Joe Deninzon and Stratospheerius "Imposter" ALBUM REVIEW [American Prog Rock]

 

by Dean Wolfe, Prog Dog Media                          Album released late 2024

This is a lively, packed album. Joe Deninzon & Stratospheerius know how to go full-on epic while still sounding like they’re having a great time doing it.

Musically, Imposter! has this effect of energizing the listener with positivity and triumphant vibes. One of the things that gives it such a unique imprint is the huge amount of electric violin woven throughout by the very accomplished Joe Deninzon. He even uses a 7-string Viper violin at times. More than once, it becomes genuinely hard to tell whether you’re hearing an electric guitar solo or Joe absolutely shredding on violin.

The album kicks off with a short instrumental that basically grabs any prog fan by the throat. It’s quickly followed by a song built around a super deep and catchy hook with layered harmonies all over it. The bass work there really brought me back to late-70s Chris Squire and the Tormato era of Yes. And worth mentioning: the bassist has incredible screen presence in the videos. The guy could probably pull off a side career as an actor.

The musicianship is stellar across the board. As a lover of time-signature exploitation — perhaps I really am a “time-signaturarian” — I felt pleasantly foiled and befuddled by parts of Imposter!. A major thread tying the album together is the drumming of Jason Gianni. His playing stands out immediately, whether it’s on the bold cover of Frame by Frame by King Crimson or the insane instrumental workout Voodoo Vortex Part 1, where the whole band basically gets unleashed. There’s even some excellent Kansas-esque organ soloing scattered through this very diverse album too.

The guest list is too long to fully cover, but probably the most notable appearance is Michael Sadler from Saga, who delivers a spine-tingling vocal performance on Storm Surge, a passionate slow-burner featuring cello and acoustic guitar textures as well.

The band’s super ballsy take on Frame by Frame is honestly astounding and acts as the cherry on top of the whole album. Pulling off a King Crimson cover at that level is no small thing, and it becomes one of the album’s most memorable moments. Joe’s vocals really shine there too, especially with Val Vigoda adding background vocals.

Lyrically, some of the material touches on hypocrisy, culture-war “woke” tensions, and experiences with fundamentalist religious people confidently informing you that you’re headed straight to hell. Most people have run into some version of that somewhere along the line.

Tripping the Merry-Go-Round deserves a mention too — nice unplugged opening, energetic string quartet feel, and some seriously strong vocal harmonies.

What really works here is that the songwriting never gets overshadowed by the technical skill. With albums like this, that can sometimes happen, but not too much here. The songs themselves hold up.

Overall, Imposter! feels like a patchwork prog quilt — maybe not ultra cohesive, but absolutely loaded with creativity, energy, and fun. Hats off as well to 7D Media for their part as the band’s label.

This one deserves at least a solid 4 out of 5 Prog Dog bones.

Crown Lands "Apocalypse" ALBUM REVIEW [Canadian Prog Rock]

by Dean Wolfe, prog dog media                     released May 2026

My one-word review of this album: satisfying. 

It works. My first listen was hard-hitting, and by the end of it I was glowing.

Intellectually speaking, I’ve had a hard time figuring out Crown Lands. Are they copying Rush? In places, a little bit, yes. I don’t think they’re trying to hide it, either. Are they trying to replace Rush? That’s harder to answer — but there has undeniably been a void since Rush retired in 2015.

Will Crown Lands become the next generation's Rush? I’m tempted to say yes.

What makes that possibility interesting is that they don’t merely imitate Rush stylistically; they seem to be carrying forward the spirit of what Rush represented. Rush stood for making the music they wanted to make regardless of trends, critics, or expectations. Crown Lands feel cut from that same cloth.

With all the mainstream admiration Rush have received over the last decade — especially during the documentary and retrospective era — you’d think they had always been media darlings. They weren’t. I remember that period well: being a Rush fan was not considered cool. In many circles, Rush were practically the definition of uncool. Critics often dismissed them as overly technical, self-serious, or hopelessly nerdy, even while their audience remained intensely loyal.

That’s part of why Crown Lands are so fascinating to me. Their influences are obvious: the progressive structures, the scale and ambition. But it doesn’t feel cynical or calculated. It feels sincere. Less like imitation, and more like continuation.

And maybe that’s the real legacy of Rush in the first place — not just complicated arrangements or virtuoso musicianship, but the stubborn commitment to making exactly the kind of music they loved, whether anyone thought it was fashionable or not.

Yet their musical DNA still seems deeply meshed with Rush. According to Kevin Comeau himself, Rush are the reason he pursued music in the first place — and you can hear that influence in the sheer ambition of what he attempts as one half of this duo: guitar, bass pedals, keyboards, foot-controlled parts, and whatever else he can physically manage at one time.

As far as I know, none of the members of Rush secretly fathered these young Canadian guys. Then again, we all know there were never any women at Rush concerts anyway. (I’m kidding, of course. There were at least three per show.)

Still, reducing Crown Lands to “Rush 2.0” doesn’t really hold up once you spend time with the music. Even if the ghost of Rush occasionally hangs over certain moments, there are plenty of other influences woven into the sound — from Pink Floyd to Led Zeppelin, along with flashes of 1980s rock and pop textures.

Their new album, Apocalypse, despite its dramatic title, is actually an energetic and surprisingly fun listen. There is a tremendous amount of power coming from these musicians. Not that they do it entirely alone — tracks like “The Revenant” benefit from added instrumentation such as cello, and live performances have sometimes included additional musicians to help recreate the more demanding arrangements.

I can't not mention vocalist Cody Bowles. Singing drummers are actually not that rare: Phil Collins, being a great example, or Karen Carpenter, Dave Grohl, Peter Criss (Kiss) to mention but a few. Cody's voice channels Robert Plant and even Geddy Lee, but once you've heard him sing a few times you spot him a mile away. 

I appreciate the narrative and lyrical concepts as well. On Apocalypse, Crown Lands are basically doing that prog thing where it’s not a strict story you follow word-for-word, but more like a shared theme running through it all. It feels like a sci-fi-flavoured idea of a world going through collapse and change, with power structures breaking down and something new trying to form in their place. You don’t really need to “decode” lyrics to get it — it’s more about the mood, the scale, and how the songs link together like chapters in the same bigger idea. 

Apocalypse is an ambitious and cohesive album that succeeds on many levels and well-deserves 4 1/2 out of 5 prog dog bones. Time will have to prove it, but this album will probably be remembered as part of the long-term story of progressive rock.

Fave short track: The Fall. 

Poly-Math "Something Deeply Hidden" ALBUM REVIEW

 

by Dean Wolfe, Prog Dog Media.             Album Released 2026

Math was my weakest subject in high school, which may explain why I tended to shy away from so-called math-rock bands. Despite what their name suggests, however, Poly-Math never set out to fit neatly into that genre. As bassist Jon Branton told me, the band’s real passion lies in progressive rock, particularly albums from the 70s like Red by King Crimson, which he holds in especially high regard.

There is no keeping Poly-Math bottled up. For all their precision as a tightly locked, pattern-driven instrumental band, there is a persistent sense of unpredictability in their music—an almost chaotic energy simmering just beneath the surface. It subsides briefly on No Such Thing As Now, but halfway through the band surges back to life, sounding as if they have resumed overturning random pieces of furniture. 

Poly-Math do not think small; their music is at times almost blatant in its intent-- expansive and ambitious. For fans of Yes, there are parallels in spirit to the intensity of “The Gates of Delirium” or the opening movement of “Close to the Edge,” particularly in their blend of complexity and surging aggression. The Mars Volta similarly channel those passages and are a cited as an inspiration among the band. 

For me personally, Something Deeply Hidden feels like a different kind of animal. It didn’t immediately fall into place, but on my second listen it all clicked. Rather than leaning heavily on melody, the key to the band’s sound is the way it builds around a strong rhythmic foundation, with the bass and drums driving the momentum forward and giving the music its force and direction. Credit that to bassist and drummer Jon Branton and Chris Woollison. 

The other half of Poly-Math act like the shifting colour palette: Tim Walters on guitar and Josh Gesner on keyboards and synthesizers. Rather than dominating with flash or excess, they shape the music’s atmosphere, filling it out with bold, carefully contoured gestures. The band feels like one living, breathing organism or entity- an exotic creature. Percussion such as congas and bongos is almost invisibly present throughout the album, subtly stitching everything together.

The musicianship throughout Poly-Math is consistently strong. The bass work on Spectral DiOrder stands out in particular—thick, aggressive timbres that really punch through the mix. It brings to mind the gullet-smashing bass tones of Geddy Lee, with that same overdriven, physical presence that feels less like support and more like propulsion. 

A few more sonic observational snapshots: Euthyphro Dilemma opens out into eerie, cinematic passages as it breaks down and gradually deconstructs itself. In Chronstesia reminds me of my all time fave and iconic jazz fusion album, Bruford, One of A Kind. There's more of the cool jazz vibes on OneTwoThreeFour Body Problem. 

I’d give this excellent album a solid 4 out of 5 dog bones. It may well be strong enough to deserve higher, but I’m not an expert in more “mathy” prog rock, and I found it a bit more jagged than I’d usually gravitate toward in music. But as any geologist will tell you, there is beauty in jaggedness. I hope Poly-Math continue to flourish and crystallize. 

Ora Cogan "Hard Hearted Woman" ALBUM REVIEW [Etherial-Folk, Country-Tinged, Dream Pop]

 

by Dean Wolfe, Prog dog Media                Album released 2026

Ora Cogan feels like a creative spirit only partially committed to fully materializing in this world. I can’t think of many other artists who sound so consistently ethereal that you briefly wonder whether she might be an apparition rather than a performer.

And yet she is here—fully present, but almost like a mirror—catching light and colour from a place just beyond reach, somewhere slightly outside our usual frame of reference. I find that some of the photographs of Cogan capture this beautifully, playing with reflections and the ghostly quality of the Daguerreotype.

I’m especially drawn to the country music influence in some of her songs, a genre whose finest moments are built on honesty, plainspoken emotion, and unvarnished truth. I could even compare her, in a small way, to Neil Young—an artist driven by an everything-be-damned commitment to authenticity. 

Practically speaking, her music is sometimes softly and simply performed, yet enveloped in something intangible and hard to define. How she achieves that effect is not entirely clear to me. At the heart of it is her voice—lovely and airy, vulnerable, and genuine. The very idea of applying pitch correction in this context feels almost absurd; any heavy-handed processing would seem to work against what makes it compelling in the first place.

She does, however, use effects in a more performative way in live settings. I saw a performance on YouTube where she used two microphones: one for a direct vocal signal, and another she could lean into for a more dreamlike layer of echo and reverb.

At the heart of it, Cogan is a singer-songwriter, but on this album she draws on a wide palette of instrumental textures, with contributions from a range of musicians—including pedal steel. She also continues to feature her own electric guitar work, played in a light, fingerstyle approach.

Listening to her new album I wonder: 'why go to an art gallery, or set out on a slow Sunday road trip, when you can be quietly transported and held by her world—by Hard Hearted Woman and the company it keeps?

I may seem hard-hearted, but I’m not going to assign this album a score. I think you already know why. Would you rate a beautiful flower you discovered growing just outside your back door?

https://oracogan.bandcamp.com/album/hard-hearted-woman

(see my reviews of other Cogan albums) 

Dennis Atlas "Principle" ALBUM REVIEW [80s Prog-inspired Hard Rock/ Arena Rock]

by Dean Wolfe, Prog Dog Media            (released May 2026).

This album would earn a perfect score from me if every track matched the closing song, “We Can Be the Future.” It overflows with optimism and a kind of hyperactive, almost nuclear-squirrel energy that captures what Dennis Atlas seems to be all about.

That track makes me want to grow my frickin’ hair long, crank the CD in the car stereo, and blast it while cruising down the nearest main drag with the roof down—ideally with a couple of my bros perched in the back.

This is what I’d call kick-ass, ’80s prog-inspired, big-hair rock. I’d place it in the same general spirit as Journey and Styx: energetic, melodic American rock with a progressive edge.

And it’s simply fun. This is the kind of music I’d put on at a party where plenty of beer—or root beer—was being served.

Given Dennis Atlas’s relative youth (still in his 20s), he stands out as someone who can convincingly channel the prog and rock traditions of a bygone era—one marked by unapologetic optimism and fist-pumping energy. He can wail vocally just as effortlessly as he can fly across the keyboard, making him a truly impressive and versatile musician.

Of course, Dennis Atlas didn’t create this album entirely on his own. He had some remarkable support on Principle. As the newest keyboardist and member of Toto, he has earned the respect of some legendary musicians, several of whom contributed to the album, including Steve Lukather and Bumblefoot (known for his work with Asia and Guns N' Roses).

“Violent Power” was the first track I heard before reviewing the album, and it immediately convinced me that this was an artist worth paying attention to. It’s an adrenaline-charged opener that gets me completely fired up—before long, my fists are pumping in the air.

I wish there were a bit more jazz-inspired passages like the ones in “Save It for Tomorrow.” If Dennis Atlas leaned further into that side of his musical personality, I’d be very happy. The song is packed with shifting time signatures and unexpected twists and turns, along with a tasteful saxophone solo that adds another layer of sophistication. And throughout it all, you can hear some wonderful inspiration from the adventurous spirit of 1970s progressive rock.

Then there’s Dennis Atlas’s cheeky sense of musical playfulness, which comes through strongly on the instrumental “Candy on Mars.” The track is driven by some seriously funky bass lines and the kind of whimsical keyboard flourishes that could become one of his trademarks. It’s impossible for me to hear those lighthearted touches without smiling.

I love the positivity Atlas displays. I believe this is the quality that is going to serve him well into the future. Those moments on the album that he just lets go and rips are great. Always nice to have an uplifting party album to reach for in the collection. 

If you’re a party-pooper, this album may not be for you. Dennis Atlas is filling a much-needed niche, delivering unapologetically fun, high-energy progressive rock with genuine heart.

I’m giving "Principle" 4 out of 5 Dog Bones.

What a strong year 2026 is proving to be for progressive rock.

My initial favourite tracks are “We Can Be the Future,” “Candy on Mars,” and “Violent Power.”

The only track that feels a little musically awkward to me at times is “When the Monster Attacks,” though the bass and drum work are excellent, and the lyrics are particularly interesting.

A Liquid Landscape "Rogue Planet" ALBUM REVIEW

 

by Dean Wolfe, Prog dog Media                       Album release 2026. 

This album has been keeping me company lately. It is a melodic, deeply atmospheric record that, as its final track fades, seems to demand that you start it over from the beginning.

This album feels like a blend of post-grunge and the graceful, Pink Floyd-inspired side of progressive rock. It is unmistakably guitar-centric, which I love, and the distortion tones in particular are consistently tasteful, with a rich, velvety character. All the instrumentation - particularly the energetic drum work as well—are excellently recorded and sound great. 

The vocals are not an afterthought, but A Liquid Landscape feel to me like an instrumental, post-rock-leaning band with a singer baked into the overall sound. Rather than the music serving as a backdrop for the vocals, the voice remains down in the orchestra pit with the rest of the musicians—an integral part of the arrangement rather than the dominant focal point. The singer’s voice is highly produced and stylized—breathy and youthful in tone, with an overall soft and warm character.

The lyrics—and this is only my interpretation—seem open-eyed and questioning, grappling with much of what is happening in the world. There is a measure of cynicism, but it is balanced by a clear sense of hope: “There’s a spark inside,”  and “Tiny footsteps lead the way, I’m sure.” 

“I dreamt a dream bigger than me” feels like a line anyone in a band like this might relate to. Isn’t that part of why albums get made in the first place? “We need a brave, resilient future we are proud to call our own.”

I noticed something interesting in the album’s song arrangement. “Few and Far Between” and “Raven Song” are each split into two parts—so in a sense, it feels like four tracks that are interwoven, evolving as part of a larger structure rather than standing as strictly separate pieces.

I find myself curious about how this came to be: what actually ties the parts together? Are they variations on the same musical idea, lyrically linked, or connected in a more abstract, conceptual way?

What I appreciate is that repeated listens don’t immediately settle the question. There’s a deliberate ambiguity that holds up over time instead of resolving too quickly. I did eventually notice, for example, that “Raven Song” revisits a musical motif in a transformed way, which makes the connection feel intentional without being over-explained.

This is a powerful 4½ out of 5. While occasionally haunting, the album is cavernously deep and often serenely gorgeous.

...that's the same as 9 out of 10 for the math challenged, :-) 

-----------

P.S. For anyone wondering, when it comes to reviewing and scoring albums, I tend to gravitate toward records I either enjoy a lot or find engaging in a constructive way from the outset. It doesn’t feel particularly worthwhile to spend time dissecting albums that I already sense will land poorly for me. I tend to reserve that kind of deeper critical scrutiny for releases from major artists where higher expectations are part of the context, and where disappointment feels more revealing than simply writing something off.

Emily Rach Beisel "Sumptuous Branching" ALBUM REVIEW [Cinematic, Drone, Avant, Experimental, Ambient]

by Dean Wolfe (Prog dog Media)       Album released April 10, 2026.

I didn't know what to expect, but I ended up really loving this album. Like...damn. 

Sumptuous Branching is an invigorating, challenging listen—decidedly not background music and not for the faint of heart. It demands attention, rewarding even as it unsettles, like a disturbance that stirs a riverbed and leaves the water cleaner.

Soloist Emily Rach Beisel is a Chicago-based improviser, composer, educator, curator, and woodwind specialist. They performs all music on this album, with bass clarinet, vocals, piccolo, and electronics. Listening to their work can feel like an alien abduction: everything familiar falls away, replaced by a world you didn’t know existed. They have said they were inspired by late medieval chant, drawn to its wild freedom and rich density. Whatever the artist’s statement might suggest, my first instinct is to set that aside and respond directly to what I’m hearing.

As a fan of first-contact movies like Arrival, I can’t help but think much of the album would be perfectly suited as a film score covering that same strange territory. “To Rise in Arms,” a standout track, captures this tension perfectly—at once jarringly beautiful, but also eerie and otherworldly.

'Her Still Singing Limbs' evokes strong imagery in my mind, reminding me of the classic early 70's TV show Kung Fu about a peaceful Shaolin monk who travels the desert expanse of the American Old West, using martial arts and wisdom to avoid violence while helping others and searching for his lost half-brother. 

Fragments of the familiar do surface on this album, especially on the title track, thoughtfully chosen to close the album with, offering a kind of quiet reassurance. A simple, lonesome clarinet begins with a single breath, before three or four voices gradually join in, answering it in kind—loneliness still present, but shared, and in that sharing, softened. It restores a distinctly warm human touch within a broader soundscape of electronically scrambled and manipulated textures.

[The album was recorded at Marmalade in Chicago by Bill Harris, mixed by Harris and Beisel, mastered by Edward Hamel. This is their second album released through Chicago’s avant/exploratory label Amalgam. She is wrapping up a mid-west tour right now.] 

https://www.emilybeisel.com

https://emilyrachbeisel.bandcamp.com

https://www.instagram.com/beisel_m_

https://www.amalgamusic.org

https://www.instagram.com/amalgam_chicago

https://www.facebook.com/amalgamusic


FOR FANS OF:
Sunn O))), Om, Zu, Faust, Amon Düül, Colin Stetson, Nala Sinephro, John Zorn, Oren Ambarchi

GENRES:
Drone, Avant Jazz, Experimental, Ambient

Angine De Poitrine "Vol.II" ALBUM REVIEW [microtonal looper math rock/prog(?)]

by Dean Wolfe, prog dog media.   Album released 2026. 

If you’ve been living under a rock lately, prepare yourself. Vol. II by ADP is a brain-stunner of an album that hits you like that soccer ball you never saw coming.

Angine De Poitrine, it seems, are the “chosen ones” to bring lively, fun, quirky, challenging, and audacious instrumental rock to a nutrition-deprived audience. It’s all delivered with snappy drums, a double-neck instrument combining bass and six-string guitar (with twice the usual number of frets), and a complex looper rig demanding speedy, barefooted coordination and precision.

The mania is spreading ever wider since the duo’s live KEXP performance on YouTube (13 million views as of this writing). This burst of popularity suggests a genuine thirst among listeners for something different—if not outright unhinged—compared to the usual mainstream churn of predictable or overly processed schlock,  not to mention an endless stream of replayed classic hits of yesteryear, and yester-century.

Has the dam broken? Is Angine De Poitrine the long-overdue wrench in the machine that prophets have foreseen and forewarned us about? Is a massive world-wide musical reboot about to be triggered? 

I knew this would be a hard album to review, because Vol. II by Angine De Poitrine isn’t just a unique record. This papier-mâché-clad Québécois duo is fast becoming a heavily scrutinized, impossible-to-ignore cultural phenomenon.

Many longtime prog fans count themselves among Angine De Poitrine’s new devotees, hyping the pyramid hand signals in YouTube comments—and probably in real life too. Some even claim the duo as “one of their own.” But is it really progressive rock?

Rather than belabour genre labels, it’s probably easier to accept a few things. Plenty of prog fans love this band, and math rock, while it came later, digs into the same kind of rhythmic complexity. And yet it’s still its own thing—related to prog, but not quite the same. Clear as mud.

What does the duo say about their own music? I discovered a very recent interview on Youtube entirely in French. In their own words (translated and with a bit of paraphrasing): 

"[Angine De Poitrine] is first of all a duo... rock with a bit of an electro flavour, meaning the music is constructed and built on loops. There's a certain repetitiveness but always with an intentional build-up to bring in the next phase or a more developed riff etc.

"The tunes keeps moving forward, and don't stagnate.... but they have a kind of repetitiveness that reminds you of techno... In terms of timbre it's anchored in a very instrumental rock tradition- a bit left field overall. Super danceable."

They say that got into microtonality simply through curiosity and were...

"interested in ever increasing complexity ...the notion of a challenge is always attractive. ...it started with a fascination with eastern music...but we didn't want to copy it - we used it in a way that was more our own...our own flavour...made sure it wasn't just a pastiche of what's done in the East. We make it very 'Seguanay-an'...(they are from Seguanay Quebec)"

So, they are making use of microtonality in a way they were comfortable with and in a way they enjoy--attracted by the closeness of the notes, the friction, the timbre, and the novelty as well. 

Listening to Vol. II, I feel reassured they’re here to stay. This doesn’t strike me as a flash in the pan. They did refer to ADP as a “project” in an interview, which suggests they’ll stick with it only as long as it continues to challenge and intrigue them—but on this album, their artistic integrity feels intact. The music is genuinely strong, and it sticks—more like cast iron than Teflon. And how can you not love “UTZP,” with its munchkin-scaled, Led Zeppelin-ish flair?

The album feels a tad on the short side, but there’s that old saying: “leave ’em wanting more.” There’s good variety across the tracks, even veering a bit country on the opener to side two, keeping things consistently interesting as one piece flows into the next.

There’s a deliberate otherworldliness to the album, mainly in the occasional vibey vocals—like Sesame Street aliens singing from another planet—and in lead guitar lines soaked in wild, unpredictable effects.

The bass tones really rock out, reminding me of Chris Squire on The Yes Album, with aggressive pick use and plenty of lines up high on the fretboard. This album is fun and fresh. ADP pull the tablecloth out from under the listener’s dinner plates before they even realize what’s happened. There are generous splatterings of funk, punk, disco, rock, and jazz fusion, plus an armada of catchy riffs—cleverly making use of, quite literally, the notes between the notes.

The drumming is also highly satisfying. Klek is, quite literally and figuratively, half of the band’s sound—and together with Khn, they are far more than the sum of their parts. Hearing them play together, it’s not surprising to learn they’ve been jamming since they were young teenagers.

I give this ingenious and highly listenable album 5 out of 5 prog dog bones. Do yourself a favour—pull up a chair and let these Quebecois masters of microtonal riffs pepper your brain with polka dots. You won't know what hit you. Guaranteed fun for the whole family. 

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 plays in cool time 'sigs' all the time, but he's sneaky about it, making 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 nicely - 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 unique 'Oddleaf' sound has been confidently nailed regardless of any comparisons made here.

The album opener- and closer- are show great grandeur- graceful and hearkening to the days when an album was an album - and it captures the main vibe which is mostly 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. Everyone except the drummer is noted to have added their voices- which creates more distinction to the Oddleaf sound. 

The flute work by Mathieu Rossi is refreshing. It's such an earthy and uplifting instrument- and it 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 debut- full of nuance and well-thought-through passages and interludes, with both a serious and a lighter-side. They are without the slightest air of pretension or even ambition trying to be anything other than what they are: a young band with a vision. Thank-you, Oddleaf, for sharing that. 

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