When I see a credits list that includes a glockenspiel, a mandolin, a Rhodes piano, and other esoteric instruments, I get a rush non-prog fans wouldn't understand. High school buddies Drew Bligh and Dave Coffey tackle these instruments, along with many others, in their spur-of-the-moment project Shagohod's third full-length album, "A Curse That Hides the Door." Shagohod is the drunk brainchild of the two, who'd figure that after downing a couple 40's and playing PS2, they should start an alternative/progressive metal band. For such a random idea, the duo brings forth nuanced ideas, complicated compositions, and enough activity to keep me occupied for fifty-four minutes.

From the first proper track, "Swashbuckle Up," you'll hear everything Shagohod has to offer in seven minutes: progressive rock-oriented instrumentation, more metal-forward moments featuring harsh vocals and more dynamic playing, and cool curiosities like string instrument sections, arranged by Bligh and performed by Invoke, acoustic guitar and piano passages, random retro synths, and so much more. I sound like an infomercial host, but seriously, there's a ton to unpack in each track. Theatrical eclecticness is what the project depends on most to deliver an interesting listen, but at some points, it feels contrived. Like, how many things can we get away with? The constant is a symphonic prog feel that, through odd time signatures and quirkiness, provides a mattress to fall back on when the band grows tired of attempting Disney Channel-esque pop-punk tracks ("The Rakehell"), amateur angsty bouts of "fuck you, society!" ("Sychophant"), or anything outside of strict progressive metal.

The ambition of the main genre is clear in the record, though. The highs are quite high, including the aforementioned opening song, the harsh symphonic metal track "In Linen, Entwined," and the three-part suite that concludes the album. Throughout these highlights, the guitar-forward shredding and soloing are solid, the bass is audible, and the drumming is tight. Some outside instruments fit in better than others, like the saxophone or the piano. The vocals are, at times, not forceful enough to match the constant shift of energy. I feel that this record can be cut in half, and I'd still get the message. Whenever Shagohod turns into a synthwave band, an avant-prog collective, or literally any other entity that doesn't play to their strengths, it feels anomalous. Shagohod, you need to rein it in a little bit.

To sum it all up, I'm fond of this album and of these proggy Nutmeggers, but there's refining to be done. To put out an album full of purely random, well, stuff, doesn't result in a cohesive release. Filler tracks are aplenty, so skip to the ones that metal matter.