Other Albums from 2005 Worth Listening to:
Below you will find a somewhat-ordered catalogue of the album releases from 2005. These are albums that I have determined to be good or interesting enough to recommend to you, the reader, for your own exposure, awareness, and/or exploration; these are albums that were not, in my opinion, good enough to belong on my "Masterpieces" page, but which, I thought, deserved some credit and attention.
You will find that some of the albums below are reviewed or commented upon, while many have nothing but cover, artist and title, lineup of musicians and songs list. This variance is usually due to a lack of time and a lack of willingness or desire to give each and every album the time and energy necessary to write a review. This is done without any intent of disrespect; the albums have been included because I think them worthy enough to have others try them out and form their own opinions.
WILLOWGLASS Willowglass
The eponymous debut release from Willlowglass gives one an exciting glimpse into an artist who seems to be able to bridge the beloved prog music of Genesis, Camel, and even King Crimson & Nektar in the early-to-mid-1970s and the much more mature second release, Book of Hours (2008).
Line-up / Musicians:
- Andrew Marshall / electric & acoustic guitars, 12-string guitar, classical guitar, bass, keyboards, flute, some drums
- Dave Brightman / drums
1. "Peace" (1:26) (3.75/5)
2. "Remembering" (8:34) some sublime, if unpolished music and ear-worm riffs. (17.5/20)
3. "Garden" (8:15) gorgeous Neo Prog in the true 12-string GENESIS format. Incredible melodies and ANTHONY PHILLIPS-like pastoral textures. Easily the best song on the album--the only one on which all cylinders are firing in sync--and, if this were any indication of things to come, a very exciting portent. One of my favorite songs of 2005. (20/20)
4. "Interlude No. 1" (1:36) a very simple STEVE HACKETT-esque classical guitar solo. (4.25/5)
5. "Tower of the King's Daughter" (7:10) slow bouncing electric piano turns 'tron-o-progic with flute and picked acoustic guitars and active, melodic electric bass. Ramped up section in the middle is straight out of a GENESIS playbook. Nice sounds (great sound palette) and melodies, but a little too derivative. Impressive Steve Hackett electric guitar lead in the final third! (12.25/15)
6. "Summer's Lease" (0:18)
7. "Into the Chase" (4:29) good Steve Hackett-like piece, but nothing terribly new here. Nice guitar sounds and melodies that are detracted by simplistic bass lines. (8/10)
8. "A Blinding Light" (6:36) too drawn out with melodies that fail to engage. The formula is beginning to wear on the straight-thru listener. Interesting solo organ (w/ chunky bass) in middle, and exciting Hackett-like solos in the final section. (8.25/10)
9. "Waking the Angels" (5:45) odd rhythm track and 'tron and piano use make this one almost like a real Steve Hackett dud! (7.25/10)
10. "The End" (1:46) Echoplex guitar and bass? Interesting. (4/5)
Total Time 45:55
The highs on this disc are extremely high (e.g., the ends of "A Blinding Light," "Waking the Angels," some sections of "Remembering," and the whole of "Garden"), but the brief interludes ("Peace," "Interlude No. 1," "Into the Chase," and "The End") are a bit too simple while "Into the Chase" and "Tower of the King's Daughter" simply fail to draw one in. Plus there's something just not right about the drumming--as if it is too simple and reserved, just fill. Despite all of my Steve Hackett comparisons, I always think of this album and it's stylistic palette as more akin to a ANTHONY PHILLIPS effort.
86.25 on the Fishscales = B-/3.5 stars; a very nice first effort with some incredible soundscapes. A wonderful preview of things to come. Worth a listen, maybe even owning, but, essential or excellent addition? Perhaps not.
ANTHONY PHILLIPS Field Day
I am not sure how truly progressive this album is because it consists of two discs of 29 and 32, respectively, solo acoustic guitar pieces. However, I can not exaggerate enough on what a treat and gift it is to have this collection of instrumental ditties and fully worked out acoustic guitar songs from one of the masters of off-beat and unexpected melody of our time. It is also particularly enjoyable to follow the track list while matching each song with Ant's list of guitars from his rather extensive collection. While many if not all of the 61 songs here achieve the elevated status of 'beautiful,' the four opening and closing songs and the 12-string pieces definitely haunt me. So many others are worthy of special mention but I won't; just get the album and pick out your own favorites--there are sure to be a dozen or more. Of all of Ant's albums, this one rates near the top--only behind The Geese and the Ghost and Back to the Pavilion, just above the other Private Parts and Pieces and 1984.
I am not sure how truly progressive this album is because it consists of two discs of 29 and 32, respectively, solo acoustic guitar pieces. However, I can not exaggerate enough on what a treat and gift it is to have this collection of instrumental ditties and fully worked out acoustic guitar songs from one of the masters of off-beat and unexpected melody of our time. It is also particularly enjoyable to follow the track list while matching each song with Ant's list of guitars from his rather extensive collection. While many if not all of the 61 songs here achieve the elevated status of 'beautiful,' the four opening and closing songs and the 12-string pieces definitely haunt me. So many others are worthy of special mention but I won't; just get the album and pick out your own favorites--there are sure to be a dozen or more. Of all of Ant's albums, this one rates near the top--only behind The Geese and the Ghost and Back to the Pavilion, just above the other Private Parts and Pieces and 1984.
85.0 on the Fish scales = B/four stars; an excellent addition to any progressive rock music collection.
THE FUTURE KINGS OF ENGLAND The Future Kings of England
A very good Post Rock album that ranks right up with the best I've heard from this sub-genre . . . but can't quite earn a 5 star "masterpiece" rating cuz of the fact that the boys stick fairly closely to the standard format--with very few real innovations other than sounds and multiple guitar layers on "October Moth."
Oops! this isn't Post rock?!!
Oh well. The songs:
1. "At Long Last" (1:02) a musically supported abdication speech from England's King Edward VIII.
2. "10:66" (7:46) opens with a Frippertronic/"infinite guitar" note (kind of like Fripp did on Sylvian's "Wave") and is then joined by the full band. A mysterious interlude spoken vocal is in a Slavic language--which all but negates its effectiveness but is followed by guitar arpeggios from the opening section and background violin noodling. The song crescendos in a rather violent almost punk-like sound with 'hoodlum' type voices running off in the background. (8/10)
3. "Humber Doucy Lane" (8:55) opens with some very old-style "Rising Sun" electric guitar arpeggios with full ANIMALS sound in the accompanying band--at least, that is, until the 3:40 mark when there is a shift to some slow chord strums tying a different set of arpeggios together. Then at 4:45 we're suddenly thrown onto some reverbe/echo guitar picking on the playgrounds from the end of Pat & Lyle's "As Falls Wichita, So Falls Wichita Falls." Obviously the lane referred to in the song title means something to these blokes. Mellotron and bells play out in a French film score way to end. (7/10)
4. "Silent and Invisible Converts" (7:30) stars with some pretty straightforward rock'n'roll descending electric guitar chords--which then transform into the same chords being arpeggios with 'flute' accompaniment. Until 1:40 when a new set of three chords are again ominously strummed as bass and cymbols keep exact time (almost Who-like!) The tempo picks up, slowly building, faster and faster, until some very crazed space guitar effects and "ahh's" join and accompany the band to about 5:40 when most instruments cut out leaving only the screaming space guitar and rolling bass--then for a minute just bass before some U2/EDGE-like guitar chords scream out over an old organ--to a Who ending! (8/10)
5. "October Moth" (3:49) is a much more laid-back floating-type of song--acoustic guitars picking in both the left and right channels while distorted and space guitars also play. Very unusual and cool song. (9/10)
6. "Lilly Lockwood" (8:18) is an eery song that reminds me of a melange between THE BEATLES at their most eery and U2's first two album guitar sounds and GENESIS' "The Waiting Room." (What a combo!) (8/10)
7. "The March of the Mad Clowns" (3:36) is a steady bass with military snare drumming with some weird-ass psychedelic "Tomorrow Never Knows" synths and guitars playing a melody over and within. (8/10)
8. "Pigwhistle" (14:00) lots of mellotron and weird/distorted guitar playing over a 'normal' bass and drum rhythm section. Eventually the bass is isolated while eerie samples, synths, cymbols, and guitar notes pass in and out of the background and foreground. Then echo-guitar takes over the center stage. for some reason this reminds me of prime TANGERINE DREAM stuff. Halfway through the song and we're left in a kind of 2001: A Space Odyssey field. Then a biplane flies overhead and a FLOYDian acoustic guitar blues jam ensues. Electric guitar and electric tuned percussion join in, bringing their own melodies to the mix, before a kind of "House of the Rising Sun/My Guitar Gently Weeps" section begins. The song plays out in this very cool BEATLES Abbey Road mode. (24/30)
9. "God Save the King" (0:48) is the old recording of a male speech (King Edward VIII?) played over some psychedelic sounds.
80.0 on the Fish scales = a four star album; an excellent addition to any prog lover's music collection.
MY EDUCATION Italian
A stylish, downbeat Post Rock/Math Rock band from Austin, Texas, MY EDUCATION performs music that could easily pass as film soundtracks. Use of viola, tuned percussion, and piano/keyboards makes this music interesting, taking it a bit out of the typical PR/MR sound frame. The whole album makes for nice wind-down background music, all of it is interesting if you can keep focused (and not fall asleep), but by the time I'm into the fourth or fifth song I've usually tuned out.
1. Snake In The Grass (7:23) (8/10)
2. Plans A Through B (7:39) (9/10)
3. Thanksgiving (6:19) (8/10)
4. (Polyphonic Walnuts) (3:52) Ambient. (8/10)
5. Puppy Love (8:01) (8/10)
6. Texas Style (7:21) Definitely. (8/10)
7. Dirty Hands (7:01) Frippy. (9/10)
8. ( ) (4:35) Eno-esque electronic ambience. (7/10)
9. "Green Arrow" (12:25) (8/25)
There really isn't a bad song on the album, every song has interesting aspects to it, it is just a bit too consistently mellow for masterpiece consideration.
Another very good Post Rock/Math Rock album from Iceland's own. I like the overall feel of the album, a little more upbeat/positive feeling than ( ), though with a lot of quiet space. In my mind, Takk..., ( ), and Ágaetis Byrjun are all pretty equal as overall albums. The latter, being the first one I heard, will probably always be my favorite (it's feel, it's music, was so new and unusual to me).
Album highlights: the delicate, 5. "Sé Lest" (8:40) (16.25/20); the unusually heavy, 6. "Saeglópur" (7:39) (12.5/15); the beautifully orchestrated and mostly ambient, 10. "Svo Hljótt" (7:25) (13.5/15); the dirge-like, 11. "Heysátan" (4:10) (8.5/10), and; one of my favorite Sigur Rós songs, "Milanó" (10:27) (19/20).
MEW And the Glass-Handed Kites
MEW And the Glass-Handed Kites
Another pleasant, upbeat, more-complex-than-your-average-run-of-the-mill-indie-rock-band album from Mew, if I do not rate this one as highly as Frengers this is mostly due to the latter being the first Mew album I heard and thus the Mew sound was fresh then. And the Glass-Handed Kites is not quite so fresh though there are plenty of odd, idiosynchratic, "proggy" nuances to the music and vocals. I concur with the comparisons to THE CURE and MY BLOODY VALENTINE and RADIOHEAD
though Mew's synthesis is different, lighter, more danceable.
Album highlights: "Apocalypso" (4:46) (8/10); "A Dark Design" (3:29) (8/10); "Saviours of Jazz Ballet (Fear Me, December)" (3:19) (8/10), and; "The Seething Rain Weeps for You (Uda Pruda)"
(4:19) (8/10).
though Mew's synthesis is different, lighter, more danceable.
Album highlights: "Apocalypso" (4:46) (8/10); "A Dark Design" (3:29) (8/10); "Saviours of Jazz Ballet (Fear Me, December)" (3:19) (8/10), and; "The Seething Rain Weeps for You (Uda Pruda)"
(4:19) (8/10).
Red Sparowes are as interesting for their song titles as they are for their instrumental Post Rock/Math Rock music. Though I heard Every Red Heart Beats... first, I have enjoyed all of the Sparowes output. This one still sounded fresh to me, even after hearing ...Red Heart... Though this is pretty straightforward Post/Math Rock, it is, for me, like the rock, the center, the epitome of all that defines the sub-genre. It'd be difficult to pick out song favorites or album highlights. I like the power and urgency of much of the music here. Even the droning beginning portion of the eleven-minute "Mechanical Sounds Cascaded through the City Walls..." has this awesome power to it.
Line-up / Musicians:
- Bryant Clifford Meyer / guitar, keyboards
- Josh Graham / guitar, keyboards
- Jeff Caxide / bass, guitar
- Greg Burns / bass, pedal steel guitar
- Dana Berkowitz / drums
1. "Alone and Unaware, the Landscape Was Transformed in Front of Our Eyes" (8:28)
2. "Buildings Began to Stretch Wide Across the Sky, and the Air Filled with a Reddish Glow" (7:23)
3. "The Soundless Dawn Came Alive as Cities Began to Mark the Horizon" (4:19)
4. "Mechanical Sounds Cascaded Though the City Walls and Everyone Reveled in Their Ignorance" (11:20) (17.25/20)
5. "A Brief Moment of Clarity Broke Through the Deafening Hum, but It Was Too Late" (5:59)
6. "Our Happiest Days Slowly Began to Turn into Dust" (5:40)
7. "The Sixth Extinction Crept Up Slowly, Like Sunlight Through the Shutters, as We Looked Back in Regret" (19:32) Twelve minutes of some of the best Post Rock that I've ever heard and then (look at the title) silence. Four minutes of silence. And then industrial and nature sounds begin to pop up till the song's finish. Awesome! (37/40)
Total Time 62:41
I guess the first four songs are my favorites--because of their power. Songs five and six are pretty but almost like a peaceful respite. The nineteen minute finale is another great one, every bit as as powerful as the first four. Overall, this is a solid four star album.
- Bryant Clifford Meyer / guitar, keyboards
- Josh Graham / guitar, keyboards
- Jeff Caxide / bass, guitar
- Greg Burns / bass, pedal steel guitar
- Dana Berkowitz / drums
1. "Alone and Unaware, the Landscape Was Transformed in Front of Our Eyes" (8:28)
2. "Buildings Began to Stretch Wide Across the Sky, and the Air Filled with a Reddish Glow" (7:23)
3. "The Soundless Dawn Came Alive as Cities Began to Mark the Horizon" (4:19)
4. "Mechanical Sounds Cascaded Though the City Walls and Everyone Reveled in Their Ignorance" (11:20) (17.25/20)
5. "A Brief Moment of Clarity Broke Through the Deafening Hum, but It Was Too Late" (5:59)
6. "Our Happiest Days Slowly Began to Turn into Dust" (5:40)
7. "The Sixth Extinction Crept Up Slowly, Like Sunlight Through the Shutters, as We Looked Back in Regret" (19:32) Twelve minutes of some of the best Post Rock that I've ever heard and then (look at the title) silence. Four minutes of silence. And then industrial and nature sounds begin to pop up till the song's finish. Awesome! (37/40)
Total Time 62:41
I guess the first four songs are my favorites--because of their power. Songs five and six are pretty but almost like a peaceful respite. The nineteen minute finale is another great one, every bit as as powerful as the first four. Overall, this is a solid four star album.
Albums from Y2K05 that Are, IMHO, Over-rated
NEAL MORSE ?
Prolific songwriter/performer is on a mission from God! (Quite literally!) Hardly a year has passed since the former SPOCK'S BEARD frontman left his old gig and went solo--and hardly a year passes without at least one album release from the energetic man! It's almost superhuman!
Line-up / Musicians:
- Neal Morse / lead & chorus vocals, guitar, keyboards
With:
- Mark Leniger / guitar
- Alan Morse / guitar
- Roine Stolt / guitar
- Steve Hackett / guitar
- Jordan Rudess / keyboards
- Randy George / bass
- Mike Portnoy / drums
- Jay Dawson / bagpipes
- Michael Thurman / French horn
- Jim Hoke / saxophone
- Chris Carmichael / cello, violin
- Rachel Rigdon / violin
- Amy Pippin / chorus vocals
- Joey Pippin / chorus vocals
- Debbie Bresee / chorus vocals
- Revonna Cooper / chorus vocals
- Wade Brown / chorus vocals
1. Temple of the Living God (6:13)
2. Another World (2:36)
3. Outsider (2:21)
4. Sweet Elation (2:32)
5. In the Fire (7:24)
6. Solid as the Sun (6:12)
7. Glory of the Lord (1:41)
8. Outside Looking In (4:19)
9. 12 (6:46)
10. Entrance (6:22)
11. Inside His Presence (5:30)
12. "Temple of the Living God" (4:27) (9/10)
Total Time 56:23
Good rock a la the bubble gum/stadium rockers of the late 1970s and early 1980s: REO SPEED-WAGON, STYX, KANSAS, FOREIGNER, BOSTON--maybe even THE EAGLES and PINK FLOYD. But really there is nothing here without a pop/commercial feel to it, nothing new or innovative. Just nice, somewhat memorable songs that at times sound like they're meant to be proggy or sophisticated but usually end up tripping over their own cliché-ness. I guess it doesn't help that I really find Neal's voice rather annoying and twangy. The overtly religious lyrics and intentions of this album have little bearing on my enjoyment of this album as I don't really tune in to lyrics and there are a lot of Christian and religious music that I adore. (No pun intended.) Like SPOCK'S BEARD, TRANSAT-LANTIC, THE TANGENT and a lot of THE FLOWER KINGS, I just find nothing new--or rather, I find too much repetition of old themes, sounds, and constructs in this music. It's not even 'neo-'prog to me; it's pseudo-prog. I do like the send off of "The Temple of the Living God", though: Very YES/TFK.
PHIDEAUX Chupacabras
Line-up / Musicians:
- Steven Wilson / vocals, guitar, piano, keyboards, bass (1,3,5,7), dulcimer, co-production & mixing
- Richard Barbieri / keyboards, synthesizers, co-producer
- Colin Edwin / bass
- Gavin Harrison / drums, percussion, co-producer
With:
- Adrian Belew (King Crimson) / guitar solo (1,4)
- Mikael Åkerfeldt (Opeth) / guitar solo (5), harmony vocals (1,3,5,10)
1. "Deadwing" (9:46) not even Adrian Belew solos in the final third of this one can liven it up. Excellent musicianship on a rather dull composition. (17.33/20)
2. Shallow (4:17)
3. Lazarus (4:18)
4. Halo (4:38)
5. "Arriving Somewhere but Not Here" (12:02) long electronics-filled intro gives notice to the Åkerfeldt-Wilson collaborative project called BASS COMMUNION. Acoustic PT behind Steven's "Every Home Is Wired" vocal(s) in the first. Mikael Åkerfeldt's presence/contributions are fully felt on this one. Nice! The sudden stop and change of direction at the halfway point is interesting; it's like we're starting a whole new song--a much heavier, almost-metal song. At the end of the ninth minute we move into a more spacious percussive passage in which a delicate electric guitar solo plays. Then at the end of the tenth mihute, we return to the vocal passage from the near-beginning for the finish. (21.75/25)
6. Mellotron Scratch (6:56)
7. Open Car (3:46)
8. The Start of Something Beautiful (7:39)
9. Glass Arm Shattering (6:12)
Total Time 59:34
Line-up / Musicians:
- Mikael Åkerfeldt / electric & acoustic (6- & 12-string) guitars, Mellotron, vocals, producer
- Peter Lindgren / guitars
- Per Wiberg / piano, electric piano, Mellotron, Hammond, Moog
- Martin Mendez / basses (fretted & fretless)
- Martin Lopez / drums, percussion
With:
- Martin Axenrot / drums (9)
1. "Ghost of Perdition" (10:29) death metal alternating with acoustic guitar passages and djenty metal--even some melodic passages. Impressive blending! (17.33/20)
2. "The Baying of the Hounds" (10:41) bouncy Ken Hensley organ! Death metal growl lead vocals. Nice middle section: sedate. (17.4/20)
3. "Beneath the Mire (7:57)
4. "Atonement (6:28)
5. "Reverie / Harlequin Forest" (11:39) extraordinary guitar technique and creativity. (17.5/20)
6. "Hours of Wealth (5:20)
7. "The Grand Conjuration" (10:21) one more attempt at the rollercoaster formula of Dynamic Diversity. Still not working for me. The death metal growls (more present on this one) just take away so much for me. Otherwise, this could be a song straight off of a PORCUPINE TREE album. (17.25/20)
8. "Isolation Years (3:51)
Total Time 66:46
PHIDEAUX Chupacabras
This is an album sampler: diverse musical styles and sounds collected together around the excellent epic title song. In my opinion, it is this title song that is the only thing making this album worth owning or listening to. "Party" (7/10) and "Return of the Ruffian" (7/10) are okay. Some of it sounds like stuff that might have made Top 40 in the 80s.
"Chupacabras" (20:42) actually sounds to me like a Broadway soundtrack--with opening overture, bouncy 'opening' song with vocals, emotional second 'travel' or 'montage' instrumental song (all with a particular guitar riff [lifted from a classic rock song from the 70s or 80s--one that I can't put my finger on . . . maybe AL STEWART] stringing them together). The fourth part slows it down to introduce the female voice (narrating?). Part five is a brief percussion-with-piano-arpeggio interlude, followed immediately by the protagonist singing again (about his impending Phoenix-like rise) but then becomes a duet with the female (narrator?). Nice female vocal harmonies. He is Adonis; he is "Beauty." At 10:45 Part eight has PINK FLOYD Animals effects before turning to some country/Lousiana blues guitar and dobro sounds to carry the story further. This evolves with some synth strings and Celtic flutes and pipes into something . . . unusual. At 16:08 some crashing drums and guitars announce a shift--like a revitalization or rebirth. A mellotron and heavier guitar part ensues, finally opening into a brief announcement by the effected female voice, then bouncy piano preparing us for the reentry of the protagonist. The problem here is that the new guy, "Freedom," sounds less free, less confident, and less powerful than his previous incarnation, "Beauty."! (32/40)
Overall this is an okay album with a pretty good epic. 3 stars.
PORCUPINE TREE Deadwing
- Steven Wilson / vocals, guitar, piano, keyboards, bass (1,3,5,7), dulcimer, co-production & mixing
- Richard Barbieri / keyboards, synthesizers, co-producer
- Colin Edwin / bass
- Gavin Harrison / drums, percussion, co-producer
With:
- Adrian Belew (King Crimson) / guitar solo (1,4)
- Mikael Åkerfeldt (Opeth) / guitar solo (5), harmony vocals (1,3,5,10)
1. "Deadwing" (9:46) not even Adrian Belew solos in the final third of this one can liven it up. Excellent musicianship on a rather dull composition. (17.33/20)
2. Shallow (4:17)
3. Lazarus (4:18)
4. Halo (4:38)
5. "Arriving Somewhere but Not Here" (12:02) long electronics-filled intro gives notice to the Åkerfeldt-Wilson collaborative project called BASS COMMUNION. Acoustic PT behind Steven's "Every Home Is Wired" vocal(s) in the first. Mikael Åkerfeldt's presence/contributions are fully felt on this one. Nice! The sudden stop and change of direction at the halfway point is interesting; it's like we're starting a whole new song--a much heavier, almost-metal song. At the end of the ninth minute we move into a more spacious percussive passage in which a delicate electric guitar solo plays. Then at the end of the tenth mihute, we return to the vocal passage from the near-beginning for the finish. (21.75/25)
6. Mellotron Scratch (6:56)
7. Open Car (3:46)
8. The Start of Something Beautiful (7:39)
9. Glass Arm Shattering (6:12)
Total Time 59:34
OPETH Ghost Reveries
- Mikael Åkerfeldt / electric & acoustic (6- & 12-string) guitars, Mellotron, vocals, producer
- Peter Lindgren / guitars
- Per Wiberg / piano, electric piano, Mellotron, Hammond, Moog
- Martin Mendez / basses (fretted & fretless)
- Martin Lopez / drums, percussion
With:
- Martin Axenrot / drums (9)
1. "Ghost of Perdition" (10:29) death metal alternating with acoustic guitar passages and djenty metal--even some melodic passages. Impressive blending! (17.33/20)
2. "The Baying of the Hounds" (10:41) bouncy Ken Hensley organ! Death metal growl lead vocals. Nice middle section: sedate. (17.4/20)
3. "Beneath the Mire (7:57)
4. "Atonement (6:28)
5. "Reverie / Harlequin Forest" (11:39) extraordinary guitar technique and creativity. (17.5/20)
6. "Hours of Wealth (5:20)
7. "The Grand Conjuration" (10:21) one more attempt at the rollercoaster formula of Dynamic Diversity. Still not working for me. The death metal growls (more present on this one) just take away so much for me. Otherwise, this could be a song straight off of a PORCUPINE TREE album. (17.25/20)
8. "Isolation Years (3:51)
Total Time 66:46
All musicians on this album are extraordinary but the guitarists truly deserve extra props for their refreshing creativity.
87.48 on the Fishscales (epics only) = B/four stars; an album to be added to your music collection only if you like/tolerate death metal growls and frequent angular metal passages.
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