Reports from the Underground: April 2020 prog reviewed (part 1)

Acatonia – Война (Russia)
Style: Power (clean, Russian vocals)
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Review by: Dylan

So this is the final review I’m writing of the post, being the first time I decided to take on 3 albums all in once. Now I don’t know how next week is going to be, but it’s certainly got a lot to live up to, because all 3 albums I’ve had this issue have been really, really good. And Acatonia is, of course, part of this group of albums that I’m very pleased with. 

It has been a while since I had to review a Dream Theater esque-band. In case nobody reads my profile, let me tell you that I’m the type of person that grew to love progressive metal thanks to them, the classic way. Not like you kiDS do it nowadays with the 8 string dj0nt and whiny emo vox! (Thanks Sam, I’m going boomer thanks to you). But in all seriousness, the fact that I love this style of music so much makes it really hard for me to be objective about any album similar to this style. However, I can absolutely tell you that Война is an album that’s absolutely worth your time, whether you consider yourself a traditional prog metal fan, or someone who liked aspects of it but never quite got into it, and here’s why: 

What I gather from people who don’t quite like Dream Theater is that they don’t get into it for 3 main reasons; the cheesy lyrics, Labrie’s voice, and how over-wanky it is with endless solos. I’m happy to report that when you sit down and listen to Acatonia, these issues will likely be non-existent, albeit maybe not on purpose. The elephant in the room is that this album is entirely in Russian, which gives you a double edged sword. On one hand, you’re not going to cringe at the lyrics (unless you’re Russian) because you can’t understand a damn thing that’s being said, but on the other hand, you may not like how this language sounds on top of this type of instrumentation. They certainly don’t feel as natural as on Karma Rassa where the vocals are used as another tool for atmosphere, they’re absolutely more present here. In my opinion, they’re not something I instantly fell in love but I grew to really love this particular style. 

And last but not least, the instrumentation. It’s pretty much what you’ve come to expect from traditional prog metal, but without feeling like an obvious clone to any band. While I can totally recognize their influences, they’re certainly not cloned or ripped off. When solos and instrumental sections appear they offer something new and they feel absolutely adequate to where the song is going. 

While it may not wow you upon the first couple of tracks, I believe that the final two tracks is what seals the deal on this album as something special. Война, the title track, is a straight up banger, with a very catchy melody, and a headbangable riff. But it is none other than the 21 minute epic Театр военных действий that I consider to be the finest hour of this album. For any band to pull of a 21 minute song is an achievement of it’s own; it requires not only great skill in instruments, but also a great sense of awareness on how and when to do what makes sense for the progression of the track. And it’s good. Really good. It’s on par with 20 minute epics done by giants, which proves that they took the task of making this very seriously, and it paid off.

In 2020, Acatonia has proved that you can still write a style of prog metal that’s progressively (haHAA) running out of ideas and getting less popular, but still manage to make a damn fine album. 

Recommended tracks: Война, Театр военных действий
Recommended for fans of: Dream Theater but in Russian
Final verdict: 8/10

Cryptic Ruse – Unfertile (US-WA)
Style: Microtonal Metal (Guest clean vocals)
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Review by: Stephen

Cryptic Ruse has been on my radar for a while now since they worked alongside one of my favorite bands, The Mercury Tree, on the Cryptic Tree album. I’ll give this album the same disclaimer I gave my Spidermilk review, it’s microtonal. So expect some dissonance, but don’t let that scare you away. Unfertile has a ton to like about it. 

The hardest thing to explain about this album is the atmosphere that is created in some of the interludes. Man, they take you somewhere. Somewhere new, very pleasant, and also kind of spooky. Seriously at times it sounds like someone is scraping a violin bow on a guitar akin to Jimmy Page. Except this time it’s interesting. 

Another pleasant surprise about Unfertile, was that three tracks featured Ben Spees of The Mercury Tree. Uncoincidentally, those tracks are also three of my favorites on the album along with “The Bleak Majesty of Fire-Ravaged Lands” and “Spores of the Concrete Plague.” That said my favorite track off the album has to be “Mouths Without Throats.” Which has to be about or inspired by Pac-man in some way, right? The song has so many awesome and unusual hooks throughout. I can’t tell you how long “Eat all the dots, eat all the dots, run. Eat all the dots, eat all the dots, eat all the fuckin’ dots.” was stuck in my head and it was welcomed.

I’m purposefully keeping this review short and sweet for two reasons. First, I’ve never personally written any microtonal music and I don’t have the music theory knowledge to dive deeper into it. Second, it’s very difficult to describe if you have never heard any microtonal music without making it sound like something you don’t want to listen to.

 If you are looking for something very different, kind of spooky, a little weird, and really awesome, don’t miss this album. It’s one of the harder albums to describe within a review, so the best thing I can say is go and listen to it yourself. Fairly positive you won’t regret it. So EAT ALL THE DOTS, EAT ALL THE FUCKIN’ DOTS and listen to Unfertile. 

Recommended tracks: Mouths Without Throats, Cloth Mother, Wire Mother, Clutching Its Last Stem Cell, The Bleak Majesty of Fire-Ravaged Lands, Spores of the Concrete Plague
Recommended for fans of: The Mercury Tree, Kayo Dot, Tool
Final verdict: 9/10

Vampire Squid – Reinventing the Eel (US-CA)
Style: Technical Deathcore/Grindcore (harsh vocals)
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Review by: Andrew

Imagine this: you’re on a trip to the beach. You walk into the ocean and start swimming around. Suddenly, a massive squid with enormous fangs and a blood-red cloak rises up from out of the water. It has something in its tentacles… what is that? Is that a guitar? You notice something else among the slimy tangle – a microphone? Is this monstrosity from the deep somehow a musician? Without warning, a second creature of similar size and girth erupts from the murky deep. Within its grasp – a bass guitar. Could these creatures be a band? 

Removing all doubt, they begin to play. Riff after riff, the two vampiric cephalopods assault your ear drums with earth-shattering technical death metal… no wait, it’s grindcore… deathcore? Visions of the briny depths cloud your mind as the deluge of sound continues without pause. You black out. After what feels like an eternity, you awake and find yourself somewhere far beyond (and far below) where you once were. You have been consumed by the ocean. You are one with the sea. 

Vampire Squid is a progressive technical deathcore (?) duo from Corona, California consisting of bassist Jake Sprinkle and singer and guitarist Andrew Virrueta. The drums, despite being programmed, sound impressively natural. Reinventing the Eel, their fourth studio album, is another journey into nautical absurdity; with song titles like “Barracuda Triangle” and “Silence of the Clams,” I knew I was in for a fun ride. Despite the track names and lyrics being absolute gimmicks, the music within is really damn solid. The maritime duo manages to cram a ridiculously high amount of creativity and songwriting prowess into such a gimmicky album. No two songs sound quite the same – Vampire Squid do not fall into the trap of homogeneity. Aside from the deep gutturals typical of deathcore, the vocals are intelligible and the lyrical content actually somehow contributes to my enjoyment of the music. The production is rock-solid, the riffs are interesting, and the music is dynamic. Most importantly, the album is fun. I found myself bopping my head more than once while listening to Reinventing the Eel and overall having a good time. The fun factor automatically elevates this album for me. 

This album is called Reinventing the Eel. This band is called Vampire Squid. What more do I have to say? Strap on your sea legs and take a journey into the abyss. Just don’t drown! 

Recommended tracks: Barracuda Triangle, Silence of the Clams, Wharf Heir
Recommended for fans of: Slugdge, Archspire, Flub
Final verdict: 9/10

Soldati – Doom nacional (Argentina)
Style: Stoner Doom (“clean” vocals)
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Review by: Dylan

Soldati is a band created by former front-man of Argentinian Stoner Rock band Los Natas. This band is actually quite well known nationally and for a good reason, considering they wrote some of the finest Stoner Rock Argentina has ever created. 

With this newer project, we see more of a Doom/Sludge approach, so much so that this record follows just about every trope of the genre. At first glance it may seem like this isn’t something exciting if you’re looking for bold, cutting-edge compositions. And it really isn’t. But to those who have a sweet-tooth towards catchy, groovy, distorted to death stoner, this is a release that’s guaranteed to satisfy you. The production nails it for the style; it’s got an abundant of head-bangable riffs, memorable hooks, and an amazing ‘’trippy’’ feeling that the best of the genre knows how to do.Even the vocals that I disliked upon my first listen grew on me thanks to how well it fits the atmosphere and tone of the record.

All in all, Doom Nacional is a record that’s bound to satisfy anyone who’s craving for more Stoner/Doom. Would I recommend this as your introduction to the genre? No. But those well versed in it are for sure bound to love it.

Recommended tracks: Whisky Negro, Un Tren al Sol
Recommended for fans of: Los Natas, Brant Bjork
Final verdict: 7.5/10