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SISTER HELEN

Crossover Prog • United States


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Sister Helen biography
SISTER HELEN is an American Crossover Prog band from Brooklyn New York. The band plays a heavier version of crossover influenced by the progressive rock bands of both the seventies and the two-thousands. The band describes themselves as four musicians that like melodies, rhythms and jumping around.

The band consists of Nathan J. CAMPBELL (Vocals), Chris KRASNOW (Guitar / Vocals), Eva LAWITTS (Bass / Vocals) and Clint MOBLEY (Drums). SISTER HELEN has a wide range of influences including MASTODON, ZACH HILL, POLVO, KING CRIMSON, BLINK 182, AMON DUUL II, WEEN, BARONESS and many others. Since 2010 the band has released two full length albums and three EP's using the Bandcamp platform.

While the music itself shows the band's fondness for THE MARS VOLTA infused with the feel of a lush seventies production, CAMPBELL's vocals often show the operatic showmanship of Mike PATTON (FAITH NO MORE).

Biography provided by Roland113

Sister Helen official website

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SISTER HELEN discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

SISTER HELEN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Find The Rat King
2010
0.00 | 0 ratings
Hope To Leave No Harm
2012
3.91 | 4 ratings
IV
2017

SISTER HELEN Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

SISTER HELEN Videos (DVD, Blu-ray, VHS etc)

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SISTER HELEN Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

0.00 | 0 ratings
4th Trimester/I Will Haunt You
2011
0.00 | 0 ratings
My Own Perception
2013
0.00 | 0 ratings
The Jasmine EP
2014

SISTER HELEN Reviews


Showing last 10 reviews only
 IV by SISTER HELEN album cover Studio Album, 2017
3.91 | 4 ratings

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IV
Sister Helen Crossover Prog

Review by Tapfret
Collaborator Eclectic Prog Team

4 stars A Fond Farewell (...and hello for this reviewer)

When it comes to the amount of quality music out there, I find myself frequently quite late to the party. So is the case with Sister Helen's 2017 release Sister Helen IV. "How is somebody late to the party for a 2017 release?", you may ask. When its the first time you heard the band and it is the announced finale in the band's discography, that's how. In reviewing this act's history, these young artists started this project in their pre-teens and have had a run that has lasted more than half of their lives. Having no previous knowledge of the band, it turns out the finale is a great place to start the Sister Helen listening experience.

The first thing that sticks out in listening to Sister Helen IV, is this sounds like a band that is born of youth, even prior to knowing the ages of the performers. Not as an indictment of maturity or quality, but an intangible diffusion of energy throughout the songs. In fact, the maturity in thematic presentation is well beyond what one expects of any but the most educated of persons yet to reach a quarter century of life. Mental health, history, and interpersonal communication themes presented with a seemingly deep understanding. All wrapped in a frequently groove oriented package that is funky, punky and not shy of dissonance, but never far from resolution. Mix that with a strong affinity for styles and artist that well pre-date their birth, including direct lyrical quotes from Herman's Hermits and Sly & the Family Stone, and the package is very diverse and expressive.

At times the sound of Sister Helen IV fills me with nostalgia of the East SF Bay post-punk/quasi-avant nightclub scene of the early 90's. As a matter of fact, singer Nathan Campbell's voice is a dead ringer for Eskimo/Ebola Soup vocalist John Shiurba at his least silly moments. The instrumentation is heavy at times but nowhere near metallic, with the guitars usually overdriven but not grinding. If my ear serves, twelve-string is being used. Lots of expansive chords and tight breaks, all the while maintaining an organic small venue rawness. The overall sound reminds me of Smashing Pumpkins if they had decided to be interesting for some reason.

It is strange, this album has the sort of pop sensibility of song/album structure that I am typically not drawn to. But there is something extremely addictive about this album. Maybe its the interspersed complexity, maybe the energy and rawness, or perhaps something completely intangible. Whatever the case, its not so much a masterpiece, but I find myself listening to this album frequently since discovering it. Shame this appears to be the last material this band will produce. 4-stars.

Thanks to kev rowland for the artist addition.

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