Album Review: Firmament – A New World If You Can Take It

Band: Firmament | Album: A New World If You Can Take It | Genre: Progressive metal | Year: 2025

From: Canton (OH), USA | Label: Independent

For fans of: Haken, Thank You Scientist, Between the Buried and Me

I don’t claim to like everything. I know there are just certain styles of music which don’t resonate with me for one reason or another. I can articulate why I don’t like some genres (for example, most singer-songwriter stuff), while I struggle to find the words to describe my distaste for other genres (like reggae or ska or calypso; the Caribbean is just not my musical realm). Metalcore and post-hardcore are two styles of music that fall somewhere in between for me. I don’t really like the vocals common to them (and many other “-core” genres), but there’s also something else I can’t quite put my finger on. Despite this, every now and then I find a band that I like that incorporates these elements into their music.

Firmament is an Ohio-based duo that plays an energetic and emotive brand of post-hardcore-influenced progressive metal. Yes, there are elements on this record which don’t tickle me, but there’s still plenty here that I like. And when you handicap this album for my built-in biases, A New World If You Can Take It is quite strong. This review is going to sound more negative than I intend it, but rest assured, I strongly recommend this release.

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Album Review: Edensong – Our Road to Dust

Band: Edensong | Album: Our Road to Dust | Genre: Progressive rock, Progressive metal | Year: 2025

From: Middletown, USA | Label: The Laser’s Edge

For fans of: The Dear Hunter, Phideaux, Dream Theater, Jethro Tull

Bandcamp

Edensong is not a band I was familiar with before writing this review. They play a brand of semi-metallic progressive rock with significant folk influences. The band also has a dedicated flutist, so the comparisons to Jethro Tull are pretty easy. Those comparisons are also pretty apt, as Tull’s influence can be heard throughout this record.

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Album Review: Saint Vayu – Eternal Returns

Band: Saint Vayu | Album: Eternal Returns | Genre: Progressive rock, Neo-prog | Year: 2025

From: Los Angeles, USA | Label: Wave Racers Collective

For fans of: Spock’s Beard, Wobbler, Marillion

Bandcamp

I’ve dipped my toes into electronica a handful of times on this site. I often feel somewhat out of my depth, but there is the occasional act which crosses into my wheelhouse. One of the first electronic acts I covered was Vayu and their 2021 album, Wrath. That was solidly an electronic album with prog-rock influences, and the vocals were performed with a Vocaloid synthesizer. I liked it overall, and obviously, so did Pope Francis, hence the canonization and name change.

(Note: I started writing this review before Pope Francis died.)

(Second note: Francis contributed to a progressive rock album in 2015, which is fucking wild. Wake Up! is actually an alright record. Not amazing, but alright.)

In the four years since Wrath, more has changed in the band than just the name. Where Wrath was primarily electronic, Eternal Returns is unquestionably a rock album. Vocaloid has been eschewed, as well, with the sole member of this band contributing his own vocals.

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Album Review: Kuunatic – Wheels of Ömon

Band: Kuunatic | Album: Wheels of Ömon | Genre: Avant-garde psychedelic tribal folk zeuhl? | Year: 2025

From: Tokyo, Japan | Label: Glitterbeat

For fans of: Kikagaku Moyo, Magma, Osamu Kitajima

Bandcamp

Kuunatic’s sound is pretty difficult to describe, and that’s a big part of why I love them. I lumped all those genre descriptors above into a big chimera rather than split them up more granularly for a reason. The elements are noticeable but impossible to truly pick apart or isolate. At its base, this is a drums-bass-keys trio where all three members sing, but they also include a multitude of traditional Japanese folk instruments, including the sho, sasara, and ryuteki.

Much as Magma’s music is largely about and set on Kobaïa, Kuunatic’s is about their own mythic world, Kuurandia. (They go into great detail about the story of both this album and their 2021 debut, Gate of Klüna, in this article, as well as on the Bandcamp page for this release.) The music is fittingly odd, experimental, and ritualistic for such heady concepts.

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Album Review: Fulguromatic – Fulguromatic

Band: Fulguromatic | Album: Fulguromatic | Genre: Progressive rock | Year: 2025

From: Rennes, France | Label: áMARXE

For fans of: Zopp, Frank Zappa, Gong

Bandcamp

Fulguromatic is a French duo, about which there is relatively little information online. Their self-titled debut album is a fascinating blend of styles. “Progressive rock” is certainly a safe label for this act, but they incorporate a lot of jazz into their sound, as well as weirder, more experimental and improvisational elements. Fulguromatic has a rich and enthralling sound, and each song is impressively inventive.

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Album Review: Amplifier – Gargantuan

Band: Amplifier | Album: Gargantuan | Genre: Progressive rock, Space rock | Year: 2025

From: Manchester, UK | Label: Rockosmos

For fans of: Devin Townsend’s less metallic stuff, Porcupine Tree, latter-era Beatles

Bandcamp

Amplifier is a band that’s been around for a while, and they’ve often skirted the edges of this site’s purview. They’re primarily an alt-rock band, but they frequently include prog, psych, and space elements in their music. I’m especially fond of their 2011 release, The Octopus. Gargantuan is the band’s eighth studio album, and it sees them largely stick to their usual sound, but with a bit more space rock influence than on their last album. Things are grand and huge and often overblown here, but the band pulls it off quite well.

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Album Review: The Mars Volta – Lucro sucio; Los ojos del vacio

Band: The Mars Volta | Album: Lucro sucio; Los ojos del vacio | Genre: Art rock | Year: 2025

From: El Paso, USA | Label: Clouds Hill

Bandcamp

I was not super jazzed about this album in the period leading up to its release. The Mars Volta’s 2022 self-titled was not a good record. I savaged it as being underbaked, half-assed, and overall un-Voltaic. Supposedly, the acoustic re-recording of that album from 2023 is better, but I haven’t listened to it. I thought the underlying songwriting was weak enough that an aesthetic reshaping couldn’t save it.

TMV’s new album is Lucro sucio; Los ojos del vacio (Dirty Luck; the Eyes of Emptiness). It’s 18 songs long, so that daunted me a bit at first glance. But the total runtime is under 50 minutes, so it’s not as bad as I initially feared. I was dreading the prospect of something with the sound of their self-titled coupled with the length of Frances the Mute.

I’m happy to report my fears were largely misplaced. Lucro sucio is a huge improvement over The Mars Volta. The songs are relatively short, but they don’t suffer from the same underdeveloped qualities of their reunion record. Songs flow together smoothly, giving this a sense of cohesion the last album sorely lacked.

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Album Review: Frogg – Eclipse

Bad: Frogg | Album: Eclipse | Genre: Progressive death metal, Technical death metal | Year: 2025

From: New York, USA | Label: Independent

For fans of: Atheist, Atvm, Between the Buried and Me, Vektor

Bandcamp

I covered Frogg’s debut EP, A Reptilian Dystopia, back in 2020, and I really liked it. It was one of my favorite short releases of that year. In the intervening years, they’ve put out a handful of songs (all of which show up here), but now they’re finally back with their first LP.

Frogg’s brand of music is fast, dense, and powerful. I often have somewhat mixed feelings on tech-death bands, as it’s easy for such acts to get lost in their own intricate guitar lines. Frogg, though, demonstrates both a keen ear for melody and a certain compositional ambition often lacking elsewhere in this micro-genre.

Plus, just look at that album cover. 10/10, no notes.

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Album Review: Motorpsycho – Motorpsycho

Band: Motorpsycho | Album: Motorpsycho | Genre: Psychedelic rock, Progressive rock | Year: 2025

From: Trondheim, Norway | Label: Det Nordenfjeldske Grammofonselskab

For fans of: Amplifier, Gong, Dungen, Slift

Bandcamp

Motorpsycho is one of the most prolific bands in the modern prog scene. They’re not quite King Gizzard, but they’re not terribly far off, either. Including a handful of collaborations, their 2025 self-titled is their 28th full-length release. They’ve demonstrated a lot of range, both across their career and on individual records. Their 1991 debut is primarily a stoner metal album, for example. I wasn’t introduced to Motorpsycho until their sprawling 2017 album The Tower.

Motorpsycho sees the now-duo take an approach somewhat similar to The Tower. This is a long record with a few songs where the band really stretches out. Textures are rich, dreamy, and psychedelic, but flashes of heavier stuff crop up every now and again.

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Album Review: Steven Wilson – The Overview

Artist: Steven Wilson | Album: The Overview | Genre: Progressive rock | Year: 2025

From: Hertfordshire, UK | Label: Fiction Records

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Steven Wilson has described his new album, The Overview, as a return to longer-form writing. I’m not sure “return” is necessarily applicable here. Even To the Bone and The Future Bites had one song apiece that pushed 10 minutes. Though I suppose if he’s talking more specifically about songs long enough to cover one whole side of an LP, it has been a while. The last one of such length was “Raider II” off Grace for Drowning in 2011. And this is the first album to feature two such massive songs since The Sky Moves Sideways (though disc one of The Incident is billed as one hour-long song cycle).

This is also the first Steven Wilson solo album in a while I’ve gone into with good hopes. He has explicitly cited Tangerine Dream and Pink Floyd as influences he channeled here, as well as stating that the concept of The Overview is well-suited to progressive rock. (The concept behind this album is “the overview effect,” where astronauts viewing the Earth from above often report overwhelming emotion and a strong connection with all of humanity.)

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