Pelican play an instrumental post-rock/metal hybrid, and have been crafting affecting and enjoyable material for 18 years at this point. As their first new album in six years, I think it’s fair to say that Nighttime Stories has been greatly anticipated by fans of the band’s work. Continue reading
June saw the release of the second Sons of Alpha Centauri album – Continuum. An infectiously layered and immersive trip into space, the band’s progressive tendencies truly shine on this album, and it’s an enjoyable and substantial collection of tracks.
Check out the interview with Nick Hannon below, and make sure you give the album a spin too… Continue reading
Although there are some vocals on this release, it’s mainly instrumental, with the man behind the band making sure that the music has the starring role.
The songs are the kind of modern, progressive Continue reading
His previous EP was an enjoyable atmospheric blend of Progressive Metal and Djent, and this latest EP carries on where his previous one left off.
Once again we get 4 songs lasting 17 minutes in total. It’s replete with lashings of Classical influences and orchestral moments, all backed up by an ultra-modern take on Progressive Metal.
I have quite a low-tolerance level for this kind of thing by-and-large, but there’s something about Júlio Stotz’s work that makes it quite palatable. I think the fact that it’s so very atmospheric easily raises the Djentisms above their normal levels, plus the fact that the Djent influence is only part of the equation.
This release feels more accomplished and grander than the previous one, and it’s good to hear him progress in his chosen style.
Very enjoyable instrumental Atmospheric Metal that doesn’t outstay its welcome.
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.
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.
Karma to Burn are one of those bands that I’ve been aware of ever since they first came out, but for some reason I’ve never actually heard them. As such, Arch Stanton is my first experience of them.
This is riff-heavy Stoner that is not lessened by the lack of vocals. If anything it improves things as it allows both the band and the listener to concentrate on the music exclusively.
Karma to Burn have an ability to write relatively straightforward Stoner songs that have a good energy and vibrancy to them. They quickly capture the listener’s attention with their riffcraft and easily hold it with emotive fretwork and enjoyable, easy-to-digest songwriting.
The album’s just under 38 minutes long and the playtime just melts away as the band do their thing and the listener gets drawn in.
A thoroughly enjoyable romp through the land of the riff.
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 album combines Doom, Sludge and Stoner with a bit of Progressive Rock to create an album that is much better than most albums without a vocalist has any right to be.
The band seem to have a finely judged sense of dynamics and pacing and the songwriting is of a very high standard, especially considering this is only their first album.
They have immense heavy riffs that are also catchy and memorable, as has to be the case for an instrumental band of this type. They’re not entirely predictable riffs either as they do throw in the odd curveball and unexpected touch here and there.
With a crisp, clear sound the band get to shine strongly as the groovy sounds roll out of the speakers.
If the band merely concentrated on the Stoner side of their sound this would be a good release, but it’s the fact that they also incorporate other styles that brings things up to another level. The tempo and time changes, the more Progressive riffs and the more complex arrangements that complement the basic structure of this style makes for a compelling listen.
The final song Dry Tears does actually feature vocals. These are clean and confident; like the rest of the album they’re perfectly judged and executed.
This album has surprised me with just how good it is. I highly recommend this for anyone into any style of heavy music. If they can keep this level of quality up and get a bit more exposure then I can easily imagine big things in the future for this band. Top work.