TERRA ODIUM – Ne Plus Ultra

Formed from the ashes of Spiral Architect, Terra Odium is a prog metal band from Norway. Their debut album features some strong technical playing displayed across seven lengthy arrangements. For the more forgiving fans of the style, this will be enough for ‘Ne Plus Ultra’ to be reasonably entertaining. For other listeners who expect flashy solos and other indulgences to be balanced out by memorable songs and important things like actual melodies, the near-hour of relentless riffing will wear thin rather quickly.

Unfortunately, despite very obviously being able to play, Terra Odium also seem painfully unaware of most of the genre’s developments in the twenty first century. This album shows no obvious knowledge of the dark riffs of Awooga, the technical mechanics of Tool or even the complexities of a newer breed such as TesseracT. There are a few fantastically heavy moments that show a modicum of bravery – especially for a band signed to a melodic rock label – but approximately half of the material merely beavers away relentlessly, as if played by men with beards and leather trousers who still consider Symphony X’s ‘The Odyssey’ – at this point almost twenty years old – to be ground breaking.

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GREEN JELLŸ – Garbage Band Kids

Green Jellÿ will be forever remembered as the makers of the metal version of ‘Three Little Pigs’, a minor novelty hit back in 1993. They also amused various seventeen year olds with a claymation longform video that introduced the MTV generation to ‘The Misadventures of Shitman’ and the ‘Rock ‘n’ Roll Pumpkihn’. Then, as far as the world at large was concerned, they just…disappeared.

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POTTER’S DAUGHTER – Casually Containing Rage EP

The debut album from Potter’s Daughter presented some great jazz sounds. Between a heavy piano and a confident upright bass, the record’s best tunes recalled bits of Dave Grusin and other GRP label heavyweights, as well as hinting at a retro sound fully explored by Stanton Moore on his ‘Conversations’ album from 2014. Although ostensibly a jazz/fusion record, the presence of fuzzy electric guitars stepping forth for the odd solo or three and a huge focus on floaty, harmonic vocals lent the arrangements something more amenable to the more adventurous prog fan. The album led to the band being invited to play at various festivals throughout 2020, but the world had other plans.

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Lee Morgan: The Complete Live At The Lighthouse due for release in July

Along with Herbie Hancock, Dexter Gordon and Sonny Clark, Lee Morgan was one of the jazz musicians from the sixties who could often be relied upon for a strong melodic root.  His albums ‘The Sidewinder’ and ‘The Rumproller’ are considered classics for a reason, and even when digging a little further into his work, ‘Candy’ (1957) and ‘Lee-Way’ (1960) are just as chock-full of great and accessible material.  Miles Davis might get most of the credit when it comes to classic jazz trumpeters, but most of Morgan’s albums are just as rich. The bulk of his studio work is terrific, very much something jazz novices should gravitate towards after exhausting the usual routes.

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