Reviews (new releases only) - Progarchives.com

DISCIPLINE Breadcrumbs (Symphonic Prog, 2025)

Thu, 21 Aug 2025 17:58:40 EST

Review by kev rowland — I have long thought that Discipline are one of the most vital and important progressive rock bands to hail from
America, but when I started saying it 30 years ago there appeared to be few who would listen. These days band leader
Matthew Parmenter is a busy man (check out his albums with Kate Hinote Trio where he provides violin), but finally
we have a new album from Discipline, just their third in the 21st Century and their first in eight years. Matthew
provides vocals, keyboards, violin, guitars and tambourine, while he is joined by bassist Mathew Kennedy, as he has
ever since 1994's 'Push & Profit'. Tiles guitarist Chris Herin is still here as he was for the last album, but long-time
drummer Paul Dzendzel is no longer involved, with his place taken by Henry Parmenter.

Discipline have always sounded as if they came from the UK as opposed to Michigan, as there is a breadth, depth and
originality which comes across more like VDGG than a melodic rock inspired progressive outfit, which means that
while Mathew has the knack of producing albums which are interesting and enjoyable the first time of playing, it is
only really after multiple plays that one truly starts to understand the majesty of what is taking place. Henry has joined
seamlessly, perhaps unsurprisingly, while Chris seems far more settled into his role, taking the lead when he needs to,
but also understanding the need to fill the gap between melodic bass and drums, allowing Matthew to spread the
sound with different keyboards, violin, or his vocals. Ah yes, Matthew's vocals, he is blessed with the style of a true
performer, with a lot going on as he provides emotion which invites the listener deep inside.

Musically we never quite know what is going to happen next, as there may be long passages of repeated backing to
allow gentle noodling, or there could be dramatic shifts, so one can never quite relax. Back in the day Matthew used
to wear white face paint, reminiscent of a clown (but darker and more dramatic), taking on a persona to tell the story,
and even though all I have here is the music I can still visualise Matthew acting out that role on a stage, larger than life
and far more menacing.

It may be a very long time between releases, but Discipline continue to demonstrate why those who know them rate
them very highly indeed, and we have yet again another superb release which is a voyage of musical discovery from
beginning to end. If you have yet to come across Discipline yet want proper solid progressive rock, then you need to
hear this and then visit the back catalogue.

LARS FREDRIK FR�ISLIE Gamle Mester (Symphonic Prog, 2025)

Thu, 21 Aug 2025 08:47:30 EST

Review by Stefano61 — I. The Art of the "Old Master"

Lars Fredrik Fr]]>�artistic endeavor of considerable depth, going well beyond the simple continuation of a musical journey. While
Fr]]>�reveals him in a completely different guise: that of a multi-instrumentalist, composer, and narrator placed in the
front line?a figure who has chosen to emerge from his role as a "hidden artist" within a band to expose an entirely
personal vision.

This work represents his second solo chapter after his 2023 debut *Fire Fortellinger*, but distinguishes itself
through its intrinsic uniqueness. The genesis of these solo albums doesn't respond solely to a desire for individual
expression; research reveals they were born from an almost therapeutic need to overcome group dynamics. Unlike
Wobbler's creative process, described as "democratic" and often prolonged through lengthy jam sessions, Fr]]>�approach on *Gamle Mester* was immediate and spontaneous, guided by deep instinct and "a project for his
mental health."

The title itself, *Gamle Mester* ("Old Master"), immediately clarifies its ambition and conceptual significance. It has
nothing to do with video games, but refers to an ancient Norwegian oak, the "Den Gamle Mester," which also
inspired a poem by J]]>�conceptual pillar of the entire album?an affirmation of art and creativity's enduring value. Through this homage,
Fr]]>�that reflect the depth and mastery of the great masters of the past.

II. The Conceptual Thread: From Myth to Masterpiece

The album unfolds as an ode to art history, mythology, and literature?a celebration of "timeless creative acts that
still resonate today." This thematic choice stands in direct opposition to the fleeting trends of modern music,
preferring a narrative rooted in myth and folklore. Each track is a distinct chapter, but all are united by a common
thread celebrating the resistance and eternal value of artistic ideas, symbolized by the ancestral oak that gives the
work its title.

The sources of inspiration that Fr]]>�p]]>�immortalized in Rubens' celebrated painting. The music captures the story's drama, moving from a lively
harpsichord riff to tense, nervous passages evoking the chase. Another track, "Medusas Fl]]>�Medusa"), draws inspiration from G]]>�sea. The artist translates the "sense of vastness and danger of the ocean" through the use of "darker, heavier
keyboards" and an energetic rhythm section, creating an atmosphere consistent with the tragic story.

The album's longest track and emotional climax, "De Tre Gratier" ("The Three Graces"), is inspired by Zeus's
daughters. Its extended duration of over 12 minutes allows Fr]]>�with an urgency that leads him to a climax of organ and Mellotron that leaves its mark.

A crucial and fully intentional aspect of the album is the choice to sing in Norwegian, unlike many Wobbler works.
This decision isn't a simple technical detail, but an act of authenticity that firmly roots the work in Fr]]>�heritage. His mother tongue elevates the stories of folklore and myth, making them more immediate and intimate
?a distinctive and deeply personal element of this work.

Track Listing & Thematic Synopsis:

- Demring** (Dawn) - 5:01: The awakening of creation, the passage of time
- Jakten P]]>�- Gamle Mester** (Old Master) - 7:17: The ancient oak, symbol of wisdom and resistance
- Medusas Fl]]>��- De Tre Gratier** (The Three Graces) - 12:27: Greek mythology (Zeus's daughters), emotional climax
- Skumring** (Twilight) - 3:13: Day's end, a meditative conclusion

III. The Sonic DNA: A Cabinet of Analog Wonders

Beyond its profound conceptual framework, *Gamle Mester's* most distinctive characteristic lies in its meticulous
production and use of vintage analog instrumentation. The album is an exhibition of mastery and virtuosity, where
Fr]]>�protagonists.

A detailed analysis of the instruments used reveals an authentic "cabinet of wonders." Fr]]>�of vintage keyboards, each with a specific function. The Mellotron M400 and Chamberlin M-1 add warm analog
sonic consistency and an unmistakable orchestral touch, offering a richness of texture that evokes '70s symphonic
prog. His dedication to sound is evidenced by the fact that he's owned the Chamberlin since 2009. Genre pillars?
the Hammond C3 with its Leslie 147 and the Minimoog Model D?add respectively their unmistakable organic
"roar" and "rubbery" sounds and fluid leads, serving as the backbone for many tracks. Rarer instruments like
harpsichord, Wurlitzer 200, Rhodes mkII, and William de Blaise spinet further extend the album's sonic range,
introducing influences spanning from baroque to jazz and folk.

The choice of these instruments isn't dictated solely by nostalgia, but by a precise artistic philosophy. Fr]]>�himself has confessed that using these old instruments involves a real "struggle," describing the harpsichord as
"hell" to tune and the Mellotron as a rusty car he must "fight with." This acceptance and even celebration of
imperfection contrasts with modern digital production's sterile perfection and aligns perfectly with the concept of
enduring craftsmanship that permeates the entire album.

Although Fr]]>�sound. Bassist Nikolai H]]>�and an "absolutely splendid" sound, demonstrating that the artist, while capable of playing everything himself,
recognizes the added value of collaboration. Similarly, Ketil Einarsen's (White Willow, Jaga Jazzist) "flutes and
recorders" add a touch of elegance and refinement to already masterful pieces.

IV. Track-by-Track Breakdown

*Gamle Mester* is a listening experience that demands attention, and a track-by-track examination reveals each
composition's depth.

The journey begins with "Demring" (Dawn), an instrumental piece serving as perfect opener. At just over 5 minutes,
it creates a cinematic atmosphere immediately immersing the listener in the prog sonic environment. Immediately
following, the complex "Jakten p]]>�track opens with a characteristic harpsichord riff before evolving into intricate rhythmic sections and virtuosic solos,
capturing the hunt's epic nature.

The title track, "Gamle Mester," at 7:17, is the album's heart. Characterized by a "central keyboard theme" evoking a
sense of triumph and grandeur, its 7/8 structure adds a touch of complexity and dynamism. Notable are also the
"spatial" sounds Fr]]>�
"Medusas Fl]]>�the track builds on an energetic rhythm and skillful use of Mellotron and synths creating an atmosphere consistent
with the shipwreck story.

The album's climax is represented by "De Tre Gratier," the longest piece at 12:27 minutes. The track is an epic with
"multiple movements" and a vast range of keyboards that "carry the narrative forward." Its development is a
masterful progression, moving from quiet harpsichord moments to a "gritty organ solo" supported by Mellotron
and flutes, pushing the album to its emotional apex.

The journey concludes with "Skumring" (Twilight), a 3:13 instrumental finale which is the album's most
"experimental" and "meditative" piece, closing it in a reflective atmosphere that returns to the day-cycle theme.

V. Conclusion: A Triumph of Enduring Craftsmanship

*Gamle Mester* succeeds across the board. A work that consolidates Lars Fredrik Fr]]>�contemporary progressive rock's most inspired figures. The album is a triumph of craftsmanship, balancing
technique and virtuosity with compositional and emotional depth rarely found. The choice to use exclusively
vintage analog sounds and adopt an "anti-trend" vision doesn't make it a mere revival exercise, but a bold and
sincere artistic statement.

Fr]]>�starting point for creating something new, authentic, and enduring. Despite being an almost entirely solo endeavor,
the artist has managed to further elevate the work by choosing prominent collaborators for bass and flutes,
demonstrating compositional maturity that doesn't fear seeking excellence beyond his own creative nucleus.

*Gamle Mester* isn't just a recommended album for prog enthusiasts, but a "vital contribution" to the collection of
anyone who appreciates music as an expression of history, art, and passion.
It's a work celebrating creativity's endurance, positioning Fr]]>�"Old Master" who, through his art, continues charting the path for future generations.

DJABE Freya-Arctic Jam (Jazz Rock/Fusion, 2025)

Thu, 21 Aug 2025 06:28:29 EST

Review by tszirmay — The ongoing relationship between the Genesis maestro and prolific Hungarian legends Djabe continues, seemingly
a prefect partnership musically, as well as Steve's obvious personal love for Hungarian culture. Combining modern
jazz sensibilities within expansive musical channels that wander way beyond the mundane is in itself a major
accomplishment, but when interfaced with Steve Hackett's magical guitar, the creative flower blooms like a
paradise garden. With Tam]]>��marshalled by Peter Kasz]]>��class, while Aron Koos-Hut]]>�when called upon. Attila ]]>��cavalry charge must be quite the experience. The Hungarians surely enjoy performing all the classic Genesis and
Steve's solo material just as much as Hackett seems having a blast playing the Magyar material. What we call a
perfect partnership with zero downside, only mutual respect and constant enjoyment in each others company.
The music is always a challenge to describe, a hybrid jazz, rock, African and Hungarian folk, at times ambient,
meditative and progressive as well.

"In the Silence " opens the curtain on a cinematographic groove, where cool synthesizer plateaus, freezing bass
fjords, and wind-blown guitar gales , together revealing an arctic feel. The Barab]]>�pure crystalline piano notes evoking snowflakes melting on warm cheeks, the flugelhorn blaring gently like whales
in the distant ocean. The jazzy guitar phrasings are masterfully restrained by Attila, letting Steve do his thing later
on, where golden streaks of sunshiny bliss overtakes the arrangement, a sassy trumpet maintaining the tempo.
The bouncy "Freya" evokes the Norse myth of a goddess that can master love, beauty, fertility, war, magic and
death. Not sure modern women would be able or willing to take on that many tasks but who knows, with all the
superwomen around ? With hushed vocals, this piece aims for a more laid-back, accessible romp, with Hackett
shooting off a few bursts from his trusted electric guitar.
Things revert to the sonic imagery that makes up the bulk of this 'arctic jam', a subdued trumpet recalling the very
distant past, as "Stone Age Tea" should be a reference to the bubbling brew emanating from both Aron's wind
instruments, Peter's primitive percussives and the slithering lead guitar slicing though the floating leaves. The
finale is quite the blowout! A warning that precedes the incredible next four tracks that take this to an entirely
other level.

Ambient jazz is where we can hear the "Whispers of The Woods", a polyrhythmic travelogue with thrilling drum
parts that show off incredible dexterity and feeling, a strong piano in tow and a sudden frolicking transition into a
lighter realm, almost playfully so. This is the ideal moment for Attila and Steve to exchange fretboard phrasings,
each easily identifiable and both brilliantly interlaced, a definite moody and atmospheric highlight on this album.
Hackett gets to indulge himself in a performance that exhibits his creative soloing as opposed to being a
bandleader, a consummate master in full control of his muse, and a timeless adventure for us in the audience. At
times, I even thought I was listening to Al DiMeola, another jazz-rock icon that can really dazzle. This stunning
piece has all the ingredients for perpetual fame, a modern jazz classic, if there ever was one.

Reflective, ponderous and romantic, the 9 minute + "Sliding Trees" keeps the inventive side in full flight, a serene
modulation with Hackett's harmonica causing the most initial damage, a rubbery fretless bass foray for the ages
shaking off the branches and the shivering electric guitar somersaulting into celestial overtones, in almost
Santana-esque caravanserai fashion, the sensual trumpet caressing the senses, the tactile piano rippling gently
over the skin, utterly relaxing and yet evocative of some internal voyaging. Hackett's second solo reaffirms the
Carlos feel, repeated by a slick synthesizer flurry that boldly assumes its place. Darn, this is so good!

With a funky slap bass , "The Lost Ship" floats along willy-nilly as the trilling electric guitar phrasing sends out
distress messages, compounded by a nervy synthesizer alarm, though no band members seem to abandon ship.
With all hands-on board, the drums are pugnaciously abundant, the pace hurried and frantic, the blistering guitar
in your face and the Barab]]>�
The epic finale and longest track here, "A Storm is Brewing" may be the nail in the proverbial coffin, as it simply
encompasses all the details expressed above and then some. The languorous tempo, the ]]>��flight that foreshadows the arrival of the greying clouds with liquid fervor, the swirling synthesizer gusts, piano
droplets crashing down on the rocks, the plaintive shudder of Hackett's drenching guitar, and a melancholic bluesy
trumpet bidding farewell , I can only surrender to the fact that this is majestic music at its highest level.

Djabe are without question a global leader in modern jazz, owning all the attributes that make their music such a
breath of freshness, a panacea for the soul .

5 polar marmalade

DAAL Decoding The Emptiness (Eclectic Prog, 2025)

Thu, 21 Aug 2025 02:13:20 EST

Review by alainPP — DAAL's vintage sound on keyboards creates a lush atmosphere made of layered musical overlays that goes
beyond basic RPI, with Scandinavian overtones in their tracks, featuring soaring metal, stoner, and classical
instruments.

"Decoding The Emptiness" opens with a heavy, apocalyptic edge; one of the two vocals with Joe for the gloomy
symphonic title track, a viscous time organ imprinting the desperate atmosphere. The basic drums accompany
the Mellotron between KING CRIMSON and the soaring first GOBLIN, the tortured guitar in the background. A
final melting bell, austere, metronomic. "Attic Clouds" begins electronically, redundant and hypnotic, with a dark
atmosphere and an expressive pad; the organ brings a sound filled with sadness and desolation. Ettore launches
his plaintive guitars, reinforcing the dark air worthy of Crimson's "Red." Bobo plays his metronomic bass,
distantly reminiscent of the work of some of the soundtracks of TANGERINE DREAM. "Twilight" with Alphabeard
in Wettonian voice; a piece worthy of a solemn requiem without end, the air glacial, serene and cathartic. The
clock strikes an elegiac sound, on KAUAN, the post-rock chamber movement. The invasive bass and the
monolithic keyboard fade hypnotically, addictive, Ettore releasing the fluid solo. "Horror Vacui" pushes the F
sharp with the plaintive Mellotron, an impulsive gust of wind barely frantic and the flute amplifying the mocking
air of the Grim Reaper. Beauty of the moment, tortuous spleen, softened. "Simulacra" returns to archaic sounds,
an invasive, stressful sound and a simulacrum of relaxation. Flute and keyboard breaks surrounded by bells for
a Genesis-esque and Crimson-esque jam, a captivating, hypnotic, and mantran-like number. Disturbing fades
and mandarin vibrations.

"Mademoiselle X" features a twisted bass and a sleepy, velvety keyboard; an ode to women, an elegiac dark
wave lament by LACRIMOSA, ideal for crying out loud. The guitar brings a touch of joy to allow us to abandon
ourselves to this primal, tribal, and spatial tune, marked by a distant vocoder. "D.o.o.m. (Mortuarii Octavarii
Obscuri Declamatio)" for the stage explosion of confused and tortured notes, the musical torment with a
frenzied sax; the break surprises with this jazzy, soft, and airy piano, giving way to the drums. An alternation
between gentleness and frenzy contrasts with the serene atmosphere on one side, the repetitive piano
arpeggio, and the fusion of instruments emerging from a steely crucible. Sampled cat cries, the Mellotron as in
times gone by, a hint of ART ZOYD, a slow, ardent stroll on embers of notes with the vibrant guitar finale, a
Dantesque martial fade. "Return From The Spiral Mind (Bonus Track)" features percussive sound effects
combined with various keyboard notes, rustic, Arabic, religious, and solemn. A variation of sounds like a
reinterpretation of a Daedalus track with its divine, soothing moment. The fade again looks to the spaces of
TANGERINE DREAM and SCHULZE's drums for the final introspection.

DAAL's sound is tortured, refined, forcing a complex sonic journey for contemplation and introspection. An
album inviting you to navigate dark worlds where the lights seem cold; a mysterious, complex, addictive opus
that seems to come from Scandinavian lands where daylight is absent for long months. Originally on
Progcensor.

DIGITAL LIFE PROJECT / EX DEATON LEMAY PROJECT Digital Life (Neo-Prog, 2025)

Wed, 20 Aug 2025 21:28:50 EST

Review by kev rowland — There have been some changes within DLP, as originally the band was called Deaton LeMay Project, but drummer
Craig LeMay is no longer involved. However, keyboard player Roby Deaton is still there and singer Hadi Klani has been
on all three releases while bassist John Haddad played on the last one. Guitarists Josh Mark Raj and Ehsan Imani have
reprised their session roles, with additional guitarist Frank Jung and there are two drummers in Mike Thorne and Phil
Hronas and an additional bassist in Danny Miranda.

When I first came across this band and their debut, I said they reminded me of Kansas, and then with the second
added ELP to that mix. Now I think we are going for much more of an AOR feel with classic Styx mixing with Kansas
and even some Journey, but much less in the ELP realm. This is a concept album, with the rather worrying story of an
A.I. robot giving birth to an A.I baby. The offspring grows up and wants to be part of humanity but is rejected. In its
anger, it wants to take revenge on mankind. The question that must be answered: Did mankind create A.I., or is
humanity a failed experiment of the digital world? What we perceive as A.I. trying to take over mankind and render us
obsolete, might just be that the digital realm trying to take back control of an out-of-control experiment. All of this is
wrapped up inside a wonderful musical world packed full of melodies, great performances and stunning vocals. Klani
is an amazing singer, the perfect front person for a band who somewhat amazingly are still flying under the radar.

This is class Seventies melodic rock, with a depth and breadth of sound with Roby using lots of different sounds,
including a lovely rich Hammond, a rhythm section that provides a firm base, guitars sometimes taking the lead and at
others sitting just behind to let others be dominant, and then right over the top there are the vocals which take them
to the next level. This is a top class progressive melodic rock act with great songs who may have changed their name
but continue to deliver the goods.

TWELFTH NIGHT Live Fact and Let Fiction Live (Neo-Prog, 2024)

Wed, 20 Aug 2025 20:49:17 EST

Review by kev rowland — It should be noted that the most important words on the cover are at the bottom, where it says, "Recreated by Clive
Mitten" as what we have here are all the tracks from both 'Fact and Fiction' and Geoff Mann's two final shows in
November 1983, of which six tracks became 'Live and Let Live'. On Bandcamp it states, "Re-imagined, arranged, new
performances added, engineered, produced and mastered by Clive Mitten". The result is something which is
undoubtedly confusing to my ears, as we have music I know very well indeed, but which has additional keyboards (in
particular) added, and the mix has been changed.

'Live and Let Live' is one of my all-time favourite live albums, while I believe it is a travesty that 'Fact and Fiction' was
not recognised as one of the greatest studio albums of all time as it should have pushed them to superstar status. It
has now been more than four decades since both original albums were released, and Clive was an essential part of
both so if anyone has the right to revisit and "improve" them then it is him. However, while this may well appeal to
many, especially those who have not previously heard these albums, and there is no doubt that Clive is a hugely
talented multi-instrumentalist, I found that part of me was enjoying the songs, but a large part was also asking,
"Why?".

I appreciate Clive may well feel that due to financial or time constraints the original releases were not exactly as he
had wanted them, and Brian, Andy, Rick and Jane could well all be onboard for the changes he has made, but I
honestly do not understand the need. The originals may not have been perfect to his ears, but to mine (and many
others) they are the twin highlights of Twelfth Night's career, and albums I often revisit which is not something I can
say about this release. My ears are so tuned into the originals that I kept questioning the additions/changes and
hearing them as something placed over the top as opposed to seamlessly fitting in.

I fully expect to be in the minority, as I am sure there are many fans of the band who will enjoy this reimagining, but
while I can never get enough of the Mann, here we have music which I have always thought at being 5* on steroids
being somewhat reduced.

AGROPELTER The Book of Hours (Symphonic Prog, 2025)

Wed, 20 Aug 2025 10:53:48 EST

Review by Biblebla — 2025 has presented interesting music so far, but not many from symphonic progressive rock. Agropelter is a new
band for me, but I am familiar with some of the musician from before. Kay Olsen is someone I have never heard of
before. This album flows perfectly from start to finish, and it should be listened to that way. For lovers of classical
music, this will be very interesting. Few albums deliver such flawless dynamics and relationship between light and
dark, high and low, major and minor. I really enjoyed the piece "Burial Mound", it reminds me of the atmosphere you
can sense in a place of worship. A bit too short, but a moody and atmosperic piece. The tracks "Levitator" and "Flute of
Peril", is also a nice touch to add some lighter moments before the big workout and the reason to buy this record. The
four part epic, which is among the best I have ever heard. The themes jump effortlessly between old space prog to
baroque to experimental jazz to cinematic feel. Lovers of AOR need not apply. The production is crisp and the
instruments seem well thought out with some strong performances from everyone involved. This album has been on
repeat since last weekend, and every spin reveals new details and layers into a complex and interesting world. This
never sounds dull and uninspired.]]>�

AMBIENT DEN Ambient Den (Crossover Prog, 2025)

Wed, 20 Aug 2025 09:24:27 EST

Review by yarstruly — Today I'll be reviewing "Ambient Den", the self-titled album by the project of the same name. The album is a
collaboration between three Australian prog musicians: multi-instrumentalist/vocalist Ben Craven, Tim Bennetts,
keyboardist and vocalist from the bands Seven Day Mask and SUB INC, and drummer Dean Povey of Frankenfido.
According to the information I have, the project began during COVID lockdowns. The album is based on a concept
of mankind searching for a new home in the cosmos and terraforming a planet for us to live on. While the album is
said to be inspired by 70's prog, it maintains the cinematic qualities of Ben Craven's well-respected solo work.
Incidentally, Ambient Den is an anagram of the 3 musicians first names: Ben, Tim and Dean. The album contains six
primary tracks and 4 single edits and is produced by Ben Craven.

Disclosure: Anne Claire of Bad Dog Productions sent me a digital copy to listen to and review. I receive no other
compensation for this. I call it like I hear it! As usual, this is a "cold listen".

Without further ado, let's prepare for liftoff!

Track 1- Future History, Part 1

This is the shortest track at under 2 minutes. It begins with "spacey" sound effects. A gentle synth takes over and
backs an acoustic guitar solo. At around 1:15, the music becomes more rhythmic, and an electric guitar solo
becomes the focus. The overall sound is very reminiscent of Pink Floyd, especially the guitar and organ tones. A
synth sound gives me the impression that we have landed, then a synth drone leads us to the first full track. This is
a terrific introduction to the album, as it has me anticipating what is coming next and sets the stage.

Track 2 - For All Mankind

This is the third longest track at 8:16. The drone continues, and synth lead begins over the top. The Floydian vibes
continue. The rhythm kicks in and we are at a moderately fast tempo. Lead guitar takes us to the first vocals; we
are primarily in a meter of 7 here. I like the vocal tones that are first done solo, then in unison with others. In the
second verse, the vocals become harmonized. I am enjoying this! At 3:50, the key and the underlying rhythm
changes, and we have a synth feature. Slide guitar follows with the rhythm section accenting underneath, while
synths create a nice wash of sound. Another guitar solo takes the spotlight at around 6:20. The solo continues as
the vocals sing the chorus as we approach the ending. Wonderful track! I love it!

Track 3 - Provenance

We begin with an accented chord in a moderately slow 4-4. The lead guitar is featured first\. This is a mid-length
song coming in at a bit longer than 5 minutes. At around 1:45 the dynamic level eases off, but the lead guitar
continues. So far this is shaping up to be an instrumental track, let's see if that proves to be the case. Ben Craven is
really showing us his wonderful guitar skills on this one. Definitely some David Gilmour influence here, but not a
clone, as his own style comes through. As the track nears the end, delicate, almost classical-style piano takes over.
Yes, it is a purely instrumental track. Very nice! A low synth drone connects us to the next track.

Track 4 - Earthrise

This is the second longest one at over 9 minutes. The drone carries over and crescendos into a mid-tempo,
atmospheric groove. The vocals are in harmony. I love the soundscapes in this one, and there is a sequenced
groove that keeps the song moving in the verses. Just before 3 minutes, the groove stops, and we have an acoustic
guitar solo. The groove returns in the second half of the solo, which ends with a slight ritardando (slowing down)
then another crescendo to take us to the next verse. At around 4:50, everything but piano drops out initially and
we have a beautiful piano solo, joined by some subtle slide guitar. This is followed by the rhythm resuming and an
acoustic guitar solo. By 6 minutes the tempo and dynamics pick up and he switches to electric guitar. There is a
great moving bass line underneath (played by Craven, I presume). This solo is quite extended and seems to be
taking us to the end. While the solo has a definite Gilmour influence, there are a few quicker runs near the end of
the solo that are a bit more "shreddy" than Gilmour is known to do. With about a minute left the instruments fade
out in favor of a pair of classical guitar parts. Fantastic track!

Track 5 - Terraforming

This is the big epic of the album, clocking in at 16:31. I am looking forward to hearing it, as I have enjoyed the rest
of the album to this point! It begins with some basic piano chords in a well-executed rhythm. An acoustic guitar
comes in on top playing a solo. Eventually some subtle organ joins as well. At about 1:35 the drums lead the
rhythm section in, and he switches to electric guitar with a rotary speaker effect on it. At around 2 minutes in, the
music modulates up and the backing arrangement adds more layers. He is now on slide guitar. Nice crescendo at
around 2:30. We modulate back to the original key and electric piano takes the spotlight, and the bass is the most
prominent that it has been on the album to this point. Just after 3:30, acoustic guitar takes the lead again, joined by
choir sounds (mellotron, perhaps?). By around 4:30, the rhythm changes and there is an organ solo. The beat
becomes a quick shuffle, and I am reminded of "One of These Days" from Pink Floyd's "Meddle" album, but a bit
quicker with slide guitar returning. By around 5:30 there are some "gothic choir sounds". But then we get jazzy!
Not sure if we are going to have vocals or not, but I am enjoying it either way! Next, slide guitar and organ trade
solos for a bit. Right around the halfway point, there is a brief glorious cacophony, then the guitar plays some un-
accompanied licks with band accents in between. The beat soon returns as does the awesome guitar soloing.
Around 9:30 the instruments sustain and bring the dynamic level down. Povey plays some nice ride-cymbal
rhythms to keep a sense of time, then more rhythms join back in. It is a slow build for the next few minutes with
many layers of sound. Just before 13 minutes, the rhythms smooth back out. Acoustic guitar leads take the stage,
soon joined by actual vocal "ahhs" in harmony. By 13:25 the vocals are augmented by the synth vocals.
Harmonized guitar parts join the dense soundscape. It almost feels like we are ascending to a spiritual plane. At
around 14:30, things come back down, and some electric guitar licks take the lead. There are also nice electric
piano parts from Bennetts. Things begin to wind down and the electric piano plays some strong chords with a little
flourish at the end to close out this dynamic epic instrumental piece (the few vocals are instrumental in nature, so
I'll call it an instrumental despite their presence). Incredible track!

Track 6 - Future History, Part 2

The second part of the bookends of the proper album (not counting the 4 single edits of songs) is considerably
longer than the opening part, but still not very long at 5:37. This begins with a funky, phasey, mu-tron groove. This
part of it has vocals. There is either an actual horn section, or a convincing synth horn section after the first
verse/chorus cycle. The funky groove remains throughout. This one is much more jazz fusion oriented (or even like
Toto on "Pamela") compared to the Floydian feel of the rest of the album. The instruments jam out on the groove
as the song reaches an end. The instruments get fewer as the song fades out. A cool ending with a very different
vibe from the rest of the album. Well done guys!

OVERALL IMPRESSIONS:

I am really glad I chose this one to review! I truly enjoyed every minute of the album. With the exception of the
final track, the Pink Floyd feel is strong throughout. Some might call it "derivative", but so what? I was quite
impressed that they pulled off a 16 and a half minute instrumental that never got boring (see my review of Jethro
Tull's "Curious Ruminant" and you'll see that that can be a tall order sometimes, even for seasoned prog
veterans).But still, anyone who liked Pink Floyd inspired music will surely enjoy this, and the 3 band members
individual musical personalities still shine through! I'll give this a very solid 4.5 out of 5 stars. This will rank highly in
my year end rankings for 2025, I am sure.

Clicked 4, but really 4.5!

FAUN FABLES Counterclockwise (Prog Folk, 2025)

Wed, 20 Aug 2025 08:45:01 EST

Review by arcane-beautiful — Counterclockwise by Faun Fables is a great eclectic folk album from married musicians Nils Frykdahl & Dawn
McCarthy. Keeping the eclectic nature of his Sleepytime Gorilla Museum ability, Frykdahl's vocals and music
accompaniment bodes well with the beauty of McCarthy's pleasant tone and melody, with great harmonies
between the 2. Imagine if The Incredible String Band, Current 93 & Fairpoint Convention had a baby and you
kind of get the idea. Their cover of Yes's Wondrous Stories sounds very eerily to the original, with Dawn
McCarthy's phrasing and tone being very similar to Jon Anderson's original performance. I'd give this a low to
mid 7 out of 10. The track I'd recommend is Washing Song.

AMBIENT DEN Ambient Den (Crossover Prog, 2025)

Wed, 20 Aug 2025 05:50:55 EST

Review by tszirmay — Inaugural album from Down Under. a project that features the masterful talent of guitarist Ben Craven, alongside
mates Tim Bennetts on keyboards and drummer Dean Povey, all contributing vocals. The chosen musical path is
space rock and science-fiction, one of the cornerstone progressive genres, with a superfluity of storied albums by
a slew on international bands. This album will be released in late July 2025, and I am privileged to receive an
advance file. Let us blast into orbit and boldly go where many have travelled before but where endless discovery
awaits. Of course, the spirit of the legendary Pink Floyd, Hawkwind (still going strong more than a half century
later), Eloy and countless other space explorers is impregnated into the very fibre of the music displayed. They are
claiming to invent or even dare to reinvent the style , the are simply offering a tremendous upgrade.

"Future History part 1 " is the obligatory liftoff, and once the stratosphere is left behind, "For All Mankind" throttles
forward into the great 8 minute and some seconds beyond. The set-up is wondrous contemplation emanating
from the keyboard command module, booster rocket thrusts from the drum package and the searing /soaring
electricity from Craven's guitar settles the agreed upon Warp speed vector. When the crystal-clear whispered
vocals enter the cabin, the galactic melody coalesces into mind numbing bliss that cannot fail to please even the
most jaded cosmonaut. The swooping synthesizer loops emulate the ever so rapid time travel, a kaleidoscope of
coloured shapes and glowing stars zipping by the cockpit with streaking abandon. The repetitive chorus is outright
intoxicating and unrelenting, slashed by a myriad of meteoric guitar intrusions, this is an immaculate space rock
track that should enter that genre's Hall of Fame.

Now firmly entrenched in full auto-pilot mode, the lush instrumental "Provenance" keeps the sonic journey in full
acceleration, a cosmic platform where Craven gets to split atoms with his laser-like bluesy beams, at times sizzling
in intensity, swerving with ferocity and scouring for the loftiest realms. Bennetts' piano is a fascinating addition,
provide an elegant keyboard-driven rhythmic alliance with the drum percolations, and the solo at the end is simply
pure heaven.

Nearly 10 minutes long , the eloquent "Earthrise" reignites the vocalized thoughts of our planetary travelers with
an intricate set of lyrics expertly sung, buoyed by a crafty usage of acoustic guitar among the ongoing trembling
guitar shafts that dominate the arrangement, never wandering too far from inspirational melodious arches. When
the ornate piano tethers itself to the slide guitar, the shaking riffs still in place, the acoustic solo leading straight
into an electric spacewalk, yearning to see beyond the crater at the earth awakening from the horizon. Utter
magnificence.

The procession towards a whopping colossus, the 16 minute+ extravaganza "Terraforming", comes across as a
prefect summary of all what went on previously, compressed into one global planetoid of sound. Obviously, the
dimension of this composition gives the players enough room to stretch out their interventions and really let the
juices loose. A desperate piano sets the controls to the heart of the sun, with stinging acoustic guitar in tow, the
discreetly camouflaged organ creeping in underneath, the Gilmourian flurry in full view , all held together with the
sovereign pace of Povey's kit. Toss in some e-piano musings (a perennial fave of this reviewer), choir vocalizing to
add majesty as if in doubt and let the groove hit the fan as it may. The extended organ section is an asteroid's
throw from the fury of a Brian Auger, as Bennetts simply mauls the lunar daylight (as well as the dark side) out of
his instrument, broiling, chugging, humping and destroying the entire span of his ivories within his reach. Engaging
Craven's rabid guitar comes as no surprise, as the three just conflagrate into a colossal outburst worthy of a super
nova saying sayonara. Talk about a jam, the absolute ferocity of the solos is awe-inspiring, literally blowing water
right at the mason (oooh, wordplay again), a complete lapse of reason. The zenith is reached with an apotheosis of
emotional utterance that veers on insanity (a mini-Carmina Burana-like choir folly) and a climactic sonic ejaculation
that will leave any listener spent. The extended afterglow is all sensual and soporific, with extended guitar notes
caressing the senses, as if slowly building up for a second orbit around the sun, as the band sadistically ratchets
up the madness. Mercifully, a detailed choral section of aaahs provides only temporary relief to the cosmic melee,
this is perhaps the wildest Floyd track not written or played by the famous foursome. Ridiculously awesome, I
could not help giggling in giddy astonishment.

"Future History Part2" closes the main album, as the following 4 tracks are single versions of the existing tracks
(save for "Provenance"), which is fine for a debut album as one may want to cover all the bases at the onset. The
choppy organ/ flickering guitar combo sets the vibe, a psychedelic essay on the impending chronicle of our times,
and I am gratefully reporting that it has no pessimistic, gloom and doom feel to it, quite the contrary. Cheery,
hopeful, lovingly redolent of a time when smiling, laughing and having a good time was the norm.

As close to a 5 star ever for a debut album, what the galaxy! : 5 environmental lairs

GERALD Music for Broken Elevators (Eclectic Prog, 2024)

Wed, 20 Aug 2025 04:38:17 EST

Review by alainPP — 1. The Blissful Little Life of Frank Bigbof for the explosive track, avant-garde for the atmosphere; notes of
instruments placed end to end, a little jazzy, heavier, much more violent and crazy with the bass and the drums,
both aggressive and catchy; the musical comfort zone is reached with this dark Crimsonian hard fusion, with this
invasive minimalist cold wave sound, this festive fairground break, this desire to surprise, well, Unexpect comes
back to me; the finale worthy of a cinematic soundtrack, in fact.
2. The Short Way Home with its bass line over children's screams; a voiceover and a slow musical drift into an
ambient psychedelic alternative mode, solemn and haughty vocals; an agonizing Crimsonian escape. The finale
with this post-syncopated guitar solo takes you far, high, beyond, it becomes fruity.

3. Glory Whole in compulsive Latin-jazzy mode with the track Addict for the frenetic build-up.
4. Letter to Sandrine for the Levin-esque bass, see 'Thrak' or 'Discipline'; a repetitive tune alternating with the
relative softness of the Noise Box; a sensation of musical cataclysm with an abusive synth fire. Experimentation
reaches its peak with the cinematic and explosive crescendic finale for orgasmic trance; the crystalline outro brings
us back to prog earth and rests the ear.
5. Atmosphere ... on that of Joy Division; a simple, monolithic, solemn sound reminiscent of the work of Siouxsie
Sioux and perplexing with this Olympian keyboard and bass from the Cure in the background. The sound is
invented, exported, and is not just noise.

Often instrumental music that feels like waves crashing onto pebbles in a cyclical and uninterrupted fashion,
alternating dissonant and melodic notes for inventive psychedelic-post-rock-jazzy. (3.5)

DEAFHEAVEN Lonely People with Power (Experimental/Post Metal, 2025)

Tue, 19 Aug 2025 20:39:42 EST

Review by Dapper~Blueberries — I am bored as hell in my room so why not do an album review, eh?

Deafheaven, a band that managed to surprise the world of black metal by making it mainstream. Or at least as mainstream as it can be. Their 2013 album of Sunbather certainly left a mark on many, and while it wasn't as big as Taylor Swift's Red or A$AP Rocky's LONG.LIVE.A$AP, to say it didn't leave a mark on metal culture would be a disservice. Not only had they popularized styles of post metal and blackgaze, they certainly gave them a crowd for new generations.

As for me, I got into the Deafheaven train very, very late. I had listened to Sunbather before, but never really indulged, until their 2025 album of Lonely People With Power. And honestly, I really like their style. They take the kinda styles that pervade Alcest and Ihsahn, and take it into this very emotional direction that somehow feels less aggressive and more lonely, almost absent.

Not to say it isn't angry, as most metal is quite heavy hitting in that front. But Lonely People With Power, I'd say, shines not with aggression, but rather with attrition. It's a tour de force of more introspective metal, rather than the full crux of a black metal cacophony. Certainly one could point to the post metal influence to be responsible, but even that genre can be extreme. Look at Neurosis and Cult of Luna.

No, I'd say this falls more in line with Earthside's Let the Truth Speak, being an almost pretty metal record. I know the main appeal of black metal is the grime and grit the genre has. Raw production, intense melodies and riffs, and a general feeling of bleakness. I can understand why some might not like Deafheaven turning the black metal wheel and turning a murky genre into one that all the Instagram influencers can enjoy.

But at the same time...what's wrong with prettying up a genre like black metal? I mean, if it sounds as good as this, then I see no harm. Heck, if it turns the genre more mainstream and more people get to hear it, then so be it. One day the Tiktok pageant star who listened to this record on a whim because she saw it on the charts might be a massive Mayhem fan tomorrow! Ok maybe not Mayhem because of the church burnings, but still! I think we're too hard when it comes to something becoming more mainstream, because the idea of a crowd getting bigger feels wrong. And I can get that, believe me. Having something dense expand can be very scary, especially since newer people like different things. But still, I rather not be a gatekeeper because that just ruins the fun. I don't want to be some douche and bar the entry to a musical genre just because the one wanting to enter is a "normie". We were all normies once, I was too for crying out loud! I got into progressive rock because of a Japanese anime! That is the most normie thing ever!

Ranting aside, the point is, this record gaining popularity and notoriety isn't a bad thing, and change should be accepted rather than diminished.

What isn't good though is how top heavy this record is. Yes, despite my praise, this album does suffer from the infamous top heavy syndrome. After Amethyst I feel like the album kinda just does more of the same as its first half, so it never really sticks out well in my book. There are good songs from the second half, but none that can compare to the likes of Magnolia and Heathen.

Still, though, Deafheaven really struck a cord with me for this record. A very beautiful black metal piece that, while a bit bloated, can be a fun time. A sure fire recommended pick.

Best tracks: Doberman, Magnolia, Heathen

Worst tracks: Incidental I, Incidental III

BANCO DEL MUTUO SOCCORSO Storie Invisibili (Rock Progressivo Italiano, 2025)

Tue, 19 Aug 2025 10:53:01 EST

Review by Stefano61 — "Storie Invisibili": The Sonic Soul of Banco del Mutuo Soccorso Between History and Contemporaneity.

Banco del Mutuo Soccorso, the indomitable bastion of Italian progressive rock, delivers to the public "Storie
Invisibili" (The Saifam Group, February 28, 2025), a work that doesn't merely serve as another discographic piece,
but stands as the crowning achievement of a conceptual trilogy dedicated to human existence. Following the
metaphorical journey of "Transiberiana" and the ode to love of "Orlando: Le Forme Dell'Amore," this final chapter
delves into the folds of ordinary lives, elevating individual stories to universal mirrors of our era.

Textual Content: Voices from the Shadows, Universal Truths
The beating heart of "Storie Invisibili" lies in its profound conceptual matrix, conceived by Vittorio Nocenzi with
contributions from Michelangelo Nocenzi and Paolo Logli. The album proposes to give voice to the voiceless, to
narrate those "invisible stories that newscasts don't tell." The twelve tracks are lyrical frescoes that interweave
personal experiences with historical moments and contemporary themes, demonstrating a rare capacity to connect
the micro to the macrocosm.

"L'ultimo Moro dell'Alhambra" is a striking example: the story of the Moriscos' expulsion from 1492 Spain resonates
with dramatic topicality, explicitly recalling the situation in Palestine. This isn't mere historical evocation, but a
bridge between past and present, a warning about the cyclical nature of human suffering.
"Sar]]>�young people who see ideals of social justice betrayed by a new, ruthless tyranny.
"Studenti" captures the unease and distrust of new generations occupying European universities, a generational cry
that finds echo in direct and heartfelt lyrics.
"Casa Blu" is a punch to the gut, narrating a Ukrainian's survival under bombardment, making the listener
participant in an ongoing tragedy.
"Il Mietitore" is a hymn to the dignity of agricultural labor, highlighting the struggles of those who feed the world.
Finally, "Capo Horn" closes the album with a powerful metaphor of the unknown and Dante's "mad flight" toward
knowledge, a call to exploration and transcendence of human limits.

Vittorio Nocenzi's vision is clear: art must be a "megaphone" for marginalized causes, a rebellion against the
commodification of the soul and obsession with crime news. The lyrics aren't merely narratives, but philosophical
declarations promoting a "new Humanism," repositioning the individual at the center while critiquing biased
information management. This textual depth elevates the album beyond mere entertainment, transforming it into
social and philosophical commentary of rare lucidity.

Sonic and Stylistic Content: The Evolution of Banco's Prog
Stylistically, "Storie Invisibili" sits firmly within the Progressive Rock genre, but with a maturity that balances the
genre's intrinsic complexity with renewed immediacy. The choice to restore the "dual keyboard" configuration, with
Michelangelo Nocenzi alongside his father Vittorio, is a crucial stylistic element. This configuration isn't mere
nostalgic recall, but a functional choice that enriches the album's harmonic and timbral fabric, allowing intricate
overlays and instrumental dialogues.

Vittorio Nocenzi's keyboards are, as tradition dictates, the sound's fulcrum. His masterful use of piano, Moog, and
Hammond organ creates symphonic atmospheres, virtuosic passages, and enveloping sonic carpets. Tracks like
"L'Ultimo Moro Dell'Alhambra" and "Sar]]>�featuring rhythms that accelerate and transform. Michelangelo Nocenzi, described as his father's "musical alter
ego," contributes a fresh touch while remaining deeply rooted in Banco's DNA, ensuring both continuity and
innovation.

Tony D'Alessio's voice is another pillar. His performance is excellent, expressive and capable of conveying the texts'
intense emotions. Although D'Alessio suggested more "immediate" and "accessible" language, the album doesn't
renounce musical complexity. This apparent contradiction reveals a sophisticated strategy: making profound
conceptual themes accessible to a broader audience without diluting the sophistication that defines Banco.

Filippo Marcheggiani's guitar distinguishes itself through expressive work, with incisive riffs like "Il Mietitore" and
guitar inlays supporting the melodies. The rhythm section, composed of Marco Capozi's bass?an "impeccable
metronome"?and Dario Esposito's drums, influenced by Jazz and Electronics, proves a "winning card" in enriching
tracks with dynamic and innovative pulsations.

The album presents a variety of compositional approaches: from more direct songs like "Studenti" to atmospheric
and moving prog ballads like "Il Pittore" and "Solo Meraviglia." "La Casa Blu" shows an incursion into more pop
sonorities, but always with elegance and sophistication that maintain firm progressive identity. "Spiegami Il Cielo"
exemplifies a highly intricate and virtuosic piece, with impactful instrumental digressions demonstrating the band's
professionalism and executive mastery.

In summary, "Storie Invisibili" is a work that consolidates Banco del Mutuo Soccorso's position as a vital and
innovative force in the progressive landscape.
Through masterful fusion of profound lyrics and rich, dynamic instrumentation, the album not only closes a trilogy
with coherence and mastery, but establishes itself as a "masterpiece" that continues exploring the genre's
boundaries, demonstrating that Banco is, and remains, "Un'idea che non puoi fermare."

ATOMIC TIME Subsounds (Neo-Prog, 2025)

Tue, 19 Aug 2025 08:49:45 EST

Review by danielsantaclara — Art is something that, at first, seems to have no purpose at all?but once we touch its essence, it can turn an ordinary full-moon night into the most sublime moment of the day. Suddenly, the mundane is redefined and becomes beautiful and profound. That is the power of good music: it invites us to reflect, to question, and to understand. This album does that with a mastery that borders on the transcendental.
The synthesizers take us on an intergalactic journey, guiding our souls with melodies that echo in our minds like cosmic waves. There are long tracks that never become tiresome. On the contrary, the emotion poured into them and their formal complexity make time pass more quickly, always drawing you toward the next chord.
There is one piece that, to me, stands out above the rest: "Blue", my favorite on the album. A true masterpiece. A call to reality in its purest and most beautiful form. The piano solo is a whisper of Chopin. It reminds me of ]]>�I believe that alone is enough to give it 5 stars. Well-made art has the power to transform.

JOVIAC Autofiction Pt. 1 - Shards (Heavy Prog, 2025)

Tue, 19 Aug 2025 07:41:26 EST

Review by alainPP — JOVIAC, melodic prog metal, with a nod to Dream Theater and ACT, is playful prog pop metal. A melodic and
progressive structure, fiery riffs, and delightful lyrical flights.

"Level 1" with its instrumental intro punctuated by soft guitar, on "Entrez lesaccus]]>�shimmers in the Satriani space, a groovy staccato, and a distinctly neo-classical zest. It has a strong whiff of
Dream Theater from the introduction of the jazzy keyboard-drums and the associated djent beat in 7/8 time.
"Haven" follows with a piano arpeggio gradient for the radiant melody that serves as the opening to "B.O.M.B."
with accompanying vocals, proof of their prog roots. A striking catchy chorus, djent mixed with modern synth
with a fresh, funky touch. The rhythm brings Joviac into the era of the new sound of the decade; Viljami
bewitches me, reminding me of the sounds of Tesseract. "Burn," ah, that intro that could have been played by
Iron Maiden, that compulsive rise of instruments, a bit of guttural, then the syncopated side found in Haken, the
rhythmic background on Dream Theater. A text on mental suffering experienced like a Wallian wall; a fresh,
invigorating, energetic drift, a zest of Muse to introduce the break with this piano note drifting to the Orient,
Orphaned Land. An enthusiastic progressive vein, full of links up to the guttural vocal; crystalline sweetness for
the twirling, playful, and devilishly progressive finale, melting vocals on A-Ha.

"Canvas" for the 80s radio pop track, a soft melody on Toto, Tears for Fears, incredible this change due to the
nostalgic keyboards evoking Saga in the background; A softness flirting with AOR bands for the direct finale, then
on to crystalline acoustics.
"Shine" follows suit, symphonic synth combined with soft djent for the fruity, distinctive chorus; the guitar hints
at those of Animals as Leaders. A percussive, dynamic piece, navigating two musical modes with the
instrumental finale. "Level 7" as an instrumental sequel to the first, a rhythmic tune worthy of Suicidal
Tendencies, funky and bouncy with the guitar and new wave keyboards with trumpets. Riffs, progressions ]]>�Porcupine Tree, heavy metal ]]>�"Open Eyes and Mind" is an a cappella intermission by Viljami accompanied by a gospel choir; it doesn't fit into
the baritone range to amaze, but its harmonic capacity is such that it easily captivates. "Once" for the second
major piece; Vocals riffing on Haken and Temic, melodic then choppy. Ambient drift, djent, choppy synth,
everything even returns on "Level 1." The break takes off into a cottony space where Viljami excels, creating a
bucolic atmosphere of introspection, Queen guitar. It wanders affectionately until the second break where the
keyboard reigns supreme, vintage organ then piano, a tribute to shivering neo-classical, to Savatage. Solemn,
dithyrambic, and enjoyable symphonic music.

Joviac offers a selection of choices, somewhere between prog metal, AOR, djent, languid pop wave, and
introspective alternative rock, with a fresh sound that cleans out the drawers, moving from Dream Theater to
Haken and Periphery, Circus Maximus, and Voyager. Originally released on Progcensor.

ELLEVEN 8030 (Neo-Prog, 2025)

Tue, 19 Aug 2025 07:30:21 EST

Review by alainPP — Elleven, a band formed in 2001 with two former members of Chandelier, wanted to showcase Julia Graff, who
deserved partial recognition for this slightly atmospheric progressive pop.

"Contact," with its latent, gentle atmosphere and prominent electro-pop synth, beats with new-wave sounds. The
Gilmourian guitar arrives late, slowly, and matches the marshmallow sound. Julia's languid vocals are enhanced by
the soaring acoustics; the sloping notes are jazzy if it weren't for the melancholic guitar; a second heavy-
psychedelic break elevates the song, which was missing. "Persuasiveness," a hypnotic, high-pitched, and insightful
hang, with sharp guitar, a hint of Minimum Vital, rhythm with the heavy bass, and a soft air with the vibrant
synthesizer. A beautiful exercise in a more accessible, fresh, and pop-like style. "Attraction" changes direction with
the short track, featuring train station hall sounds and ethereal vocals, followed by "Unvertainty," a synth pop-rock
tune worthy of The Cranberries, even shorter as a choral interlude. "Desire" lingers, with ambient space, deep bass
worthy of Alan Parsons, and enchanting piano, with Julia's voice as sensual as can be. An exotic blend of captivating
emotions in a latent tune, a beautiful crescendic rise, and the final, energetic guitar solo tearing the air from its
notes; an airy, symphonic melancholy, ]]>�
"Venture ~ Clash ~ Clarity," for the second of the three long tracks; an atmospheric, languid atmosphere; a
romantic, suave, and erotic twist with the snare drum, juggling sensuality and the agitation of words. A latent track,
subdued, then fiery, with Carsten's insistent guitar, oozing with melancholy; the long finale. "Deception" for the
atmospheric dark rock track, Banks-esque keyboard, Mason-esque pad, and furious guitar. A blend of gentleness
and controlled aggression from Julia. "Release" takes a turn worthy of Anathema's third period, overwhelming; a
metronomic, emotional, and captivating keyboard, an atmospheric basic sound, and staccato vocals for a slow
melodic decline reminiscent of Pendragon and New Age. A risky pairing with the fiery finale. "Conciliation" for the
finale, with its long crescendo, moves forward with this painful story by offering a warm, airy atmosphere, a sign of
openness and sharing. The cinematic, spatial outro is a sign of hope.

Elleven offers ethereal progressive pop where the ambient atmosphere exudes emotion in spades. A musical
landscape offering gentleness and moderate power. The technically flawless album is a bit long on its tracks, which
can unfortunately detract from the concept.

PHILOSOPHOBIA The Constant Void (Progressive Metal, 2025)

Tue, 19 Aug 2025 07:23:11 EST

Review by alainPP — "Intro" cinematic, short, animated city background, a latency and "King of Fools" bursts in, drum kit raging, guitar
shearing with Domenik coming to twist everything with his chopped voice; supercharged, melodic heavy prog
metal. The break features in turn Andreas, Alex then Tobias on a sustained prog space, closer to just heavy; a big
tonic ballad, a snarling but melodic vocal, so as not to stress the aging prog. Note the text on the need for
tolerance. "The Forgotten Part I" starts on the DREAM THEATER in their heavy phase, with the heavy, metallic
guitar; it was only an intro because the acoustic and the piano take position. Story of Gaia angry at her human
sons hurting her. The piece starts again in fury, the elements unleashed. The guitar variation, oozing with
melancholy, moves before launching into a torrent of embers accompanied by Tobias' keyboard. "Inside His
Room" has an Olympian gait on HELLOWEEN, bordering on the gritty hard rock. The intro brings the calm vocals
and a restrained air; the sharp guitar solo calms the ardor before the electric finale. "Will You Remember?" a
latent intro, yes OCEANSIZE for the post-rock psychedelic atmosphere; the slide guitar and the captivating vocals
before the apoplectic rise. A tenuous crescendo, voiceovers before the final metallic ballad with hoarse voices,
on SYMPHONY X. "F 40.8" with Vibram SHANKAR, yes EVERGREY, SILENT SKIES, REDEMPTION, Max ENIX, in short,
a well-crafted instrumental with the fluffy keyboard and the airy guitar, Sebastian's bass keeping the rhythm.
Reminiscent of our national Patrick RONDAT.

"Underneath Grassroots" on a radiant, latent electric base, whispered KISS vocals, delicacy of reverberating
notes. The outro on the syrupy synth for the nostalgic ballad. "The Fall" now with the repetitive, melancholic air,
quickly erased by the energetic rise and the latent climate of the keyboard. The second derivation with the
soaring synth and the aerial guitar amplify the grandiloquent side of this piece with these demonstrative pads.
The crystalline piano-keyboard drift moves away from prog metal for a while and makes you want to replay. "The
Forgotten Part II" with the religious cinematic, storm and church choir; a rise in power, on SYMPHONY X, the
piano on SAVATAGE, immense with the Dantesque riff starting this 20-minute title; the keyboard in the
background adds depth to the piece, memory on ETERNITY X, SAVIOUR MACHINE. A spacey, tribal break with
Rob Leland's spoken word announcing the calamities of Mankind over a melancholic, neoclassical air; a return to
hard metal with SONS OF APOLLO to explain the power of the drums and the furious guitars. The shouted vocals
flirt with a bubbling growl; the tune deviates into a compulsive space, a machine gun with explosive bullets. The
solos arrive, guitar and keyboards for the solemn, joyful progressive moment; the notes spurt out, burst forth
from everywhere, and create a feeling of well-being before ending on a final vibrant note, harassing the
hypnotized, trance-like ear.

PHILOSOPHOBIA: heavy, melancholic, modern progressive metal with hints of DREAM THEATER, PAIN OF
SALVATION, THRESHOLD, and KAMELOT. A confirmation that amplifies all the good things I wrote about the
eponymous album. Originally published on Profilprog.

BABAL Running in the Gutter (Crossover Prog, 2025)

Mon, 18 Aug 2025 02:00:13 EST

Review by kev rowland — Babal have found a new home at Fruits de Mer, and I can definitely see how their strange angular psychedelic style fits
in well with the rest of that eclectic roster. Karen Langley (vocals, lyrics, arrangements), Rob Williams (guitars, guitar
synth, programming), and Jon Sharp (drums) have now been joined by two guests with Paul Smith on acoustic bass
and Chris Gill (Band of Rain) on bass. Apparently, Chris is a good friend of the band and gigged with them last year.
Babal are back with a sound which in the current market is undoubtedly their own, bringing in elements of both
Beefheart and Talking Heads while then mixing their own unique style, so they sound like no-one else, yet at the same
time have some very powerful messages to share, all wrapped in angular melodic music which is of their own making
with a soundscape bringing in the listener so the words can take hold of the brain.

The opening song, "One Big Family" is a sad indictment on social media and what it has done to humanity, "eye
sockets sore, mind in chaos, thoughts flying round, like a bird in a cage, manic with facts and terrible rage! Nowhere to
go, I can't turn the page!". It is not unusual for me to be sat in a coffee shop and see a group of people sat at a table
nearby, all invested in their phones as opposed to talking to the real humans next to them, and while social media has
undoubtedly been a boon in many ways, I do believe that like vaping we will not understand the true evils for many
years yet to come. Other themes include mortality, the plight of the planet and the ignorance of many, poverty
consciousness and more.

Given what Rob and Karen have gone through health wise, it would be very easy for them to sit back on their laurels
and reflect on a music career which has always been exhilarating and exciting, yet with their seventh album as Babal,
and their eleventh overall (they were originally known as Wise Children, then as Babble) they have produced one of
their most cohesive, immediate and socially aware albums yet. We need bands like Babal, who refuse to let us sit back
and let our brains rot but instead want us to actually think and then go out and do something positive. Superb.

ANCHOR AND BURDEN Sunken Fleet (Eclectic Prog, 2025)

Mon, 18 Aug 2025 00:54:33 EST

Review by kev rowland — It seems to me that the older I get (I have been reviewing for the best part of 40 years and am technically a "boomer"),
the more I seek out music which defies the norm and is far away from the mainstream. I have long since stop listening
to modern "pop" music for pleasure, and while in my thirties did not understand the more extreme forms of metal,
now I am in my sixties I seek them out with fervour. Possibly that is why I am so drawn to the releases of eclectic avant
prog jazz outfit Anchor and Burden, for whom uncompromising live composition is the path they seek to travel, even
though it is far more dangerous, unforgiving and treacherous than the highway.

Markus Reuter (Touch Guitars AU8 and S8, Soundscapes), Alexander Paul Dowerk (Touch Guitars S8), Bernhard
W]]>�what is expected in modern music, using dissonance and technique to create something which is incredibly
compelling. I must confess I do not know if they have the album title first, and then compose with that in mind, or if
they listen back to what has happened in the studio and then come up with the words to describe it, but whichever
way around it is, there is no doubt that this release certainly makes one feel as if we are at great depths, our oxygen is
running out, and we start to see strange things around us. Is it oxygen deprivation which is causing us to hallucinate,
or is it that our heightened senses are seeing a reality which was not previously visible? Who knows, but there is no
doubt this is an album which needs to be played in darkness, with no interruptions, when one can feel totally
immersed in the threating world being created far below the surface of the sea.

This is possibly their most complete release to date, wonderfully inspiring, dramatic, and showing just what can
happen when musicians are totally connected to each other and refuse to play by accepted norms.

LARS FREDRIK FR�ISLIE Gamle Mester (Symphonic Prog, 2025)

Sun, 17 Aug 2025 10:10:34 EST

Review by TheEliteExtremophile — Wobbler's keyboard player is back with his second solo album. Lars Fredrik Fr]]>��
Things fade in with an energetic, Baroque-influenced organ pattern on "Demring" ("Dawn"). Synths and flutes add some variation to the gritty organ. This is a peppy and exciting instrumental that acts as a wonderful scene-setter for the album. In quieter moments, there are some parallels to Camel. I really like that he's expanded his vocabulary a bit here. There's a certain cinematic feel to it all.

"Jakten P]]>�
Bass provides a lot of weight and punch throughout this album, but it's especially noticeable during the slower moments on this song. It provides a sharp sound around which Fr]]>�
Next comes the album's title track. A liquidus, rubbery synth and wordless vocals provide this song's main instrumental theme, and it has a grand, triumphal feel to it. After quieting down for a moment, the song builds back up, and the intensity waxes and wanes. Some twangy guitar accents lend a distinct character. This song might be a hair longer than it needs to be, but its internal structure is diverse enough that its length isn't too-too much.

"Medusas Fl]]>��
The last of the major songs on the album is "De Tre Gratier" ("The Three Graces"), and right from the get-go, it feels like the record's climax. There's an urgency here which lets the listener know it's building to something big. An extended passage focusing on harpsichord and a gentler atmosphere lend some breathing room.]]>�
Entering the final four minutes, the rest of the band joins back in, and a crunchy organ solo, supported by swooping Mellotron and fanciful flutes, push this epic to its apex. This passage bounces between being sprightly and folk-tinged to being (relatively) straightforward hard-rock retro-style prog, but it all gels.

Things wrap up with "Skumring" ("Dusk"), a piano-forward piece which delicately revisits themes from the album.

Gamle Mester is a very strong follow-up to Fr]]>��
Review originally published here: theeliteextremophile.com/2025/07/21/album-review-lars-fredrik-froislie-gamle-mester/

MOON LETTERS This Dark Earth (Heavy Prog, 2025)

Sun, 17 Aug 2025 10:08:57 EST

Review by TheEliteExtremophile — Three years after their last release, 2022's excellent Thank You from the Future, Moon Letters have returned with their third full-length album. I've mentioned a few times that they're one of my favorite local acts, and if you follow me on Facebook, you will occasionally see photos of their rather theatrical live shows. If you get a chance to see them perform, I highly recommend it.

My first experience hearing this album was at one of those performances. It was their album release show, and they played This Dark Earth in its entirety. That performance was part of a larger musical festival called Cascadence, formerly Seaprog. Occurring most Junes (there have been a few years it did not occur), it's a fantastic highlight of mostly-local progressive music acts.

"Energy of the Heart" kicks things off on a relatively mellow note. After that calm intro, though, it bursts into a complex and hard-rocking instrumental passage that leads into the first verse. The vocal arrangements are more complex on this record than on past releases, and I really like that. This song sees Moon Letters take a slightly heavier turn, drawing clear inspiration from early Dream Theater. Over the course of this song, the band expertly weaves together numerous musical ideas, ranging from funky instrumental excursions to stripped-back verses.

In contrast, "Silver Dream" dials back the intensity. There's a relaxed feel to this song's rolling rhythm, and it effectively cultivates a dreamlike atmosphere. It's less sprawling than the first song but no less enjoyable.

"Island of Magic Mirrors" eschews any introduction, opting to launch straight into a peppy verse. Flavors of post-punk are evident in the early moments of this song, and the slower middle section has a more lurching, slightly-off-kilter feel. They shift back and forth between these different themes, and it all gels in a very natural manner.

"Lonely Moon" is a mellow little acoustic interlude that acts as something of a palate cleanser, and following that, "In the Catacombs" sees the band dip their toes back into more familiar territory. It's an energetic cut full of flashy instrumental fills and surprising detours. The bass is especially rubbery and high in the mix here, adding some unique touches.

Wrapping up This Dark Earth is the 17-minute "Dawn of the Winterbird", their longest song to date. There are some fun Latin jazz touches in this song's opening moments. Things are fairly mellow, but there's also an underlying sense of tension. There's undeniable upward momentum as this first part progresses.]]>�
After an exciting instrumental passage in which guitar and synth battle it out, the transition to part two is much quieter and calmer. The music is light and breezy with a laid-back pace, and it's a nice reprieve from the bombast found elsewhere on this record.

Part three, comprising nearly half this song's length, has a woozy wobbliness to its opening, and its pace remains restrained at first. Things quickly pick up, and soon the band is racing toward an exciting conclusion. Musical ideas from earlier in the song are revisited, and everything melds into a beautiful, cohesive whole.

Moon Letters' third full-length album is another strong entry in their catalogue. The band has continued to refine and build upon their sound on each successive release, and This Dark Earth is their best-realized record yet. They strike a great balance of influences from past prog giants while imbuing their music with a character all their own. Threading such a needle is very difficult to do, so it's always great to hear a band that pulls that off.

Review originally published here: theeliteextremophile.com/2025/06/24/album-review-moon-letters-this-dark-earth/

FIRMAMENT A New World If You Can Take It (Progressive Metal, 2025)

Sun, 17 Aug 2025 10:08:07 EST

Review by TheEliteExtremophile — I don't claim to like everything. I know there are just certain styles of music which don't resonate with me for one reason or another. I can articulate why I don't like some genres (for example, most singer-songwriter stuff), while I struggle to find the words to describe my distaste for other genres (like reggae or ska or calypso; the Caribbean is just not my musical realm). Metalcore and post-hardcore are two styles of music that fall somewhere in between for me. I don't really like the vocals common to them (and many other "-core" genres), but there's also something else I can't quite put my finger on. Despite this, every now and then I find a band that I like that incorporates these elements into their music.

Firmament is an Ohio-based duo that plays an energetic and emotive brand of post-hardcore-influenced progressive metal. Yes, there are elements on this record which don't tickle me, but there's still plenty here that I like. And when you handicap this album for my built-in biases, A New World If You Can Take It is quite strong. This review is going to sound more negative than I intend it, but rest assured, I strongly recommend this release.

"Liquid Lush" starts the album off with some nice heavy and melodic guitar passages. The riffs vary from impactful to impressionistic, and the vocal performance is strong. The midsection of this song features some fun and jittery soloing that showcases the band's technicality without plunging into pointless self-indulgence.

In contrast, "Angels in Vermilion" has an airier, post-metal feel to it. The guitars are still heavy as hell, but the production has a certain lofty and ethereal quality. As I mentioned in the intro, I'm not nuts about post-hardcore, and some of the more majestic-sounding passages on this song lean into those genre tropes I don't like. There are good moments mixed in amongst the schlockier passages, but certain passages almost remind me of Christian rock. "Conduit" continues with stuff I'm not nuts about. The clean parts are too glimmery, and the heavier parts lack impact. There are some neat ideas in the guitar lines, but it's hard for me to get past the post-hardcore and metalcore elements I don't like.

"Lunar Caustic" is a 90-second instrumental that features some neat percussive elements, as well as an engaging lead guitar line. Following this is "Deadringer", which kicks off with a powerful and crushing riff. The guitar passages feature interesting irregularities, and I love the slightly-off-kilter feel the band cultivates here. Things slow down near the song's end, and this stripped-back, mildly electronic passage is a nice contrast.

"Decomposure" kicks off with my favorite riff yet. It's a fast, technical lick that really gets the blood pumping. I love the instrumental part of this song, but I'm not enamored with the vocals."High as in Low" continues with strong, exciting, and progressive compositions, and the vocals are a bit better here. It's still in that -core realm, which isn't for me, but the writing and performance is strong enough for me to enjoy it.

The title track starts off with echoing clean guitars and some shiny, electronic-influenced production. The mood is subdued, and the music has a nice and understated feel. Firmament's turn back toward metal is sudden but effective, and the band weaves together the opening's mellower composition with heavier tones naturally.

"After Me, The Flood" is big and melodic with some entertaining and flashy guitar work, but the vocals again kind of take me out of it, at least during the more majestic-sounding moments. I really like the intro of "A Prohibition on Dreaming". It's full of odd, twisting riffs that bounce around the fretboard, but the rest of the song, unfortunately, struggles to live up to this initial promise. The verses are too-slickly-produced, but the heavier moments shine.

"Benedictional" manages to thread the needle on gentler moments previous cuts have struggled with, but in contrast, the heavier moments bore me. The vocal melody again is not something I like, and it all feels a bit angsty for me. If you're a post-hardcore or metalcore fan, it'll likely tickle your fancy better.

The album ends strong, at least. "A Silence Made for Two" features possibly the heaviest music on the whole album, and I could make some comparisons to Meshuggah at moments. Lighter passages are well-deployed for contrast, and everything gels wonderfully. That is the last proper song on the album, with "AζΩθ" (AzOth) being a moody and atmospheric epilogue.

Firmament's sophomore album is fairly long, but there's a lot to like here. The band shines in their heaviest moments, and they are able to do a lot with a pretty limited set of sounds. Again, post-hardcore and metalcore are not for me, but despite that, this is still a strong release. If you like those styles of music, you could probably add another 10 or more points onto my score.

Review originally published here: theeliteextremophile.com/2025/06/09/album-review-firmament-a-new-world-if-you-can-take-it/

SYKOFANT Red Sun (Heavy Prog, 2025)

Sun, 17 Aug 2025 10:07:18 EST

Review by TheEliteExtremophile — Following their groove-laden debut album last year, Norway's Sykofant have returned with 23 minutes of new music. It continues in a vein similar to Sykofant but with obvious development and artistic growth. Space rock, stoner rock, jazz, and blues all get moments in the spotlight here, and solos are included at fun moments. Early '70s Pink Floyd is an especially obvious influence on this release, and it borders on distracting on the title track. Overall, though, Red Sun is a solid release, and Sykofant does a great job of threading the needle of evoking classic prog sounds and tropes without coming off as hacky or derivative.

Review originally published here: theeliteextremophile.com/2025/06/02/odds-ends-june-2-2025/

HAPPY FAMILY 4037 (Zeuhl, 2025)

Sun, 17 Aug 2025 10:06:21 EST

Review by TheEliteExtremophile — Happy Family is generally considered to be one of the forefathers of the Japanese zeuhl scene. I don't think I'd necessarily call them a full-on zeuhl act in the same way as Koenjihyakkei or Bondage Fruit, but they've got some zeuhlish moments. This EP is their first release in 11 years, and it's celebrating both Cuneiform Recording's 40th anniversary, as well the band's 37th. The four instrumental cuts here are full of jazzy licks, wonky themes, and surprising twists. "Pygmalion" is punchy and peppy, and "Hypocrisy" sees the band dip their toes into something noisy and metallic. "The Flying Man" features jagged guitar and piano riffing in odd meters, and the album-closing "Itchu" leans the most into their avant-garde influences.

Review originally published here: theeliteextremophile.com/2025/06/02/odds-ends-june-2-2025/

COSMIC CATHEDRAL Deep Water (Symphonic Prog, 2025)

Sun, 17 Aug 2025 10:05:16 EST

Review by TheEliteExtremophile — The latest Neal Morse project certainly sounds like a Neal Morse project. And as usual, where Neal is the creative lead on a project, he has one question for you: "Do you have a moment to talk about our Lord and Savior: Jesus Christ?"

The music is fine. Do you like early Spock's Beard? Do you like Transatlantic? Do you have enough lactase in your system to handle the staggering amount of cheese here? Then you're probably going to enjoy this, especially if you like (or at least don't mind) the overt religiosity. There are some genuinely fun passages, and for all my quibbles, Morse is a very talented arranger. He's got his signature sound, and he's good at varying it enough between releases to (mostly) stay interesting on a musical level.

That said, this does suffer from some ills endemic to his other works. First and foremost is the album's length. Deep Water is 71 minutes long, and it is absolutely not deserving of that length. The most obvious culprits here are the 13-minute opener and the 9-part, 38-minute title track. There's simply an immense amount of bloat and music that doesn't really lead to or add anything.]]>�
Secondly, it's Jesus. Like, I get it, Neal. You found God. Now find something else to write about. Or at least be less obvious about it. If I, an avowed lyric-zone-outer, am noticing how thoroughly you're beating a dead horse, try shifting topics. Or at least pick some obscure Bible stories. There's a lot of material there.

Review originally published here: theeliteextremophile.com/2025/06/02/odds-ends-june-2-2025/

EDENSONG Our Road to Dust (Eclectic Prog, 2025)

Sun, 17 Aug 2025 10:04:17 EST

Review by TheEliteExtremophile — Edensong is not a band I was familiar with before writing this review. They play a brand of semi-metallic progressive rock with significant folk influences. The band also has a dedicated flutist, so the comparisons to Jethro Tull are pretty easy. Those comparisons are also pretty apt, as Tull's influence can be heard throughout this record.

Our Road to Dust opens with the 90-second instrumental "Of Ascents". It's a pleasant enough little guitar piece, but it honestly feels more like an interlude than an introduction. This leads into the first proper song, "The Illusion of Permanance [sic]", and it's a pretty jarring shift. Jagged, wiry, metallic riffs emerge suddenly, and it's a really exhilarating, exciting composition. This piece clearly draws a lot from classic Dream Theater and Fates Warning, but with a more modern feel. The meter wobbles forward unsteadily, and the flute here almost sounds like an airy synthesizer. Melodic moments are sprinkled in for contrast, and the song ends on a quieter note.

"These Old Wounds" flows directly from the preceding cut, and it's got a much mellower atmosphere. Multilayered vocals and ethereal flutes give a dreamy feel at moments, but these are juxtaposed against more energetic passages.I also really like the band's instrumental tones; the bass in particular has a satisfying chunkiness to it. Despite a lot of strong elements, this song does feel a bit too long. It probably could have been trimmed down by about a minute.

"Black Crow" has an a capella opening, and the verse reminds me of Obama-era indie rock acts. There are electronic elements here, too, and this honestly isn't my favorite song. It feels incongruous with the first two pieces. On the plus side, there are some lovely folky instrumental moments that call to mind Comus or late '70s Jethro Tull.

Striking a middle ground between Edensong's more metallic side and the previous lighter song is "Hall of Statues". Acoustic guitar and flute provide wonderful, lush passages, and the band also deploys more aggressive tones elsewhere. The riffs are tangled and complex, and the vocal melodies are powerful.

"Book of Complaints" is far and away my least-favorite song here. The instrumental elements are mostly fine, if perhaps slightly stilted; but I hate the vocals. The specific tone of the voice and the melody both just disagree with my ear. It sounds like a big, anthemic indie rock song from 2012, and that is simply not a style of music I like. It's not even bad, per se. It's just simply not for me.]]>�
Following that is a reprise of "Of Ascents", this time performed on flute. I like the weird breathiness of this version, and it reminds me of a spooky calliope.

"Wykkr B]]>��
The album concludes with its title track. After a relatively subdued, folk-influenced opening passage, "Our Road to Dust" morphs into something much bigger and more triumphal-sounding. Edensong continues to mix their folky and heavy sides, with those elements playing off each other beautifully.

Overall, I really like Our Road to Dust. It's not a perfect record, but the stuff that I like is very strong. And even the pieces that didn't resonate with me weren't bad, necessarily. They felt a bit forced or stylistically incongruent, but they were still well-played and had enjoyable elements to them.

Review originally published here: theeliteextremophile.com/2025/05/26/album-review-edensong-our-road-to-dust/

NUOVA ERA 20.000 Leghe Sotto i Mari (Rock Progressivo Italiano, 2025)

Sun, 17 Aug 2025 10:03:13 EST

Review by TheEliteExtremophile — Nuova Era is a band that was first active from the mid 1980s through the mid 1990s. Their sound was definitely retro, but it was more exciting and inventive than a lot of their contemporaries in the Anglo-prog world. Following their 1995 album, they took a 21 year hiatus before releasing a pretty solid return. Nine more years have passed, and they're back with their sixth LP. Consisting of just two huge songs (clocking in at 36 and 16 minutes), these suites cover a lot of ground. The immense title track is dramatic and emotive, and the many parts flow together fluidly. That said, I don't think it needs to be one huge song. It simply feels like a gapless album released as one track. The 16-minute instrumental "Nautilus", meanwhile, feels shorter than its runtime and is a great listen.

Review originally published here: theeliteextremophile.com/2025/05/05/odds-ends-may-5-2025/

LOST CROWNS The Heart is in the Body (RIO/Avant-Prog, 2025)

Sun, 17 Aug 2025 10:02:22 EST

Review by TheEliteExtremophile — The sophomore album from this Cardiacs-adjacent act is a dense, weird, and jumpy record. It is brimming with instruments like harp, clarinet, flue, bassoon, theremin, and more; and the atmosphere is wonky and often askew. No chord seems to sit quite right, but in a way that's clearly deliberate and carefully considered. Each song on its own is brilliant and inventive. However, when taken as a whole, I do find the album a little tiring. I'm not sure if this is still lingering burnout from that avant-prog kick I went on last summer, or maybe the songs really are a little too alike in their quirky oddness.

Review originally published here: theeliteextremophile.com/2025/05/05/odds-ends-may-5-2025/

AMPLIFIER Gargantuan (Psychedelic/Space Rock, 2025)

Sun, 17 Aug 2025 10:00:34 EST

Review by TheEliteExtremophile — Amplifier is a band that's been around for a while, and they've often skirted the edges of this site's purview. They're primarily an alt-rock band, but they frequently include prog, psych, and space elements in their music. I'm especially fond of their 2011 release, The Octopus. Gargantuan is the band's eighth studio album, and it sees them largely stick to their usual sound, but with a bit more space rock influence than on their last album. Things are grand and huge and often overblown here, but the band pulls it off quite well.

"Gateway" kicks the album off with a dry, buzzy guitar and urgent drumming. The sense of kinetic energy is immediately evident. Despite the urgency of the backing, the vocals are delivered deliberately, with lots of reverb. Big synth lines eventually come to the fore, and there is a strong sense of upward momentum. The overall sound palette is similar on "Invader", but the mood is a bit more laid-back. It's got a good groove to it, and I really like the stuttering synths in the background. Vocalist Sel Balamir really reminds me a lot of Steven Wilson on this cut.

A fat and dramatic synth pad opens "Blackhole", evoking the crushing gravity well. Things float along relatively gently at first, but there is a sense of building urgency. The vocals are haunting, and the tones used for the guitar and synth leads are unsettling. Despite the weight of everything, there are moments of relative lightness. Though relatively long, this song never feels dragged out. It's a great cut for meditating on a few repeated musical themes. The closing guitar solo has a wonderfully ascendant feel to it.

"King Kong" has a weighty, distorted bassline and a slow, trudging rhythm. Weird guitar and synth embellishments swirl around the central beat. This is another song that's more about the gradual build than any particular hook or sudden shift. There's a lot of power and muscle behind this cut.

Amplifier slows things down on "Pyramid". The deliberate pace and vaguely Middle Eastern scale evoke both the physical pyramids in Egypt, as well as bluesy stoner acts that often use the desert as a motif. Textures are rich and lush, and I really like the sharpness of the lead guitar line. Despite some good ideas, this is the first song on the album to feel a bit longer than it needs to be. It's certainly not bad, but being concise is something Amplifier simply doesn't do.

And of course, I comment on the band's long-windedness right before the shortest song on the album. "Entity" is a weird and exciting instrumental. The bass and guitar are largely harmonized throughout, and I love the twanginess of the bass.

A huge wall of fuzz reminiscent of certain grunge acts flows from the preceding cut to open "Guilty Pleasure". There are some weird, jazzy elements in the guitar lines, which I like a lot, and the song plows ahead powerfully. Entering the song's middle section, the atmosphere opens up and becomes broader in contrasting clean and distorted passages. The intensity builds near the song's end. The distortion on the guitar comes in thicker, and synths add yet more weight.

"Cross Dissolve" has a twangy, echoing guitar arpeggio in its opening. The vocals are pretty strong here, and I really like the wobbly synth tones. Despite sounding nice, this is one of the points where Amplifier's tendency toward ponderousness crops up. I really like this band's sound, but they do occasionally struggle to appropriately pace things. I'm sure it's great live, and it's not bad if you're just looking for some chill-out background music. But it doesn't make for the best active-listening experience.

The album ends on "Long Road". It has a slow, quiet introduction, and the dreamy mood successfully evokes the feeling of wandering down the titular long road. This cut remains mellow for its whole runtime, and it's a pleasant way for the album to drift into the ether as it ends.

Gargantuan is a pretty solid record. Amplifier tends to be pretty consistent in their sound, so if you're into late '90s or early '00s alt-rock with some spacey leanings, you'll probably like this. The band does occasionally take too long to make a point, but at least the excesses sound nice.

Review originally published here: theeliteextremophile.com/2025/04/21/album-review-amplifier-gargantuan/

WILSON PROJECT Atto Primo (Rock Progressivo Italiano, 2025)

Sat, 16 Aug 2025 15:39:12 EST

Review by tszirmay — Before anything, this is in no way shape or form, a reflection on some marooned volleyball faraway beach in
Fedexland but a crafty quartet from Italy that as per norm with the RPI genre , unites old school operatics with a
modern sheen. Their d]]>��to review it, it did leave a strong impression of future reviewing possibilities. Alas, so much fabulous music and so
little time ! Unfortunately, I am not an octopus either, nevertheless I do enjoy my Gentle Giant. Being a huge fan of
wordplay, calling your second album "Atto Primo" (First Act) is right down genius lane in my book, a precurser hint
that this will be quite the ride. Fronted by the exuberant vocalist Annalisa Ghiazza and elbowed by a troika of
extremely gifted instrumentalists, namely keyboardist Andrea Protopapa, bassist Stefano Rapetti and drum
maestro Mattia Pastorino , we are booked into a series of 6 intrepid tracks , set on interpreting famous operas and
composers of the past, which should not come as a surprise really as Italy is not really a country but rather a
theatre of sight and sound.

"Ouverture" establishes the cinematic travelogue that will suggest a global voyage that would make Marco Polo
blush. A blaring trumpet volley that rekindles images of Roman centurions returning from battle and heading
down to the Circus Maximus, a deviation into a variety of subsiding moods, the drums still up front and center,
with a droll Fellini clown beckoning the citizenry near the piazza.

First stage, the velvet SPQR curtain rises on China , where "Taiji" combines opera and physical movements of Tai
Chi, introducing a sultry duet between Annalisa's pulmonary singing and the squeaky synthesizer running
rampant, both unafraid of stretching the extremes, an acrobatic bass line meandering between raging organ
torrents, and settling into a comfortable muscularity, both 'instruments' getting into the spotlight and flirting with
virtuoso zeal. The ambient section is stunning in its simplicity and restraint, a facet this band seem to master at
will, rather informal when the rhythm section can regulate both mutability and flexing its muscles.

The Trans-Siberian express will take us to the "Bolshoi" is the famed palace and ballet school in Moscow , icy
synths sweeping in from the Arctic and a sweltering organ from way down south, where the balalaikas ring out,
Annalisa vocally tip toeing and pirouetting like a ballerina on fire. Kudos once again must go to the intricate
interaction between the incontrollable bass furrow and the orderly percussive thunder. An unforeseen guest on
flute (perhaps a patch) suggests lighter moments yet the ballet ends with a quaking Pastorino drum solo.

Onwards to Bayreuth, a more direct route into the heart of Europe, the substantial near 13-minute epic
"Ragnarok" refers to Richard Wagner's bombastic 'Twilight of the Gods' from the opera 'Gotterdammerung".
Protopapa thankfully gleams on the piano for a while as the arrangement then morphs into complexity and
development, at times Teutonically chaotic, the keyboards and the rotund bass seeding the fury. Technically
thorough and shamelessly ambitious, Annalisa's voice remains somewhat sardonic , as the embattled world
around her collapses in destruction and decay. Yet amid the chaos, a flute synth section keeps hopes alive. Drums,
bass and mellotron set up the sonic troika, long enough for another synth denouement that winks cleverly at all
the keyboard idols , Ghiazza slaloming through the tide as if in her own bubble. The Wagnerian influence means
that it's laden with richly orchestrated leitmotivs, endless melodic continuity and pushing the blurred edges of
tonality. Intricate sonics, mein Gott!

Travelling to the land of the Rising Sun, "Nihonga" specifically refers to Japanese paper paintings but perhaps
leaning into Puccini's "Madame Butterfly" opera which of course takes place in Japan. The caterpillar crawls jauntily
to its inevitable fate, the quartet formatting the chrysalis from which the monarch will eventually scour the bonsai
gardens in complete reverence. The pace is more sedate than the previous argy-bargy, a well-developed tangent
piece that exudes cleverness and charm.

We finish off with a languorous journey along the Nile, as "Duat" concerns ancient Egyptian mythology but here
possibly more a reference to Giuseppe Verdi's "Aida" which occurs among the pyramids of the fabled land. This is
the colossal epic (Aida is generally famed for its ambitious theatrical sets), with flute and orchestra leading the
caravan into the arid desert , yet the brazen synthesizer dominates immediately once the tempo is set. While the
trio set-up musically might indicate leaning towards an ELP stylistic, truth be told, this has definitely a more Italian
flavoured rendering, naturally due to the native discourse but the instrumental parts as well, a certain theatrical
wildness, temper swings and bouncy accoutrements that were not the mainstay of the British supergroup.
Annalisa can lather up the existential drama, as she clutches her microphone without any fear of overkill. The
obsessive piano fill is a case in point, just flirting with the outer edges of absurdity , the shuffling Hammond fulfills
the deal, and the bass/drum combo apply all the stamps needed to go through passport control on the way home.
This innate ability to revere the classic RPI tradition , yet still wrap it all in a modern sheen, proves once and for all ,
what a consistent art form Italian prog remains, as vital and vibrant today than in 1972. A full-bore Maserati
spinning tires finale is par for the course , jus like antipasto at the onset and tiramisu /grappa to finish off the
adventure.

An entertaining follow up to their inaugural release , and certainly a new ragazzo on the square that needs to be
followed for Atto Secondo (ma, davvero Terzo) .

4.5 Mobile donnas

G�STA BERLINGS SAGA Forever Now (Eclectic Prog, 2025)

Sat, 16 Aug 2025 14:36:08 EST

Review by spleenache — This is a review of "Forever Now" AND "Fragment I" which is not listed in ProgArchives, I guess because it is not
an album but a single track.

Gosta Berlings Saga is and has been one of my favorite bands. I was procrastinating on reviewing their previous
release (Konkret Musik) and I noticed that they were due to release a new album. So, I waited, purchased
"Forever Now" and listened to it many times. In my first go around I was not enthralled about one song,
Fragment II (OK, I'll get to that later) but the rest of the album did not disappoint at all. It had all the elements
which I enjoyed in their music over the years: intensity, theatricality, complexity, energy and deeply buried
melodies.

In general, this album is calmer, more thoughtful than Konkret Music. As usual, a few of their songs have tinges
of spaghetti western music themes but never overt. More like smelling distant wood smoke on a snowy dark
day, evoking comfort with a smile. But I do not want to give the wrong impression that their music is movie
music; not at all. Their compositions on the record have the focus, intensity and drive eventually resulting in
euphoria with gentle playfulness.

Now, let me talk about Fragment II which is song #6 on this album. It is a short composition of only 2:33 minutes.
The reason I had doubts about this song in my first listen was because of an overt middle eastern melody that
starts the song. It is a personal thing; I do not enjoy belly-dancing style melodies. Fortunately, it fades away
quickly, leaving a simple but engaging new melody in its place.

In their Bandcamp page there is a track that can be downloaded, called Fragment I. I bought it and really liked it.
I wish they used that one in their album instead of Fragment II. I guess the only problem with Fragment I is its
length; it is 19:08 minutes. Instead of 2:33 minutes of Fragment II.

The music of Fragment I is also stylistically a little different than other Gosta Berlings Saga compositions. It leans
a little more to improvisational space rock style with strong jazz elements. Halfway through the piece there is a
fantastic saxophone section which expands the piece into whole new dimensions. Both the Fragment I and
Fragment II have a common melodic theme (the second theme in Fragment II ? not the belly dancing theme).
The music builds slowly, unfolds and expands. It is complex but highly approachable. I strongly recommend
Fragment I.

So now, I removed Fragment II from my digital copy of "Forever Now" and replaced it with Fragment I. It ticks all
my boxes. Definite 5-star music with longevity of some of the classics.

NAD SYLVAN Monumentata (Crossover Prog, 2025)

Sat, 16 Aug 2025 08:18:53 EST

Review by A Crimson Mellotron — 'Monumentata' is a 2025 solo studio album by Nad Sylvan, a prominent figure in the world of progressive rock from the 2010s onwards, known for his incredible performances as the voice of Steve Hackett's live and band, and also for his strong and expansive solo output, predominantly released by Inside Out Music. This new LP by the Swedish-born musician is a personal, daring and musically eclectic collection of songs that dares to offer a fine cross-genre examination of Sylvan's innermost ponderings and concerns, to put it this way. The broad spectrum of styles and arrangements tackled on 'Monumentata' is what makes it an exciting yet accessible modern prog album, that not only continues to be a string of excellent releases (particularly symphonic and retro-prog works like 'Courting the Widow' and 'The Bride Said No') but it also expands Nad Sylvan's palette of sounds, approaching something of a Steven Wilson-esque level of writing and performing.

And speaking of the music on 'Monumentata', it is worthy to mention the myriad of excellent collaborators, among which the names of Tony Levin, Randy McStine, Nick Beggs, Jonas Reingold, Lalle Larsson and Marco Minneman come up. Sylvan utilizes the strengths of each musician in a beautiful way, as the album impresses with the excellent synth leads, the prominent and delightful bass guitars, and the majestic guitar solos, which grace multiple songs on 'Monumentata' - all of this accompanying one of the most lavish and recognizable voices in progressive rock nowadays. And so, as personal and revealing as the songs and their lyrics can get, it is the carefully curated soundscapes and fine arrangements that go along with each different story Sylvan is telling that really matter here. There is, of course, a sufficient amount of proggy goodness on dynamic and groovy tracks like 'That's Not Me', 'Wildfire' and 'I'm Stepping Out', but Sylvan also dares to explore atmospheric pop ballads ('Flowerland' and 'Make Somebody Proud') and tantalizing art rock tunes ('Secret Lover' and 'Monte Carlo Priceless' being quite rewarding), all of which give 'Monumentata' its musical value and gorgeous sonic contrasts. This album should be a fine and enjoyable listen for someone looking for contemporary crossover prog with strong leanings into pop and art rock defined by gracious vocals and brilliant arrangements.

SUBLUNAR A Random Moment of Stillness (Heavy Prog, 2025)

Sat, 16 Aug 2025 00:38:48 EST

Review by tszirmay — This is Polish heavy prog band's second album, coming after the 2018 debut "A Welcome Memory Loss", the line-
up remaining unchanged. Lukasz Dumara handles all the vocal duties, while twin guitarists Michal Jablonski and
Marcin Peczkowski marshal the noise with criss-crossing expertise, held together by a tough rhythmic duo of bass
man Jacek Ksiazek and drumkit demon Lukasz Wszolek.

Coming in at 42 minutes, the album is a throttling adventure, launched by the 7-minute introductory piece "Bear
with Me", with a perturbing Jacek bass grind, the depth-charge drums bashing harder than the dual fretboard
assault, all drenched in dense atmospheric shuddering. As the grizzly arrangement morphs into overdrive, the
tension becomes palpable, droplets of perspiration visible on the wrists , Dumara holding his own throughout.
Gruesomely melancholic, the short but bruising "Unmanned" unleashes another trebly bass guitar barrage, very
much in the Duda school, as the two-fold axe conveyance ratches up quite the tornado for what seems like only an
instant, replaced by a fast-paced percussive segment seeping with frizzy electricity and polished (sorry!) by a
screeching lead guitar flutter that agonizes long enough to segue into the more linear yet muscular "Dropping
Upwards" , an inverted set of raspy guitars that chug along like a fast train from Warszawa to Szczecin , dropping
skywards with passionate vocalizing by the singer , the mid-section transition keeping the eyes on the prize with
some brutalizing cannonades , and tumbling to unexpected ambient pools of reflection. The entire track has a
strong sense of disequilibrium, as if caught up in a claustrophobic daze. The hard concrete parts and the velvet
softness collide in some semblance of tacit acceptance.

Steamroller time with the sadistic onslaught shown on "Resonate", once again showcasing Jacek Ksiazek's
turbulent low-end bombast, providing the high-octane fuel to keep the fires burning rhythmically. The dueling
guitar fusillade takes no prisoners, slicing one moment, slashing the next, yet fully controlled and focused. It's not
messy at all , it just resonates. Trembling pools of reflective despair, drawing a line in the sand for a breath to
survive, just a temporary lull before a colossal upward shift into bulky finality.

Playing the classic game of ebb and flow, "Attract/Deter" seeks out more spacier realms, the vocals more laid back,
the mood cosmic due to uncredited synthesized winds, the guitarist preferring a demonstration of slash and burn ,
seductive and then suddenly wary. When the volume flirts with the red zone, the agony is almost excruciating, the
colliding strings unrestrained, the tempo leaden, and the finality overpowering. A troubling slice of emotional
paranoia and sonic dyslexia .

Finishing off with a final 10 minute + epic takes a lot of confidence in maintaining the quality to the bitter end, and
"A Sun Blur" does not fail to impress, as it starts off with pleasant, almost optimistic reverberations, gently pressing
down on the metal pedal, as it revs up into quite the dust maker. The vocals are on the lighter side, almost sweet
at times, not far from RPWL. The sweeping electronics cannot be denied, as they add a symphonic sheen that was
not as apparent earlier, though now emboldened by the final countdown, they will grow in stature. The quivering
themes are certainly reminiscent of Anathema, as the crescendo of sound reaches apocalyptic heights, boldly
overarching to a near impossible exuberance. The most accomplished track presented an absolute powerhouse
apotheosis of a compelling ride. A sorrowful piano reminds the listener that the spirit remains true to their polish
roots.

This was my first introduction to this band, I remain absolutely certain that the future will bring many thrilling
future works to our community.
4 underwater moon crafts

ENIGMATIC SOUND MACHINES Imperfect Silence (Crossover Prog, 2025)

Fri, 15 Aug 2025 20:00:56 EST

Review by Mellotron Storm — ENIGMATIC SOUND MACHINES is the Montreal based duo of Jeremie Arrobas and Thomas Szirmay. Jeremie
was a founding member of MEN WITHOUT HATS but has been active since then in Electronics, visual arts and
much more. A very creative and artistic guy. Thomas of course is a long time reviewer on the site here and he's
a very successful and educated person in the real world. The man is fluent in many languages, and all you
need to do is read his reviews to feel the enthusiasm he has for our music. He has a way with words doesn't
he. I first saw Szirmay's association with this band just recently and on another site. I was confused to be
honest because I knew he wasn't a musician, so it didn't make sense. Well, both he and Jeremie use sound
machines whatever they are. Maybe just turning them on and twirling a dial(lol). Regardless, these old friends
from their private school days in Quebec have created something special here. I want to mention too that
Thomas told me about Jeremie years ago, as well as being friends at this private school with another French
musician who would go on to be the singer for the great band called THE BOX. Heady times. Knowing
Thomas I figured the music here would be in the crossover/neo/symphonic area code with lots of energy and
humour. Nope! Szirmay's favourite band was always ROXY MUSIC, but this album is far from any of the music I
just mentioned. This is uniform sounding and melancholic. Tripping along at mid-pace or slower. Psychedelic
based with plenty of synths. There's vocals on every track except the opener and closer. Just under 55 minutes.
Nice to see guests like GONG's Hansford Rowe playing bass on the opener. And guitarist Alain Bellaiche from
HELDON and Richard Pinhas solo on three tracks. But the guest that really adds the most is Rob Harrison on
sax and flute. When it comes to duos I couldn't help but think of that EDISON'S CHILDREN's debut along
with that album Bruce Soord and jonas Renske did together. There are connections between these three
records even though they are also quite different from one another. Fake beats, mellotron and more are
things that are similar. All have an 80's vibe with Soord's record being the most like that. Tough to pick a
favourite song which is a good thing. A very consistent record. The "Hallow, hallow, hallow" singing on "Hallow"
Is catchy and memorable. Synth bass to start I believe in plenty of atmosphere. Sax will replace the vocals
around 4 minutes in. This theme is common on this record. Maybe the brightest piece(it's not bright) is
"Haunted" which is ironic given the title. The vocals style on the chorus brings Steven Wilson to mind. My
favourite though might be the closing instrumental. It's the longest piece at 10 minutes and it's actually dark at
one point. The opener starts out so beautiful with those spacey sounds, and ends that way too. We get flute on
the trippy "The Distance Between Here And Now". That sure sounds like slide guitar on "Wrapped In Black"
before 6 minutes. This is a solid 4 star album in my world. I'm really impressed with this album. Love at first
spin.

STYX Circling From Above (Prog Related, 2025)

Fri, 15 Aug 2025 16:25:02 EST

Review by Stoneburner — Circling Styx

With Circling from Above (2025), Styx delivers the third album of its renewed incarnation. It follows The
Mission (2017) and Crash of the Crown (2021). The compositional focus this time is on short songs that
together tell a larger story, and the result is their best sound since The Grand Illusion. If this truly continues
that classic style now led by Tommy Shaw and James Young this could mark a more progressive, revitalized
Styx, and perhaps one of their finest periods in the band's history.

Before, I missed Dennis DeYoung a little, but with these last albums I think Styx does not need or depend
on him. The band now has a great singer and keyboard player in Lawrence Gowan, who has been with
them for years. They are joined by the classic Chuck Panozzo on bass, the incredible Todd Sucherman on
drums, and two members from Tommy Shaw's band: Will Evankovich on guitars and Terry Gowan on bass.

13 songs ? 40 minutes.
Short, tightly crafted tracks flow into each other like chapters in a cinematic journey.

Circling from Above is an excellent album full of the elements that those of us who love Styx can find here:
compositions that hook you, strong harmonies, guitar solos, and keyboard solos. But you have to like Styx
the most classic Styx, not the one with the hits. They clearly took full advantage of technology in the design
and videos, with heavy use of AI but if it's there, why not? I'm not gonna judge a book by its cover right?

TELEPATHY Transmissions (Experimental/Post Metal, 2025)

Fri, 15 Aug 2025 11:04:46 EST

Review by arcane-beautiful — Transmissions by Telepathy is a great instrumental progressive metal adding in sound effects, radio broadcasts
and audio quotes to give it a very Public Service Broadcasting feel, but with heavier guitars. The English 4 piece
show off a wide range of compositional talent, but I do think the addition of post metal screams would have
souped up their sound. But for what it is it's very well pieced together and enjoyable. A little bit on the long side,
but that's prog metal for you. I'd give this a high 6 to a low 7 out of 10. The song I'd recommend is Knife Edge
Effect.

PRYZME / EX-LINGUS True Stories... And Other Lies (Crossover Prog, 2025)

Fri, 15 Aug 2025 08:35:44 EST

Review by yarstruly — [Edit-- important correction: from the band...
"Thank you very much Scott Rich !
However, there is a mistake in the presentation, the line-up changed in 2022.
Lucas Planque plays the drums and Beno]]>�

This week, I'll be checking out French proggers PrYzme's (pronounced "Prism") 2nd album, "True Stories? and Other
Lies", set to be released on May 30. 2025. While this is only the band's 2nd album (the first being "Four Inches" released
in 2021), the band goes back over 10 years to their 2014 inception, when they were originally called Lingus. The band
formed in the city of Rennes, which is approximately 215 miles W/SW of Paris. Guitarists/Vocalists David Chollet and
Dominique Blanchard met in 2014, and upon discovering that they shared similar influences of classic prog bands like
Yes and Pink Floyd, as well as more modern ones like Porcupine Tree, they decided to compose original prog rock
music, with the eventual goal of creating a band. After composing 8 songs, they sought out other members who shared
their vision. While the initial line-up came about in 2015, the true line-up didn't come together until adding Maxence
Marmieysse on bass at the end of 2018, then Gabrielle Duplenne on drums in 2019. They changed the band's name to
PrYzme in 2021 in time to release "Four Inches".

[Disclosure for transparency. In March of 2025, Anne-Claire BaddogPromotions of BadDog productions reached out to
me to review and feature some of her artists, but there is no compensation outside of digital files of the music for
review purposes, and I choose what I want to write about, and express my opinions freely. Anne-Claire did request this
review, and there may be something else related on the horizon. I am free to post about any artist, regardless of
whether they are represented by her or not.]

Without further ado, let's hear some "True Stories?and Other Lies". This is mostly a "cold" listen, with the exception of
track two, which I heard while checking out the accompanying video.

Track 1- Echo of Silent Place

At only 1:10, this is by far the shortest track, and I suspect it functions as an intro to the album. Some sound effects,
and electronic percussion and synths set the stage for us before a sudden blast of a riff jumps in during the final
seconds!

Track 2 - Earth Song

Sound effects of people talking with a subtle rhythm underneath fades in until a big riff hits at just before the one
minute mark which I believe is in 7-4. By 1:30, the music settles down to establish a nice bed before the first verse
vocals enter. The vocals (in English) are smooth and clear, with just a hint of a French accent. Excellent harmonies at
2:06, and I don't detect any auto-tune. A variation of the opening riff backs up the pre-chorus. The harmony vocals
continue through the chorus. The opening riff is restated, then they set up an instrumental section. There are
keyboards involved, but I am not sure who is playing them. This really gives me Porcupine Tree vibes. A well-executed
guitar solo begins at 4:40 or so. At times, I'd like to hear the solo be just a bit higher in the mix. A rhythmic bridge
follows the extended solo. Nice drum fills as the song reaches its conclusion on an ascending pattern followed by a
clap of thunder. Great song! Definitely a good choice as the lead-off single. This full version clocks in at 7:50, but a radio
edit is also included on the version I was given, which is just over 4 minutes.

Track 3 - End of the Anger

This begins with keyboard sequences, then a funky guitar riff comes in. This has a very cool fusion vibe. The vocals are
well done again; they really like to harmonize! At 2:20, there is some killer odd-meter riffing before the next verse
begins. The backing vocals hold sustained notes while the lead vocals continue over the top?nice! This one has me
boppin' my head. At about 4:05, the music pauses briefly and enters a new, initially quieter, instrumental section,
which crescendos to an a-cappella harmony but that would make Gentle Giant proud! By 5:00 the band kicks in. There
are lots of overlapping rhythms and melodies both vocally and instrumentally, but they pull it off with aplomb! At
around 6 minutes the keyboards take back over, leading the way to another guitar solo, this one more free-time. I am
getting the Pink Floyd influence here. By 7:30 the music is building up in intensity. It explodes into some prog-tastic
riffing in 7-8, I believe. The music continues to build until a short keyboard sound takes us to the conclusion. Fantastic
track! (The album also includes a shorter radio edit.)

Track 4 - Green Eyes

This is one of the two tracks on the album that clocks in at over 10 minutes (11:04). It begins with acoustic playing, soon
joined by vocals. An electric guitar with interesting effects joins between verses. This has a slow but steady tempo. At
around 1:45, the full band joins in with more wonderful vocal harmonies. The drums drop back out after the chorus
but the bass remains. As the next chorus approaches, synth-strings lead it in and the drums return. These harmonies
are full and rich. At around 4:15, a clean electric guitar riff with excellent use of delay effects joins in with hi-hat
accompaniment. The synth strings precede the bass and drums coming in. I like the bass tone here, as he plays a
simple but effective riff, which is locked in tight with the drums. They have created a fine atmosphere as a guitar enters
with a nice riff. After that is established, a guitar solo enters over the top. The solo is melodic and flows nicely with
smooth legato playing. The rhythm shifts at 7:38 and becomes more straight forward as the solo continues. I'm betting
that PrYzme are tight-as-hell when playing live. I liked the sustained guitar note around 9:35 that was just on the edge
of feedback. Excellent drumming around 10 minutes, before the acoustic guitar returns in the manner of the intro. The
lead vocals return for a final verse that ends on an unresolved guitar-chord. Superb prog!

Track 5 - Reality of Dreams

A clean guitar riff fades in, then is joined by an acoustic riff. The bass begins doubling the acoustic riff, then there are
some drum accents. Synth joins in, then a new acoustic riff takes over with a jazzy feel at around 1:20. The rhythm
section joins in and backs the vocals. There are some interesting chord progressions on this track. At around 4:10 we
begin to transition to a new section. After a slower moment, the tempo double-times. By 5:30 we have returned to the
earlier tempo. At 6:30 the rhythm pauses again. Nice clean riffs in unison from electric, acoustic and bass as we close-
out the song. Cool track!

Track 6 - Never Again

This fades in with guitar feedback into a smokin' hot riff. The bass gets featured with some effects on it soon after.
Then the band joins back in. A sustained note alerts us that the next section is about to begin. Sustained keys and
sound effects take over in a Porcupine Tree manner. A clean but sinister guitar riff fades in next. Fuzz bass provides
accents. Then the band comes back in full after the 3 minute mark. Vocals begin around 3:25. The beat pauses again
around 4:30. The vocals sing in unison with a guitar part next. A guitar solo begins before the 6 minute point. A heavy
riff begins with about one minute remaining. The band joins in with it. Some complex riffing based on the opening riff
closes it out. I really feel the more modern Porcupine Tree influence here. Strong track!

Track 7 - Silent Place

This is the longest track at 12:12, and the last proper track of the album sans the radio edits of tracks 2-3. So, we'll call
it a closing epic! Sequenced synths and electronic percussion lead us up to a heavy riff. They establish a groove by
around 30 seconds with the vocals following soon. The later part of the verse has a more mellow feel. After the second
verse there is an instrumental break/guitar solo with a fusion vibe. The following verse is brief, on the same groove,
and followed by a shorter guitar solo. The groove then continues with harmony vocals. That abruptly ends with more
heavy riffage. The guitars take back over with another solo that leads to a new vocal section at a faster, running tempo.
The bass & drums really keep things moving. It goes back to the half-time feel afterwards. The bass gets a bit of a
spotlight before the next solo begins in an odd-meter. Vocals then return over that feel. Synth strings float over the top
when the next meter begins. There are some interesting accents at around 9 minutes. The guitar is building a nice solo
in this segment. I am not sure if poth guitarists take leads but I suspect so. There is a very Spock's Beard transitional riff
at around 10:20 that reminds me of a moment in "The Great Nothing". The opening synth vibe returns momentarily
before one of the main riffs return. There is a harmonized lead break with about a minute to go, and the band is
cooking! With about 20 seconds left the sequenced synths fade the song to a close. Awesome prog!

OVERALL IMPRESSIONS:

What a great album! I believe any prog fan will find something to enjoy on it. These are great players and singers and
they have given us some fine compositions to sink our teeth into. I hope that they get some recognition from this. I'll
give it a very strong 4.5 out of 5 stars.

Clicked 4, but really 4.5

STYX Circling From Above (Prog Related, 2025)

Fri, 15 Aug 2025 08:29:57 EST

Review by yarstruly — I am really excited about today's album, the new album from Styx- "Circling from Above". Early on in this series, I
reviewed "The Mission" and I had intended to do "Crash of the Crown" as well but never got there (yet) before a new
one is upon us. Tommy Shaw has said that the album is inspired by his and other bandmates love of "birding". The
album is only on YouTube as I type this with an official release date of July 18. There are some line-up changes as
producer/co-writer and de-facto member since "The Mission" Will Evankovich in now listed as an official member, and
Ricky Phillips left the band in 2024 and has been replaced by Lawrence Gowan's younger brother Terry. This makes the
line-up as follows:
Tommy Shaw ? guitars, mandolin, banjo, vocals
James Young ? guitars, vocals
Will Evankovich ? guitars, vocals, occasional mandolin and keyboards
Terry Gowan ? bass, stand up bass
Lawrence Gowan ? keyboards, vocals
Todd Sucherman ? drums, percussion
Let's get to it!
Track 1 - Circling From Above
This is a 2 minute track that begins with a synth fading in until approximately 30 seconds when the band kicks in with
lead guitar featured. Beautiful harmonies enter at just before 1 minute. The tempo is moderately slow. The synth
sustains a chord as the track ends.
Track 2 - Build and Destroy
This is the lead off single and the only track I have heard until now. It begins with a funky 6-8 rhythm that reminds me
of WYWH/Animals era Pink Floyd. The harmonies on this album are fabulous. At around 1:45 there is a nice band
unison run before the bridge. Following the bridge is a nice wah-wah guitar solo. Sucherman has a great drum fill at
around 2:30 or so. At around 3:15, the music gets quieter, and it reminds me a bit of Crystal Ball era Styx. I like this
one better every time I hear it. Great track!
Track 3 - Michigan
This begins with a cool steady guitar and bass pulse with bass drum underneath. There are some almost middle-
eastern chord changes at times. There is a nice slide solo at around 1:20. I live the steady groove here. There are
some interesting synth sounds in the mix. Terry Gowan had a thunderous bass tone. Nice rhythm change at around
2:45 as the short (3 minute) song begins to wrap up. Cool track, wish they'd have stretched out on it a bit more though.
Track 4 - King of Love
This one begins straight away with harmony vocals, accompanied by keyboards. A syncopated acoustic guitar riff
follows, joined by bluesy harmonica. Then JY takes over in his deep, rich, mysterious voice. Tommy takes over on the
bridge, with L. Gowan joining on harmonies. The guitar solo comes next. Sucherman and T. Gowan have a very cool
shuffle in the rhythm section. Another bridge comes in after the guitar solo. Excellent instrumental build up following
the second bridge. Lots of changes in a 3:30 song! There is a quick tradeoff between guitar and synth licks before JY
takes back over with an effect on his voice. A synth sequence that speeds up ends the track. Great song!
Track 5 - It's Clear
After some low-pitch tones. A harpsichord-like part plays a couple of measures before the vocals begin. Larry Gowan is
taking the lead this time on the verse. They really start rockin' on the chorus! Verse 2 has harmony vocals. A synth solo
follows- nice! A bridge comes in around 1:45. The way they sing the phrase "so long" reminds me of ELO on
"Telephone Line". The harpsichord part returns before a big build up into another chorus. An acoustic strum part with
a lead-guitar part straight out of early 60s surf-rock (think the bridge in "Pipeline" by the Chantays) on top, very cool
and unexpected, brings the song to a close.
Track 6 - Forgive
A piano part with a ticking clock and sound effects fades in along with sound effects. The crescendo gives way to a
slow stummed acoustic and Tommy begins singing, Subtle organ joins then L. Gowan sings a line, before they
harmonize. Drums kick in and the bass joins. The next verse is more rhythmic. This is a beautiful ballad. There is a
pause and an airplane sound effect passes by before the guitar solo happens. The chorus returns as the song comes
to a close. All of the tracks thus far have been quite good, but seem very short.
Track 7 - Everybody Raise a Glass
After a bit of Auld Lang Syne, a jaunty, Queen-like beat kicks in and L Gowan takes lead vocals. This song is very catchy.
A half-time instrumental break gives us a change in the middle. The beat resumes and the guitar feature would make
Brian May proud. This is clearly a nod to Queen. The piano and harmonies at the end keep that impression alive.
Could be a lost Queen song. Amazing!
Track 8 - Blue Eyed Raven
A solo gypsy style violin starts this one out. It sounds like a horse-cart is passing by on a cobblestone street. A speedy
acoustic strumming pattern takes over and this sounds like it could be a quick tempo counterpart to the late 70s Styx
tune "Boat on a River". I believe this is the track on which Terry Gowan plays stand-up bass. Bass drum and
tambourine are the primary percussion. Nice orchestration in the bridge. Django Reinhardt and Stephane Grapelli
would be pleased with this gypsy-jazz feel. There is a pause at 2:45 then the music begins to build with snare drum
entering. We have some power chords but the vibe remains. Not sure who guests on violin, but they are great! Loved
that!
Track 9 - She Knows
A descending synth part leads to steady piano chords, before the vocals enter. The band enters on the second verse.
This has a slightly Beatle-esque vibe. Then?didn't see this coming?a clarinet solo! Yeah, this reminds me of "Being for
the Benefit of Mr. Kite" on Sgt. Peper, especially in the middle. Great arrangement! The song ends with a slow coda.
Track 10 - Ease Your Mind
This one is only 50 seconds long. It begins with a beautiful arpeggiated piano part and the great harmonized voices
return again. But after a verse, a short synth effect brings it to a close.
Track 11 - The Things That You Said
Vocals start right away on this one, with a staccato piano part supported by the rhythm section. Cool call and response
vocals in the classically inspired bridge. L Gowan takes a keyboard solo, then a brief guitar solo takes us to the next
verse. At 2:15, though, the dam bursts and big power chords and drums take over. It feels like we are building to
something. There is a slight feel resemblance to the "She's So Heavy" part of the Beatles' "I Want You?", although the
chord changes are different. Maybe it's the 6-8 meter. Killer track, but like the others, too short.
Track 12 - We Lost the Wheel Again
A quick acoustic riff gives us Pete Townshend vibes and the vocals that follow almost sound like Roger Daltry. They
seem to be invoking a lot of classic bands on this album, in an homage kind of way. I can almost see windmill guitar
strums on the power chords. The rhythm section even affect an Ox and Moon vibe. The bridge continues the feel. It's
most like "Goin' Mobile". Very cool.
Track 13 - Only You Can Decide
Let's see what the final track brings. Synth fades in and big acoustic arpeggios set the stage for dramatic vocals. I love
when the harmonies enter on the chorus. The beat is slow but powerful. Wonderful arrangement and production. As
the final chorus ends a synth note fades out. The album has come to a close.
OVERALL IMPRESSIONS:
Great album, but NOT what I was expecting. Not sure what any of this has to do with birdwatching, but I am a music
first and lyrics later kind of a guy, so, yeah, I might need to focus on the lyrics on subsequent listens. What I didn't
expect was the way they evoked different bands' styles on different tracks. So the Pink Floyd vibe on "Build and
Destroy" was certainly no accident! I really liked that album, but maybe it's because I have reviewed so many prog
bands at this point, the songs feel super short, as not one is more than 4 minutes long. That is my main complaint.
But musically Styx show their diversity with grand style. Terry Gowan impressed on bass in his debut. I'll give this a
solid 4.25 out of 5. I may have to revise it after more listens.
(Clicked 4, reallyu a bit better at 4.25)

DISCIPLINE Breadcrumbs (Symphonic Prog, 2025)

Thu, 14 Aug 2025 20:44:16 EST

Review by Dapper~Blueberries — Wow, talk about a surprise comeback. After nearly a decade, the American prog masters of Discipline had sprouted once more. It's been a while for me too, ever since I reviewed Unfolded Like Staircase, and I have always kind of been meaning to review their other studio outputs, but never quite got the time or motivation to do so. But, I suppose this release was a calling to me, and since I finished reviewing their brother in the cold north of Sweden, I suppose it would be fitting to start this-hopefully-trend of reviews with their most recent effort.

Now, sad to say, I must admit something. The Discipline discography, for me at least, is rather mixed. While I think Unfolded Like Staircase is a classic that should be in the same ranks as other progressive rock scores, their other albums range from just good, to being kind of mediocre in comparison. Perhaps my opinions can change with time, but there hasn't been a standout Discipline record for me, other than the obvious. Especially Captives of the Wine Dark Sea. That one could've been so much more.

However, Breadcrumbs goes in the good category. Not excellent, but it does have that je nai se quoi that makes Discipline a band to keep an eye on.

Weirdly I find Breadcrumbs to be sort of a successor to Push & Profit, their debut. I suppose it has that going for it compared to Unfolded Like Staircase. It still has that Discipline edge that makes their music standout. The title epic especially has that quality that makes me swoon, alongside the more folksy When the Night Calls. However, the tracks are considerably more mellower, and form a sort of neo-progesque energy that was missing greatly from their recent releases, barring the archival Chaos Out of Order. It's a good sound, and while it may not be the direction I hoped the band would go in, it still isn't bad.

The social commentary especially here is good. Push & Profit was certainly a more politically charged record compared to the fantastical workouts they would follow off from that, but here they hone in that sort of style back in. Mostly because of...ahem, you know who, running the offices in the great big USA. The song is enriched in lyrics that describe how bad it is that radicals can run a country into the ground, whilst also being opposed to becoming so radical yourself. Admittedly I do sometimes fall into more radical ways of thinking, especially lately. It's easy to get into that headspace because the bigots running America right now?as well as bigots running other countries (looking at you England)-are very radical in of themselves.

It's an easy feedback loop, not helped by the fact the internet has since thrived on misery due to the weirdo fests of 2016, and the depressing Covid arcs of 2020. Which is why I like how Discipline takes a stab at this sort of culture directly to the heart. They aren't going to a conservative route of going "go woke, go broke" (which would be funny if they did, like you're a prog band you barely get money lol), nor a liberal route of saying we need a revolution. Hell, they aren't even being centrist, by saying both sides are stupid. They're simply saying that going full throttle in any kind of thinking will not lead to the best results, and that one should do their own research without the need of a bunch of internet nobodies filter feeding them through an influx of hate and deceit. It's a message that feels very disciplined, even if it's not about Greek tragedies.

Though, I do think it does get kind of lackluster with the final two tracks of Aloft and Aria. They're just kind of forgettable, and being forgettable in a Discipline album is a near death sentence for me.

Furthermore, I sort of wish the production was a bit better. It's not egregious, in fact the mixing is pretty good, but it sounds very clean for what it's worth. Way too clean honestly, and while usually clean production should be a good thing, I think in the case of Discipline, they benefit more on harsher, more grimy production values, rather than something you could get out of the average Steven Wilson record. I don't wanna just hear the keyboard, I wanna FEEL them, and honestly, I cannot feel them at all here.

But, that is how the bread crumbles. It certainly gets me hoping for more music from them in the future. Though, usually it takes them a while for them to make one album to the next, discounting all the brief hiatuses. But, who knows, they may turn into the gothic prog King Gizz and release something crazy next year. Either way, Discipline has made a pretty great comeback, one that is slowly becoming a favorite of mine with each listen. Give this one a shot, it's pretty worthwhile.

Best tracks: Breadcrumbs, When the Night Calls

Worst tracks: Aloft, Aria

DOCTORS OF SPACE Fusing your Synapses (Psychedelic/Space Rock, 2025)

Thu, 14 Aug 2025 15:34:58 EST

Review by BrufordFreak — Two ancient space/psychedelic junkies gathering forces in Portugal for this their 12th album collaboration. (All since
2019!) Much of the album has an almost-continuous flow to it, each song dumping its palette into the next where it is
picked up and transmogrified into the next celestial substance.

1. "Intro" (4:00) an entertaining and modernized version of a Tangerine Dream/Pink Floyd "nuclear alarm" song. This
MicroFreak combination analog and digital synthesizer is amazing! It leads into: (8.875/10)

2. "Fusing your Synapses" (8:46) enter programmed "future Ibiza" electronic dance rhythms into the virtual space-laser
sonosphere and you've got a visit to the video game arcade circa 2079! I really like this, as Blade Runner dated as it
might sound (instrumentally): it really satisfies the teenage sci-fi Matrix Reloaded rage/dance orgy geek in me.
(18.667/20)

3. "Doomstar" (15:58) reminds me of a combination of Robin Trower and Craig Safan's guitar sound and a bit of EEF
ALBERS' Focus Con Proby playing style on the amazing "Final Confrontation" from the 1981 film Thief's OST. Great
mood and ambiance to keep the psychedelic trip flowing. This would make ideal music for your lava-lamp-lit, bead-
curtained basement hippy den. (28/30)

4. "Down the Ferret Hole you Go" (7:11) I can see where the title came from: the repeating "hammer blows" as well as
the mind-numbing hypnotic effect of the seemingly-endless dance pattern loop. It's not always pretty, and is
sometimes on the verge of downright annoying, but it is definitely entertaining (and creative)! (13.5/15)

5. "No More Bombs (only Bongs!)" (12:54) more of the HAWKWIND/ELOY like heavy, two-chord psychedelia as
"Doomstar" only pervaded by another track, one of modulating analog synthesizer nob-turning, that is equal to or
even more attention-grabbing than the awesome ubiquitous and usually-fairly-steady lead guitar shredding. I can't say
that we've never heard anything like it but I can say that it still feels deeply engaging and hypnotic with Dr. Space's
crazy synth work feeling quite manic and fun. (23/25)

6. "Pinned Codes" (8:31) opens with severely-morphed waves and Edgar Winter "Frankenstein"-like backwards synth
mud bubbles and before Star Wars light sabers and laser tracer sounds join in (along with a playful and almost
cute/pleasant computer chatter-speak beneath). This latter soon rises to supremacy over all the other sounds that
have preceded it before a drastic shift--like walking into a different game arena--occurs at 3:30. Now we're in a lush
tropical where swirling synth runs and washes support guitar and, later, Hammond chords--the guitar playing three
totally different styles (due to the different parts of the guitar Martin is playing). The weave is continually morphing,
each instrument doing their own spacey thing, but mixing together quite congenially, as if taking us down the River
Lethe (or Styx). Weird to feel as if the bass line is the only thing keeping us aware of forward movement, and yet, even
its strange rhythm is slightly eccentric to everybody else's. Interesting. And definitely entertaining. (17.5/20)

7. "Chick[&*!#] Burger Boy" (12:46) starting out with a New Age drum program that sounds as if it came from the album
or studio that spawned A-HA's monster hit, "Take on Me," Dr. Space's bubbly radio space noises and extraterrestrial
language transmissions float around over the top while synth bass and fairly normal and un-sustained/delayed fuzz
guitar note play and off-time keyboard chord bounces wax and wane, calm and swell within and around. Not quite as
engaging as the other two mesmerics. (21.75/25)

8. "Outro" (2:22) more sub-space, radioactive/nuclear wind. (4.375/5)

Total time: 75:32

A fairly odd mix of song themes, the variety of engineering feats perhaps betraying the varied dates of existence of the
individual songs, but, in the grand scheme of things, does, in fact, present a very interesting, highly engaging, and,
ultimately satisfying listening experience. The effectiveness of the MicroFreak combo analog + digital synth seems to
be quite innovative and liberating as I hear solo activity on this album that is more dynamic and akin to Tangerine
Dream and Kraftwerk dial twisting and the permutational manipulations of a Prophet 5.

A-/five stars; a minor masterpiece of highly creative sound manipulations served up over some somewhat innovative
structures and variations on known forms. Highly recommended.

ATOMIC TIME Subsounds (Neo-Prog, 2025)

Thu, 14 Aug 2025 14:53:35 EST

Review by BrufordFreak — Heavy space/psychedelic rock that satisfies the prog qualities of those looking for music to remind them of their old
HAWKWIND, ELOY, PINK FLOYD, and BOWIE (and even early PORCUPINE TREE) heroes.

1. "Cyclical Night" (12:35) interesting. Not bad. Definitely retro-NeoClassic . Everybody on board is sufficiently skilled
and versed to pull of solid, polished song that sounds as if it could've come from a 1970s album. Roger Lopes has a
strong if-familiar voice and laid back singing style (somewhere between BLUE ]]>�THE NEPHILIM's Carl McCoy, and IRON MAIDEN's Bruce Dickinson). There's even a bit of B]]>�(22.75/25)

2. "Digital Coma" (17:19) mostly soundtrack-like synthesized space and weather sounds for the first seven minutes: it's
like we're floating in the silence of space, hearing the internal computer and machine-generated sounds of our
otherwise-uninhabited, barely-functioning, life-support vessel. (It's also quite like Vangelis' music during the scenes in Blade Runner in which Deckard is hunting Sebastian, Pris and Roy in the derelict hotel in the Ninth Sector.) Then the prog song that emerges (and carries through to the end of the 17+ minutes) is one that reminds me very much of the
music from one of my favorite Smooth Prog albums from the past 15 years: LIFESIGNS' wonderful self-titled 2013
debut. In the 12th minute the music comes to fullness with a FLOYDIAN palette before going down a kind of
B]]>�as our guide--within a sonosphere of some very protective bass and keyboard guards. At 14:20 we return to the
Lifesigns/Floydian pastiche--complete with strong Floydian background vocal choir (all from Kim Chandler?) The song
ends surprisingly, rather suddenly, on a couple of kind of simple guitar riffs, leaving me scratching my head as to what
was just (supposed to be) happening over the last 17 minutes. Elements of this song are absolutely great--especially
the amazing sound engineering. (It really does feel as if you're inside a sphere of virtual reality in which everything is
occurring around you, coming at you, comforting you, from every possible direction.) There are some elements that
don't quite work (for me). But the good far outweigh the questionable. (33/35)

3. "Violeta's Dream" (23:44) this one comes across as a total extrapolation of the spaciest of Pink Floyd: the original
aim of Steven Wilson's Porcupine Tree project taken to the next levels--taken far beyond Steven/Tree, Bruce Soord,
Riverside, Mystery, Airbag or anyone else in NeoProg's Floydian Universe has ever accomplished. To me, it's like taking
Floyd into the Eighth Dimension. It is not, however, always the best choices of construct and sound palette to achieve
such attention and honor: there are plenty of segments and motifs that fall back onto fairly simple structures and/or
minimal sound palettes. It does feel like traveling through someone else's dream but a dream that is often mundane
and forgettable. (39.75/45)

4. "Blue" (14:46) Tangerine Dream-like electronic piano and spiraling church organ chords fill the first two minutes of this before the full rock band ensemble kicks into gear. The song that ensues sounds like some solid NeoProg that could come from any number of second-tier NeoProg bands. (Bands like Grand Stand, Silhouette, Cosmograf, Galahad, Drifting Sun, Gandalf's Fist, Comedy of Errors, Evership immediately come to mind.) There are passages in which I'm reminded rather strongly of both Giancarlo Erra's NOSOUND and Jason Hart's I AND THOU projects of the last decade. It's nice, with great sound, but rather simple music and a less-fully-developed sound palette. Nothing to write home about. Gabriel D'Incao's grandiose Gershwinian classical "grand piano" solo in the tenth through thirteenth minutes comes as a bit of a surprise (I'll bet he'd been sitting on that little gem for many years), but it serves as a very nice little interlude and reset. The return to rockdom for the finish is not as pretty or satisfying as one might hope. (I think I like Gabriel's solo piece better.) (26.125/30)

5. "Voice of God" (16:53) now the band is back on track: a wonderful, fully-formed and full-surround sound visceral
experience with some very proggy music. (Great drumming, guitar play, and wordless vocalese, courtesy of Kim
Chandler. Is this the band's homage to Floyd's "Great Gig in the Sky"?) In the middle of the fourth minute the music
suddenly stops and then restarts with a vocal-led motif that feels like something off of a lost SEAL album. Incredible!
The sixth minute brings heavy power chord explosions before the underlying piano leads us into a race-against-time
instrumental passage in which guitar, piano, and percussion take turns leading the way--often in theatric, even jazzy,
time-syncopated ways. Pedro D'Incao's searing electric guitar now sounds like a cross between that of cookin' Carlos
Santana and Stephen Thelen/SONAR's David Torn. The ninth minute sees the piano-leadership taking the music into a
bit of a Billy Joel pop-jazz direction, and then, thereafter, the band trying to bring it back to progland. But first we have to have another classical piano interlude (starting at 10:00). Spacey pitch-warped synth riffs and synth chords join Gabriel's gentle, pensive Chopin-like piano play, keeping me, as a prog hopeful, satisfied--reminding me somewhat of some of Rick Wakeman's interludes in his (or Yes's) prog music. At 12:20 "horns" help us emerge out into a Floydian "Light" for a gorgeous section of "As Sure as Eggs Is Eggs"-like prog orgasm and ecstatic rapture. Return Ms. Chandler's vocalese to the mix, culminating in a scream of seeming-relief, and then a piano, synth, and cymbal crashing finish/dénouement. Well met, boys (and girl), well met! Not quite what I'm expecting beyond the Pearly Gates but a nice human version of that which might be. (31.75/35)

Total Time 85:17

As with the fellow-2025 release from the DOCTORS OF SPACE, Fusing Your Synapses, there is true innovation going on throughout this album. For me it is in the engineering feat of complete surround sound--what I've come to call "the sonsophere," that is, the effect of the sounds coming from the instruments feeling as if they are surrounding, engulfing, swirling, even guiding you--from all directions--directions which change, are somehow able to change (like the old-fashioned "panning" effects one could manipulate on the engineer's sounding board only in all dimensions). I've been hearing and feeling more and more of this effect in the studio productions of recent years (thanks to my wonderful Soundcore Space Q45 noise-cancelling headphones) and am not sure how the sound engineering technologies have accomplished this--what enables them to manipulate sound "directionality" the way
they seem to be doing--but it is amazing! It is fulfilling an achievement that I've been seeking, wondering if possible,
waiting for, since my Brian Eno audiophile days of the late 1970s. This is, in my opinion, a revolutionary achievement in sound delivery technology. While I'm not ready to grant Atomic Time full credit--nor their engineering and production crew--but they have definitely presented sound in the complete fullness as I've never heard it until now: 85 minutes of complete and total musical immersion. Amazing!

A-/4.5 stars; a minor masterpiece of highly creative retro-respective NeoProg that presents Prog World with some truly
extraordinary sound innovations. I urge everyone in the Prog community to check this album out--especially if you have good headphones--and especially the first two songs. Highly recommended!

THE SWAN CHORUS You're Despicable (Crossover Prog, 2025)

Thu, 14 Aug 2025 14:29:26 EST

Review by yarstruly — Today I'll be checking out the third album from The Swan Chorus, titled "You're Despicable", released in February of
2025. Although this is their third release, the history of this Liverpool band goes all the way back to 1979. Please
see my review of their second album, 2023's "Achilles and the Difference Engine", for more information about the
band's history.

The line-up on this album consists of the two partners in the band, David Knowles (all instruments) and Colin McKay
(all instruments, lead & backing vocals), supplemented by the following guests:

- Logan Jones / backing vocals
- Solaria / backing vocals
- Kevin / backing vocals
- Natalie / backing vocals
- Saros / backing vocals

Disclosure: David Knowles provided me with a digital copy of the album, at my request, so that I can review it.

Let's jump in:

Track 1 - The Upside of Down

The track begins with a chimey keyboard tone, joined by sound effects. A fuzz bass takes over then the keyboards
return with other instruments, establishing a groove for the vocals to begin by 35 seconds. As the song transitions
to the second verse, there are many layers of sound. The arrangement is warm-and rich, with occasional surprises.
At around 2:30. Most of the instruments drop out , except the keys and a bass drone. The vocals join for a bridge
based on sustained notes. Whichever member is handling the bass on this track really does a great job. I suspect
the drums are a drum machine, but it works. My apologies, if it is not. This is a great, energetic opener.

Track 2 - Got Religion

A church organ with tambourine and crowd sounds opens the track, giving the impression of a southern gospel
church. That gives way to a riff that is somewhere between 60's surf-rock and "Secret Agent Man". Colin joins in on
vocals soon after, with backing harmonies. The line "I put my trust in Jesus and the KKK?" lets us know the type of
"religious person" they are targeting. The lyrical tone of the song is somewhat akin to Genesis' "Jesus He Knows Me"
or Frank Zappa's "Heavenly Bank Account". There is a brief guitar solo before we hit the 3 minute mark, followed by
a bridge. Fun track.

Track 3 - Estus Pirkle Night

No clue what that title means! Let's see if we find out. It begins with a semi-classical piano riff. The beat is quite
syncopated, giving the sense of an odd meter, but I think it's in 4. The first verse begins just before the 1 minute
mark. We are continuing the theme of those who use religion to push an agenda, as evidenced by the line "Jesus
freaks, I don't just want to reduce you to a meme, but you're co certain." OK?I had to look it up. Estus Pirkle was
apparently an actual person?an evangelist minister, and filmmaker. He produced movies from the 50s to the 70s
pushing his religious agenda. One such movie was 1974's "Burning Hell" which is a horror movie showing his
interpretation of what Hell is like. There is a nice instrumental transition to the bridge around the 4 minute mark.
Excellent stereo-imaging. Knowles takes a keyboard solo around the 5 minute mark. Great song, once you know
who Estus Pirkle is!

Track 4 - It's Not the End of the World

This is the longest track at 7:28. We begin with delicate arpeggios on a synth with some lead sounds over top of it.
The rhythm kicks in just before the 1 minute mark, and begins to build in intensity. Nice accents around 1:30. As we
approach 2 minutes we get into a quick, proggy 6-8. We then shift to a chunky, muted guitar chord rhythm in 4-4
and the vocals enter around 2:30. They have an effect on the vocals that make it sound a little bit robotic. At
around 3:10 the tempo increases and the full band is in, while the vocal effect disappears. I like the rhythm around
the 4 minute mark. A synth solo follows, then a guitar with lots of effects. The next verse begins around 5:40. This is
a fun, high-energy track. Very proggy.

Track 5 - Space Force

It begins with what sounds like a warning siren, then a quirky rhythm begins. Great keyboard runs from Knowles.
By 30 seconds in, the sound of the track reminds me of silly early 60s monster shows. The lead keyboard bit
sounds like it could accompany Casper the friendly ghost. A guitar solo is up next. The vocals don't enter until
nearly 2 minutes into the track. This is a great arrangement with many layers of sounds. Great playing throughout.
Lyrically, it's another poke at the Tangerine Terrorist. I love the riffing near the end! Killer track, very interesting
sound to it.

Track 6 - Little Fools

A cinematic keyboard sound starts this off, then one of the female vocalists sings some melodic "La" sounds, then is
joined by another, in harmony. The opening verse follows. The vocals start before 1 minute, discussing how
Copernicus stated that we revolve around the sun. Another instrumental section follows with reverse recorded
guitars that remind me of the intro of Queen's "My Fairy King". Up next, the now normal guitar leads the rhythm
section in. The idea is rejecting those who "don't believe in science", and who believe all the stupid, baseless,
conspiracy theories (MAGAts). Good track, lots of interesting things going on musically. The lyrics are very "on the
nose".

Track 7 - You'll Never Get to Boston

An accordion sound with applause fades in, with a quick 3-4 waltz rhythm, joined by other instruments. Knowles
continues to impress with his unique synth tones. McKay joins in on vocals. He's warning someone not to leave or
it won't work out well for them ("...If you leave me, there's gonna be the devil to pay?And you'll live to regret it
someday?") Good track with catchy hooks in the chorus. I might get this one stuck in my head later.

Track 8 - World in Action

After a brief synth intro, the rhythm section and vocals kick things off. It's in 4-4 with lots of syncopated rhythm. A
bit of an "art-rock mixed with 80s AOR" feel on this one for me. Great harmony vocals on the chorus. Pretty good
track, I could possibly see this one as a radio oriented single.

Track 9 - Watching

This begins with an upbeat rhythm and lead synth, mostly in 4, but I think (if I am counting it right) there is an
occasional measure of 3. The meter changes frequently as we approach the chorus. This one is much more proggy
than the last few. At around 1:45, everything except the synth drops out for a moment, before the rhythm kicks
back in. At around 2:50, it sounds like a fat analog synth. Not sure what Knowles uses, but he gets some killer
sounds. Chunky, lightly distorted guitar chords take over at around 4:20, before the rhythm comes back again.
There are some interesting chord changes as the music crescendos prior to fading out at the end. Lots of cool
musical things are happening here. Great track.

Track 10 - The Dragon Who Swallowed the Sun

We start with an uptempo 6-8, with a guitar part on the top that reminds me of the "James Bond" theme in a minor
key. The music tones down and an organ leads us to the first verse. There are lots of elements making this an
engaging listen. There is an instrumental break between verses. This has the feel of a movie theme for me. Cool,
but shorter track.

Track 11 - The Devil in ABQ

Not sure what ABQ stands for as I prepare to listen to this, but it could be Albuquerque, New Mexico?we shall see.
Piano and a dobro slide guitar tell me I am probably correct. Yeah, as the beat kicks in, we even have a harmonica.
At around the 1-minute mark, the underlying rhythm has an "Immigrant Song" but less-heavy vibe to it. The rhythm
stops and the vocals come in with sparse backing. By the second verse, the beat locks back in, and Albuquerque is
100% confirmed. Around 2:45, Knowles gives us a super-cool clavinet part, and there is a horn-section thing
happening (but I don't think it's an actual horn section). This one is actually kinda funky. I love the electric piano
chords in the next verse. A very cool track indeed! This one fades out too. They are really giving off 70s vibes with
that technique of ending a track.

Track 12 - Open Minded

Percussion sounds start this off, and it soon takes on an 80s fusion feel. McKay joins on vocals, and then the beat
fully kicks in on the chorus. Really cool guitar lines at around 2:40. A bridge follows the instrumental break.
Another interesting, if short, track.

Track 13 - Blame on You

This starts with an upbeat bluesy slide lick. We have a straight eighth-note rhythm as the vocals begin. High-energy
track. At about 1:30 the beat drops out and delicate keys accompany the vocals, before the beat jumps back in.
This is a head-bobber. Lots of fun, but at only 3 minutes long, I want more of it!

Track 14 - What the Butler Saw

The album-closer is the second longest at about 7 minutes. A foreboding sound fades in. A guitar lick joins at
around 40 seconds. Percussive sounds and sustained vocals pan across the speakers. The guitar and vocals work
in a call and response. The steady rhythm kicks in around 2:15 on the chorus. A cool guitar solo, with lots of effects
follows. Another verse follows. A call and response between harmony vocals and vocoder vocals feature in the next
chorus. The bridge is almost a-cappella. An instrumental break follows. This one has some new wave vibes
happening. I like the countermelodies between the lead and backing vocals. The synth lead overtakes the vocals
and keeps the new wave vibes going. Great track!

OVERALL IMPRESSIONS:

Another fine outing from the Swan Chorus. They bring a lot of diversity from song to song. There is a lot of energy
on this. You can tell that the 2 main partners (McKay and Knowles) have a synergy that comes from a long standing
musical partnership. This album is not prog in the 70's symphonic sense, with sprawling arrangements (that I love
so much), but more in its open mindedness and willingness to explore different musical vibes. The lyrics are often
very directly political, far on the left-side of the aisle, which definitely works for me, but might not for everyone. I'll
give this a solid 4.25 out of 5 (Clicked 4, but really 4.25)

HALLOWEEN Psy-Ko (Symphonic Prog, 2025)

Thu, 14 Aug 2025 12:41:42 EST

Review by alainPP — French prog madness rises from its ashes 25 years later.
At the end of the 80s, Jean Philippe Brun's violinist wanted
to create a unique genre.
Hence the release of avant-garde albums, to the point that
the band was unable to truly break through.
But perseverance has its benefits, and always accompanied
by his faithful lieutenant Gilles Coppin on keyboards, Jean
Phi, to his friends, continued to strive to make his mark in
this complicated and wacky musical universe.
Think a little hilarious Zappa for the base, a zest of Believer
for the bombastic heavy violin side, a little Magma for the
syncopated and deconstructed madness, a little Art Zoyd
for the neoclassical explorations, and a bowlful of big,
greasy riffs seasoned with the schizoid voice of G]]>�Cocq, who sings as well in English as in French, haranguing
or mooing, bouncy or exasperating, and sometimes
reminiscent of The notes of a hard Gong, ah, these riffs are
the mother of the band's sound... well, a fleeting reminder
of the avant-garde band Unexpect, another one, able to go
from pop to unhinged rock, from explosive hard rock to
jazzy prog overtones.
In short, the band had a blast at the start of the year with
this completely hilarious double album... yes, I repeat
myself... This opus packs a punch and honors the French
voice!
An Igor S track to showcase the band's dynamism and crazy
grandiloquence!!
When I say our language is beautiful!
The slap at the start of the year not to be forgotten!!!!

DOCTORS OF SPACE Fusing your Synapses (Psychedelic/Space Rock, 2025)

Wed, 13 Aug 2025 22:06:49 EST

Review by kev rowland — This is the first time I have come across Doctors of Space, a project which features Dr Space (Hammond, Mellotron,
MOOG Modular, Custom Modular Synth, Nord Lead 2, Novation Ultranova, Octave CAT, Yamaha CS-10) from ]]>�Space Collective/Black Moon Circle and Dr Martin Weaver (guitars, bass, drum machines, MicroFreak, Cauldron synth)
from Wicked Lady/Dark. Apparently, this album is a collage of older tracks mixed with new more electronic pieces to
create a single 70-minute-long piece of music which is broken into eight songs if one feels the need to break the
listening for whatever reason (just don't shuffle).

Weaver has been creating jam-style improvisational music for more than 50 years, and in Heller he really has
discovered a kindred spirit. In turn, Heller is here working with just one other musician, and the result is music which
is much heavier and with more direction and loads more guitar than one would normally find on his releases with
]]>�and drawn out as the musicians go where they will, bouncing ideas off each other. It is definitely music which needs to
be played on headphones, and preferably at night when the stars are out and one can drift away staring into the
cosmos.

I have no idea how Heller keeps on top of his different bands, projects and releases, but long may he continue as this
is something which captures the ear and will not let go. I hope we hear more from him and Martin Weaver soon.

PRESENCE Them (Rock Progressivo Italiano, 2024)

Wed, 13 Aug 2025 11:16:32 EST

Review by Agnenrecords — I have to confess that until the summer of 2024 I'd never heard of Presence and it was therefore something of a
surprise to discover that the band formed in the early 90s, when Neapolitan session musicians Sophya Baccini,
Enrico Iglio and Sergio Casamassima joined forces to record and self-release THE SHADOWING, a limited edition
concept EP made available only on vinyl. It's been reported that at the time the music wasn't easy to categorise,
intelligently arranged heavy rock with symphonic and progressive flourishes and Baccini's amazing operatic voice.
Thirty years later they've just produced their eighth original album THEM, having perfected their symphonic-
operatic dark prog sound via MAKUMBA (1992), THE SLEEPER AWAKES (1994), BLACK OPERA (1996), inspired by the
works of Giuseppe Verdi, concept album GOLD (2001) inspired by a short story called RED MOONS written in 1932
by Dora Winifred Russell under the nom de plume Virginia Stait, an ardent supporter of women's suffrage who was
married to the philosopher Bertrand Russell, THE EVIL ROSE (2008), the first of their albums to include cover
versions of songs by other artists, and MASTERS AND FOLLOWING (2016). During the lengthy process they
experimented with an orchestral string section and adopted a more straightforward metal sound. They also
reissued an expanded edition of THE SHADOWING which included some live performance and contributed to
compilation albums celebrating horror movies and the 70's British dark prog band Black Widow.

The impressive musical background of the three members makes the group stand out. I've met remarkable vocalist
and accomplished piano player Baccini on a couple of occasions and I know that music runs in her family but I was
previously unaware that both Iglio and Casamassima had similar backgrounds. Iglio attended an Academy where he
studied percussion, composing and orchestration and Casamassima studied classical guitar, graduating from The
Guitar Institute of Technology (now Musicians Institute) in Los Angeles, California.

The cover of THEM suggests the sort of music you'll find on the CD inside; a depiction of Prague's C14 Karlův most,
frequently rated the most beautiful gothic bridge in the world, bedecked with statues of saints along with a murder
of crows, birds associated with a broad range of symbolism, both negative and positive (death, the afterlife,
wisdom, prescience, transformation), conjures images of esoteric tropes you find in dark- or heavy prog and it's the
sounds of crows and human labour, possibly from a graveyard that first emerge from opening track THE UNDEAD.
This is the second longest composition on the CD and every second is used to the full. It's heavy, with lots of classic
Hammond-sounding organ work and for most of the piece the guitar provides staccato rhythmic patterns. An early
piano break of scattered notes, resolving into a different mood gives way to one of my favourite, some might say
defining elements of dark prog, cello-string Mellotron. The lyrics seem to relate to two topics: the futility of war (and
our inability to learn the lessons of war) and more generally, the passage of time. Baccini delivers the lines with
operatic theatricality and though the drama conveyed through her vocals is well-suited to the music, one of my very
few misgivings about the album is that the printed lyrics sometimes don't make sense and I'm unsure if the words
are sung as written or if they've been transcribed from the singing. It's a personal thing, but I prefer listening to
Italian bands who sing in Italian and I can see no advantage to producing music of this nature with English lyrics
where the rhyme or the scan is forced.

Though THE UNDEAD ends with an extended guitar solo, AFTERMATH features much more guitar and the
composition is more melodic than rhythmic. It's still dark and heavy and the keyboard-led instrumental sections are
sonically dense. According to the band the track is about how chance circumstances influence conscious decisions
and external factors.

DANCE MACABRE is the first of two short instrumentals and would be well suited to accompanying a scene from a
horror film. The orchestration, with some excellent Mellotron, creates a tense atmosphere and the sparse
percussion, mostly comprised of snare rolls and floor toms, is particularly effective.

TO EACH OTHER is another long-form piece and starts at a pace. The lyrics describe political manoeuvres leading to
war and though the song doesn't sound like Yes ? ELP's KARN EVIL 9 would surely be a more appropriate
touchstone when you reference the organ and piano ? I am reminded of the idea of conflict described on GATES OF
DELIRIUM. This analysis isn't perhaps as far-fetched as it initially appears, because Presence have performed a Yes
tribute and later on there's some guitar work which seems to have been inspired by Steve Howe's playing. There's a
lot of variation with a sudden burst of orchestra, dissonant piano and a great end to the track where a dark,
spaced-out section precedes the final Mellotron-backed verse.

Title track THEM is a 23 minute long suite presented in eight sections and it is here you can most easily tell Iglio's
playing style has been influenced by Keith Emerson although the inspiration for the composition probably owes
more to Stravinsky. Baccini speaks many of the words though she does sing, and there's more emphasis on rhythm;
on part V her style reminds me of Dagmar Kraus of Slap Happy. Much of the orchestration verges on the primal,
similar to the percussive movement on RITUAL ? NOUS SOMMES DU SOLEIL by Yes and the overall effect is very
satisfying, although the resolution includes a melodic guitar solo.

The shortest track on the album is the medieval-sounding DRAWBRIDGE 1501, an instrumental with Baccini's
vocalisation, where the title references Anne Boleyn's year of birth.

STIGE is a relatively straightforward rock instrumental, making it difficult to decipher the title of the track, which
could be a town in Denmark, a Norwegian ladder or a Norwegian scale. Casamassima takes centre stage, relying on
blues scales which help prepare the listener for the last track IF YOU DARE, an anthemic, melodic song which
follows a traditional rock structure and concerns having the courage to grasp life to the full.

The last two tracks are the most accessible on the album but I prefer the challenging nature of the other music on
the CD, title track THEM in particular. The music is dark, but the arrangements prevent it from becoming gloomy or
oppressive. After multiple listens, my personal opinion is that Italian vocals would have been a better choice
because I don't believe singing in Italian would diminish the accessibility of the album.

Presence were at the vanguard of the dark prog genre and with THEM they remain trailblazers.

The playing is impressive but the standard of song writing slips in favour of accessibility on the last two tracks, and
I'm not a fan of the English lyrics. 3/5

(this review is almost entirely identical to the review posted on my website progblog.co.uk)

AGROPELTER The Book of Hours (Symphonic Prog, 2025)

Wed, 13 Aug 2025 09:27:30 EST

Review by Plutonius — Absolutely brilliant!

This album combines almost everything I love about prog into one delicious soup. It is a fusion of different styles combined into one throwback stylistic whole. At its core is the (to me) traditional concept of prog. That is, applying the aesthetics, passion, and stylistic traits of Romantic Era classical music to a rock-based instrumentation palette. There is ELP-style re-imagining of classical music into rock, Romantic-style interpretation of bluesy guitar, lush organs, blistering and swelling guitar leads. There are beautiful scenes, Tangerine-Dream keyboard timbres, Mellotron swathes (both vocal and strings), gorgeous fretless bass from master Reingold, and powerful and fitting drum bursts.

This is not some new invention. Rather, it is a near flawlessly-executed expression what is, to me, the most effective type of prog: classical instrumental music played via rock instruments. It does not sound (to me) pretentious (others are sure to disagree there), derivative, or stale. It does not sound old or dated. It is delicious from the start to the finish, though it took me about three listens (and a session in headphones) for the full glory to become obvious.

If only Richard Strauss (the Godfather of Prog) could hear this!

YAK The Pink Man and The Bishop (Neo-Prog, 2025)

Tue, 12 Aug 2025 19:03:29 EST

Review by tszirmay — I was worried that perhaps a Yeti (aka Abominable Snowman) had lunched on Yak , as it often does according to
myth, but Martin Morgan has resurrected his Tibetan muse variant , much to our sonic delight. The YAK is back !
After a 10-year absence, the previous "Quest for the Stones" being quite a corker, we get new music from this
gifted multi-instrumentalist. Six tracks+ 2 previously unreleased bonus ones , for a total of 54 minutes of
tantalizing old school prog. Martin states in the liner notes "The music was produced and recorded by pressing
keys on a range of keyboards in a rather peculiar and precise order"! Truth be told in that inimitable British
manner, is just what you get.

The sumptuous title track is symphonic instrumental music of the highest order, as all the classic ingredients are
staunchly in place, a smooth ambiance of lush synthesizers, organ flows, pungent keyboard bass and drum
programming that does not comes across at all as rhythm boxes. Martin has the listener soaring with a cross-
pollinating series of adventurous escapades that sets the foundational melodic content for the entire opus. Not
surprisingly then, I segued my review with the next track, the self explanatory "Crimson Camel", which might not
require pulling out Excalibur out of the stone and slicing up the gordian knot nor questioning the fumbling AI god
to bless us with his wisdom. This is pure 100% unadulterated prog bombast that could easily have easily added a
Genesis extension, as one particular melody does hint at a famous old school track . This is velvety satin bliss and
assuredly a perennial prog radio show request.

On the celestial "Heaven's Gate", Martin displays a more subtle edge, the swooning sounds come across as one
floating on a cloud carpet of past jubilations. The forlorn piano, a chugging drum pattern and a guitar synth main
melody are the main culprits, squeezing a vast array of emotive tangents without any hint of bluster or alacrity, a
cottony vortex that reaches for the stars above. Its excruciatingly beautiful.
The reverential "Long, Long Ago" exerts a more textural demonstration, the endless synthesizer flashes are
occasionally bullied by some precise organ interventions as well as some judiciously placed e-piano. The scope is
definitely less epic and yet highly sad with serene melodic aspirations that rekindle fond memories of prog's early
days. An outro with solemn choir mellotron hits the spot as the vaporous reminiscences fade into the horizon.

Deflecting slightly from the more bucolic and pastoral sentiments expressed up to now, on "Maddox Street", we
naturally get a more urban, I daresay cosmopolitan ambiance that espouses the hustle and bustle of city life,
plenty of bombarding images and sounds, here now and then gone for ever. There is an exhilarating pace without
any senseless excess, underscoring a keen sense of fun as opposed to showing off technique. The rollicking
continues on "The Best Years", as if in concert in a pub , with a strong party, rock' n roll, funky blues organ running
rampant all over the place and a popping bass adornment. Here the onus is on nostalgia, as the past definitely can
be the cradle of the best years of our lives, a kaleidoscope of smiles, laughter and enjoyment. Imagine a proggy
Booker T and the MGs or a rockier vocal-less Oblivion Express for the musicologist out there!

Two bonus tracks , first "Aragorn" which was set aside from the debut 2024 album , thus featuring then
collaborators Dave Speight on drums and bassist Gary Bennett, a robustly rearranged and extended workout that
cannot fail to impress, with its attractive symphonics . The nearly 10 minute "Flight of the Noldor" is a mini-epic
that was never previously released, presumably kept for just the right opportunity, such as finishing off this
magnificent opus on the highest note possible. The piano makes a gracious appearance, setting the controls to the
heart of the adventure, as Martin shows off not only subtle restraint but keeps the variations unexpected, some
flute patch sections that fall close to where the Ghost and Geese may play, a countryside fair perhaps, where all
are dressed in rural garb. The cover art of a parish parson wielding his cricket bat completes the image completely.
The organ playing is straight out of the timeless British school (Banks, Greenslade, Wakeman, Jobson, Bardens,
Wright etc..). This is real natural music, spontaneous ,unpretentious, no glossy uber-production that may sterilize
the sound and devoid of any clich]]>�
My personal affection for Yak is that uncanny ability of being just as enjoyable hearing music as listening music,
background or intensive analysis both yield the same amount of satisfaction, and for more technical moments, let
me assure you that Martin Morgan can play with the very best ivory "pressers' out there. Some naysayers will
perhaps find this music style dated but my feeling remains that what was done yesterday is already pass]]>�time the sun rises the next day. I thoroughly enjoyed this retro mood and look very much forward to the Yak
coming back, again in the future.

5 ros]]>�

NOVA CASCADE Box Man (Neo-Prog, 2025)

Tue, 12 Aug 2025 11:48:31 EST

Review by Chalkbrood — It's hard to have nice things to say about a band that uses AI art on their album cover. It makes one wonder how much effort they're willing to put into anything else they're working on, and based on the general reception of this album elsewhere I wonder if the reviews were AI generated as well. This album drowns the listener in wearisome bar long chords backed up by what I have to now assume are melodies generated by arpeggiator, which is just as well because if the mix were better you'd be forced to confront every other dreadful part of these tracks. This album simply doesn't merit more effort in reviewing it.

SIGH I Saw the World's End - Hangman's Hymn MMXXV (Experimental/Post Metal, 2025)

Tue, 12 Aug 2025 09:00:48 EST

Review by arcane-beautiful — I Saw The World's End: Hangman's Hymn MMXXV by Sigh is a great re recording of the band's classic album.
Extremely underlooked in the metal world, this Japanese black metalers sound is incredibly unique, mixing
thrash, black, symphonic and Avant gard metal to make an incredibly bonkers sound. Band leader Mirai
Kawashima's vocals and instrumental ability are mind bogglingly mental, with insane speeds with diction and
performance. While I do prefer some of the mixes in the original, this one isn't anything to "sigh" at. I'd give this
a low to mid 8 out of 10. The song I'd recommend is Salvation In Flame/Confutatis.

AGROPELTER The Book of Hours (Symphonic Prog, 2025)

Mon, 11 Aug 2025 11:09:38 EST

Review by Rikskyr — This album delivers a unified sound from start to finish, immersing the listener in an almost dream-like state of mind.
Well done. Norwegian multi-instrumentalist Kay Olsen's debut as Agropelter is an hour-long masterclass in cohesion
and restraint.

Memorable melodies and tasteful shifts in atmosphere make the listening experience captivating from beginning to
end. While the arrangements and performances are of impressive calibre, the foundation rests on simple, enduring
melodies and transitions?hooks that stay with you long after the music stops. The soundscape often evokes a sense
of nostalgia, recalling timeless classics you may have loved before. Take, for example, the motif at 1:46 in The Book of
Hours Pt. II, wrapped in a "Suspiria-like" dreamscape, or the transition at 2:44 in Levitator, which could make even John
Petrucci of Dream Theater sound revitalized. Rather than drowning the listener in novelty or experimental excess, Mr.
Olsen keeps the core melodies front and center, weaving them into a narrative that elevates familiar sounds and
emotions in a unified, deceptively simple way?a rare skill.

The opening track, Flute of Peril, feels like a human-touch dialogue between flute and guitar (a beautifully simple
concept, superbly mixed) that blossoms into a Terje Rypdal-style atmosphere?complete with the soon-to-be-lost art
of volume-pedal swells. My personal favorite is Burial Mound, for its pure simplicity. The piece genuinely captures the
atmosphere of its title, with weeping melodies and fluid transitions, while the fretless bass speaks so softly that you
stop thinking and simply absorb the moment.

Throughout the record, it's clear the man behind the music is first and foremost a guitarist?though a gifted multi-
instrumentalist?yet he gives his collaborators plenty of space to shine. Rather than filling every corner himself, he
allows the arrangements to breathe, from the organic, expressive drumming to bursts of nostalgic, high-energy guitar.
Best of all, over the course of nearly an hour, the album never once feels tiring.

With The Book of Hours, Agropelter has crafted not just an impressive debut, but a rare example of prog that is both
technically refined and emotionally direct. A brilliant start from an artist clearly here to stay.

Brilliant work on your debut, Agropelter. I look forward to hearing more.