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.