The sheer amount of music being released under (or adjacent) to the “Prog” umbrella has become quite daunting to sift through of late. The positive side is there are real gems hidden out there; the negative is you have to dig through a lot of gravel to pry them loose.
While breaking rocks over at Progstreaming.com one Sunday morning I found myself starting to zone out, too much sampling can lead to a zombie-like state where you cease to really hear anything. But then suddenly I was transfixed by a lovely arrangement featuring acoustic piano, violin, acoustic guitar and strings that jolted me firmly back to awareness…
The gem I had discovered was the opening track Thereafter from ‘Black Plastic Sun’, the latest release from New Orleans-based act Abigail’s Ghost. The aforementioned arrangement, the catchy melodic line and very accessible vocals of Joshua Theriot drew me in immediately. As the song progresses different textures come into focus, the introductory melody builds into an effective “big chorus” with electric guitar coming into play.
After the chorus, a staccato guitar figure brings in a slightly darker vibe but then a sunny bridge parts the clouds again. The song continues this progression of slightly changing shifts in mood (including a playful little waltz time section) without ever losing sight of the introductory melodic idea. It’s an impressive arrangement because everything is handled with subtlety, the progressive elements are textural and the song remains the focus throughout.
This discipline and restraint permeates the entire record, while many moods are explored, the accessibility never falters. The influences can be heard; the pop tendencies of Porcupine Tree, The Pineapple Thief and Riverside, the melancholy of modern era Katatonia, the sunny atmosphere of recent Anathema and occasional moments of prog metal muscle (used to great dynamic effect without ever over-powering the mood).
There is also a hint of New Orleans atmosphere to the proceedings, something about the folk-tinged arrangements give me the impression of moss-covered trees dipping into the bayou. The excellent recording and inspired instrumental choices also remind me of the production aesthetic evident on the recent Steven Wilson solo albums.
The highlights are numerous; the unbelievably catchy momentum of violin & slide guitar-driven King of All (which should be a single), the muscular melodic rock of Silver and Widowmaker, the dreamy electric/acoustic vibe of Le Metteur, the darker metallic thrust of Smotherbox (which reminds me of ‘Deadwing’ era Porcupine Tree) and the playful melancholy of Rather Unorthodox, Sweet Serenity and For Damien. The latter also shows off a fondness for black humor because the subject of this deceptively beautiful ballad is the character from The Omen horror film series!
Joshua Theriot is a triple-threat as songwriter, lead vocalist and lead guitarist and I’m really excited to hear how he continues to develop from here. There are some fiery guitar solos on the album (as can be expected from a Berklee School of Music graduate) but it is tempered with restraint and musicality not always displayed by his peers (*cough* Dream Theater *cough*).
I’m very pleased to have discovered this album and it has grown on me with each successive listen. I’m confident it will be show up on my best of the year list for 2015. These guys deserve wider recognition; I highly recommend checking them out.
Released 1st August 2015