Progressive RockMetalJazzAlternative
Here’s a selection of June’s new releases. More information at www.totumrevolutumpress.com. Music coverage in Catalan.
Airbag “The Century of the Self”
We could say the Norwegians Airbag practise a soft prog that makes for a very pleasant, relaxed listen. That said, don’t expect anything cheerful or lighthearted — more like long developments of not particularly elaborate ideas, with some questionable guitar tuning along the way. A bit disappointing, leaving us hunting for a euphemism so we don’t have to call it boring outright.
Alcest “Les Chants de l’Aurore”
French musician Neige’s (Stéphane Paut) project reaches its seventh instalment. Under labels like Post Black Metal or Shoegaze Black Metal, what we actually get is music with very little metal in it, a scarcity of effects (in case you’re not sure what shoegaze even is), and even less black metal. What we hear is a thoroughly solid post-rock record — we wish they were all this good — with drum production closer to more conventional rock concepts than what this style usually goes for. Sometimes good music doesn’t need superfluous labels.
Following the principles of the most classic symphonic rock, in the style of Renaissance, Jethro Tull or ELP, comes this new record from the Italian band. Solid, expansive, consistent; classic without falling into the kind of nostalgia that can sometimes work against a fresh take on the genre. Especially recommended for anyone looking for the genre’s most classic sonorities.
Birdstone “The Great Anticipation”
We could almost describe this French trio as a blues-rock-prog band. Their foundation is seventies rock, but weaving in progressive-rock passages and vocabulary — a bit in the style of Iron Butterfly or Blue Öyster Cult, but with today’s technique and production, in the vein of All Them Witches.
If anyone thought capital-R Rock was dead, well, you can always count on the old rockers. Glenn Hughes leads the charge, with the fabulous deluxe supporting cast of Joe Bonamassa, Jason Bonham and Derek Sherinian. As always, a quality, powerful record.
DarWin “Five Steps On The Sun”
And guitarist DarWin’s long-awaited record arrives, with close collaborations from Mohini Dey, Greg Howe and Simon Phillips, among others. Quality-wise, this is the good stuff. Extremely high-quality rock that you can enjoy technically, note by note. From there, it’s up to each listener whether they like it enough or not, but there’s no doubt nobody would want to miss these monsters playing live.
Evergrey “Theories Of Emptiness”
A bit of power metal from Gothenburg won’t do us any harm. Especially if we like melodic, gentle choruses mixed with powerful, elegant riffs. You’ll find every foundation of the style in this good record.
Fu Manchu “The Return of Tomorrow”
Riffs, riffs, riffs, and more riffs. After a 6-year hiatus, they’re back with their thirteenth studio album and, once again, bringing the darkest, rawest, densest side of what’s called Stone rock — a slight misnomer, since they offer a musical richness more complex than some of the other artists tied to that genre. Either way, they long ago established themselves as the indestructible leaders of the Palm Desert Scene. This isn’t necessarily the best record to discover this band with, but it’s a consistent entry within their discography.
In early June we got to enjoy this Argentinian band live on our home turf, presenting this very record, their fifth. Fusing elements of progressive rock, progressive metal and psychedelia. The financial effort this band puts into carving out a place for themselves shows in the album’s fairly simple production, though that’s made up for by the enthusiasm and energy it conveys.
Geoffrey Keezer “Open During Construction”
Cool-jazz fans are in for a treat, getting to enjoy a new instalment from Keezer and friends, who’ve put together an excellent, impeccably crafted album that honours the tradition of the style, in the manner of Stan Getz or Bill Evans.
Hasse Fröberg & Musical Companion “Eternal Snapshots”
And another band following the prescribed paths of the most classic symphonic rock. From Sweden, with a more nostalgic sound and set of tics, and consequently without as refreshing a vision as some others. Even though the concept might sound very familiar, leaning more toward Neo Prog, it’s a good record, and long-time prog diehards will enjoy it.
And from New York, a sextet presents another retro-flavoured record, with clear, prominent influences from Yes mainly, though we can also hear echoes of Camel, Spock’s Beard or Caravan. An excellent, gorgeous album, if we overlook its rather peculiar cover art.
The more-than-veteran Hans Lundin leads this Swedish band, active on and off for more than fifty years now. The ideas you’ll find here are exactly what you’d expect: symphonic rock with some folk elements. To narrow it down a bit further, it’s worth noting this was Roine Stolt’s first band, so if you like The Flower Kings, you’re not heading in the wrong direction by enjoying Kaipa’s new record.
The debut from Barcelona’s own Meltem arrives, a full-length record exploring the paths of progressive metal, stoner rock and doom metal. The production and sound are excellent, and on top of that, they have an aggressive, powerful live show. True to the style’s principles, this trio’s compositions are fairly homogeneous, and they’re not afraid to play them out in full. Drop by their social channels and give them your support, financial included.
Seventh Dimension “Of Hope & Ordeals”
More Swedes on the prog scene. This time within the realm of so-called neo-prog, even though they promote themselves as making progressive metal, which gets better press, and it’s true there are passages forceful enough to put those labels up for debate. Either way, we’ll find sonorities recalling IQ or Jadis, among others, making this the band’s fifth album, a very pleasant listen.
We’d place these Greeks somewhere between power metal and progressive metal, crafting very symphonic, pompous keyboard arrangements, perhaps with a touch too much affectation, bringing them close to reference points like Symphony X or Vanden Plas.
The Decemberists “As It Ever Was, So It Will Be Again”
The Portland band that brought an American-folk vision to indie rock is back in action after six years, pandemic included. This time we find very acoustic sonorities and lighter songs, though it’s worth noting the closing track, running nineteen minutes long, which explores a somewhat different musical language from the rest.
Writer: David Sàez