PLANTOID

First of all, really incredible vibes with this one, it's very space sounding and I really loved hearing a female vocalist, which is a very uncommon ocurrence in prog music unfortunetly. The songs flow seemlessly between heavier and softer sounds and both sound amazing. The percussions and odd time signatures (in "It's not Real" for example) really caught my attention and made the listening experience even more engaging and surprising. I didn't know what to really expect from this album, but the cover art and the name sugested a potential alien or Sci-fi theme and I wasn't wrong, the synths and overall atmosphere really add to that idea of space, alien life and the unkowns of the universe. The effects in the vocals, the riffs and harmonies are amazing, it feels like going to another world and exploring a variety of different soundscapes and combination, to the beautifully sorrow, dissonant and intense and calming. I was also blown away by how groovy and catchy a lot of the songs are.

1- Is That You? (6:01): The initial riff instantly hooked me, it's so mysterious, surreal and it builds so many pictures in my mind. It sounds like something you'd hear exploring a barren wasteland, fighting for survival, struggling with your own emotions and trying to move on without the company of those who once stood by your side. It's such a complex soundscape that creates multiple layers of emotions and interpretations. As the voice slowly starts to come in, it seems like you're finally getting somewhere, you found strenth and meaning inside yourself, it's such an emotional song that strikes a lot deep emotions on the listener.

Aside from being extremely groovy and engaging with very intrieging and moving rhythms, it starts to show a more intense sound, as it becomes more and more melodic and expansive, it suddenly delves into silence. Suddenly a very distorted guitar plays an intense riff as the other instruments come in and the drums get louder and more exciting. The ending is absolutely beautiful with the voices and the guitar creating a beautiful contrast, also the solo at the end is simply marvelous. The song ends in a quieter tone as the guitar slowly fades. It's a masterfully composed song and a very strong opener. (9.4/10)

2- Pressure (3:08): This one starts very powerful, the timbre of the guitar is similar to the ending of "Is That You?", it plays the initial chords setting the structure for the rest to come. A stunning drumfill plays and the energetic groove comes in, it's one of the best parts of this song, it's a joy to listen to specially with the heavy guitars accompaning it. As the introduction comes to an end the vocals come in, a beatiful arpeggio plays in the guitar, the voice seems distant and distorted, the bassline is fantastic and the amazing groove continuous. I love the falsetto and the intensity of the vocals following the intensity and dirtyness of the riffs.

The song brillantly changes from chaotic sounds to a more structured and elegant sound and both sound fantastic and complement each other in a very unique way. This is one of the most psychodelic songs in the album, and it has some breath-taking moments: specially when the backing vocals come in and the guitar solo that follows. This one has my favorite percussion out of all of the songs, the drum solo really caught me off guard, I was blown away by it's beauty and how seemlessly all the intruments followed it's flow right after. Amazing composition and very memorable riffs. (8.6/10)

3- Modulator (5:43): This one has a similar vibe to "Insomniac (Don't Worry)" with it's chill guitar groovy rhythms, although it feels softer and more melodic. I listened to this album during a period of a couple of days and this was the last song I listened before I finished the rest later. It was the first that really made me think that this was going to be an increadible album. The first song of the album takes a little longer to appretiate and the second ends pretty fast and didn't impact me as much in my first listen, it takes more time to digest and appretiate, but this instantly hits and gets in your head. The keyboard and guitars are so soft, the echoes add a surreal, ambigous and melancolic tone to the song. It seems like the instruments are asking questions to the listener.

This song makes me feel like I am floating in space seeing the wonderful lifeforms all across the universe, it's contemplative and peaceful. I specially love the part in 3:09 with the little guitar squeak and the surreal and atmospheric section that follows. This song is filled to the brim with brillant melodies and vibes, it keeps surprising more and more throughout the song. As the guitars stops for a while a beautiful ambient synth bleeds through silence in a moment of peace and reflection as the bombastic guitars come back and are immediately followed by another thrilling guitar solo. The melodies develop more and more as we reach the ending where only a few notes in the keyboards are left. Writing this review has been a huge challenge because it's so hard to express how I feel towards this songs that made me feel so much. I was blown away by their deepth, array of different emotions, complexity and pure beauty. This song is no exception, another masterpiece from this guys. (9.8/10)

4- It's not Real (2:00): This is more of an ambient track but that doesn't make it less interesting, even if it's more on the simpler side, the odd time signature, unique rhythms, achoing voices, brillant use of synths, moving bassline and guitar melody makes this a joy to listen. But it's overall pretty short and it works best as only a transition from the third to the fifth song, but it still got those surreal psychodelic vibes I love in this album. (7.5/10)

5- Dog's Life (3:58): Absolute perfection, I can't really express how much I was blown away when I first heard this. I'm sure that even if I tried I couldn't make this song's justice with just my words, I listened to it multiple times and every time I get overwhelmed by how good it is and how much it makes me feel. The initial riff got immediately stuck in my head and I was blown away by how seemlessly this song frows from intense to haunting to gorgeous in a few moments.

The atmosphere is impecable, the mecanic sounding synths, the flowing melody and rhythm, the amazing vocal harmonies in contrast with the constantly changing lines in the intruments. The soft guitars, the intense guitars, it all communicates so well and again Chloe Coney sang absolutely fantastically in this song, translating the intensity of each part through her voice in ingenious ways. I absolutely love the synths that start playing around 2:33, those are the sounds I mentioned in the beginning that give off a very strong alien vibe. The comunication between the intruments is impeccable, it's all such a joy all the way, the drumfills alongside the intense guitar lines are just absolutely phenomenal. The ending is perfect aswell, all the intruments fade leaving the song floating in these breath-taking chords as Chloe Coyne's voice is sang as if her voice is echoing throughout the cosmos, it's all very emotional. The best in this album. So much depth and memorable moments. (10/10)

6- Only When I'm Thinking (2:30): Delicate and soft but I don't think I have a lot to talk about this one, it's the most forgettable track in the album for me, but it surely can impact people in a lot of different ways. What immediately caught my atention were the atmospheric synths, haunting and ethereal vocals and relaxing percussion, but it all ends so fast before I can really get the vibe of the song. (6.4/10)

7- Wander/Wonder (6:04): Another one of my favorites. It's starts off very jazzy, it sounds like bossa nova, with it's tropical feel and increadibly soft guitars and percussion. The vocals are tasteful, specially accompanied by the backing vocals. It feels like I'm running on a field of flowers, feeling completely free, looking at the bright blue sky, amazed by the sea of colors around me. It's one of those songs that makes you feels so good. But when you least expect the soft guitars stop and a rough riff starts playing in a lower tone, then comes the high-hat on drums and a higher guitar as the snare comes in. It builds up really slowly but it's so groovy all the way through and as it develops it gets more and more exciting and crazier as the main riff desapears and the guitars get crazy playing chord and riffs interleaved. The bass is absolutely fantastic in the next part, the guitar gets funky and the percussion is very nice to listen to. The solo that proceeds is very reminicent of songs from Lee Ritenour: very funky, moving, interesting and not afraid to experiment with complex and unique melodies. Wonderful to listen and it's up there with my favorites from this album. (9.6/10)

8- Insomniac (Don't Worry) (4:02): The guitar is an absolute joy to listen to. This song has such an increadible groove and moving percussion and melodies, it's so good to listen to and what caught my attention the most aside from the amazing guitar was the vocal harmonies and just the vocals in general. Chloe Coyne has an amazing voice, it has so much energy and it fits so well with the rest of all the instruments. Her voice adds to the surreal vibe of the songs, it's so melodic and sometimes haunting, specially with the effect that starts in 3:15. Amazing song, it flows so well and is such a joy all the way through, but it isn't as impacful as the others. (8.2/10)

9- G.Y. Drift (2:09): Was blown away by the guitar and bass, this song starts off intense but it quickly gets extremely fun and funky. Absolutely amazing song, I love the effects used in the guitar, the rhythm and percussion are impecable. It's kinda sad that it's so short, but the riffs and harmonies are amazing, it's extremely well composed. It's kinda surreal that such a short song has so many memorable and fun parts, it doesn't stop delievering and surprising. (9.5/10)

10- Softly Speaking (3:41): This is a very calming and melodic song, with a moving piano melody and emotional vocals. It's one of the most ethereal songs in the album and as always the vocals are amazing and I love how much emotion her voice carries, how seemslessly she changes the tone of her voice, I can't really explain exactly what her voice makes me feel but it's deeply touching, and the calming synths and chords makes this an absolute joy to listen to. This one fits in the "beautifully sorrow" cathegory I described in the beginning. But, it's still less impactful then the other songs, although I see myself hearing to this one from time to time, it feels safe, it feels comforting like a warm blanket and sometimes that is exactly what you need. In conclusion, even if it's not as elaborate and intriguing as the others, it has a very unique and graceful aura. (7.2/10)

Avant-prog at its best!! With a sound that clearly derives from a mix between experimental alternative rock and math rock, it is a true delight to listen to the crushing riffs with which the songs of this combo have been put together. The female voice at times reminds me of some Moetar in a heavier version and the palette of sounds in the guitars and electronic effects give a psychedelic and avant-garde air that never ceases to surprise as the album progresses.

For being (as I understand it) their first official album, the band sounds very cohesive and with a very clear proposal that suggests that their next works will be increasingly better.

One of the most pleasant surprises from these English people who I definitely didn't have on my radar... Waiting for more soon!!

British newcomers Plantoid debut with this very interesting collection of eclectic crossover songs, each employing multiple styles and dynamics from such diverse realms as Prog Folk and Jazz-Rock Fusion, Indie quirk, 1960s Brazilian bassa nova pop, and even Metal.

1. "Is That You" (6:01) opening with gently yet-quickly picked arpeggio chords, synth bass chord, and lead guitar melodies being gently plucked from within the arpeggi. Bass, and then, basic drum and percussion (tome time and occasional tambourine) join before synth string chords and wordless female vocal strains enter. Around 2:45 the song "launches" as full drums, full percussion work, very cool active bass, and multiple tracks of female voices jump into the fore. Amazing power in this beauty! Then, at 4:10, the music all stops and the guitar switches to intricate rock chord- and-pick play that sounds like something between a heavily-distorted and George Harrison. Weirdly incongruous combination of motifs! (8.875/10)

2. "Pressure" (3:07) aggressive Indie-Metal of the A FORMAL HORSE type with heavily-treated Siouxsie -like Hayley McDonnell vocal of Chloe Coyne. I feel as if we're being taken back to the Punk Rock sound and styles of the 1970s with this song. Kind of the odd duck on the album--but good to know ? for persepctive. (8.75/10)

3. "Modulator" (5:43) wonderful fluid, slightly funky and seductive jazz-rock pop song that reminds me of both LOUIS COLE and GENEVIEVE ARTADI (otherwise known as KNOWER). Even with all of the song's instrumental side alleys, this is a totally bewitching song in much the same way that "Overtime" is. There are so many subtle notes of genius here that I think I could get something fresh and amazing out of even my 100th listen! (9.5/10)

4. "It's Not Real" (2:00) an odd little jazz-rock theme with the song title whispered repeatedly within the instrumental weave. (4.375/5)

5. "Dog's Life" (3:58) opening with wonderfully-creative studio-manipulated morphing guitar before rhythm section and gentle guitar guitar chords provide the full base for Chloe's ethereal voice to sing over. There is almost a modern jazz-funk feel to these verses while the choruses are more aggressive, more heavy rock 'n' roll. The instrumental passage in the third minute is more about alien space effects than impressive technical skills on display. The final 30 seconds, then, sees Chole's most angelic voice (sometimes harmonized with multiple tracks of her own voice) accompanying very sparsely with synth-sounding chords and a tiny bit of bass. MAn! What a song! There are so many clever and ingenious note subtleties--even in the vocal arrangement--I could listen to this hundreds of times and never tire of the surprises and nuances. (9.25/10)

6. "Only When I'm Thinking" (2:30) Again there is this wonderfully enticing, alluring, even sexy GENEVIEVE ARTADI-like quality to Chloe's voice. Jazz guitar, slowly-panning delicate drum play that sounds computerized, and Chloe's voice: that's pretty much it. (9/10)

7. "Wander Wonder" (6:04) for the first two minutes, a cool little diaphanous funk-jazz sound palette backs Chloe's dreamy vocals, but then a more rock guitar motif starts up an entirely new section--one that is fully guitar-centric--in which Tom's multiple guitar tracks flail and riff with deft subtlety. By the end of the fourth minute this guitar display morphs into a kind of jazzy motif over which Tom solos in a more formal, typical Jazz-Rock Fusion way over the strum- and-plucked jazz chord progressions and dynamic, Latinized drums and percussion instruments. (9.125/10)

8. "Insomniac (Don't Worry)" (4:02) bleeding directly over from the previous song, Chloe returns to sing in a shyly- seductive "hiding" voice over the same jazz-guitar chord play that Tom used in "Wander Wonder." Nice melody-making by Chloe in both the verses and chorus--and great drum and guitar play in those choruses, bridges and transitions! (9.125/10)

9. "G.Y. Drift" (2:09) again, the song starts as if launched like a rocket from the previous song: bursting into fast-paced, full-powered rock aggression while using jazzy chords and sound palette. This is Tom's take on black midi! (4.375/5)

10. "Softly Speaking" (3:41) piano and horn-like infinity-guitar notes support Chloe singing in more of a jazz-lounge torch singer's voice--until, that is, the multi-voiced chorus starts at 1:19. This is the most plaintive, most tortured emotional vocal I've heard from Chloe. She's really good--really powerful--in a k.d. lang/Jane Siberry-kind of way. What a beautiful surprise! (9.5/10)

Total Time 39:15

An album that reminds me a lot of modern crossover prog bands like A FORMAL HORSE, BENT KNEE, KNOWER, or even the multiple projects involving New York's CONIGULIARO BROTHERS and BLACK MIDI--which helps win me over to their party--but it is the intermittent and often surprising and unexpected appearance of pure Jazz-Rock Fusion guitar that really makes me smile and, if truth be known, keeps me engaged as I hope for more. I love this music! It's so creative and unique!

A-/five stars; a minor masterpiece of modern Pop-Jazz-Rock Fusion. This is an album that just keeps giving more and more with each and every listen. Highly recommended for any lover of music.

Once is not customary, let's first stop at the magnificent "artwork" of ' Terrapath ', which is reminiscent of the heyday of Progressive Rock album covers from the 70s (although created by software based on Artificial Intelligence, so?). The group Plantoid , a young British group, plays music inspired by Progressive Rock, tinged with Jazz Fusion and some Folk or psychedelic Rock elements. It's a style that particularly speaks to me, and it's a great discovery to which I invite you.

"Is That You" takes its time to set the scene and imprint the style of the band. A long instrumental build-up with Jazz sounds opens the door to the very pure voice of Chloe Coyne which could have come out of a Bossa-nova album from the 50s. The mixture of vocal softness and instrumental groove is a real success and constitutes a strong point of the group. At the end, the atmosphere changes to make way for "fuzzy" instrumentation which tends towards Psychedelic Rock. Would my favorite streaming app have directed me to another band between the first and second songs? No, it's still Plantoid on "Pressure", a Pop-Punk-Garage track which completely contrasts with the rest of the album. I would describe it as "oddity", certainly intentional. The fundamentals are restored on "Modulator", and we happily find the soft voice, the up-tempo jazz and beautiful flights of solo guitar. We will also notice layers of keyboards broken by slightly dissonant chords which bring spice to the composition. "It's Not Real" is a short instrumental, as if escaped from a dream, with a very elaborate atmosphere thanks to the contribution of different sounds and sound effects. Then comes the hyper-syncopated riff of "Dog's Life", on which a very melodic singing develops despite the incessant changes of tone. The second part of the song is marked by a furious Jazz-psyche break. It is a stripped-down arrangement of complex harmony that characterizes "Only When I'm Thinking", on which the vocals are clearly highlighted. The following 3 titles follow one another to form a suite. This begins with "Wander/Wonder", the start of which made me think of certain Sade titles from the 80s. After the "Wander" part, it's time for the very effective instrumental passage "Wonder", a marvel of riffs and sounds, rhythmic breaks and Jazz-Rock improvisations. The segue into "Insomniac (Don't Worry)" is almost imperceptible. This title seems to express in music the disturbed phases of sleep and awakening on a rhythm that runs after time. And it is the energetic instrumental "GY Drift" which ends the suite in the style of a modern-day Santana . To gently close the record, the aptly named "Softly Speakin " surprises with its Dream Pop-style piano accompaniment of which the main voice once again constitutes the central element.

This first Plantoid album is a success. The group manages to share its universe, sometimes ethereal, sometimes more furious, but with constant instrumental mastery. This "bi-polarity" is embodied on one side by the angelic voice of singer Chloe Coyne and on the other side by the organic and earthy instruments guided by Tom Coyne 's guitar . A first record which calls for others. We will not fail to closely follow the development of this promising new group.

Review originally posted on www.progcritique.com.

Plantoid is a Brighton-based four-piece that expertly manipulates textures to create an enveloping auditory experience. Jazz and psychedelia commingle on Terrapath, along with progressive rock, indie rock, and bits of folk. The sci-fi album art matches the hazy, otherworldly feel of the music. The band manages to establish a sense of musical continuity without coming off as repetitious or uncreative.

Terrapath begins with the gentle, jazzy guitar of "Is That You". It builds slowly, and the vocals have an otherworldly quality to them. This track does a great job of establishing the mood for this sci-fi-inspired album. It ends on a bit of majestic, fuzzed-out psych that acts as a fitting capstone to this opening track. "Pressure", in contrast, kicks off with a tense, high-energy riff. The drums and lead guitar skitter and jump around each other, maintaining a constant sense of excitement. The ending is a bit jarring, and it almost feels as if this song ended a bit sooner than it should have.

The energy tones back down on "Modulator". Plantoid embraces jazz on all elements of this song: melody, instrumental tone, and modal choices. Ugly, dissonant chords arise near this song's end, and I really like the contrast between the start and end of this piece. The brief instrumental interlude "It's Not Real" features woozy percussion and a lush sound palette.

"Dog's Life" has a jumpy, mathy main riff that reminds me a lot of late '00s prog acts like RX Bandits, Ticktockman, and Children of Nova. Despite the anxiety of that main guitar line, things remain rather restrained. Things finally explode in the last minute, with extraterrestrial synth embellishments and twisting, distorted guitar lines.

As much as I like the mellow jazziness of this album, I really enjoyed the contrast at the end of "Dog's Life", while the short "Only When I'm Thinking" brings us back to the usual calmness of Terrapath. A bit more grit here and there would have been nice.

"Wander Wonder" starts off a bit slow, but around the two-minute mark, the arrangement becomes stripped-back as a groovy but tense guitar line takes the lead. The arrangement gradually becomes richer and fuller, and it takes some fun instrumental detours. "Insomniac (Don't Worry)" flows naturally out of the preceding cut and keeps the upbeat tempo. It's got a catchy, caffeinated pulse that evokes the delirium of sleepless nights.

The heaviest riff yet on Terrapath opens "G.Y. Drift". It's a strange, ugly phrase, but it eventually resolves into a Latin-flavored guitar solo. In sharp contrast to the preceding instrumental, the album closes with "Softly Speaking". This song features fittingly subdued piano and quiet vocals, ending the record on a calm note.

Plantoid's debut LP is a solid bit of hazy, murky psychedelic prog. Airy vocal arrangements, jazzy clean guitar lines, and splashes of heavy fuzzed-out rock give this record an intriguing retro-futuristic feel. I'm excited to see how this band evolves in the future and how the balance of heavy and light compositions will continue to develop.

Review originally posted here: theeliteextremophile.com/2024/03/18/album-review-plantoid-terrapath/

The musical musing of Chloe Coyne and Tom Coyne who wanted to nourish their fetish for 70s classic psychedelic rock mixed with hard rock and jazzy constructs, the life partners quickly formed the band Mangö in 2019 and then relocated to Brighton, England and found quite a few gigs around the city where they eventually met and recruited bassist Bernardo Larish and drummer Lous Bradshaw who shared the couple's passion for similar progressively oriented music that was retro in influence but tailored to the modern world. The trio soon changed the band name to PLANTOID and honed their chops enough so that they attracted the attention of the Bella Union label and started releasing several singles to get their passions heard.

Debuting in 2024 with the first release TERRAPATH, this band offers a very interesting mix of jazz rock infused with psychedelic rock, heavier math rock guitar outbursts and a tad of indie rock which guarantees that PLANTOID is no one trick pony and goes above and beyond the call of duty in crafting a unique slice of varied eclectic prog for the 2020s. While beginning with an ethereal echoey guitar sequence it's tempting to think that this will be one of the trippiest lysergic psychedelia experiences set to sound that you could possibly experience in the 3D construct of consciousness but then PLANTOID reveals itself to be a master of exotic spices by taking musical twists and turns that culminate into a hard indie rock / punk guitar frenzy. And that's just the first track.

The album only continues to meander from track to track with staccato guitar stomps, neo-psychedelic atmospheres and jazz-infused percussive workouts. Add to that the divine feminine charm of lead singer Chloe Coyne whose angelic contributions anchor the project more to ethereal space rock but when her soft spoken lyrical delivers drop out of the scene the time signature prog rock outbursts of the guitar, bass and drums take over making this a wild ride of an album as best experienced on the single "Dog's Life" which somehow integrates the world of math rock and post-punk into the confines of what should be a trippy psychedelic dream pop track. This trio is a master of this crazy fusion approach all the while never leaving the jazz-infused chord progressions to wander off too distantly far.

The dramatic contrast of the angelic with the caustic is juggled with razor-sharp precision always threatening to fall off the tightrope but results in mastering the art of balance like a seasoned Cirque du Soleil performer. The whole thing is quite original in how it offers an alienating effect while finding just enough Earthly elements to keep you anchored to traditional orthodoxies. If you ask me the way Chloe Coyne places her vocal phrasing in conjunct with the instrumentation reminds me a lot of Brazilian samba and the whole jazzy softer parts cement that connection even further. Except for the heavier outbursts that don't happen as much as the softer tones and timbres, the album feels like a drift in the clouds like some sort of Star Wars cantina lounge act that offers a universal approach to its extension of an Earth music known as jazz.

A very interesting newbie band for sure with lots of interesting creativity infused into its musical Frankenstein that is part math rock, part jazz, part psychedelia, part dream pop, part funk, part jam band and completely experimental but in a really easily accessible type of way. This is the kind of band that takes familiar sounds and juxtaposes them just a little bit out of the norm and then adds other elements in places where you wouldn't exactly expect and then pacifies the soul with angelic vocal delivers, mesmerizing atmospheric backdrops and a touch of normalcy to keep the whole project from becoming too detached from the gravitational forces of the mother planet. This is quite a pleasant album and a fascinating new band that screams with vitality and freshness. Definitely a band to look out for. This creative first offering is very scrumptious indeed.