Tag Archives: 70s Prog

Subterranean Masquerade – The Great Bazaar

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The emphasis on metal music emanating from outside of the Western world has become an increased focus in recent years, and is rightfully celebrated as highlighting our music world’s inclusiveness to all forms of society and regions. Israel as one such example has shown in the last few years a plethora of prog-minded metal acts, from homegrown titans Orphaned Land to lesser known but equally special acts like Distorted Harmony.

Having actually been existent since 1997, Subterranean Masquerade are hardly a new band to add to the list, but their not so prolific back catalogue means they will be an unearthed gem for many; a notion which will hopefully change with their latest album.

The Great Bazaar (Taklit) is the band’s first full length release in 10 years (their second in total) and sees a new singer in Kjetil Nordhus, and a new feeling of energy, being described by guitarist Tomer Pink as finally feeling like a band and not a project; and it is noticeable.

Their sense of diversity on record is still present but it all feels all the more cohesive than before, like they have really found their feet. At its core this takes influence from the 70’s greats of Prog, intertwined with Eastern instrumental elements and modern death metal; with a major Opeth vibe present in style and how it flows, vocally and sonically through cleaner melodies to visceral heaviness without warning. Look a little deeper and there are even more traits slightly hidden away, for example opening track “Early Morning Mantra” has an underlying Ska current, but without sounding daunting or out of place; whilst instrumental piece “Nigen” sees the flute taking the spotlight.

It is very easy to pick out their influences throughout, and at times it does sit very closely to other band’s formulas so is far from being completely revolutionary; but Subterranean Masquerade certainly execute it all very well, and with tremendous fluidity which makes it all seem wholesome. It may have been a long time coming but The Great Bazaar is a strong effort which further highlights the progressive mindset is present further afield.

 

7.0/10

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CHRIS TIPPELL


Year Of The Goat – The Key and the Gate

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It’s been two years since Swedish retro rockers Year of the Goat released their debut album, Angels’ Necropolis and the band is back with a new release, the three track The Key and the Gate EP (Napalm)

Fans of their debut will be pleased to know that their brand of Satan-themed retro pop-rock is still firmly in place, and this EP suggests the next album will be more of the same and up to the same standard.

Featuring a classic NWOBHM twin-guitar lead, the opening title track is very melodic and hook driven. Frontman Thomas Sabbathi’s smooth croons the catchy choruses, while there’s a host of infectious riffs and impressive solos. It’s fun but a bit lightweight. The seven-minute ‘Magic Mountains’ is a slower, blues-inspired classic rock number. Anyone who liked Graveyard’s Light’s Out release will enjoy its haunting power. Filled with classy solos, it’s a great track and easily the highlight of the EP. Closer ‘Non-Euclidean Calculus’ may sound promising, but in reality is little more than a glorified outro; a 70s prog style instrumental of atmospheric keyboards and moogs, it’s a long wind down from an enjoyable but not overly exciting EP.

 

6.0/10

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DAN SWINHOE


Taake – Stridens Hus

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They’ve left it a bit late to try and muscle in on everyone’s end of year lists, but Norwegian Black Metal outfit Taake’s new album might just cause a few people to have a rethink. Stridens Hus [‘Battle House’] (Dark Embrace) is Taake’s sixth album since 1999 – which are always released at three year intervals – and it’s a corker.

The one man project from Hoest has fashioned a mix of traditional nasty black metal with an aura of accessibility. The production values are good – raw, but not unlistenable, while the music itself features a variety of different textures that need multiple listens to really appreciate.

Opener ‘Gamle Norig’ combines Hoest’s evil, rasping vocals with riffs parts reminiscent of Still Life-era Opeth (Peaceville). The song peaks and troughs, swinging from abrasive to almost melodic guitar work. The six-minute ‘Orm’ starts as a fairly standard Black ‘n’ Roll number before belting out some solos that wouldn’t sound of place on 70s prog album and then morphs into an epic blackened doom monster featuring monk-like chanting. It’s exciting, heavy and enjoyable.

What makes Stridens Hus so listenable is the variety on offer. Taake have a whole host of ideas crammed into each song, where so many others would only have one or two. The seven minute ‘Det fins ens Prins’ combines blasting drum beats with chanting, spoken word,  quiet interludes and epic passages. There’s flourishes of thrash moments that recall Volcano-era Satyricon, and a few that bring to mind Dark Medieval Times (both Moonfog)

Plenty of focus on the music – long guitar-focus parts; the instrumental ‘En Sang til Sand om Ildebrann’ could almost pass for classic melo-death before leading straight into the pure filth of ‘Kongsgaard bestaar’; which combines the soul-shrivelling blast beasts and rasping screams at the start with a host of melodic guitar solos the end. There are times when how a song starts is completely at odds with how it finishes, but it just adds to the journey.

In an overcrowded and samey scene, Taake are one of the few bands to stand out. Stridens Hus is an excellent album – combining the traditional themes and sounds of Black metal and mixing them up with elements to create something familiar yet refreshing.

 

8.0/10

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DAN SWINHOE