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(44:48; Glass Castle Recordings)
HOGIA are based around Malcolm Galloway, who is also known for his minimalistic orchestral recordings, and on the debut album ĎInvisibleí from 2012 he was joined by Kathryn Thomas (flute), Mark Gatland (bass), Rudy Burrell (drums) while guitarist Ibon Bilbao also helped on one track. On Prog Archives the band have been listed under Crossover, which is sometimes used as a dumping ground for bands who are deemed to be worthy for inclusion on the site yet none of the other sub-genre teams will take them. It has taken a long time for me to find a way of describing them, and the best I can get to is Indie Prog, as opposed to Indie Rock. The vocals can be angular and abrasive, lyrics are often repeated, sometimes to distraction, the music can be clunky and sharp and certainly isnít what one would expect from the nice laid-back world that is prog. Galloway has a real passion and there are times when his voice fractures as he is attacking the microphone, and he reminds me of an angry Damon Albarn mixed with David Byrne. This isnít prog to be reflected on, either lyrically or musically, but is music which belongs in a live environment and I can imagine the band went into the studio, laid it down, and were back with the master tapes in a very short time indeed. This isnít what people think prog should be about, as there is an intensity and energy which is rarely seen in that environment unless it is with the more metallic and heavier bands. But this isnít metal, it isnít pronk, but it does have some of that attitude. I first played this album when I was moving a load of manure (honestly, I live on a farm), and somehow it seemed the perfect accompaniment to the task at hand. They arenít always in your face, and so slow it up when they feel the need, but it is never for long, and soon they are back in your face again demanding you pay attention. Interesting and refreshing.
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