Love Fear and the Time Machine

Riverside – Wasteland Review

Riverside – Wasteland Review

“I did not know what to expect when I started listening to Riverside‘s new album Wasteland. In a way, I was surprised that it was written and released. After Piotr Grudziński’s sudden and untimely death in 2016 the band was effusive in their love for him and open about what a deeply personal loss they had suffered. The three remaining members elected to release a compilation of instrumental material featuring Piotr’s work and songwriting in 2016 entitled Eye of the Soundscape. This was followed by a live album called Lost ‘n’ Found on Bandcamp independently which featured Piotr in a show on the 18th of October, 2015 in the Netherlands. And then, apparently, Riverside began writing new music.” From loss, creation.

Dr. Fisting’s Top 10(ish) of 2015

Dr. Fisting’s Top 10(ish) of 2015

“2015 seems to have yielded a larger-than-usual crop of good music. For the first time since I’ve joined this fine website, I’ve found a lot more than 10 albums that could have easily made this list, and I’ve had to make some tough calls. Obviously, this is a good problem to have, and I’m not complaining.”

As always, if your favorite album isn’t on my list, it’s because your opinion is wrong, you have terrible taste in music and I don’t like you. Onward!

Riverside – Love, Fear and the Time Machine Review

Riverside – Love, Fear and the Time Machine Review

Poland’s Riverside should be no stranger to the dedicated reader of these Angry pages. After discovering the band’s Anno Domini High Definition in 2009, Riverside has sneakily become one of the staples of my playlist. I wasn’t completely enamored with Shrine of New Generation Slaves; but its chill, more reflective moments are the ones that I keep coming back to: “The Depth of Self Delusion,” yes, but especially, “We Got Used to Us,” which has a slow groove and a transcendent chorus. Still, SoNGS lacked the punch and progressive drive that ADHD—and the band’s earlier material—had, and landed far more in the territory of post-Marillion prog, without the brooding darkness into which late Gazpacho has wandered recentlySoNGS was, arguably, nothing more or less than a road sign, though, pointing towards 2015’s latest record: Love, Fear and the Time Machine.