Progressive RockMetalJazz
Writers:
David Sàez
Gabriel Martín
After Nations “Surface / Essence”
Fredrik Thordendal, Meshuggah’s guitarist, coined the term “djent” as an onomatopoeic description of the sound a very low-tuned, distorted guitar makes when you apply the palm-mute technique (guitarist stuff). And here we’ve got an instrumental djent-prog record that overuses this technique to the point where the whole thing turns monotonous. It doesn’t help that the excessive compression wipes out any faint hope of dynamics in the tracks. One song is fun to listen to, but by the third you’ll find it a hard-to-digest slog.
Mick Moss has compiled a set of discarded tracks, alternate versions of earlier songs, remixes and live performances to build this dark-rock release. Beyond being a product clearly aimed at the band’s fans, it’s worth saying it’s a pleasant surprise, since in cases like this there’s usually a good reason those tracks were left off other records in the first place. Without being the best thing in his discography, though, this is a fairly decent collection, and a pleasant listen even beyond the completists.
Black Yet Full of Stars “Dark Wind Gospel”
Italian musician Carlo Dini’s symphonic-metal project comes back to life, having been on hold since his self-titled debut album back in 2016. We find every defining element of the genre here: power metal with orchestral arrangements. The style is fairly specific and tends toward excessive pomp, but in this case it’s worth noting that it’s a fairly enjoyable, pleasant listen if you’re not out to track every composition closely, and let yourself be surprised by some genuinely lovely dark, gothic ideas. Well worth recommending, without being the be-all and end-all.
A Christmas gift. We get the slow-simmered, years-in-the-making debut of this Norwegian progressive-metal band, drawing from Dream Theater, Symphony X, and even more varied reference points like O.S.I. or Megadeth. They certainly deliver a handful of good, vibrant compositions, though don’t expect, or need, any innovation in the style. Perhaps their greatest merit is avoiding the excess of pomp so many bands in this space fall into, instead bringing a well-used dose of rage and grit.
They make fledgling prog in Kaunas too, and this trio of Lithuanians proves it with an instrumental debut, with compositions moving between a kind of post-rock and touches recalling Tool’s calmer, darker passages. The production could certainly use work, but they’ve squeezed every last drop out of their limited budget.
Clive Nolan (Pendragon, Arena, Kamora) gives us, this year, with his musical project called Imaginaerium, the production “Siege”. It’s a collaboration with singer Laura Piazzai (an intense, operatic voice) leaning more toward musical theatre. It continues the conceptual approach of “The Rise of the Medici” (2023), but falls somewhat short both compositionally and in performance intensity. Personally, I prefer the projects he does in this vein with Oliver Wakeman, like “Tales by Gaslight” (2021). For fans of musical theatre and theatrics.
And a fairly classic instrumental jazz-rock album, where the key is the ensemble interplay of guitar and saxophone, which will have you referencing bands like Mahavishnu Orchestra, Gong, Soft Machine, King Crimson, and so on. Despite being steeped in seventies sonorities, the improvisations never quite click, getting lost somewhere between experimentation and a lack of direction.
Limite Acque Sicure “Un’Altra Mano Di Carte”
These Italians got their start as a tribute band to the historic outfit Banco del Mutuo Soccorso. So, what can we expect? Well, exactly: they sound like Banco del Mutuo Soccorso. See how easy it is to know if you’ll like them! Even though these guys have put in real effort and decent production, aside from the male vocalist’s questionable pitch, it sounds old and corny, with an excess of affectation that might have worked fine in the late seventies but now sounds thoroughly dated.
An intense, dark record, full of pathos, extended development and an energy that would delight the protagonist of Sartre’s “Nausea”. Fans of this kind of music will genuinely love this brand of dark post-metal, or black prog — feel free to mix and match the adjectives and nouns however you like — but don’t miss listening to them, because they’re sensational and captivating.
This time around, the Tel Aviv band has put together something closer to hard rock than to prog. It’s true there are arrangements that might faintly recall Haken or Leprous, but once you’re past the third track, those touches thin out and it leans more toward American-style hard rock, something like Black Country Communion, generously speaking.
Pentagram “Lighting In A Bottle”
Don’t say “underground metal”, say Pentagram. Over 40 years into his career, Bobby Liebling is in magnificent shape, as this umpteenth instalment from his band proves. Proto-doom — the style that’s made the band a historic reference point within heavy metal, and one that deserves more recognition than it’s had so far.
Legacy aside, if we talk strictly about this excellent album, we find everything that delighted fans of Black Sabbath or Venom. And you come to realise that bands like Iron Maiden, Queens of the Stone Age or Ghost would never have existed without Pentagram’s contribution. An essential listen.
Listened to amid a predictable boredom from the very first chords, and with gestures of disapproval at basic elements left unattended, like questionable guitar tuning. Who knows, maybe they don’t have luthiers in Sweden! On top of that, we get production of scant taste and dubious charm, with an attempt at making the rhythm section sound modern, contrasted with keyboards leaning toward cheesy. A clear example that other countries can do it much worse than Catalonia does — but over there, they still get the chance at exposure and a touring circuit. As the Spanish say: “God gives bread to those with no teeth”.
Sotomonte “Decadence & Renaissance”
And another Christmas gift: the second album from these Basques. The most classic kind of prog, close to the British Canterbury school, but also with a certain flavour of American southern rock, likely thanks to their gorgeous vocal harmonies pulling things toward that style. If you hadn’t had this band on your radar and give it a listen, congratulations, because you’re about to become insufferably smug about discovering this magnificent record.
The Leavers “We Are The Leavers”
This Istanbul trio presents their debut album, offering instrumental post-rock full of good intentions: not boring us with lengthy developments once everything’s already been said, giving the songs real dynamism, not overdoing the atmospheric moods, filling the compositions with a good dose of energy and, especially, showing good taste and sensitivity for melodies and arrangements. The genre needs more records like this one.
Writers: David Sàez, Gabriel Martín