Clive Nolan "The Mortal Light" ALBUM REVIEW [prog-adjacent theatrical rock]

by Dean Wolfe, Prog dog Media. Album released February 2026. 

This is a fun listen—even though outside my usual range. Rock musicals and stage productions aren’t in my regular rotation, so it’s fair to wonder why I’m even reviewing this. The short answer: I don’t mind stepping outside my comfort zone. And with a project from British progrock mainstay Clive Nolan (Pendragon, Arena, Shadowland, Strangers on a Train, and Caamora), it felt like a safe enough bet that it wouldn’t be time wasted. "The Mortal Light’ is the third musical in the ‘Alchemy’ series. It chronicles the ongoing journey of Professor King and friends as they navigate the dangers and challenges of a colourful Steampunk Victorian ‘Universe’.

I approach this album the same way I would a good book—something to take in from cover to cover. It’s a time investment, and that’s the point. This is also the kind of release that demands a physical copy—the package is an attractive box set of 4 CDs and 3 booklets, with a full story to follow in graphics and text. I’d splurge if I had the cash, but for now I’ll be relying on the PDFs that came with the digital promo.

The vocals are strong and spirited throughout from an extensive cast of characters. It must have taken a lot of time just to organize all the singing sessions. They mostly avoid that traditional operatic style—which I appreciate—and at times in the style of Nightwish music. Compositionally, it’s solid, as is the production but not every second is crafted with the precision of The Dark Side of the Moon, probably because it spans over two 70 minute CDs. Tracks like Prophesy, and especially the verse in Decisions for example, deliver some genuinely moving and powerful melodies. Fade is powerfully cinematic. There’s also a lot of character acting and dialogue woven throughout. So this is definitely an album that has to be experienced in sequence—Act 1 through Act 2.

One of my favourite elements is the incidental percussion—bodhráns and other hand-driven rhythms that Clive Nolan uses so effectively. There’s a real sense of variety, and it adds a lot of character. At times, it genuinely feels like he’s tapped into some Viking-warrior drum circle—and it hits in a way that feels almost primal, like it’s waking up something buried deep.

Prog Dog score: 4 prog dog bones out of 5. If rock musicals are your thing, you’ll likely enjoy this distinctly British, sumptuous extravaganza, featuring impressive vocal performances and plenty of drama.

Advent Horizon "Falling Together" ALBUM REVIEW [Prog Metal/Progressive Rock]

by Dean Wolfe, Prog dog media      (Advent Horizon's 4th Album, released 2026)

Ambitious and inspiring, “Falling Together” is Advent Horizon's fourth album.  It leaves a strong and lingering impression beginning with In a Lone and Dreary World, the mere 19 minute 'opener' that establishes the album's adrenaline-fueled energy. The musical foundation is its monolithic sonically fine-tuned prog-metal guitar tones and dangerous and gut-punching bass and drum rhythm section. It's all dressed up with plenty of synths and amazing vocal harmonies. 

But despite all the explosive instrumental dynamite, the glue that makes the album cohesive as a whole for me is the vocals and also, surprisingly, the acoustic guitar that is revisited throughout and gives the album a more unique signature. Keyboards also play an essential role in the band, keeping it firmly in progressive rock territory, nicely rounding out this super-tight and at times djent-y band. 

Rylee McDonald is gifted and super-capable singer and reminds me a bit of Dennis deYoung of Styx. He shares the lead vocal on some tracks with Kristen McDonald, whose voice is absolutely sublime (and that can't be understated). She seems to have the female energy that brings balance to the universe and to this band, though she doesn't appear to be a permanent member per se (but she is married to Rylee I believe). 

A quick aside: This newer generation of prog-makers are helping the genre expand from its late ’60s and ’70s origins, delivering modern interpretations and fresh iterations. It used to be a relatively small circle in the 70s— Yes, Rush, Genesis, King Crimson, E.L.P., Renaissance, Gentle Giant, Camel etc. Nowadays the offerings are growing broader each year. It’s not a couple handful of acts creating great music: it’s a boatload. Truly this is thanks in part to much more affordable recording technology and also due to the instant and all encompassing internet distribution. An album that cost tens of thousands in the 70s can be arguably rivalled on a laptop computer with a digital interface and a few decent microphones. But there are no shortcuts in the art of songwriting, musical instrument mastery, and having an ear for properly produced music and arrangements.

So here's a band regularly reaching for those ‘hairs-standing-up-on-the-back-of-your-neck’ moments. The production is beautiful, the songwriting stays interesting and engaging, and not overly hooky.  My two word review of Falling Together is: (drum roll...) "Ridiculously good." My score is 4.5 prog dog bones out 5.  

The Sunday Goose "Where My Heart Lies " ALBUM REVIEW [Soft Prog/ Romantic Prog Rock]

by Dean Wolfe, prog dog media. Album release 2025/ first physical media release 2026. 

Finally luxurious prog rock you can slow (and medium) dance to!

The Sunday Goose, an original sounding Dutch progressive/symphonic rock band from the Netherlands, was originally founded in 2009 by keyboardist Bram van Risp, who wanted to set up a progressive rock project. Finally, here it is: Where My Heart Lies, their debut album which was criminally kept hidden on a shelf in a Windmill somewhere in the Netherlands for almost 15 years.

This is an album which fills a mostly empty niche in the progressive rock canons--and in suggesting it be called soft-prog I don't mean weak or wimpy. It's music on a high order of quality, like silk sheets with a very high thread count. 

Yes, you can actually put this album on the turntable and serve your special partner a romantic candle-lit home-cooked meal! 

It's so funny that I first listened through this album for the first time early on Sunday morning given the band's name The Sunday Goose. I just happened to wake up too early in the morning to actually get up and out of bed, and so I scanned my emails and came across this album via a Bad Dog Media promo and was struck by the cover art and name of this band I'd not heard of before. 

The music is quite gorgeous and intricate throughout. Ly's vocals are a treat, rich as they are with emotional strength (the promo material does not provide a last name: just Ly). An obviously natural singer her voice is world class. She works in the tradition of Sting: lead vocals plus holding down the rhythm section playing her Music Man bass. Oh, and the odd Moog Taurus pedals...not unlike Geddy Lee? 

There are some adventurous inter-song transitions reminiscent of classic Pink Floyd. There are plenty of gorgeous keyboards gracing the songs throughout the album. 

Fave track- Time.  This track does rock out in parts. The composition is representative of the entire album- taking the music down unexpected paths. Some of the guitar work is recalling one of my favourite guitarist Steve Hackett of Genesis. There's some gorgeous acoustic guitar work too. Much of the analog synth work reminds me a bit of Tony Banks work with Genesis as well, with healthy doses of Melotron. Plus classic acoustic piano sections. 

The album is so well produced- I would dare to say near perfectly done. I don't feel there was much more they could have added but perhaps they could have edited the length just a hair (minor quibble!).

Certainly fans of Magenta will embrace The Sunday Goose as well- another prog band with strong female lead vocalist 

There's moments that raise the hair on the back of your neck like a string section in the 8 minute track 'Oceans'. Any album can benefit by as many tiny-hair-raising moments as possible! 

These are the kind of discoveries I live for: when your expectations were just blank or vacant- and you trip across something that just excites you down to your soul. It's been happening a lot to me lately, which tells me we are living in a time of prog rock renaissance. And mostly it's happening on a small scale necessarily as this niche genre is not as massively adopted and popular as it was in the early 70s when albums with side long songs were selling in the millions and filling stadium-sized concert venues. 

With the more album reviews I do I am figuring out why an album deserves a high score. I definitely rate them as a whole- the best albums having zero 'skip-it' or 'filler' tracks. I see albums as an art form to be judged from the first grooves on side A to the final groove of side B. And so it is not really a competition with other artists as much as it is judging whether the album is a fulfilment of its' own promise. I can't see any other score than 4 1/2 out of 5 prog dog bones. Bravo guys: great album. 

The bonus track 'My Town' is super-cool and gets a 'hit repeat' award for catchiness. It could have been great official album track. I suppose the production sounded a little different than the rest of the album? For example in parts the vocals sounded 'cloudier' in recording quality, but regardless it's notable for its originality, hints of reggae drum textures, and clever guitar rhythms. 

Based on some of the promo material The Sunday Goose has invested a lot of time and work into this album. All that were involved are talented and deserve more recognition. 

(author's note: This review is A.I.- free. Occasionally I have used A.I. to help clarify a paragraph here or there, but not in this one.)

Echoverse "Fall Towards The Sky" ALBUM REVIEW [progressive rock]

by Dean Wolfe (prog dog media). Album Release May 2026

I got to interview drummer Kyle Fagala of Echoverse on my podcast (on YouTube) not long after discovering his band and having listened to their new album through 4 or 5 times. I mentioned to him how the band sounded like a ‘band.’ Yes, I said that. Now what the heck kind of compliment was that? A high compliment actually, and I'll explain.

When I was young man, I was always on the lookout for the next great band. On my first listen to an Echoverse song, I got taken straight back to my youth and got that feeling, like: “Wow! What band is this? This is awesome! I’m gonna get behind this band! Let’s hear some more. I hope it’s all this good.” For example, back in the 90s I was all about The Dave Matthews Band for a while. I raved about them to everyone I knew because none of my friends had heard of them (Mind you, I kind of lost interest after their sophomore album).

So yes, Echoverse equals genuine excitement for me! There is a tinge of Rush-ness there which I am always a sucker for, but that's only in one of the songs. They have their own imprint- hence that first impression I had “….they sound like…a band’. 

I love the busy bass lines and tom work on track 1- Radical Rebirth. I love the Iron Maiden-ish quality of Kyle Graves vocals that really shine through on the title track. I love the bouncy ping-pong-y guitar riff that opens The Serpent & The Schism -- how the drums and bass lock into the triplet groove. 

The synth vibes are strong and sweeping and cinematic in parts. I love the composition, the structure, the melodic hooks, the classic guitar tones, the vocals…. It all hit me on a guttural level. Even what sounds like one of the album's 'slow songs' like Gold Bar is just as appealing to me as any other track. There are no 'skippers' on this album (and the 'slow songs' have loads of surprising twists and ends up not being 'slow' at all). 

Since in this review I can't just pour out endless praise lest I appear too fan-boyish, without any suggestion for improvements-  I'll just say I'd like to hear a touch more hairy ‘wildness’ in the guitar department. Any album could always use an extra dash of hot sauce craziness, though The Serpent & The Schism has a perfect amount of soulful guitar screams. I think ideally- it would be so cool to hear Echoverse get the deluxe treatment: amazing top-tier studio and engineers and time to pursue the highest degree of recording perfection possible. This is a band most deserving of it, but despite that, they have produced a remarkably solid, cohesive sounding album without any Label backing. This likely due to the passion of band member Doug Bowers who Fagala reports is a driven and passionate producer within the band, and it shows.

On another point worth discussion, there is the fact that the band are all Christians, though it sounds like that wasn’t necessarily a deal-breaker when auditioning members in joining the band like Kyle Fagala who happens to be Christian as well. There are some Christian themes explored lyrically but nothing that feels at all preachy or uncomfortably heavy. I do consider myself a student of Christianity, but I don’t typically seek out Christian bands per se, and honestly whether Echoverse are or not, doesn’t influence my level of enjoyment of their musical craftwork.

My one-word review of this album: Superb. 

Albums don't always inspire one word reviews- maybe I should strive for this as a feature in all my reviews! Approaching them  in an inspired way feels like the right thing to do. If you think about all the work that a band puts into the average album it represents an amazing amount of deep thought, effort, time and passion. Great albums are a true artistic triumph. Congratulations guys, you made a damn good album here. 

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

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

This band was new to me, even though they’ve put out a few albums. Speaking as someone who’s video-reacted to over 1,300 songs on YouTube, I’ve noticed that in hearing a band for the first time one's naturally inclination is to make comparisons with familiar bands. So who comes to mind here? Talk Talk, Tears for Fears, David Sylvian, Steven Wilson (especially in the vocal department), 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 of 'in-the-box' drum production (which I have nothing against), it is refreshing to hear the tasteful flourishes of a real drummer sitting at a properly mic’d kit. He’s joined by Marc Anguill on bass, who lays down plenty of great grooves throughout much of the album—not with a plectrum, but with what sounds like strong, two-finger plucking which I totally dig.

Esthesis 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 the 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 dog 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.

Video companion to this review: https://youtu.be/wRG1umxKoUQ

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.