Multifeature: Jodie Hayford, Ok Goodnight, Nospūn, Netherhall

I’m trying to catch up on reviews, so these albums being part of a multifeature doesn’t indicate their quality. All four are actually solid or outstanding. Two of them show lots of potential, I think, and the other two are already living in theirs. Read on to discover some interesting bands.

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I don’t typically like to bring up a band’s influences, but when they are this stark, it’s necessary. Netherhall recently released their debut album, Process, on June 16^th, and it is more than obvious what band they want to emulate. That doesn’t mean the album is bad, though. In fact, it’s pretty good.

Netherhall come from the UK. They play an alternative progressive metal that is bass heavy and often ethereal in sound. There are many, many moments throughout that sound like Tool or A Perfect Circle; it’s apparent that they like Maynard James Keenan and his various bands. There is even a moment on “The Needle” that sounds directly lifted from “Schism”, in my opinion. It’s that close.

The album is a good listen, though, and the musicianship is pretty high. The band has talent, and I bet they can produce their own sound in subsequent albums. This is just a foundation for future success. Right now, my favorites are the melodic “Ruminate”, the aggressive “Musavada”, and the ambient “Equilibrium” plus the closer “Disintegrate” with its musing style and soothing ending. I think the band has plenty of ideas of their own, and I hope those come to the surface more often on their next offering.

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This is another album that has some pretty obvious influences. Nospūn comes to us from North Carolina; the line up includes Phillip Rich on vocals, James Nelson on guitars and keys, Cole Millward on bass and keys, Paul Woord and Raine Rumple on drums, David Frick on keys, and Alex Lapuente on cello. The concept album is called Opus, and it released on May 19^th.

I hate to cite influences for a band, but I’ve done it twice now in this multifeature. I feel there’s something to that, something that keeps me from fully enjoying an album if it sounds like another band too much. Anyways, Nospūn plays progressive metal/rock, and it’s quite obvious that they like Haken. I would specifically say they sound like early Haken, the first couple albums. If you know me, you know that Aquarius and Visions are two of my favorite albums ever, and so Opus gives me a shot of nostalgia that instantly makes me like it.

That said, the band is extremely talented. The rhythm section is terrifically engaging, Phillip’s vocals are deeper and honestly outstanding, the keys are colorful and brilliant, and the guitar work has a nice heaviness to it that the band uses to cinematic effect. There are plenty of quirky and squiggly moments throughout the album, and the band plays them up without making them annoying.

My favorites right now are the instrumental brilliance of “Implosion Overture”, the light and breezy “Dance with Me!”, and the down and dirty “Earwyrm”. I really like “4D Printing”, another instrumental piece with great keyboards, and also the 15-minute epic “Within the Realm of Possibility” that feels quite “Visions”-esque. Overall, I think this band has tons of potential, and Opus is a great start. I’m excited to see what they produce as they find their own sound.

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I’m having difficulty describing Ok Goodnight’s music. The band hails from Boston, MA, and their sound is quite diverse. Their new album The Fox & the Bird released on June 2^nd. The lineup includes Casey Lee Williams on vocals, Martin Gonzalez on guitar and mandolin, Martín de Lima on keys, guitars, mandolin, orchestrations, and vocals, Augusto Bussio on drums and vocals, Peter de Reyna on bass, and Elizabeth Hull on vocals on a couple tracks.

The band plays progressive rock that can get pretty aggressive at times, though it is also tender and soulful in others. There is an indie bent to their sound, too, that is common in the New England area. The album as a whole is diverse with many of the tracks titled after various animals. I like the simplicity of their approach, but the music is really technical at times when it needs to be.

You will find plenty of light and shade here. Some tracks are pealing prog metal affairs with drive and edge, and some are acoustic and melody-forward. You will hear lots of keys, especially, from searing synth to jangling piano. The band is intense on every track, though, and their skill is obvious. Casey’s vocals are terrific and all over the place in terms of how she uses them. This album is a lot to process, I will admit, but it only gets better as you let it gel.

Some of my favorites are the absolutely delightful title track, a mostly acoustic piece with a super catchy chorus and lots of heart; the aggressive and magnificent “The Snake” with its walls of guitars and crazy vocals; the instrumental electronic orchestrated metal of “The Nightmare” for being so damn cool, the hefty cinema of “The Bear” for its mystery and great chorus; and the heavy “The Crocodile” for its contrasts between gorgeous melody and dark guitar work.

One of my favorite segments is the contrasting duo of “The Bird” and “The Mountain”. The former is delicate and gorgeous and tender. The latter spirals into madness multiple times with harsh vox, deeply heavy portions, and just a general feeling of insanity. I also like how “The Rain” comes next and literally washes away the complex layers with its bright and beautiful serenity. These three songs are a great sample of the album as a whole. The entire album is a winner, though, and I’m looking forward to becoming even more acquainted with it.

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It was only last year that I reviewed the debut from Jodie Hayford. Her first album, Shale, was a psychedelic trip with guitar musings and freeform song structures. She’s back with her sophomore record, and it’s a bit different, but I like it more. Jodie hails from New York.

There has been a change of genre here, but not necessarily a change in style. Somatic Prosody is a lush, soothing album of ambient music. You won’t hear as much guitar, but you will hear plenty of bubbling electronica. Sometimes she throws in some sax or distant reel pipes, but the album is mostly a glassy, dreamy work with calming tones. It makes me happy when I hear it. That’s probably the best way to describe it.

I like all of the tracks, but there are some standouts. The short opener “Mizpah” has a concise and tightly executed electronic structure that feels strangely satisfying. “Into the Bushes” features some of Jodie’s guitar; it’s an electronic slowburn that gets groovy and sparkling near the end. “Glass Galaxy” is my absolute favorite with its crystalline textures, flowing and circular ambience, and squirrelly little harmonies and accents; that track could easily end up in my favorite songs of the year. I should mention the closer, “Shantih”, which has vocals from Jack Billet. Much like the rest of Jodie’s work, the song is quirky and endearing, and though fairly simple, it has a catchy hook and a ragtag sort of presentation that I like.

The album is overall beautiful and full of ideas. Jodie has really put more work into this one, and the results are fresh and interesting. I can’t get over “Glass Galaxy”, especially; it is one of the best ambient tracks I’ve heard this year, easily. If you are looking for something for a different mood, this might be it.