Jonas Lindberg "Time Frames" ALBUM REVIEW [Swedish Prog Rock]

by Dean Wolfe, prog dog media                    Released Nov. 2025

One word review: "Triumphant". 

This is a modern and fresh feeling album proving prog is still alive and well, thank you very much. 

Long-form songwriting is central to Time Frames, the latest release from Jonas Lindberg and The Other Side. Several tracks run between eight and seventeen minutes, with only two pieces falling below the eight-minute mark. Each is its own little sonic world, though the album feels cohesive.

I'm new to Jonas Lindberg's music, so take my impressions in that context. This isn't the kind of prog that leans heavily into technical showmanship for its own sake. Instead, it reminds me somewhat of The Alan Parsons Project in its emphasis on memorable melodies, muscular songwriting, and accessible arrangements. A host of excellent male and female vocalists—including Lindberg himself—help bring these songs to life, often with outstanding three part harmonies. The result is music that sounds approachable on the surface while still offering plenty for listeners who appreciate skilled musicianship and the very tasteful, high-quality production.

Some of the music reminds me of 80s prog like Yes in a good way. Jonas has spoken of 90s prog like Spock's Beard and Flower Kings as his main inspirations. Worth mentioning that Jonas records most of the music himself and mixes it as well. The drums were recorded by the drummer Jonathan Lundberg himself. They are well played and sound exceptionally throughout. The flashes of 70s appear through cool instrumental passages featuring synth leads a la Genesis. In fact I love the use of keys and synths throughout- all of the kinds of tones I appreciate. 

My biggest takeaway—and what I find most endearing about the album—is its sheer sense of scale and the positive energy it radiates. There are some genuinely uplifting musical moments here, filled with an almost tangible sense of optimism. In an era when so much progressive music leans toward darker or more introspective territory, Time Frames feels refreshingly open-hearted and life-affirming. Not that the lyrics are all rainbows and prog puppies. They reflect a lot of inner tension and strain that is easy to relate to. 

The fretless bass on a couple tracks including the last track The Wind is notable and demonstrates Jonas great love and mastery for the instrument in its different forms (he performs on upright a lot in some of his working gigs). He also plays some incredible bass runs that may remind you of Chris Squire. 

If you listen to the first minute of the album and the last minute of the album, you'll get a masterclass in how to open and close a record. The introduction feels like passing through a grand musical gateway, drawing you into the world of the album from the very first notes. Then, at the other end, the final minute delivers a sweeping crescendo and triumphant finale that feels almost cinematic. It's the kind of ending where the credits could start rolling as you're left sitting there, trying to pick your jaw up off the floor.

For what it is, Time Frames is an incredibly tidy and accomplished piece of work. It’s sleek, crisp, and melodically soaring throughout, with no real rough edges—likely appealing to listeners who enjoy the polished sound of 80s prog-pop. We score it an impressive 4.5 out of 5 dog bones.