Welcome back to The Elite Extremophile’s Top 50 Prog Albums of 2024. Today covers the top 25, and you can read about the first half in Part 1.
As a reminder, the music on this list covers December 2023 to November 2024. I spend much of December compiling and editing this list, so I push releases from that month into the following year’s list.
This is also a one-man operation, in regard to reviewing. (Many thanks to my proofreaders/editors, Kelci and Dan.) I’m sure there’s plenty of great music out there I simply didn’t get to. I’ve also got my own biases against certain styles and trends.
Band: Å | Album:Åtråvärld | Genre: Progressive rock, Folk rock | Bandcamp
The latest release from this Swedish act sounds almost as if late ‘70s Jethro Tull were from Scandinavia. It’s lightly-crunchy progressive folk rock with a healthy dose of flute. The mood here is a little hazier and more psychedelic than anything Tull ever did. Jazz elements are apparent, too, and this whole record has a wonderfully laid-back feel to it. This is very much music for walking through the woods. But, y’know, proggy.
This lovely little EP does an incredible job blending the smooth sounds of 1980s Japanese jazz with biting, acidic guitar tones and progressive songwriting. The three songs presented here provide a wonderful mix of sounds and moods, and the closing epic “Traveling Sleepers” is especially emotive and powerful.
Band: Celeste | Album:Echi di un Futuro Passato | Genre: Progressive rock | Bandcamp
Celeste is an Italian band that put out one album in 1976, disbanded, and then reunited in the late 2010s. Despite hailing from Italy, their style of prog has never felt particularly Italian. The music here (and throughout their discography) is light, breezy, and laid-back. Jazz flourishes are ample, and I really like the keyboard tones. This is a nice, relaxing bit of music to have on in the background, but it doesn’t really have enough to grab onto for active listening.
Score: 64/100
Band: Five the Hierophant | Album:Apeiron | Genre: Post-metal, Progressive metal | Bandcamp
Instrumental post-metal band Five the Hierophant blends biting, buzzy saxophone with sludgy guitars and plodding rhythms. In many ways, this band reminds me of a metallic, instrumental version of Van der Graaf Generator. They draw heavily from dark, jazz-influenced classic prog, like King Crimson and the aforementioned VdGG. Little bits of Middle Eastern music crop up on “Moon Over Ziggurat”, and the two-part “Tower of Silence” features unsettling drone and electronic elements. Though the songs are long, their length feels appropriate. The music is clearly carefully constructed, and no notes are wasted.
Band: Burnt Log | Album:Time Is a Heron Waiting for Prey | Genre: Progressive rock, Dream pop | Bandcamp
Burnt Log is a one-man project based out of Scotland. The songs skillfully combine intelligent, progressive song structures with floating, dreamy atmospheres. Melodies are smart but accessible, and there’s a vague sense of nostalgia to much of the music here. Touches of post-punk, new wave, and even post-rock crop up here and there. Some passages are perhaps a bit too dream-poppy for my taste, but this is still an overall solid and interesting release.
Score: 72/100
Band: FILESHAREMAIDEN | Album:Veuve | Genre: Progressive metal, Technical death metal | Bandcamp
The first full-length release from Quebecois death metallers File Share Maiden is a swirling, tangled thicket of finger-twisting riffs, guttural vocals, and even moments of surprising lightness. There are many exciting, fun passages that demonstrate both technical skills and songwriting smarts. However, this band also falls victim to the common excesses of other tech-death acts. Many songs are longer than they need to be, and a number of cuts border on purposelessness. That said, there’s still plenty of great material here.
Band: April 1830 | Album:The Adventures of Space Pig | Genre: Progressive rock | Bandcamp
This Philadelphian band claims to write songs about “pig failure,” and that alone grabbed my attention enough to give this record a spin. (For what it’s worth, the vocals are relatively low in the mix and somewhat willowy, so actual themes of pig failure can be hard to discern.) The music is energetic, often drawing from pop and punk. Certain passages remind me of Cardiacs, if Cardiacs were a very synth-forward, female-fronted band. It’s fun and inventive, and I had a good time listening to this.
Custard Flux’s fifth full length album is their first fully-electric endeavor. They’ve ditched their (mostly) acoustic schtick, and it has resulted in a pretty good release. The band tightened up their songwriting after 2022’s bloated-as-hell Phosphorus, and that renewed focus is appreciated. The music here is catchy and punchy, and the swirling, psychedelic textures are enjoyable. Hints of alternative rock crop up on occasion, too.
Dvne (presumably pronounced like “dune,” though Google Translate also tells me it’s Bosnian for “days ago”) is a Scottish quintet, and they’re one of the more talked-about bands on the parts of the Internet where I spend my time. Voidkind is their third full-length album, coming three years after their last release. Dvne is a band I’ve listened to and contemplated covering before, but for whatever reason Etemen Ænka, their 2021 album, just didn’t quite catch my fancy. (2021 was also an exceptionally good year for the type of music I like, so they had some stiff competition for my attention. 2024, in contrast, is shaping up to be a slower year for me.)
Disregarding my above disparaging of the current year, Voidkind is a legitimately good album. Dvne’s sludge metal roots have gone in a more atmospheric, post-metal-type direction. Normally, I’d be a bit wary about that–unless it’s preceding the word “punk,” the prefix “post-” is often an indicator there’s a higher risk I’ll be a bit bored–but the songwriting is smart, and the playing is crushing and dynamic.
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.
I pride myself on generally being pretty good at pronouncing non-English words reasonably closely to how they would be by a native speaker. (I make no claims about my ability to string together a coherent sentence, mind you.) However, the spelling systems of Irish and Scottish Gaelic truly baffle me. I’ve been told that they actually make a lot of sense and are fairly consistent, if you sit down and learn the conventions. I haven’t done that, though, so this band’s name, Sgàile, made me raise an eyebrow. It turns out it’s pronounced roughly “sky-lee,” (which is not too far off what I would have guessed), and it means “shade” in Scottish Gaelic.
Sgàile is the brainchild of multi-instrumentalist Tony Dunn, and Traverse the Bealach is their second full-length release. (“Bealach” means something like “way” or “road,” according to Google Translate.) There is an unmistakable Scottishness to this music, and there are some passing similarities to Saor, another notably Caledonian metal act. But where Saor tends to be more atmospheric and impressionistic, Sgàile’s riffs have a bit more punch and definition behind them.
Welcome to the first half of The Elite Extremophile’s Top 50 Prog Albums of 2023. This article covers spots 50-26, and the top 25 will follow soon!
As a reminder: the label of “2023” is not entirely accurate. The music featured here covers December 2022 through November 2023. Trying to find new music in the month of December is a fool’s errand, as much of my time during that month is occupied with writing and editing this list.
As I always say, I’m sure there are some excellent albums not included on my list. This site is a one-man operation (in relation to reviewing, that is; my editors, Kelci and Dan, have been tremendously helpful), and I simply cannot listen to everything that gets released. I also have my personal biases against some rather popular trends in prog. (*cough* djent *cough*)
2023 wound up being an excellent year for the type of music I enjoy. While it wasn’t necessarily difficult to whittle the list down to fifty entries, some of the albums that failed to make the cut for this year’s list probably could place as high as the low thirties in weaker years. (Such acts include Loma Baja, The Ocean, Legendry, and Lil Yachty.) I contemplated expanding the list, but this already takes up a ton of my time as it is. So, let’s get to it!
Welcome to the fifth annual installment of The Elite Extremophile’s Top Prog Releases. 2023 was an exceptional year for prog and prog-adjacent genres, and I was left with a glut of good music that wasn’t going to make my year-end lists. Even in less-stellar years, there are often records that I’m overall unimpressed with, which just so happen to have a great song or two on them. Thus, from a desire to not give such releases the short shrift, I’ve decided to highlight ten Cool Songs from this year.
This segment is meant to show off great tracks that otherwise do not appear on my year-end lists. If a release makes my best EPs or best albums list, it is disqualified from appearing in this particular segment.
The Elite Extremophile 