This is a multifaceted release of progressive/post-rock, fusing elements of bands such as Russian Circles, Red Sparowes, Pelican, Scale the Summit, Cloudkicker, and Between the Buried and Me into a rich, textured journey. As I’ve opined Continue reading “Zaius – Of Adoration (Review)”
This release contains two songs, has less than 9 minutes of music, and is instrumental in nature. It’s basically to whet the appetite. Continue reading “Ravens – Comfort Is a Slow Death/Freedom from Worry and the Fear (Review)”
Unearthing is just over 40 minutes long and combines post-metal/rock, progressive metal/rock, doom, drone and ambient. Continue reading “Into Orbit – Unearthing (Review)”
The Great Curve play an interesting and richly-coloured form of Rock that involves a complex blend of technicality and emotion.
The music has a certain cinematic quality to it and could easily be viewed as a soundtrack of sorts. The tracks are synth, keyboard, strings and piano-heavy, featuring layers upon layers of instrumentation and vocalisations. This is Progressive Rock in the truest sense, sharing common ground with 70s sci-fi-influenced greats, albeit updated for the current era.
The singing on these tracks is used purely as another form of instrument that blends in with the overall musical framework. There are no “lead vocals” as you would expect from most bands, (well there are, they just blend in with the music so well). This leaves the band in the curious position of kind of being an instrumental band, but with vocals, (as odd as that sounds).
This is just one of many contradictions and juxtapositions that the band heartily embrace in order to get the sound that they have. Another example of this is that The Great Curve sound, in some ways, like a Djent band only without any of the Djent guitars. Yes, I know that also sounds odd, but it’s a strong impression; the band have the technical drumming, electronic enhancements and experimental mindset that good Djent can have, but without any of the Djent guitar riffs that mark the style so well as to make it an easily-stale sub-genre.
So, if you take a Djent band, (minus guitars), add a Devin Townsend influence, add a science-fiction-esque influence, add a touch of the instrumental, (maybe Russian Circles or Cloudkicker), wrap it up in Progressive music and frame it as a soundtrack…it’s a good start to understanding The Great Curve.
Or you can just give them a listen, which I heartily recommend.
There’s a lot to enjoy here, so much so that you’ll need a few spins to properly appreciate just how good this is. For all its initial impact, it’s definitely a grower too, like all of the best music really. Something Grand Is Dying worms its way into your head and stays there, subtly working away at its own agenda. Before you know it you’re returning to it again to revel in its sense of grandeur.
Hopefully, this grandeur isn’t dying; hopefully it’s just getting started. Hopefully, there’ll be more where this came from in the future.
This is instrumental Metal in the style of bands such as Cloudkicker, Red Sparowes, Pelican and the like.
At just under 20 minutes it’s a relatively short listen but it serves as a good introduction to the band and what they’re capable of.
And just what is it that they are capable of then? Well, they create expansive, emotive music that enjoys the freedom and grandeur that Post-Metal offers.
It’s melancholic, expressive and packs a pretty good punch. Unlike some Post-Metal bands who emphasize the Post- part of the style more than the -Metal part, Oecist seem to have the two pretty much equally distributed through this EP. They’re not afraid to let things get heavier when they need to.
This is an enjoyable début. Hopefully future releases will see the band expanding on their sound and building on what they’ve accomplished with XVIII LIII. Here’s to the future.
This is winding and exploratory, and pleasantly relaxed. Lune Kiri already seem to have mastered the art of mood and texture, and this EP would be really impressive if it wasn’t their first release, let alone the fact that it is.
Sometimes the meandering, wandering guitars paint a glorious picture and they sound so liquid you can almost imagine the brush sweeping them over the canvas. Other times they play heavier, murky, dirge-ridden riffs that want to suck you into their world. Stockholm contains both types in its 15 minute playing time.
My only real “complaint”, (and it’s not really a complaint), is why they called this a demo. The songs are so accomplished and the sound quality so good that this is essentially just a first EP. Apart from that head-scratcher I would advise anyone who likes bands like Red Sparowes, Pelican, Cloudkicker, etc. to immediately run to get this.