The stakes have never been higher for this band. It's the first album without Brent Hinds. He was a key songwriter and helped balance their prog tendencies, so what is going to happen to the band without him? The opening track has a solid enough groove and does not sound too removed from what they have been doing in the last decade. The album is littered with guests to help fill the Brent-sized hole. Ben Koller from Converge provides additional percussion that is largely unnoticed. Troy's howl looms large as the spotlight falls more centered on him. The keyboards are also more prominent to balance things out. "Poisonous Weapons" also works for who they are in 2026. But this is a more proggy album than a metal album; Brent was not that invested in metal.
In the context of the album, "Your Ghost Again" works better than it did when I first heard it. For the sake of transparency, while I have been public about this matter, Brent was a good friend of mine who lived with me for a couple of months while he was in transition between living spaces, so hearing this album without him makes me sad. It feels too upbeat; it should be their darkest and most depressing album, but all this prog prancing around is too lighthearted and feels like a weird way to process the death of a former bandmate. Making me think they were even more disconnected from him than the documentary suggested, and had emotionally moved on. The only glimpse of grief I hear is in the lyrics to "Snakes For Dinner," but I am only four songs into the album. Josh Homme's vocals only surface at the end.
"Out Like a Lamb" finds them somewhat recycling old songs. The bridge breaking up the verses switches it up a bit. It's not hooky enough to be the chorus, and Brann is giving himself too many fills to sing over live. The guitar solo has a jammier feel than what Brent would have done. "In the Ruins" finds Troy delivering a nuanced and heartfelt vocal performance that addresses the prehistoric elephant in the room. They wander out in a prog jam for "They Are Coming For You". It sounds like Troy is doing what Brent might have done vocally on this one. The new guy's style is more like your average prog shredder and has less of a unique thumbprint than Brent's.
There is more of an older hammering thunder to "Golden Spires "; it ebbs down into more of a groove. Brann and Troy have been forced to fine-tune their vocal interplay here. The best guitar solo so far is on this one. 'Moth and Bone" opens with proggy atmospheric noodling. The guitar phrasing feels more reflective, and Troy's vocals work with this vibe. With Randy Blythe and Nate Newton both on "A Vampire's Demeanor," you can only expect it to be heavy. Troy's vocal as a counterpoint to the more aggressive vocal on the verse.
Geezer Butler's bassline leads into "The Vanishing," which also features Joe from Gojira. It is the most organic song so far. They use a "Planet Caravan" like effect on the vocals. The synths are very Pink Floyd. Here is the second guitar solo that fits what they do. Joe brings in a more roared vocal at the end. The last song works for what they do and features Neil Fallon, who does a spoken-word vocal in the middle of the song. There is a lot of jamming on the second half of this song. I will round this up to a 10 as this album was made under very difficult circumstances and this sounds like the onlyoption theyknew to move forward, which I can't fault them for. Here is where I have to seperate my personal feeling in wanting a darker album and accept it was where they were when they made this.
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We never talked about Mastodon; we talked about adventures out on the road, but when I lived in Atlanta, he had enough hangers-on when his band blew up, and watching it happen in real time was surreal. We are always a few doors down from each other in seperate practice spaces, He encouraged a lot of bad ideas, like a roller skating Kiss tribute band. Even though he thought the music was silly, he compared it to a live version of the Electric Mayhem band from The Muppet Show.
We bonded over artists we loved. The only two metal bands we really talked about were Iron Maiden ( he preferred the first two albums) and Neurosis. I think he enjoyed being able to talk to me about music that wasn't metal or punk, since that's what we were surrounded by in Little Five Points, the conformity or non-conformity, another frequent topic. But we talked about Waylon Jennings, George Jones Frank Zappa. Dire Straits, Chet Atkins, Tom Waits, Captain Beefheart, Nick Cave, Swans, Sonic Youth, and Die Kruzen come to mind.
He loved music, he loved life, he understood when I said that you can judge a person by their taste in music, because if it vibes with them, then that is what resonates with them, it's how they are made up, and a good indicator of how much depth they are going to have. There was a good deal of music we did not always agree with. The band's I like that he didn't, he would say, were what made me a big kid, and we agreed that if you forget the things that made you happy as a child, you would be a miserable adult.
He said it was amazing to him that I got sober and took care of my mental health the way that I did, and he wished it were that easy for him, but everybody has their own path. That is what I love the most about him he was a man who was on his own path and even in the face of the bullshit that comes along with the music business he did it on he own terms, and did not change much for better or for worse in the process, and he was one of a kind, glad we got to call each other friends my world is a little smaller without him in it now.
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2017 was the last Arcadea album; the lineup still finds Brann Dailor at the core, handling the drums and vocals, along with Core Atoms on the synths and Mastodon's current touring keyboardist adding even more synths. There is less of a synth wave feel this time around. His drumming is more aggressive. He piles on layers of vocal overdubs to try things he does not normally explore with his day job. The title track would feel more like current-day Mastodon if the synths were replaced by guitars. "Fuzzy Planet' is the lead single and the best of the first three songs, as it takes things in a more new wave Gary Numan direction, while applying some funky grooves. This sets the project apart as a more distinct entity.
"Lake of Rust" has more drive in its stomping without wanting to look back in the direction of his other band, Brann's vocals have a little more of a rock feel to them. "Gilded Eye" gets a little too weird for its own good, and while this works out in the end as the jam they wander off into captures the prog feel they are going for on this album, the hooks at not as laser-focused. Dailor's drumming is what you want from yet, while showing more restraint than the bombastic performances he is known for. "2 Shells" has more of a groove while toying with space-age sounds. His vocals ride the beat. So far, the heavier groovin' "Galactic Lighthouse" is my favorite song. Though it's clear his day job has influenced the way he hears melodies in his head.
"Starry Messenger" finds the lamb finally lying down on Broadway and Dailor getting to indulge in the kind of full-on prog that he listens to in his spare time. The main focus becomes the drums racing alongside the synths as the vocals provide an accompanying, coasting ambiance. I do like the magnitude of weirdness that unfolds on this one. What is more prog than keyboard solos? They hit a better stride as songwriters on 'Silent Spores' to find that place prog bands hit in the 80s when they collided with new wave. They do go on the weird side, but it is well-balanced here.
They indulge their prog side in a more energetic yet grandiose fashion, his drumming speed off to chase the comet at the core of this song."Sparks" is another weird one, so much., They shift the way they mixed this one to fuck with your ears. It finds them in the tug of war I often lament over where bands have to decide between making cool sounds are writing cool songs, and they find a decent compromise more often than not. The last song, "Planet Pounder," goes off into a neon hyperspace. His voice locks into a contemplative croon. It is marginally darker, though, as a general rule this album is more like the sonic equivalent of an Adult Swim cartoon, and not brooding. I will give this one a 9 and see how it grows on me, but I think they made the album they set out to make. If you want something weirder and more grooving than the Masto Dudes this is for you.
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A bunch of bands covering Ozzy all day, well most of the performances on the Nativity in Black albums were better, but let's consider what unfolded. It opened with Mastodon, who pulled out respectable Hinds-less versions of "Black Tongue" and "Blood and Thunder" before being joined onstage by Danny Carey, Eloy Casagrande, and Mario Duplantier for a cover of "Supernaut". Brann's mic was not working for his first verse, but when it came on for him to catch the second verse, he did an admirable job. Up next was Rival Sons, who are not my thing, and came across feeling like they should have waited for the Robert Plant farewell concert instead.
One thing that became apparent was just how good of a singer Ozzy once was, as the majority of the singers struggled to hit the notes even in lower tunings. The one singer who might have done the best was Joey Belladonna of Anthrax, when they played "Into the Void" granted it was nothing like back when they used to cover "Sabbath Bloody Sabbath" but Anthrax put on one of the day's best performances.
Halestorm on the other hand, was almost unwatchable. Lzzy Hale screeched her way into running "Perry Mason", but fared better when she joined one of the all-star bands for "Ultimate Sin". She was not the day's worst vocal performance. "Randy of Lamb of God, who came across like a Temu version of Pantera, struggled with "Children of the Grave" until he just barked his way through it.
The drum off between Travis Barker, Chad Smith, and Danny Carey was jammed over an instrumental version of 'Symptom of the Universe' that Tom Morello and Rudy Sarzo. Compared to what Carey normally plays, this was just straightforward rock, so the other two kept up. Smith is not known for being a bombastic player, but he has done session work with Ozzy. I am not sure why anyone thought it was a good idea for Billy Corgan and KK Downing to come onstage and play " Breaking the Law" after this, but this is what happened. On a day filled with generally terrible vocals, this one was exceptionally bad, in fact, the worst of the day. Most of these all-star things were unnecessary. However, David Draiman of Disturbed hit notes required of him much better than more popular singers, who struggled to even stay in key. William Duvall of Alice in Chains was also one ofthe better singers of this show, though "Fairies Wear Boots" is one of the easier Sabbath songs.
Gojira sounded rough; their cover of "Under the Sun" also has problems in the vocal department. The band that now calls itself Pantera, renewed my confidence in not spending the money to go see cash grab tours that are on, as it fell short of the memories I have from the half dozen times I saw the actual Pantera with Dimebag and Vinnie, one of those being on an Ozzfest. Tool's cover of "Hand of Doom" worked Maynard sounded better than the time he rode the struggle bus trying to sing ''Crazy Train" and to think he used to nail a cover of "Diary of a Madman" back in the early A Perfect Circle days thseir own songs felt rather dialed in. .
Slayer was one of the day's better acts, though "South of Heaven" sounded rough. I like their approach to "Wicked World." They have been past their prime for 10 years now, but are such a great band, it's hard for them to do wrong. I am surprised that Guns N' Roses played as many Sabbath songs as they did, and while Rose is another singer not in peak form due to age, he was in key more often than not. James Hetfield, on the other hand, had no business singing "Hole in the Sky," the kind of leaned into the blues boogie side of like they were covering a Thin Lizzy song instead, but James sounded great on their own songs and "Johnny Blade," which was unexpected.
We knew Ozzy would be in the chair. He sounded fine for "I Don't Know", despite not fully engaging his diaphragm by sitting when he sang. In fact, I was surprised by how convincing he was, but it was a mixed bag as "Iron Man' did not sound that great, and the crowd singing along to "War Pigs" certainly helped. He still has 70 percent of his charisma which is more than most. The set lists were not surprising; if you heard an Ozzy or Sabbath song on the radio, it was one of the ones they played. "N.I.B.." is the most challenging of the Sabbath songs he chose to tackle. He could sleepwalk through "Paranoid: at this point. I am sure Sharon encouraged Ozzy as this is the kind of farewell he needed to give himself. And it worked for what it was. I personally would have been fine with my memories, but if it made the world realize how great he is, then I can live with that.
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If you are a regular reader here, you know when it comes to prog, I am not looking for a bunch of wanky shredding and math for the sake of math. I want bands that are progressing and that is what is happening with these bands who made the cut this year. Much like in years past I sort through the genre lists before making the overall top ten of the year list. The fact these artists made it on the list speaks to how great these albums are, so it's not a slight that the number 8 album is above the 9th album, there is something that just gives it an edge that makes me want to listen to it more. After all we can try to look cool and pick the hippest bands for a list, but at the end of the day what makes an album the best is that it makes you want more, you look forward to listening to it again. I do hope you can find your next favorite on this list and have included links to reviews of these albums if you want to check out audio on these guys. Anyways here are the top 10 Prog albums of 2021
10-Green Lung - "Black Harvest"
This time around there are more rock punches with some pretty great guitar that is heading in a more blues direction. While I prefer what they did on the one before as tt was a little darker. I totally approve of this very Deep Purple influenced gem.
Abysmal Hymns: Green Lung : "Black Harvest"
What was once a punk band is now making 20-minute songs. "Dose Your Dreams" worked well for pushing the envelope, but have they gone too far? Things take odd turns with female spoken word and folk music. When things get really metal, they sound like like Mastodon covering Bathory before they go off on some Norah Jones jams. But it does not stop there with dips into various trains of pop music along the way.
Abysmal Hymns: Fucked Up : " Year of the Horse"
This project has gone from black metal with post rock wanderings now into video game music. One of the oddest albums on a list full of odd albums. Verty little of their black metal past is still present.
Abysmal Hymns: Black Metal History Month - Cara Neir : "Phase Out"
Abysmal Hymns: White Void : "Anti"
6-Voices- "Breaking the Trauma Bond"
The drumming is impressive, while the progressive elements that haunted the previous album are still in place it is handled differently. It is a darker album but, in some ways, also more of a straightforward arrangement, yet in the grandiosity of what they are doing some of the catchiness from the previous album might have been sacrificed, but it is still one of the year's best listens when it comes to prog.
Abysmal Hymns: Voices : "Breaking the Trauma Bond"
Abysmal Hymns: Starless : " Hope is Leaving You"
3-Mastodon - "Hushed and Grim"
The 8th album by the Atlanta band is a massive undertaking that takes some time to absorb. The playing is great and the melody floats, the drumming really goes for the gold. Not as aggressive as their first couple albums but puts its foot to the gas more. It is not until guitar work of Hinds when it drops into a more, blues-based section that makes the song shine. Often when we think of progressive rock, we think of just odd time signature and lots of dazzling wanking, but how much progress is being made there
Abysmal Hymns: Mastodon : "Hushed and Grim"
I love Cynic but very surprised Paul Masvidal is carrying on after the death of of both Sean Malone and Sean Reinert. But drummer Matt Lynch who plays on this album was recruited by Masvidal and Malone, before Malone died Rather than replace Malone, the bass lines are done by a bass synth since his style of playing was untouchable. They are continuing more where they left off with "Traced in Air" as it is a return to heavier sounds than where they went into the more elf like prog of "Kindly Bent to Free Us".
Abysmal Hymns: Cynic : " Ascension Codes"
1-Danny Elfman - "Big Mess"
Elfman has an ear to what is going on in music for sure. It is heavier than what you might expect from him, yet theater lies in the panned vocals that bounce around these songs. It is progressive without really trying to be. Like I tell my daughter when she hears Oingo Boingo this is Kack Skellington singing! The drums and guitars are way harder edged than what you would find in Oingo Boingo, which explains why this is not being done under that name. He has both Josh Freese and Robin Finck playing on this album. Guitar is also provided by Warren from the Vandals, so both the Vandals and Nine Inch Nails figures in the mix
The 8th album by the Atlanta band is a massive undertaking that takes some time to absorb. The opening track, The playing is great and the melody floats, the drumming really goes for the gold. It is not until the last couple of minutes that the song locks into a metal riff. The second song has more attack to it. Perhaps not as much attack as their first couple albums but puts its foot to the gas more however it is the guitar work of Hinds when it drops into a more, blues-based section that makes the song shine. Often when we think of progressive rock we think of just odd time signature and lots of dazzling wanking, but how much progress is being made there. On "Sickle and Peace" we here the band pushing forward with their sound. It is almost dancey in how the guitar moves.
I like how they vocals are produced on this album, while Brann has the best voice, things are really smoothed out with the effects on them to make them feel more a part of the musical backdrop. "More Than I Could Chew" touches on some great melodic moments and the guitar solos really are dialed in on this album. It is not surprising that Brent Hinds is moving into a more country direction with his writing input as it feels like he invested himself in the writing of this song. The dreamy 'Skeleton of Splendor" is not as air tight in the writing, as it floats off on it's own atmosphere, but I appreciate the fact they continue to expand the range of sonic colors here. "Teardrinker" was the first single I caught from this album and it works , perhaps not as impressive as the few songs, or as hooky as they have been in the past but it works. The burlier bluster of "Pushing the Tides" rocks harder but still remains a far cry from the more hard core sludge of yester year.
After the more Megadeth like riff that opens "Peace and Tranquility" I had to listen to the song three times for it kept my attention enough to form an opinion. It works off their signature formula they default to. "The Dagger" and "Had it All" feel as though they run together to finish the thought, the first song being the trip and the second the come down. There is a more Pink Floyd like mellowness to the second half before they roar back harder on "Savage Lands . It is one of the album's most metal moments so far. "Gobblers of Dregs " finds more Tool influence seeping in after touring with them . They last two songs are very prog indulgent, though "Eyes of Serpents' rings out with a darker storm coming mood I can appreciate. They bleed into one another, it is almost like the last song is a continuation. It builds up into an epic guitar solo, and while melodic feels like the second part of the previous song, so maybe this is how they kept the songs all under nine minutes. Lyrically this feels like their most personal album since 'Crack the Skye" and their best since that one as well. I will give this one a 9.5.
