British progressive metal darlings Haken return with “Vector” the 5th studio album and follow up to the acclaimed “Affinity.” Massively heavy and decidedly darker In tone, this release sees the chaps changing things up a tad, but fret not, it’s just the right amount.

After a rather short yet unsettling introduction track “Clear”, that perfectly sets up the darker tone of Vector with a baroque tinged keyboard performance, we are treated to the most Haken-esque track on the album, “The Good Doctor.” This song has all the usual twists and turns we’ve come to expect from the sextet. 8 string guitar riffs a plenty, quirky-jagged keyboard accents, soaring and hooky vocal parts, with downright funky bass work.

Veil is perhaps the most progressive song and also the longest on the record, which falls in line with their discography. Every Haken album Must have a song over ten minutes apparently! Around the seven minute mark this song take on a Steven Wilson/Porcupine Tree personality replete with a slide guitar harmony.

The more 70’s Genesis and Gentle Giant influences seem to have evaporated this time around in favor of a harder edge. Organ sounds are still used throughout the album as in Veil but that is about the only remaining facet of that sound.  Also of note is that there are no fun/silly type of songs reminiscent of “Cockroach King” or “1985.” It makes sense considering the subject matter and most likely wouldn’t fit the overarching concept, but this further hammers home that Haken is changing their album makeup and sound.

“Nil By Mouth” is easily the heaviest song Haken has written thus far. Starting off with a Devin Townsend/Meshuggah groove cascading into more familiar Waters …it’s a bit confounding as to why this is an instrumental track however. There is plenty of room for vocal parts and   A vocalist as talented as Ross Jennings would certainly find no difficulties in finding the right spots to place them. Aside from the one grievance, the track acts as a good transitional point in the record acting as a climax of sorts.

“Host” is the antithesis to the preceding track. With a touching and lyrical flugelhorn solo courtesy of guest musician Miguel Gorodi and lush vocals, this is perhaps the most touching song Haken has written since “Earthlings.” Especially considering the lyrical content, the ending of this song is one the most powerful moments on the record, emotionally and musically. If there is a Haken song that could bring the listener to tears, this is the one.

Of particular note is how far drummer Ray Herne has elevated his perfomances. While his parts were by no means inferior on previous effort, Affinity, this time around every part is just a bit Extra. Extra complicated groves, beats, and fills. “Nil by Mouth” is essentially a drum solo, where Herne is allowed to flex’s his drum chops to their max. The superb recording quality from Adam “Nolly” Getgood is breathtaking not just from a beautiful drum sound but overall band mix. It feels and sounds “real”, for lack of a better description, In a world of overly polished and replaced/sampled instrumentation.

For studio album number five, Haken could have easily just rested on their laurels and they would please their fans regardless. This album sees them crafting their most accessible record yet, which is not a bad thing. With this accessibility the album feels decidedly more succinct than previous efforts, but the overall effect is much more potent this time around. There is absolutely zero filler material to be found. The decision to be heavier and darker definitely reflects  our current global cultural climate and casts a wider net into the vast progressive metal fanbase, all the while not varying the core principals in Haken’s sound. Highly recommended!

 https://www.youtube.com/watch?v=2oCD4Wk1bwo

The mighty Spock’s Beard return with a new release. Continuing with Ted Leonard on vocals, you know you can expect greatness.

“To Breathe Another Day”… The vocal harmonies are so good.

“What Becomes Of Me” has sort of a spacey intro that pick up into a Rush styled groove, but much more detailed. Ted’s vocals kick in and they’re so clear and understandable. I can’t stress enough how well he fits into this band. The bridge section is pretty cool. You get lead, vocals, solo. Just very well written.

“Somebody’s Home” has a nice acoustic intro, then it picks up a bit. You get a folk oriented guitar lead. The verse is loaded with a lot of emotion. The chorus is super memorable. I’m telling you, Ted brought new life into this band.

“Have We All Gone Crazy Yet” has such a genesis styled intro, The distorted guitars kind of break that up though. The acoustic guitar kicks in and well, Spock’s Beard does what they do best. They just keep building up the song with a ton of energy that comes through in the recordings. This is the longest track on the album, but it really doesn’t feel that way. I won’t spoil it for you.

“Box Of Spiders” has sort of an 80’s retro synth opening, but then throws in quite the proggy curveball. Trust me you’ll see. This track get pretty aggressive. I absolutely love it. There’s a ton of groove and spacey feeling stuff happening. It’s probably one of my favorite tracks. It’s what every Prog fan wants to hear.

Overall this is an extremely well put together album, Spock’s Beard has proven that they’re here to stay. Listen for yourself and be the judge.

 https://www.youtube.com/watch?v=pG2J3mjnFL4

The new album from Kino. A band I was never familiar with, but had heard the name. Definitely glad I gave them a chance.

“Radio Voltaire” I would normally say sets the overall tone for the album, but I don’t really think it does. It’s a standout track and also the longest. It feels very triumphant. The lead playing is very nice throughout it. Very “80’s” styled phrasing.

“The Dead Club” is a bit more rocking, with a big use of synthesizers. I kind of get a Porcupine Tree vibe in this track. The structure is “straight forward” yet packed with a lot of subtle details and changes.

“Idlewild” is another one of the longer tracks. It starts with a really nice piano intro that gets followed by the vocals. After a full run through, it picks up with all the other instruments, becoming even more memorable that the first time around. There’s a really tasteful solo that comes in. It’s arranged quite well.

“I Won’t Break So Easily Anymore” has a very calm intro with some cool audio samples. When the keys and vocals kick in, I get some Marillion vibes. This is probably my favorite track. The instruments display a lot of variety while the song maintains a catchy feel. There’s a really cool synth solo that reminds me of early Genesis. That alone wins me over.

“Out Of Time” manages to mix a 90’s rock with a British Invasion feel. There’s a very cool break that comes in and changes the feel utilizing… Lydian of course. Typical prog fashion. They continue to build on this theme, until a nice bass solo kicks in. You heard right. And it goes on for quite awhile. I really dig this track

I recommend this album. It’s simple enough to enjoy on the surface, but intricate enough to dig in deep.

 https://www.youtube.com/watch?v=KqPC7x-OmhU