Issue 2025-014
Actionfredag — Lys fremtid i mørke
Wind puffed waves, blue cloud sky patterns; balcony warmed music wafting. My smile said it all, as I pressed the play button and waited for the gentle tones of Lys fremtid i mørke to once again enter my soul.
I have always had a soft spot for music that is able to rekindle the joy that I first experienced when listening to the ethereal voices of the Northettes many years ago. The gorgeous contribution that singer Katrina Lenore Sjøberg makes to Actionfredag's latest album is able to awaken those feelings and so much more. I am often also drawn to albums that are able to evoke the type of feelings of intrigue and excitement that overcame me when I listened to National Health's Of Queues And Cures for the first time. Remakably, some portions of Lys fremtid i mørke were able to achieve similar reactions within me.
Each time I have experienced Actionfredag's beautifully constructed release, it has certainly made me curl my lips with joy. The album contains gentle tunes where sublime melodies are the key to its success.
The beautiful acoustic beginning to Cloudboy Blidbop is quite stunning. As a distinct contrast, the album also contains several tunes that duck and weave with incredible verve and unerving complexity. The intricate patterns and shifts on tempo and dynamics create an overall sound that is not disimilar to National Health.
The opening piece Angst oppå bordet is a fine example of Actionfredag 's use of contrasting styles. As well as National Health, its energetic and spontaneous feel had me reaching for comparisons with Alan Gowen's Before A Word Is Said album. All in all, Angst oppå bordet is a fantastic way to begin proceedings. It's twisted phrases and hummable themes are utterly compelling.
The beginning of Ja noir is equally fascinating, edgy and complex. The Phil Miller styled guitar distortion that dominates impressively in the opening minutes resolves skillfully and a gentler tune begins to emerge and develop. Later keyboards and a jangly guitar accompaniment create lots of space for the breathy and fragile wordless vocals to take the tune to a different place.
Planet Bygningsetaten is a happy piece. Its overall structure and atmosphere was not unlike something that Homunculus Res might have created. The tune certainly has that catchy jazz pop vibe that so many of the so-called Canterbury revival bands, such as Homunculus Res seem able to capture so well.
One of my favourite pieces on the album is Dalai Lama´s Five Dollar Mamas I. It is an upbeat tune that is draped in a smile inducing melody. Wordless vocals give it a delightful appeal and a floating touch of fluttering flute gives it another set of dreamy colours. Dalai Lama´s Five Dollar Mamas II is perhaps even more satisfying. It begins with a spiteful riff and a distorted wash of guitar. Many moods are visited during the piece. Aggression, discord, harmony and melody all have a part to play. I thoroughly enjoyed the contrasting parts of the tune, although I wish that the biting trilling flute parts had a more prominent place in the mix.
Lys fremtid i mørke is an accomplished album. I have played it regularly. Watching breeze fluffed clouds and silver crested waves. The sun lit music drenches the terrace casting musical shadows on the tiles. A grateful smile. The enchanting melodies of Lys fremtid i mørke says it all.
Culak — Ens Astrale
Out of the depths of Texas comes Culak, the one-man blackened folk metal band specialising in themes of “suffering, bliss, wonder” and others according to Encyclopedia Metallum. Having began the project back in 2013, he has since released 22 full length albums (this one released at the end of December 2024, at the time of publication of this review, his latest album Wayfarer already arrived late February 2025). Ens Astrale is described by the man himself as “primarily post-metal, but includes classical influences, as well as doom metal and tech-death styles”. Sounds like an impressive feat. So let's have a listen.
Gentle acoustics open up Earthborne for us as some choral vocal harmonies layer over it. Shortly after, the acoustics are replaced with melancholic distortion and blast beats, while the vocals switch to both clean and harsh ones. The Time Given weaves between minimalistic clean passages, and heavier, brooding bridges backed by harsh vocals. The death/doom styling is in full force for Elder as it slowly marches on, heavy and filled with sorrow as singular chords are backed by forceful and measured drums. The track is simplistic in nature, but leaves an impact. Petrified marks the halfway point – clean guitars and keys are all we have here, but it suits the title. Dark and desolate, it brings an air of discomfort and gloomy fear to the album.
Strings and piano introduce us to the second half with Under The Ancients. Here we are greeted by a storyline feel to the music, between the soft intro, to harsher verses and almost spiritual bridge. Brave The Tempest follows with a melodic black arpeggio before crashing and brutal riffs fire in and venomous growls lash out. Finally, Return closes us off with a culmination of all that has come before — soft key work, aggressive guitar riffs backed by harsh screams and intense drums, and somber cleans with lamenting vocal sighs.
Interestingly, the previous release I listened to, Dream Forge, was not one I enjoyed at all, but this one? This one landed right. The writing is tighter and fits together better, there is more melody and a better current of emotion through the music. The production and mixing aren't quite as crisp as before, but the quality of music is higher. Even the artwork is more catching. The main criticism I would have here would fall to the clean vocals. The harsh ones are perfect for the music, but the cleans could use a bit of work. If you like groups that merge atmospherics, bleakness and metal, such as Ellende, Eldamar and Agalloch, then you'll enjoy this.
Joe Deninzon & Stratospheerius — Impostor!
It took the band 7 years after their previous studio album Guilty Of Innocence but late last year saw the release of Impostor!. The band behind Deninzon is completely different from that album, and besides Joe (electric 7-string violin, acoustic violin, viola, chin cello, lead and background vocals), we now see Michelangelo Quirinale (guitars), Paul Ranieri (bass), and Bill Hubauer (keyboards), and Jason Gianni (drums), who only last month we mentioned because of his involvement in Everon's latest album. Quirinale, Ranieri, and Gianni have been part of the band for a while, as they were also involved in the highly praised live album Behind The Curtain - Live At Progstock.
The new album is (not unlike its predecessor of course) a mixture of many things found in prog and dances between fusion solos, neo-prog melodies, symphonic sections, and modern prog. Classic Kansas (so even before Deninzon started playing with that band) and even a bit of Dixie Dregs (not just because of the violin) are a clear influence in the busier parts and in several solos. Then some Saga and Marillion in the more melodic parts, and Spock's Beard in modern progressive arrangements.
Demanding in places, like Voodoo Vortex (Part II) with its changing time signatures and raging melodies, making a prefect opener for any prog album. While different styles alternate, the songwriting keeps things together instead of going for a patchwork of changes. The references come and go, while playing the musicians are making a nod to some style and then continue. Storm Surge is almost like a power ballad, laced with the voice of Michael Sadler (Saga). Powerful and emotional.
That playing from the heart is coming out in many places, even when it is a more difficult track like Frame By Frame. It makes for an organic feel of the album. Busy arrangements are not just technical, and involve progressive build-up, multilayered melodies, and goosebumps-inducing soloing. An epic track like Chasing The Dragon is expected to go many places, and it does, but the overall feel is mainly symphonic. Even though there are Kansas breaks and a Toto section, you'll find the emotional and reflective parts rule. And more awesome soloing, by a whole array of instruments alternating, over changing rhythms and time signatures.
I especially love it when multiple things are happening. A highlight is the title track, with the violin and guitar play rivaling melodies over a tight drums and bass foundation. Cognitive Dissonance has a beautiful ending with long solos over dual melodies. It's Deninzon's project but having these arrangements where all musicians have a place makes this a wonderful team effort and goes way beyond a solo album.
Production (Deninzon himself) and mastering (Rich Mouser) are excellent. It's hard to find a thing I do not like about this album! I hope we do not have to wait another 6 years for a new one...
Múr — Múr
The end of 2024 was a big year for Icelandic newcomers Múr. They released their first music, landed a record deal with Century Media Records, dropped their debut self-titled album, and enjoyed a tour with the superb Wheel. With big things in the works for them, including a slot at the UK's Incineration Fest this year, the band looks to be on a skyward trajectory. So let's see what the fuss is all about.
From the opening notes we are treated to a solid wall of post-metal. Deliberately paced, it thrums along as Kári Haraldsson's Icelandic language vocals soar over the top to create an atmosphere of cold mountains and scenic landscapes. This atmospheric and powerful aura is later shattered (in a good way) by aggressive chords and harsh vocals, bringing in some sounds similar to groups like The Ocean. Each number on the album has a slightly different feel to it. Although all have a hefty punch that holds you in place. It is heavy, aggressive and emotive, disconcerting at times and enchanting at others.
It retains the dark and oppressive sound that I've come to love from Nordic artists, and injects it with a modern sound from contemporary artists, culminating in something brooding and harsh but also catchy and even accessible to those with an inclination towards metal (although harsh vocals aren't for everyone).
Sadly, I have no favourite track, as each one is as good as the previous. Whether it is the soundscapes of Eldhaf, or the rolling, thunderous wall we get with Frelsari.
The only downside I can see with the album is that the bar is now set incredibly high for the follow-up. If they can reach it however, then it will be spectacular.
If you ever wished Devin Townsend to be a bit slower, harsher and sing in another language, then you would likely enjoy this. As would fans of Isis, Borknagar and fellow countrymen Kontinuum and Solstafir.
Philhelmon — Into The Mist Of Time
The tastefully AI-ed cover for Philhelmon's fourth album Into The Mist Of Time is an instant eye-catcher, with its Tesla-punk / clock-punk motives and somber ambiance, isn't it? The duo from the Netherlands consisting of multi-instrumentalist Henk Bol plus Ky Fyfer in front of the microphone rack, has already been a guest on DPRP pages, and I myself got my first impression of Philhelmon following Edwin Roosjen's recommendation back from a 2012 issue.
It took a while to get that previous album Enjoy While It Lasts to my player, as it was not easy to find, but when I did, I eventually ended up being somewhat disappointed with the material. With the impression still fresh in my memory, it was interesting to double-check it basing on the current release. As before, the record humbly features some esteemed guests, including Ton Scherpenzeel of Kayak fame and Mark Bogert from Knight Area / Magoria, plus musicians with whom Henk used to work in his previous band Crusade. Dedicated to the memory of Nick Oosterhuis, a prominent Dutch keyboard player, Into The Mist Of Time with its array of symphonic keyboards and moderate pace, leaves an impression of a fantasy lullaby soundtrack. There are very few moments of rock music here and, a lot of attention focuses on the narrative, which describes tribulations of existence in a dystopian world, in a half-concept manner.
Upon listening several times to it, I acknowledge that my problem persists. I am not really fond of the material. Its looseness and a-bit-too-verbose nature reminds me of Glass Hammer's discography at their very average, and to some extent of the bands' fellow countrymen Cliffhanger (due to abundance of synths). Some parallels can be drawn with Gandalf's Fist (in terms of storytelling and clock-punk atmosphere). While Gandalf's Fist have a firm place in my collection, I was never fond of the former listed projects, no matter how many times I approached them. Same can be said about The Mist Of Time.
There is almost nothing overtly wrong about the album, and it has its fine moments scattered across the running time. Many prog fans shall sincerely enjoy them. Chiming bells, female vocals, saxophone and flute, even ambient pieces – all this adds extra dimension to the record. But from my perspective the ideas laid in the foundation of the songs seem a little tedious, while the small bits that I actually liked almost never receive any development.
From a production point all the keys and vocal arrangements seem to fit in nicely, while the guitar parts, on the contrary, are recorded downright poorly. For instance, the guitar tone on the album's largest 15-minutes epic Dreams Without An End tortures my ears like a few black metal albums manage, and that's an achievement in its kind. Somewhat ironically, one of the most ethereal and drowsiest tracks on the album, Dreamtime, I happen to find also one of the most interesting from the perspective of harmonies.
In terms of quality, Into The Mist Of Time equals the previously recommended Enjoy It While It Lasts, so don't let the rating confuse you. It is simply that the two reviewers' takes on the music here are rather dissimilar.
Yenisei — Home
This is the third album from Polish post-rock instrumentalists and a follow-up to their 2021 album Reflections. The band spent 2022 and 2023 touring as their plans to tour in support of their first album, 2019's The Last Cruise were scuppered by the pandemic. Fronted by the dual guitars of Piotr Klamiński and Piotr Grobelny and backed by a solid rhythm section of bassist Grzegorz Cisek and drummer Michał Gawroński, the light and shade is provided by the keyboards of Rafał Piniaź.
In a departure from their normal modus operandi, the album includes one song (Insecure) with vocals provided by Maciej Kowalski of the band .Wavs. However, if this is an evolutionary step too far for any post-rock purists, the band has just released an instrumental version of the song as a single (and I have to say that I prefer the instrumental version of the song, not that Kowalski does a bad job, it is just that I think the band are a great instrumental outfit, and they have no real need for a vocalist. Perhaps it would have been better if they had kept the album as all instrumental and released the song version as a single?).
The album is relatively brief at just 35 minutes but what you get is of a high quality with a tendency not to overpower the listener with thrashing guitars. The group sound has a lightness of touch to it which makes for easier listening and a greater cinematic scope. The band are not afraid of incorporating different styles such as ambient and electronic sounds on We Are Saved and even a nod to Neil Young's Cortez The Killer on This Place Was A Shelter (although this may just be a coincidence, or my imagination!). The guitar interplay works well, particularly on A Walk In The Sky where the musicians support each other rather than trying to dominate each other. Forgotten probably has the most quintessential post-rock structure and is a jolly fine track to boot.
I would love to see Yenisei live as I imagine they would offer a cracking evening of entertainment given the strength of this album.