Progressive RockMetalAlternative
Writers:
Josep Maria Llovera
Gabriel Martín
David Sàez
Tobias Sammet (Edguy) presents the new instalment of this personal project, recapturing some of the feel of “Moonglow” (2019), though without reaching the heights of songs like “Raven Child”, “Invincible” or “Lavender”. The guest vocalists stay practically the same (Geoff Tate, Bob Catley, Ronnie Atkins) as on the last three records, with the female contribution of Adrienne Cowan and collaborations from Tommy Kaverik (Seventh Wonder, Kamelot) and Roy Kahn.
Standout tracks could be “The Witch”, “Creepshow”, “Bring on the Night” and “Return to the Opera” (a sort of revisited “Farewell”). For die-hard fans of bombastic symphonic metal.
Dominic Sanderson “Blazing Revelations”
A consistent, powerful offering from this Wakefield musician. Forged in the most classic progressive rock, especially drawing on Van Der Graaf Generator for the vocal passages, though we also find influences from Pink Floyd, Gong or King Crimson; alongside more current reference points like Steven Wilson or Black Midi, making this album one of the best we’ve heard so far in 2025. Essential.
With the return of Mike Portnoy, we once again have the “classic” line-up, which gives the material more consistency and recaptures much of a special chemistry that has made the band a cornerstone of progressive metal history. But that’s a dangerous thing, because it’s easy to fall into the trap of getting carried away by fan-service.
We’d had an interesting preview with “Night Terror” (we’ll see what James Labrie does live) and “Midnight Messiah” (a mix of “As I Am” and “Pull Me Under”), and expectations were high.
Compositionally, it’s fair to say they carry on as usual, because all the clichés are there. We can level the usual criticisms: LaBrie’s questionable taste in the melodic vocal passages, Portnoy’s overuse of rototoms and stacks, Rudess’s pads sounding too preset-like, Petrucci’s sixty-seven pedals nowhere to be seen, and Myung getting a credit despite being inaudible.
That said, we do get a sound a touch darker than usual that fits the songs’ themes rather well. There’s also excellent technical craft, as always. But beyond that, if you’re not already devoted to the band, this album won’t win you over, since it doesn’t stand out in any way within their discography, though it doesn’t do it a disservice either.
This record’s virtue, in our view, is that they’ve complicated things less while making it more consistent (with the odd misstep, like the interlude “Are We Dreaming?”), and so master John Petrucci hasn’t given us the kind of complexity we got in the “A View from the Top of the World” suite, for example.
Our beloved John Myung and Jordan Rudess have been pushed even further into the background, playing more of a supporting role, except on the closing suite, “The Shadow Man Incident”. Incidentally, “Bend the Clock” could have fit just as well on the 2013 self-titled album as on the rock opera “The Astonishing” (2016), where, incidentally, John Myung actually could be heard.
This Manchester band played Barcelona on 26 February, presenting their new album. Their live shows likely bring out the histrionic, fun side of their music, since on record alone it lands somewhere between a joke, extravagance and “La Yenka”. A kind of psychedelic synthwave with space stories that, musically, are generally a bit simple. Even so, listening to one or two tracks is fun. Incidentally, they offer two different mixes of the record: a “fusion version” and a “winter version”. Many will remember that this same experiment was attempted, with dubious results, by the great Peter Gabriel last year. Well, this one’s come out worse, because the differences are imperceptible.
This Quebecois musician’s debut arrives with a healthy dose of progressive rock that will appeal quite a bit to fans of Neal Morse, since it’s fairly close to his style; though, it must be said, there’s also a touch of Steven Wilson. Perhaps the record has ended up a bit too laid-back and calm, with four of its six tracks starting in a very similar way; but it’s a perfectly pleasant listen where we can appreciate a rather approachable musical language.
Let See Thin “Machine Called Fire”
From Łódź comes this band’s new work, combining so-called art rock with a dose of sequencers that transport us to bygone eras. Fortunately, they do it with good taste and a certain charm, because it’s a bit like listening to the prog version of Falco’s music. Quite entertaining.
Mad Parish “The Dust of Forever”
After almost ten years of silence, this Quebecois outfit returns with a record where we find a clear influence from the proto-metal of Blue Öyster Cult, Uriah Heep, UFO, Black Sabbath, but also very obvious references to the NWOBHM (New Wave of British Heavy Metal, for those unfamiliar) with fast riffs, lovely guitar harmonies, galloping rhythm sections and keyboards offering a curious counterpoint. A genuinely notable, very interesting record.
The new album from these York natives takes a step down from their last two records, “Graveyard Star” (2022) and “White Rainbow” (2018), which reflected more tragic aspects tied to personal losses. By far the best thing on the record is Brian Josh’s Gilmour-esque guitar phrasing; the rest coasts along on the clichés they already established on their first records, and so doesn’t bring anything new, though Olivia Sparnenn’s voice, while entirely correct, doesn’t stir much emotion. For devotees of ultra-melodic folk-rock.
Veterans Motorpsycho bring us their self-titled record (after a 35-year career). They’ve gone back to being a duo, with additional drums and vocals as reinforcement. They want to recapture the vein of the successful “The All Motorpsycho is One” (2020), but they stay somewhat undercooked and more direct. They open with the energetic “Lucifer, Bringer of Light” and follow with a string of upbeat tracks, at times reminiscent of Grand Funk Railroad. There are a couple of great tracks here and there, like “Balthazar” or “Stanley”. For fans of eclectic prog with varied touches (indie included).
This Thessaloniki band delivers a calm, laid-back kind of prog, built on solid grooves over which interesting arrangements from the rest of the instruments develop, creating a rather captivating atmospheric feel in its slower passages; though the moments where they try to be more forceful don’t quite reach the same level. It’s an easy, undemanding listen, so you can enjoy it while doing chores around the house.
A more than recommendable neo-prog record, with the special touch the Italian language gives it. Compositions that aren’t overlong, with rhythm and sensitivity, and neat, high-quality arrangements. We find eclectic passages that can recall Frost*, or eighties King Crimson, or Genesis; all of it very well crafted.
Pattern-Seeking Animals “Friend of All Creatures”
Those searching for the more melodic, classic side of progressive rock will find this band’s new release of real interest, packed as it is with former Spock’s Beard members. But don’t expect a replica of that band, since Pattern-Seeking Animals has its own musical identity. It’s not that they offer new languages — which, in their case, isn’t necessary either — but rather that they start from a fairly distinctive style blending the lovely melodies of late-sixties, early-seventies British pop and rock, updated with instrumental elements from softer seventies progressive rock.
The question is: is standing still a bad thing when it’s done well? No, only when it’s boring. And in this case, it could put even sharks to sleep.
Debut from this band of eclectic musicians from Rochester, New York. Their sound is pure, unfiltered seventies prog, in the style of Genesis or a more recent The Flower Kings, with a strangely simple approach, some shortcomings and questionable execution — an odd thing for an American production, though it does prove that the need for capable producers to help a band take a leap in quality applies everywhere. Even so, it’s a lovely record that’s genuinely enjoyable.
Finnish artist Rioghan Darcy’s project releases a magnificent album. Coming from a dark prog-metal place, with influences from Haken, Leprous or Katatonia, we get a variety of tracks ranging from an intimate atmosphere to overwhelming force. All of it filled with a special melodic sensitivity that lets her blend epic elements with romantic passages and season it with touches of electronica, set against an aggressive, powerful band. Also worth highlighting is the huge range of vocal techniques this woman possesses: from otherworldly growls to piercing highs, by way of soothing softness.
Her previous record, “Different Kinds of Losses” (2022), was already exceptional, but this one takes things a notch further, becoming fantastic, making this “Kept” a strong candidate for repeated listens all year and for a spot at the top of the year’s new releases.
Plenty of labels have been slapped on this band since they burst onto the scene: post-punk, post-RIO, post-rock, etc. All of them share “post” up front, which is what you use when you’ve got strange people making strange music. It’s actually not that strange, since we can find echoes of Radiohead, Captain Beefheart, Black Midi or Neu!, people who’ve made thoroughly respectable music. Honestly, don’t miss this one, since it’s original and different from what we’re used to hearing; and in its favour, we should say there’s nothing jarring about it.
A fairly standard neo-prog record arrives from Katwijk. The sonorities of bands like IQ, Pallas, Arena, Porcupine Tree, etc. are all there; even with a certain edge of aggression that’s offset by the conventional lead vocal. There’s also an excess of pomp at certain points that doesn’t do it any favours. But hey, for fans of the genre it’s fairly solid.
The Night Flight Orchestra “Give Us the Moon”
A fun album that recaptures the spirit and sound of that blend of AOR and pop that emerged in the early eighties, with acts like ELO (Electric Light Orchestra, for those unfamiliar) as its flagbearers. It must be said it’s not suitable for diabetics given the excess of syrupy compositions across nearly an hour of runtime; but hey, nothing that putting on some leg warmers and growing a Michael Sembello beard can’t handle.
The Third Grade “Quadrivium: Resonances”
An interesting progressive-metal record with power-metal influences from this Valencian band. We find passages recalling Devin Townsend, Symphony X, Dream Theater, but also Nightwish or After Forever. Naturally, this EP will be most enjoyed by anyone with a particular sensitivity and fondness for this genre.
Untold Stories “Wind and Memories”
A magnificent debut from this Bulgarian band. With a neo-prog or crossover sound, close to Saga, Lalu, IQ or even, at times, eighties-era Rush. Either way, this is a promising addition to the world of prog, with musicians of proven ability and a solid compositional foundation. Don’t miss them.
Venamoris “To Cross or To Burn”
New work from the duo formed by married couple Paula and Dave Lombardo (Slayer, Testament), though it should be said all the compositions carry Paula Lombardo’s signature. The truth is this is a lovely album built on vocal melodies and leaning toward styles reminiscent of dark-wave pop atmospheres. So it’s clear fans of darker sounds will have a great time, as long as they’re not expecting heavy guitar force too, because that’s not what this is.
From Béthune comes a title that serves as both description and warning of what we’ll find. They describe themselves as a “French surrealist prog band”. Look, being French and pretentious is a huge cliché, but it’s exactly what we hear: pomp and gratuitous affectation. Maybe if they learned to pull a decent sound out of their guitars and stopped drowning the drums, we could talk about them being ostentatious. Until then: infamous.
We Are Impala is a cosmic post-rock band from Barcelona we already know from their appearance at Tótum Revolútum back in 2016 — nearly a decade ago now! Back then they had their debut album “Synesthesia” (2015) in tow. Since then they’ve added “Visions” (2019) to their catalogue, and this February we finally get to enjoy “Les Efímeres”: a new journey through more earthbound landscapes than their previous records. They know how to balance energetic adventures with bucolic passages. We find interstellar excursions that flow into calmer, quieter shores, before launching us back into more aggressive terrain. Perhaps because it was recorded live, every instrument is right where it should be, with a rhythm section where the bass rules with beautifully drawn lines, while the guitars illuminate the details, or tear and rough us up as they please. Given how long it takes this crew to gift us new material, we should enjoy it to the fullest.
Writers: Josep Maria Llovera, Gabriel Martín, David Sàez