Tag Archives: 70s Prog

Trailight – The Primitive Mountain

Posted on by

a2469205156_10

What are you supposed to do when you’ve got a love of Rush, progressive metal, Tool and all things prog? That’s right, you head off and make one of the most immersive and complete prog rock escapades that you are likely to hear this year. The musical talent in question here is Vancouver’s Omer Cordell, who, like many of his Canadian brethren, spent his formative years aping Neil Peart on his own drum kit, doubtless dreaming of emulating his teenage hero. A formative career in photography has now morphed into bringing his passion to life; the results, the ambitious ‘The Primitive Mountain’ (Independent/Bandcamp) are never less than interesting and, occasionally, absolutely terrific.

As can often be the case with prog, new records can be worn down by the sum total of their influences. Given prog fans ability to spot a minor chord change on one record and know that it’s previously appeared on a King Crimson b-side from 1969, it’s often a minor miracle that new records bring additional nuance and verve to the overloaded musical table. Trailight‘s debut The Primitive Mountain does that. And how.

Cordell has surrounded himself with some seriously talented musicians and whilst the phrase, ‘supergroup’ isn’t something that should be uttered in polite or serious company, there is some significant CV quality from the likes of former Annihilator vocalist Dave Padden and drummer Ryan Van Poederooyen who spends a lot of time with that other Vancouver based polymath, a certain Devin Townsend. This is the sort of group where one’s instinct would suggest that these guys know exactly what they are doing. Your instinct would be right.

There is a joy and a happiness to the songs on The Primitive Mountain that is infectious. From the Tool like strains of opening track ‘Open Doors’, down through the prog metal powerhouses of ‘We Are The Ocean’ and ‘Frail Human Form’, this is a record that revels in its inventiveness, positively lies back on its metaphoric chaise lounge, offering us new idea after new idea like an over enthusiastic confetti thrower at a wedding. The title track acts as a veritable tent pole for the whole album: reflective and ambitious, both of the personal life described therein and the musical soundtrack that has been created. Three minutes of introspection give way to second half that is determined, driven and resilient.

‘Passer By’s  melody and the harmony of ‘A Thousand Years’ are both songs of delicate loveliness whilst the acoustic strains of ‘Navarino’ will have the hairs on the back of your neck standing proudly on end. Closing track ‘Beyond the Rubicon’ is an absolute highlight, a brilliant distillation of the album’s themes and tenor, a soundtrack with a third party narrator that ruminates on man’s plundering of his environment which is by turns reflective, philosophical and plaintive.

There is a hoary old cliche of records being a bit of a “grower” which is often shorthand for a writer not paying enough attention to the record in the first place or changing their mind about a record’s quality because their mates now love it. Let’s be clear about this: The Primitive Mountain delivers immediately and then delivers even more upon repeated listens because it’s a record made with care and consideration. It’s a record made with love, for goodness sake. Sometimes you need to scratch that itch.

 

8.5/10

 

MAT DAVIES


The Tangent – A Spark In The Aether

Posted on by

635597328359679621

Over the course of their thirteen year history, UK prog rockers The Tangent have undergone several personnel shifts and taken altered musical paths, including their previous 2013 album Le Sacre du Travail (InsideOut) which took a melancholic turn into more orchestral territory; an effort which was as grandiose as it was difficult to delve into for newcomers.

Now after yet another lineup dissolution, founding and sole original member (and leader) Andy Tillison has brought in a few familiar faces in the shape of Jonas Reingold, Theo Travis, Luke Machin and Morgan Agren; and a new album that sees a return to their classic prog rock roots. To give its full title A Spark In The Aether: The Music That Died Alone – Volume Two (InsideOut) represents a nod to their debut, and the influential artists of prog’s golden era.

Where their previous album was a much more sullen affair than usually expected, A Spark…is strikingly upbeat and colourful. Opening track ‘A Spark In The Aether’ is a particularly joyous number, with its immediate and familiar synth tone and buoyant tempo. What’s also prominent is how immediate the album is, even despite its unwavering excess that classic prog is notorious for. Only one track goes past the 20 minute mark; the glorious ‘The Celluloid Road’ which still captivates throughout.

There are signs of a loose concept about prog rock, and in particular its golden era of the 70’s, notably over ‘Codpieces & Capes’ and the following ‘Clearing The Attic’. The former clearly pays homage to the cartoonlike but endearing characteristics of the likes of Jethro Tull, whilst lyrically it follows the loyal prog fan as he wonders whether one’s prog idols care, making reference to both the past and present. It even throws in a cheeky reference to Neal Morse’s relatively new found Christianity. The latter also references the state of prog, even incorporating intricate, seemingly improvised jazz elements.

All throughout A Spark… proves the perfect blend of classic sounding progressive rock, which has the warmth of the classics but does so with its own sense of identity. All the while making clear, uncryptic references to such music sonically and lyrically; both tongue in cheek and celebratory. A magnificent return for one of contemporary prog’s stalwarts.

 

9.0/10

The Tangent on Facebook

 

CHRIS TIPPELL


Barren Earth – On Lonely Towers

Posted on by

635560827664002242_4050_3

All too often bands are saddled with the ‘Progressive’ tag simply by sharing musical qualities with those few truly evolutionary bedrocks of our musical realm, without actually delivering anything unique or revolutionary whatsoever. Thank fuck for the likes of Barren Earth who are at least trying to offer something new, with their hybrid sound which shows signs of pushing a few boundaries and moving the band into a territory of their own.

Now on a leading label in the form of Century Media, these melancholy merchants have upped their game even further with On Lonely Towers, truly showcasing their diversity in sound. With gloom ridden doom metal at its foundation, this also encompasses 70’s progressive rock’s adventurous side and a contrasting death metal ferocity; perfectly veering from extremity and pace through a moody crawl, with even hints of a more folk-like, colourful atmosphere in part.

Jon Aldara’s vocals are a true highlight and prove the band’s real trump card; at times giving a particularly expressive harsh growl, before pitching to a dark, Scott Walker like croon; all immersed in sincerity and unbridled emotion. Impressively despite this sheer range going on, everything flows and fits superbly, never feeling forced or out of place, but wholesome.

The prog tag is too often afforded to those who merely ape rather than set new ground; but it is bands like Barren Earth that hold the candle to forward thinking and keep it burning. Whilst not being an entirely radical departure from the status quo for some it adopts the mantra against the tried and tested, and, even more startling, even hints at further ambition to come. A band that have never really grabbed the headlines but have always been a formidable presence; and with On Lonely Towers they have shown themselves as surely one of prog metal’s brightest lights.

 

9.0/10

Barren Earth on Facebook

 

CHRIS TIPPELL