruments; this is a song that I could listen to quite happily, quite regularly.
I love the way Tim's screeching violin plays off of Xenoyr's death metal growls, sometimes serving as a mirror of Xenoyr's passion, sometimes serving as a calming counterbalance. The electric guitar solo in the tenth and eleventh minutes is amazing: it seems to bridge that gap between technical metal shredding and old-fashioned bluesy prog styles. Awesome!
I don't think I'm going to hear many songs better than this one this year--especially coming from the metal persuasion; not even the "harsh" vocals can disturb or dissuade me. I'm still reeling from the machine gun fire of Dan Presland's pedaled bass drum! My favorite song on the album. (25/25)
2. "Misericorde I - As the Flesh Falls" (7:33) opens with an early-Opeth-like wall of sound with Xenoyr screaling away over the first minute. The drummer and bass player are going machine gun crazy as Tim Charles joins in with his "clean" vocals and then in the third minute when Tim rosins up his bow for some pyrotechnics. Great dynamics. Amazing bass and drum play--especially in the foot pedal department. Pace shift in the fifth minute as Xenoyr takes the lead back precedes a spacious patch around the five-minute mark in which Tim's violin adds to the percussive sparsity. By the end of the sixth minute we've ramped back up to full power, this time with Tim singing the lead with those long notes. The strings again contribute hugely to this section, making it quite melodic and engaging despite the wild staccato of the drums and guitars and the vocals. Around the 7:30 mark all metal aspects drop out leaving strings and piano to establish a slow-paced "Great Gig in the Sky"/cabaret/lounge sound. Stéphane Grappeli anyone? A top three song. (14/15)
3. "Misericorde II - Anatomy of Quiescence" (9:22) The classical chamber motif established at the end of "Misericorde I" continues, offering Tim a chance to show a different side of his violin prowess. (Do I hear some "Larks Ascending" riffs in there?) Bluesy drums, bass, and guitar slowly join in, slowly filling the soundscape before launching the bluesy-rock guitar machinations of Benjamin Baret in the third minute. The rest of the band ramps up into metal ballad land as Ben's STEVE VAI-like guitar shredding begins to send sparks and shrapnel out of my speakers. Then a pensive, militaristic passage establishes itself, plodding irresolutely along as the strings play like their on the deck of the sinking Olympic (Oops! I mean "Titanic"). This music is so accessible, so engaging that I'm quite reminded of the spell that FIELDS OF THE NEPHILIM creates on me. Another song that surprises and wins me over; I'm really hard-pressed to find any faults within this song. Another top three song. (19.5/20)
4. "Suspyre" (10:09) the mood of the music here is quite well matched to the undead topic indicated by the title--even when the classical guitar palette is introduced at the 4:30 mark. The guitar sound thereafter sounds a bit dated--like 1990s Death or VOIVOD--and then this section is transitioned into the monster-like growl section of Xenoyr--which is capped off with some absolutely demonic violin play. Still not a fan of this guitar sound used beneath Tim's singing about (im)mortality. Bass and drums are great, however, and Tim's next violin solo--paired with another great, if brief guitar solo by Benjamin Baret--are great; they lead perfectly into the chaotic final crescendo. (17.5/20)
5. "Graal" (8:53) more metal that sounds so much like the dark/black metal music that flourished in the 1990s--except for Tim Charles' "clean" vocals--and the frenetic violin play (which adds so much). A shift in the music at the end of the third minute helps to usher in a spacious acoustic guitar passage over which bass player Martino Garattoni gets to show off his chops. As screaching lead guitar cuts Tim and Martino off, the full band reignites their ignition and quickly moves into overdrive, eventually returning to that 1990s death metal sound as Xenoyr screamowls away. Re-enter Ben and we get some more very 1990s-familiar technical metal shredding. Nice interplay between the insidious bashing of the metal music coming from the rhythm section while Tim and the other strings players play their own classical thing at the same time. Cool finish! (17.75/20)
6. "Anhedonia" (3:43) brings the album to a close with a rather stark, Arabian/desert religious feel as Tim's wordless voice soars around the desert air while piano chords keep we observers grounded. Shankar/Vaughan Williams like violin also plays a major role: first soaring as Tim's voice had done--even alongside Tim's vocalese--but then closing out the song with some frenzied play within a loose weave of other strings keening away. (9/10)
Total Time 51:53
These songs are so accessible, so engaging (I think due to the "clean" vocals, violins and other symphonic orchestral elements)--despite the presence of "harsh" death metal vocal growls--that I'm wont to call this "Easy Listening Prog Metal" or, at least, Symphonic Metal. Tim Charles' voice--doing the "clean" vocals--is extraordinary: he can hold his notes for so long!
93.41 on the Fishscales = A/five stars; a masterpiece of progressive rock music and perhaps my highest rated and favorite metal album of all-time! Definitely a must to check out for any and all prog lovers!
8. THE CONTORTIONIST Language (2013)
An Indiana-born band that was once given a "Deathcore" assignation has evolved: They're now sounding like one of Prog's atmospheric djent bands.
- Michael Lessard / vocals
- Robby Baca / guitar, bass
- Cameron Maynard / guitar- Eric Guenther / keyboards
- Joey Baca / drums & percussion
With:
- Jordan Eberhardt / bass solo (5)
5. "Thrive" (6:04) another song that bursts out of the blocks in full tech-metal garb, no holds barred, within/over which Michael sings in a song-syllabled diction with his smoother voice (though not quite as soporific as his performances on the upcoming songs). An atmospheric fourth minute allows bass and keys to show some of their wares before shredding guitars return at 4:00 to lead us back onto the autobahn, driving on into the sunset on the some kind of glorious summer day. The final minute sees the music shifting into something more ominous, as if one's interpretation of the sunset is suddenly in question. That second half alone is worth the price of admission. (9/10)
7. "Arise" (3:38) though the song bursts forth from its opening notes as if the volcanic explosion we were all expecting from the previous song, it never really goes crazy: Michael's vocals are still quite smooth and soothing (sounding quite a little like those of Ian Kenny). The musicianship on display here is quite skilled, filled with lots of subtle fills and flourishes. Growl vocals enter in the third minute but then smooth out again for the fourth--even going so far as to finish the song with a ghost-like a cappella choir. (8.875/10)
Working with the very important element of a very talented Maynard James Keenan clone for vocalist, the experimental metal music here draws from influences and styles far more widely varied than TOOL have ever aspired to. The musicianship is top notch; the "band"'s collaborative tightness incredibly well synchronized, with musical dynamics often shifting all over the place, heavy to soft, complex to austere, but not so chaotically as to wear on the listener. In fact, it all makes total sense in the context of the album's theme: "an emotional journey into the 7 stages of Alzheimer's Disease."
Line-up / Musicians:
1. "The Source" (2:39) piano, delicately picked 12-string guitar and cymbal play form the background for lead singer Michael Lesser to show a dreamy, atmospheric side to his singing capabilities. Quite unexpected! (4.75/5)
2. "Language I: Intuition" (5:24) opening with some Edge-like guitar playing, Eric Guenther adds his keyboard magic before some David Blamires (PAT METHENY GROUP c. 1987--listen to "Minuano [Six Eight]")-like vocalise joins in just before the explosion serves to remind us that this is a metal band. The rest of the song's palette is rather jazzy with constantly shifting guitar chord play over djenty bass and more-jazz-than-rock drumming (and sound engineering). Even when the power/djent chords take over in the fifth minute, there's something more j-r fuse than tech/extreme metal here. (8.875/10)
3. "Language II: Conspire" (4:15) bleeds straight over from the preceding song, but immediately shifts gears into a totally different sonic universe: this one very black/death metal with some very aggressive growl vocals. In the third minute the vocals turn more to standard metal rock before a brief djenty instrumental passage. Then, as the rock vocals return, we get into more familiar Prog Metal territory until the end. (8.75/10)
4. "Integration" (5:46) opens with a series of very quick changing synth chords that sound very familiar (from the Fairlight CMI world of Trevor Horn in the early and mid-1980s), but then bass, drums, piano, and djenty guitars rush into the fray to take over and establish a heavy, djenty, odd tempoed motif over which Michael sings in a smooth rock (almost 1980s techno-glam rock). But then things turn demonic in the fifth minute with Michael's vocals turning to malevolent growls and the instrumental play turning hyperspeed on all levels. Wow! High alert: Incredible musicianship on display! (9/10)
6. "Primordial Sound" (6:28) an incredibly rich, beautiful first three minutes does not hide the underlying tension waiting to explode; as the guitars and bass become more djenty you can feel the pressure mounting. Even as Michael Lessard's smooth vocals turn to growls ("gentle" growls), you know the heaviest stuff is still to come (especially with a title like that). Spacey synth break at 5:00 means nothing: it's still coming.… though maybe not in this song … (9.25/10)
8. "Ebb & Flow" (7:06) the djenty music that opens this contains much more of the band's technical skills on display, including odd time signatures, polyrhythms, as well as individual instrumental skills. (The drummer, in particular, really gets to shine.) Growl vocals in the second minute are counterbalanced by more of Michael Lessard's soothing vocals in the third. Meanwhile, the drums and bass are definitely putting on a show--practically all by themselves--in a prolonged instrumental passage! Matter of fact, it's not until 4:30 that the vocals and guitars return. This full-band passage is quite stunning with the two guitars going THIN LIZZY on us while multiple tracks of Michael's voice weave a relaxing, almost sleep-inducing theme--one that, once again, continues on well beyond the finish of all of the other instruments. (13.5/15)
9. "The Parable" (7:05) opening with an incredibly seductive atmospheric prog soundscape (I could bathe in this music for a lifetime!), bass, drums, and guitars begin to make themselves (better) known in the second half of the second minute, eventually establishing another wonderfully multi-dimensionally interesting song over which Michael delivers more of his hypnotically smooth vocal candy. Beneath, the guitars and drums are running interference for their intrepid leader like three body guards around Jim Morrison. The song comes to a halt at 5:27, leaving ample space for keyboard genius Eric Guenther to fill with his spacetronics so that a recording of a public speaker on vampirical realities can play--to the song (and album's) end. (14.75/15)
Total Time 48:25
The comparisons to Prog World's other great atmospheric metal-workers is inevitable: Votum, Karnivool, Proghma-C, Stare At The Clouds, and even Tool.
91.37 on the Fishscales = A-/five stars; a minor masterpiece of heavy prog in which the band shows many sides to its personality while displaying tremendously prodigious skills on all fronts (instrumental, compositional, engineering). This is truly an album of progressive rock music.
9. THE RETICENT The Oubliette (2020)
Working with the very important element of a very talented Maynard James Keenan clone for vocalist, the experimental metal music here draws from influences and styles far more widely varied than TOOL have ever aspired to. The musicianship is top notch; the "band"'s collaborative tightness incredibly well synchronized, with musical dynamics often shifting all over the place, heavy to soft, complex to austere, but not so chaotically as to wear on the listener. In fact, it all makes total sense in the context of the album's theme: "an emotional journey into the 7 stages of Alzheimer's Disease."
Line-up / Musicians:
- Chris Hathcock / drums, percussion, bass, rhythm guitars, vocals
With:
- James Nelson / guitar leads (1, 3)
- Andrew Lovett / tenor sax (2)
- Steven Wynn (Undrask) / additional guttural vocals (5)
- Amanda Caines / female vocals (6, 7). voice acting (2, 4, 5)
- Rei Haycraft / voice actin (2, 4, 5, 7)
- Juston Green / voice acting (2, 4, 5, 7)
- Jordan High School Wind Ensemble / winds (5, 7)
1. "Stage 1: His Name is Henry" (9:46) with such a beautiful vocal opening, it's hard to believe this is going to be a metal album. The Maynard James Keenan similarities are quite pronounced in the forms used in the third minute alone. Very cool switch into melodic latin jazz at 3:30 is soon followed by austere piano-and-voice interlude. Then we're back into the heavy prog. Great drumming! Great guitar and bass play. This guy can really do it all! (18.25/20)
2. "Stage 2: The Captive" (6:00) solid metal music with 100% MJK vocal stylings within the first 90 seconds turning to death metal growls. Slowdown and saxophone solo over finger-picked electric guitar in third minute followed by stark piano and vocal. What an amazing voice! Great shift back to metal palette near the four-minute mark. Don't know why but I'm hearing some sounds and stylings familiar to me from the 1980s metal bands--Iron Maiden, Def Leppard, Poison, Queensryche or someone. Then mixed with more Latin-like sounds & rhythms for the finale. (9.25/10)
3. "Stage 3: The Palliative Breath" (7:13) opens with Henry's daughter greeting a cheerful Henry but, sadly, not knowing who she is before the music begins. It's gently paced and beautifully set up with bass, and gently-picked electric guitar while Chris sings. This part reminds me of 1990s PEARL JAM--even the vocal. By the fourth minute we've shifted gears a couple times and moved into the heavier stuff, but never full metal--this is more melodic like Def Leppard or modern atmospheric metal masters Karnivool. Great lyrics--especially in the chorus sections--with nice multi-voiced harmonic vocals. Beautiful song. Really captures the mood of Henry's unwitting, insidious mental retreat. (14/15)
4. "Stage 4: The Dream" (11:47) multiple elegant electric guitar lines follow the opening passage from an interview with a young British-accented family member of an Alzheimer's patient. When Chris's voice enters its with a dreamy, heavily-treated plaintive vocal. At 2:17 the full band kicks in as multiple voices sing a bank of vocalise "ahh"s. Such dignity in this music; it's truly astonishing. Then, at 4:45, we take a drastic turn down another street--this one an instrumental section that is based on staccato instrumental play and near-Latin odd-tempoed rhythms--but it's over within a minute--replaced by a synth-dreamy sequence with an angelic female vocalist urging Henry to "come with me." In the eighth minute, then, we balloon out into full metal--though quite smooth and melodic (KARNIVOOL-like) soundscapes--while Chris's emotional MJK voice performs its magic. Those sections of gorgeous multi-voiced background vocalise are so effective! And I LOVE how the vocals are dialoguing about Henry's destiny. What a composition! I am a mess--an absolute ball of tears! One of the most powerful songs of 2020! (24/25)
5. "Stage 5: The Nightmare" (12:14) pure aggression, as expressed through an early Maudlin of the Well-like death metal style that is later enhanced by "orchestra." At the 2:30 mark we burst out of the chamber lull with some full-force prog metal. Quite theatric music (with full support of "orchestra") with a very powerful vocal performance à la Ian Kenny. At the five-minute mark we return to more aggressive death metal stylings as the vocals turn to growls, but then we return to Ian Kenny-like smoothness at 6:00. Great music with an awesome, albeit brief, lead guitar solo. Then the eighth minute gets really weird as multiple styles and tempos get mixed together as the chaos inside Henry grows. At 8:50 we return to the great themes of the seventh minute. I love this music--especially the multiple guitar and vocal work! Incredible! I have to admit, the music--and the odd and unexpected interludes--is so fitting for this (sad and horrific) stage of Alzheimer's. And sadly, "There is no way out." (23.25/25)
6. "Stage 6: The Oubliette" (10:38) "locked inside himself" and "wanting it to all be over as quickly as possible." I can relate. With some eerie but so effective music to perfectly capture the goings-on both inside and outside the Alzheimer's patient at this advanced stage. With this music, I am strongly brought back to the powerful feelings of disorientation and isolation that Gabriel Lucas Riccio's 2013 album, Interior City provoke in me. (17.75/20)
7. "Stage 7: ___________" (6:10) over the sound of the pings and beeps of a fully-engaged hospital bed play the gorgeous and sad orchestral music with occasional vocal offerings sounding like a soloist from a boy's choir giving three minutes of cinematic "closure" as the life of Henry ends. James Newton, John Williams, or John Barry couldn't have done it better. Sheer perfection--totally capturing all of the emotions of that event. This is then followed by a rain-soaked speech with regards of the future impact of this "dreaded disease"--numbers and statistics rendered in an echoed voice that sounds like Steven Spielberg (while I know that it's not). (10/10)
Total time: 65:48
Though musically this may not be offering much that is breathtakingly new or boundary-pushing, it is amazingly successful in its support of the original concept "an emotional journey into the 7 stages of Alzheimer's Disease." This is by my reckoning an album deserving of all the accolades and superlatives one might hear and certainly the best heavy prog/prog metal album I've heard from 2020 and the most refreshing musical rendering of a concept since The Gabriel Construct's 2013 masterpiece, Interior City (which this reminds me of) or Tune's 2011 release, Lucid Moments.
93.20 on the Fishscales = A/five stars; a masterpiece of human expression and a truly worthy and amazing addition to any prog lover's music collection. Folks: This is what prog, music, and art are all about!
My pick for Album of the Year for 2020.
Exciting female-fronted NIGHTWISH-like prog metal from a Boston-based group of Berklee College of Music grads. This is the band's third album release since 2018 (their second one, 2020's Under the Veil, was a 4-song EP)--their first with a now-stable fit for the bass position as well as some help for lead vocalist Casey Lee Williams in the form of former background-vocalist-only, Elizabeth Hull.
Line-up / Musicians:
- Casey Lee Williams / lead vocals
- Martin Gonzalez / guitar
- Martín de Lima / keyboards, guitar, backing vocals
- Augusto Bussio / drums, backing vocals
- Peter de Reyna / bass
- Elizabeth Hull / lead vocals & co-writer (8, 12), Fx (6)
1. The Drought (2:57) opens the album with some eerie, brooding deep synth waves sounding like something sinister brewing in a future post-apocalyptic landscape. When the full band bursts out of the slag and molten metal, lead singer Casey Lee Williams is right there with them from the first note--kind of MARS VOLTA style--albeit with a treated voice. The stop and go, widely shifting dynamics of the song again mirror The Mars Volta quite closely. Great opener. (9.25/10)
2. The Fox and the Bird (4:40) acoustic instrumentation just sounds so odd for this band--almost EAGLES or GOO GOO DOLLS-like. Then add a breathy, ethereal, NORA JONES vocal style from Casey Lee and we're definitely finding the band branching out into new musical territory. I like it: there is much more room for instrumental nuances and song subtleties here than in the power metal stuff. (8.875/10)
3. The Raccoon (and the Myth) (4:58) again, the acoustic guitars surprise me. Again, Casey Lee is given a foundation for a much more MOSTLY AUTUMN/IONA-like Prog Folk delivery. What a gorgeous vocal performance! (What a beautiful voice!) Then to go five minutes without an electric instrument, without the djenty bass and electric guitars and machine gun drumming, it's just ' unexpected. (8.875/10)
4. The Journey (2:09) piano, synths and female vocalise provide a dreamy opening to this but then it starts to chug down the tracks with the djenty bass, guitar, and machine gun bass drum. At 1:20 everybody backs off a bit for the electric guitarist to go off on a very tasteful, mature, and creative solo. (It reminds me of early Eddie Van Halen!) (4.75/5)
5. The Snake (3:42) Could be a NIGHTWISH or SCARDUST song with its wide dynamic shifts. A great, Noa Gruhman- caliber vocal performance by Casey Lee. There is a "calm before the storm" piano interlude at the 2:30 mark that builds into a torrent of metal chaos. This is one powerful song! (9.25/10)
6. The Nightmare (3:00) another interesting instrumental opening which morphs into a kind of Latin-Arabian riff-off-- before, that is, the chugging and scratching guitar play takes over. The keyboard orchestration that offsets the djent is pretty amazing! Kudos to Martin de Lima. (9.75/10)
7. The Falcon (6:12) Pat Metheny-like acoustic guitar opening soon becomes part of the straight-forward GHOST MEDICINE-like sound palette as Casey Lee sings another one of her crystalline vocals. The constantly shifting dynamics and myriad variations on the main rhythmic theme in the middle and second half are so exciting and brilliant-- definitely lifting the song into another dimension! (9.25/10)
8. The Dream (1:50) a nice dreamy instrumental break from the torrent and chaos of some of the other threads. Nothing extraordinary, though. (4.333/5)
9. The Bear (5:05) It's not often you hear a female vocalist pull of death metal growls, but apparently Elizabeth Hull can do (and does). Now exactly what I was expecting from a guest vocalist of the female persuasion: to make a metal band's metal music heavier! Good death metal song. (8.75/10)
10. The Crocodile (5:12) Heavy and raw, then jazzy and delicate, the band and Casey Lee Williams can do it all so seemlessly, so perfectly. (9.5/10)
11. The Bird (3:07) gentle solo acoustic guitar play opens this one before Casey Lee comes in sounding even more like Nora Jones or one of the Indigo Girls than ever. What a performance! (10/10)
12. The Mountain (5:30) Knowing that Elizabeth Hull had contributed to the writing and performance of this song, I was prepared for the death metal growls that arrive at the end of the second minute. The softer musical section with the lightning fast electric guitar arpeggi lying in wait beneath the space and beneath Elizabeth's growls is amazing. The music continues to impress with all of its shifts and changes (despite the consistently wild drums beneath) until 3:48 when Casey Lee returns and the music straightens out a bit, softens, then bursts into a very cool, almost classical final 30 seconds. Wow! Great song! (9.5/10)
13. The Rain (3:17) gently feather-touched piano chords open this one before Casey Lee joins in with an extremely airy-breathy voice (more than Sarah McLachlan or Delores O'Riordan). In the third minute strings and reed instruments take over for a gorgeous 20-second finish before the sounds of gentle and hard rain fill the soundscapes. (5/5)
Total Time 51:45
One of the strongest female voices in Prog World today coming out of Casey Lee Williams is curiously met by the tremendous variety of incredibly technical metal music accompanying her--but it works; the marriage of the Beauty and the Beast! The death growls of former backup singer Elizabeth Hull brings a new element to the band's tapestry- making, playing an important role in amplifying the sometimes-menacing metal music beneath--but more, she adds an stronger metal edge to the two songs to which she contributes. The musicianship and compositional skills are through-the-roof amazing. I so look forward to everything and anything these guys do in the future!
93.12 on the Fishscales = A/five stars; a veritable masterpiece of progressive rock music coming from a metal foundation but covering/bleeding into many other subgenres. Definitely a must for any and all prog lovers!
11. AVIATIONS Luminaria (2023)
From Boston, Massachusetts, this Prog Metal band burst onto the scene straight out of Berklee College of Music over a decade ago. After two solid albums in the 2010s, they were stalled by the Pandemic but have slowly been working on the group of songs that we now find on this 2023 release.
Line-up / Musicians:
- Adam Benjamin / vocals
- James Knoerl / drums and percussion
- Sam Harchik / guitars
- Eric Palmer / guitars
- Richard Blumenthal / piano
- Werner Erkelens / bass
2. "Cradle" (7:25) symphonic yet metallic and very HAKEN- and NATIVE CONSTRUCT-like music supports Adam Benjamin's vocals. The total sound palette reminds me of KARNIVOOL and THE CONTORTIONIST. The melodic and rhythmic paths explored here are so fresh and unpredictable that I find myself quite engaged--even mesmerized. Impressive and practically flawless. A top three song, to be sure. (14.5/15)
3. "Safehouse" (5:00) Great KANSAS-like vocals with very sophisticated syncopated instrumental constructs seemlessly sewn together, I am here reminded of the Australian band STARE AT THE CLOUDS as much as THE CONTORTIONIST. I live the microtonal guitar work, djenty low end, perfectly synchronized drums and surprise high-speed piano. Another top three song. (9.5/10)
4. "Legend" (6:02) more djenty low end with off-tempo drum hits and muted/background guitar and piano arpeggi support some growl and Freddie-Mercury-like vocal acrobatics. The full-on sprint at the end of the second minute is interesting--I'm finding myself feeling more in the territory of bands like UNEXPECT and old OPETH. Then there's the weird crazy Franz LISZT piano solo over some of the heaviest grunge in the fifth minute before the return to QUEEN-like heavy prog and then technically extreme djent. I get the innovation here but it is not exactly easy on the ears. Wow! What a wild, weird ride! (9/10)
5. "La Jolla" (5:04) despite the heavy low-end djent chords, this song presents as a more melodic, LINKIN PARK-like: the gentler, more melodic side of what I call atmospheric prog. At 3:52 the song even goes acoustic guitar like a Ed Sheeran pop song! But then the djent chords pop back and we're served notice: this we are the POISON of the 21st Century! Interesting but not my favorite. (8.66667/10)
6. "Pinenut" (5:47) the fleeting guitar and vocal opening to this make me think immediately of some of the modern Country Rock or 21st Century Southern Rock coming out of America--like a 21st Century version of the MARSHALL TUCKER BAND or a pop-oriented DIXIE DREGS (note GHOST MEDICINE, Imagine Dragons, et al.) For my ears, it runs a little long and its disjointed, staccato metal rhythms make my brain hurt a bit. And the saccharine solo piano at the end does not save it. (8.666667/10)
7. "Pure" (7:08) opens with an interesting (and, I have to admit, gorgeous) multi-chord multi-guitar weave before "settling" into a flowing, if-broken rhythm patterned motif over which Adam sings in a surprisingly gentle, airy voice. That base-line weave is actually quite pretty--lilting and wave-like, almost making me want to drift off to sleep--not unlike LEPROUS or KARNIVOOL at their most tranquilizing. Nice song. They show a restraint and aspect of their composition and performance skills heretofore unrealized in a vocal form (yet reminiscent of the album's opener). (13.5/15)
8. "Where We've Been" (3:59) a beautiful instrumental journey started off by HAROLD BUDD-like treated piano with computer glitch scratches and gorgeous if-embryonic piano- and guitar-led melodies. As the song progresses it begins to express in the rhythmic and sonic ranges more common to 21st Century progressive metal (and experimental/post metal). As it builds and builds, it never loses its focus, never loses my interest or enjoyment. Great song. (9.5/10)
9. "Coma" (10:45) more piano to open, this time more reminiscent of pseudo jazz artist GEORGE WINSTON. The chord play becomes more dark and dissonant just before the metal instruments join in (machine gun bass drum play, djenty bass and guitar chords). The construction of these chord sequences is amazing--I wish I could see "the charts". I'd also love a tutorial on the musical theory informing the modern metal musician. Anybody have any good resources? I like the gentler variation of the main theme as explored in the jazzy piano-led section from 5:30 to 6:30. The percussion-led motif that follows is nice--quite a bit like Australian band STARE AT THE CLOUDS' 2016 masterpiece, This Clear Divide. It's a bit surprising to have a fairly "normal" rock/metal guitar solo in the ninth minute--even while the djenty music continues. At the nine-minute mark the band slows down, resting before launching into a frenetic finish (symphonic, even!). Nice construct. (17.75/20)
10. "Blink" (9:23) yet another piano opening! Fast arpeggi are soon joined by chunky djent-bass and etheric reverb-vocals and then the staccato bass, drum, and guitar-keyboard interplay begins--all beneath, of course, the vocal threads that try to hold it all together. I love the muted piano and guitar note-play at the end of the third minute that forms the skeletal structure of the next section. In the fifth minute the vocal and drum lines start to feel a bit stale, but then a shift into a higher gear of djenty and technically demanding instrumental play get me on my feet again. Cool "metal dream sequence" in the sixth minute! This is followed by TOOL-like section containing a little more angst and anger in the vocals (and music), but things go a bit symphonic again at the end of the seventh minute before the music settles into a mesmerizing djent groove for the next 45 seconds. (Man! They could play this motif all day and I'd be happy!) Things seem to come to a close at the end of the eighth minute but then, no! It's not over: the music resuscitates itself, albeit on a slightly slower, more laid-back way--right up to its surprising solo piano finish. Wow! What did I just hear! I need to hear it again! (18.125/20)
Total Time 63:43
Total Time 63:43
One thing the Gen Z musicians have going for them is very little allegiance to diatonic scales or long, drawn out motifs: they are unafraid to go melodically where no one loyal to Newtonian physics and pre-20th Century Western musical traditions would think of going and they have no qualms about exploring a motif or theme for a measure, a 20-second burst, or less, without second thought about ever returning or "recapitulating" said theme again. These are, I think admirable talents, but I really appreciate it when musicians can (and do) bridge the gap between the modern short-term attention span and the longer 19th and 20th Century spans (which are, respectively, two-to-three minutes and 30-to-60 seconds in length [the length of a typical radio and/or television commercial]). Otherwise, trying to engage and accommodate the chaotic sound "bites" bombarding our central nervous systems makes it more challenging for brains that were hard-wired in the 20th Century like mine. (In defense of my aversion [or maladaptability] to the sound-bite frame of temporal reference: I only entered the world of the Internet in 2007, I have yet to own a "smart phone," and have given up on all social media platforms other than email. As a matter of fact, just to assuage my over-stimulated CNS, I have been soothing my soul by listening to mediæval and Renaissance music with increasing regularity for several weeks now [and almost exclusively for the past three days]). So, while I appreciate the technical and cerebral plasticity displayed through Aviations' music on this album, it will probably never become music that I "like"--that I return to or which works its way into my list of all-time favorite albums. And yet I can recognize the talent and skill on display--and, therefore, recommend it whole-heartedly to my less-concretize-brained peers on ProgArchives and other music sites.
I, in no way, mean to denigrate the musical compositions or extraordinary performances throughout this album: it's all just so dynamic--almost overwhelmingly so: I will compare it to hearing "Gates of Delirium" or "Discipline" or Univers Zero and Yugen for the first times: my nervous system is in a little bit of shock. With each successive listen I have found myself sinking into, enjoying, even grooving--to these songs. It is my opinion that this album represents truly quite an a remarkable achievement in progressive rock music. In fact, I offer mega kudos to each and every musician associated with this project: you pulled off something truly amazing!
Another plus for this album is its wonderful/beautiful artwork--so perfectly rendered for this Autumn delivery!
91.31 on the Fishscales = A-/five stars; a minor masterpiece of 21st Century progressive rock music of the form founded within the latest metal trends. HIGHLY redcommended to all and any individual who professes themselves to be a lover of progressive rock music.
12. KARNIVOOL Asymmetry (2013)
Warning: This is an album that requires headphones or a very good speaker system in order to fully appreciate! With Karnivool’s third release, Asymmetry, I am seeing a lot of growth, a lot of branching out in terms of influences and styles. There is still a lot of TOOL/MAYNARD JAMES KEENAN similarities-especially in the wonderful voice of singer, Ian Kenny--but add to that more THE MARS VOLTA/OMAR LOPEZ-RODRIGUEZ, OPETH/MIKHAEL AKERFELD, and OCEANSIZE as well as an incredibly full palette display of engineering techniques, all the while maintaining clear access to the individual instrumental tracks in what could have been a murky, soupy mess.
In my opinion this is an aural and sonic masterpiece; the band has easily surpassed their wonderful 2009 album, Sound Awake. New producer, Nick DiDia, has helped the band achieve incredible new heights.
1. “Aum” (2:22) is a kind of spacey meditative intro. Not much really to like or dislike.
2. “Nachash” (4:50) (Link to video of live performance from Moshcam) sees the band move straight into its TOOL-like territory but then they back off into some very delicate, spacey territory. There is an awesome vocal section beginning at 3:25 with “Wait!” and then culminating in a great guitar scream before the return to the original high octane pace and sound. The two guitars battle it out with Judd’s drum play for the finale. Awesome. (9/10)
3. “A.M. War” (5:18) opens with a catchy metallic guitar arpeggio riff before the bottomed-out bass and rest of the band join in full force, full throttle. The song overall reminds me of OCEANSIZE Frames era. (9/10)
4. “We Are” (5:56) begins with a little bit of techno-funk similar to some of Omar Rodriguez’s solo work. I just love Jon Stockman’s bass play throughout this song. I also love the impassioned vocal, the background keyboard flourishes and the almost “incidental” electric guitar embellishments. Great engineering/production on this, one of the most impressive songs I’ve heard all year! (10/10)
5. “The Refusal” (4:54) has a very heavy edge to it, like something I’d hear on OCTANE radio—Skillet or TMV—even in the bare bones section beginning at 2:05 there is a MAYNARD-like edge. Again, awesome engineering and production throughout the last two minutes. (8/10)
6. “Aeons” (7:18) begins with some spacey, echoed tremolo guitar notes before synth and amazing bass and drums join in. Incredible beginning! Delicate singing voice enters at 1:15 to tell us that he doesn’t feel so well. Amazing use of heavy, thick instrumental sounds balanced by an empty spaciousness that is simply stunning! Gorgeous floating guitar in the first mid-song interlude before the TMV-like barrage of sound enters again. Another stepped down section fills the sixth minute as the vocalist sings about chemical fires signaling our death. Another favorite. (10/10)
7. “Asymmetry” (2:36) uses an odd sound loop to gradually set up some heavily distorted free form guitar play. The top-notch engineering of this album again comes shining through. (9/10)
8. “Eidolon” (3:45) offers a very catchy MUSE-like song—rather sedate when compared to the previous lineup. Again, I love all of the amazing incidentals running through the spaces and background of the music. (9/10)
9. “Sky Machine” (7:49) opens with some gorgeous multi-layered singing supported by delicate guitar and awesome drumming. A little EDGE/U2 feel to this song though the vocal is like some of MAYNARD JAMES KEENAN’s most sensitive. Even the more amped up section beginning at 5:30 is quite extraordinary for its beauty and sensitivity. Awesome song. Love this guitar work. (9/10)
10. “Amusia” (0:54) is another off-kilter sonic interlude which bleeds into/sets up
11. “The Last Few” (5:15) opens up Karnivool’s new TOOL/TMV meld style: quite intricately planned, complicated, layered music with a more polished version of the raw freneticism of Omar and co. The vocal and melody is, unfortunately, a little weaker than the previous offerings, giving the song a bit of a flat feel to it. (8/10)
12. “Float” (4:17) carries over a psychedelia feel from the ending of the previous song for its first 30 seconds before emptying out with a spacey treated guitar almost as if KLAUS SCHULZE were manipulating the delicate guitar play of 1974 STEVE HACKETT. Kenny’s masterful vocal remains in his highest registers throughout the song. The space-treated instrumentation is quite effective. (9/10)
13. “Alpha Omega” (7:57) put an emotional Maynard James Keenan singing over some acid drawn out Led Zepellin being played by OPETH and I think this is what you might get. (9/10)
14. “Om” (3:52) is another odd, spacey instrumental using dissonance and random piano notes tied together only through their chromatic commonality to bookend. In the second half there is being played a tape recorded interview RE empathy and bliss, the common sound and color beneath it all. (9/10)
Unlike some of my fellow reviewer here on PA, I am finding that this album is haunting me—staying with me and drawing me back for more plays of “We Are” and Aeons” and “Float” and “Alpha Omega” and “Nachash” and even the poppier “Eidolon.” Asymmetry is easily one of the most unique and memorable albums I’ve heard this year. I think special mention must go out to each of the individual musicians involved with this album—including the engineer and producer. Steve Judd’s drumming is always solid and idiosyncratic. Jon Stockman’s bass stylings are amazingly diverse and always interesting. Guitarists Goddard and Hosking are amazing in their sound palettes, temperaments, and mature ability to hold back, reserve, instead of always flash and flourish. The “risks” taken in these compositions and performances can only be described as mature and virtuosic. The “asymmetry” of heavy mixed with delicate and subtle, virtuosic flash mixed with astoundingly simple is masterful. In my humble opinion, these are some of the finest, freshest proggers on the planet and they have created one of the best albums of 2013.
88.6 on the Fish scales = 4.5 stars; a near-masterpiece.
13. TOOL Lateralus (2001)
What a sonic treat! Now I finally understand all the hype around TOOL: They are the real deal!
Because the whole is so much more than its individual parts, my mind couldn't help but draw comparisons to LED ZEPPELIN, KING CRIMSON, U2, and PEARL JAM--not that the individuals suck or anything! Au contraire!
Drummer Danny Carey's playing and sound is so fresh, innovative, and creative--and with a willingness to think and feel 'outside the proverbial box' that I am reminded of the impact BILL BRUFORD or TRILOCK GURTU had on me upon first hearings. And how refreshing it is to hear a) a 'metal' drummer who is not obsessed with his multiple foot pedals and kick drums and, b) who uses something other than a snare as his beat-keeper.
Bassist Justin Chancellor likewise plays with a style so fresh and unorthodox that again I find myself somewhat reminded of the impact PERCY JONES, JACO PASTORIUS, and TONY LEVIN had on me upon first hearing them.
Guitarist Adam Jones is like an abstract painter using unusual SOUNDS drawn through his electronic apparati to add TEXTURALLY to the musical tapestry instead of through flash, speed or pyrotechnics.
And Maynard James Keenan's vocal contributions are more akin to additional threads in the sonic weave.
The clarity and depth of each individual instrument's recording is nothing short of astounding. This is so unusual in this era of mind-numbing walls of sound and infinite power chords that serve more to create sonic mush and chromatic washout. The clarity and distinctiveness and, dare I say it, SIMPLICITY of the contributions of Tool's individuals is, however, never bigger than or to the diminishment of the collective, instead, they are always adding perfectly to boost the whole, to create a strong, full, and rich sonic tapestry.
I have no single favorite song, though again and again, in song after song, I found myself thinking, "These guys are well versed in their Zeppelin" or "--in their Pearl Jam" or "--King Crimson" and especially "well rooted in U2's Joshua Tree." Awesome stuff. Kudos all around. Music like this is truly so very rare. Try the title song, "Lateralus" (9:37) (18/20) or "The Grudge" (8:35) for starters.
5 stars. Without question this is a masterpiece of progressive music--a veritable leap of fresh innovation.
14. THE RETICENT On the Eve of a Goodbye (2016)
Musical presentations of personal stories of encounters with people suffering from mental health diseases, disorders, or conditions are, in my opinion, one of the most perfect and most powerful vehicle themes for progressive rock music--especially for the Metal sub-genres. In my opinion, The Reticent's Chris Hathcock has become one of the best artists to ever do it. He dives so deeply and so unapologetically into the meat and grist of mental health suffering--this time from the position of a caregiver (lover?) who laments the suicide of a female loved one while at the same time tries coming to terms with his own combative (both internally and externally) role and ultimate helplessness in the psychological disintegration and eventual demise of this fragile, haunted human.
Musical presentations of personal stories of encounters with people suffering from mental health diseases, disorders, or conditions are, in my opinion, one of the most perfect and most powerful vehicle themes for progressive rock music--especially for the Metal sub-genres. In my opinion, The Reticent's Chris Hathcock has become one of the best artists to ever do it. He dives so deeply and so unapologetically into the meat and grist of mental health suffering--this time from the position of a caregiver (lover?) who laments the suicide of a female loved one while at the same time tries coming to terms with his own combative (both internally and externally) role and ultimate helplessness in the psychological disintegration and eventual demise of this fragile, haunted human.
Line-up / Musicians:
- Chris Hathcock / everything
I agree with Prog/Land that the story here is quite well told--and fits within the music very well. What surprised me about this album is how thoroughly Chris Hathcock's singing mimicked that of Tool's Maynard James Keenan. If you had told me that Maynard was, in fact, guesting on this album to perform the vocal duties I would fully believe you. Fortunately, the music is not Tool-ish. It is heavy, often djenty, often layered with progginesses, and, again, quite diverse in its dynamics: to better fit the story's lyrics. Luckily, I pretty much adore Maynard James Keenan's voice and vocal stylings (though not as much as Karnivool's Ian Kenny, The Contortionist's Michael Lessard, or Leprous' Einar Solberg), so the vocals on this album are quite welcome. (I even find them comforting.) I also agree with Prog/Land that the music is often quite basic. There has not been as much attention paid to subtle details as Chris did with his 2020 masterpiece, The Oubliette--and that the layers he uses are often quite simply laid one on top of another without any interesting or effective engineering blending techniques. Also, I think he's come a ways as a drummer (or at least using better engineering tools for his more recent albums).
In summation, I love that Chris has decided to use music to tell these tremendously important and heart-wrenching stories of mental health issues. With On the Eve of a Goodbye I see, retrospectively, that Chris's craft has improved tremendously--that he has evolved into a much more detail-oriented story crafter--especially where his music and theatric presentation is concerned. He's also improved as both a musician and engineer/producer.
Favorite (five star) songs: 3. "The Hypocrite" (8:28) (18.333/20); both the musical sophistication and multi-dimensional vocal presentation of the poetic lyrics of 6. "The Confrontation" (6:45) (14.25/15); the peak song of the album, the piano-accompanied "scene of the crime" 13."Funeral for a Firefly" (7:16) (which reminds me TONS of the amazing work of Gabriel Lucas Riccio on his 2013 studio album release as The Gabriel Construct, Interior City) (13.875/15); 14. "The Day After" (5:48) (9.125/10); 15. "For Eve" (3:49), the wordless hammered dulcimer solo piece offered as a tribute to the departed. What a powerful, lovely, touching, and, ultimately, seemingly appropriate piece to end with. I hope Chris was left with some of the sense of resolution and detachment that I feel from hearing it. (10/10)
Also very good: 7. "The Apology" (4:56) which actually sounds like a Karnivool song (9/10), while the jazziness of 9. "The Mirror's Reply" (7:25) is pretty cool (13.25/15).
Many prog lovers will bring up Sylvan's 2005 masterpiece Posthumous Silence to use to compare this album to but I think this one even more powerful than that one because it is so much more personal--you can feel how much Chris has suffered from the experience whereas Marco Glühmann and company were projecting their own interpretation of the possible circumstances and effects of a suicide that had occurred in their community (that they'd happened to have seen on the news). I'd also suggest bringing Steven Wilson's Hand.Cannot.Erase into the picture as another masterful musical rendering of this kind of topic. In the meantime, please enjoy this album for the tremendous energy that its creator invested--and hope that its accomplishment had the effect of being cathartic and healing for him.
A-/4.5 stars; an amazingly powerful and amazingly personal reliquary to one of life's mysterious tragedies that is poetic, finely-crafted, and delivered with appropriate theatricity and beauty. The music is probably, sometimes, the album's weakness, but it feels like quite an appropriate, even perfect, vehicle for this material--and certainly for this individual. Therefore, I feel strongly that this album needs to be vaulted into the "masterpiece" category--and that people would really benefit from hearing it.
In summation, I love that Chris has decided to use music to tell these tremendously important and heart-wrenching stories of mental health issues. With On the Eve of a Goodbye I see, retrospectively, that Chris's craft has improved tremendously--that he has evolved into a much more detail-oriented story crafter--especially where his music and theatric presentation is concerned. He's also improved as both a musician and engineer/producer.
Favorite (five star) songs: 3. "The Hypocrite" (8:28) (18.333/20); both the musical sophistication and multi-dimensional vocal presentation of the poetic lyrics of 6. "The Confrontation" (6:45) (14.25/15); the peak song of the album, the piano-accompanied "scene of the crime" 13."Funeral for a Firefly" (7:16) (which reminds me TONS of the amazing work of Gabriel Lucas Riccio on his 2013 studio album release as The Gabriel Construct, Interior City) (13.875/15); 14. "The Day After" (5:48) (9.125/10); 15. "For Eve" (3:49), the wordless hammered dulcimer solo piece offered as a tribute to the departed. What a powerful, lovely, touching, and, ultimately, seemingly appropriate piece to end with. I hope Chris was left with some of the sense of resolution and detachment that I feel from hearing it. (10/10)
Also very good: 7. "The Apology" (4:56) which actually sounds like a Karnivool song (9/10), while the jazziness of 9. "The Mirror's Reply" (7:25) is pretty cool (13.25/15).
Many prog lovers will bring up Sylvan's 2005 masterpiece Posthumous Silence to use to compare this album to but I think this one even more powerful than that one because it is so much more personal--you can feel how much Chris has suffered from the experience whereas Marco Glühmann and company were projecting their own interpretation of the possible circumstances and effects of a suicide that had occurred in their community (that they'd happened to have seen on the news). I'd also suggest bringing Steven Wilson's Hand.Cannot.Erase into the picture as another masterful musical rendering of this kind of topic. In the meantime, please enjoy this album for the tremendous energy that its creator invested--and hope that its accomplishment had the effect of being cathartic and healing for him.
A-/4.5 stars; an amazingly powerful and amazingly personal reliquary to one of life's mysterious tragedies that is poetic, finely-crafted, and delivered with appropriate theatricity and beauty. The music is probably, sometimes, the album's weakness, but it feels like quite an appropriate, even perfect, vehicle for this material--and certainly for this individual. Therefore, I feel strongly that this album needs to be vaulted into the "masterpiece" category--and that people would really benefit from hearing it.
15. ANGRA Temple of Shadows (2004)
Line-up / Musicians:
- Eduardo Falaschi / vocals, acoustic guitar (5)
- Rafael Bittencourt / guitar, backing vocals & vocal arrangements, string arranger & conductor (6, 8)
- Kiko Loureiro / guitar, mandolin, piano & percussion (9), arrangements
- Felipe Andreoli / bass, backing vocals (2, 9)
- Aquiles Priester / drums & percussion
With:
- Michael Rodenberg / keyboards
- Sílvia Goes / piano (10)
- Yaniel Matos / cello
- Douglas Las Casas / percussion
- Sabine Edelsbacher / vocals (2, 8)
- Kai Hansen / vocals (6)
- Hansi Kürsch / vocals (9)
- Milton Nascimento / vocals (12)
- Dennis Ward / backing vocals (3, 4, 9), producer & mixing
- Tito Falaschi / backing vocals (2, 9)
- Zeca Loureiro / backing vocals (2, 9)
- Rita Maria / backing vocals (2, 9)
1. "Deus Le Volt!" (0:52) nice cinematic intro to ?
2. "Spread Your Fire" (4:25) rapid fire metal with lead guitar shredding that makes way for gruff Survivor-like aggressive lead vocal with antiphonal choral background vocals. Interesting. Keyboard work makes it seem as if there is an orchestra involved as well. Operatic female vocal helping out in the third minute before Hammy-speed instrumental passage ensues. Great musicianship. While I appreciate the compositional skill and technical and support prowess necessary to pull this off, I'm not sure I like the music. (8.667/10)
3. "Angels And Demons" (4:11) take a simple Thin Lizzy song and speed up all instrumental tracks by five and you'll get a song like this. Eduardo Falaschi's voice is sounding a little old (or strained). Technically quite impressive. (8.667/10)
4. "Waiting Silence" (4:55) excellent 1980s heavy metal brought into the 21st Century. Again, Eduardo's voice is sounding like he's really pressing to get his tone and volume. Nice 1980s chords and melodies. Impressive solos. (8.75/10)
5. "Wishing Well" (4:00) acoustic guitars, synth and Tommy Shaw-like vocal give this opening a very STYX like feel. Even when it hits full stride it has a classic rock feel. (8.75/10)
6. "The Temple Of Hate" (5:13) back to the Thin Lizzy school of hyperdrive. Don't like the 1980s drum sound. How those musicians retain control and synchrony when spewing out notes that fast I'll never know. (8.75/10)
7. "The Shadow Hunter" (8:04) after a very impressive acoustic guitar intro this fully Latin song turns Probably the most impressive construct on the album for its dynamics and stylistic range. That pervasive Latin flare has a lot to do with its magic--that and the more humane drumming and percussion. There are even some Yes-like moments (the multi-voice fifth minute). Great sense of melody from the guitarist--even during his solos. My second favorite song on the album. (13.5/15)
8. "No Pain For The Dead" (5:05) more awesome acoustic guitar--this time doubled up with two instruments. Eduardo tries a very gentle, stage-like ballad vocal approach until the heavy metal chords and walls of sound enter and push him into his usual gristful-belting manner. Once the music settles down, it returns to a very Broadway/theatric style--and so does Eduardo's voice style. Great cello and masterful synth strings passage preps us for the entrance of the gorgeous voice of Sabine Edelsbacher in a performance that yet again affirms the band's Broadway/theatric approach. Another top three song for me. (9/10)
9. "Winds Of Destination" (6:56) cello introduces the pace and galloping theme that follows. Impressive Metallica-like jaunt precedes and supports guest Hansi Kürsch and Eduardo's vocal duet. In the second minute, after the first verse, the music devolves into a piano-based classical section. Again, the theatricity of the live stage comes to mind here. Nice vocal here. At 3:48 we shift again onto the autostrada--this one not quite as wild and unbound as previous songs, more like a healthy drive in your convertable sports car through the Italian countryside. After some more impressive guitar shredding the music shifts into a higher gear at 5:58 in order to build toward a finish of choral vocal crescendo. (13.25/15)
10. "Sprouts Of Time" (5:09) weird, out of place song, that seems to, once again, seem to come from some kind of theatrical production--you know: how a character in the play steps to the side to sing a solo aside while the band's music takes on a whole different style not heard anywhere else in the play. It's a great song even if it does sound and feel as if we're getting to the end--or at least the dénouement of one of the characters or themes in the plot. (9/10)
11. "Morning Star" (7:39) yet another style explore! This is truly impressive! The band seem capable--even masterful--at taking on any and all musical styles. This one is a more pedestrian, laid back style --a musical style that I really like--at least that is until 2:28 when the metal power chords join in--once again transforming Eduardo into a metal singer, not just a professional stage theater performer. Nice interlude in the fourth minute to remind us of the song's pedestrian roots, but then we are transported again into a Thin Lizzy world of dizzying metal skill and instrumental prowess. Again, I am so impressed with the attention to melody within the composition and performance of these parts. If every part of every metal song could sound like this I'd be a fan. The awesome key change at 6:20 is marred a bit by Eduardo's thinning voice in those high notes. My favorite long song on the album. (14/15)
12. "Late Redemption" (4:55) gorgeous classical guitar with "strings" and the voice of Brazilian music legend Milton Nascimento leading the ghost-like background voices and first chorus. Edu's vocal performance exudes his respect for both this style of music as well as his singing cohort. Interesting rhythm percussion at the end of the second minute before the song breaks out into a heavy theme for a different chorus. From here out it's metal music at its most orchestral. Excellent! What an ingenious song construct! Mega kudos to the band for its conception and execution! My favorite piece of prog theater on the album. (10/10)
13. "Gate XIII" (5:04) an orchestral piece that sounds like an overture to a quest-themed musical or even an opera. Quite lovely. My guess is that composer and arranger Rafael Bittencourt has classical theatre dreams or leanings. (10/10)
Total Time: 66:28
Very impressive speed and technical skills on display throughout this album--even in Eduardo's "old" sounding theatric voice. But this is not always the type of music that my spirit desires. I do, however, love the concept of religious doubt and answer seeking explored in the story--especially in that it is set in the early Inquisition era.
91.54 on the Fishscales = A-/five stars; a minor masterpiece of theatric symphonic metal; a well-produced album of impressive musicianship. This is probably a masterpiece in the world of metal worship. It is also exactly the kind of album I would put forward as an example to all aspiring progressive rock musicians for what is possible: an example of the heights of planning, composition, arrangement, execution, and production that music is capable of--and not just prog metal or metal but all progressive rock music. Truly a wonderful body of songs.
2. "Spread Your Fire" (4:25) rapid fire metal with lead guitar shredding that makes way for gruff Survivor-like aggressive lead vocal with antiphonal choral background vocals. Interesting. Keyboard work makes it seem as if there is an orchestra involved as well. Operatic female vocal helping out in the third minute before Hammy-speed instrumental passage ensues. Great musicianship. While I appreciate the compositional skill and technical and support prowess necessary to pull this off, I'm not sure I like the music. (8.667/10)
3. "Angels And Demons" (4:11) take a simple Thin Lizzy song and speed up all instrumental tracks by five and you'll get a song like this. Eduardo Falaschi's voice is sounding a little old (or strained). Technically quite impressive. (8.667/10)
4. "Waiting Silence" (4:55) excellent 1980s heavy metal brought into the 21st Century. Again, Eduardo's voice is sounding like he's really pressing to get his tone and volume. Nice 1980s chords and melodies. Impressive solos. (8.75/10)
5. "Wishing Well" (4:00) acoustic guitars, synth and Tommy Shaw-like vocal give this opening a very STYX like feel. Even when it hits full stride it has a classic rock feel. (8.75/10)
6. "The Temple Of Hate" (5:13) back to the Thin Lizzy school of hyperdrive. Don't like the 1980s drum sound. How those musicians retain control and synchrony when spewing out notes that fast I'll never know. (8.75/10)
7. "The Shadow Hunter" (8:04) after a very impressive acoustic guitar intro this fully Latin song turns Probably the most impressive construct on the album for its dynamics and stylistic range. That pervasive Latin flare has a lot to do with its magic--that and the more humane drumming and percussion. There are even some Yes-like moments (the multi-voice fifth minute). Great sense of melody from the guitarist--even during his solos. My second favorite song on the album. (13.5/15)
8. "No Pain For The Dead" (5:05) more awesome acoustic guitar--this time doubled up with two instruments. Eduardo tries a very gentle, stage-like ballad vocal approach until the heavy metal chords and walls of sound enter and push him into his usual gristful-belting manner. Once the music settles down, it returns to a very Broadway/theatric style--and so does Eduardo's voice style. Great cello and masterful synth strings passage preps us for the entrance of the gorgeous voice of Sabine Edelsbacher in a performance that yet again affirms the band's Broadway/theatric approach. Another top three song for me. (9/10)
9. "Winds Of Destination" (6:56) cello introduces the pace and galloping theme that follows. Impressive Metallica-like jaunt precedes and supports guest Hansi Kürsch and Eduardo's vocal duet. In the second minute, after the first verse, the music devolves into a piano-based classical section. Again, the theatricity of the live stage comes to mind here. Nice vocal here. At 3:48 we shift again onto the autostrada--this one not quite as wild and unbound as previous songs, more like a healthy drive in your convertable sports car through the Italian countryside. After some more impressive guitar shredding the music shifts into a higher gear at 5:58 in order to build toward a finish of choral vocal crescendo. (13.25/15)
10. "Sprouts Of Time" (5:09) weird, out of place song, that seems to, once again, seem to come from some kind of theatrical production--you know: how a character in the play steps to the side to sing a solo aside while the band's music takes on a whole different style not heard anywhere else in the play. It's a great song even if it does sound and feel as if we're getting to the end--or at least the dénouement of one of the characters or themes in the plot. (9/10)
11. "Morning Star" (7:39) yet another style explore! This is truly impressive! The band seem capable--even masterful--at taking on any and all musical styles. This one is a more pedestrian, laid back style --a musical style that I really like--at least that is until 2:28 when the metal power chords join in--once again transforming Eduardo into a metal singer, not just a professional stage theater performer. Nice interlude in the fourth minute to remind us of the song's pedestrian roots, but then we are transported again into a Thin Lizzy world of dizzying metal skill and instrumental prowess. Again, I am so impressed with the attention to melody within the composition and performance of these parts. If every part of every metal song could sound like this I'd be a fan. The awesome key change at 6:20 is marred a bit by Eduardo's thinning voice in those high notes. My favorite long song on the album. (14/15)
12. "Late Redemption" (4:55) gorgeous classical guitar with "strings" and the voice of Brazilian music legend Milton Nascimento leading the ghost-like background voices and first chorus. Edu's vocal performance exudes his respect for both this style of music as well as his singing cohort. Interesting rhythm percussion at the end of the second minute before the song breaks out into a heavy theme for a different chorus. From here out it's metal music at its most orchestral. Excellent! What an ingenious song construct! Mega kudos to the band for its conception and execution! My favorite piece of prog theater on the album. (10/10)
13. "Gate XIII" (5:04) an orchestral piece that sounds like an overture to a quest-themed musical or even an opera. Quite lovely. My guess is that composer and arranger Rafael Bittencourt has classical theatre dreams or leanings. (10/10)
Total Time: 66:28
Very impressive speed and technical skills on display throughout this album--even in Eduardo's "old" sounding theatric voice. But this is not always the type of music that my spirit desires. I do, however, love the concept of religious doubt and answer seeking explored in the story--especially in that it is set in the early Inquisition era.
91.54 on the Fishscales = A-/five stars; a minor masterpiece of theatric symphonic metal; a well-produced album of impressive musicianship. This is probably a masterpiece in the world of metal worship. It is also exactly the kind of album I would put forward as an example to all aspiring progressive rock musicians for what is possible: an example of the heights of planning, composition, arrangement, execution, and production that music is capable of--and not just prog metal or metal but all progressive rock music. Truly a wonderful body of songs.
16. ARCANE Chronicles of the Waking Dream (2009)
A wonderfully theatric concept story rendered to Prog Metal/Heavy Prog music similar to KARNIVOOL, TOOL, and even ORPHANED LAND.
Line-up / Musicians:
- Jim Grey / vocals
- Michael Gagen / guitars
- Matthew Martin / keyboards
- Mick Millard / bass
- Stephen Walsh / drums
With:
- Molly McLarnon / vocals (5)
- Anette Askvik / vocals (9)
- Daniel Johnston / narration as Acolyte Zero (10)
1. "Glimpse (3:36) sounds like an even more theatric version of TOOL and Maynard James Keenan. A little over the top, but a great start to a virtually seemless story exposition. (9.5/10)
2. "The Seer" (5:30) heavy prog carrying over the melodies from the opening song. Having been a long fan of fellow Aussies KARNIVOOL, I feel there are many similarities here to that later band. But vocalist Jim Grey is far more theatric and risk-taking than Ian Kenny--is more on a par with THAT JOE PAYNE--and may be even more talented than the Karnivool lead singer. The music is good, with lots of proggy time, theme, and stylistic variations, and the instrumental talents of the band members are very good, but there is something in the sound rendering that make the tracks seem a bit too clean, too separate, and too "constricted." But what a talent is this Jim Grey! (8.75/10)
3. "The Malice (7:21) Drums, bass, and keys shine the most for me on this heavy, at-time-brooding and dramatic number. Nice lead guitar and Hammond interchanges in the fourth minute, with the guitar sound and style beginning to sound more like AL DI MEOLA the further we get into the song. Great song! Jim Grey's That Joe Payne-like performance in the second half is worthy of all the superlatives you can come up with. (14/15)
4. "The First Silent Year" (1:19) cool effected organ with effected lead guitar soloing soul-fully over the top. (4.25/5)
5. "Secret" (7:18) "glockenspiel" takes up the main melody from the previous ditty before bursting into a oddly soft yet dynamic TOOL-like performance song. Jim Grey: Wow! A vocal performance for the ages. Intersting to hear Hammond soloing "metal"style within those power chords and then followed and teamed by searing electric guitar runs. Great ORPHANED LAND sound in the fifth and sixth minutes. Then a small children vocalising the main melody a cappella (!) before the band joins in! (13.75/15)
6. "Fading" (11:58) sensitive strumming around the electric guitar fretboard while Jim Grey sings in his most delicate upper register voice. So cool! Band with piano joins in to provide rolling, relaxing background for continued beautiful singing. At 3:30 the power chords begin to amp up the sound palette until the walls are fully built early into the fifth minute. Wow! I am so impressed by this band's capacity to support melody with its multi-varied musical textures! A wonderful song that somehow doesn't ever rise to the heights of its initial promise. (22.5/25)
7. "The Second Silent Year" (1:48) solo piano with a heart-felt Billy Joel feel to it. Nice exploration of other themes/motifs from the album. (4.5/5)
8. "May 26" (3:17) muted, scratchy guitar, bass, and drums weave a perfect triad of sequences while piano's upper register tinkles away as if in its own universe and Maynard Jim Grey sings a breathy vocal somewhere in the middle. Another surprisingly unique, original, and cool take on the heavy prog/prog metal sound palette. (9.25/10)
9. "The Third Silent Year" (2:29) (not present on my digital copy from Bandcamp of the album.)
10. "Asylum: Acolyte Zero" (13:04) opens with full-on walls of sound metal, once again conveying those Middle Eastern melodic sensibilities. Even when it moves into the rapid fire/machine gun guitar, bass, and drum playing in the second minute, it's still ORPHANED LAND/YOSSI SASSI I hear--even more pronounced int the stepped down 'scapes of the third and fourth minutes. (22/25)
11. "Whisper" (1:45) the bookend finish to a great story rendering. Does a great job reminding us of the talents of this singer, Jim Grey. (4.5/5)
Total time: 59:25
90.40 on the Fishscales = A-/five stars; a minor masterpiece of wonderfully fresh-sounding heavy prog, one of my favorite prog-on-the-heavy- side albums of the Naughties and, in my opinion, an essential listening experience for any prog lover.
17. CALIGULA'S HORSE Charcoal Grace (2024)
Line-up / Musicians:
- Jim Grey / lead vocals
- Sam Vallen / guitars, vocals
- Dale Prinsse / bass, vocals
- Josh Griffin / drums
1. "The World Breathes with Me" (10:00) melodic and atmospheric, even as the metal chord progressions and drumming begin. (18.5/20)
2. "Golem" (5:20) chaotic and volatile, just like its namesake. The first two motifs are throwaways but the chorus shows some promise. The instrumental passage following the second chorus is great: so focused and disciplined. (8.75/10)
3. "Charcoal Grace I: Prey" (7:48) the opening sounds like top notch bombastic symphonic prog metal to me. After a 90 second intro the music empties out leaving only some sparse notes emanating from a "distant" MIDIed keyboard (guitar generated, I'm assuming). This near-empty space is where Jim Grey enters as a singer. Gradually, the rest of the band rejoins and ramps up into some serious Prog Metal. Great performances from drummer Josh Griffin and bassist Dale Prinsse as well as Sam Vallen on guitars. Jim's vocals in the chorus parts are a bit weak--like pop stylish, not power metal. The rest of the song elements are all TOOL-quality. The song ends with 45 seconds of those spacious "distant" guitar notes before bleeding into . . . (13.5/15)
- Jim Grey / lead vocals
- Sam Vallen / guitars, vocals
- Dale Prinsse / bass, vocals
- Josh Griffin / drums
1. "The World Breathes with Me" (10:00) melodic and atmospheric, even as the metal chord progressions and drumming begin. (18.5/20)
2. "Golem" (5:20) chaotic and volatile, just like its namesake. The first two motifs are throwaways but the chorus shows some promise. The instrumental passage following the second chorus is great: so focused and disciplined. (8.75/10)
3. "Charcoal Grace I: Prey" (7:48) the opening sounds like top notch bombastic symphonic prog metal to me. After a 90 second intro the music empties out leaving only some sparse notes emanating from a "distant" MIDIed keyboard (guitar generated, I'm assuming). This near-empty space is where Jim Grey enters as a singer. Gradually, the rest of the band rejoins and ramps up into some serious Prog Metal. Great performances from drummer Josh Griffin and bassist Dale Prinsse as well as Sam Vallen on guitars. Jim's vocals in the chorus parts are a bit weak--like pop stylish, not power metal. The rest of the song elements are all TOOL-quality. The song ends with 45 seconds of those spacious "distant" guitar notes before bleeding into . . . (13.5/15)
4. "Charcoal Grace II: A World Without" (6:48) for the first minute, pensive guitar arpeggi are layered within soft-played drums and bass, but the there is a big crescendo to end the Intro. After this the music drops down to low, delicate levels--including the vocal performance of Jim Grey that begins in the second minute--until the 2:02 mark when the band jumps back into higher volumes. The music, however, remains rather tame and melodic: as if a pop-oriented love song were being delivered with metal instruments and effects but still using the simple, melodic chords and rhythms. At the fourth minute we begin a cool tension-filled instrumental passage in which the group's ominous rhythm pattern provides all of the entertainment (no solos) and tension. Then they ramp back up for more simple chord play to support Jim's continued vocal delivery until a Coutnry-twanged solo guitar finish. (13.375/15)
5. "Charcoal Grace III: Vigil" (3:22) solo arpeggiated acoustic guitar play before Jim enters with a delicate MAYNARD KEENAN JAMES vocal to match the acoustic guitar. Beautiful stuff that definitely continues to support and embellish the band and album's heavy, metallic atmosphere in the RIVERSIDE/MARIUS DUDA way. Very cool song! Which leads perfectly into . . . (9/10)
6. "Charcoal Grace IV: Give Me Hell" (6:13) rising out of the beauty of the previous song, this one ramps up in two or three steps before stepping back into a kind of MYRATH-like motif with Jim Grey's vocal muted with some heavy processing. It's cool, it's menacing, it's but ends up being a little weak in its full effect. (Because of the b vox? or the standard melody lines?) The cool "desperate" rap vocal in the fourth minute would be cooler were it not so familiar (coming from the SAGA/LINKIN PARK/FATES WARNING/OPETH/PAIN OF SALVATION tradition). Unfortunately, it's rendered so well that I have to admit that I love this part: it's so powerful--it actually saves what is otherwise a rather poor song. (8.875/10)
7. "Sails" (4:31) delicate finger-picked shoegaze electric guitar arpeggiated chords open this one before Jim Grey's gentle and delicate voice joins in. At 53 seconds in the swooning lead electric guitar replicates Jim's main melody while the rest of the band jumps in to support. With the next round of vocals (now doubled up) the palette of support instruments creates a GENESIS Wind and Wuthering like lushness--like "Your Own Special Way." At the three-minute mark, after the second go-round of the vocals, the band ramps up for an excellent fiery/impassioned guitar solo before guitar and band revert into the Wind and Wuthering melody of lushness. Interesting! And well done! (8.875/10)
8. "The Stormchaser" (5:57) a great prog metal "ballad." Love the play of the rhythm section and atmospherics created by the guitars--and the awesome little solo in the fifth minute. Great vocal performance from Jim Grey. (9/10)
9. "Mute" (12:00) Jim Grey's plaintive voice minimally supported for the first minute before the full band joins in with great bombast. (Sounds a bit like KARNIVOOL's Ian Kenny.) Just as quickly the sound palette returns to bare-bones spacious simplicity wit h slowly arpeggiated electric guitar, synth, rim shots and spaced out bass and bass drum notes as Jim's tender voice sings breathily. The choruses are more dynamic and almost heavy, but it's not until the band moves out of the vocal passage at 3:50 that full prog tech metal sounds start spitting, stuttering, rapid-firing, and djenting out. Something is off about the way the producers have mixed Jim's voice: almost hidden within the djenty walls of sound. It's as if Jim is trying to sing a theatric near-operatic aria over/within only metal musicians and their metal sounds to accompany him! At the end of the seventh minute the music cuts away leaving a gulf of open space that is gradually filled by synths, gentle guitar and keyboard and tuned percussion notes, and flute. It's super pretty-- almost achingly beautiful--but then at 8:14 the walls of symphonic metal come cascading back in, the drummer ramps up and the lead guitar launches into a wonderfully flexible display of "tender" tech metal shredding. At 9:55 everybody stops, again, leaving an empty room that Jim attempts to fill with some shy humming, but then everybody leaps back into full symph-metal mode again so Jim and his mates can once more state their case. Then the music goes all washy and atmospheric for a prolonged keyboard outro. Nice but somewhat unsure or unclear commitment to multiple personalities. (22.125/25)
Total Time 61:59
The soft/delicate passages on this album surprise me--as do the occasional NeoProg sound palettes. I prefer the complex rhythms with atmospheric metal music and rather than the softer EINAR SOLBERG-like nuanced vocal- dominated passages.
B+/4.5 stars; a near-masterpiece of Atmospheric Prog Metal that suffers from inconsistency and a stylistic scatteredness; perhaps the band is vacillating on its future (on its commitment to hard core Prog Metal).
7. "Sails" (4:31) delicate finger-picked shoegaze electric guitar arpeggiated chords open this one before Jim Grey's gentle and delicate voice joins in. At 53 seconds in the swooning lead electric guitar replicates Jim's main melody while the rest of the band jumps in to support. With the next round of vocals (now doubled up) the palette of support instruments creates a GENESIS Wind and Wuthering like lushness--like "Your Own Special Way." At the three-minute mark, after the second go-round of the vocals, the band ramps up for an excellent fiery/impassioned guitar solo before guitar and band revert into the Wind and Wuthering melody of lushness. Interesting! And well done! (8.875/10)
8. "The Stormchaser" (5:57) a great prog metal "ballad." Love the play of the rhythm section and atmospherics created by the guitars--and the awesome little solo in the fifth minute. Great vocal performance from Jim Grey. (9/10)
9. "Mute" (12:00) Jim Grey's plaintive voice minimally supported for the first minute before the full band joins in with great bombast. (Sounds a bit like KARNIVOOL's Ian Kenny.) Just as quickly the sound palette returns to bare-bones spacious simplicity wit h slowly arpeggiated electric guitar, synth, rim shots and spaced out bass and bass drum notes as Jim's tender voice sings breathily. The choruses are more dynamic and almost heavy, but it's not until the band moves out of the vocal passage at 3:50 that full prog tech metal sounds start spitting, stuttering, rapid-firing, and djenting out. Something is off about the way the producers have mixed Jim's voice: almost hidden within the djenty walls of sound. It's as if Jim is trying to sing a theatric near-operatic aria over/within only metal musicians and their metal sounds to accompany him! At the end of the seventh minute the music cuts away leaving a gulf of open space that is gradually filled by synths, gentle guitar and keyboard and tuned percussion notes, and flute. It's super pretty-- almost achingly beautiful--but then at 8:14 the walls of symphonic metal come cascading back in, the drummer ramps up and the lead guitar launches into a wonderfully flexible display of "tender" tech metal shredding. At 9:55 everybody stops, again, leaving an empty room that Jim attempts to fill with some shy humming, but then everybody leaps back into full symph-metal mode again so Jim and his mates can once more state their case. Then the music goes all washy and atmospheric for a prolonged keyboard outro. Nice but somewhat unsure or unclear commitment to multiple personalities. (22.125/25)
Total Time 61:59
The soft/delicate passages on this album surprise me--as do the occasional NeoProg sound palettes. I prefer the complex rhythms with atmospheric metal music and rather than the softer EINAR SOLBERG-like nuanced vocal- dominated passages.
B+/4.5 stars; a near-masterpiece of Atmospheric Prog Metal that suffers from inconsistency and a stylistic scatteredness; perhaps the band is vacillating on its future (on its commitment to hard core Prog Metal).
18. KETTLESPIDER Kettlespider (2017)
Solid, polished, refreshing heavy prog rock from Down Under.
Line-up / Musicians:
- Colin Andrews / bass
- Scott Ashburn / guitars
- Haris Boyd-Gerny / guitars
- Geoffrey Fyfe / keyboards
- Simon Wood / drums
With:
- Fabian Acuña / trumpet (2, 5)
1. "The Climber" (2:24) the opening thirty seconds reminds me of some of the classic rock songs of the 70s--Damn Yankees or Loverboy or somebody like that--but then it switches at the forty-five second mark to something more complicated, more prog rock-like, more metal-like. (8.5/10)
2. "Circus" (4:34) the jazzy, delicate, melodic central third is the prize here. (9/10)
3. "Samsara" (2:31) opens with acoustic guitar being gently picked before keys and the rest of the band join in on the weave. They manage to maintain a nice melodic sense throughout this medium-paced instrumental. (9/10)
4. "Break The Safe, Pt. 1" (3:18) opens delicately but then becomes quite in your face in a kind of King Crimson way. Over and over they kind of "trick" you into relaxing and enjoying their beautiful sound groove before they bring in the distorted guitars and power chords. The final odd-time-signatured section is nice. (8.5/10)
5. "Anubis" (7:16) this one has quite a RUSH-like sound and feel to my ears (think of the excellent instrumental music of "Subdivisions"). The shift at the end of the second minute to a gentle and spacious section is quite unexpected and interesting. Steven Wilson comes to mind. Then comes the gun at 3:05 and they're off to the races, breaking into a heavy metal guitar-shredding section that tries to turn jazzy but then gets funneled back into the heavy prog world until 4:15 when another tricky, quirky, almost avant/RIO switcheroo tries to take hold. Just kidding! We're still heavy progging! But that trumpet is trying to say otherwise. Damn the influence of that Latin lover! I like this song because of its tricks and turns, surprises and maintained high quality and high entertainment value. Well done, arachnids! (14.25/15)
6. "Life" (6:06) Djent! Now they're getting into my comfort zone! (Don't know why I love those djenty guitar chords.) But then they turn sharp left in the second minute, trying to trick me again, but, no, it's just a short cut into some heavy prog, semi-djented. Nice work on the batterie, by the way, Simon. And props go out to precision bass work of Colin Andrews. Loving the fourth and fifth minutes: much more humane! And the guitar "ascending" from out of the birth canal effect is brilliant! My favorite song on the album! (10/10)
7. "Rebirth" (7:01) Oh, oh! Are we in for some Norse Black Metal? O Dark :30 and I'm still not sure. Even the delicate soft interlude at the one minute mark has me on pins and needles. 1:40: Here it comes. It's building! 2:10: Oh! It's so cute! It's just a big Totoro! 3:00: or is it the bad Stay Puft Marshmallow Man? We'll know soon. 3:45: He's leaving! He's not going to kill us or destroy our city! He likes Nature! 4:30: And video games. He's social! He has a family! And friends! Aww! He was just looking for his own kind! And they're going to live happily ever after! Such a cinematic gem! (13.5/15)
8. "Break The Safe, Pt. 2" (4:18) Safe. Solid. Unbreakable. Cohesive. Even pretty. And hypnotic. Cool Devy Townsend ending. Likable and yet unspectacular. (9/10)
Total Time 37:28
90.625 on the Fishscales = A-/five stars; a minor masterpiece of instrumental progressive rock music. While I see lots of potential for improvement--both is sound and composition--these guys are definitely on to something!
Atmospheric, djenty Prog not unlike bands VOTUM, PROGHMA-C, and KARNIVOOL. Vocals are almost like Tears for Fears' Roland Orzabul . . . without the punch and feeling.
Line-up / Musicians:
- Stef Exelmans / vocals, guitar
- Mathieu Rachmajda / bass
- Bastiaan Jonniaux / drums, electronics
1. "Time I" (2:51) clock ticking and ominous droning synth opens before bass drum and woodblock hit join in. A second eerie synth buzz enters in the second minute before drums sounds start to expand and breathy, airy higher pitched vocals enter. Pretty amazing opening! (10/10)
2. "Time II" (5:41) add djenty guitars and bass and odd time signature drumming and we have a new albeit still unsettling sound. An 80s-effected vocal joins in during a lull then the full wall of sound melds. The vocal almost doesn't work. The best part of this song remains that two-chord synth drone in the foundation. (9/10)
3. "Time III" (1:27) the song's electro-atmospheric breakdown and fadeout. ("Time" should be one continuous song. (4/5)
4. "Nul" (4:26) a great multi-voice chorus almost lifts this one into prominence. (8.5/10)
5. "Mezame" (4:56) a very nice vocal melody in the verses cannot lift this one alone. (8.5/10)
6. "Morph" (5:43) solid but nothing very special here. (8/10)
7. "Gravity" (6:00) love the deep throng of the bass chord dominating the distant vocal during the opening section but, unfortunately, that and a fairly nice chorus melody are the highlights of this one. (8.5/10)
8. "Inertia" (6:20) great MASERATI-like opening riff! Love the slow addition of slow cymbol, synth, and bass before all hell breaks loose! Reprieve for the vocal would work if the vocals weren't so sedate/seem full of indifference. Still, great melodies and the stop-and-start heaviness works well on this one. GREAT fifth minute build and dénouement! (9/10)
9. "Reach" (5:09) the stage-by-stage, levels of development on this song plus the use of "tricks" like the bouncy/staccato female or pitch-altered voice in the second and fourth minutes is what I've been looking for. More! (9/10)
10. "Evolve" (10:00) the magic here is the ear-worm-like melodic hooks in the slow build of the opening four minutes--guitar strums, percussives, rolling bass, and vocal--as well as the neat ambient electronic second half. Brilliant restraint. (10/10)
Total Time 52:33
A collection of underwhelming music that has somehow dug itself deep into my brain. Most of the songs are not very complex; they are long enough to show more development, to include more flash and flourish. This album kind of reminds me of last year's release from GODSTICKS; ATMOSPHERES is a band straddling two different musical genres. Great potential!
88.0 on the Fishscales = B+/4.5 stars; a near-masterpiece of atmospheric djenty prog.
20. VOLA Inmazes (2015)
Who says djent isn't prog? I STRONGLY disagree. Denmark's Vola demonstrates a refreshing album of progressive rock music by melding the keyboard techno-wizardry of the 1980s with an outstanding rhythm section of djenters who absolutely refuse to play anything in a straight time. Think TEARS FOR FEARS or DEPECHE MODE teaming with MESHUGGAH, TOOL, or PROGHMA-C and you'll have a pretty good image for the aural soundscapes these guys paint on Inmazes.
The album starts out much more heavily, more djenty, and then starts to show more of the band's 80s synth-pop roots in the second half.
1. "The Same War" (5:19) opens with some truly abrasive industrial djent sound before opening up into a full-on TOOL-like onslaught. When the vocals of guitarist Asger Mygind enter I am immediately struck by the similarity of his tone and sense of melody to that of David Gahan of the 1980s New Wave band, DEPECHE MODE.
I need to point out that throughout the album the work of the bass, drums, and djent guitar play is absolutely top notch and amazing. I love the unpredictable syncopated and multi-octave guitar melody at the four minute mark. (9/10)
2. "Stray the Skies" (4:13) opens rather melodically, hooking the listener in with the album's most haunting melody, before sliding into a very heavy, very djenty, almost abrasive A Section. The Chorus returns us to the opening melody and synth chords, but then the following section becomes even more sparsely djenty. Back and forth the music goes, start to finish. Awesome contrast! (9/10)
3. "Starburn" (6:05) opens with some spacey atmospherics joined by an electronic tuned percussion arpeggio before the djent crew brings down the wrecking ball. This one even incorporates some vocal growls/screams. The shift at 1:55 into the melodic and harmonic realm of 1980s New Wave is a bit incongruous and perhaps denotes the weakest moment/transition of the album--the only place where the djent-New Wave partnership might not work. The prolonged guitar djent chord play that plays out over the second half of the song is interesting but never really goes anywhere new or fresh. Unfortunately, this is the album's low point. The good news is: it is virtually its only one! (7/10)
4. "Owls" (5:51) opens with a prolonged TOOL-like drum, bass and guitar section. When the vocalist joins in the band once again tries to marry the melodic, almost syrupy New Wave vocals with the abrasive, syncopated and less-than predictable staccato of its djent rhythm section. Here it works pretty well. Early SIMPLE MINDS on steroids. (8/10)
5. "Your Mind as Helpless Dreamer" (5:21) opens with perhaps the most high energy, ambitious rhythms and pace. Fast-paced midi-ed keyboard chords join in (in a NEW ORDER kind of way) while the vocals are presented with a much heavier, more aggressive fashion--very similar to the wonderful sound and work of Australia's KARNIVOOL. This song is working and barreling along on all cylinders! (10/10)
6. The delicate and techno-edgy "Emily" (3:01) plays out like a very emotional Roland Orzabel (TEARS FOR FEARS) masterpiece--though it has strong DEPECHE MODE leanings, too. Beautiful song. (10/10)
7. "Gutter Moon" (3:55) opens with a treated (compressed) keyboard riff before spilling out with some rather restrained djenty-yet-fuzzy bass and guitars. The B section takes on more of a DREAM ACADEMY/PREFAB SPROUT feel and synth pop sound. Then the djent rhythm section comes out in almost full force as the melody, vocals and synth keys sustain their 1980s sound and feel. Nice, interesting song. (9/10)
8. "A Stare Without Eyes" (4:58) opens heavily, though compressed, before settling into a melody sounding very much like a DEPECHE MODE song, just heavier. The lead vocal starts out heavily treated before coming somewhat forward for the first chorus. By the second A Section all holds have been taken off of the vocal, the song remains heavy but still retains this familiar DEPECHE MODE feel to it--as if the Mode merely upped their angst and aggression and let it show in the treatments of their instruments. Not quite as catchy with melodies here, but a good song. (8/10)
9. "Feed the Creatures" (5:37) opens heavily before letting all abrasive sounds drop away in lieu of sustained organ chords and computer-pop noises acting as percussives to support the delicate Jonas Bjerre (MEW)-like vocals. The heavy chorus at the three minute mark followed by the delicate piano chords and gorgeous soft vocal over the heavier TEARS FOR FEARS-like electro-rhythms is brilliant! Amazing! Great song. GReat blend of sounds and technology of the 80s, 90s and 21st Century. (9/10)
10. "Inmazes" opens with an odd keyboard pulsing between two chords in a straight time before it is joined by fairly straightforward electric guitar playing a fairly dissonant and discordant arpeggio. The tension is enhanced when the full band joins in with its full heaviness and PORCUPINE TREE-like sound (think "Blackest Eyes") and odd time signature playing over the still audible, still pulsing odd keyboard of the opening. The vocals that ensue are very much in the vein of those of DEPECHE MODE's David Gahan or even NEW ORDER's Bernard Sumner. I like the long, even outro, too. Great song! (9/10)
A wonderfully refreshing album from a group of young Danes who are attempting something quite ambitious in their blend of New Wave techno-synth pop with TOOL/MESHUGGAH djent. The point is: They succeed! Wonderfully!
88.0 on the Fish scales = B+/4.5 stars; a near-masterpiece of progressive rock music.
21. LEPROUS The Congregation (2015)
I'm going to agree with the many reviewers who are extolling the virtues of this album. It is, in my opinion, a very powerful Prog Metal album which displays the continued refinement and maturation of these musician/songwriters. Vocalist Einar Solberg continues to show virtuosic mastery of his craft--yet with continued refinements in his restraint, control, and use of space and simplicity. All powerful developments for the overall impact of the songs here. Coal was a real step forward from Bilateral and Tall Poppy Syndrome, which both had a lot of elements of quirk, humor and pop woven into the song and melody structures, but The Congregation seems to show of a band that is finally comfortable with its style--a band that knows and uses its strengths through and through.
- Einar Solberg / lead vocals, keyboards
- Tor Oddmund Suhrke / guitar
- Øystein Skonseng Landsverk / guitar
- Martin Skrebergene / bass
- Baard Kolstad / drums
While I find this overall a very powerful album, there are weaker songs and then there are absolute masterpieces.
5 star songs: "Rewind" (7:07) (10/10); "Slave" (6:38) (10/10); "Moon" (7:13) (9/10); "The Flood" (9/10); "Down" (6:26) (9/10); "Lower" (4:34) (9/10), and; "Red" (6:36) (8/10).
Album of the Year? I don't know. It's a great one! "Rewind" and "Slave" are must hears! Two of the best of the year, to be sure!
87.27 on the Fish scales = B/four stars; a wonderful contribution of heavy progressive rock music.
Album of the Year? I don't know. It's a great one! "Rewind" and "Slave" are must hears! Two of the best of the year, to be sure!
87.27 on the Fish scales = B/four stars; a wonderful contribution of heavy progressive rock music.
22. LEPROUS Coal (2013)
Line-up / Musicians:
- Einar Solberg / vocals, synth, grand piano
- Tor Oddmund Suhrke / electric & baritone guitars
- Øystein Skonseng Landsverk / guitar
- Rein Blomquist / bass
- Tobias Ørnes Andersen / drums, e-drums, percussion
With:
- Ihsahn / vocals (8)
- Håkon Aase / violin (8)
1. "Foe" (5:16)
2. "Chronic "(7:20)
3. "Coal" (6:51)
4. "The Cloak" (4:10)
5. The Valley (9:00) (17.875/20)
6. Salt (4:30)
7. Echo (9:42) similar to "The Valley" though much more interesting for its syncopated djentiness. (17.875/20)
8. "Contaminate Me" (9:05)
Total time 55:54
2. "Chronic "(7:20)
3. "Coal" (6:51)
4. "The Cloak" (4:10)
5. The Valley (9:00) (17.875/20)
6. Salt (4:30)
7. Echo (9:42) similar to "The Valley" though much more interesting for its syncopated djentiness. (17.875/20)
8. "Contaminate Me" (9:05)
Total time 55:54
on the Fishscales = / stars;
This album definitely qualifies as one of the top three or four heavy prog/prog metal albums of the year 2017. Though there are many segments in which the similarities to Australian band KARNIVOOL come crashing into my face, this is an extremely well produced album of well-conceived and well-performed songs. Where the band lacks in the "atmospheric" category are the absence of the electronic enrichments provided by synthesizers: heck! There are no keyboards whatsoever (which means the band deserves special commendation for achieving inclusion on this list while doing so with only guitars and effects!)!
Line-up / Musicians:
- Jim Grey / lead vocals
- Sam Vallen / guitar, vocals, producer
- Adrian Goleby / guitar
- Dave Couper / bass, vocals
- Josh Griffin / drums
With:
- Jørgen Munkeby / saxophone & backing vocals (10)
1. "Dream the Dead" (8:09) great opener--ominous metallic sounds from the opening are soon held in check for the arrival of the gorgeous vocal but they're there: lurking beneath, you can feel them waiting to pounce despite the pretty music and singing. Very KARNIVOOL-like--Karnivool at its best. (14/15)
2. "Will's Song (Let the Colours Run)" (4:42) opens with a fairly simple melody played over aggressive djenty guitar chords and machine gun bass drumming. Before the first minute ends, the music scales back to make room for the vocal--which is nice--soft and breathy with great, edgie melodies. The chorus bursts forth again sounding very much like KARNIVOOL--a sound that seems to carry forward into the next verse section as the singer sings in full Ian Kenny voice. Impressive guitar solo at the 2:55 mark. Again, the KARNIVOOL sounds and styles are unmistakable--especially in the chorus--but it's a great sound! (9.5/10)
3. "The Hands are the Hardest" (4:46) Before the age of metal and djent, this could have been a great techno-pop song. Great melodies. Strange that the line "love conquers all" appears in the chorus. The guitar-strum murky final minute is actually awesome! (9/10)
4. "Love Conquers All" (2:21) delicate acoustic guitar arpeggi open this one before rhythm track enters beneath. Multiple guitars set up a melody before everything cuts out, resets, and Jim's vocals start. The multi-voice-supported chorus enters with only a minute left! and then we restore the opening vocal theme for the finish. Simple, odd, pretty. (4.375/5)
5. "Songs for No One" (7:43) opens with voice that is quickly joined by the full-force of the band. Nothing held back here! Almost a "metal shoegaze" guitar sound here! The lyric and vocal, however, fails to grab me while the rest of the music in support is fairly simple--until the quiet passage beginning at 1:40. Effective; gives the listener a better appreciation for the construction of the fuller, heavier passages. At 2:30 there is another lull, this time without vocals, before power chords and drums come bursting back in. Nice variety with djent-guitar during the bridge before the second chorus. The choruses, however, just don't do it for me. Nice vocal-lead guitar handoff at the 4:10 mark--followed by a sweet guitar solo. Another lull at the end of the fifth minute, with whispery vocals and floating guitar notes, sustains itself into a beautiful gentle choral section before we fly back into the fast lane. Vocal growls shout out in the background of the next high-octane instrumental section. An interesting song with some clever highlights and mildly disappointing situations. (13.625/15)
6. "Capulet" (3:23) gorgeous, emotionally delivered upper-octave vocal supported by acoustic guitar-led trio. I like the middle octave backing of the second voice. I also like the change in upper end dynamics of the guitar and organ in the final minute. Cool! (9/10)
7. "Fill My Heart" (6:42) an edgy, aggressive song with a nice melody that is set up by a catchy chord progression. Interesting contrast between the active drums and simple guitar picking. Deep bass notes sneak in during the third minute. Ominous syncopated instrument play at the halfway point. Long high note singing reminds me of Ian Kenny from Karnivool. Blistering guitar solo in the sixth minute sets up the final repetitions of the chorus. Nice heavy prog song. (9/10)
8. "Inertia and the Weapon of the Wall" (2:57) theatric stage soliloquy--no doubt from some play.
9. "The Cannon's Mouth" (5:56) opens with a very chunky, djenty sound--over which lead guitarist wails intently. When the vocals enter, over a very quiet, spacious foundation of sparse music, it feels/sounds like a continuation of the previous song's thespian vocal delivery, except for the fact that the music amps up to full metal guitar chopping with the choruses. Slow, Ian Kenny-like high-voice singing at the end of the third minute. The chorus gets heavier next time around. Nice melodies. (9/10)
10. "Graves" (15:31) this prog epic contains many moments that remind me of the sounds and work of Poland's 1990s prog revivalists, COLLAGE: instrumental and vocal melodies, synth sounds and even drumming style. Still, the highs and lows and overall effect of the song is not anything that feels innovative or even refreshing; there is nothing new here. And the fact that the chorus starts each time with the familiar words and sound of KARNIVOOL's "We are" detracts and distracts. The presence of piano and sax are different (yet add nothing new or exciting). (26.5/30)
4.5 stars; a near-masterpiece of progressive rock music.
2. "Will's Song (Let the Colours Run)" (4:42) opens with a fairly simple melody played over aggressive djenty guitar chords and machine gun bass drumming. Before the first minute ends, the music scales back to make room for the vocal--which is nice--soft and breathy with great, edgie melodies. The chorus bursts forth again sounding very much like KARNIVOOL--a sound that seems to carry forward into the next verse section as the singer sings in full Ian Kenny voice. Impressive guitar solo at the 2:55 mark. Again, the KARNIVOOL sounds and styles are unmistakable--especially in the chorus--but it's a great sound! (9.5/10)
3. "The Hands are the Hardest" (4:46) Before the age of metal and djent, this could have been a great techno-pop song. Great melodies. Strange that the line "love conquers all" appears in the chorus. The guitar-strum murky final minute is actually awesome! (9/10)
4. "Love Conquers All" (2:21) delicate acoustic guitar arpeggi open this one before rhythm track enters beneath. Multiple guitars set up a melody before everything cuts out, resets, and Jim's vocals start. The multi-voice-supported chorus enters with only a minute left! and then we restore the opening vocal theme for the finish. Simple, odd, pretty. (4.375/5)
5. "Songs for No One" (7:43) opens with voice that is quickly joined by the full-force of the band. Nothing held back here! Almost a "metal shoegaze" guitar sound here! The lyric and vocal, however, fails to grab me while the rest of the music in support is fairly simple--until the quiet passage beginning at 1:40. Effective; gives the listener a better appreciation for the construction of the fuller, heavier passages. At 2:30 there is another lull, this time without vocals, before power chords and drums come bursting back in. Nice variety with djent-guitar during the bridge before the second chorus. The choruses, however, just don't do it for me. Nice vocal-lead guitar handoff at the 4:10 mark--followed by a sweet guitar solo. Another lull at the end of the fifth minute, with whispery vocals and floating guitar notes, sustains itself into a beautiful gentle choral section before we fly back into the fast lane. Vocal growls shout out in the background of the next high-octane instrumental section. An interesting song with some clever highlights and mildly disappointing situations. (13.625/15)
6. "Capulet" (3:23) gorgeous, emotionally delivered upper-octave vocal supported by acoustic guitar-led trio. I like the middle octave backing of the second voice. I also like the change in upper end dynamics of the guitar and organ in the final minute. Cool! (9/10)
7. "Fill My Heart" (6:42) an edgy, aggressive song with a nice melody that is set up by a catchy chord progression. Interesting contrast between the active drums and simple guitar picking. Deep bass notes sneak in during the third minute. Ominous syncopated instrument play at the halfway point. Long high note singing reminds me of Ian Kenny from Karnivool. Blistering guitar solo in the sixth minute sets up the final repetitions of the chorus. Nice heavy prog song. (9/10)
8. "Inertia and the Weapon of the Wall" (2:57) theatric stage soliloquy--no doubt from some play.
9. "The Cannon's Mouth" (5:56) opens with a very chunky, djenty sound--over which lead guitarist wails intently. When the vocals enter, over a very quiet, spacious foundation of sparse music, it feels/sounds like a continuation of the previous song's thespian vocal delivery, except for the fact that the music amps up to full metal guitar chopping with the choruses. Slow, Ian Kenny-like high-voice singing at the end of the third minute. The chorus gets heavier next time around. Nice melodies. (9/10)
10. "Graves" (15:31) this prog epic contains many moments that remind me of the sounds and work of Poland's 1990s prog revivalists, COLLAGE: instrumental and vocal melodies, synth sounds and even drumming style. Still, the highs and lows and overall effect of the song is not anything that feels innovative or even refreshing; there is nothing new here. And the fact that the chorus starts each time with the familiar words and sound of KARNIVOOL's "We are" detracts and distracts. The presence of piano and sax are different (yet add nothing new or exciting). (26.5/30)
4.5 stars; a near-masterpiece of progressive rock music.
Special Mention:
The Korean band Jambinai is most often referred to as a Post Rock band but when I listen to them I hear so much more than Post Rock: I hear atmospheric djenty Prog Metal of the essential kind only extra-spiced and expanded by the band's unique ingredients of native folk instruments (piri, haegum, geomungo, taepyeongso, saenghwang, yanggeum). I really think they belong in this category.
JAMBINAI a Hermitage (2016)
- Ilwoo Lee (이일우) / guitar, piri, bass, vocals
- Bomi Kim (김보미) / haegum
- Eunyoung Sim (심은용) / geomungo, vocals
With:
- Hyeseok Oh (오혜삭) / drums
- Ignito (이그니토) / vocals (4)
1. "Wardrobe" (3:07) (/10)
2. "Echo of Creation" (4:21) (/10)
3. "For Everything That You Lost" (7:14) (/15)
4. "Abyss" (7:05) a Korean Metal Rap song. (/15)
5. "Deus Benedicat Tibi" (4:30) (/10)
6. "The Mountain" (6:58) (/15)
7. "Naburak" (7:30) (/15)
8. "They Keep Silence" (6:25) (/10)
Total Time 47:10
on the Fishscales = / stars
JAMBINAI Onda (2019)
Some of the most extraordinarily different prog rock that I've heard since I first heard Yoshimi P-W's OOIOO. This is Post Rock from Korea with its musicians proudly integrating the traditional instruments of their homeland with those of the rock'n'roll world.
Line-up / Musicians:
- Ilwoo Lee / guitars, piri, taepyeongso, saenghwang, vocals
- Bomi Kim / haegeum, vocals
- Eunyong Sim / geomungo, vocals
- Byenongkoo Yu / bass, chorus vocals
- Jaehyuk Choi / drums, chorus vocals
With:
- Hwiseon Choe / yanggeum (1, 3)
- Bora Kim / vocals (5)
- Gyouhyun Jo / chorus vocals (4, 8)
- Jinyoung Han / chorus vocals (4, 8)
1. "Sawtooth" (7:39) powerful Post Rock that opens with traditional Korean instruments, wind and stringed. These are joined, eventually, in the third minute, by drums and electric instruments from the more familiar realms of rock'n'roll, providing not one but two very impressive rise and falls over the course of the remaining five minutes. Despite this addition of full drum kit, electric bass, and aggressive electric guitar, it is the Korean instruments that remain the attention-grabbers, expressing very powerful emotions. Dynamic and refreshing Post Rock. A top three song. (14/15)
2. "Square Wave" (5:05) rock and traditional instruments are mixed from the start of this one as is the gorgeous, powerful DAM KAT-like voice of Bo-mi Kim. This is so good! Smooth chorus section at the end of the second minute and then a quiet, spacious, section, latent with potential energy, that is followed by an even more powerful instrumental section in the third and fourth minutes before the final crescendo of sound and ending verse in the final minute. The interplay of the electric rock instruments with the Korean acoustics is incredible! Awesome song! Definitely a top three for me. (9.5/10)
3. "사상의 지평선 (Event Horizon)" (3:55) opens in fifth gear with everybody strumming, beating, and screeching at their fastest and then, equally as suddenly, at the 1:00 mark, everything cuts out save for a bowed berimbau-like haegeum and hand drum/hand percussion. By the end of the second minute vocalist Eun-yong Sim (or Bo-mi Kim) is adding her voice to the weave until 2:41 when the electric contingent rejoins and it plays out like a Death Metal song. (8.75/10)
4. "검은 빛은 붉은 빛으로 (Sun. Tears. Red.)" (5:51) single note played syncopatedly from an electric guitar- or bass-like instrument opens this song before being joined by a choir of voices singing quietly in an almost prayer-like chant- kind of way. Amazing! At 1:35 all hell breaks loose as a heavy LEPROUS-like sound breaks out with vocal and Korean instrumental screeches over the top. Just before the two minute mark, this cuts out and a percussion-supported multi-voice, polylyric, polyrhythm section ensues. Wow! In the fourth minute the heavy walls of sound return for a bit but it is then broken up by alternating quick passages of multi-voice shouting and chanting (and intentionally not in unison). In the fifth minute the music steadies itself, not quite as heavy, as Korean violin solos, but then just before the 5:00 mark, the soundscape thickens and weighs down as a male voice screams his lyrics in two-syllable bursts to the end. Wow! I'm not sure how to judge this one! Unlike anything I've ever heard before! Amazing! Another top three song! (9.5/10)
5. "나무의 대화 (In the Woods)" (13:16) opens like a HYPNO5E song with delicate, spacious, almost folk instrumental inputs from all musicians. Even into the meat of the song, at the 3:30 mark, as Il-woo's saenghwang takes center stage and then gets replicated with several other tracks, the music still feels totally folk-traditional. Wild vocals enter in the sixth minute and then oboes. Drums and bass slowly climb in during the second half of the seventh minute, but then there is a calming break in which the saenghwang leads over haegeum, geomungo, and electric bass. Electric guitar joins in the eighth minute just before the pace and density ramps up. This is definitely Post Rock! At the ten minute mark heavily distorted electric guitars and bass begin providing typhoon-like wind noises as the drummer really starts to go crazy. "ooo" vocals repeat a melody from here to end. Nice song with a stunning beginning five minutes that becomes a little long and drawn out. (21.75/25)
6. "작은 위로가 있는 곳에 (Small Consolation)" (5:18) a single note from an oddly tuned electric guitar signals the start of Ilwoo Lee's almost-whispered voice. Over and over this occurs, like a Tibetan prayer cycle, until at 1:15 Bo-mi Kim's haegeum and Eun-yong Sim's geomungo begin to add their sounds behind and round the guitar and vocal/chanter. At 2:25 the full electric band comes crashing in with heavily strumming guitar, bass, and flailing cymbals and pulsing drums. The Korean strings continue their screechy soloing over and within until things go even fuller-dark at the end of the fourth minute. Then, suddenly, at 4:23, everything stops except for the original three plucked/bowed instruments, which then slowly fizzle and exit. (9/10)
7. "그대가 지내온 아픔들이 빛나는 축복의 별이 되어 (ONDA Prelude)" (2:18) drone of a single sustained electric bass note opens while traditional Korean mouth organ (saenghwang) plays a dirge-like tune over the top. Amazing instrument the way it can project two controlled notes at one time! (5/5)
8. 온다 (ONDA) (7:07) launches straight out of the "Prelude" with lots of hard-driving percussion and haegeum provide initial support for the slow, religious-sounding singing of Bomi Kim. Gorgeous! And powerful! Kim is then joined in chorus form by Ilwoo Lee. The music here reminds me of Middle Eastern prog like Ofra Haza. At 3:15, Bomi Kim switches to haegeum and Ilwoo to his bamboo oboe (pim) as the rhythm section continues to drive on at breakneck speed. The full metal impact of electric instruments reaches full strength at the five minute mark just as choral-singing of earlier slow religious lyric and melody ensue. This is, then, what plays out until cymbal crash at 6:35 and ensuing long decay of the feedback from the final strums of the electric guitar and bass. Amazing. I am numb and in humble shock with the power and beauty of this music. (15/15)
Total Time: 50:29
I feel so excited, so humbled and privileged, to have heard this music--to have continued access to it. Some of the instruments, sounds, stylings, and even melodies sound similar to Mongolian band ANDA UNION--though my untrained ear is most likely lumping all Sino-Korean sounds and melodies together.
92.5 on the Fishscales = A/five stars; a masterpiece of mind-blowing progressive rock music in which the band fuses the traditional instruments and melodies of its native cultural traditions with the best and most powerful of Post Rock techniques better that any other band that I've ever heard.
JAMBINAI Apparition (2022)
Line-up / Musicians:
- Byeongkoo Yu / bass
- Ilwoo Lee / composer, guitar, piri, saenghwang, vocals, producer
- Jaehyuk Choi / drums
- Eunyong Sim / geomungo, vocals
- Bomi Kim / haegum, vocals
With:
swja (sunwoojunga) / vocals (2)
1. "Once More from That Frozen Bottom" (4:08) opening (and closing) with Eunyong Sim's geomungo plucking and strumming, this song travels a very surprising arc--one that is more like a mobius strip--and one that contains some absolutely stunning vocals and vocal arrangements. (9.75/10)
2. "From the Place Been Erased" (5:27) pop icon swja (sunwoojunga)'s vocal makes this eerie song quite powerful. Nice (and surprising) match up with Jambinai. (9.5/10)
3. "Until My Wings Turn to Ashes" (9:22) starting off very spaciously, with lots of use of the traditional acoustic Korean instruments, the song eventually weaves in a few more instruments (bass, saenghwang [reed mouth organ] and, later, drums. By the 5:15 mark the Post Rock slow build has made itself fully present as the haegeum and, by the end of the seventh minute, the fully drums, bass, and electric guitar let one know that this is which happens with an explosion of bass at 7:40. What's really cool, here, is how the bowed haegeum remains fully recognizable--how Bomi Kim remains focused yet also feels as if she is giving her all emotionally. I love this about this band and their music: the traditional acoustic instruments are not allowed to get drowned out by the electronic ones; their contributions are always integral and constant, if not fully foundational, to the soundscape. A perfect Post Rock song. (20/20)
1. "Once More from That Frozen Bottom" (4:08) opening (and closing) with Eunyong Sim's geomungo plucking and strumming, this song travels a very surprising arc--one that is more like a mobius strip--and one that contains some absolutely stunning vocals and vocal arrangements. (9.75/10)
2. "From the Place Been Erased" (5:27) pop icon swja (sunwoojunga)'s vocal makes this eerie song quite powerful. Nice (and surprising) match up with Jambinai. (9.5/10)
3. "Until My Wings Turn to Ashes" (9:22) starting off very spaciously, with lots of use of the traditional acoustic Korean instruments, the song eventually weaves in a few more instruments (bass, saenghwang [reed mouth organ] and, later, drums. By the 5:15 mark the Post Rock slow build has made itself fully present as the haegeum and, by the end of the seventh minute, the fully drums, bass, and electric guitar let one know that this is which happens with an explosion of bass at 7:40. What's really cool, here, is how the bowed haegeum remains fully recognizable--how Bomi Kim remains focused yet also feels as if she is giving her all emotionally. I love this about this band and their music: the traditional acoustic instruments are not allowed to get drowned out by the electronic ones; their contributions are always integral and constant, if not fully foundational, to the soundscape. A perfect Post Rock song. (20/20)
4. "Candlelight in Colossal Darkness" (7:39) a live/in concert version of a previously unreleased tune. Piri and geomungo weave within still jungle of sparse bass and cymbal notes until the 3:00 mark when gently picked guitar takes the lead and the acoustic instruments become the sparse, metronomic support. Ilwoo Lee's piri comes back to take the lead in the fifth minute as the haegeum builds a little dynamic tension. Then, at 5:06, everybody ramps up to weave into a rock audio field for the big finish--which ends up sounding like your average Post Rock climax. (13/15)
Total Time 26:36
A/five stars; a masterpiece of progressive rock music. Jambinai can do no wrong!
Total Time 26:36
A/five stars; a masterpiece of progressive rock music. Jambinai can do no wrong!
