Pyramid Theorem "Beyond the Exosphere" ALBUM REVIEW (prog rock/metal)

by Dean Wolfe, Prog dog Media   [album release August 21, 2020]

Having grown up in St. Catharines Ontario, home of Neil Peart, and having lived in Toronto, I kind of consider Rush 'my band' in the way sports fans are endeared to their city teams. Once I got familiar with Dream Theater out of neighbouring USA- I looked at them as an American version of our Rush. 

Now comes along Pyramid Theorem out of Toronto and what comes to mind is: Canada's 'Dream Theater?'

Not sure if the band would agree with this assessment, because they wear their Rush influences openly, but thankfully not in an overtly copy-cat fashion. They seem true to themselves. 

First of all the musicianship across the board here is catastrophically good i.e. 'impressive...most impressive'.  However you can only get so far on chops alone. Instagram is full of multitudes of faceless guitarists performing jaw-dropping calisthenics that will discourage as many newbie musicians as inspire them. What has to be acknowledged is that without 'the song' it's all just a thin sandwich. 

So that's what I looked for- and found- in Pyramid Theorem's third album 'Beyond the Exosphere'--- substance and body that will hit the spot- and deliver...truly meat and potatoes prog of the ballsy kind. The first place I found it was in the songwriting which is strong melodically speaking. Pyramid Theorem are symphonic as often as they are hard rock riff-driven. The keyboards capture the spirit of classical music at times, with fat choral choral samples in Closer to the End for example. And Monster starts off with appropriately monstrous riffs. There's some duelling solos between guitars and keyboards here and there, reminding me of Dream Theater. Overall there's good variety of feel across the album without excess fat or tedium. 

The vocals are excellent thoughout- strong, clear and powerful (no growling that I'm aware of in the band). There's lots of terrific harmonizing as well- in fact a majority of the singing is done harmonized. That was a slight point of confusion for me.  Is there a single dominant lead singer? The album credits three singers in the band of four (not the drummer, no surprises, he keeps busy enough without having to sing).  I'm sensing there is perhaps an effort to share the singing rather than any one vocalist becoming the focus. It works for me! Marketing-wise, I don't know if the cigar chomping business execs would approve of no obvious poster-boy singer in the band, swinging his mic in circles. 

I like the lyrical content- with timely comments relative to the lockdowns in progress when the album was released in 2020 for example. "We raise our voices!" Yes! 

One additional comment before we score the album. Symmetry. This album as a whole has got it. As the end track fades off into the sunset, the aftertaste is sweet. 

Prog dog Score: Prog fans, rejoice! Pyramid Theorem delivers the meat and potatoes. Beyond the Exosphere -being on the dense side instrumentally- requires repeat listens to parse out all of the tasteful substance, so let it grow on you. We give it a resounding 4 1/2 out of 5 bones. This is an excitement-worthy album from an excitement-worthy band.

https://www.pyramidtheorem.ca/

My reaction videos to the entire album HERE. 

A video version of this review is HERE 

A-ha - "Scoundrel Days" - ALBUM REVIEW (Synth Pop, 1986)

By Dean Wolfe, Prog dog Media                   Album Released 1986

A-ha must have felt some pressure on this release, their sophomore album. I was one of those teenage fans in 1986, eager to hear what came next after a year-long wait.

I bought the cassette and was pleasantly surprised. When you only have one album from a band, your perception can get a bit “set,” making it harder to imagine them outside the boundaries of that first record.

Scoundrel Days is a very cool track. They know how to build goosebump-inducing intros, and Morten wastes no time—he’s soaring straight into the first chorus, like a young horse breaking into a full, joyful run across open ground. The only odd moment for me is a kind of yodel-like vocal flourish. A Norwegian thing? A European thing? Or just me noticing it too much?

I've Been Losing You is a real refresher. A-ha may be synth-pop, but here they lean into a very live-sounding drum kit rather than something trapped in a box of buttons. The result is a strong, straightforward rock feel, anchored by a solid bass line and a very satisfying chorus.

The drum machine never fully disappears, though. It’s still very present on tracks like The Swing of Things. Morten, at points, even brings to mind David Sylvian-era Japan—perhaps a subtle influence showing through.

They also show they can still push energy and edge on Manhattan Skyline, a deceptively structured track. It starts like a ballad before the chorus arrives with grit and crunch. The contrast is striking and very well handled.

The album isn’t without its weaker moments. October has some interesting found-sound textures, but feels like a slightly awkward attempt at something in the vein of Sting’s “An Englishman in New York.” And despite a decent chorus, Maybe Maybe feels out of place—almost like a novelty track, which may or may not land better with younger listeners.

On the stronger side, several tracks sit comfortably in the “fun but still atmospheric” category: The Weight of the World, Manhattan Skyline, and Soft Rains of April, which evokes a rain-soaked, Blade Runner-like mood.

Cry Wolf is an effective dance track, even if it doesn’t necessarily aim beyond that. Nothing wrong with that.

PROG DOG SCORE: 3 / 5 dog bones

Not a classic, but a solid sophomore effort—some filler, yes, but also a few genuinely strong highlights.

6/2/23 orig. published.

A-ha - "Hunting High and Low" - ALBUM REVIEW (synth pop, 1985)

by Dean Wolfe, Prog dog Media         Album Released 1985

There’s nothing quite like a debut album arriving alongside a breakout single that becomes a genuine juggernaut. Released in June 1985, it established this young Norwegian trio on the world stage.

I bought Hunting High and Low on cassette as a teenager. Take On Me, their first single, is an irresistible synth-pop track that has held up remarkably well. For me, it still carries a strong sense of optimism.

There are four other standout songs on the album, though the remaining five don’t quite move the needle in the same way. That’s easy enough to forgive—very few bands arrive fully formed on a first record.

The title track, Hunting High and Low, is a passionate, string-driven ballad with carefully shaped buildups and a strong vocal performance from Morten Harket. His voice is distinctive: controlled and expressive when restrained, but capable of becoming almost overwhelming when fully released.

Living a Boy’s Adventure Tale is a more subdued, slightly darker track—almost Cure-like in its mood—with a sweeping chorus. Harket also leans further into his falsetto here. On a purely production note, the snare sound is excellent.

The Sun Always Shines on TV hits with real impact. Outside of Take On Me, it’s arguably the album’s defining moment and carries much of its overall weight. The intro alone is iconic. Strong melody, strong performance—everything feels fully realised. Without it, the album might have been easier to dismiss as a one-off success.

Stand and Face the Rain, the closing track, is also solid, with interesting melodic turns, layered backing vocals, and a synth texture that leans into something more atmospheric and uneasy.

For whatever reason, A-ha didn’t receive much sustained appreciation in America beyond this album and its follow-up, which feels like a missed opportunity in hindsight.

PROG DOG SCORE: 3.5 / 5 dog bones.

A key 80s synth-pop record—uneven, but anchored by several major tracks that still carry weight.

5/30/23 orig. published

My Top 30 Songs of All Time (personal picks)

By Dean Wolfe, Prog dog media |

These songs have become integral to my life, particularly during my formative years, evoking strong emotions from specific times. They are all excellent songs, but the personal connections make them special (Spotify playlist link is below).

They range from prog rock to pop to classical to soundtracks to jazz fusion to electronic to disco/funk...

Stay tuned for my top 30 albums list in the near future....

For the story behind my list picks, see my video here!

1. Beatles - A Day in the Life 
2. Yes - Awaken 
3. Mike Oldfield - Tubular Bells 
4. Rush - YYZ
5. Alan Parsons Project - Time 
6. Genesis - Dancing with the Moonlit Knight
7. Pink Floyd - Welcome to the Machine
8. Kate Bush - Sat in Your Lap
9. John Lennon - Imagine 
10. King Crimson - frame by frame  
11. ELP - Karn Evil 9
12. Peter Gabriel - Shock the Monkey
13. U2 - The Unforgetable Fire 
14. Steve Hackett - Clocks, The Angel of Mons
15. Bruford - Five G
16. Nash The Slash - Wolf
17. Bee Gees - Stayin’ Alive
18. Japan - Gentlemen Take Polaroids
19. David Sylvain - Orpheus 
20. Pat Metheny Group - Minuano (six eight) - Still Life (Talking) 
21. The Police - Walking on the Moon
22. Van Halen - Panama 
23. Vangelis - Heaven and Hell movement 3 (Theme to 1980 show Cosmos)
24. Mozart - Confutatus 
25. Eagles - Hotel California 
26. Heart- Magic Man
27. Stevie Wonder - I wish
28. Saga - Don’t Be Late 
29. Abba - Dancing Queen 
30. A-Ha - Take On Me

Honourable Mentions: 

1. TOOL - Lateralus 
2. John Williams - Star Wars theme A New Hope 
3. Tangerine Dream - Rubycon
4. Hans Zimmer - Dream is Collapsing 
5. Hans Zimmer - Cornfield Chase 

https://open.spotify.com/playlist/59AhuwLfptAw5WODziJsWP?si=da4b966445964d3e

Dream Machine - "Living The Dream" ALBUM REVIEW (retro-prog pop psych 2022)

 

By Dean Wolfe, prog dog media  [album released June 3, 2022]

Dream Machine, a.k.a. the winsome and energetic husband and wife team Matthew and Doris Melton, are not simply nostalgic for the past. They fully embrace the lifestyle, honouring the warmth and immediacy of the analog empire from yesteryear in their home studio and Fuzz City Records label. 

Draped in apparently vintage clothing, surrounded by living relics of the glory days of a more tactile music technology, they have been busily performing, recording and releasing albums. They live in defiance of the prevalent digital paradigm (though they still cross the bridge to bring their analog music offerings to the digital realm, and they host an entertaining YouTube channel as well).

Their most recent release (and my introduction to Dream Machine) is called Living the Dream. It is a concept album exploring the many aspects of dreams. It is not easy to categorize but the 'in a nutshell' description might be: upbeat melodic retro-synth-laden psyche pop with scattered splashes of 70s prog.

It's got a dozen tracks which feature drumming and percussion by Billy Odyssey. The Meltons exchange lead vocals and do lots of trade offs and back ups as well. Doris is the keyboardist and Matthew plays electric guitar and bass. There's lots of tasty distorted guitar riffs and fills. Same with the keyboards. In fact much of the album is keyboard-centric. There's several rather fun keyboard solos. It's a very animated album- energetic might be an understatement. They have plenty to sing and the spirit to carry it through. 

When I'm flipping through my record collection and I need a zap, or I'm having a party, I'll reach for this one. I know that I'll get several guests asking "What is that record? I like it. Is it from the 70s? late 60s?"

The album is very playable and lacks a single dud. In fact the last 2 tracks of the album may be my favourites, or at least they are very strong compositions. A couple of the tracks at least have ear-worm hooks for example Until Tomorow usually plays for hours in my brain after the vinyl has gone silent. 

Tracks like Dreamin' It Over particularly show off their 70s prog influences- which include bands like Eloy for Doris. She introduced Matthew to a lot of prog rock which is a rabbit hole he had yet to explore. 

The only thing lacking on the album is a good slow song, maybe a ballad, to break up the songs and give listeners a breather.

The Prog dog score is 4.5 out of 5 paws.  This is a modern benchmark of upbeat lo-fi indie achievement- a fun retro-feeling album that doesn't know when to quit (not to mention it's my prog-party go-to album)!

https://dreammachine432.bandcamp.com/album/living-the-dream

check out my 1/2 hour interview/prog chat with Dream Machine HERE

Steven Wilson Presents - "Intrigue | Progressive Sounds in UK Alternative Music 1979-89" ALBUM REVIEW (box set/book)

By Dean Wolfe, Prog dog media   [album released feb 10, 2023]

Why do we need this collection of post-70s UK prog and art rock tunes? Didn't the 80s suck for prog??

You won't find any Genesis, Yes, or Asia in this collection but you will find solid proof that even after the seeming collapse of the progressive musical empire of the 70s- brought on by the rise of an upstart punk rebellion- prog lived on! Even if it did go underground. In fact, we even learn that punk and prog could form surreptitious collaborations.   

I wish I could have been best friends with Steven Wilson during the golden decades of music in the UK, but unfortunately, I grew up in a boring old place called Canada. However, thanks to this new collection of rare prog-tinged tracks from 1979-89, I can feel like I have been transported to Steven's rec room, where we are surrounded by albums on a shag carpet while he plays me his favourite tracks.

This is a massive little collection Steven curated in collaboration with Demon Music Group. The collection I have is a 4 CD set with an exceptionally beautiful and well-designed small hard-cover book (It's also available in vinyl format). It's loaded with carefully curated songs released out of the UK. There are about 14 songs per disc. I have to say even just cracking into the first disc has been more impactful than I expected. I only got as far as 10 tracks into disc one in my first listen. Same thing happened in the next two listens, but happily so. There was so much there to absorb and enjoy, and I was only getting started! The logic of events have proven to me this is probably the most practical way to attack this selection - piecemeal and spread out over many listening sessions. 

The book that houses the CDs is top quality. The articles (technically called liner notes) about each song and well written, and accompanied by photos of the original album artwork. There's also a substantial introduction by Wilson. Listening and enjoying this set has been a revelation and a pure pleasure, even if is a bit of a project because it's so vast and diverse. Each time I sit down to tackle some more songs, book in hand, I feel like I'm walking slowly through a modern art gallery, guided by a knowledgeable docent. 

Some of the tracks are even remixes by Steven himself. 

There's a few artists I knew well, like Tears for Fears, Japan, Kate Bush, David Sylvain...but out of about 50 selections, they were only a tiny slice. Steven avoided picking obvious tracks and dug for the more unique music. 

I highly recommend this set for several reasons. Firstly, it features a collection of inspiring music that is truly remarkable. Secondly, the liner notes, written by James Nice, are deserving of a Grammy Award, and provide valuable insight into the music and its creators. Lastly, the packaging of the set is exceptional, making it a beautiful addition to any music collection.  It's a trip though some of the best that the 80s had to offer but most mainstreamers will consider obscure and weird- God bless 'em. Six tracks didn't make it to the finish line due to legal or permission issues, but Steven lists them off for you to search out on your own. 

Before making a decision, it might be worth reviewing the track listing to avoid redundancy. However, I would be surprised to find anyone other than Steven Wilson who already owns the majority of these tracks.

Oh hey, Steven... I would love to see a future curated collection of 80's art-rock and prog-tinged music released from other parts of the world. It would be highly intriguing and I am definitely interested in hearing what you would come up with.

PS

Once I know the set better, I will tag on a small list of my favourite tracks to this article. Stay tuned for that...

Prog dog score: a perfect 5 out of 5 paws.  Steven Wilson, donning a brown Indiana Jones Fedora hat, has unearthed and dusted off significant musical treasures of post-70s prog and alternative rock from the UK. The accompanying well reasearched book makes this a university course-worth of material- a gift that will keep on giving for the prog-curious and then some. 

The prog dog VIDEO of this review is here.

Retrospective - "iNtroVert" ALBUM REVIEW (Modern Prog from Poland)

by Dean Wolfe, Prog dog Media   [album released November 2022] 

(review originally published March 2023)

This review marks my first exposure to Retrospective, a six-piece progressive rock outfit hailing from the land of popes: Poland.

iNtrovErt is their fifth studio album, which means I'm clearly arriving late to the party. Fortunately, this is a very welcoming introduction. The album is a remarkably polished and cohesive collection of songs — a weighty, modern-sounding record wrapped in a dark, edgy, and atmospheric aura.

The band's lead singer, Jakub Roszak, has a distinctive masculine vocal style: breathy, powerful, and instantly recognizable. Adding another dimension to the band's sound is Beata Łagoda, who frequently joins Jakub in a dual-lead vocal approach. Their voices blend beautifully, creating a striking contrast between strength and vulnerability. Beata also takes on lead vocal duties and anchors much of the band's sound through her piano and keyboard work.

Compositionally, iNtrovErt is refreshingly unpredictable. While it avoids many of the traditional progressive rock clichés, it remains accessible and melodic. There are moments that recall Pink Floyd, but filtered through a much more contemporary blend of hard rock, metal, and atmospheric alternative influences. At times, I hear echoes of bands like Muse, Rammstein, and Porcupine Tree.

This is not a chaotic, herky-jerky prog experience filled with constant twists and turns. If you prefer your progressive rock to emphasize mood, melody, and atmosphere over extreme complexity, Retrospective may be exactly what you're looking for. The songs maintain a steady momentum, built on spacious arrangements, powerful melodies, and wide cinematic landscapes.

The guitars and bass are disciplined and tasteful, rarely overpowering the compositions, but when they step forward they make their presence felt. There are some excellent broad-stroke guitar solos and deep, muscular bass lines that add weight without disrupting the flow.

Interestingly, iNtrovErt can also be surprisingly groove-oriented. The track "Away" features a deep, hypnotic rhythm that almost invites a slow dance. It's a different side of progressive rock — less about technical fireworks and more about atmosphere and emotional pull.

The band's appreciation for artists such as Coldplay can perhaps be heard in their willingness to embrace melody and straightforward piano-driven arrangements. Beata's acoustic piano work provides a warm, organic foundation beneath the layers of keyboards and guitars. This balance of accessibility and atmosphere gives Retrospective the potential to connect with a much broader audience, including the kind of large-scale venues where these songs could really come alive.

For those who still appreciate physical media, the CD presentation is also worth mentioning. The packaging is beautifully designed, complete with a lyric booklet and excellent original artwork — a reminder that the album experience can extend beyond the music itself.

Lyrically, iNtrovErt feels remarkably relevant. Beneath the darker tones is a sense of navigating the confusion and chaos of modern life: searching for authenticity in a world full of distractions, and trying to find moments of silence and clarity amid the noise.

With iNtrovErt, Retrospective have created an album that balances darkness and melody, heaviness and elegance — a modern progressive rock record that doesn't need to shout to make an impact.