With extensive influences including everything from progressive metal, shoe gaze, to indie, Color Motive's sound brings in shimmery synths with orchestral and jazz elements reaching all ends of the spectrum. Their debut album "Elevate" covers a wide dynamic range, and plays with unusual song structures. Heavy detuned instrumentation enveloped by breathy melodic vocals, creating a unique take on modern metal.Media/Samples
Off with the worn out fusion-prog, the ten notes per second that were the trademark of the Lyon-based musicians, now the approach is radical and the demonstrative varnish fades away in favour of "knowledge". This same "knowledge" the XIIIth century cleric and knight Gervais de Tilbury praised in his Livre des Merveilles wich the band draws his inspiration from, even borrowing entire dizzying fragments.Media/Samples
This is how CHROMB!'s heroic gest unfolds ! The four tracks, inspired by a fantasized mythology that J.L Borges would not have disavowed, let eventually the light come through... Between medievalism and futurism, the lyrics in French, make use of playful hermeticism and smash the rules to pieces. Less acidic, more structured, the style asserts itself, more and more epic as it is ornament-less.
Labyrinthine tales with sinuous vocal parts here, a noisy symphony there: with Le Livre des Merveille, the incredible gives way to the fabulous…
Comparing it to the previous three releases, Costly Signals makes an obvious effort to mend the flaws, and the album embraces tighter songwriting, more concise transitions and tamer instrumentation. The delicate balance is exemplified by each individual musician, treading the tightrope between proficiency and humility remarkably well. On “The Gutted Stag,” drummer Liam Weedall meticulously works his snare drum during a tense moment that could have easily turned into chaos. Rudiments your high school percussion teacher could have taught you, utilized for a much greater purpose.Read the full review at prog-sphere.com
Lasting over one hour across 13 tracks, ‘In The Name Of The World Spirit’ will be definitely a must-have for all those who are into progressive metal with ethnic influences. This final chapter of the trilogy is a bridge between the western and the eastern cultures, besides a huge step towards a top-notch production. The balance between the instrumental parts and the vocals are now improved, while the ethnic arrangements are driven by the magnificent Weza Meza Choir ensemble from Congo. Once again, thanks to the massive choir section, ‘In The Name Of The World Spirit’ sets a new standard into the so-called “Gospel Metal” scene.Media/Samples
A positively delicious album brimming with the treasured hallmarks of the genre, the foursome... marry the sound and feel of past greats with a modern edge, and manage to produce an appealing symphonic blend that feels familiar, but not stale. All of the aspects we love are here: the twists and turns, the dynamic arrangements, the compelling melodies, and oh my, all those vintage keyboards… simply glorious. Purists will also take comfort in the fact that the words are sung in Italian, and truth be told, that’s as it should be. There is a natural passion to singing in one’s own native tongue that cannot be replicated when delivering (or in some cases, awkwardly stumbling over) translated lyrics.Read the full review at velvetthunder.co.uk
Wax Machine are an ever evolving, ever changing cosmic force – and this album proves that they have their feet in the door of many eclectic avenues; the fusion of tropicalia, krautrock and ‘spiritual jazz’ is apparent through every song. Lau Ro’s guitar sometimes sounds like it’s wandering off into a mossy palace of psychedelic wonder, but Isobel Jones and her delicate yet sumptuous flute dances through each track, bringing us back to a strange reality with the help of Toma’s earthy yet fluid drum grooves.Read the full review at moofmag.com
“The Goddess With Child” is a mysterious, ritualistic album. It sounds as old as the land around us, but somehow fresh and revitalized. The album starts well with three primarily acoustic tracks, but really gets going with the three part title suite. This multitrack song is haunting and laden with secrets. You can feel it in the glorious vocal harmonies and rising melodies, almost inviting you to come and experience the wonder of its story. It’s a fantastic song, to say the least.Read the full review by Jason Spencer at theprogmind.com
...the album is like a heady mix of Infinite Shred, TWRP, and Adebisi Shank. Yeah, I invoked the name of the great Adebisi Shank here and it is more than warranted; just listen to tracks like “Produce” or “Meats” and tell me you don’t feel that Adebisi wildness coursing through your bones. Add to that the rich synth tones of “ANNOUNCEMENT 1: Our Associates” and its spiritual successor “Floral”, a whole bunch of crazy guitar stuff like the solo on the aforementioned “Meats”, the irreverent samples which call to mind that TWRP reference, and you can start to get a glimpse of the unbounded energy of this album.Read more by Eden Kupermintz at heavyblogisheavy.com
The album revolves around friendship and its ability to get us through anything including war, with the concept centring on the literary friendship formed between J.R.R Tolkien and C. S Lewis between 1931 and 1949.Media/Samples
‘Birth’ follows and it encapsulates everything great about this band in a six-minute package. The driving beat from bassist Frank Strokap is like a pulsing heartbeat that works well with Robert Spaninks’s drumming to drive the track on with energy and purpose. The lead guitar melodies over the top are catchy right from the off and the whole thing has a cheeky, irresistible groove. Naturally, Sander Heerings’s synths are all over this song, but they never remain static, changing guise, from sweeping vistas to tinkling piano notes. The verses are a more minimalist affair with just the bass, drums, synths and Ketelaers’ vocals, which suit the soundscape down to the ground, being mellifluous yet strong. The chorus is simply gorgeous, as the guitars re-enter, providing further texture and some welcome power. This is rock after all! Naturally, there’s a lead guitar solo or two, as well as twin guitar harmonies that give me chills.Read the full review at manofmuchmetal.com
During If You See Me, Jevtović extends and arguably perfects a style that mixes western jazz fusion with Balkan folk music. Previously, there were colourful hints and subtle suggestions of this style in Jevtovic's No Answer and _Live at Home releases. However, his artistic vision to amalgamate progressive jazz fusion with a taste of the Balkans is fully realised to great effect in this album.Read the full review by Owen Davies at dprp.net
