Can This Even Be Called Music? October Edition

Every month is a good month for music, if you pay attention. Here’s what gems October brought.

Released in October

&therisk is a unique project from Germany who convincingly merges the faraway realms of post-rock and mathcore into a coherent and enjoyable entity. Emergent is the result of this experiment, and I’ve got to say I want more of this! The songs on this twenty-minute EP indulge in the atmospheric creation at which post-rock excels, and then throws in a mathematically proficient riff. Instead of sounding counter-productive to the more ethereal side of the band, it actually supports it and raises it to a degree that would have been unattainable, unthinkable of, without the addition of that mathcore element. Be sure to listen to &therisk, but be prepared for a new paradigm for post-rock.


Unearthed Classic

Kruzenshtern i Parohod is an avant-garde progressive rock project from Israel that can’t be precisely categorized by this simply genre tag. On Hidden Album, the experimental quartet plays a sort of jazz fusion sometimes labeled “jazzcore”, for its insistence on harsh sounds and heavy tendencies. Moreover, the band has a strong influence from Jewish music, which is readily noticeable in their melodies and progressions. If you liked John Zorn‘s music, especially his Masada project, you will find much to enjoy with Kruzenshtern i Parohod.


Back to the Future

I was about to write on Jacob Collier‘s newly-announced project, but everybody’s going to hear about this anyway, so I decided to focus on a smaller name: Gleb Kanasevich. Far from being completely unknown—thanks to the popularity of his clarinet covers of Necrophagist, Origin, Cannibal Corpse, Slayer, and more—, Gleb is an incredible musician, but his original output is criminally overlooked. Asleep, which is coming out in January 2019, probably won’t change that, because of how experimental and challenging it is for the common mortal, but it will be a fascinating listen for anyone who dares dive into it. It’s a solo bass clarinet album filled with distortion and advanced playing techniques. Definitely not for the faint of heart, but this album is brutal and amazing.

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