Progressive Rock – Page 24

Nojia – Gheist (Review)

This is the début album of Nojia who are from France. They play Post-Rock.

Nojia feature the talents of the bassist from Eryn Non Dae, which is notable simply because of just how damn good Eryn Non Dae are.

Nojia however, are calmer and more restrained. This is instrumental Post-Rock with long songs and a deep Progressive Rock edge.

For musical reference points, think Red Sparowes, Pelican and Russian Circles.

Nojia’s songs are impassioned and emotive beasts. Featuring the trademark rise and fall, build and release nature of Post-Rock; their tracks are further imbued with vitality and life by the Progressive nature of the music.

Memorable riffs and melodies gel together to create music that has impact. These are stories written in sound and each track is like an act in a play. When all three are done you’re left spent; emotionally exhausted but very, very happy.

A great deal of musicianship has gone into Gheist and the investment has paid real dividends.

My favourite track is probably Sama, which creates a tense, expectant atmosphere before diffusing itself in glorious crescendos and Progressive Rock beauty.

Nojia are a success in my book and well worth a listen.

Vihaan – Invicta (Review)

Vihaan are from the US and this is their début album. They play Progressive Metal.

Vihaan combine Progressive Rock, Metal and Jazzy technicality into 48 minutes of listening pleasure.

This is a band who aren’t afraid to embrace the Metal side of their sound, so as well as their expressive Progressive music and the exploratory Rock we also get heaviness and deep vocals.

As you would expect of a band like this, the music is first rate. Everything is clear and played well; even the bass is audible and makes a valuable contribution to the songs.

Vihaan have struck the perfect balance between complex technicality and accessibility. Think Opeth meets Between the Buried and Me.

These tracks are artfully composed and have enough variety and interest to engage for the full listening time. The fact that they have a firm Metal base means they never go wandering too far into experimental territories and the integrity of the song is always kept intact.

Added effects and sounds complement the base collection of instruments well. This gives each song an added flavour. Inflection has a part near the end, for example, that sounds really 70’s Prog sci-fi. It’s enough to make my hairs stand on end!

This is a very accomplished and enjoyable album. It’s full of rich textures and has a refined palette. A highly recommended listen.

Aeonsgate – Pentalpha (Review)

Aeonsgate are from Sweden and this is their début album.

This is a very ambitious release – one track, almost an hour in length, documenting the last few minutes of someone’s life.

This is a supergroup of sorts, with various musical contributions coming from people who have played in bands such as Candlemass, Therion, Ephel Duath and Necrophagist.

Doom Metal/Funeral Doom lends itself well to a release of this nature. The fact that the vocals are handled by Mats Leven, (Candlemass), means that it instantly has a very authoritative sheen to it. His vocals are on top form as always, and he seems to enjoy himself in the vaguely theatrical Doom atmospheres that are evoked here.

The song goes through many permutations/phases and takes in 70’s-style Doom, Funeral Doom, Doom Metal, synth/keyboard highlights and Progressive Rock elements. While a song of this length by its very nature won’t be for everyone it works well and slowly builds and grows throughout the playing time.

The winding, repetitive nature of the song is hypnotic and slowly develops the theme and narrative of the piece.

This is not without its flaws of course; any hour-long song would have to be pretty perfect to be flawless, but for the most part this is an involving and enjoyable Doom-opera that’s worth the time that needs to be invested in it.

Dust Sculptures – Far Above The Pines (Review)

Dust Sculptures is a US Post-Black Metal band consisting of one person – this is his second release.

An album like this would be a very impressive achievement even if it was the product of a full band, never mind that this is all from one person. The musicianship and songwriting is first rate.

This is a blend of Black Metal, Shoegaze, Progressive Rock and Post-Rock; the various elements are skilfully combined into this release so that you never quite know what exactly you’re going to get next, yet it all gels together and flows seamlessly from one part to the next, from one song to the next.

All of the genre/sub-genre tags above essentially let you know that this is an album that takes a Black Metal base and builds it into something more. The songs have real depth and lasting power. There is a lot of music to explore here and that feels like the essence of the album to me; an exploration through an unknown wilderness.

Soft, crooning clean vocals share space with tortured screams and Blackened agonies. Like the instruments the vocals are perfectly judged and performed flawlessly.

Shades of modern-day Anathema can be heard alongside Blackened parts. Post-Metal highs and Shoegaze wanderings rub shoulders with blast beats and dark melodies. Progressive keyboards and chaotic riffs work together to build sound structures greater than the sum of their parts.

It’s clear that a lot of care, love and attention has gone into the making of this album. Every last part of it has had a lavish amount of focus placed on it and this has resulted in an album that’s a true revelation.

This is for fans of expressive giants like Deafheaven, Enslaved, Wolves in the Throne Room, et al.

Albums like this don’t come along very often and when they do they spirit you away on a very special journey. Let Dust Sculptures be your guide.

This is one for the album of the year pile, methinks.

Get this.

Threshold – For The Journey (Review)

Threshold are from the UK and play Progressive Metal. This is their 10th album.

The latest Threshold album, eh? Always a pleasure to listen to this band. They have put out some great music over the years so this was an album I was looking forward to listening to.

Although undeniably still Progressive Metal, they’ve added a little more Hard Rock in their sound, which shows up in some of the harder riffs they use from time to time. This is a subtle alteration however, as they’ve always had this aspect to their sound in varying amounts and For The Journey is still Threshold through-and-through.

Straight away the classic Threshold sound blares out of the speakers as soon as you press play. Threshold are remarkable in this style of music in that you can instantly recognise them; they don’t particularly sound like anyone else and yet even though it’s instantly familiar they still manage to avoid overtly repeating themselves. This speaks of a band with a lot of talent, which has always been apparent.

The songs on For The Journey are a well-crafted collection of strong tracks that showcase the considerable songwriting ability of the band. They walk the fine line between technical ability and emotive songwriting and manage to strike the perfect balance between the two.

Threshold have always, to me, sounded very easy listening in the sense that their music appears to effortlessly sink into the brain and it’s like listening to liquefied Metal that tastes as good as the finest of wines.

The musicianship is, of course, exemplary. Whether this is the powerfully understated drumming, the driving riffs, the exquisite solos and leads, the subtle bass or the mood enhancing keyboards; Threshold know what they’re doing and they do it extremely well.

Vocally as well, the band are onto a winner. A compelling and powerful voice provides clean vocals that are wide in range and incredibly self-assured and powerful. Some of the vocal melodies are enough to send shivers down the spine, especially when they merge perfectly with the accompanying music. The astoundingly good chorus to Unforgiven is one example of many.

Well, what an album. For their tenth full-length Threshold have once again created a masterpiece of Progressive Metal that raises the bar for any other band who are even vaguely playing this style.

This is essential listening from an exemplary band. Get this.

Under the Sun – Under the Sun (Review)

Under the Sun are from France and this is their début album. They play Post-Hardcore.

Post-Metal is a rich genre and an exceedingly varied one. Also, the line between Post-Metal and its sister genres of Post-Rock and Post-Hardcore is a blurred one and can sometimes be hard to define.

Although I’d probably call this Post-Hardcore, strictly speaking it doesn’t really matter which one Under the Sun fall into; what matters is that they play long, exploratory and expansive music based around the darkness of the human mind and the frequently negative emotions that go alongside this.

This is build/release territory and the band are adept at writing a good atmospheric tune. The length of the tracks gives them ample room to manoeuvre and all of the stylistic space is taken up with creating the mood that the band wants you to feel; usually this is one of heartbreak, tragedy and melancholy.

The melodies are luxurious and drawn out, with the band really drawing the listener into the performance. Lighter Progressive Rock passages rub shoulders with heavier Doom sections. A firm sense of dynamics sees the band well through the longer compositions and they inject enough variety to hold interest.

This is a very unhurried album as the songs unfold exactly as they need to. Vocals don’t even appear until the second song as the band are content to largely let the music do the talking. These vocals are essentially Hardcore in nature and lend a chaotic edge to their sound, although some calmer cleans appear also.

Here we have a band echoing the works of the likes of Pelican, Red Sparowes, Erlen Meyer, Mouth of the Architect, Year of No Light, etc.; they take the blueprint and stamp their own identity over it.

It’s hard not to like music that’s played well and has a firm sense of confidence and intent. Under the Sun know what they are doing and know they do it well.

Give them a listen. Well worth it.

Mothersloth – Moribund Star (Review)

Mothersloth are from Spain and this is their début album. They play (mostly) Instrumental Stoner/Doom Metal.

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.

Yob – Clearing The Path To Ascend (Review)

Yob are from the US and this is their seventh album. They play Doom Metal.

Yob create riff-laden sonic soundscapes that are as massive as they are compelling. Heavy riffs and emotive melodics combine to create an enduring collection of long songs that work wonders whether they are breathtakingly heavy or powerfully soft.

High pitched vocals call out from behind the veil while deeper shouts punctuate proceedings with their harshness. The singer has a great voice with great range and never ceases to impress with his visceral performance.

A perfectly judged Sludgy sound encapsulates everything and the songs breathe darkness and light with every second. The band have truly mastered both, whether it’s a heavier, darker section or a lighter, more restrained part.

The sprawling, monolithic songs that make up Clearing The Path To Ascend are as ambitious as they are epic in scope. This is crushing Doom Metal that takes the listener on a journey and teaches them the power of the riff.

This album contains as much gigantic Doom Metal as Yob fans will have come to expect, but as well as this the churning Sludge elements and Progressive Rock influences are clearly seen and incorporated fully into their sound to create some exceptional tracks.

Each song has its own identity and place in the framework of the album. Each has its own story to tell and tells it in its own inimitable style. Each song is expertly crafted and flawlessly delivered. Each song is great.

Yob have once again shown why they are at the forefront of Doom Metal. This is a highly accomplished album and one that people should be listening to for many a year to come. I know I will.

Lune Kiri – Demo (Review)

Lune Kiri are a Post-Rock band from the US and this is their first release, containing 4 tracks at 35 minutes in length.

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.

Leviathan – Beholden To Nothing, Braver Since Then (Review)

Leviathan are a Progressive/Power Metal band from the US; this is their fifth album.

This is an ambitious release; 76 minutes of Metal, broken down into multiple interludes and the actual songs themselves.

Leviathan have a strong, full sound from the outset. The band are skilled musicians and make good use of all of the instruments available to them, while the production ensures that everything sounds clear and crisp.

The singer has a good voice that is not quite full on Power Metal but neither is it unrestrained. He can belt out the powerful notes when he needs to.

The songs are involved and have plenty of instrumentation, which may be slightly ostentatious but not gratuitously so; there’s a lot of technical flashiness but the ultimate aim is always to enhance rather than just for the sake of showing off.

Check out Leviathan and give them a try.