This 2018 release by German collaborative project The Ocean Collective (a.k.a. The Ocean) takes a very interesting approach to conceptual music: The record is themed around a geological era, and the songs represent the different geological periods the era contains. This, along with the collective's willingness to experiment and thread new waters makes Phanerozoic I: Palaeozoic an intriguing listen.
It is 1997, and the world is in shock following the release of Radiohead's legendary album OK Computer. Some call the band's seminal release the best album ever, the peak of a career, the apogee of Radiohead's creativity. While I would disagree, OK Computer is still one of my favorite records ever, and 20 years after it's initial release, Radiohead remaster and compile the album and b-sides in the entitled OK Computer OKNOTOK, which I consider the best way to experience the album. The fact that the b-sides alone could stand alone as one of the best albums ever published speaks for itself.
From Finland, the demonic Oranssi Pazuzu make their debut on Nuclear Blast Records with Mestarin Kynsi, their fifth LP. The band's name literally translates to "Orange Pazuzu", referencing a mythological entity from Mesopotamian myths, while Mestarin Kynsi literally translates to "The Master’s Claw": Everything about the naming scheme of this release points to a quasi-mythological psychedelic experience.
Formed in 1993, New York's Afterbirth is not a newcomer to the brutal death metal scene. Despite its longevity, Afterbirth's discography is surprisingly short; consisting only of a tape and an EP in the 90's, an LP in 2017, and in 2020 the latest release Four Dimensional Flesh. Moving away from its slamming roots and towards a proggier territory, Four Dimensional Flesh is one of my favourite 2020 releases in extreme music. If anything, this album leaves me anxious for further releases of this unexpectedly ambitious project.
LDA, as Little Dark Age is commonly abbreviated to, is the 2018 studio album by MGMT, who famously blend psychedelia with catchy synth-pop. It is the fourth record in the band's discography, and is the first where the songwriting process wasn't exclusive to members Andrew VanWyngarden and Benjamin Goldwasser, since it features contributions from other artists, namely Ariel Pink, who is known for the lo-fi, home-recorded aesthetic of his music. The artwork features an illustration by Jim Taber, originally published on the cover of horror zine Witness to the Bizarre, drawn on a bright yellow background.
The 1996 sophomore effort by American rock band Tool. Tool's musical style is eclectic and difficult to categorize, usually being described as style-transcending. Ænima elaborates on the post-grunge sound characteristic of the early 90's alternative metal, employing psychedelic and industrial influences. There's a lot of atmospheric and spacey synths on this record, making it sound dreamlike. Usually the music is accompanied by elaborate artwork, and Ænima is no exception. The american CD release had a lenticular jewel case that made the artwork seem to move. The unique packaging was Grammy nominated.
Leviathan is the 2004 sophomore record by Georgia-based band Mastodon. Hailing from the seminal Atlanta sludge scene, the record showcases the doom/thrash inspired sound with southern-rock influences characteristic of the scene. Mastodon however spice the formula up by mixing in progressive metal elements, and by presenting the music as a shaping the record around a central narrative, thus making it a conceptual record.