You know you’re in for an interesting experience with an album when looking at the cover makes you think, “Wait…Am I high?”
L’Ira Del Baccano‘s The Praise of Folly combines prog, stoner, desert, doom, psych, and whatever the hell is going on with the chicken woman, wasp-man, and nightmarish elephant-praying mantis hybrid playing instruments on the cover.
Part one of the title track instantly reminded me of Rush if they leaned heavier into their harder material. It’s a nearly thirteen-minute journey into cosmic realms that defy any kind of description. The guitars alternately soar and roar at the right times, and the drums are like guiding spirits through a strange land. It crawls / oozes into doom metal by the end and then shifts into desert rock for part two of the title track.
The weird synths of “Stigma”, and the chugging horror film guitars, remind me of Goblin tracks from the early 1980s. About halfway through the song, it becomes a grooving, rocking psych-rock track with tight drumming and a slick bass line.
The closing track, “Rosencrantz and Guildenstern Are Dead,” hits hard and wild at first and then turns into something you might hear ahead of Galactus’ approach to your planet.
L’Ira Del Baccano have said that they didn’t tweak The Praise of Folly much. They wanted it to draw in the listener and be as much like a live performance as possible. A good amount of it is improvised, which is damn impressive when you hear it. The album is an immersive experience that leaves you feeling like the album cover looks – weird, expanded, and spacey.
Keep your mind open.
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[Thanks to Angie and NRV Promotion.]
