Howdy, guest writer SirPent here,
Since the admins are too ‘busy’ to do a roundabout for Sigh’s new album, Heir to Despair, I’ve been granted the “gift” of a whole review post!
Heir to Despair was released last month and hyped up by the band telling people that they’ll hate it, even if they like the single… Due to that great advertising, I immediately had to purchase it!
I find it a very strong, sizzling album on the whole that’s still very much in keeping with their jauntily-eerie signature sound. The theme this time being particularly based around ideas of insanity, depicted fittingly by the cover art; though I do find it much less concise/thematic than other albums such as In Somniphobia and Graveward. However, I am reluctant to criticise this as it may very well be the point of the record.
Eyebrows hit the roof when Gazpacho themselves ask us to be patient when listening to their new record. In all fairness, they’re right in doing so.
Soyuz, the Norwegian art rock outfit’s tenth studio album, has slipped from the vice of an overarching narrative that has held their post-Night albums together so tightly. 2009’s Tick Tock heralded the adversities of Antoine de Saint-Exupery; 2014’s Demon spoke in whispers of satanic possession and 2015’s Molok threatened the very universe itself. Here, Soyuz is simply tied together by the idea of life’s fleetingness. You would assume Soyuz to be a rather modest addition then, given Gazpacho’s impressive history.
However, Soyuz doesn’t struggle in finding something to present to us – in fact, there’s too much the album tries to offer, and it takes a lot of patience to let it all sink in.
To carry on with my Kate Bush worship from my last article, I’d like to give a few thoughts on her last studio record, 50 Words for Snow. Then after all this, I promise I’ll move onto gorging myself on another artist’s discography, okay?
Kate Bush is perhaps Britain’s greatest female musician, maybe even the world’s, and it’s not hard to imagine why, given her myriad of hit records and high critical acclaim. Though she’s best known for singles ‘Wuthering Heights’ and ‘Running Up That Hill’, her extensive catalogue of albums is, on the whole, some of the finest works in all of art pop.
50 Words for Snow, released back in 2011, shows her full transformation from the hotblooded pop diva in her 1978 debut, The Kick Inside, to a more mature and tender songwriter. The album is one of restraint that embodies the spirit of winter with an utmost beauty, showing Kate at her most graceful. Simply put: 50 Words for Snow is as far from pop as Kate Bush has dared to venture, but her artistry has reached its peak.
You can’t go very long in a conversation about art pop before the name ‘Björk‘ springs up. Whilst progressive rock fans look more towards Kate Bush as the heralding maiden of the genre, it would be greatly amiss not to appreciate Björk‘s contributions to experimentation, artistic expression and technological innovation in pop music over the past few decades.
From the youthful energy in Debut‘s electropop to Vespertine’s sensual microbeats and from Medúlla‘s primal a capella to Vulnicura‘s emotionally-devastating string section, there is very little in Björk‘s solo discography that hasn’t experimented with a wide variety of styles, instrumentation and themes. Cue Utopia – Björk‘s latest album that explores the use of woodwind instrumentation and, quite unsurprisingly, circles the theme of paradise.
Those of you who know me personally know how much I anticipate each Björk release, so what did I think about it now that it’s released? More importantly, what did you think about it? Leave your thoughts in the comments section below the review, but without further ado – let’s talk Björk:
A man who needs very little introduction: Steven Wilson, widely considered to be the flagbearer of 21st century progressive rock, has just released his fifth solo LP, To the Bone. Alongside its announcement earlier this year, Wilson stated that he would be departing from his usual brooding prog rock aesthetic in favour of more straightforward pop rock. As you may well imagine, this caused quite the stir amongst his followers.
Following 2015’s emotive Hand. Cannot. Erase., and the instrumental excellence of the 2016 EP, 4½, the singles released from To the Bone showed a big shift in Wilson‘s sound and songwriting. But is To the Bone on the same calibre of quality as his other albums? Can he still be considered the frontrunner of modern progressive rock?
Join Cerpin, Leth, Sacul, Frog and guest writer SirPent as they scrutinize To the Bone – the biggest, and potentially the most controversial, prog release of 2017. Will they commend or condemn Wilson‘s evolvement? There’s only one way to find out, it’s time for another Roundabout!
We’d like to remind you that our Roundabout reviews are compilations of each Prog Talk admin’s subjective opinions established after multiple listens of an album. While we may have expressed our thoughts on the album beforehand, we do not collude while writing our reviews. So without further ado, let’s talk Steven Wilson:
Back in 2015, Irish-based progressive rock band The Dystopian Project released their debut album, Death Leaves an Echo. I had mixed feelings about it… It was promising, but failed to grasp my interest and illuminate my imagination with a firm hand and a brilliant light. Two years later, almost day for day, Dublin’s quintet comes back with Paradigm, their sophomore album. Will they succeed or will this be their second strike?
There’s a reason why very few people look back fondly on Yes‘ 90’s period.
As I have a few hours to kill on a flight, I’ve taken it upon myself to drudge through the post-Drama depression so you don’t have to – I’m a modern day saint, I know, you’re welcome. You may think I revel in tearing albums apart, but I honestly approached Yes‘ seventeenth album, Open Your Eyes, with a glimpse of optimism and thought to myself: “It can’t be as bad as everyone says it is. It can’t be as bad as Heaven & Earth”.
I was wrong.
Independent Bandcamp artists – they can be quite the unassuming species, can’t they? Amongst the layers of aspiring lo-fi bedroom artists; waves of opportunists jumping on the vaporwave memewagon and a scattering of experimental oddities, there is gold to be panned.
Vancouver-based artist Glaswegians is one of those rarities, with 2017’s Severance being better than an underground independent release has any right to be. Severance is 65 minutes of progressive, folk and post-rock excellence that puts most professional artists’ work from this year to shame.
The pedestal is a potentially dangerous object, sometimes even metaphorically – though it really depends on how hard you can throw it.
Australian progressive rock band Anubis have been sitting quite comfortably on my pedestal for quite some time. Their previous albums, 230503, A Tower of Silence, and Hitchhiking to Byzantium remain some of my favourite albums, and those of you who have read my review of the latter may even accuse me of, dare I say, ‘fanaticism’? However after first hearing their fourth studio album, The Second Hand, I began to second guess myself and my expectations of the band – am I right to expect an artist’s latest work to be the same as their others? Am I right to even have expectations? What this record shows, both as a part of Anubis’ discography and through its politically-charged concept, is that to err is human. Though some may see it to be a misstep in an excellent discography, The Second Hand is an admirable effort, where Anubis’ shift in musical style and approach to concept albums present some of the band’s best and worst newfound qualities.
You may (or may not) have noticed that things have ground to a halt here at Prog Talk. Now I can’t speak for every admin, but a deadly cocktail of all-consuming academia, a dab of stress and a deviating taste away from prog has left Prog Talk untouched for some time and Cerpin throwing up over the side of the settee. Metaphorically speaking, of course.
Dare I say that prog just doesn’t interest us anymore? No, that’s not quite right – there are still a number of progressive rock albums from 2017 that have duly impressed me, but there’s been a lot more that haven’t. However, it’s prog’s sister-genres: avant-garde, experimental, and jazz fusion that have really piqued my interest so far – so you have some catching up to do, prog.
As we’ve just entered the second third of 2017, I thought it would be fitting to give a brief roundup on my highlights of the year up until now, and a shout-out to future albums that we may expect to be just as excellent. Remember: This is just my opinion, I do not speak for the rest of the team at Prog Talk.