The second half of April: 16 highlights, as intense as they are diverse!

The title track of French Post/Noise magicians BRUIT ≤’s 2021 masterpiece with the unruly, but perfectly fitting title “The machine is burning and now everyone knows it could happen again” was easily one of the most unsettling and stunning pieces of music of the last few years, especially the legendary live version that was recorded in the “Eglise du Gesú” in Toulouse. Music rarely manages to reach a state that literally elevates my heartrate in equal measures of stress & bliss, panic & catharsis as the quartet from Toulouse first seem to have reached with “The machine is burning…” and now perfected on their new album “The Age of Ephemerality”. A monumental, colossal release that will make any attempt to describe it with superlative after superlative pale infinitely in comparison. So in the end I can’t help but stress the importance and relevance of this record in this day and age. As unsettling as the times we’re living in, this is an epitaph, a piece of art molded into a statue of striking horror and beauty. A gift that keeps on giving. Everytime you think it can’t get any more intense, the quartet throws the listener under the bus and shows them: it can be done!  “The Age Of Ephemerality” is one of a kind. A kind the likes of which we shall not see or hear again anytime soon. Dario

One of the best kept Prog Rock secrets of the first decade of the new millennium was Paatos out of Sweden. Emerging out of the Folky 90’s Dark Prog scene in Sweden around Landberk and Anekdoten, Paatos had a run of three mesmerizing albums throughout the 00’s, most notably the Steven Wilson produced “Kallocain” and 2006’s “Silence of Another Kind”. With the following “Breathing” and “V”, they went into more compact songwriting territory and slowly disappeared after that. Now they’re finally back with “Ligament”. And back with it is their unique trademark mix of the subtle, haunting melancholy and beauty of Swedish Forest Prog (‘Beyond the Forest’ and the closing double ‘Last One of Our Kind’/’Svart) and the odd noisy, harsh trip hop weirdness to mix things up (especially the short but impactful title track). I never really understood why they always seemed to stay under the radar of a larger Prog Rock audience, even with popular collaborators like the aforementioned Mr. Wilson or Opeth’s Mikael Akerfeldt, who lends his voice to the second single and second album track ‘Beyond the Forest’ in a surprise appearance. With the apparent quality at hand and, most importantly, an innate sense of emotional connection, this Swedish gem begs to be discovered. Dario 

The Flamenco Prog surprise of the second half of April comes out of Spain with Ekzilo’s second album, “Quantum Phase Transition”. My first encounter with the quartet was the second single ‘Brujeria’ (nothing to do with the LA Groove Death legends), so naturally I expected the album to be entirely instrumental as well. The bigger was my surprise that there were suddenly vocals on some other tracks of the album. Not only that, but even growls! Despite the rather light Prog Rock sound overall, they do fit surprisingly well though. A nod to the uniquely syncopated ‘In My Time of Need’ (Opeth) vocal line in the album’s longtrack ‘Evolution’ further adds to the, well, uniqueness of this release and the band’s very own amalgamation of lots of different influences across the Progressive board and beyond. Dario

In a sudden counter-move to the top album of this Release of the Week(s) edition, the return of Instrumental Fusion Prog trio Lux Terminus with “Cinder”, their long awaited sophomore album after highly lauded 2017 debut “The Courage to Be”, delivers so much more uplifting and hopeful musical content as I had, well, hoped for. And here, in this context, I don’t mean ‘content’ in a derogatory way as in ‘social media content devoid of soul and substance’. The eight compositions (one of them the exuberant three-part opener ‘Jupiter’) to be discovered and taken in on here is most certainly the cream of the crop when it comes to contemporary Keyboard-led Instrumental Fusion awesomeness. The rare horror-dissonance in the Piano-djent banger and second single ‘The Devil’s Eyes’ (fittingly released right in time for Halloween last year) is just one more splash of vibrant colors this overall soul-soothing oeuvre is painting. Well worth the wait and much needed in these times, “Cinder” is much more than a spark. It is a fire, but one that doesn’t consume, but rebuilds. Hope, confidence, happiness. And for that the three musicians involved (plus some rather well-known guests) have my eternal gratitude. Dario

Without a doubt the Tech Death sensation of the year, Berlin-based (fretless) guitar shred virtuoso Tom “Fountainhead” Geldschläger finally presents this long in the making self-titled Changeling debut via Season of Mist. The 50-piece ensemble that helped him bring this vision to life is of course way too expansive to mention here. But rest assured, with a core line-up featuring chameleon vocals from Alkaloid’s Morean, fretless bass yummy-ness courtesy of Arran McSporran (Vipassi/Virvum) and relentless, thundering drums by Mike Heller (ex-Fear Factory), the direction and overall technical precision and perfection is evident. The real stars themselves are the compositions though that both use the well-known Progresssive- and Tech Death vocabulary while also striving to leave genre-restrictions behind and find their own, unique Changeling-voice. And here’s where this one hour monster really excels at, apart from the jaw-dropping performances by everyone involved: defying genre boundaries and going its own way. The Way of the Changeling. Long and eventful may it be. Dario

Don’t let yourself get fooled by ‘The City of Light’, the opening 10 minute epic of “Dualitas” the new album by Mexico City based Prog quartet Alpha Lighting System. It will have you believe you’re listening to a Fusion Prog Album by a Keys/Bass/Drums trio. But suddenly, there’s a guitar appearing after nine minutes! And once you’ve reached the subsequent ‘Astro’ with its light-footed melodic guitar lick, they might have you convinced you’re listening to the Latin Fusion Marillion. No matter if with or without vocals or with or without guitars, this is some killer Prog Rock throughout, of the highest calibre at that up to that point. But we’re not even halfway through the album. I simply love how they spiral down into Riverside-”Anno Domini High Definition” style heaviness throughout the penultimate ‘Sombras’ before marrying Sylvan’s sudden descent into metal on the ‘Presets’ title track with some Tigran Hamasyan Piano Djent on the closing mini-epic ‘Dancing on an Earthquake’. Just to highlight some of the different parts and styles you might find and recognise here. This is some highly innovative stuff and Proggers around the world should take note immediately! Dario

Circling back to France and back to existential dread and darkness (see my BRUIT ≤ review above), Paris based quartet Bank Myna channels all that into vast sonic canvases of Ritualistic Drone/Doom Post Rock/Slowcore epics (except for the shorter, but no less mesmerizing opener ‘No Ocean of Thoughts’). Dead Can Dance meets the likes of the Wolfe/Rundle/Hausswolff/A.A.Williams school. Stuff I feel would go down well at Roadburn. Even though I have never been there. Why have I never been there if I’m drawn so much to music of that dark ilk? Something to ponder while listening to “Eimuria”. Dario

Kardashev’s Spotify bio, ‘We make DeathGaze’, is obviously quite an understatement. “Alunea” is the fifth album from the Arizona-based Atmospheric Prog Deathers and without the shadow of a doubt their proggiest. The versatile performance by vocalist Marc Garrett especially stands out, not least because the compelling instrumentals provide a canvas on which he paints — just as effectively with abrasive, harsh brushes as with the most delicate ones. A true full band effort in the end, and one that will undoubtedly spread their name even further than all of their Discord and Youtube activities combined. Excellent stuff that only bears just one question: how will Marc Garrett be able to pull off all these vocal layers at once? Only one way to find out probably: more Kardashev shows in the future. Fingers crossed, I’ll be able to attend one of these rare occasions. Dario

Definitely not the proggiest bunch of the lot in this edition, Polish duo Dormant Ordeal sure packs quite the technical punch within their brand of Extreme Metal on their newest effort, “Tooth And Nail”. The relentless, precise performance by session drummer Chason Westmoreland is certainly to highlight here. Also the fierce riffing and the occasional solo from mastermind and sole composer Maciej Nieścioruk cuts like a sharp knife, while Maciej Proficz’s vocals become just a tad monotone over the full album distance. Blastbeat-aficioniados will find a lot to sink their teeth in and take into their heart though during some 47 minutes of uncompromising ferocity. Dario

Up until and including their sixth album “X-Mas Death Jazz” (yes, the title describes perfectly what’s going on there), the line-up of Munich-based Jazz Metal freaks Panzerballett had been relatively steady and the whole thing felt like a complete band endeavor. Starting with 2020’s “Planet Z” though, things started to be more like “Jan Zehrfeld and revolving friends”, both live and in studio. Their newest “Übercode Oeuvre” is no different at all, as mastermind Mr. Z is once again pushing the limits of what’s (im)possible in terms of polymetric, dissonant Jazz Metal extremity with various guests on all other instruments. Once again there’s a wild mix of cover versions of very diverse ‘classics’ in the broadest sense (Meshuggah’s ‘Bleed’, Beethoven’s ‘Ode to Joy’, Vivaldi’s ‘The Four Seasons: Summer’, György Ligeti’s ‘The Devil’s Staircase’), cover versions feat. the original composers (Virgil Donati’s ‘Alien Hip Hop’ feat. the man himself on drums and a delicious keyboard guest solo by Chris Clark, ‘Seven Steps to Hell’ with Morgan Agren, ‘Picking Up the Pieces’ with Anika Nilles) and original compositions (ok, it’s only one, ‘Andromeda’). Everything is a sonic escalation, an excess of complexity both rhythmically and harmonically that you either hate or love. There’s no in-between. Is this Mr. Z’s “Übercode Oeuvre” as in, his masterpiece? Time will tell… Dario

“The Third Sleep” is the fourth album by Oslo-based Prog/Art Rock quartet Oak. With vocalist Simen Valldal Johannessen’s dark timbre, they somehow remind me of the likes of Fatal Fusion, Antimatter, or Opeth in their “Damnation” phase. Subtly but firmly drenched in Norwegian Mellotron Melancholia, their sound is one that wraps you into that soothing sadness like a blanket. Sparse use of the tried and trusted Soprano sax adds a nice Northern Atmo-Jazz touch à la Jan Garbarek. After a brief brush with Katatonia sound worlds in ‘Borders’, the final ‘Sensory Overload’ culminates in completely unexpected early Opeth Black Metal stylings. So that makes the second Prog Rock album with extreme vocals in the highlights of this edition of the RotW alone (after Ekzilo’s “Quantum Phase Transition”). An interesting development to say the least. But not an unwelcome one. Dario

Echotal is a collaborative project of artist and musician David Rooney, Torsten and Niels Kinsella (God is an Astronaut) and Cellist Jo Quail. Combining the visual art with music, Echotal creates an audiovisual experience with main focus on human tragedy and hope. “Beyond the Red Forest” tells a story about nature recovering after the Chernobyl nuclear disaster, with animals representing the thriving nature and a little girl portraying hope for humanity. Through music, the story is told mainly by an acoustic guitar and cello, creating a very atmospheric, sad but hopeful soundscape.  “Beyond the Red Forest” is a beautiful work and is best experienced with the visuals, created by David Rooney. So go and check out this melancholic and beautiful art piece. Alex

Solo artist Damián Antón Ojeda is no stranger in the world of blackgaze/post-metal/emo, and after obsessing over their work since April of last year, they come out of nowhere with one of their best efforts yet! “My Heart the Dreaming Memory” is the name of this newest effort under the project name life, which focuses more on the screamo and chaotic hardcore side of things. Everything I have admired about this person’s work, from Sadness and Liminal Dream to Trhä and Comforting, is squeezed into this incredible record; it’s energetic, sporadic, and emotional. What I love about this release is how versatile the track list is, changing tempos and feel every minute without compromising flow. Metalcore breakdowns, emoviolence segments, unpredictable passages, and of course the atmospheres that they’re known for using, but distributed when necessary. That way when it hits, it hits. Damián has done it again, and while I may be biased towards this artist, I can confidently say that they put out one of the best albums this year. Do not skip this! Colin

Anyone still remember when we were memeing the shit out of “Haha Circus Music” in Haken Cockroachposting and everyone pretended to strongly dislike it but everyone secretly loved it? 15 years after Haken’s “Aquarius” took the Prog underground by storm, “Disconnection”, the debut opus by Initial Condition from Leipzig, Germany seems to continue in the vein of that signature Circus Prog sound of “Aquarius” a great deal more than its true successor, “Visions”. It feels like it was perceived and produced around the same time by a bunch of amazingly talented young musicians throwing in everything they have and anything they want. The twelve minute opener? The penultimate ballad? The epic closing title-track? It’s all there, like the long lost little twin sibling. And now I’m really curious whether they’ll be releasing “Metropolis Pt. 4” next, to complement those “Pt. 3 Visions”… Dario

Having only formed in 2019 within the state of Massachusetts, Ancient Death sparked lots of attention throughout those few years, now to finally launch their debut album “Ego Dissolution” with Profound Lore Records. Their flavour of proggy old school death metal is a style that is being picked up more and more lately, especially thanks to bands like Blood Incantation, Innana, Atvm, and Afterbirth. Ancient Death have an approach that is just so fresh and pleasant to listen to, with fantastic riffs all around, dynamic drums, and impeccable songwriting. The album itself also keeps you engaged with its well-executed flow between tracks, and it’s done before you know it. There is a ton of promise with this band, and I can’t wait to hear what will be in store in the near future. Colin

Let’s finish off this April in style, shall we? Established back in 2007 already, Imminent Sonic Destruction have been known for bringing a certain rawness and high-energy to their Prog Metal stylings. Their fourth full length album “Floodgate” is no different, and it’s a real joy to vibe to the heavy keys punching loudly through the high-energy grooves. An energy that certainly will get ramped up to the max on any upcoming live shows like the inaugural Progstorm Fest in Montreal Aug. 9-10 this year. Don’t miss out if you have the chance. Dario