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Storm Corrosion - Storm Corrosion CD (album) cover

STORM CORROSION

Storm Corrosion

 

Eclectic Prog

3.77 | 373 ratings

From Progarchives.com, the ultimate progressive rock music website

Epignosis
Special Collaborator
Eclectic Prog Team
2 stars Had Talk Talk and Omar Rodriguez-Lopez collaborated on King Crimson's A Scarcity of Miracles, they might have made an album similar to this. The album has interesting moments, but is drearily boring most of the time, especially during the second half. This music is for those who enjoy avant-folk with symphonic and jazz elements, but don't mind waiting around for things to happen. I cannot see fans of Opeth or Porcupine Tree appreciating this as much as they might hope to; it lacks energy, and in many places could be the soundtrack for a B-horror film.

"Drag Ropes" Storm Corrosion begins in a cinematic way, with dark strings, piano, and Mikael Åkerfeldt's soft voice. Steven Wilson's vocal additions are hypnotic and cool, especially right before a flute-like passage. The middle section consists of a Gentle Giant vocal array. The strings are well done. The last passage is an acoustic part with both men singing in an unsettling nature over other disquieting instrumentation.

"Storm Corrosion" Opening with a storm and woodwind, the title track is the most pleasant aspect of the album. The classical guitar that fades in is quite wonderful and comforting. Wilson sings well here. The clean guitar is country-like and much welcome, as is the middle section with its percussion and keyboards. It develops unsettling keyboards and sounds for a while like a bad horror soundtrack.

"Hag" Despite two distinct parts, this sounds like a Steven Wilson entry on a Porcupine Tree album. It is depression, slow-moving, and has Mellotron-like sounds.

"Happy" Ironically titled perhaps, this song is dreary and has depressing vocals in harmony.

"Lock Howl" A long tone opens this, over which an acoustic guitar run falls. The middle passage is very much like Grace for Drowning, yet what comes after is just noise. The acoustic guitar aspect is the most endearing part.

"Ljudet Innan" Falsetto vocal and quavering electric piano begin the final track. The cinematic element here, with the choir and piano is the most moving aspect. It is lovely and symphonic, if still bleak. The guitar work thereafter is well-performed but has far, far too much reverb. There is a singing passage thereafter by Wilson, but it is lifeless, as much of this album is. The subsequent guitar solo is more interesting.

Epignosis | 2/5 |

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