Esthesis "Watching Worlds Collide" ALBUM REVIEW [art rock, neo-prog, prog noir]

By Dean Wolfe (Prog dog Media)  [album released 2022]

This band is new to me, even though they’ve released previous albums. As someone who’s video-reacted to over 1,300 songs on YouTube, I’ve noticed that hearing a band for the first time naturally leads to comparisons with familiar sounds. So who comes to mind here? Talk Talk, Tears for Fears, David Sylvian, Steven Wilson (especially in the vocals), the Alan Parsons Project... and for some reason, the X-Files TV series!

Right away, I was drawn to Arnaud Nicolau’s drumming. With all the modern advances in in-the-box drum production (which I have nothing against), it’s refreshing and energizing to hear the tasteful flourishes of a real drummer on a properly mic’d kit. He’s joined by Marc Anguill on bass, laying down great grooves throughout much of the album—not with a plectrum, but with what sounds like strong, two-finger plucking that firmly grounds the band.

The band is firmly rooted in sophisticated prog pop rock. Aurélien Goude’s vocals are laid-back yet constantly reaching—not in a strained way, but with a searching, introspective quality, as if he’s a singer in pursuit of answers. Mathilde Collet adds beautifully complementary vocals on several tracks, helping to shape the band’s distinct and nuanced sound.

Compositionally, the album is broad and expansive, with little repetition and a willingness to wander down long, winding corridors of sound. While it does rock out at times for emphasis, the overall vibe is laid-back—in a cool, deliberate way. That’s where I draw the connection between prog and noir: the music often feels wrapped in a smoky mystery, like it’s unfolding in shadows.

There’s some truly mature and memorable songwriting on display here, supported by superb arrangements and rich jazz-influenced chord progressions. The band isn't bound by predictable verse-chorus structures; instead, the songs unfold in expansive, often unexpected ways. Much of the music is piano-centric, with tasteful and layered use of synths and textures that complement the core beautifully. Trevor Horn would absolutely love this band—in fact, he’d be the perfect producer for them.

The album carries an introspective tone—relaxed, unhurried, and never trying too hard to impress. No one’s breaking a sweat here, and that restraint adds to its charm. There’s some lovely violin work on track 3, and a horn section makes welcome appearances throughout several songs. The atmospheric touches are especially notable—some tracks would fit seamlessly as background in a modern crime noir TV series.

A solid 4 out of 5 bones. Esthesis exude a smoky ambience I’d describe as prog noir—a sound steeped in jazz influences that creates a rich, atmospheric sense of mystery. While the tone leans toward the darker side, there’s enough uplift to keep it moving forward with some optimism. 

MB3 [a.k.a. Miki Berenyi Trio] "Tripla" ALBUM REVIEW [Dream Pop/ Shoegaze/Synth Pop]

by Dean Wolfe, Prog dog Media.   (album released 2025) 

I’ve listened to the new album Tripla so many times, I’ve lost count. I was excited to learn about it because I love lead singer Miki Berenyi's previous works with Lush and Piroshka. 

I consider Miki an underappreciated linchpin songwriter, singer, and an integral branch on the massive tree that is the UK music-scene genealogy—a broad and mighty, towering tree, really. Songwriting and music creation are winding and snaky things for sure—I'm always amazed at how many key acts originated there. Such fertile ground. But is it still as rich as it once was? Regardless of the answer to that broad question, we may rejoice that Miki has not withered as a performer or songwriter. 

According to the album credits, songwriting on MB3 is attributed to the entire band. That team includes Moose on guitar and Oliver Cherer on bass. The whole gang also contribute synths and percussion programming. Some additional trumpet and strings were provided by guests. 

The guitars are ever-present throughout. Ranging from jangly and atmospheric to crunchy staccato and swirly pools of sound. The decisive bass playing is punchy and melodic, providing a solid reference point amidst the swirling clouds of electric guitar. 

I suppose I was hoping for a bit more shoegaze intensity—more of those crazy, towering walls of guitar noise—but MB3 goes for a tamer sound, while staying rooted in the big, echoing DNA of the 'gaze' genre. As well, thankfully, Miki's vocals do not get buried. 

I've always been fascinated by the sparks that can fly in a trio—history has shown that three can be more.

You no doubt know about Miki's former band, Lush—the shoegaze icons that they are. When shoegaze was the thing, here in Canada I missed out on it entirely. There was no push for it that I was aware of—no Canadian contemporaries to Lush or sibling bands pioneering this new experimental genre. I don't believe it had fair chance to bloom and spread. 

But it’s never too late. Shoegaze has long since been revived, and bands around the world—particularly in Japan—continue to expand on the foundation.

This album makes me feel squishy and happy. Maybe I need to explain this? 

Now, I might have some unresolved mother issues, but I find Miki's voice soothing—like an innocent, 'sing me a bedtime song, mommy' kind of comfort. (Ummm... okay, I’ll look up a therapist tomorrow.) And her self-overdubbed harmonies will be missed if not performed live. Will the boys add harmonies on stage? 

I already know this album deserves a very high score. It feels special—like we’re riding a wave that shouldn't be taken for granted.

Does it have some flat out dangerously catchy melodic hooks? Yup.  Is it dreamy? Yup. Is it atmospheric? Does it have gorgeous choruses? Oh yes, a few killers. Is it 'dance-y'? Yessir.  But even at its most beat-driven, the album makes room for slower songs that invite deeper reflection. Does it have attitude? Not the high stakes angst of youth, but still some 'just shut up and listen,' as Miki sings in Gango. 

Songwriting is always what it's all about for me, and Miki and the gang deliver on this album. A fine collection of great songs. I could easily give this album 5 bones out of 5—but perfection is a high bar. Is it perfect? That’s always a subjective call. Time usually reveals whether an album earns that title—so I’ll let time make that judgment. It sure seems near perfect to me, as perfect as perfect can be in the context of adding fresh new music to Miki's and the boys' growing legacy catalog. How about  4.5  out of 5 bones? It could have used just a touch more experimental push—the reins could’ve been loosened a notch. But, a close enough to perfect outing from the MB3 gang, really. I'm starting to think that as of today we don't even know how good we've got it—amazing albums are coming out from so many great acts. Maybe it's a small renaissance right under our noses....

Oddleaf "Where Ideal and Denial Collide" ALBUM REVIEW [art rock]

by Dean Wolfe, prog dog media    (album released 2024)

This has been a go-to CD for me... for months now.

If I had done a 2024's Best Albums of the Year List, Oddleaf would likely have topped it. Although there's no shortage of fresh new progrock hitting hot wax.  

Oddleaf are likely inspired by some of the classic 70s prog rock bands- one in particular they do remind me of is the great female-singer led Rennaissance- and Oddleaf's lead vocalist Adeline Gurtner is on par with Annie Haslam in presence and substance.

This band has created prog rock epics without need to resort to modern prog metal vibes. The flute figures large in many parts of the album and transports me to the dense forests of Tolkien's Middle Earth at times, or the Dark Ages.  

There is no lack of bass on the album- it is unmistakably present and integral to the band's sound- Olivier Orlando often (maybe always) picks the bass with a treble-inducing plectrum. 

And did I mention the drummer? Highly energetic, sophisticated- but not sounding too 'technical'- Clément Cureaudau is playing in cool time 'sigs' all the time, but he's sneaky about it, makes it sound natural and easy- sort of like Yes' Alan White and less like Rush's Neil Peart. 

Complexity abounds on this debut album "Where Ideal and Denial Collide" yet it manages to remain subtle. The production is balanced- not overly processed - very cohesive- clean-- it all sits perfectly - which is I think due in part to the band's skills of self-editing.  There aren't 'too many notes' or too many instruments. All of Oddleaf's musical elements intertwine without clashing or competing- actually a remarkable feat. I liken it to watching a busy intersection in Vietnam that has no stoplights yet everyone manages to flow through without incident- it's mesmerizing. 

Did I mention the keyboards? Lots of accomplished playing- great rock organ solos by main composer Carina Taurer...some great piano sections and cool Tony Banks and Keith Emerson-ish playful escapades. I need to check if she's won any awards yet- she sounds like a giant in the making. Lots of fantastic sections. 

I'm a guitarist, so I noticed there is only a scattering of electric guitar across the album...several solos, but the album doesn't feel lacking in any way. 

The 'Oddleaf' sound has been confidently nailed. Regardless of any comparisons made here, Oddleaf have their own unique sound. 

The album opener- and closer- are epic and grandiose- graceful and hearkening to the days when an album was an album - capturing the entire album's vibe- which is often one of optimism. The lyrics throughout are cleverly woven at times reminding us to honour the planet, but also reassuring us that no matter what 'the Earth's core will remain warm'.  'Bring me back to a simple time..' Gurtner sings.

The songwriting is adventurous but mature- the music unfolds gracefully, effortlessly. A remarkable first effort by any standard. Strong melodies are spread throughout, haunting at times, surprisingly wide in scope. The album's tracks are often tied together, sometimes with windy desert sounds, and the album finishes off with what sounds like a whale swimming off into the distance, singing 'goodbye' and leaving the listener in a state of peaceful longing.

The latter part of the album departs a little bit from the tone it began with - a little less heavy-hitting on 'song'-ness, and is more experimental and noodle-y- perhaps hinting already that Oddleaf is not content without a little boundary-pushing playfulness. 

The backup vocals are also noteworthy- tasteful and distinct. Everyone except the drummer is noted to have added their voices- which creates more distinction in the Oddleaf sound. 

The flute work by Mathieu Rossi is refreshing. It's such an earthy and uplifting instrument- and is another link to a musical past of simpler ages (It reminds me more of Peter Gabriel with Genesis than Jethro Tull- but I don't know Tull too well yet. Others can chime in on the comparison). 

I could go on, but let's leave it there. My score is 5 bones out of 5- partly because they just appeared out of nowhere with a super fresh unique sound. It's a spectacular album- full of nuance and well-thought-through passages and interludes, with both a serious and a fun-side without the slightest air of pretension or even ambition to be anything but a young band with a vision . Thank-you, Oddleaf. 

Amarok "Hope" ALBUM REVIEW [art rock]

 

By Dean Wolfe (prog dog media)      (album released April 2024)

"Hope" takes you on a spacious and engaging musical voyage, travelling between high-energy tracks and more mellow, thoughtful moments. Michał Wojtas, who's been making music in Poland for over 25 years, really knows how to craft a song. The production is top-notch, kind of like a Trevor Horn vibe – big and epic but not overdone.

Right from the start, Marta Wojtas' powerful vocals grab your attention on Amarok's cleanly produced latest (7th) album, "Hope." Marta and Michał Wojtas are the husband-and-wife duo involved in this project, and Marta's voice is commanding, reminding me of strong female vocalists like those in Propaganda. Her spoken word parts and harmonies add much to the album, I honestly wanted even more!

The drums are tight and super tasteful, the lead vocals confident, and the guitar solos have a prominent role at times, soaring like something by David Gilmour/ Pink Floyd, and the bass lines are solid. Even the lyrics caught my attention, and I'm not usually one to focus on them too much. They're paired perfectly with the vocals, making each song a document of creative passion.

Like me you might catch a few musical references here and there – even a bit of the Matrix soundtrack with some drum sample parts. Tracks like "Trail" really showcase Amarok's style, blending distorted guitars with synths for a raw, gritty feel. Then there's the instrumental track "Perfect Run," with cool melodies that reminded me of Alan Parsons Project, and the wild guitar solo on "Queen." There's plenty of compositional prowess here: songs take unexpected turns. Marta's hand-percussion work adds much to the mix. 

Amarok's sound is covers a lot of territory. The guitars and bass are always present, but the keyboards always a key part of their footprint. Plus the odd violin solo. Topping it off, the album ends with "Dolina," a song sung in Michał's native Polish. It's a cool reminder that music is a universal language and that we can all appreciate songs even if we don't understand the words.

Amarok's been around since 2001. They started out inspired by bands like Mike Oldfield and Pink Floyd, but they've added ambient and folk elements to create something truly unique."Hope" is the result of 25 years of musical growth, and it's packed with ten creative tracks. 

The prog dog score is 4 1/2 bones out of 5 on this very cool album. If you're looking for something new and inspiring to listen to, give "Hope" a spin. It's a polished, well-crafted soulful album full of power, emotion, and strong musicianship. Fave tracks: "Don't Surrender" with its beautiful soaring unique chorus and the instrumental track "Perfect Run" which is just perfect.

Amarok is: Marta Wojtas | Michal Wojtas | Kornel Popławski | Konrad Zieliński

Polish translation: 

Dean Wolfe (prog dog media) (album wydany w kwietniu 2024) 

"Hope" zabiera Cię w przestrzenną i wciągającą muzyczną podróż, przemieszczając się między energicznymi utworami a bardziej stonowanymi, refleksyjnymi momentami. Michał Wojtas, który tworzy muzykę w Polsce od ponad 25 lat, naprawdę wie, jak stworzyć piosenkę.Produkcja jest najwyższej jakości, trochę jak Trevor Horn - wielka i epicka, ale nie przesadzona. Już od pierwszych dźwięków, potężny wokal Marty Wojtas przyciąga uwagę na najnowszym (7.) albumie Amarok, "Hope". Marta i Michał Wojtas to duet małżeński zaangażowany w ten projekt, a głos Marty jest władczy, przypominający mi silne wokalistki takie jak te z Propaganda. Jej partie mówione i harmonie dodają wiele do albumu, szczerze chciałbym jeszcze więcej!Perkusja jest zwarta i bardzo gustowna, wokal prowadzący pewny siebie, a solówki gitarowe odgrywają czasami znaczącą rolę, szybując jak coś od David Gilmour/ Pink Floyd, a linie basu są solidne. Nawet teksty przyciągnęły moją uwagę, a zazwyczaj nie skupiam się na nich zbyt mocno. Są doskonale dopasowane do wokalu, czyniąc z każdej piosenki dokument twórczej pasji. Podobnie jak ja, możesz wyłapać kilka muzycznych odniesień tu i tam - nawet trochę ścieżki dźwiękowej z Matrixa z kilkoma partiami sampli perkusyjnych. Utwory takie jak "Trail" naprawdę pokazują styl Amarok,łącząc zniekształcone gitary z syntezatorami, aby uzyskać surowe, szorstkie brzmienie. Jest też utwór instrumentalny "Perfect Run", z fajnymi melodiami, które przypominały mi Alan Parsons Project, i dziką solówką gitarową w "Queen".Jest tu wiele kompozytorskiej sprawności: piosenki przybierają nieoczekiwane zwroty. Gra Marty na instrumentach perkusyjnych dodaje wiele do miksu. Brzmienie Amarok obejmuje wiele obszarów. Gitary i bas są zawsze obecne, ale instrumenty klawiszowe zawsze stanowią kluczową część ich brzmienia. Dodatkowo pojawia się okazjonalna solówka skrzypcowa. Na zakończenie albumu znajduje się "Dolina", piosenka śpiewana w ojczystym języku Michała, polskim. To fajne przypomnienie, że muzyka jest uniwersalnym językiem i że wszyscy możemy docenić piosenki, nawet jeśli nie rozumiemy słów. Amarok istnieje od 2001 roku. Zaczynali zainspirowani takimi zespołami jak Mike Oldfield i Pink Floyd, ale dodali elementy ambientu i folku, aby stworzyć coś naprawdę wyjątkowego. "Hope" to rezultat 25 lat muzycznego rozwoju i zawiera dziesięć kreatywnych utworów. 

Ocena prog dog to 4 1/2 kości na 5 na tym bardzo fajnym albumie. Jeśli szukasz czegoś nowego i inspirującego do posłuchania, daj szansę "Hope". To dopracowany, dobrze wykonany album pełen mocy, emocji i silnego muzykalizmu. Ulubione utwory: "Don't Surrender" z jego pięknym,szybującym, unikalnym refrenem i utwór instrumentalny "Perfect Run", który jest po prostu idealny. 

Amarok to: Marta Wojtas | Michal Wojtas | Kornel Popławski | Konrad Zieliński

Everything Oscillating "The Taboo Against Knowing Who You Are" ALBUM REVIEW [prog instrumental power trio]

by Dean Wolfe, Prog dog media     (album released January 2024)

I doubt an album like this can ever be repeated. 

I was immediately curious if more are in the works, or is this instrumental trio out of Seattle Wahington just a one-time project involving Moon Letters' guitarist Dave Webb (Moon Letters are in my mind a strong contender for more ground-breaking prog rock albums in the future).

Listening to some of this new album called The Taboo Against Knowing Who You Are by Everything Oscillating took me back to 1984, when as a young guitarist I was introduced to axe-master Steve Vai via a certain flexi disc- playable on my record player. I found it inside my November issue of Guitar Player Magazine. I was very inspired by Vai's instrumental The Attitude Song. It made a life-long impression on me. 

Everything Oscillating are an intense group of super-capable musicians. An immediate highlight for me is the fretless electric bass playing (Mike Murphy) which is a treat of the highest order. The drumming (Kai Strandskovis) is strong with feel - soulful, and dynamic (He also plays some keys on the album). The guitar work (Dave Webb of Moon Letters- see my review) seems very Steve Vai-inspired but I know Dave's tastes are wide (I interview him with his band Moon Letters here)

You do have to be in the mood for this album though. I found it dense and a lot to absorb on my first listen... but (surprise surprise) by the 2nd time through I was thoroughly enjoying it. Yes, in certain moments it does remind me of a collection of 'just out of music college/ ants in my pants' dudes, but there is a broader earnestness and maturity present, evoking some pretty awesome sweeping visionary songs, like the 12 minute title track for example. They do know how to relax and just let the music flow. 

You can feel the joy between all the notes and multitudes of sounds, squelches and whammy-bar jiggles. Jazz-fusion fans will likely embrace this, but it's not your hard-core 'Buford and Holdsworth' type stuff. It's more like it was an alternate universe version of Bill Bruford where he leaned less towards jazz and more towards American metal, with a touch of Zappa, and a hint of psychedelia in the mix.

Prog dog scores this album a super-solid 4 out of 5 dog bones. It's a fun and refreshing instrumental blast that cleanses the palate. Musicians might find themselves bonding over it while playing air instruments in the basement rec room.

https://everythingoscillating.bandcamp.com/album/the-taboo-against-knowing-who-you-are

Returned to the Earth "Stalagmite Steeple" ALBUM REVIEW [Art Rock, Prog Rock Adjacent]

by Dean Wolfe, Prog dog Media       (album release date: June 14, 2024)

I love it when I can connect with an album. When I was cycling through "Stalagmite Steeple" by UK band Returned to the Earth for review purposes I felt a bond being established. It was probably the third time through when I had to leave the house... and I didn't want to turn the music off!

Right up front I will mentioned that "Stalagmite Steeple" is very much akin with Steven Wilson's softer side, (like Hand. Cannot. Erase.).  I would consider it art rock for sure, definitely progressive-adjacent. There is a high-standard of tastefulness in production, atmosphere and composition. It's an intriguing listen. Singer composer Robin Peachey's voice also reminds me of Wilson's (Peachey also performs on guitar, piano and synths). 

If this album were a book, it would be a page-turner. Each track feels intimately connected and companioned- it is a spiritually cohesive whole.  One concept tying it together lyrically is Robin Peachey's musings on empathy, escape, compassion and perhaps tragedy. 

The album is largely slow without being plodding or diluted. Nor is it slow in the romantic or love-ballad sense. Melancholic? Maybe, but for me it's not depressing. Its only shortfall is that it deserved an exorbitant studio budget like in the days of yore when labels would spend a million dollars to record an album. On this project it would have not been wasted. So in that sense the canvas is slightly modest or sparse in parts, but since the material is so powerful it stands on its own quite confidently- a testament to all of the strong-boned melodies and composition.  

The album is airy and spacious, carefully laid out and allowed to breathe, pulse, unfold deliberately and unhurriedly. That's such a different vibe than is so popular in the world right now; a world of maniacal TikToks, YouTube Shorts, busily shuffling Spotify playlists et al. Perhaps Stalagmite Steeple is a musical remedy or salve of sorts for this modern age- a balm for souls being run ragged- being pushed and pulled from all directions at once. 

It's also beautiful. In fact the friend who recommended I check this album out used the word 'gorgeous', and he's right. The paradox here is that the album is also emotionally deep-cutting, drawing its listener into musical depths of profound contemplation. 

There are no 'skip-pers' on this obviously carefully and lovingly crafted album. It's a consistently enjoyable listen throughout and there's even a nurturing quality or vibe I get from it. It has a timelessness to it as well. 

I'm a new Returned to the Earth fan now, so I can't compare this to any of their previous 4 albums- I've not heard any of them! However I am so curious to explore them.

Fave track: Dark Morality.

The Prog dog score is 4 1/2 out of five dog bones. It's a gem. 

Citrus Moon "Citrus Moon" ALBUM REVIEW instrumental prog rock/ math rock/ post rock

By Dean Wolfe, prog dog Media          (album released Feb. 2023)

Citrus Moon are a 4 piece instrumental band out of Chicago. They will appeal to many a progressive rock fan (King Crimson fans for certain) as well as math rock fans (I will be video-interviewing the band and will post a link below when it's done).

Based on my ears alone I can tell you electric guitar is prominent in this band: with 2 guitars, bass and drums being the substance of it. The players are Demetri Bairaktaris, Kevin Polochak, Seth Beavis, and Patrick Stevens. The songs are dynamic and full of punctuations like '!', '!!' and '*'.   The songs are very memorable and distinct despite there being no singing. Each tune covers much territory. Citrus Moon sound extremely tight and move along like a single giant Mecha robot. Each song is a varied story like on 'Los Lunas', they move through rock passages and into almost Caribbean detours. There seems no limit on these guys: they move freely from riff to melody to tension-building passages. The drummer breathes and fluctuates with the band as well as pinning songs solidly to the ground. 

I even detect kind of African influences in the guitar work- there being plenty of clean electric guitars as well as distortion soaked segments. Guitar geeks will obsess over where single coil and bridge pickups were employed, what the hammer ons were, what amps did the guys use etc etc. But overall it's a fun and appealing album that I would even rate high on the 'girlfriends/wives will like it' chart (a 'plus' for many of us dudes who like to listen to a wide variety of musical experimentations). There's even an orchestral string flash in 'Dark Rainbow'. 

Overall the album feels quite playful as well. Not to be outdone, the bassist does get aggressive at times with his tones, and reminds me of the legendary Tony Levin. 

There's no outright heavy-metal vibes with the band. They play it restrained and the melodies emerge naturally. 

In summary I'd say these guys are explorers. The album is rich, very rich- with both simple and intricate musical concepts and ideas. They have a great chemistry and I would run, not walk, to any gig that I could attend. This is what the world needs more of today: bands! Real bands! Bands that play together and stay together, exploring musical territories together.  This album earned a well-deserved 4 out of 5 bones on the prog dog charts. 

https://citrusmoon.bandcamp.com/album/citrus-moon

Prog dog interview link: https://youtu.be/s_5CJqWrEDc?si=g730c-5s_h1gUac1