Issue 2024-069
Here at DPRP towers, we frequently receive some interesting albums that whilst not strictly "prog", would be of interest to many of our readers. We sometimes receive albums that have been released in previous years. Also, with so many albums submitted, it is not always possible to find a writer with the time to give every release our usual in-depth review.
So how best can we still bring you news of such releases?
This is an edition of Prog Bites. Each still has all the usual album information and links to samples and videos (where available), but the reviews are much shorter, and we do not award any score.
We hope you will find some great music that you think deserves further investigation.
Xavier Boscher — Live Among The Stars
Recorded at a one-man show in Nice in November 2023, Live Among The Stars is the debut solo live album of otherwise very prolific French guitarist Xavier Boscher, whose Bandcamp catalogue counts to more than 40 studio releases (growing annually at least with two new positions). If you are familiar with Xavier's style and like it, you probably can fathom the contents of the release without my review. If you are not, here's a short introduction: Xavier plays instrumental guitar-based music in between neo-prog, space rock, with inescapable influences from the likes of Joe Satriani and touches of djent. His style is mostly focused on melodic phrasing rather than shred soloing, so it's quite accessible to wider audience, and not really challenging in terms of compositional complexity. The harmonies he uses are quite traditional and ear friendly. Apart from the guitar and pedal board, all the other instruments are digitally played, there is no backing band.
In compiling the program, Xavier centered his track choices around recent releases from 2021 to 2023 and played them, albeit with some cuts and editions, quite close to the original. As a result, the set contained few surprises, with the sole exception of the penultimate track Alpha Centauri, with extreme metal drum blast beats, clearly aimed at awakening those who drifted high up to the stars during the previous performance.
The 40-minute set does not contain any new material, which would make for a challenging task to rate the release competently. Both for the live audience and remote listeners this could be a good visiting card presenting Xavier's material. If you like what you hear, check the rest of the discography and reviews by fellow DPRP team members.
Conveniens — Conveniens
Behind Conveniens one finds the Chicago-based duo of John Mazz (drums) and David Sterling Smith (synthesizers, piano). Active during the 80s they in the years 1984-1987 managed to release three consecutive albums, of which the here addressed Conveniens was their 1984 debut.
Remastered and expanded in play with a closing four minute interview drowned in psychedelic reverb, Mazz & Smith on this debut explore a musical underground that is rather hard to pinpoint. An aspect that is undeniably underlined by the accompanying "reviews of old" press statements, through names like Dave Brubeck, Devo, Weather Report, Gary Numan, and Captain Beefheart. In light of Mazz & Smith's instrumental mastery, the most befitting combination might well be the also hailed "indie equivalent of Patrick Moraz and Bill Bruford".
Don't expect the instrumental songs to reflect and resemble anything along the sounds of Yes or King Crimson though! In regard to the free-form jazz influences experienced at selected times (Morning Lobotomy, Dhrum Rum, Blink), Bruford's Earthworks probably comes closest. But still by a fair mileage, because Conveniens frequently like to throw their listeners into a new-wave deep end.
Clinging to the first thoughts that come to mind (often the best ones in my experience), Know It Ain't leads to upbeat rhythms and synth driven melodies that provide small glimpses of The Fixx and The Comsat Angels. Not for long though, for halfway through Conveniens just as easily manoeuvre away from these glances to further indulge with a splash of hypnotic spaciousness and avant-garde improvisations that shy away from melody.
Rain Kite has clinical basic drum sounds and psychedelic electronic experiments. There is some easy-listening piano on Afrisha'nki that shadily glows with cinematic Humphrey Bogart appeal. We get an added touch of E.L.P. on acid on Regular grind. And gamely play in rhythmic beats and synthesized sounds that evokes 80s Ballistic / Arkanoid nostalgia in Barney Klark. It finally becomes perfectly clear that Conveniens' debut is as eclectically unique as it is challengingly out-of-the-box progressive.
Therefor all in all recommended for avant-garde enthusiasts to explore with open-minded caution.
Coveniens — Victims Of Convenience
Two years after their eponymous 1984 album, Conveniens presented a follow-up in form of Victim Of Convenience. Credits now read John Mazz - drums, synth tapes improvised then structural arrangement, and David Sterling Smith - synthesizer, piano, structural then improvised arrangement).
In line with their debut, the music is again suspended in avant-garde jazz-inspired electronic spheres (Geomosgadowdive, Salmineo, Diyddiyd). Or like last time splashes freely about in electronic new wave forms with robotic tightness of drum patterns (Victim Of Convenience, Onn (Ond)). This time though, the compositions are less challenging as a whole and nostalgically surrounded by familiar sounds that on the one hand speak to the imagination. And on the other hand, in a strange peculiar way, ensure balance and foothold.
Clearly speaking for themselves are the romantic Piano Piece and Cigarette Trick, which hears Conveniens conveniently exhale swirly EM tunes adjacent to those of Yello and crafty Kraftwerk pop. Commercial Dance Song (presented in two versions) is also a relatively easy example. Mainly thanks to the typical 80s sound. Awash with synths and tightly sequenced beats, it gives the impression that Nena has invited Jan Hammer for a spin.
Intriguingly more demanding but still firmly striking the imagination are Industrial Mylasia and Pidgieon Memory. The former convincingly reminds of a factory in full production thanks to wobbly steel vibrations and a robot-driven machinery of rhythms. The latter's experimental soundscape indisputably conjures up memories of pecking doves that have a feeding frenzy at their loft located on the Marco Polo square in Venice.
As for the final two bonus tracks I'm rather left in the dark. Apparently Tonsure refers to the authentic haircut of a monk. There's however nothing truly spiritual to be detected in the song's gloomy alienating experimentation. Which is also the case within the free-form jazz improvisations of Nellimonk. Although this song does make certain sense when one knows it to be dedicated to Thelonious Monk's wife Nelli.
All in all Victims Of Conveniens is a big step up from the duo's debut. Suitably balanced in tuneful melodies, recognisable structures and improvised undefinable pieces it also shows a fine upgrade in sound. And out of the two this is by some distance the easiest one to approach for a progressive rock orientated audience.
Conveniens would go on to release a third album Clear in 1987, followed by a posthumous 1992 release of rarities and remnants titled AT. Whether these will also be granted a reissue is a question only the future will answer. Or perhaps the duo themselves, if you email them.
Crypto Knight — Four Fables EP
Crypto Knight (hopefully nothing to do with cryptocurrencies) is a duo of multi-instrumentalist Dave Johnson, and Tim Malugin, responsible for lyrics and vocals. Self-described as a mix of neo-prog, electro rock and art-rock. Dave and Tim have been active since 2022 and the result is surprisingly prolific with three albums already released and the fourth one due to see light this August. Four Fables E.P. therefore serves as an appetizer for the forthcoming release, logically featuring four tracks packed in 16-minutes short ride. Two tracks are new ones and the other two are remixed versions of their previous songs.
I rather liked the last track, Down To Earth, sounding somewhat close to Cosmograf, Fish On Friday and Legacy Pilots, and the three first tracks left me more or less unimpressed. Music is quite creative, but not precisely to my liking, just on the level of ideas and harmonies. The vocals are too loosely mixed with the musical background for most of the time, and while it's fine for a demo – I am sure that most of the listeners would prefer a more thoughtful sound engineering approach.
There's too little new material for me to rate this release properly, so I'd rather wait for the full-length album to make my mind.
Sorboses — Sorboses
Another new name from Norway, comprising members of burlesque prog-rock band Procosmian Fannyfiddlers (DPRP has seven reviews) and doom-laden prog band Mater Thallium (two reviews) going in a pop direction.
Pop? Nah, with a heritage like that you can't go pop. However, it does sound very different from where they are coming from. We're in alt-prog territories here. The atmosphere is mostly dark with a large role for acoustic piano.
In some cases I was reminded of Shades Of Plato, who are in the same atmospheric area but come from a different direction. The frantic Life's Discord comes close, though.
The beautiful Pro Tem allows me to imagine how a band like Within Temptation would sound when playing acoustically or at least without orchestral symphonics. Bluesy undertones are omnipresent but come to the surface on Vigil. A background of symphonic prog comes to the fore in Blackville.
The enchanting vocals by Karin Baadsvik are cover a wide range and float between dreamy and emotional.
Mix and production are excellent. So many details are clearly audible in the blanket of beautiful melancholy these songs are wrapped in. Although the sound of the piano and vocals reminds me a bit of what I've been hearing a lot lately (slow and dark, piano, cello, acoustic guitar, girl on vocals), it is impossible to label this. An unexpectedly beautiful album, perfect for closing a night with a whisky and headphones.
In line with the origins of their respective bands, it is again hard to find any information so the Bandcamp page is your way to go. The album is available as digital album but also on CD.
Yobrepus — A Rhizome Revolution - Part 1
Three years after their sophomore album Mycelium Days, Norwegian band Yobrepus release their third album. A relatively short one, but when you take a look at their Bandcamp page you will see that the album's counterpart, Part 2 will be released together for the digital release. The duration is perfect for a vinyl release, of course.
The opening minutes were quite unexpected when compared to the overall mellower side of prog where Yobrepus usually venture. Contemporary cross-over prog, but laden with almost industrial power. Alternated with ambient sections, it would fit a soundtrack for a near-future world nearing an apocalypse. The Enabler is in the same vein. It alternates between very different sections, but in different ways, and takes more time to explore. This is harder to process, in a good way. Interesting and daring, modern and still emotional. Industrial prog, anyone?
Although short, Protozoa is not an intermezzo. It fits the previous two tracks in style and emotional charge, but it ends there. The other three tracks are much more mellow, poppy, with more acoustic sounds. Quite the difference. Firestorm has a beautiful and intense middle piece in a post-rock way.
The two "sides" sound like two separate parts, and they are hard to see as a single unit. I cannot think of a mood where I would play all 6 tracks, only the first batch of three tracks or the last three, depending on my mood. Will Part 2 do the same?