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I’ve been reviewing The Bardic Depths releases since their debut album in 2020. Their sound has changed somewhat since then, but the concept is essentially the same. Brad Birzer helps write the lyrics (this time based on his book Mythic Realms), and Dave Bandana helps with lyrics and produces the album, in addition to providing vocals, keys, bass, and orchestrations. The band also consists of Peter Jones on vocals, clarinet, and saxophone; Gareth Cole on guitars and vocals, and Tim Gehrt on drums and vocals.
Let me put this to you straight: if you like the warm sounds of retro Prog rock, similar to bands like Big Big Train, then you will love this. The vocals are a team effort, though Dave and Peter are the primary vocalists and do a splendid job. You’ll appreciate the keyboard wizardry on display, the prominent bass, and the excellent guitar solos. I won’t lie and say it is something unique, but it is done very well and the more I listen to it, the more I catch the hooks and the lyrical rhythm. Also, Robin Armstrong of Cosmograf mixed and mastered it to absolute perfection—seriously, more bands need to hire him in this role.
I’ll say that this is probably their best album to date, as well. I liked the debut, and that one is still a different beast with a highly electronic character. Their 2022 album Promises of Hope established their current style, and had some truly memorable moments. What We Really Like in Stories dials the nostalgia up a few notches, and produces some great hooks, too.
I think my favorites are the title track, which really connects with me lyrically for some reason; the instrumental spunk of “Vendetta” with Peter’s sax playing a great role; and the closing piece “Whispers in the Dark” that feels a bit shadowy and mysterious, and again saxophone really elevates it. In fact, I’ll say that the jazzier the band gets, the stronger they get. I think classic prog rock fans will really enjoy this one.
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Last year I reviewed Drifting in Silence’s Timeless album, one I still listen to on the regular. Back so soon, the project released Winters Past in February, and it’s just as good. The project is that of Derrick Stembridge, who is well known in this ambient genre.
Yes, this is pure ambient music. I guess you could call it New Age, though this particular album is darker than that genre typically offers. This, then, is all about texture and serene soundscapes. The album has a murky celestial tone, one that feels spacey and comforting, but also wreathed in shadows and dark nights. It isn’t gloomy, but it also celebrates the gloom, if that makes sense.
Winters Past has some great tracks. The opening piece is “As the Last Leaf Falls”, one of endings and darkened beginnings, almost like a horizon of familiar doubt is approaching. I love “In the Stillness” for its hovering and patient tone, and also “Shimmering Memories”, which feels like introspection in the cold void of winter; and is, of course, a metaphor for what happens inside us at times. I think that one is my favorite. The title track is another highlight. It closes the album with a brighter personality, like the dawning of light and life. As with most ambient music, quiet your mind and listen to the whole album in one sitting; I like to imagine the stream of consciousness that played through the artist’s mind, as that is basically how this type of music is created.
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Sol Levita released their debut EP Prevalece in February, and it really something quite interesting. It isn’t often where music takes odd turns to the point where I stand up a take notice immediately. The band hails from Costa Rica and includes Jose Acuña on guitar and vocals, Juan Pablo Calvo on guitar, Kevin Montenegro on bass, and Marcos Novoa on drums.
I think I would call this style post-metal, though it has an atmospheric and almost shoegaze quality to it. It has some heavier portions, and the rhythm section is very strong, so it isn’t as abstract as some in that genre, but it certainly uses metal in interesting ways. At times, the riffs feel like they are moving backwards, or they are introduced at odd moments, but they always maintain groove and are always terrific.
The EP has three songs. “Fasma” opens the EP with darkness, weird riffs, and spacious vocals that hover in the background mostly. It takes a minute to get going but takes some interesting turns soon enough. “Hera” comes next, and is heavier and driving, well, at least until the electronic beat hits in the middle and the song turns into a wonderful fusion of soundscapes and plodding riffs; it closes with towering shoegaze glory. The closer is “Mave”, and it might be my favorite. It feels like an ambient piece that someone took, adding fascinating riffs in perfect spots, stopping to allow the piece its magnificent and beautiful aura from time to time. It offers a layered and cinematic finish that really sells the EP. I’m quite looking forward to what this band can conjure in the future.
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This is a difficult album to review, so I have a ton to say, but also not that many words. Candacraig is Sharon Cummings and Martin Nicholls of the UK, and their style hits some truly nostalgic notes. Their album Lit by Lightning released in February.
How do I describe this? I wouldn’t call it progressive “rock”, as it is quite reserved for the most part. It has folk character, but it’s not really folk music, either. You could call it experimental or progressive to some degree, but it also shares DNA with 70s soft rock. It’s almost like Renaissance and Fleetwood Mac had a baby, and they named it Pink Floyd. The guitar work is mostly acoustic, but electric guitars are brought in for effect and for some truly great solos. Sharon’s vocals are golden and passionate, and many of the songs hover upon her vocal exercises before slowly and surely adding layers until, before you even realize it, the song has become a flowing river of melody and various colorful sparks.
I’ll admit that Lit by Lightning is one of those albums that may have benefited from some self-editing, maybe shortening some of the tracks so that they build and flow a little better. But I will also say that I really enjoy this record, and I can’t even explain why. Something brings me back; maybe it’s the nostalgia and memory imprinted upon it. An example of this is the two part “Gliding” that opens the record; Sharon drops the names of various musicians, and it seems to be a “now it’s our turn” sort of vibe that feels good and confident. It’s a great sample of what the album offers.
There are various highlights. “Last Transmission” is probably my favorite; it is something of a slow burn as Sharon sets the stage, but soon light and melody filters in to make for a beautiful and arresting second half, and the guitar work is wonderful. “Autumn in New York” and “Crow Harvest” are two more good ones; the former is full of memorable and imagery, and the latter is darker and more matter-of-fact in its steady beat and groovy bass line. I should also mention the instrumental “Electric Meat”, which has a very cool groove that is split into the opening and closing, with an ambient portion in the middle. Overall, the album has some gems, and I think it’s worth a look.
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