Album Review – The Weever Sands’ “Stylobat’s Travels”

Weever Sands Stylobat's Travels album coverThe Weever Sands – Stylobat’s Travels, 2020
Tracks: 1. Intro/The Breakout Session (3:29), 2. And Aphrodite Took The Veil (7:03), 3. Stylobat’s Travels (25:27), 4. Acropolis (The Big Wave) (6:12) 

Cologne, Germany’s The Weever Sands combine the album format and experimental playfulness of the early 1970s with what could be considered post-rock or ambient rock. To be honest, I didn’t quite get it at first, but then the other day I was listening to Gentle Giant and it hit me. The synth and organ sounds that predominate in Gentle Giant’s music are very similar to what I hear on Stylobat’s Travels, The Weever Sands’ sophomore album. Add in some flute and strong bass and you have the makings of a classically inspired progressive album. But this is stripped back. The music isn’t as heavily layered as you might get on a Gentle Giant or Jethro Tull record, and that’s by design. The band are also heavily influenced by Mike Oldfield’s idea of a “powerful miniature,” where the songs aren’t as heavily developed yet still stretch out into varying sounds. 

The album opens with some spoken word that sets the stage for a concept that is told primarily through music, the wonderful cover artwork and other artwork included with the CD, and promo notes telling me what the story is about. The band describe the concept as a story about a bat (Stylobat) in Ancient Greece who goes on a quest to find his sweetheart. Most of the album is instrumental, so you’ll have to use your imagination, with some help from the artwork, to see Stylobat searching for his beloved. 

The first two tracks most closely resemble what we would call progressive rock, but the 25 minute “epic” is most certainly post-rock, with all of the elements that might make up a layered prog song spread out and played individually. A splash on the high hat here, a symphonic tone there, a synthesized beep. Four minutes in and I’m beginning to wonder what’s going on. The first five minutes of that track are subtitled “Flatlined,” so the musical scene is apparently meant to be at a hospital bedside. Things pick up after that with the next section, “Stereobat,” but I would still label it experimental. There’s melody, but the combination of different synth sounds keeps it sounding unique, although it still references the gentlest of giants.

The third section, “Ah! These Ionic Beams!” nicely builds to a combination of keyboard combined with a rock riff that’s a lot more traditional. An electrical guitar finally comes in, elevating the music by leaps and bounds. Not that there was anything wrong with the music before, but the guitar solo is quite nice and certainly welcome. This section of the song is the best music on the album. 

This is the point where I notice that the song has built gradually to this moment. The song began with disparate sounds, but they have gradually been brought together and build upon each other. The fourth section, “Introducing Fire Ghosts,” returns to some of the disparateness of “Flatlined,” but it never becomes that sparse again. It soon returns to the musical complexity of the previous section. The final section, “Underwater,” winds down with a synth sound that fills the musical space, perhaps suggesting being covered by water. The final song, “Acropolis (The Big Wave),” continues that nautical theme, but it builds and morphs into more of a rock song with heavier drums and heavier keyboards with a vintage 70s sound. 

Stylobat’s Travels isn’t your typical instrumental prog album. Usually instrumental albums feature a lot of musical noodling, but this record seems to focus more on telling a story through music. Personally I would’ve preferred a bit more guitar and fewer moments of sparseness in the long track. Some more spoken word sections beyond the opening track would’ve helped move the story along as well. The opening spoken word passage reminded me a bit of a radio drama, and I think a few more instances of that on the record could have helped tell the story more clearly and coherently.

The Weever Sands are quite unlike most of what you’re going to find in progressive rock these days. They don’t seem to be copying any particular sound, even though I made that Gentle Giant connection earlier. Rather they start with a more ambient base and build that up until it’s no longer ambient… if that makes sense at all. It isn’t quite rock, even though it does have rock moments (which I wish were more numerous). It’s a fun little journey that has a few bumps in the road, but it’s worth checking out if you’re looking something inspired by classic progressive rock that isn’t symphonic prog. 

https://www.the-weever-sands.com
Buy the CD from: https://shop.trommelfell-records.de/the-weever-sands/
Full album playlist on YouTube: https://youtube.com/playlist?list=PLRqGY_YLULtQlBHPovPjj8sGvM-4AX0y2

The Ones We Missed – France’s Esthesis

The hardest part about reviewing music is finding the time to dedicate to writing, listening, and looking for new music. We all do this for free in our free time. We’ve got day jobs, and that leads to some overlooked music. Like the debut album from French band, Esthesis, aptly titled “The Awakening.” Moody, brooding, atmospheric, Floydian – this is good stuff. So good that it earned the reader’s choice for best unsigned band in Prog magazine’s reader’s poll last year. 

Check out Esthesis’ press review for more info: Continue reading “The Ones We Missed – France’s Esthesis”

The Unmatched Brilliance of Devin Townsend

In the documentary for his album Empath, Devin Townsend commented that many people have trouble understanding much of his musical output because his albums vary drastically in style. His work with Strapping Young Lad was as extreme as metal can get. On other albums he shows prog, classical, country, and even pop influences. He explained that he doesn’t play only one type of music because he would get bored. He doesn’t listen to only one kind of music for the same reason. 

I share Townsend’s sentiment. Why on earth would you want to listen to only one kind of music? Perhaps that’s why I’ve never really seen myself as a real metalhead, even though I really enjoy metal. You go to a metal concert, and many of the people in attendance only listen to metal. That’s fine – people can listen to what they like. I happen to get bored by listening to one kind of music, which is probably why I like progressive rock so much since it includes a broad array of sounds. But even within contemporary prog you’ll get those fans who will only listen to Spock’s Beard, Dream Theater, Marillion, etc., or those folks who still only listen to Yes, Genesis, Jethro Tull, etc. and haven’t bothered to dig into the music being made today.

DevinTownsend_DevolutionTo those people who aren’t familiar with Devin Townsend (which includes Steven Wilson, by his own admission), you’re missing out on perhaps the most creative genius working in the music industry today. In the Empath documentary he talked about working with Mike Keneally, who has worked with many brilliant people, including Frank Zappa. Townsend says he would never dream of comparing himself with someone like Zappa, but I would. Townsend is every bit as creative, albeit in different ways. That documentary, which I believe is only available on the super deluxe version of Empath that Devin released last year, helps shed some light on Devin’s creative process. It also shows him in a very open and honest way. His new acoustic live album, Devolution Series #1 – Acoustically Inclined, Live in Leeds, was his attempt to strip away all the fluff from his stage shows and connect with audiences in a very open way. 

Continue reading “The Unmatched Brilliance of Devin Townsend”

Shining Pyramid’s Atmospheric Triumph

Shining Pyramid, Tree, December 29, 2020
Tracks: Transmitter C (9:18), Triskel (4:11), Campfire (3:03), Rain (4:58), Like Katriona (10:20), Weird Science (6:15), Joy? (5:32)

London’s Shining Pyramid released their third album back at the very end of December 2020. This follows 2015’s self-titled debut, loosely based on the 1895 Arthur Machen of the same name, and 2018’s Children of Stones. Their latest album, Tree, was my introduction to the band, as they generously sent me a CD to review. I was hooked from the opening electronic notes, which reminded me a little bit of Oak, who I seem to mention a lot around here. The duo is comprised of Nick Adams on guitars and Peter Jeal on keyboards. A page on their website offers a breakdown of the guitars and keyboards used on the album. I’m not a musician, but I found it interesting that Adams used such a wide array of guitars and basses on the record. They all sound wonderful.

Swirling synths set the stage on Tree, but the spacey guitar quickly steps into the spotlight, taking on a Floydian tone with a bit of the late Piotr Grudziński (Riverside) thrown in for good measure. It would be a mistake to describe this album as only ambient, or only atmospheric, electronic, or space rock. It contains elements of those things, but the guitar keeps the album rooted in rock territory, even if the album is on the sedate side of the rock spectrum. 

Shining Pyramid

Perhaps what I like most about Tree is the variety it contains, even though it’s only 44 minutes long. The opening track, “Transmitter C,” centers around a very spacey guitar with electronic synth sounds swirling around it. “Campfire” places an undistorted guitar seemingly just behind the bass in the mix, giving it a bit of a distant feel before the keyboards build and take the main spot in the mix. It isn’t particularly atmospheric. The next track, “Rain,” offers an ambient sound centered on a simple repeated piano refrain. That refrain, along with the bass, serves as a framework to support the varying synth sounds that keep the track interesting as it proceeds. Each track on the record sounds unique. They share common elements, but the band approach them in different ways. 

My favorite tracks are “Transmitter C” and “Like Katriona.” They’re both the longest songs on the album, allowing the music to build and grow. They also both feature a spacey Floydian guitar tone and appropriately proggy keyboards. These tracks sound the most musically focused and cohesive as well. A fun fact from their website: the ring of sound waves printed on the physical CD was taken from Adams’ guitar on “Like Katriona.” That’s a pretty cool little thing to throw into the physical product. 

I couldn’t help but feel a calming sense of peace when I listened to Tree with undivided attention. The music is calm and almost hypnotic at points. Frankly it was just what I needed. It gives you space to reflect, but it does so with interesting musical textures that make you want to return to it. For those into the atmospheric and ambient sides of prog, give Shining Pyramid a listen. They won’t disappoint. 

http://shiningpyramid.org
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