Band: 55YT MQRT | Album:55YT MQRT | Genre: Space rock, Progressive rock | Bandcamp
This band’s name might look like a license plate number, but their sound isn’t nearly that ordinary. They play a vast, cosmic variety of heavy psych and prog, and the album art of an astronaut traveling through an ancient temple is weirdly fitting. The soundscapes are vast and huge, and everything has a massive amount of weight behind it. Even though this album is a bit on the long side, it works. This is the sort of music where stretching out benefits the band.
Score: 80/100
Band: AKU | Album:Solipsism | Genre: Jazz-fusion | Bandcamp
The six songs on Solipsism effortlessly blend jazz and progressive rock into a rich, organic melange. Each of the four members of the band puts on a great showing. Guitar is the lead instrument more often than not, but the keys are smartly deployed and add a great depth. The bass playing is punchy and energetic, and the drumming is skillful and varied.
My view of what is actually popular and successful is probably skewed by where I spend my time online. A lot of that time is on Reddit, and a not-insignificant portion of that time in turn is spent perusing r/progmetal. One of the most beloved bands on that subreddit is Caligula’s Horse, and if you’ve paid attention to my comments on other darlings of that subreddit (Nospūn, recent Leprous, and recent Haken) or compared my year-end list to theirs, it should come as little surprise that this is a band that’s never really clicked with me.
Their brand of prog metal is melodic and in the same general vein as Dream Theater. The vocals are clean, and there’s a strong emphasis on majestic climaxes. Everything is well-played, and the songs are smartly-structured, so I’m struggling to articulate why this record isn’t resonating with me. It’s not particularly derivative of any one act, but I suppose there’s not much that really stands out about it either. The production is a bit soupy, as the guitars bleed together into an indistinct distorted mush, and the vocals get swallowed up by the backing. That lack of definition can make it tough for individual elements to stand out.
Ellesmere is an Italian band whose music draws heavily from neo-prog and ‘80s arena rock. It’s big, loud, complex, and showy, and if you like acts like Marillion, IQ, or Asia, you’re probably going to like Ellesmere. The production isn’t great, and the vocals are fairly rough, but nevertheless it’s clear the music has some strong bones. The 12-minute title track is especially good, featuring smart structuring choices and dynamic musicianship.
Band: Everything Oscillating | Album:The Taboo Against Knowing Who You Are | Genre: Progressive rock | Bandcamp
Everything Oscillating is an instrumental act that focuses on flashy, technical shredding. Two of the three members are the guitarist and bassist for the Seattle-based band Moon Letters, whom I’ve covered a couple times. EO does a great job threading the needle of balancing flashy instrumental antics and engaging songwriting. The best moments here call to mind classic bombastic ‘90s and early ‘00s prog bands like Liquid Tension Experiment and Transatlantic, with a bit more of a classic heavy metal influence. Jazz and Latin flavors are included naturally, and the (abbreviated) instrumental cover of “Achilles’ Last Stand” is done well, too. (I feel like I could write a short essay on my love for the original version of that song, and EO absolutely does it justice here. It’s right up there with “Carouselambra”, “In the Light”, and “The Rain Song” among my favorite Led Zeppelin cuts. (I know, shocker, my favorite Zeppelin songs are all among the band’s longest.))
Score: 79/100
Artist: Peter Gabriel | Album:i/o | Genre: Art pop | Bandcamp
Peter Gabriel’s first new album in 20 years is enjoyable. It’s decent, fairly arty pop with some good melodies and interesting ideas. His vocal performance is strong, and the production is clean, crisp, and professional. Compositionally, though, it doesn’t stand out. Post-rock flavors weave themselves into Gabriel’s usual somewhat-spacey writing style. It’s competent but not particularly memorable. i/o comes in two different mixes: the so-called “bright-side” and “dark-side” mixes. These two mixes are not meaningfully different. Yes, if you listen to each song’s bright and dark version, you can tell them apart, but the differences between the two are insubstantial, surface-level, and borderline-gimmicky. Publications (especially prog-focused ones) that included this on their best-of 2023 lists make me question if they just reflexively put every release from major ‘70s players on their year-end lists, regardless of quality. (In fact, I know several included Yes’s abysmal The Quest on their 2021 lists, so I suppose they do.) If you want some keyboard-forward art-pop to put on in the background, i/o will work, but this album doesn’t leave a lasting impression.
Band: Frankie and the Witch Fingers | Album:Data Doom | Genre: Progressive rock, Krautrock | Bandcamp
Frankie and the Witch Fingers remind me a lot of Osees. The music is fierce, energetic, and shot-through with punk influences. But the riffs are usually weird and angular, with uncommon meters. Despite a lot of the overt, aggressive tendencies of this band, the music remains relatively accessible. There are plenty of melodic hooks and catchy riffs and themes. “Syster System” is one hell of an earworm, and “Doom Boom” has a groovy, King Gizzard-esque feel to it.
Score: 80/100
Band: Gong | Album:Unending Ascending | Genre: Progressive rock | Bandcamp
Once you get outside the very big names of progressive rock (Yes, Pink Floyd, Genesis, etc), Gong is one of the better-known second-echelon prog acts. I’m honestly not that familiar with their output beyond their Pot Head Pixie trilogy of the early 1970s. Looking over their Wikipedia article however, they have been incredibly prolific, with numerous projects labeled “So-and-so’s Gong” also being considered part of their oeuvre. Maybe I’ll eventually do a Gong Deep Dive, but seeing all the various Gong-adjacent projects makes that a daunting prospect. I’ve also discussed Yes being a ship of Theseus, but they ain’t got nothin’ on Gong. There’s a whole damn Wikipedia article on the topic. Just look at this graphic!
Moving onto the music of Unending Ascending, it’s pretty decent. It’s psychedelic in feel, with a lot of space rock elements. The playing and compositions are complex and thoughtful. There are some weaker moments, like the sleepy and overlong “Ship of Ishtar”, but most of the record manages to be engaging and entertaining. Despite none of the current members of Gong having been in the band prior to 2007, they do a great job of maintaining the spirit of the classic Gong sound.
The latest release from this Australian act draws upon the Central Asian folk-meets-progressive metal flavors of their last release and hones them even more. Here, much of the focus is on an Afghan instrument, the rubab. It lends a distinct folky and esoteric character to these three songs. This EP is both meditative and impactful, drawing from Afghan folk traditions and modern progressive and post-rock scenes.
Score: 74/100
Band: Mellow Beast | Album:Reactor | Genre: Space rock, Progressive rock | Bandcamp
Mellow Beast’s third release of the year is their strongest of the bunch. Many of this band’s releases are interconnected and tell the story of the land of Hyperion. As such, this release focuses on the story of a gnome trying to save Hyperion after a great cataclysm. The music is psychedelic and awash in effects-laden guitar lines. There’s a fine line being tread here between tight, focused, melodic passages and a desire to stretch things out and jam. It all works together excellently, and I love the way musical themes are occasionally repeated to give everything a sense of continuity.
CHROMB!’s appropriately-titled fifth album, Cinq, is a solid return to what I love about them. I wasn’t nuts about their 2020 release, Le livre des merveilles. One of their trademark characteristics is their frenetic, madcap energy, but that release saw them try to trim back those elements of their sound. Cinq has that irrepressible oddness and liveliness I love, but it’s been distilled into shorter, more focused compositions. As much as I love their sprawling 2016 release, 1000, sometimes you just want 33 minutes of to-the-point avant-prog.
Score: 78/100
Band: Howling Giant | Album:Glass Future | Genre: Heavy psych, Progressive rock | Bandcamp
Though nothing here matches the scope or scale of their 2020 epic, “Masamune”, Glass Future provides plenty of solid music. Hints of the band’s stoner roots can be heard in their riffs, but the arrangements are lush, thoughtful, and complex. Organ adds a powerful richness to the sound, and the vocal performances are strong. Melodies are catchy, yet inventive and unique. The songs on this album are all relatively short, but they don’t feel rushed.
Band: Antisoph | Album:non satis | Genre: Progressive metal | Bandcamp
This German band’s latest release is a pretty neat 3-song EP. The riffs are inventive, weird, and abstract, and the vocal performance is pretty strong as well. I like the bits of jazz and post-metal influence they included in this release. The one downside is that not all of these songs needed to exceed seven minutes.
Score: 72/100
Band: The Flood | Album:Tail of the Whale | Genre: Progressive rock | Bandcamp
I like this album a lot; probably more than most folks, and for pretty specific-to-me reasons. The music here is solid, even tossing aside my own specific fondness. It’s often slow-moving, lush, and impassioned. Jazz and classical touches are incorporated quite nicely. The vocals are a bit weak though, and I could see them grating on some people. But that’s honestly part of the reason why I like this album. When I was first really getting into progressive rock, I did it primarily through a number of now-long-dead-or-defunct Blogspot sites with links to Mediafire or Rapidshare. And The Flood reminds me a lot of the bands I discovered through those sites: rich, symphonic prog from mainland Europe with slightly-rough production and a vocalist with a noticeable accent. (For a few examples of bands like this, check out Prof. Wolfff, P2O5, Womega, or Phylter.) It’s a very specific sort of nostalgia from my high school and college years that I don’t expect many to relate to. But this is my site, and you’re here to read my opinion.
Band: Agusa | Album:Prima Materia | Genre: Progressive rock, Psychedelic rock | Bandcamp
The newest release from this (mostly) instrumental Swedish act sees them push in a more overtly psychedelic direction. In the opening track, blues flavors are prominent alongside jazzy flourishes. “Under bar himmel” has a dreamier feel to it; it strongly channels Camel’s gentlest moments. This cut features a great slow build, and it’s probably my favorite on the album. “Ur askan” is bouncy and organ-forward, and the closing “Så ock på jorden” has some fun, funky wah-wahed guitar that complements the band’s usual Camel-isms quite well. Parts of this album can run a bit long, but it’s overall another solid release from this band. If you like Camel or some of the jazzier classic prog acts, you’ll probably like this one a lot.
Bands like Bear Ghost always split my opinion. On the one hand, there is no denying that they’re fantastic musicians who write unique, creative music full of twists and surprises. On the other hand, there’s an overwhelming atmosphere of camp, corniness, and self-aware goofiness. I don’t need my prog to be as dour as King Crimson, but I’m not looking for something with its tongue always and invariably in-cheek. In that way, they remind me a lot of Devin Townsend, an artist for whom I have similarly mixed feelings. Despite their technical prowess, a lot of this material comes off as purposelessly weird-for-weirdness’s-sake. (The vocals are also just way too over-enunciated, and that gets under my skin. It reminds me of children’s music at times.) So, I would say, if you like the overt silliness of acts like Cheeto’s Magazine, or Devin Townsend’s cartoonier music (such as Z2), you’ll probably like this a lot. But if you’re like me, and you tend to be more annoyed than enthused by kitchen-sink weirdness, you might want to skip it.
Band: Baroness | Album:Stone | Genre: Progressive rock, Sludge metal | Bandcamp
Baroness’s first non-color-themed album is an improvement over the miserable Gold & Grey. The production is much better here; I can actually distinguish different instruments in the mix! The songwriting sees Baroness try a few new things, to mixed results. “Beneath the Rose” and “Choir” both see the band integrate some alt-metal influence, and “Magnolia” features some excellent evolution through its runtime. Stone still sees the band trying to be both pop-friendly radio rock and prog-sludge, and that prevents either side from truly shining.
Score: 71/100
Band: Giant the Vine | Album:A Chair at the Backdoor | Genre: Progressive rock, Post-rock | Bandcamp
This instrumental Italian act usually plays at an unhurried pace. This gives the music a chance to build and take its time in making its point. In their best moments, the channel strains of Porcupine Tree and Dream Theater’s less-metallic side. On the flip side, Giant the Vine has a tendency to let their music become aimless or repetitive. On the whole, this is decent, enjoyable instrumental prog, but the bloat does detract from it somewhat.
Band: Grant the Sun | Album:Voyage | Genre: Post-metal | Bandcamp
I liked this band’s 2019 EP, Sylvain, so when I saw they were putting out a full-length release, I made sure to put it on my docket. The music here is heavy and moody, occasionally with vocals. Guitar lines are both gritty and expansive, and there are a lot of wonderful textural contrasts. I’m not sure there are enough ideas here to warrant a full album, but this would have made a pretty decent long EP if they trimmed off a couple songs. The playing is great, and I’m especially fond of the guitar tones they chose. But post-metal is simply a genre where songs can quite easily start sounding too similar to one another for me.
Score: 73/100
Artist: Bobby Lee | Album:Endless Skyways | Genre: Krautrock, Americana | Bandcamp
This record is full of dreamy, floating guitar lines and airy, otherworldly atmospheres. The influences of acts like Neu! and Hawkwind are evident, but the occasional twang of slide guitar or folky acoustic strum helps keep this album in fairly unique territory. The blend of country, psychedelia, and krautrock is pulled off very well here.
The Elite Extremophile 