The progressive community is a puzzle to me sometimes. Bands are influenced by other bands, but that doesn’t mean those influences define them. Kolm is getting ready to release a new album on April 10th called Yūgen. Yes, as some have pointed out, they are influenced by Tool, but they are so much more than that.
Kolm comes to us from Los Angeles. They have one other album, called Umbra, which released back in 2018. The current lineup includes Giorg Yela on vocals, guitars, and electronics, Mikal Baker on drums and electronics, and Ben Taylor on bass. You will also hear Bee Born on guest vocals on one track, and JD WolfRobe on đàn môi & khöömei on the title track.
The band plays progressive rock with space, profundity, and electronic accents. Giorg’s vocals are crystal clear and melodic, Mikal’s drums are precise and terrifically performed, and Ben’s bass is the hulking monster upon which everything else happens. Yes, they have some Tool-isms on a few songs, but those always serve as a foundation, never the point.
Look, it annoys me when listeners write off a band for having influences. For some reason, if a band clearly likes Tool, they get written off far more quickly than if they are a Dream Theater or Porcupine Tree clone. I’m not sure why. This album from Kolm is much more than its basest inspirations, and is instead full of atmosphere, harmony, and cultural motifs that elevate it considerably, not to mention a very spiritual and hopeful lyrical quality.
Yūgen (the mysterious beauty of the universe) contains nine tracks and they are all wonderful. I will say that I prefer the second half of the album, though. In the first half, the Tool-isms are a little more obvious, but that doesn’t keep songs like the opener “Mycelia” from having a fantastic ambience and rock-solid writing. One of my favorites is “Olēka” (an understanding of how few days in life are memorable) with its bright guitars and lengthy opening instrumental. Another favorite is “The Reach”, one of the singles, with its heavier tone, lumbering drums, and smooth electronic interlude. The first half ends with the ten-minute “Symbiosis”, a bass-heavy slowburn that features some terrific ambient portions and a satisfying ending with some great guitar phrasing.
The last four tracks flow so well together, though. It begins with the other single, “Ex Nihilo” and its riffy, commanding, harmonious character. Next is “Dés Vu” (an understanding that the current moment will become a memory), my absolute favorite. This piece is reserved and mostly just electronica and melody, with drums and some guitars for effect. It floats along with dual vocals, including guest Bee Born, and is incredibly beautiful, soothing, and dreamy.
The last two tracks keep up the feeling. “The Passing” plays like an interlude, but it is a three-minute work of art with piano and electronica, plus surreal vocals. I love how it leads into the titular closer perfectly. The final track leans into the guitars again with a circular rhythm, bringing all the elements on the band’s sound into utter harmony, with the addition of truly spectacular vocal shadows from JD WolfRobe. It’s a bold and gorgeous ending to the album.
Look, just because you can hear an influence doesn’t mean a band isn’t worth your time. Kolm have a wonderful blend of tones and concepts here, and I find the album potent, rich, and beautiful. I find I love it a little more each time I hear it.
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The PROG Mind 