Issue 2024-083
Bantar — The Heat Is Exhausting
When three people from a band you really enjoyed start a new band, what does that mean for the first band? Three people who founded the band Semistereo now have started Bantar: drummer Marcel van de Graaf, Martijn Weyburg (guitars, bass, keys), and Frank Weijers (guitars and keys). I reviewed an album by Semistereo and really liked it so bought several others after that. I don't know whether Semistereo is on hiatus or finished, but let me see whether Bantar are an actual new band and offer something new.
Short answer: yes. Different style and all instrumental (save a couple of samples and digitised voices). I have quite a collection of instrumental music already so that does not bother me at all, on the contrary to be honest. The new style: full-on post-rock. That in itself is not new, so with a lot on offer under that banner, will this album stand out in the crowd? Short answer again: yes!
On the list of possible influences the band members mention themselves, I see a lot of names I like. Mogwai, pg.lost, Red Sparowes, Mono, Oceansize, The Ocean, Alcest, Russian Circles. I guess these are the usual suspects when you move in post-rock circles. But there is also Opeth, The Cure, Radiohead, King Crimson, Portishead... Quite a broad spectrum, with a tendency towards the darker side in music. Well, what's not to like?!
Many of those influences can be traced on this album. But it cannot be more than just traces if you want to stand out. What really makes this one so good is the emotional level of the songs. Almost everything cuts right through to the core. To my ears, this is on par with the beautiful sound of Mono.
Another element is that the drumming is majestic and is allowed to take up its space in the sound and final mix. Cool to hear little things like the typical post-rock guitar playing being audible but overwhelmed by the contrasting groovy rhythms. This adds a bluesy, psychedelic feeling that is quite rare in the genre. The progressive part that had a big part in Semistereo is also represented, which can be heard in A Sense Of Purpose, among others. An excellent cauldron of influences brewing a gorgeous elixir, brought from the heart. That's what I mean by standing out.
A large part of the album is on the heavy side, which is what I really like. Some parts are touching post-metal. The Wrestler reminds me of Toundra, for example, which is high praise in my book. Only a few sections are on the cinematic side of the spectrum, which is good because too much cinematic sections have ruined post-rock albums for me in the past.
This is simply one of the best post-rock albums I've heard in a long time!
Consider The Source — The Stare
Eyes fixed lips pursed the expressionless stare said it all, but as the music began, the pulsing of the throw rhythm limbs told another story. The swirling yowl of the guitar demonstrated a twisting ability to transport listeners far away from life's puzzling maze.
Indeed, Consider The Sources latest release has the power, skill, and creativity to do just that. It is easy to become immersed in its glorious array of melodies, powerful riffs, and intriguing fusion of East and West. It is probably the bands most accessible release to date. However, despite some impressive stay in the memory hooks, it is at times certainly the bands most forceful, and potent album.
When it is raucous and disturbingly strident, it powerfully rattles and shakes everything in its path. Somehow the band have perfected the art of containing tender interludes and rock raw passages with exotic hints of discordance into the structure of a single tune. The opening piece Trial By Stone is a good example of this.
Trial By Stone combines elegant slow-paced passages with bubbling interludes which are characterised by the wail and yowl of a raft of distorted guitar effects. Bulbous bass strikes adorn and fill the spaces. These drive the piece in forceful bursts. This fantastic opening piece is by turns mellow and frenzied. It excites and satisfies and that it works so well, is testament to the bands virtuoso skills. Nevertheless, Trial By Stone is a tune that displays all the hallmarks of Consider The Source's readily identifiable style. It could not be mistaken for another band. Indeed, the main motif of the piece would not be out of place in several of the bands previous releases.
I have often enjoyed the band's output and have had the pleasure of writing about their work on a few occasions: World War Trio and You Are Literally A Metaphor.
The Stare is probably their most consistent album yet. Whilst in my view it does not exceed the standards set by You Are Literally A Metaphor, it almost does. It's short running time of over forty-three minutes, rather than the seventy-three minutes of Metaphor, ensures that listener fatigue does not set in. The compelling and immersive nature of the five tunes on The Stare are captivating and offer a great way to disengage from everyday pressures.
The Stare is the first Consider The Source album to use an outside producer. David Prater is probably best known for his work with Dream Theater's Images And Words, but he has really left his mark on The Stare. The quality of the recording is superb . It is probably best heard at a volume that will leave neighbours, sighing in disbelief, gesturing in disdain, and knocking at your door. (Tip of the day; use headphones if you want to maintain the good relations you have spent years working on.)
I Can See My Eyes builds slowly, and has some lovely melodic qualities, which superbly highlight the expressive tonal qualities of Gabriel Marin's fluid guitar style.
Mouthbreather must surely be the most forceful piece the band have ever created and performed. It crosses genres with ease; mixing electronic effects, metal styling, virtuoso playing, frantic riff-soaked guitar bursts, deep toned burping bass lines, pulsating rhythmic interludes and Eastern influences into a swirling cauldron of energetic instrumental fusion. It is simply fantastic.
However, my favourite piece is probably the rendition of Matt J. Darriau's New World Čoček. It is brimming with Turkish influences and Marin's synth like guitar sound squeals, swirls, and sings. The other band members also excel and are given many opportunities to express themselves. As the tune briefly settles into a slower pace in its middle part, the amazing talent of bassist John Ferrara comes to the fore.
Ferrara really is on fire throughout the release. His idiosyncratic bass style is so important to the overall sound of the band. Whilst Marin delivers, the melodic themes of the music, Ferrara's driving and energetic embellishments pulsate creatively with virtuoso flair. Drummer Jeff Mann is the perfect foil for Ferrara and The Stare gives him many opportunities to play with gusto and exhibit vast amounts of skill. However, when the need arises Mann is able to strike his kit with gentle subtlety.
The album ends in an impressive manner. Preemptive Vengeance begins with layered cinematic effects and tapped bass tones. Its main motif delivered by Marin's effect driven guitar tones soars and floats to deliver a memorable caress. However, it is the percussive nature of bass that probably leaves an enduring effect as the tune ends suddenly.
Overall, The Stare is a fine album and if you like instrumental fusion that has both subtlety and aggression, then much of it will appeal. If you also like music that fuses aspects of western music with Turkish, Arabian and a plethora of other world music influences, then The Stare will no doubt fit the bill.
At the albums conclusion, my weary, foot tap limbs and open-mouthed happy stare said it all! It is undoubtedly one of my favourite albums of 2024.
Klone — The Unseen
A band that by now, should need little introduction — Klone have been on the go for nearly 30 years now (albeit it originally as Sowat), ever evolving through their style of prog. Combining elements of rock, metal and alternative into their style, they have been a present force for a while and have since released their 10th studio album, The Unseen.
Interlaced starts off: a steady, medium paced track that hints at their heavier past, but remains apart from it. It builds and grows, with overlapping layers as it thickens with rousing passages to keep the tension and excitement increasing. Initially, The Unseen continues with a slower speed, but kicks it up a notch a bit with some nice heavy, jagged riffing to lead us to the outro, bringing back a touch of the fire they had 20 years ago.
Magnetic swings in with some standard prog rock motives, but the drums help to keep the vibe going. This one almost sounds like something Porcupine Tree would do, to the point I had to double-check Gavin Harrison wasn't on it, as the drums are stylistically very similar. The hallway point is marked with After The Sun. Another medium paced number, driven by Enzo Alfano on the bass mainly alongside Yann Ligner's vocals. Unfortunately, though, as the 4th track in a row at a similar pace, it is beginning to drag a bit.
Desire Line marks the start of the second half. A bit more groove is shown here, with Alfano still providing much of the pathway for the music with his superb playing. We get a bit more edge here with chorus like areas, as the guitars take a slightly darker tone and an almost jazzy feel to the verses. Continuing the theme of going nowhere fast, Slow Down saunters in no hurry with hints of old-style cosmic rock to it. Finally, we reach the closing track Spring. Despite the drums remaining in no hurry, the guitar work helps add some enthusiasm and recalls Anathema during the mid 2000s. Simultaneously tranquil and dark, it shows what they can do when they out their mind to it. It evolves well as it continues, gaining momentum and getting darker as we go, before fading to silence and leaving us with a Pink Floyd styled minimalist outro.
Much like my thoughts on Meanwhile, their previous release, I found this one quite repetitive throughout. Which is a bit unfair, as individually, much like their past releases, the individual tracks are great by themselves. But here, the similar pace, similar vocal patterns and overall "safe" sound lacks bite to really grip and keep you hooked. Personally, I feel like they could do with an injection of the metallic fire they used to have to mix things up a bit and shake them out of the slow and steady tempo they have.
Fans of Porcupine Tree, Pink Floyd, Caligula's Horse or Riverside will likely enjoy this.
Lighthouse Sparrows — Dark Matter (alpha) / Dark Matter (beta)
Finnish trio Lighthouse Sparrows (a close contender for the ultimate prog band name along with Submarine Silence and Sky Architect) is back after their debut LP Aerials, rather favorably reviewed by Theo. To cite their credo, the “Sparrows” describe themselves as a mixture of “traditional prog, 80s deep pop, cinematic soundscapes and modern production”. This time the band made a rather surprising move by emphatically releasing two EPs instead of a full-length album, within first five months of 2024 (yes, it took quite some time to reach the reviewer). Nonetheless, the EPs are united not only by title and cover art, but also by sharing the same narrative, with the first installment tracing the protagonist's journey to depression and the second giving some light at the end of the tunnel for his dire condition. Concept albums long ceased to be a hot topic in prog world, but sequences of concept EPs are rare species indeed.
Looking at the cover, it shouldn't be a hard task either to figure out the style adopted by the trio circa 2024. Sparrows play rather bleak and atmospheric prog rock, tinged with distinct trip-hop flavor, that I prefer labelling “urban prog”, with apparent influences from all the usual suspects, listed by Theo. In addition to those, I would add as referrals a couple of bands from Poland, namely Votum and late-career Quidam, and some lesser-known projects like Abigail's Ghost and American Hollow (no longer active, apparently).
So, brace yourselves and prepare to grow sad! This is also, basically, my problem with the material coming from the band. It comes a bit too bleak and lackluster to my taste, only emphasized by the restrained (both emotionally and octave-wise) vocals, slow dynamics (for most part) and harmonies that Gazpacho might keep off their releases for being too mirthless.
On the positive side, the band makes regular forays to the neighboring territory of neo-prog (for instance Soil from the first E.P. and Surrogates from the second one), adding soaring solos and acoustic passages, which gives an extra dimension to their compositions. The closest comparisons from my listening experience would probably be Black Plastic Sun by Abigail's Ghost (I didn't particularly like that one, either) and A Profusion Of Thought by Antimatter.
Especially the opening Phases evoke memories of Mick Moss' works, while the subsequent Pale Waters lean to the trip-noir-jazz style of Italian Fjieri and NoSound. From there on, the music style rarely gives any surprises, and neither does the compositional approach, remaining in the same pattern of harmonies and sound effects. Dent de Lions has, admittedly, the most pronounced melody of all tracks, while the closing numbers drift back to – already familiar – abstractedness of the previous material.
Dark Matter might please fans of all the above-mentioned musical projects, but will unlikely gain a lot of response from wider groups. Nevertheless, if you feel you are a target audience to this, give Lighthouse Sparrows a try.
Shadow Matter — All This Power
"Progressive up to a point, and oozing rock - with a capital R!"
This quote and the "absorb this thoroughly if you like your progressive alternative rock hard" statement, both taken from my own review of Shadow Matter's eponymous 2018 debut, perfectly sum up the overall experience of All This Power too. Although this time around I have to typographically change these words to BOLD. Because after six years of silence, several of which obviously endured during Covid, the fiercely heavy All This Power hears Shadow Matter power up on all fronts.
And they don't waste anytime in proving this, when following the album's short and industrial introduction, the album truly starts with The Earth Is Not My Home. Once again provided with richness of arrangements and a befitting dark and dynamic production that balances out all instruments, this combustible compact composition instantly blows ones alternative rock socks off with howling guitar and a thunderous rhythmic foundation made out of steel-reinforced concrete. Heavily grooving with intensity and enticingly skilful executed powerful metal in spirit of Tool meets ENMA, to which Jeroen Herlaar's pounding bass brings a solid Lemmy (Motorhead) drive, this exceptional song in my mind is the perfect Shadow Matter introduction that simply has it all.
And more! Because in form of vocalist Gerben Gerrit Verhaar, also lyrics, Shadow Matter have aces up their sleeve to bankrupt a casino. His mightily expressive and exceptionally powerful tonsils of gold over the course of the album show an impressive versatility which overall envisions a Bono on steroids. Something the contagiously catchy and beautifully construed Oh Mary fully strengthens thanks to the songs immaculately energetic U2 vibe. In this no-holds-barred composition I also detect a hint of David Bowie in his voice, which makes it all the more appealing. Add to this composer's Remco De Jong's wall of delectable guitar that forges its way within the melodies of the straight-to-the-point and not-a-note-too-many composition, and the short conclusion is that we have another winning composition on our hands.
Both Useless Vessel and All This Power build on this and showcase enticing U2 similarities combined with groovy alternative metal-like structures and dexterously tight drumming from Johan van den Berg. In combination with catchy chorus designs and excellence of guitar work intricately submerged in the relentlessly driven multi-layered melodies this yields thrillingly complex compositions which are exponentially more interesting than what Bono and his associates ever managed to immortalize on record as far as I'm concerned. The fact that De Jong's guitar play in the aforementioned Useless Vessel and the meticulously flowing restrained breather of No Wolf's Breath furthermore brings prime Queensryche magic to the table makes it even more worthwhile.
Exiting with the powerful Disconnected in almost exactly the same infectiously impressive way as how the album so intensely spirited began, there's only one downside to the album. Namely, its fairly short 32+ minutes length. Although this ultimately turns out to be a brilliant strong point as well, because this is precisely the amount of time it takes me to travel to work. Or multiplied by four equals the hours of needed driving to catch Shadow Matter on stage at the Progpower festival in Baarlo. Wishfully thinking that is...
The overall conclusion after all this is that Shadow Matter have brilliantly upped their game and with the thoroughly convincing All This Power have released a delightful dark masterpiece that begs for more. Fans of alternative progressive metal in style of ENMA, TOOL, Armed Cloud, but also Alice In Chains and Pearl Jam definitely have to check this formidable heavy Rocking effort out!