(33:38; Nefarious Industries) US band Bassoon are out with the album "Succumbent", and progressive metal is probably the best manner in which to define the landscapes explored on this production. This all instrumental affair tends to alternate between more of a hard progressive rock expression with a booming dominant bass as the central element and a more distinct progressive metal orientation with the guitar riffs being more prominent, and the band also appear to be fond of adding a little bit of avant spice to their compositions. Off kilter rhythm details, unusual instrument details and atonal tendencies are all a part of the greater picture here. In addition we get noise constellations with similar properties to what one might find in free form jazz, quite a few more loose and open passages that come with a bit more of an improvised feel to them as well as several elegant, flowing and melodic side steps into more of a distinct jazzrock style along the way. An

(49:00; Scarlet Records) Italian band Eldritch are out with the album "Innervoid", and progressive metal is the style explored on this production. It is a fairly intense but also accessible variety of the form we get here, with a band that has a secure footing and foundation inside of the classic tradition of this form. This is progressive metal from the Dream Theater school of the tradition, but with a band that have replaced the numerous arrays of instrument and structure virtuosity with more driving and high intensity escapades instead, trading intricate instrument movements with more nuanced shifts in riff constructions and dramatic shifts in pace and intensity with transitions and alterations a bit more careful in form and function. Powerful and melodic lead vocals is an asset throughout, and while this isn't a band that wants to bask in a constant array of virtous instrumentality, those fond of shredding from the guitars and the keyboards of the kind t

(78:35; Liberation Hall) Progressive rock band Emerson, Lake & Palmer have existed in a few different variations over the years, and one of the short-lived variations of the band was the project 3 that came and went in the second half of the 1980's with US musician Robert Berry taking the place of Greg Lake. Berry has since revived the 3 project as his own creative vehicle and continued the legacy of that venture with further studio albums. This archival live album is with the original trio however, a production first released on CD in 2017 and with a vinyl version appearing now in 2023. It is interesting to hear this band skip back and forth between the more AOR-tinged original material they had on their sole studio album at the time and the more complex songs from ELP's earlier history, and the show as such indicates to me that the style and sound chosen for the 3 project was a very deliberate one. Otherwise I do find this live album to be one with more of a

(37:42; Rockshots Records) Italian band Raised By Haze are out with the album "Touch The Sky", and it'll probably be a matter of taste and subjective opinion in terms of classifying this album under classic rock or progressive rock. The songs tend to ebb and flow between gentler and more harder edged phases, where the former alternates between more straight forward semi-acoustic or light toned rock and a more jazz-oriented variety of the same while the latter tends to stay within a classic hard rock sound with deviations into a more playful and funk-oriented 70s type of hard rock. With occasional dips into landscapes closer to progressive metal in form, sound and function. Excellent, soul-filled lead vocals caters for the singing part of the experience, with a singer that probably would make quite an impression if she ever decided to hit the jazz circuit or pop music circuit too with her rich and emotionally laden well controlled singing voice. An album to

(54:32; Melodic Revolution Records) UK band Babal are out with the album "Let's Get Lucid", and progressive rock is the style explored on this production. It is a mildly chaotic and challenging album we have here, and one that probably and possibly are stretching out towards the more avant traditions of the form. While we do get several calm, careful and dreamladen arrangements and sections, we also get a number of parts, passages and sections defined and dominated by a more off kilter and quirky approach to vocals and instruments alike. With unusual vocal choices, odd rhythm details and scale movements and note and tone details pulled in from a bit off the beaten path. Elements from folk music find their way into these landscapes, some psychedelic seasoning is applied too, and in approach and execution I wouldn't be surprised if some tendencies from the jazz traditions have been influential either. If you enjoy progressive rock of the kind that is a bit

(8xCD Box Set, Spirit of Unicorn) So here we go on what is probably quite a pointless review, as if you don’t know who Wetton is then you will not be forking out the amount of money this costs, while if you are a diehard fan, you will simply have to get it as you will feel totally obliged. What we have here are 115 songs, more than 8 hours of music, containing all six of his studio albums (‘Caught In The Crossfire’, ‘Battle Lines’, ‘Arkangel’, ‘Sinister’, ‘Rock of Faith’, and ‘Raised In Captivity’) along with two CDs of previously unreleased material. Housed in a 12” by 12” box, this set includes a 64-page book with an introduction by Roger Dean and contains comprehensive sleeve notes by Nick Shilton, author of Wetton’s biography, “An Extraordinary Life”, published earlier this year. The book also features a raft of photographs taken from the Wetton archive and has been designed by John’s long-time friend, Michael Inns. That Wetton has been an incredibly important figure in the history

(16:48; Allgood Absolute Alternative Records) Here we have the latest four-track EP from dream folk artists French For Rabbits, which saw them return to the studio where twelve years ago earlier they recorded their debut EP, ‘Claimed by the Sea’. I only have the new songs to review, but if you get the limited-edition vinyl then one side is the new EP and the other is the debut, allowing you to hear a bookend of their career to date.  Last year’s album, ‘The Overland’, was nominated for the 2022 Taite Music Prize and was nothing short of a triumph, and I consider myself incredibly fortunate to have been lucky enough to see them on the consequent tour which was simply magical. Led by vocalist Brooke Singer (who also provides guitar and piano), the band comprises John Fitzgerald (electric guitar), Penelope Esplin (vocals, synthesizer, who is also in the excellent Grawlixes), drummer Hikurangi Schaverien-Kaa, Phoebe Johnson (bass, vocals) and Rachelle Eastwood (flute) while here they have

(54:01; Strangiato Records) Track list: 1. The Opening 6:23 2. Are You In 5:28 3. Twisted Reality 7:15 4. Restless 7:18 5. Walking with You 6:43 6. Fragile 5:02 7. Lord of the Miracles 15:52 Line-up: Mathieu Spaeter - guitars Vladislav Reinfeldt - bass Andrus Lillepea - drums, percussion Priidik Soon - flute Edward Soon - cello Hendrik Soon - violin Indrek Patte - vocals, keyboards, arrangements Prolusion. Estonian artist Indrek Patte has nurtured a solo career for the past decade and a bit, following many years of tenures in many bands active in his local music scene. A few years have gone by since his most recent solo album was out, and he makes a welcome return now in the fall of 2023 with "In". This is the fourth studio album by Indrek Patte as a solo artist, and was released through the label Strangiato Records. Analysis. While I seem to recall that many of Patte's previous solo albums have differentiated a bit in style and orientation, this time around he has create

(117:28; Weltenblau) Track list: 1. Nichts Ist Vorbei 2:37 2. Bis zum Himmel. (I) Bis zum Himmel 3:59 3. Bis zum Himmel. (II) Wo Alles Begann 1:37 4. Tiefenland 7:17 5. Verloren 4:52 6. Die Stille Nach dem Schrei. (I) Dein Leben 4:32 7. Die Stille Nach dem Schrei. (II) ... Zu Lieben 1:29 8. Die Stille Nach dem Schrei. (III) In der Stille Nach dem Schrei 5:28 9. Kleine Seele 2:48 10. Frei Sehn. (I) Spiel Mit dem Feuer 3:34 11. Frei Sehn. (II) Frei Sehn 3:44 12. Frei Sehn. (III) Leuchtende Schatten 2:19 13. Die Endlichkeit der Welt 2:29 14. Schattenland. (I) Vortraum 4:21 15. Schattenland. (II) Limbus 2:58 16. Schattenland. (III) Zwischenland 3:50 17. Schattenland. (IV) Leben in Dir 6:06 - Bonus Tracks: 18. Frei Sein 0:58 19. Nicht Ist Vorbei 0:46 20. Frei Sein (Edit) 3:30 21. Am Vulkan (Skjalbreidur) 1:48 22. Insel (Demo) 4:35 23. Die Stille Vor Dem Sturm 1:33 24. Mein Weg (Demo) 3:22 25. In Limbo 1:45 26. Karfreitag 1:19 27. Die Endlichkeit der Welt (Demo) 1:41 28. Mein Weg (Gitarre) 1

(47:05; Poor Genetic Material) Track list: 1. The Colour of Happiness 4:55 2. Elsewhere 15:20 3. The Star 5:36 4. Take-Off 5:36 5. Comfort and Pain 3:46 6. Pages Turning 4:40 7. Stargazing 7:12 Line-up: Phil Griffiths - vocals Stefan Glomb - guitars, bass Philipp Jaehne - piano, organ, synthesizers, mellotron, programming Prolusion. German band Poor Genetic Material have been a feature of the German progressive rock scene for almost a quarter of a century at this point, and the band has been releasing new material at a very steady pace throughout their career so far. If I have managed to count them all correctly, "Elsewhere" is the band's 12th studio effort, and was self released in the fall of 2023. Analysis. While I can't say that I recall the past productions I have encountered by this band in full detail, Poor Genetic Material is a band I do associate with being purveyors of a more atmospheric laden variety of progressive rock. And they continue to explore this fi

(86:50; Layered Reality Productions) Dutch band Dreamwalkers Inc are out with the album "The First Tragedy of Klahera", and progressive metal is the style explored on this production. It is a diverse and inclusive variety of the form we get in this case, but also a production with a firm foundation in classic era progressive metal. The songs tend to be guitar driven and guitar dominated in this case, but the landscapes explored will frequently venture outside of the metal realm as such. Gentler atmospheric laden sequences are numerous throughout, and sections with more of a folk or singer/songwriter influx are very much present here alongside ventures into more of a progressive rock style and orientation as well as a little bit of a flirt with jazz on a couple of occasions. The use of electronic effects is effective and efficient when present too, in this case used sparingly and to emphasize a more futuristic sounding mood and atmosphere. Otherwise majestic arra

(16:48; Allgood Absolute Alternative Records) New Zealand band French for Rabbits are out with the EP "In The End I Won't Be Coming Home", and this is a production I suspect might have a fair deal of appeal also among fans of progressive rock. Just where to categorize the landscapes explored on this production I am a bit unsure about, but semi-acoustic dream pop might not be too far away. These are songs that come with a high degree of pop music sensibility, with the piano as a dominant instrument. Elegant, careful and with a bit of a naive tinge to them, the liberal use of strings are present in a manner that comes across as borderline chamber music inspired. Folk music elements find their way into these landscapes too, with slight traces of psychedelia present here and there. In some way the mood and atmosphere in particular reminds me a little bit of the earlier albums by Kate Bush. While not similar in sound or style there is a bit of the same wide-eyed

(52:39; Svart Records) Norwegian band Strange New Dawn are out with the album "New Nights of Euphoria", and progressive metal is probably the best manner in which to define the landscapes explored on this production. My impression is that it is a fairly bombastic variety of atmospheric laden metal that is something of a foundation here, with massive and majestic arrangements with a distinct atmospheric laden type of arrangement that is the main dominant aspect of the compositions here. We do get a liberal array of ventures into a more intense and extreme metal flavored type of orientation too however, and quite a few dips and side steps into doom metal and traditional heavy metal landscapes too. Possibly with a little bit of thrash metal too. For the progressive side of the experience we also get gentler, dreamladen and acoustic or semi-acoustic sections as a recurring element, some of which include folk music elements, and passages that are a distinct contrast

(70:44; Apostasy Records) German band Maladie are out with the album "For We Are The Plague", and this is a production that might be of interest also for fans of progressive metal. With a good possibility for some people to feel that this is a band that falls inside of this categorization too. It is what one might describe as an experimental venture into the extreme metal universe we get on this album. The songs tend to be dynamic and expressive, more often than not with a few different fluctuations of the ebb and flow nature being present. We do get intense riff and rhythm barrages and distorted aggressive vocals, but sometimes backed by a saxophone with a sound and expression long time Hawkwind fans will find familiar sounding. Folk music elements may be used here and there, and gentler, dreamladen pastoral interludes are a part of the experience here. Some passages may touch upon landscapes a tad closer to Rammstein, traditional heavy metal and thrash metal s

(54:30; Bitume Prods) Greek band Misty Route released the album "Without A Trace" back in 2021, with the album given a label reissue now in the fall of 2023, and this is a production that might find interest also among a progressive rock interested audience. The band is promoted as existing inside of an alternative metal tradition, which is probably the most correct definition to give the landscapes explored here. The majority of the songs do exist within a constant ebb and flow movement however, seguing back and forth between gentler, light toned and dreamladen landscapes and sections defined and dominated by more powerful riffs with a distinct metal touch. The former tend to be elegant affairs, with a bit of a psychedelic touch at times, while the latter alternates between the more staccato barrages from the alternative metal tradition and a few different incarnations of a more traditional heavy metal expression. Similarities in form and function to a band li

(36:10; Rainburn) Indian band Rainburn are out with the album "Vignettes", and progressive rock is the style explored on this production. This is quite a diverse and dynamic production, and of the kind that isn't really appropriate to designate into any one subsection of the progressive rock universe, but it isn't quite an eclectic one in spirit either. Many different instances of more careful and dreamladen landscapes does dominate this album though, with gentle and atmospheric laden creations coexisting nicely with quirkier but still elegant forays into both psychedelic progressive rock, jazz and jazzrock and also a bit of alternative progressive rock. But we also get songs that hone in on the hard progressive rock tradition in part or in full, with a more alternative take of that subset of the genre being in focus, with a few lapses into progressive metal territories to boot. Hence this isn't a uniform experience as far a specific style and orient

(42:20; Apollon Records / Gymnocal Industries) Track list: 1. Obertoora 2:44 2. Genezees 9:27 3. Teezuck 4:51 4. Fear Thyself 1:46 5. Twin Snails 4:56 6. Upon a Star 3:22 7. Holy Fruit 3:25 8. A He-​Kuree Dream 4:09 9. Mama, Papa! 4:08 10. Destiny Calls 3:32 Line-up: Rahoola - keyboards, piano, guitars, bass, effects, programming, voices with: Margil Vallejo - voice Myrthala Bray - voice Göran Setitus - voice Laura Vargas - voice Viin Angelini - voice Francia Sofia - voice Luis Mora - voice Jesus Vergara - musical guest Prolusion. Mexican project A Flying Fish has been an active venture for almost a decade at this point, with at least one prior studio album released in addition to a small handful of EP productions. This year this project had their second album ready. This creation is called "El Pez Que Volo. Act I" and was jointly released by the labels Apollon Records  and Gymnocal Industries in the late fall of 2023. Prolusion. A Flying Fish is a venture that revolves aroun

(34:24; Apollon Records) Track list: 1. Newly Defeated 4:08 2. Bloodworks 4:21 3. Rapidly Changed 4:06 4. Order 4:02 5. Celestial Low 3:10 6. Bleacher 4:24 7. Biggest Upset 4:44 8. Square 5:29 Line-up: Cato Olaisen - drums Baard Kristinson - bass Kjartan Ericson - vocals, guitars Thomas Lönnheim - guitars Prolusion. Norwegian band Ribozyme can celebrate a quarter of a century as an active band now in 2023, with a good number of albums to their name and what appears to be a steadily growing reputation as a studio band as well as a live act. This fall they released their eighth album "Celestial Low" through Norwegian label Apollon Records. Analysis. While I do write this review for a progressive rock website, I really don't consider this to be a band that falls strictly within the parameters for prgoressive rock as such. It is, however, one of the many bands out there that makes use of elements we also encounter among progressive rock bands, and they will also approach the

(54:03; Frontiers Music) French project Lalu is out with the album "The Fish Who Wanted To Be King", and progressive rock is the style explored on this production. In this case we have an album that appear to follow the approach of something old and something new, something borrowed and perhaps also something blue. The song structures takes in a lot from classic era progressive rock, with an ebb and flow momentum, shifting, changing and developing sections and themes, and a bit of an inclusive approach to the different orientations and subsets of the form that have been included. But rather than emphasizing the different qualities the differences have been dampened a bit, and are explored and executed in a more accessible and melodic manner. You can hear parts that with more expressive and dominant keyboards would fit nicely into a symphonic progressive rock orientation, and much the same is the case for jazzrock, neo-progressive rock and even progressive metal.

(51:23; Basement Avatar Records) US band Proud Peasant are out with the album "Communion", and progressive rock is the style explored on this production. As a matter of fact, this is a band that approach and execute this style of music as it was 1975 all over again. The instruments have a vintage sound to them, the mix and production comes with tons of romantic vintage qualities, and the manner in which the songs ebb and flow with a gleeful and inclusive spirit is also very much in line with what progressive rock used to be back in its commercial heyday. Gentle pastoral sequences and elegant flirts with folk rock element coexist nicely with atmospheric laden landscapes with a dremladen quality here, but expressive excursions into more of a symphonic progressive rock oriented style is very much the order of the day too. Side steps into more loose and playful escapades with more of a jazzrock feel to them is a recurring element too, and the band haven't forgot

(19:06; Gingerbass) Ireland based project Gingerbass is out with the EP "Lake City Kid", and progressive rock is the style explored on this production. I find this all instrumental affair to be quite the captivating and compelling experience, with playful and elegant songs that have a fine balance between engaging and more broadly appealing sensibilities and subtly challenging instrument details and song developments that add depth and additional levels of interest for the more avid listeners out there. There's a plethora of possible references at play here, the majority of which I probably haven't even begun to identify, but I'd say that a band like Rush merits a mention here as well as King Crimson, with a possible tip of the hat in the direction of Santana and with an effective inclusion of jazzrock elements to boot. With the amalgam of these and other elements generally staying light and uplifting in spirit, elegant and sophisticated in execution

(18:34; Cosmic Jaguar) Ukraine band Cosmic Jaguar are out with the EP "The Order of the Jaguar Knights", and progressive metal is probably the best manner in which to define the landscapes explored on this production. I suspect that thrash metal may be the foundation for this band's various excursions, but what defines their compositions is a liberal array of changes and alterations in pace and intensity. Intense runs that cross over to extreme metal at times are just as important here as flowing and elegant interludes, and wedged in between those extremes we get an array of excursions into technically challenging and quirky territories, with both of those features combined more often than not. That the band have chosen to cover Cynic's 'Veil of Maya' is probably indicative of the direction they have chosen to orient themselves after, although for this cover as well as for their own originals with a bit less of a jazz-oriented expression than wha

(36:20; Dispar) Brazilian artist Dispar is out with the album "Autumn Ends", and progressive metal is the style explored on this production. Or possibly progressive rock. It is the post-something variety of music we get in this case, where an argument can be had on whether post-rock or post-metal is the most appropriate description. The majority of the compositions comes without any strictly defined metal elements, with big, nervous harmony overlays of a distinctly textured and somewhat cosmic nature being the dominant element, but unlike traditional post-rock we do not get the traditional ebb and flow or gradual build up. Instead we get dark and distorted vocals of the extreme metal variety. Vocals buried fairly deep in the mix admittedly, but still present as a dark contrast underneath. We do get occasional lapses into more of a straight forward metal display at times too, and gentler and occasionally borderline ambient atmospheric laden sections are a part o

(37:59; Subsound Records) UK band The Cortina Protocol are out with the album "The Cortina Protocol", and progressive rock is the style explored on this production. This album is quite the expressive creation, with a band that really have set out to challenge a few boundaries and conventions. Twisted and distorted sounds that create a very distinct psychedelic expression is a key element throughout, and floating sound textures that add a defined cosmic feel is a vital ingredient in that particular context. Off kilter and often gentle noise fragments are a part of many of the arrangements, and as undercurrents we have disharmonic elements that adds a little bit of a free form jazz flavoring to these escapades. With everything backed by tight, energetic and expressive rhythms that comes with a repetitive hypnotic execution combined with a bit of a jazz-inspired orientation. In many ways I'd say that this album has a krautrock feel to it, the kind of album one

(37:32; Take A Turn Records) US artist Burner Herzog is out with the album "Random Person", and this is a production that might also be of interest to fans of progressive rock. In terms of overall style and orientation this one is a bit difficult to place, but psychedelic rock strikes me as the most appropriate choice here. The music is distinctly retro-oriented throughout, and more often than not comes with a bit of a 60's vibe to it. On a couple of occasions reminding me a little bit of The Beatles, in other cases perhaps a bit closer to The Doors, and several of the songs makes me think of elements of The Doors mixed with other sources. Quite a few of the songs feature Americana elements too, with side steps towards the more down to Earth rock of Tom Petty, a little bit of soul appears too, and with garage rock an important ingredient especially in the final third or so of this production. Just about every song comes with a bit of a quirky and off kilter

(33:56; The Links) US band The Links are out with the album "Outside", and this is a production that might also be of interest to fans of progressive rock. At a core level, I guess this album in essence should be classified under the noise rock umbrella, as a recurring and often important element of the music here is the use of noise-infused guitar riffs and distorted guitar elements with that kind of feel to it, and occasionally with a bit of a punk tinge to them to boot. But a perhaps even more important element for the album as a whole is the use of more gentle sounding distorted floating and flowing guitar details and reverbs of the kind that adds a very distinct psychedelic vibe to the proceedings here, in this case at times with a bit of an Americana touch applied at times. Some of the rhythm details comes with a little bit of a jazz orientation too, and on quite a few of the songs we also get a similar kind of indie rock flavored nervous angst of the kin