AZIOLA CRY, Dysphoria Ritual (Aziola Cry). When Warr Guitarist Jason Blake isn’t wowing us with his touch and technique as a solo artist, he’s helping to take things to the next level with Aziola Cry. It’s progressive metal that leaves a dent. While the music is reminiscent of Tool, it’s a looooong way from being derivative. Guitarist Mike Milaniak provides the perfect foil for Blake, who is playing both bass and guitar lines courtesy of his instrument. Their melodies dart, dance, and weave all over the mix with crushing weight that’s highly effective without being overwhelming. Drummer Tommy Murray, meanwhile, knows just how to stomp out the brutal beats and fills that inspire head-banging, even if it is in odd time. It’s the perfect music for melting concrete within a three-mile radius. Play it LOUD!

DAVIS BRANCH, “A New Face for the Dream” (Single). Three minutes of lovely ambient post rock consisting of layered synthesizers and the cleanest of guitar riffs. The perfect sound for the Artemis II mission, which no doubt would have made the astronaut’s playlist had the tune been released before they took off. It would be great to hear a proper album revolve around this single.

RICHARD BARBIERI, Haunted (Kscope). Some might know him best from his keyboard work with Porcupine Tree and Japan, but those in the know are well aware of Richard Barbieri’s remarkable solo works. Haunted is no exception. The music’s self-contained nature gives Barbieri more than enough room to shine, but he also knows how to step aside and let other instruments do the heavy lifting, giving them music great depth and width. That this is merely a 15-minute EP might be this collection’s biggest detraction.

NINE INCH NAILS & BOYS NOIZE, Nine Inch Noize (Interscope). Trent Reznor creates fascinating, raw, layered, and aggressive music. He’s also one of those artists who lets other artists remix his songs to create new works that frequently rival the original songs. This time, Reznor puts Nine Inch Nails in the hands of producer Boys Noize to create fascinating takes on new and classic NIN tunes. The good thing about this music (mostly de-and reconstructed during time spent on the road) is that it doesn’t leave fans looking down on the original songs as much as it might leave them saying, “Wow … that was an interesting direction.” It’s like listening to multiple sides of the same brain.

BRASS CAMEL, Brass Camel (self-released). One thing is certain: Brass Camel knows where their bread is buttered. They are unapologetically prog, and make the most of their influences. For example, this self-titled album’s opener comes right out of the Yes playbook. It wouldn’t have been all that surprising to hear Jon Anderson’s voice spring forth from the speakers. Other vocals could easily have come from Geddy Lee, and a couple of riffs could easily have been written by Frank Zappa. Did I mention the splash of Queen? Still, Brass Camel isn’t copying anyone. Rather, they’re taking their influences to the next logical step and making those influences their own. That’s what a good band does. That’s what Brass Camel is doing. Anyone still stuck on prog’s ‘69 to ‘74 Golden Age can find what they need in this band, and they can appreciate the advancement.

GOGO PENGUIN, Call to the Void EP (XXIM Records). The British jazz trio continues its gradual push away from the purely acoustic nature of piano, bass, and drums to embrace more electronics. This only makes sense given their Radiohead and Aphex Twin (among others in the same realm) influences. But at heart, they’re still GoGo Penguin, with lovely keyboard motifs, rumbling smooth bass lines, and pulsating percussion ruling the day. This quick three-song EP serves as Exhibits A, B, and C. They leave us salivating for what’s coming next.

TERRACE MARTIN, Purpose (Sounds of Crenshaw). A most interesting blend of jazz, hip-hop, and electronics guided by saxophonist Terrace Martin. It’s the sound of the streets as we may know them today. Not exactly groundbreaking, but interesting all the same. The ingredients don’t make a soup where everything blends together as much as it is a sonic stew where each element stands out as part of the whole. It’s a quick ride, but a groovy one.

BILL LASWELL & PST, Mount Analogue (Sub Rosa). Strap in. We’re gonna be here for awhile. The seven tracks on this Bill Laswell steer away from his expected dub/bass excursions and wander into abstract soundscapes and spoken word thought processes totaling nearly three hours. Guests like Nils Petter Molvær, Henry Kaiser, and Percy Howard add to proceedings that pay tribute to novelist Rene Daumál and the novel that gave this project its name. Best taken in segments, as it allows for time to digest what happened first. An interesting experiment, but not for the timid.

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