ALL THE THINGS NO TOMORROW BRINGS

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".

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