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. 

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

Everything Oscillating "The Taboo Against Knowing Who You Are" ALBUM REVIEW [prog instrumental power trio]

by Dean Wolfe, Prog dog media     (album released January 2024)

I doubt an album like this can ever be repeated. 

I was immediately curious if more are in the works, or is this instrumental trio out of Seattle Wahington just a one-time project involving Moon Letters' guitarist Dave Webb (Moon Letters are in my mind a strong contender for more ground-breaking prog rock albums in the future).

Listening to some of this new album called The Taboo Against Knowing Who You Are by Everything Oscillating took me back to 1984, when as a young guitarist I was introduced to axe-master Steve Vai via a certain flexi disc- playable on my record player. I found it inside my November issue of Guitar Player Magazine. I was very inspired by Vai's instrumental The Attitude Song. It made a life-long impression on me. 

Everything Oscillating are an intense group of super-capable musicians. An immediate highlight for me is the fretless electric bass playing (Mike Murphy) which is a treat of the highest order. The drumming (Kai Strandskovis) is strong with feel - soulful, and dynamic (He also plays some keys on the album). The guitar work (Dave Webb of Moon Letters- see my review) seems very Steve Vai-inspired but I know Dave's tastes are wide (I interview him with his band Moon Letters here)

You do have to be in the mood for this album though. I found it dense and a lot to absorb on my first listen... but (surprise surprise) by the 2nd time through I was thoroughly enjoying it. Yes, in certain moments it does remind me of a collection of 'just out of music college/ ants in my pants' dudes, but there is a broader earnestness and maturity present, evoking some pretty awesome sweeping visionary songs, like the 12 minute title track for example. They do know how to relax and just let the music flow. 

You can feel the joy between all the notes and multitudes of sounds, squelches and whammy-bar jiggles. Jazz-fusion fans will likely embrace this, but it's not your hard-core 'Buford and Holdsworth' type stuff. It's more like it was an alternate universe version of Bill Bruford where he leaned less towards jazz and more towards American metal, with a touch of Zappa, and a hint of psychedelia in the mix.

Prog dog scores this album a super-solid 4 out of 5 dog bones. It's a fun and refreshing instrumental blast that cleanses the palate. Musicians might find themselves bonding over it while playing air instruments in the basement rec room.

https://everythingoscillating.bandcamp.com/album/the-taboo-against-knowing-who-you-are

Returned to the Earth "Stalagmite Steeple" ALBUM REVIEW [Art Rock, Prog Rock Adjacent]

by Dean Wolfe, Prog dog Media       (album release date: June 14, 2024)

I love it when I can connect with an album. When I was cycling through "Stalagmite Steeple" by UK band Returned to the Earth for review purposes I felt a bond being established. It was probably the third time through when I had to leave the house... and I didn't want to turn the music off!

Right up front I will mentioned that "Stalagmite Steeple" is very much akin with Steven Wilson's softer side, (like Hand. Cannot. Erase.).  I would consider it art rock for sure, definitely progressive-adjacent. There is a high-standard of tastefulness in production, atmosphere and composition. It's an intriguing listen. Singer composer Robin Peachey's voice also reminds me of Wilson's (Peachey also performs on guitar, piano and synths). 

If this album were a book, it would be a page-turner. Each track feels intimately connected and companioned- it is a spiritually cohesive whole.  One concept tying it together lyrically is Robin Peachey's musings on empathy, escape, compassion and perhaps tragedy. 

The album is largely slow without being plodding or diluted. Nor is it slow in the romantic or love-ballad sense. Melancholic? Maybe, but for me it's not depressing. Its only shortfall is that it deserved an exorbitant studio budget like in the days of yore when labels would spend a million dollars to record an album. On this project it would have not been wasted. So in that sense the canvas is slightly modest or sparse in parts, but since the material is so powerful it stands on its own quite confidently- a testament to all of the strong-boned melodies and composition.  

The album is airy and spacious, carefully laid out and allowed to breathe, pulse, unfold deliberately and unhurriedly. That's such a different vibe than is so popular in the world right now; a world of maniacal TikToks, YouTube Shorts, busily shuffling Spotify playlists et al. Perhaps Stalagmite Steeple is a musical remedy or salve of sorts for this modern age- a balm for souls being run ragged- being pushed and pulled from all directions at once. 

It's also beautiful. In fact the friend who recommended I check this album out used the word 'gorgeous', and he's right. The paradox here is that the album is also emotionally deep-cutting, drawing its listener into musical depths of profound contemplation. 

There are no 'skip-pers' on this obviously carefully and lovingly crafted album. It's a consistently enjoyable listen throughout and there's even a nurturing quality or vibe I get from it. It has a timelessness to it as well. 

I'm a new Returned to the Earth fan now, so I can't compare this to any of their previous 4 albums- I've not heard any of them! However I am so curious to explore them.

Fave track: Dark Morality.

The Prog dog score is 4 1/2 out of five dog paws. It's a gem. 

Citrus Moon "Citrus Moon" ALBUM REVIEW instrumental prog rock/ math rock/ post rock

By Dean Wolfe, prog dog Media          (album released Feb. 2023)

Citrus Moon are a 4 piece instrumental band out of Chicago. They will appeal to many a progressive rock fan (King Crimson fans for certain) as well as math rock fans (I will be video-interviewing the band and will post a link below when it's done).

Based on my ears alone I can tell you electric guitar is prominent in this band: with 2 guitars, bass and drums being the substance of it. The players are Demetri Bairaktaris, Kevin Polochak, Seth Beavis, and Patrick Stevens. The songs are dynamic and full of punctuations like '!', '!!' and '*'.   The songs are very memorable and distinct despite there being no singing. Each tune covers much territory. Citrus Moon sound extremely tight and move along like a single giant Mecha robot. Each song is a varied story like on 'Los Lunas', they move through rock passages and into almost Caribbean detours. There seems no limit on these guys: they move freely from riff to melody to tension-building passages. The drummer breathes and fluctuates with the band as well as pinning songs solidly to the ground. 

I even detect kind of African influences in the guitar work- there being plenty of clean electric guitars as well as distortion soaked segments. Guitar geeks will obsess over where single coil and bridge pickups were employed, what the hammer ons were, what amps did the guys use etc etc. But overall it's a fun and appealing album that I would even rate high on the 'girlfriends/wives will like it' chart (a 'plus' for many of us dudes who like to listen to a wide variety of musical experimentations). There's even an orchestral string flash in 'Dark Rainbow'. 

Overall the album feels quite playful as well. Not to be outdone, the bassist does get aggressive at times with his tones, and reminds me of the legendary Tony Levin. 

There's no outright heavy-metal vibes with the band. They play it restrained and the melodies emerge naturally. 

In summary I'd say these guys are explorers. The album is rich, very rich- with both simple and intricate musical concepts and ideas. They have a great chemistry and I would run, not walk, to any gig that I could attend. This is what the world needs more of today: bands! Real bands! Bands that play together and stay together, exploring musical territories together.  This album earned a well-deserved 4 out of 5 paws on the prog dog charts. 

https://citrusmoon.bandcamp.com/album/citrus-moon

Prog dog interview link: https://youtu.be/s_5CJqWrEDc?si=g730c-5s_h1gUac1

Doris Melton "Reflected Perspective" ALBUM REVIEW [Apple Pie Retro-Prog/ Singer/Songwriter]

by Dean Wolfe, Prog dog Media  (album release September 2023)

Something that is underrepresented in music in general these days is a highly capable female singing keyboardist pounding away on her piano and analog synthesizers in the old school way. 

Enter Doris Melton, who has come 'back to the future' -stepping out of a time-travelling silver DeLorean from the early 1970s with her first solo album firmly in hand. 

Her husband, Matthew Melton who recorded and produced her first solo album is equally time-challenged- revelling in what is now considered antique reel to reel recorders and all manner of non-digital equipment (except for the final transfer for streaming purposes of course). 

Together they are known as Dream Machine and have a couple of great albums (see my review here). Her husband already has some solo albums and now Doris has finally brought forth her own disc. 

So how to describe Doris and "Reflected Perspective"? First- her singing is sort of Abba-esque, but with a psychedelic patina. Her songwriting is very good- there are no tracks deserving to be skipped over- they all have personalities and something to say. One of my favourite tracks is the title track, which is catchy in a cool way. Her keyboard playing is essential to her 'sound' throughout the album. Many of the tracks feature beautiful analog keyboards as well as piano. Also common across the album are instrumental musical sections and interludes sure to excite all the Rick Wakemans and Tony Banks (Genesis) out there. There's even a dedicated instrumental track called Ignus Fatuus. The album is overall kinda poppy- like I said, a proggier ABBA with a kind of lo-fi vibe in a K-Tel records kind of way, and an undeniable prog-influence throughout as well- myself being reminded of ELOY, early Mike Oldfield, and even Kansas. 

Worthwhile to point out there's no click track and the drums are all real which allows for deliberate tempo changes in parts. 

Doris makes no attempt to blend in with current 2023 society-  her vintage clothes and analog attitude are more that just charming as well as intriguing- she's the real deal. You get what you see! 

Is this a perfect album? There are brief moments when it feels like there's just a little too much being crammed in there- a bit claustrophobic. In a couple of tracks the cymbals are a bit too forward or trashy in the mix. A little more breathing room would do the trick. So frankly, little tweaks and adjustments could have been made but this little powerhouse of an album can't be held back. 

I could easily imagine Doris teaming up with Opeth. They would be perfectly complimentary, knowing how far and deep Mikael Åkerfeldt likes to dig into the record crates for his personal collection of original, unique and interesting music (prog, quite often). Doris is currently Netherlands-based so who knows, maybe that could actually happen?

Prog dog scores this Doris Melton album a solid 4 out of 5 prog dog paws. It's irresistible with repeat listens. I know it's worked its way into my heart- Doris Melton is a true keyboard maven. She comes straight from a parallel universe where ABBA is a prog act with a Roger Dean bubble Logo (like Yes) and mankind recognizes that analog music really is as good as it gets. 

Earworm: Getting Even Part II; 

Fave track: Reflected Perspective 

Watch my interview with Doris HERE 

Bassoon "Succumbent" ALBUM REVIEW [Avant Instru-Metal Heavy Prog]

 

by Dean Wolfe, Prog dog Media         (Release: Nov. 17, 2023)

This album is so refreshing but not the typical sense. No, more like a shower of dust over a hot elephant, or a beautiful wallow in thick mud for a tired rhino. It's also an album for those not afraid to challenge their ears. 

Bands like Bassoon provide the broad prog genre with alternatives to perennially happy bands like Yes. So you have to leave it to bands like this to explore roads less travelled.  

This is sort of Tool territory, sort of King Crimson territory, a bit ELP-ish in the keyboard sections, but Bassoon are cutting new paths for experimental instrumental rock. They are a trio out of New York: drums, bass, and electric guitar. And they do so much with so little, playing with odd and complex time signatures, driving through dissonant patterns, while maintaining a fresh and purposeful energy. Also there is a creative restraint- it's never noise or craziness just for the sake of being different. The bass is grievously heavy and aggressive at times. The guitar (Sean Moran) is tastefully toned. The drums (John Mettam) are very much explored with as an equal tool of composition. The tension Bassoon creates is compositionally-based rather than through mere harshness- it's a surprisingly smooth and even sounding album- a cohesive collection of songs. 

The last track 'Born to Doom' did point out plainly to me of an obvious influence I overlooked, probably because I'm still not overly steeped in doom metal myself. The band is a C band, meaning the guitars are all dropped two whole tones for a looser 'bendier' quality. 

Prog dog gives this album a solid 4 out of 5 paws. There is no studio trickery here: 3 guys playing their instruments, very well, without an excess of embellishment (dashes of organ or keys on a few tracks played by the bassist Stuart Popejoy)- it's all about composition and performance- meat and potatoes.  There can be no disputing the results: kick-ass satisfying!  It's a balanced listen that finishes with epic-ness. It's not exhausting- quite the opposite, a great disc! Looking forward to seeing this band live and hearing more albums. (Favourite tracks: epic finale 'Born to Doom', 'Succumbent')

Watch my interview podcast with Stuart Popejoy of Bassoon here. 

https://bassoon.bandcamp.com/album/succumbent

Bear Ghost "Jiminy" ALBUM REVIEW

by Dean Wolfe, Prog dog Media  (released 2023).

Bear Ghost, out of Phoenix Arizona, are a very unique high energy trio (nuclear at times)-- a catchy mix of melodic and intricate thrashiness, pop, punk, rock, theatrical and prog. One outstanding feature of this band is the guitarist/vocalist, Ryan Abel who is a singing powerhouse, slightly reminiscent of Freddy Mercury of Queen.  In fact I'd be very surprised if at least someone in this band isn't a huge Queen fan.    

This band is relentlessly tight- just watch one of the live shows on YouTube (or better yet, in person as they are touring). Andrew Heath plays bass and backs up on vocals, and Myke Buttonz in on drums (is that a real name? My auto-correct hated it). There's some additional instrumentations on the album like trumpet, violin, piano, keyboards, ukulele, glockenspiels and other incidentals sprinkled here and there, plus some lovely female vocals.

Bear Ghost's music has a fun and irresistible quality (I doubt there's anyone out there who wouldn't be tempted to sing along in the 'la la la la la' parts on the album's opening track). I noticed in a live video of the band that the audiences sing loudly along with the band on stage and in effect become part of the performance. 

Humour, and to a degree, silliness, is on full display in the band, and without any of those downer irreverence vibes. No, this music is uplifting and can even be triumphant. The final track 'Vulture' is passionate and emotional, and the only 'slow song' on the album, and it's damn good as well. In fact, that's my only 'complaint' about the album- I'd like to hear some more slow songs by the band- just to balance it out a bit, but that's coming from an older music-fan dad dude. (Please note: there's a bonus track at the end of my CD which features an acoustic guitar/vocal song- beautiful!)

Some of the songs would be great in Scooby Doo cartoons during the monster chase segments. I hope that doesn't sound mean- I actually LOVE Scooby Doo (some of the remakes are better than others). Props on the album graphics too.

Bear Ghost are so out-of-the-ordinary they may have pioneered a new category of music, a term which they have all around their website and Facebook pages: "Adventure Rock." Prog dog scores this "Adventure Rock" album a more than respectable 4 paws out of 5. (*The score may go up- I like to reserve the right to do this over time if albums soak further into my soul). 

Cyan "Pictures from the Other Side" ALBUM REVIEW [Neo-Prog] (NEW RELEASE- 2023)

by Dean Wolfe, Prog dog Media (album released November 17, 2023)

During the 25 or so years that I was not following the prog music scene, I would occasionally peer over the hedges in case something interested me there. Magenta, a Welsh neo-prog group, was one that caught my ear over at bandcamp.com . 

I've been newly introduced to another related project by Magenta's keyboardist and composer Robert Reed. He has re-assembled a band called CYAN with vocalist Pete Jones (Camel) along with Luke Machin and Dan Nelson, to record a new album called Pictures from the Other Side (an entirely re-writen, re-worked, re-imagined remake of a 1994 release of the same name). 

The first half of the album evokes a modern interpretation of the style of The Alan Parsons Project. Flowing from the neo-prog vein, it's a softer rock - but still quite punchy, with some 80s jazz fusion vibes at times, plus a bit of funkiness. It's well-balanced sounding album- tastefully produced and richly melodic while maintaining a gorgeous and majestic tone overall. The male lead vocals by Pete Jones are flawless performed with occasional slightly-mesmerizing and complimentary female vocals. There are symphonic passages and hints of 1970s Genesis inspiration, but really the scope of the entire album is engagingly varied.

CYAN lean more into 'pleasant' than 'harder edged' with plenty of keyboard/piano work, but some blistering guitar parts as well. There's a bit of fine sax work, as well as harp- it's really quite diverse but without sounding scattered. In fact once you get to the final 2 tracks (at 10 and 18 minutes length)... Yeah! They stitch the album together and bring balance to this universe... in a fun and epic way revealing that the first half album was just a warm-up, finishing on a truly triumphant and fantastic curtain-closing chord. 

Prog dog scores this exceptionally produced album a super-solid 4 out of 5 paws-- overflowing with fine displays of musicianship, some great acoustic piano and synth solos, wind instruments, understated but elegant bass-playing prowess, tasteful guitar soloing, and top tier vocal expositions in both lead and harmonies a-plenty. (Fave tracks: 'Solitary Angel', 'Tomorow's Here Today' and the cinematic Neo-prog epic 'Nosferatu').

T.A.P. "Paradigms" ALBUM REVIEW [Explorative Prog Rock Instrumental]

by Dean Wolfe, Prog dog Media     (Album released October 2023)

I remember my dad had one of the albums by The Ventures in the family collection. It's an instrumental surf-themed rock band from the '60s. Boy, how far we've come in the instrumental rock genre!

T.A.P. is a studio project featuring musicians from various parts of the world who are fluent in the rhythmic and musical language of progressive rock. They share a few things in common: good jam-sense and exceptional creativity. 

What's most interesting to me about this album is its richness and variety and the adventurous spirit that animates it. If you're looking for a jazz fusion album, this is not it, though there are some splashes of jazz. In fact I don't recall hearing that many instrumental prog themed records that are not dominated by jazz-rock. So T.A.P. manages to stay mostly away from those more commonly taken pathways and instead offers up truly unique musical vistas by leaning into ambient, ethnic, blues and psychedelic influences. 

The album meanders purposefully like a smooth volcanic lava flow from tune to tune, from idea to idea, never repeating itself, never treating any one idea as too precious not to follow and see where it takes its host musician. Be it Mike Jobborn on keyboards, synth, soundscapes, drum programming, or Mark Cook on the Stick-like Warr guitar, guitars, basses, drums, soundscapes, synths, samples or strings. Then you've got Suzi James on guitars, basses, oud, flute, random percussion and Gayle Ellett covering keyboards such as Hammond, Moog and mellotron (Ellett is from another instrumental prog band that apparently I need to look into called Djam Karet). A couple of tracks feature drummers in the flesh: Paul Sears (track 5) and Bill Bachman (track 8).  The tracks with drum programming are so good that I was fooled. 

I won't use the word 'metal' as a descriptive here either because the music is couched in rock and hard rock in general. This will be a plus to those who are not fans of djent or super-dense Dream Theater-type electric guitar distortion (just hints of it in parts). 

Prog dog scores this impressive album a solid 3 and 1/2 bones out of 5 paws. I would have given it 4 except we really value drummers in the flesh on all of the tracks if at all possible. We really do love this CD though. It commands your full attention and isn't a 'put it on and ignore it' album just because it's fully instrumental. (Correction: there are some vocalizations on a track or two that are ethereal and used for effect.) There's plenty here to 'study'. It has plenty of musical meat and potatoes and is a rare instrumental offering that proves you don't always have to rely on jazz tropes (except for a bit here and there) to create an instrumental prog buffet. So bring your appetite to this table of solid offerings, it's sure to fill you up. 

my YouTube video version review is here...

Genesis "...Calling All Stations..." ALBUM REVIEW [pop rock/bit of prog] (1997)

by Dean Wolfe, Prog dog Media  (album released 1997)

I had fun reviewing this album. It's one of the few remaining puzzle pieces of the Genesis discography that I had never heard and was hardly aware of til recently. 

It's their last studio album and featured a new lead singer due to the fact that Phil Collins left the band, and before that Peter Gabriel also had embarked on a successful solo career. 

I was surprised how '80s' it sounded being release late in the 90s. Perhaps too early to be retro-80s for America at least where it barely charted and sold poorly. However it did a 'solid decent' in Europe with a tour and some charting success. It was not a success compared to earlier Genesis blockbusters and therein lay its demise in the minds of Rutherford and Banks perhaps. If they'd stuck it out and committed to at least a 3 album run I'm sure there would could have built on the more modest success, because Calling All Stations 'aint that bad of an album. It showed much promise: people would eventually have warmed up to the new singer Ray Wilson's voice which is quite good really. 

However it has to be said Wilson's voice, great as it is, initially didn't fit the Genesis 'brand'. They had 2 singers who have super-unique vocal timbres and could have chosen someone with an equally out-of-the-ordinary sound. Wilson has a more 'standard' or universal-sounding voice. A few more albums as a unit and they could have ironed that out but Rutherford and Banks chose to quit instead, which is a shame. Wilson says he didn't get to have much input into the songs either. 

So let's get to the album which is quite long with 11 songs clocking in at over an hour- some are stronger tracks (like the title track and the 8 minute There must be some other way are some of my faves) and some are weaker tracks (like Ship Wrecked, Not About Us with its boring acoustic guitar intro and committee-written feel). Repeat listens do improve this album. One word that has always applied to Genesis is 'epic', and not just the prog pieces. Pop rock was turned into epic pop prog-tinged rock by bands like Genesis, Saga, Asia and Yes in the 80s. Calling All Stations should have been more consistent in its' epicness- that would be an easy standard to weigh which tracks should be tossed or re-tooled.

I did find myself wondering 'what ever happened to Rutherford's epic bass playing?' on this album. He used to be one of the best- right up there with Chris Squire- in the 70s. Now he just bumps along on all the root notes with very little adventurousness. Oh well....

Another thing I noticed while listening to this album I that I was reminded of a band I've been discovering recently called Pattern-Seeking Animals - and also Spock's Beard- whose drummer, Nick D'Virgilio is all over this album (along with Nir Zidkyahu). 

On tracks like The Divding Line Phil Collins' ghost hangs in the air with the production choices featuring the big drum sounds he carved out with producer Hugh Padgham in the 80s. Kind of part of the whole Genesis brand as well. 

So yes, there's more 80s than 90s here, and basically zero 70s Genesis feels. If you were an 80s Genesis fan, and you are open to a new singer, you might be surprised and should enjoy this album with repeat listens. It's not garbage! It holds together and keeps it interesting melodically (the occasional boring bits zoom by quickly). It's nicely produced overall and I believe is a 'decent solid' effort by Rutherford/Banks plus the 'new guy'. They should have tried at least one more album together. I like it. Prog dog score is 3 out of 5 bones. 

Video version of this review on prog dog channel here: https://youtu.be/0fH38j3vpcE

Trevor Rabin "RIO" ALBUM REVIEW [prog-pop rock/eclectic]

by Dean Wolfe, Prog dog Media    (album released October 6, 2023)

In a press release about his new album 'Rio' Rabin stated: “I wanted to get into many different areas. Of course there are ‘prog things’, but overall there are a lot of styles going on.” So he's softening the blow to those expecting 40 solid minutes of 'Yes 2.0' minus Jon Anderson and crew. 

I can easily classify as one of those Yes nerds with unrealistic expectations, so let's do this review from that perspective: It sucks! No! I'm just kidding! It's actually very good! Perhaps not on the first listen as much due to the album's diversity, but like any good album, repeat listens have been required to catch it all for what it is- a bunch of Trevor's songs. 

After the first couple of tracks that have all the satisfying flavours of Big Generator/Talk and Union era Yes (and get revisited throughout the album) we move into the 'other styles' Trevor was talking about. Most surprisingly perhaps are the fierce chicken plucking tracks and even one track that is downright country western- but not to worry, Trevor screws around with them so much - in a good way- as to satisfy most prog fans. 

There are plenty of jazzy moments as well...and bluesy moments. Trevor totally owns all of these moments. His vocals are satisfying to listen to - he can still really belt it out and serve it all up with his own winsome style. His ceaselessly good....no, great guitar work dominates the album- and it's downright awe inspiring. This album reminded me of how much I miss Trevor's guitar work. There's steel string acoustics in some songs too. 

The prog dog score is 4 out of 5 paws. A pleasantly surprising energetic and radiant album. It feels a bit disparate or project-like as solo albums often tend to be. He's not the next Sting or Phil Collins- two examples of singers who broke free of famous bands and styled their own stand-alone brand. Mostly Rabin comes across as a hard-working remarkably great guitarist and creative songwriter/producer who sings well and he does it all in good fun. 

Trevor obviously enjoyed creating this album. That gets communicated well in the final product. You can also feel the ghost of Chris Squire hanging over this album, and Alan White in parts too. Open minded Yes fans should enjoy what Trevor offers- cool, twisty, catchy songs sprinkled with proggy pop delights and sensibilities.

Link to the video review: https://youtu.be/Bt9weC-mL78 

Nine Skies "The Lightmaker" ALBUM REVIEW [prog rock from France]

 

by Dean Wolfe, Prog dog Media  (album released 2023) (NOTE: review is google-translated into French below, merci)

If you are at all like me, you will feel a special anticipation from the first moments that The Lightmaker unfolds before your ears. You are taken by the hand and guided through a majestic journey of a lifetime as nine different voices share their experience and lessons with you, though they are actually the same person: Rudy, who has lived 1000 different lives, and is now on his 1001st and last. What has he learned? What will he share? 

The kinds of profound emotions and musical scenery is, as you can imagine- vast, varied and heartfelt. The several different lead singers and indeed each member of the band have reached deep into their souls as this album marks an important turning point for Nine Skies. It's the first album created since the untimely departure of Eric Bouillette. He was a pillar in the band- doing songwriting and performing guitars, piano, keyboards and violin, but the remaining members are bravely forging ahead. If he is able to hear the results in the hereafter where he may reside, I'm convinced he is delighted with the results. 

As a big Yes and Steve Hackett fan, plus Opeth, I felt right at home with this album. The Alan Parsons Project-style of featuring different vocalists was a brilliant move and contributes to the album's profound narrative. There's plenty of excellent musicianship here as well. Bass guitar-wise there's some lovely fretless work as well as a 3 string chord/fingerstyle bass solos like on The Wanderer.  Guitar-wise there is are plenty of acoustic steel-sting passages featuring soothing and beautiful chord parterns and progressions, as well as tons of tasteful electric guitar sections and some great, and occasionally epic solos. The keyboards and synths feature prominently as well, layered throughout including a remarkable and iconic solo in Chaotic. The drums also fit so well into all of the songs- as everything does, in this well produced and well mixed album. 

Prog dog Scores this gorgeous album 4 1/2 out of 5 paws. It is at once epic and modest, and I predict this album will find its way into the hearts of many fans of the progressive rock genre. It's a new high water mark for prog in 2023.

https://nineskiesmusic.com/

https://nineskies.bandcamp.com/album/the-lightmaker

the video of this album review here: https://youtu.be/_0Vf01jR2Ek

Si vous êtes comme moi, vous ressentirez une attente particulière dès les premiers instants que The Lightmaker se déroule devant vos oreilles. Vous êtes pris par la main et guidé à travers le voyage majestueux de votre vie alors que neuf voix différentes partagent avec vous leurs expériences et leurs leçons, bien qu'il s'agisse en réalité de la même personne : Rudy, qui a vécu 1000 vies différentes et en est maintenant à sa 1001e. enfin. Qu'a-t-il appris ? Que va-t-il partager ?

Les émotions profondes et le décor musical sont, comme vous pouvez l'imaginer, vastes, variés et sincères. Les différents chanteurs principaux et chaque membre du groupe ont pénétré au plus profond de leur âme car cet album marque un tournant important pour Nine Skies. C'est le premier album créé depuis le départ prématuré d'Eric Bouillette. Il était un pilier du groupe – il écrivait des chansons et jouait des guitares, du piano, des claviers et du violon, mais les autres membres vont courageusement de l'avant. S'il est capable d'entendre les résultats dans l'au-delà où il résidera, je suis convaincu qu'il est ravi des résultats.

En tant que grand fan de Yes et de Steve Hackett, ainsi que d'Opeth, je me suis senti comme chez moi avec cet album. Le style Alan Parsons Project consistant à présenter différents chanteurs était une décision brillante et contribue au récit profond de l'album. Il y a aussi beaucoup d’excellente musicalité ici. En ce qui concerne la guitare basse, il y a un joli travail sans frette ainsi que des solos de basse en accords/fingerstyle à 3 cordes comme sur The Wanderer. En ce qui concerne la guitare, il y a de nombreux passages acoustiques en acier avec des partenaires et des progressions d'accords apaisants et magnifiques, ainsi que des tonnes de sections de guitare électrique de bon goût et des solos formidables, parfois épiques. Les claviers et les synthés figurent également en bonne place, superposés, y compris un solo remarquable et emblématique dans Chaotic. La batterie s'intègre également très bien dans toutes les chansons, comme tout, dans cet album bien produit et bien mixé.

Prog dog Note à ce magnifique album 4 1/2 sur 5. Il est à la fois épique et modeste, et je prédis que cet album trouvera sa place dans le cœur de nombreux fans du genre rock progressif. C’est un nouveau record pour le prog en 2023.

Android Superstation "This Side of Nowhere" ALBUM REVIEW [alt-rock/pop-punk crossover prog]

by Dean Wolfe, Prog dog Media    [album released 2020]

Android Superstation, a four-piece indie band out of Orange County California, are brimming with potential as their 2020 debut disc "This Side of Nowhere" testifies. 

This band leans toward the epic but paints with a broad palette and a wide stylistic diversity of influences evident from track to track, yet the album holds together well. It's sort of pop-punk (Blink 182) meets full-on rocking Muse meets soulful Pink Floyd meets occasional symphonic prog- thanks mostly to their exceptional keyboardist Heather Moore and her acoustic piano performances which provide many of the album's highlights (like at the end of 'After You' or throughout 'Collide'). Moore also sings lead, but sadly on only one song. Let's hope they spotlight her vocals on more tracks for their sophomore album.

Lead singer Danny Day Church excels in power pop vocals (and I love how easy it is to make out every word he is singing). I would love to hear even more of his softer side to balance out the one-volume dynamics of that genre. The slow track that finishes the album 'The Other Side' is a stand-out example, as well as the longest of their songs (at 8 minutes) 'Collide'. 

A couple of the album's songwriting and performance high points are 'Fractured' and 'Alive' which demonstrates many of Android Superstation's diverse strengths in relatively short and focussed efforts. 

'Through the Darkness', the only song with lead vocals sung by keyboardist Heather, has a chorus that really delivers, and features some great dissonant haunted piano lines recalling scary movies. I feel like more of these kind of tracks would serve the band well, with the great soft to loud dynamics. 

More people need to know about Android Superstation. The band's website has some super cool comics worth checking out. They have a YouTube channel featuring recent performance of a strong new track called 'Human' which confirms they continue to forge forward with strong songs.

This is a very very impressive debut album for a young indie band out-of-the-gates, therefore Prog dog Scores it  3 1/2 paws out of 5 paws. 

https://www.androidsuperstation.com/