PERMIAN INCIDENT

Great, Grand, and Glorious

Makes an Old Man Headbang

Which likely sets the teeth on edge for younger progressive rock ruffians, and perhaps ignites the age-old debate about 'What the heck IS progressive music?!' especially if it reminds the old guy of greats like Uriah Heep, Deep Purple, and even Saxon at times.

I can hear it now- how is it 'progressive' if it's, well...kind of retro?

But I won't take the bait, even in my own brain, because heck, I think progressive rock music OUGHT to be a blast, and even make some headbanging and awkward dancing happen (in private, of course).

There's plenty of time for intellectual, off-kilter craziness, avant garde explorations, shiny-polished insanely perfect instrumental wizardry, and conceptual literate hour-long extravaganzas.

God bless all of these subgenres and more. It's one of many reasons I really dig progressive rock and metal music- no end to the variety and creativity and challenge.

So, PERMIAN INCIDENT.

This Norwegian quintet produced "All The Things No Tomorrow Brings" late 2020- this their sophomore release. Like they said, maybe a FEW things got in the way of getting this album out into the public sphere, six years after their crushing debut.

Same outfit as before (which I think is great):

Johannes Hulleberg - Vocals Kim Daniel Taalesen - Guitars Sian Dalslåen - Bass Torbjørn Dybsand - Drums & Percussion Sig A. Pertersheim - Keyboards

And Mercy Do These Fellows Rock

In only five tracks- none less than (ALMOST) seven minutes, and several longer than thirteen-and-a-half- PERMIAN INCIDENT provides propulsive, elegant, grand, brooding, epic, majestic, hard-hitting heavy-progressive glory.

"End of Our Time?" comes barreling in and we hear the husky, intense tenor vocalist enter. Trademark heavy guitar riffs, growling Hammond organ, extended instrumental jams, melodic soaring guitar lead, and hard-charging rhythm section. Not that each musician isn't terrific, but the drumming shines brightly. The gist of the lyrics strikes me as an angry, bittersweet lament about the devolution of our world, despoliation of the planet, a legacy of bloodshed and death for our children.

"Dandelion"

One of the epics on this album, and perhaps the one I might suggest get pared back just a bit, but still mighty and grand. We hear whimsical keyboard sounds and maybe a Jew's harp? with drum ruminations. Then a vaguely mid- eastern sound come smashing in, with drums absolutely going wild. This subsides and crunchy deep bass guitar under agile clean guitar lines, then that intense voice enters. Lyrics suggest a tormented soul, lonely, working hard to keep head up, chin down, and carry on.

Throughout this track a multitude of keyboard sounds- and really, can there be a more perfect hallmark of the kind of progressive rock that makes an old guy headbang? But wait, there is delicate acoustic piano, that builds, with crunchy bass guitar, and drums go absolutely wild. I'm telling you, this guy smokes! (Plays drums with power and verve- just to avoid misunderstanding).

"Blood Brother"

This one has a grand feel, and maybe tells of an actual mission, but I'm not sure. There are strident and vibrant pealing keyboards to open and the band insistently builds intensity. Some mean guitar/bass riffs and a singable chorus heralding the kinship of warriors battling impossible odds...and prevailing. A moody, brooding passage leads to an agile synth lead, with crunchy bass guitar and a minor key, ominous pasage that build with propulsive drumming.

"Footprints"

This one opens with delicate grand piano, then very deep bass guitar enters with brushy cymbal accents, and wham- a glorious progression with synth lead playfully swirling. Heavy guitar chords lend weight and sequenced keyboards with intricate drum and guitar accents. There's a punishing/ epic chorus, with dramatic vocals without being overbearing. Several grandiose passages in this track, which lyrically seems to address a tragic incident involving a young student.

And the Closing Track

"Heavy Hearts" opens with clean guitar arpeggios, and soon meditative mellotron enters, with xylophone sweetly chiming. Vocals are ruminative and expressive, leading to a majestic, deliberate passage that builds. This soon shifts to a galloping guitar sequence with martial drumming, which grows in a complex pattern. There are some wonderful vocal harmony passages, swirling Hammond organ sounds, and intense, passionate heat generated from this talented band.

It grows to a heart-stirring, intense climax in which mellotron and choral flourishes 'pull out all the stops', and the track subsides, and dies.

Yes, Great, Grand, and Glorious

For me, this is a four star album, an "excellent addition to any progressive rock music collection".

In my listening history the only "heavy" band I have a longer and closer relationship with is URIAH HEEP. So, it feels a bit funny that it's me who writes the first review for this Norwegian Heavy Prog band. More than a year ago the members of the Neo Prog team (including myself) were sent the CD+DVD release of BLIND ORPHANS, a band originating from the late 80's, stylistically between Neo and Heavy. Probably just as a kind PR gesture we were given also the debut of a new band that features the same drummer as the mentioned group, even though it had almost nothing to do with Neo Prog. Must confess that right now I'm listening to it only for the third time ever, as my eye caught the CD on my shelf and I happened to check out if the band has been added here. Least I should do is try and say something worthy about this music for which I have very minimal subjective ties. For starters, the cover design is pretty good!

The term Heavy Prog is 100% appropriate. This is heavy rock -- not Speed/Doom/Tech/Post/etc. Metal -- and the compositions are progressively extended. Doubtlessly a connoisseur of the heavy genre could right away drop several household names to describe the style. In the band bio the vocals of Johannes Hulleberg are compared to Ian Gillan. The sound of the standard line-up of guitarist, keyboardist, bassist and drummer is meaty and well balanced. In fact, I can use the word pleasant too. If I ever will take the world of Heavy/Metal Rock truly into my heart (in the age of 46 that's not very plausible anymore...), this would definitely be among the albums "to open up the flood gates", if you know what I mean. The usual negative feelings of listening to music not within the comfort zone or taste (ie. the personal listening history) are absent.

Of course I'd need to listen to this albums many times in order to learn the individual tracks and give a deeper analysis, but already now there are some highlights to catch my attention. 'True or False' (13:36) progresses impressively from the more regular heavy, with powerful chords of electric guitar and Hammond, into a A Script of the Jester's Tear era Marillion-like theatricality and passion finished with emotional vocals and instrumental solos. But sadly in the end, the composition doesn't come anywhere near the hair-raising drama of songs such as 'Script...', 'The Web' or 'Forgotten Sons'.

Another fine track is 'Troubled Straits' that has slightly Marillionish keyboard sounds in the background. For the whole 78-minute album I can't completely avoid of sense of tiredness, but I guess getting to know the album better would help in that matter. 3½ stars rounded up: if it's not quite an excellent addition to any Heavy Prog collection, it surely is a strong and well-working one.