Progressive RockMetal
Here’s a selection of March’s new releases. More information at www.totumrevolutumpress.com. Music coverage in Catalan.
Big Big Train “The Likes of Us”
A full review is available at Tótum Revolútum Press.
Bruce Dickinson “The Mandrake Project”
Bruce Dickinson had gone almost twenty years without a solo record. And the years do seem to be catching up with his voice, which he pushes into registers it no longer quite has the power for. Even so, we get a collection of excellent rock melodies with a fairly classic approach, and, as with all his solo work, steering away from what Iron Maiden fans dream of and closer to Savatage or Black Sabbath.
For All We Know “By Design or By Disaster”
Progressive rock with a touch of classics like Spock’s Beard, Transatlantic or The Flower Kings. A full review is available at Tótum Revolútum Press.
Judas Priest “Invincible Shield”
These indestructible veterans present their nineteenth album. There’s a return here to fairly classic ideas within the band’s discography, showing a magnificent state of form and well-advised production. It won’t disappoint the band’s fans, since there are whiffs of records like Painkiller (1990), Stained Class (1978), Sin After Sin (1977), Firepower (2018) — plenty of influence from themselves, basically. Okay, fine, there’s the “Tom Sawyer” riff from Rush on the opening track, but it’s also there in Dream Theater’s “New Millennium”, and that’s fine too.
Leif De Leeuw Band “Mighty Fine”
This Dutch guitarist’s band offers up laid-back blues-rock of excellent craftsmanship, close in spirit to rock-blues, recalling bands like The Allman Brothers or artists like Robert Cray. For fans of the genre.
Lords of Black “Mechanics of Predacity”
This homegrown power-metal band walks the stages with its head held high, with nothing to envy the international bands dominating this scene. A safe bet when it comes to the solidity of their songs, they prove it again on this new record, an excellent album with more than notable production. A new critical and commercial success looks to be in store.
From Canada comes Lutharo’s second album, with their own personal blend of melodic death metal, or melodeath (a metalhead thing), and power metal — basically, a bit bipolar. And the most curious thing is that it works quite well, probably thanks to the excellent production, despite the excesses of pomp and grandiosity, accompanied by the usual double-bass-drum machine-gun fire. All of which can make for a heavy listen you end up abandoning halfway through.
And speaking of pomp, here’s that famous Tunisian quintet who know a thing or two about it. Despite the chaotic promotion and shifting release dates, this is a record of exquisite technical craftsmanship. From there, it’s a matter of taste, since they have a fondness for excess and this kind of rock isn’t for everyone. But it must be said that it’s a tremendously pleasant, and as always, catchy listen.
Nick Johnston “Child of Bliss”
A magnificent instrumental record from this sensational Toronto guitarist. Extremely delicate, captivating, and full of great-taste subtlety and musical language. Navigating between several genres, with soft, melodic, unpretentious jazz-rock as its reference point. A good soundtrack to have running in the background while you do anything else.
With slightly lo-fi production, here’s the interesting project of Bordeaux’s Orotoro. Sitting somewhere between post-rock, psychedelia and stoner rock. Almost mandatory listening if you’re going through a period where dark, murky sounds are particularly hitting the spot.
Poor Genetic Material “Possibilities”
This German symphonic progressive-rock band has released their sixteenth album, probably with the best production of their whole discography. Their classic sonorities transport us back to earlier eras when the reference points were Camel or Kayak.
Another “bipolar” record comes from the project led by Australian musician Emily Highfield. Mixing black metal, folk passages and a dark post-rock, it offers up contrasts of great lyricism alongside sections where the vocals will need a few cough drops by the time the album’s over. You need to be in an open-minded frame of mind to enjoy it.
This is a record from multi-instrumentalist Eddie Trager, who made the whole thing entirely on his own. Working within progressive-metal territory, we find the influence of Opeth, Mastodon and Ihsahn, and a mix of guttural vocals — not as polished as Suldusk’s — alongside more delicate ones. For a low-budget debut album, it’s not bad at all and makes for an engaging listen. Now he just needs a logo you can actually read instead of one that looks like a bush.
The Black Crowes “Happines Bastards”
This band needs no introduction. They offer up a collection of classic, tried-and-true rock songs. Very close to Stones-style approaches, and if you like this kind of straightforward rock, it’s an enjoyable listen, nothing more, since it’s not a standout in their discography.
Texan drummer Steven P. Haas’s project presents a second album, this time with a star collaborator prominent enough that we could almost call it his own record: violinist Jerry Goodman. Unapologetic jazz-rock, made by great musicians the owner’s financial muscle has allowed him to bring together. Besides enjoying this fine record, you can read more in the review we did of his first album.
The Prog Collective “Dark Encounters”
The project where Billy Sherwood (Yes) keeps inviting fellow professional musicians to build albums together reaches its sixth instalment. With friends like Steve Stevens, Steve Morse, Patrick Moraz, Omar Hakim, Bumblefoot, Pat Mastelotto and many others involved, what could possibly go wrong? Well, something, because it ends up feeling a bit long and dull, on top of lacking a certain cohesion as an album.
A magnificent progressive-metal record from this Lebanese band. Brilliantly crafted, with impeccable compositions that might remind us of bands like Fates Warning, Karnivool or Caligula’s Horse. Good reference points for a group that started out as a Dream Theater tribute act.
A full review is available at Tótum Revolútum Press.
Writer: David Sàez