Review: Circuline – Return

That’s it. I think I’ve found it. The reason why progressive music is related to being snob, and why you will be named a prog snob from time to time. Circuline might be the most pretentious and “snob” prog rock band out there. And for a so-called “modern” progressive rock band, they’re straight from the 80’s and 90’s prog rock era to me. Stuck in the past, the nose up their ass.

Let me just put all that’s wrong, just with their music video for One Wish. And I’m not even going to talk about the music itself, for now. Here we go: the 70’s quality image and animation at the beginning, the theatrical outfit of the second singer, the bassist with a fedora and a double-neck bass, the guy with seven keyboards, the lights technician, the guys are not playing the same thing that can be heard most of the time, the most outstanding singer only starts at 2:00 and only says two words, the blurry shots of the lead singer, the fedora guy waving his hands above his bass necks like Criss Angel would do, are the guitarist and the drummer twins? and all the video effects used, especially on the guitarist at the end.

That was all a good bunch of wrong, but hey, we’re a music blog, not a video blog, right? So let’s get on to the real stuff.

Like I already said, it’s a band who’s stuck in the 80’s to 90’s prog rock era. Absolutely everything on the album calls back to this: the synth sounds, the song structures and just how they feel in general. All that’s missing is the saxophone (see Another Day). To be fair, that alone isn’t a sin, but coming from a band calling themselves modern and progressive, it’s pretty damn near is one. Overall, the album’s not bad, it’s not good enough to be bad, it leaves me completely indifferent musically. There’s absolutely nothing that interested me, challenged me, or really stuck with me, and on the other hand, there’s nothing that’s botched; it’s done professionally, for sure.

Sure, there are some [very brief] cool moments. A little keyboard fill here, a guitar solo there, an ephemeral atmosphere, a time signature change, and other stuff too, but they are so brief and scarce that they’re like oases in the desert: when you see one, you run towards it, but most of the time it’s only a mirage.

I’m sure some of you might enjoy, a bit, this album. If you like the worst part of prog rock history, you might like this. But if you’re like me, this will bore you to death.