(60:00; Erewän) Erewän is a singer-songwriter from Nice in France, and here he has returned with his second album, following from 2021’s ‘How Will All This End’. In many ways this is prog folk with influences here and there from Celtic, film scores, New Age, Ambient etc. Opening track “Greetings From Slumberland” reminds me somewhat of Iona, and I was really enjoying this instrumental as while it does somewhat meander along it is definitely pleasant with flute, mandolin and other instruments combining with the electric guitar to provide plenty of layers and support. I thought this was setting the scene for the rest of the album, but sadly this was the highlight, and it went downhill from there with far less emphasis on Celtic and more of prog folk with little direction. The main reason for my lack of enjoyment is that while Erewän is obviously a good musician who can write enjoyable material, he is not a very good singer, or at least his voice is an acquired taste which I do not apprec...

(44:41; Wild Thing Records) This is the first time I have come across Adelaide’s Dyssidia, who have been releasing material for more than a decade, and here have returned with their second album, five years after their debut, ‘Costly Signals’. The band are a quartet, Corey Davis (guitars), Neil Palmer (bass), Mitch Brackman (vocals) and Liam Weedall (drums): there are also keyboards on this release which are important to the overall sound, but I have no idea who provides these. What we have is hard-hitting technical progressive metal which is bringing in a great deal of influences and extremes and there is no doubt they have been listening a great deal to TessaracT, while one can only wonder how much impact co-producer Sam Vallen (Caligula’s Horse) had on the final sound. There is also no doubt to my ears that they have also been paying close attention to Protest the Hero, as Mitch has the ability to sing or growl with a huge range, similar in many ways to Rody Walker, while they have ...

(39:50; Astronomy Recording Music) Following on from 2022’s debut EP, ‘Consecuencias’, here we have the debut album from Spanish quintet Demo Rumudo, who comprise Álvaro Fernández ( alto sax, soprano sax, tenor sax, flute, EWI), Gabriel Visinel (guitars), Ángel Rodríguez (drums), Andrés Real (fretless bass, double bass) and Hugo Martsan (keyboards, programming). According to the band, “’Second Nature’ is an entirely instrumental album where progressive structures and jazz-driven freedom coexist naturally. The music moves with precision and intent, balancing technical depth with a strong emotional core.” While I think this is a great summary of what I am listening to, I would actually argue that this is less JRF and way more “straight” jazz, whatever that is. This is one of those albums which is hugely complex and complicated, wonderfully layered and arranged, where everyone has a huge role in the overall proceedings yet at the same time is somehow relaxing and incredibly easy to listen...

(66:00; Ma.Ra.Cash Records) This album has been creating quite a few waves in the prog scene, so I thought I ought to check it out. Daal are an Italian duo formed by DAvide Guidoni and ALfio Costa, and since their debut in 2009 have been fairly active releasing both this, their eighth album, and ‘Live: Waves from the Underground’, their ninth, in 2025. The line-up is the same as it has been for the last few releases with Alfio Costa (piano, Rhodes piano, Hammond organ, Mellotron, Minimoog, Moog Sub-37, Roli Seaboard and other synths) and Davide Guidoni (drums, acoustic percussions, noises and samplers) joined by Ettore Salati (guitars) and Bobo Aiolfi (basses). They are often an instrumental act, but this time there are two songs which have vocals, care of Joe Sal and Alphabeard. According to ProgArchives, reviewers/raters have their other 2025 album at #24 in the top albums of 2025, with this being at #36, but to be honest I just don’t get it at all. There are some reviewers who say h...

(139:00; Crime Records) SPOILER ALERT: In this review I will be discussing some of the storyline and participants, so if you want to listen to the album without this information then just be aware this is the third in the ‘Professor King’ trilogy but in many ways should more accurately be thought of as a sequel to ‘Alchemy’ and if you enjoyed those then this is essential.  Clive and I have known each other for more than 30 years and I have always followed his musical path with interest as he has never been content with staying in just one area, but has spread his talents wide, as a composer, librettist, musician, singer and producer. He has been involved in numerous projects, and I consider myself lucky that I saw him front Shadowland on the infamous ‘Lurve Ambassadors’ tour a million years ago, but I am always honest with my opinions so if I didn’t enjoy this then I would say so. However, this is a wonderful continuation of the story which commenced with 2013’s ‘Alchemy’, and was ...