Tag: Ambient

SOMOS EL VIENTO: Treading Waters of “Mar Negro”

On By NickIn progressive rockLeave a comment

Spanish post-rock one-man project Somos El Viento is gearing up for the release of their new album Mar Negro on October 25th. Filled to the brim with immersive instrumental landscapes, the album promises to deliver a deeply personal and introspective exploration. In this interview, Somos El Viento shares his thoughts on the making of Mar Negro, the challenges faced during the creative process, his influences, and his take on the ever-evolving post-rock scene.

You are scheduled to release an album with your project Somos El Viento entitled Mar Negro on October 25th. How do you feel about the release?

I’m excited but also calm. It’s been a long journey to get to this point, and it feels like a personal milestone. Mar Negrois an album that was created over time, through reflection, and sometimes challenging moments. Now that it’s ready, I feel at peace knowing that it’s out there for others to experience.

Mar Negro by Somos el Viento

How much of a challenge was it to work on the album?

It was a significant challenge, not only from a musical standpoint but also emotionally. There were moments of doubt, but ultimately, those were the moments that shaped the album. One of the main sources of inspiration throughout the process was my two children. The birth of my second child was a key moment, adding a new layer of perspective and creativity, but balancing that with the demands of creating music was sometimes difficult. These personal experiences added depth to the music and gave me a new emotional lens through which to view the project.

Speaking of challenges, have you set any in the early phase of what has become the final result?

Yes, early on, I wanted to create an album that felt immersive and cinematic. I set the challenge for myself to express landscapes and emotions without relying on lyrics. This pushed me to explore different textures and moods within instrumental music. I wanted to create something that would resonate with the listener emotionally without being overtly narrative.

Tell me about the different instrumental aspects that you explore on these new songs.

The instrumental side of Mar Negro is very layered. I use guitars as the main driving force, but there are also synthesizers, ambient soundscapes, and subtle percussion elements. There’s a lot of experimentation with reverb, delay, and dynamics to create a feeling of space and depth. I was very conscious of creating tracks that evolve and breathe, mirroring the movements of the ocean, which was a key inspiration.

What is your opinion about the post-rock scene today?

The post-rock scene continues to evolve. There are bands pushing boundaries, but the genre is also welcoming a broader range of influences. What excites me most is seeing how the lines between post-rock and other genres are increasingly blurred. It feels like the community of listeners and musicians is more open to experimentation than ever before, which aligns perfectly with the kind of music I want to create.

Let me know about your influences — the artists that, in a way, shaped and continue to shape your music.

For Mar Negro, some of my main influences have been bands like Alcest, God Is An Astronaut, and Long Distance Calling. Their ability to create vast, atmospheric soundscapes with a balance of emotional intensity has deeply inspired me. These bands have a way of conveying powerful emotions through instrumental storytelling, something I strive for in my music. Their approach to blending genres and creating immersive experiences has left a lasting impact on me.

What are your top 5 records of all time?

This is always a tough question because it can change over time, but if I had to choose right now:

  1. The Fragile – Nine Inch Nails
  2. Ænima – Tool
  3. Ghost Reveries – Opeth
  4. Fear of a Blank Planet – Porcupine Tree
  5. Lullabies to Paralyze – Queens of the Stone Age

Besides the release of Mar Negro, are there any other plans for the future?

Right now, I’m focusing on the release of Mar Negro. I’ve thought about bringing these songs to a live setting, but that’s still far off. It’s more of a consideration than a plan at this point. For now, I want to see how the album resonates with listeners before thinking about the next steps.

Pre-order Mar Negro from Bandcamp, and follow Somos El Viento on Instagram.

Album Review: Somos el Viento – Mar Negro

On By NickIn progressive rockLeave a comment

Somos el Viento is a relatively new project coming Spain, set to release its debut album titled Mar Negro on October 25th, 2024.

As is the case with most instrumental albums, Mar Negro requires careful listening in order to be fully appreciated. It is definitely not the kind of stuff you can put on as a soundtrack for other activities – complex music, full of twists and turns, yet not unnecessarily complicated, or weird for weirdness’ sake. In fact, the music has a beautiful, natural flow, a clarity and melodic quality. Even though guitars make up a prominent part of the sound, they never get to the point of overwhelming the other instruments. As in most experimental music, however, the foundation of  Somos el Viento’s sound lies in the rhythm section.

Head-spinningly complex without being cold and sterile as other efforts in a similar vein, Mar Negro can easily be listed as one of the top releases of the year. In fact, the sterling musicianship, coupled with an admirable sense of restraint, focuses on creating cohesive, highly listenable tracks rather than pointless displays of technical skill. However,  it is also an album that will definitely not be everyone’s cup of tea. It may come across as daunting to those fans who prefer a higher measure of melody and accessibility, as well as a more conservative approach to post/progressive rock.

Mar Negro by Somos el Viento

Pre-order Mar Negro from Bandcamp. Follow Somos el Viento on Instagram.

Album Review – Echo Us – “Inland Empire”

On By Bryan MoreyIn progressive rockLeave a comment

Echo US, Inland Empire, 2023
Tracks: Across The Star (3:50), Echo Us (9:38), Dark Shock (8:35), It’s Time For Winter (3:42), Inland Empire (7:43), Nest Egg (2:09) From The Furthest Memory (1:14), Far Above The Sky (5:20), Solarium (6:33), Singing With You (10:17)

For the first of my ridiculous backlog of albums to review, I bring you a review of Echo Us’ album from the beginning of the year, Inland Empire. You may remember the band from past Progarchy reviews: James Turner’s review of 2014’s XII A Priori Memoriae and my review of 2021’s The Windsong Spires.

My review of Inland Empire begins similarly to my review of their last record: eclectic, atmospheric, ethereal. Waves of guitar, claps of percussion, strangely spacey vocals. While not a typical rock album, much like The Windsong Spires wasn’t, it does incorporate rock and certainly progressive elements. Electric guitars and clever percussion, along with aptly placed synths, create a wall of sound that draws from myriad musical influences. New age? Rock? Certainly ambient, yet it retains enough melody to keep the album engaging.

The atmospheric elements occasionally take on a Floydian edge. “Echo Us” has some spacey yet rock-hardened tones before introducing some spoken word fragments, much in the way Pink Floyd did on The Wall. The second half of “Dark Shock” features more Floydian atmospherics, with some particularly enjoyable guitar work.

Some elements of the guitar remind me a bit of Big Big Train, as well, which was a bit of a surprise. But overall, their sound is still more atmospheric than traditional prog. The album flows together almost too well, making most of the songs sound a bit the same. Since the music is contemplative and rather ambient, it’s more palatable even if there’s not much variety. The vocals aren’t a strong point, but they’re heavily filtered with various effects, adding a synth-like quality to them which helps them recede into the ambient wall of sound.

Overall “Inland Empire” is a worthy successor to 2021’s “The Windsong Spires.”

Album Review – @Echo_Us – The Windsong Spires

On By Bryan MoreyIn Ambient, art rock, Atmospheric rock, progressive rock1 Comment

a3501667282_10Echo Us, The Windsong Spires, June 22, 2021
Tracks: We Seek the Descending Levers, (8:06), If You Can Imagine… (5:29), The Night Sky (3:19), When the Windsong Spires, (5:49), Squals (3:53), (Fly You Home) (4:41), And When They Dance At Dusk, (4:16), I’ll Wave You In (4:54), (And Acquiesce) (5:41), If We Can Breathe Again… (3:39), Under the Smallest Sky (11:40)

Electronic. Atmospheric. Ethereal. These are just a few of the words I could use to describe Portland, Oregon, music project Echo Us. The band was founded by composer and multi-instrumentalist Ethan J. Matthews 20 years ago. He is joined on the record by drummer Andrew Greene and vocalist Charlotte Engler. Matthews provides vocals, guitars, hammered dulcimer, glockenspiel, percussion, and synthesizers.

Just based upon the variety of instruments Matthews plays, you might guess that his music has a rather eclectic mix, and you’d be right. Their sound ranges from atmospheric to classical and folk, all within a subtle rock context. I even picked up what sounded a bit like a Pacific Northwestern Native American influence in the opening moments of the album. Piano plays a prominent role on the record, along with clean electric guitar. 

The vocals contribute to the ethereal tone of much of the music, but the drums keep the music grounded here on earth without allowing the album to get too heady. In that way there’s a nice balance between the various sounds. The mix of male and female vocals also contributes to the balance of the sound on the record. Matthews’ voice reminds me of Tim Bowness, and Engler’s voice reminds me a bit of Kate Bush or Amanda Lehman. 

The Making of the Windsong Spires – Youtube

The music helps tell a story. “The Night Sky” is primarily piano with synth sounds swirling around it and ghostly vocals at times throughout the brief track. The listener is left picturing a calm, cool night sky away from the hustle and bustle of the city. 

Greene’s drums and percussion on the record might sound relatively straightforward at first notice, but when you dig in you notice there’s a lot going on. One moment it might be a simple drum part, but the next might have a military-style snare drumming, such as on a portion of “When the Windsong Spires.” This conjures up new images in the mind, adding to the musical tapestry Echo Us create. 

I’m not positive that this is intentional, but I get the feeling that the names of the tracks are meant to be read together as you might read an imagist poem. Since the names of the songs include punctuation, I suspect I’m right.

We Seek the Descending Levers, If You Can Imagine… The Night Sky
When the Windsong Spires, Squals (Fly You Home)
And When They Dance At Dusk, I’ll Wave You In (And Acquiesce)
If We Can Breathe Again… Under the Smallest Sky

This is a pretty cool way to add texture to a record. You have the poetry of the lyrics, but to use the very names of the songs to create another poem is unique. 

One might classify The Windsong Spires as ambient music, but there’s a lot more going on than just ambient sounds. The drums and guitars bring in elements of rock, although I don’t know if I can call this outright rock ‘n roll. At the end of the day genres can be rather meaningless categories to which we assign music. What really matters is whether or not the music is good, and Echo Us is very good. Their music has had a calming effect on me, which has been much appreciated and needed lately. When everything else seems to be crashing and burning, it’s nice to settle back into something that slows you down and makes you think. 

https://echous.net
https://echous.bandcamp.com
https://www.facebook.com/echous.net/
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Shining Pyramid’s Atmospheric Triumph

On By Bryan MoreyIn Ambient, Atmospheric rock, progressive rock, psychedelic rockLeave a comment

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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Two more from the Elephant

On By James R TurnerIn art rock, electronic, Prog, Progarchy, progressive rock, progressive rock music1 Comment

Finally I have unpacked the trunk of album reviews that backed up last year, and this reviews catches up on two albums Bad Elephant released back in October last year, and which are worth having a listen to, before they unleash the new Tom Slatter album on the unsuspecting world.

bem035-album-cover

The Far Meadow: Given the Impossible

 

Formed back in 2014 this is the first album on Bad Elephant from London based 5 piece, The Far Meadow and was released back in October last year.

As is common with so many of the wonderful artists signed to Bad Elephant, the band defy categorisation, veering from traditional progressive sounds to folk and back with a dazzling array of performances and sounds that make this an excellent album to listen to.

Continue reading “Two more from the Elephant” →

7Sleepers

On By bradbirzerIn progressive rockLeave a comment

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7Sleepers

So, what happens when you mix one extremely talented musician with one extremely ditzy professor?  You get a notice about some amazing music six months too late!

As I was going through some research papers tonight, I found this package from Ann Arbor, Michigan– a CD (beautifully packaged, by the way) and a number of postcards from 7Sleepers.

Make sure you check them out.  I’ll be reporting on them a bit more in the near future. . . .

In the meantime, my apologies to Robin and to all progarchists!  Also, make sure you check out Iris’s reviews at GrendelHQ.

The Mysterious Sound of CFCF

On By Thaddeus WertIn progressive rockLeave a comment

CFCF is Michael Silver, from Montreal (where a local TV station is CFCF-TV). I discovered his music via Spotify, where it is part of their Atmospheric Calm playlist. My students enjoy working on calculus problems while it plays in the background.

The playlist is several hours long, and CFCF’s songs consistently grabbed my attention. I went ahead and purchased his 2013 album, Outsiders, and it is a true work of beauty. He mixes 21st century ambient electronics with subdued vocals and compelling melodies. Fans of classic Peter Gabriel, Talk Talk, and Brian Eno will love this stuff. It has a definite ’80s vibe, in a respectful and appreciative way. I can’t stop listening to it.

Here’s one of the best songs off of Outsiders, “Strange Form Of Life”:

Fallujah – Dreamless – Album Review

On By bradbirzerIn UncategorizedLeave a comment

Artist: Fallujah Album Title: Dreamless Label: Nuclear Blast Records Date Of Release: 29 April 2016 ‘Dreamless’ represents my first foray into the world of Fallujah but it most definitely won’t now be my last. Hailing from San Francisco, this heavy metal behemoth has produced a startling third album which has to be heard to be […]

https://manofmuchmetal.wordpress.com/2016/04/27/fallujah-dreamless-album-review/

soundstreamsunday: Sonnenblumenstahl by Ulrich Schnauss and Jonas Munk

On By Craig BreadenIn progressive rockLeave a comment

schnaussmunk2I’m continuing with my Jonas Munk kick from two weeks ago, when I posted the fabulous Sun River stream, “Esperanza Villanueva”. “Sonnenblumenstahl” is a beautiful piece of Moebius/Roedelius/Plank-style krautrock from Munk’s and Ulrich Schnauss’s highly recommended 2011 full-length collaboration. Munk the guitarist and Schnauss the keyboardist have both left their influential mark on ambient techno, and together they make music that is generous, melodic, and open, combining the best of both their musics. This song could be from Cluster’s Sowiesoso (or Zuckerzeit, OR Grosses Wasser), but has a character uniquely its own.

Soundstream Sunday archive