Best of 2025: Top 50 Prog Albums Part 1: 50-26

Welcome to The Elite Extremophile’s Top Prog Albums of 2025! As usual, this is a two-part list of 50 total entries. Part two is here.

As a reminder, the music on this list spans December 2024 through November 2025. Music from December 2025 will be on the 2026 list. I’m sure there is plenty of good music I missed, but when it comes to the reviewing, this is a one-man operation. (My proofreaders/editors, Kelci and Dan, have been very helpful, as always.) There are also certain trends and styles I simply don’t like very much.

2025 was a fantastic year for progressive rock and related genres. I was spoiled for choice with this list, and this may be the overall-strongest batch of recommendations I’ve given to date.

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Odds & Ends: December 29, 2025

Band: Doom Gong | Album: Megagong | Genre: Psychedelic rock | Bandcamp

Doom Gong’s latest record is by turns exhilarating and idyllic. The band nimbly alternates between speedy instrumental antics and moments of lush abstraction. In general, the tempo is upbeat, and the easiest stylistic comparison here would be King Gizzard. These guys have a bit more fuzz to them, often channeling Ty Segall and Ty Segall-adjacent acts, like Wand or Fuzz. The sound is maximal, often bordering on suffocating, but Doom Gong makes it work. 

Score: 82/100

Band: Eyes Twitch | Album: | Genre: Progressive metal | Bandcamp

The debut record from this instrumental duo is an engaging excursion. Riffs are speedy and complex, and song structures are often surprising. The synth inclusions are a lot of fun, and the band demonstrates a good knack for knowing when to take their foot off the gas for a moment.

Score: 80/100

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Album Review: Stuart Wicke – Rubáiyát of Omar Khayyám

Artist: Stuart Wicke | Album: Rubáiyát of Omar Khayyám | Genre: Progressive rock | Year: 2024

From: Louisville, USA | Label: Independent

For fans of: Blue Öyster Cult, Pink Floyd, The Decemberists’ proggier stuff

Bandcamp

Poetry isn’t really my thing, and that is borne out in my usual disinterest in lyrics. Obviously, though, poetry and lyrics speak strongly to some folks, and one of those folks is Kentuckian singer-songwriter Stuart Wicke. Rubáiyát of Omar Khayyám is Wicke’s eighth full-length release, coming just four months after his last effort. Consisting of just two long songs, each of them draws their lyrics from poetry.

Opening the album is “Song on the End of the World”, a three-part, 15-minute epic. Part two draws its inspiration from the poem of the same by Czesław Miłosz, and parts one and three are based on “America: A Prophecy” by poet William Blake.

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