Big Big Train "Woodcut" ALBUM REVIEW [progressive rock]

by Dean Wolfe, prog dog media                      Album released 2026 

I am a relative newcomer to Big Big Train. Woodcut is the band’s 16th studio album, which is an impressive testament to their endurance, creativity, and enduring presence in the progressive rock world. It also represents an important transition following the untimely passing of longtime vocalist and multi-instrumentalist David Longdon. Italian vocalist and multi-instrumentalist Alberto Bravin has stepped into the role, bringing his own voice and musical perspective to the band’s evolving sound.

Woodcut is an intriguing blend of old and new. Some of it draws inspiration from classic '70s progressive rock, particularly Genesis, most notably in its synthesizer textures and 12-string acoustic guitar work. Beyond those influences, however, the album easily establishes its own identity. The bass and organ occasionally evoke classic Yes, while the drum sound and playing style feel firmly rooted in the present. The piano arrangements and electric guitar work also have a distinctly modern character, giving the album a contemporary energy despite its vintage influences. Rich horn arrangements, along with beautiful violin and string passages, add further colour and texture. There's even a touch of Celtic flavour, with the bodhrán lending The Sharpest Blade a subtle folk influence.

Woodcut contains several absolute knock-it-out-of-the-park instrumentals. In fact, that phrase could describe much of the album as a whole. The exceptional musicianship is matched by equally strong songwriting, giving every player—and the vocalists—plenty of opportunities to shine. And the drumming is phenomenal throughout. Nick D'Virgilio plays with a lot of energy and is on fire from start to finish.

While the instrumental work often ventures into progressive territory, the lead vocals have a more classic rock sensibility. They remind me of Styx at times—strong, melodic, and emotionally direct—which gives the album an inviting quality. Clare Lindley, the band’s violinist, acoustic guitarist, shares lead vocals with Alberto Bravin on “The Sharpest Blade” and contributes backing vocals and other vocal parts throughout the album.

The album is peppered with beautiful orchestral movements that enhance its richly dynamic flow, creating a compelling balance of peaks and valleys. There's plenty of rocking-out instrumental segments featuring some very cool riffs and what not, across the album. 

Lyrically, Woodcut is reflective. Its songs mend together history, personal reflection, and vivid storytelling, celebrating the landscapes, traditions, and individuals that influence us all. Throughout the album, themes of remembrance, perseverance, and the passage of time give the music an emotional depth that serves its expansive progressive arrangements well.

My only reservation is more a matter of personal taste. Big Big Train’s expansive, carefully crafted approach sometimes feels closer to a musical collective or production than a traditional band dynamic. I’ve always been drawn to the chemistry and personality that emerge from a small tight-knit group of musicians developing together, but that’s simply my own preference. I didn’t let that influence my score: this is a very fine album that keeps prog fresh for the modern listener, balancing seriousness with an occasional sense of lightness and playfulness, never taking itself too seriously. It sets a high standard for modern-day prog — 4.5 out of 5 dog bones. 

Kristoffer Gildenlöw "Humanised" ALBUM REVIEW [prog rock/metal/singer-songwriter]

 

by Dean Wolfe, prog dog media.                           album released 2026 

This album is rich with emotion and packed with ideas.

Many prog fans know Kristoffer Gildenlöw as the longtime bassist for Pain of Salvation, but over the past decade he has established himself as a compelling solo artist, crafting deeply personal albums that blend progressive rock, metal, singer-songwriter intimacy, and rich cinematic atmosphere.

On Humanised, Gildenlöw explores themes of identity, mortality, isolation, empathy, and the fragile nature of our existence in an increasingly disconnected world. The album is steeped in melancholic melodies and a haunting atmosphere, at times expanding into almost symphonic territory. Yet beneath these weightier themes, Gildenlöw frequently introduces an uplifting melodic arc, allowing the songs to rise above their emotional gravity.

The album's nine distinct tracks maintain a steady momentum, each bringing something fresh while allowing plenty of room for moments of reflection and contemplation. There are passages that venture into technical metal territory, delivered with precision and featuring some impressive rhythmic complexity and adventurous time signatures. Yet, at its core, Humanised never loses sight of its surprisingly strong singer-songwriter foundation, where melody and emotion remain the driving forces.

Speaking as a musician, and particularly as a guitarist and bassist, there are plenty of tasteful riffs and playing here to appreciate. The album features the familiar low-tuned, heavily distorted guitar tones often associated with modern progressive metal, but it also makes excellent use of clean passages that add contrast and beautifully frame the heavier moments. Add in powerful drumming, atmospheric synth work, and tasteful piano touches, and you have a well-rounded progressive album that balances power, texture, and emotion.

The vocals are another major strength throughout the album, particularly on the standout track "Nothing Stays the Same." Here, Gildenlöw demonstrates the expressive power of a lower vocal range, delivering a performance filled with warmth and emotional depth. The song builds beautifully, culminating in a cascade of harmonies that brings the track to an awe-inspiring conclusion.

There is very little to fault about Humanised. Its darker, introspective nature may not immediately appeal to listeners seeking a more aggressive or accessible prog-metal experience, but those who invest time in its layers and nuances will find an album filled with emotional and musical rewards.

I'm giving this album a very solid 4½ out of 5 dog bones. For me, Humanised is a revelation, introducing me to the possibility of a perfect blend between personal singer-songwriter intimacy and the expansive textures of progressive rock and metal. 

My fave tracks include "Nothing Lasts Forever" and "Nothing Stays the Same".

Muse "The Wow! Signal " Album Review [prog pop rock, alt. rock, space rock]

 

by Dean Wolfe, Prog Dog Media                            Album released 2026

The Wow! Signal is mostly a very good album, with only a couple of songs that I feel are weaker than the rest.

I really think that if bands looked at their albums as a single entity, rather than just a collection of individual songs, we could avoid the "filler syndrome"—the "gee, why don't we just toss this song on there?" mentality. A record's grooves should be considered sacred, deserving only of the very best work a band can create. Every track should have a reason to exist.

That said, I can't imagine any fan being disappointed by The Wow! Signal. It's got all the signature elements I personally love about this band: Matt Bellamy's passionate vocal style, the dramatic, ever-present tech and sci-fi vibes, Chris Wolstenholme's stellar bass work—especially on "Nightshift Superstar"—and plenty of wild electric guitar. Admittedly, my exposure to the band is still somewhat limited. I own Black Holes and Revelations and have done reaction videos to a number of their songs over the years, but I certainly wouldn't call myself an expert. I also love hearing the echoes of classical composers woven into Bellamy's songwriting.

Muse has always excelled at creating a larger-than-life sound, and on this album that sense of scale is amplified by sweeping orchestral arrangements on several tracks—most dramatically on the opener, "The Dark Forest," which reminded me of epic film scores like Lawrence of Arabia and other grand cinematic works of that era.

They're playing to their strengths as musicians and songwriters. Even a weaker track like "The Sickness in You and I" is partially redeemed by its strong chorus. On the other hand, there's a fair bit of progressive metal chugging that I'm sure fans of the genre will enjoy, but it strikes me as just a little out of place. It feels playful, almost as if the band is having fun with the style, but at times it comes across as something added to strengthen the track rather than something the song truly needed.

The very pop-oriented track "Hush" (which, unsurprisingly, is not really my thing) features guest vocalist Ellie Goulding. It's a cool addition, and the song did grow on me somewhat, but I have to ask: is this really the direction Muse wants to pursue? I hope not.

Lyrically, The Wow! Signal continues Muse's fascination with big ideas: technology, humanity's place in the universe, dystopian themes, and the tension between progress and consequence.

I give the album 4 out of 5 dog bones. It's a pretty cool record, with enough diversity across the songs to eliver a satisfying platter of musical fun.

Favourite tracks: Nightshift Superstar, Space Debris

Pareidolon "The Unattainable Shore" ALBUM REVIEW (Progressive Rock from Canada)

by Dean Wolfe, Prog dog media                   released  in 2025

If you haven't heard of this band out of BC, Canada, it's understandable. Independent bands often struggle to be heard above the ever-growing wave of progressive music flooding the scene. That doesn't make them any less deserving of your attention. There aren't many five-piece progressive rock bands with a female majority, which makes them stand out before you've even heard a note.

One thing that didn't help, at least for me, was the band's name. Pareidolon isn't quite as easy to remember as Yes, Rush, or Opeth, and I initially had trouble recalling it. Thankfully, the music leaves a much stronger impression than the name.

Listening through this expansive album is quite the revelation. After the deceptively straightforward opening track, the album takes a fearless leap into the unknown, carrying the listener along for a ride that feels like jumping from an airplane with nothing but a parachute. It's exhilarating, with moments where the sheer rush of air leaves you breathless in the best possible way, and ultimately, it's immensely rewarding.

This album would likely boggle the mind of an unsuspecting non-prog listener while delighting any serious modern fan of progressive music. Be aware, though, that this is an expansive release approaching double-album length—there is simply so much compelling music here, and the album represents eight years of work. 

Let's start with the gorgeous artwork on the cover by Jordan Weiss. It perfectly captures the spirit of the album: vast and full of movement, with dramatic peaks and valleys that mirror the music's dynamic shifts. In fact, the artwork was chosen before the album was finished, becoming a visual touchstone that helped guide the band's creative journey toward the final result.

If I were to sum up this album, the best way I can put it is: it rocks. The songs are intricate, adventurous, and uniquely structured; the musicianship is exceptional; the female vocals are both refreshing and captivating; and the band takes all the ingredients we love from classic prog and infuses them with a modern edge. You'll find flute, thunderous bass and drums, piano and synth keyboards galore, both heavy and acoustic guitar, complex instrumental interludes, and a cohesive thematic concept that binds the entire album together: the pursuit of a goal, the challenges along the way, and the possibility of falling short.

Some high-profile help was brought in for the album as well: Baard Kolstad of Leprous contributes drums to the complex track "Emotional Tides."

I love this album. Although not for the faint of heart, it rewards the dedicated listener willing to immerse themselves in its many layers. In short, it is a remarkable modern Canadian prog work—one that deserves to be recognized among the standout releases of the genre.

4.5 out of 5 dog bones. 

Lesotho "A Flashing on Plain Glass" ALBUM REVIEW [instrumental metal post-rock atmospheric post-metal ‎blackgaze]

 

by Dean Wolfe, Prog Dog Media.              Album released 2026. 

This melodic and ambitious instrumental trio out of Boston has its eyes fixed on a distant horizon. You can feel it in the music they create. At times, it sounds as though they're fighting their way through a swirling, dark musical haze of their own making—and perhaps they have to. It may be the only way to reach the other side.

They play as though their lives depend on it. The drums, bass, and guitar don't simply perform together—they grapple with one another, straining against unseen forces. There are many moments of quiet introspection too, but they feel less like destinations than brief respites, a chance to gather strength before throwing themselves back into the ascent, pushing this immense ball of musical energy ever closer to that distant horizon.

One of the most fascinating aspects of this album is the way it marries serene, calm ambience with moments of raw, almost violent energy. They seem like contradictions: stillness and chaos, beauty and force. Yet A Flashing On Plain Glass, their third album, demonstrates that these elements can exist together in a way that feels completely natural. The music painted images in my mind of distant moons, endless star-scapes, and universe-sized kaleidoscopes of motion—galaxies colliding, collapsing, and reforming in some vast cosmic dance.

If you're in the mood for a musical journey of this scale and drama, A Flashing On Plain Glass may be exactly what you're looking for. The cover art is beautiful as well, and feels like a visual doorway into the vast, otherworldly landscapes contained within. In fact, Dylan Thomas's words from “Do Not Go Gentle Into That Good Night” seem to capture my feelings about this album: a work that burns with passion, urgency, and a refusal to quietly disappear.

Blossom Cult "Home" ALBUM REVIEW [Alternative and Progressive Metal]

 

by Dean Wolfe, Prog Dog Media.        

Album released May 1, 2026, Created in collaboration with renowned guest musicians such as Leo Margarit (PAIN OF SALVATION), Andreas Kübler (AUDIOGAZER), Peter Voronov, and Zach Ansley.

Dear Blossom Cult,

I don't usually do this, and please don't let it go to your heads, but... just keep doing what you're doing. I think you're onto something really big.

Sincerely,

Dean Wolfe
A music fan

Okay, back to business.

I didn't immediately connect with Blossom Cult as I started spinning side one of 'Home'. Then "Paint the Sky" caught my ear, and suddenly I was intrigued. The album started digging its' talons into me, and before long I was completely sold on this band that I knew nothing of until this writing. 

This is something special. In fact, I wanted to get the review over with so I could just enjoy the music. 

Blossom Cult are a German band of five scary looking leather-clad dudes. They have two previous releases, both EPs, and 'Home' is their first full length. 

Checklist time: Do you like to headbang to tricky time signatures? Blossom Cult has you covered. Do you like innovative and adventurous alternative progressive metal with plenty of synth textures, cinematic and theatrical flourishes, and compositional twists that keep you guessing? How about barely a light peppering of harsh vocals here and there? Do you enjoy catchy riffs and memorable, almost poppy choruses that never overstay their welcome, balanced by highly progressive verses and a multitude of intricate musical passages? Maybe some ambience here and there, and occasional angry sounding dissonance?

I really love the occasional presence of acoustic piano. These guys are all competent musicians and songwriters. Each instrument reached out to me throughout the album with some exceptional moment to shine. Plus they uproot musical conventions like a mad gardener tearing through a garden bed with a massive shovel. "No More Heroes" and "Traitor" sounds to me like what might have happened if early Genesis had been a bunch of metalheads. Maybe "metalized, technicalized neo-prog" is the closest label, but hey— it's simply one way I can describe the eccentricity, complexity, heaviness, and melodic accessibility these guys are pulling off. And most importantly, the ride is a thoroughly enjoyable one. 

This is a conceptual album, and the lyrical narrative is not merely commentary on the state of the world. Instead, it "forms an emotional arc that spans anger, nostalgia, and inner transformation." There's just so much to unpack here, and adventurous music demands adventurous listeners. If that sounds like you, you'll dive in and likely come away agreeing that Blossom Cult's Home is an easy 4.5 out of 5 dog bones. It's a fun, exhilarating album despite the seriousness of its themes.

"Backrooms" Motion Picture Soundtrack ALBUM REVIEW [ambient, mixed]

by Dean Wolfe, Prog Dog Media              Released 2026

Given that Backrooms represents a relatively new form of psychological horror film, I find myself asking: what is so compelling about it? Why would I want to linger in that unsettling world by listening to its soundtrack—allowing the music to follow me out of the theatre and into my everyday living?

One answer lies in my long-standing appreciation for ambient music—even ambient music that is unconventional or unsettling. In my own assessment, only about fifteen to twenty per cent of Backrooms consists of outright horror or implied menace. The remainder is something quite different: a fascination with discovery, with wandering through a world that is strange, unfamiliar, and unexplored. It invites curiosity as much as fear, offering the feeling of encountering something genuinely new and mind-expanding.

There are no human voices on the album. Instead, much of it leans into artificial, mechanical textures—sounds that feel abandoned, automated, and detached from any human presence. These patterns seem to echo through an apparently endless liminal space, reinforcing a sense of emptiness and industrial afterlife rather than lived experience.

Some of the tracks are undeniably ominous and tension-filled. Homothet, Layout Extrapolation and You Know Me evoke genuine terror, while Wired is unmistakably creepy. Yet these moments are often fleeting. The soundtrack spends far more time evoking mystery than fear. Much of the soundtrack is surprisingly engaging—at times even lovely and playful, albeit in an off-kilter, uncanny and dizzying way, capturing the strange allure of liminal spaces that seem to invite endless exploration. It is this sense of discovery, rather than horror itself, that keeps drawing me back.

Humble MRI Company is one of the few tracks that features a clearly discernible melody and hints a human presence. More often, melody is only implied, subtle, or absent, with the music instead relying on texture, tone, and atmosphere to carry its effect.

There is no percussion or steady beat in the traditional sense, but in a few tracks a sense of rhythm is still implied. In Open the Window, for example, a simulated heartbeat provides a subtle pulse that drives the piece forward, giving it a faint but persistent momentum.

There are two notable reprieves within the soundtrack’s otherwise tense atmosphere. One is a fiddle-driven jig associated with a furniture store commercial, which briefly shifts the tone into something almost traditional and lighthearted. The other is an organ-led, muzak-ish Latin-style piece that similarly breaks from the prevailing mood. Both moments stand out precisely because they interrupt the surrounding unease, offering brief, almost disorienting flashes of familiarity and levity.

In summary, Backrooms is an effective soundtrack that closely reflects the film’s overall experience. Not something you'll want to put on around the kiddies or unsuspecting toddlers. It captures its shifting balance of curiosity, unease, and disorientation, and translates that atmosphere into pure audio. It's also not an album suited for solitary listening in the dark. It's suggestive, lingering quality can become haunting outside the context of the film. That said, this is also part of its strength—it preserves the emotional atmosphere of the film it accompanies, taking it beyond the screen.

This is an hour and a half of music, so there’s plenty here to immerse yourself in. I only wish they had leaned a little further into melody on a few more tracks, giving theater-goers something more immediate and memorable to carry with them after the experience. Without those stronger melodic anchors, there are moments where the score risks drifting into more generic territory.

My standout tracks include “The Untrained Mind,” “Landsick,” “Humble MRI Company,” and “Old Home Not Yet Built,” which features saxophone and/or oboe parts that add a welcome human warmth and character to the soundtrack.

As a standalone listening experience, I'd probably give this 3.5 dog bones. But as a companion piece to the film and the world it creates, it earns 4.