The first three songs hit you (“Itching Soul” should be played on prog radio) and you’re thinking “ok how can this get any better?” That’s when Mantric twists into a modern version of the Beach Boys whilst channeling Failure on the song “Norwegian Dastard.” ... “Down” is a fuzzed out asskicker which still holds to Mantric’s odd style. “The Towering Mountain” is a mix of blasting punk metal and Motorpsycho on acid. It proves that Mantric isn’t about to stop trying different things.Read the full review by Rob at progressivemusicplanet.com
Omens, the band's fifth full-length record, is the newest pillar in the construction of their own musical universe. With it, Elder further embrace experimentation in their brand of progressive psychedelic rock in which atmosphere, melody and structure are created and transformed again and again.Media/Samples
Following 2017's Reflections of a Floating World and the 2019 experimental EP The Gold & Silver Sessions, it was anyone's guess what the band's next full-length might have in store. Having cemented their own sound – a dense yet lucid brand of heavy rock full of unexpected flourishes and progressive jaunts - the latter EP showcased an exact opposite side of Elder, more rooted in sparse krautrock and even jazz-tinged jams. Omens answers this speculation with a contradiction that embodies the spirit of Elder: somehow, there's even more everything.
In five cinematic songs, lush, intricately interwoven melodies grow and dissolve into spaced-out jams. Massive riffs thunder down into a churning sea of psychedelic sounds and unpredictable grooves carry away the listener. Elder paints pictures with their music, and Omens shows the band experimenting with an even more colorful palette – with good reason.
This is music for a vacation from reality – or to lose oneself in another world. And yet Omens is not purely an exercise in escapism, but also reflects the increasingly bleak, confusing and antagonistic times in which it was written. Composed as a concept album spanning the lifespan of a civilization, the album also reads as a commentary on our own society hell-bent on profitability at the expense of our own lives and environment.
With the winds of a new direction steering the band on their latest journey, City Burials stands as Katatonia’s new triumph of deep & enigmatic progressive rock – the fruits of a rejuvenating and profound chapter in the band’s legacy; a catalyst for its creators, with a collection of moments constructed out of the fragments of an ever-evolving life. Compiled into one of their most important modern works and statements to date, the finely-honed instrumentation provides a multi-textured backdrop with the voice of Jonas Renkse guiding us through these latest trials of loss and ruin.The proof of Jonas and Anders’ enduring artistic bond is displayed throughout City Burials’ absorbing 58 minutes of meticulously crafted melodies and inspired, idiosyncratic arrangements. From the spine-tingling dynamics of opener “Heart Set To Divide” through and the simmering menace of “Lacquer” to the wildly evocative sorrow-scapes of “City Glaciers” and the exquisitely delicate “Vanishers” Katatonia’s eleventh studio album is a showcase for a partnership that was magical from the very start.Media/Samples
...melodic hard rock forms the foundation of most every song here. Yet, many arrangements have some light complexity and obvious intrigue that suggests progressive rock.Read the full review by Craig Hartranft at dangerdog.com
Treading the same path as their 2018 debut Windborne, Double Sun is a studio effort in the best sense of the word. Perfectly balanced on the edge of dynamic improv, throbbing beats sizzled in scorching fuzz and topped off with deeply layered soundscapes. This album sees Kanaan reach a new plateau.
Kanaan presents a unique perspective to psychedelic rock, painting with a wide palette that includes jazz and post-rock. Double Sun devotes as much energy to sonic colour as it does to groove and energy. The spirit of experimentation is everywhere: From the savory, pastoral sounds of opening track Worlds Together, to the soaring exploratory paths of the two-part title track. In the creative process, Kanaan dived deep into the possibilities of the studio, adding intricate layers and twists and turns to these tunes: acoustic guitars, percussions & synthesizers embrace and enhance the Norwegian modern day version of a power-trio.
Opening track Symphony Of Swag comes across like Elder who they have coincidentally toured with. The use of prog rock in stoner/doom doesn’t always set my world on fire, but Gaffa Ghandi do a pretty good job of it nonetheless.Read the full review by Reza Mills at thesleepingshaman.com
War On Fire continues the prog with some added chunky riffage that reminds me of Master Of Puppets era Metallica. It’s also the first of 2 songs to feature some nice Mellotron courtesy of Torsten Lang (who also mixed and mastered the album), this helps to add some diversity to the track. Next up is the over 9-minute Ancient Dominator and the second longest track on the record. To my ears there is a slight 70’s intonation here, with touches of fellow countrymen the Scorpions when Uli John Roth was in the band, hence why the riff is so damn good. More Mellotron is employed which adds to the 70s vibes of the track.
Music ranges from Camel-style songs to groovy fusion instrumentals. Although the album could be described as symphonic-prog in general, you can find celtic and bluesy elements etc as well.Media/Samples
... you get dark, eerie, nostalgic and somewhat soothing music with symphonic elements and heartfelt guitar solos. Landing on the softer side of the post-progressive spectrum, Kristoffer Gildenlöw has been compared with bands and artists such as David Sylvian, The Deer Hunter, Blackfield, No Man, Roger Waters among others. From small, minimalistic songs and soundscapes to full symphonic rock with choirs, strings, brass, howling guitar solos and carefully chosen instrumentations, his music tells a story.Media/Samples