Rock – Page 20 – Wonderbox Metal

Escape Is Not Freedom – The Truants (Review)

Escape Is Not Freedom are from the US and play Alternative Metal. This is their début EP.

5 songs, 28 minutes.

I like this band. They’re playing a style that’s a bit harder to pigeon hole than most, and I haven’t really heard much too similar to this for a long time.

The band this reminds me the most of is Fudge Tunnel, only with slightly harsher vocals. If you know Fudge Tunnel at all, then it will give you a good idea of Escape Is Not Freedom’s sound. If not, then think slightly-muted and unusual Alternative Metal, done with a Noise Rock background and a raw, underground Grunge influence, before it became a big thing. Add in a few elements of Therapy? at their more Alt-Rock and a pinch of Helmet, and you have this EP.

The songs are a satisfying listen, taking me back to the 90s in many respects. If you’re looking for a few more modern references though, think a less-Sludge version of Kowloon Walled City mixed with a bit of Russian Circles.

The slightly-muted delivery is an interesting one as it is frequently presented by large riffs and energetic guitars, so how they manage to retain that subtlety and understated-edge that Fudge Tunnel did so well is beyond me. It’s partially down to the production, but also the feel of the songs themselves. It’s a very hard-to-achieve juxtaposition, but when done right, it works.

This won’t be to everyone’s tastes, (which is a silly thing to say in many ways, as you could literally say that about any band), but I have enjoyed it; not only due to the fact that it’s a little different, but also just due to the strength of the songs themselves.

If you’re looking for something a little outside of your normal comfort zone, try Escape Is Not Freedom on for size.

Embassy of Silence – Verisimilitude (Review)

Embassy of Silence are from Finland and this is their third album. They play Progressive Rock.

This is bright, upbeat and cheery Progressive Rock with Gothic elements and just a tinge of Metal. Good songwriting and the abundant energy that the band pour into the tracks mean that Verisimilitude is a winner.

Although there are Gothic elements, these are only added in for extra colour as the main base of the band is a Progressive one. This is good, as Gothic Rock/Metal has been so thoroughly done to death over the years that it’s a style that’s usually simpler and duller in many ways than what we find on this album.

As the band’s songwriting is based mainly on Progressive Rock rather than the Gothic variety, this allows them to avoid the obvious pitfalls of the Gothic Rock/Metal style. On this album the band have the mix just right, concentrating mainly on the Progressive and just adding a bit of the Gothic in here and there.

Verisimilitude is a well-done and enjoyable listen, with each of the songs having character and presence. The Progressive Rock influence is evident in the guitars and the keyboards, as well as the overall feel and style of the songs.

There’s a rich tapestry of orchestration and added layers of atmosphere to the songs and a good amount of diversity and variety of feeling and moods on the album. This is also true of the singer’s voice, which is used to great effect throughout. She has a top quality voice with a good range that’s more than capable of dealing with whatever is thrown at it.

Impressive and professional; Embassy of Silence have created a cohesive and compelling album that’s based around energetic and impassioned songs with bright hooks, catchy melodies and music with substance and depth. Who can ask for more?

Highly recommended.

Agusa – Agusa 2 (Två) (Review)

Agusa are from Sweden and play Psychedelic/Progressive Rock. This is their second album.

The majority of the things you need to know about this album can be summed up in the follwing three words – 70s Progressive Rock. It’s definitely of the era and the inclusion of organ and flute only reinforce the idea.

There are only two tracks on this release but with the first one being 20 minutes in length and the second 18 minutes, there’s a full album’s worth of content here.

Apart from some low-key and ethereal backing vocals, this is almost entirely instrumental; the main focus is on the music itself. The intricate complexity and warm exploratory nature of the songs mean that these two tracks have a lot to offer in a non-threatening way. If you like the 70s style then it’s undoubtedly an impressive display of it.

Agusa 2 is richly textured and has a seemingly loose structure that’s probably actually quite tightly controlled. It twists, turns and winds its way through the playing time in a calm and informal manner.

This offers some real drugged-out psychedelic bliss for connoisseurs of the style. It’s a reflective response to a time that may have passed but is being kept alive by people who share a passion for an era that musically gave so much to what came after.

Although Agusa won’t be a band that appeals to everyone, they do what they do extremely well and if you want to kick back and relax to music that’s both mellow and challenging then this is the album for you.

Effa Lente – The Effa Lente Configuration- Parts 1-4 (Review)

Effa Lente is a one-man Irish project that plays Instrumental Progressive Rock. This is his first release.

Apparently inspired by watching a Quentin Tarantino film, this is noticeably cinematic music that has a lot of different moods and themes throughout its 45 minute playing time

Did I mention that it’s just one 45 minute track? Well it is.

Various moods, emotions and feelings play out during this extended playing time and the impression is very much one of a Progressive Rock film score.

It’s as if Steven Wilson, Anathema, Opeth, Queen, King Crimson, Glorie and The Monroe Transfer all got together to score a film. It’s a very impressive listen that manages to fully engage and hold the attention despite not having any vocals to act as a focal point.

The music jumps around all over the place in a seemingly natural way, rather akin to how the different scenes in a film move from one to the next. It never seems jarring and almost has a narrative feel to it as different themes are taken, explored and then left until we meet up with them again at a later point for either a resolution or a cliffhanger.

70s moods and contemporary Rock sounds merge together in a cinematic melange that is very impressive. Considering this is the brains behind the outfit’s first attempt at doing something of this nature it’s a huge success.

Not just a listen, but an experience.

Ecstatic Vision – Sonic Praise (Review)

Ecstatic Vision are from the US and play Psychedelic Rock. This is their début album.

Ecstatic Vision play music that combines elements of Stoner Rock with 70s Psychedelia and Progressive influences.

The music has the drugged-out aura of an older time, where music seemed purer and bands experimented in more than one way.

This is a guitar-oriented release with lots of riffs, solos and leads. In addition to this we get dreamy organ, throbbing bass and understated-yet-crucial drums.

A decent enough description would be somewhere between Hawkwind and Acid Mothers Temple. The songs easily take on a life of their own during their exploratory ramblings. It remains cohesive though and although you wouldn’t necessarily be in the mood to listen to this type of thing every day, when you are it really, really hits the spot.

Listen and absorb; open the doors of perception and visit other layers of consciousness.

Slug Comparison – Slug Comparison (Review)

This is the début album of Slug Comparison, a Canadian Progressive Rock band.

Actually a solo album with guest/session musicians, Slug Comparison contains 41 minutes of modern Progressive Rock.

This reminds me of early 00s band Sunna mixed with elements of Radiohead, Nine Inch Nails and something like Steven Wilson. It’s extremely accomplished and very well realised.

The songs on this album are diverse and professional, with dark themes and a quasi-Industrial/Electronica feel to them on occasion; synths and electronic effects are frequent accompaniments to the standard instruments. These are used well to add extra flavour to an already tasty feast.

The singer’s voice has a contemporary feel to it and has a raw presence and charisma that money couldn’t buy. He has good range and deals with all of the challenges the material offers him with zeal and skill.

There’s a lot to be absorbed here, and repeated spins reveal the depth of nuance that these songs have to offer. It’s clear that a lot of work and effort has gone into this album, and it pays off spectacularly.

I have no qualms at all about highly recommending this album for your aural delectation. There’s a wealth of talent and expertise on display here, and it’s well worth the taking the time to explore it.

Winter Calling – As Darkness Falls (Review)

Winter Calling are a Progressive Rock band from the US. This is their début album.

Winter Calling play polished and professional Progressive Rock that sounds perfectly modern in many ways but realistically has probably missed its era; I can easily imagine this band selling out huge arenas in the past.

Stylistically, the closest reference point is probably Threshold meets Evergrey.

The songs are well-written with plenty of hooks, catchiness and memorable choruses. The singer has an excellent voice that sometimes has a slight grainy quality to it on occasion, lending it an earthy quality that feels natural and unforced; other times it’s as soft as silk.

There’s a confidence and assurance to these songs. It stops just short of cockiness, but the band certainly know what they’re doing and are not shy of showing it off. Not that they should be, of course. Progressive Rock is not a style known for its shyness, and Winter Calling have enough talent and skill to be justified in their obvious self-belief.

The songs that span this hour of music, (including an Iron Maiden cover, or rather a reinterpretation), are all expertly played and benefit from not just the normal core instruments but also keyboards that add a plethora of little touches and extra levels to the already full music.

The album feels like it’s taking you on a journey, although you never get to quite find out where as the journey is what’s important, not the destination. I find that the best albums feel like this and I’m looking forward to exploring this release even more over the next few years.

Mature and emotive, this is an album that’s worth spending some time with.

Årabrot – You Bunch of Idiots (Review)

Årabrot are from Norway and this is their latest EP. They play Noise-Rock.

I have no idea what’s going on in the album cover, but it’s very striking nonetheless. Combined with the name of the EP, which I love, this is something I was itching to listen to. Having never encountered Årabrot before I was unsure what to expect.

It starts off with Cannibal Manifesto, which is a dramatic spoken word performance. I’m not a fan of this kind of stuff, so this is not a good start.

However, once you get past this pointless intro track and onto the first song proper, Time to Pull the Sticks, things are looking up.

Here we have some charismatic Rock with some nice Therapy?-esque riffs and vocals that carry high performance levels.

The music is Experimental Rock that still manages to be catchy and memorable. The songs have Punk undertones and a nervous energy to them.

I hear elements of bands like Therapy? and Smashing Pumpkins mixed up with their own brand of Rock ‘n’ Roll. There’s even some Progressive Rock influences, especially on the last song It’s Hot Drop It.

Once you get past the first track, this is a very enjoyable collection of songs and is even better than I was hoping for.

Check them out.

The Impala – Chapter One (Review)

The Impala are a Russian Post-Rock band. This is their début EP.

The band play Post-Rock that’s reflective and expressive, seemingly mirroring the lives of the band members and wearing their collective experiences openly.

The music has that ephemeral, fragile quality that a lot of Post-Rock has. Seemingly transitory and full of sunshine or some unknown cosmic essence, these tracks sparkle and fade during their brief playing time.

Apart from a brief section of spoken word there are no vocals. Instead, the music is the complete and only focus.

The music builds to crescendos and has many peaks and valleys to get lost in. Driving leads and hopeful melodies abound and the band members all seem proficient in their instruments.

Samples and other electronic accompaniments are used throughout, but these are largely subtle affairs and not overly obvious. They essentially work behind the scenes to add little extras to the songs that may not always be instantly noticeable but would be to the music’s detriment if they were absent.

At only 18 minutes in length this is a short release, but one that captures the imagination.

Check them out.

Kingcrow – Eidos (Review)

Kingcrow are an Italian Progressive Rock band and this is their sixth album.

This is Progressive Rock that sounds to these ears not too far removed from a modern version of 70’s Progressive Rock with a bit more of a distorted guitar. The music has a similar feeling and immersive quality, only updated for the present day.

The songs are easily assimilated, with honey-dipped melodies and top quality Progressive riffing seemingly on-demand.

The playing is exquisite and their songwriting skills are highly developed and advanced, as would be expected for a band of their pedigree.

After six albums Kingcrow have nothing to prove and this is an album that’s put together extremely well. The interplay between the vocals and the guitars is well-judged and everything fits together flawlessly.

Modern Progressive Rock doesn’t always sound this professional, slick and polished, but there’s still an edge here and a hunger and depth to the songs. Kingcrow still feel what they’re doing, and this comes out in the music.

This is a really enjoyable album.