Last edition we had 7 to 10? This time it’s all equal with 4 instrumental vs. 4 vocal releases!

When Leprous vocal god Einar Solberg released his debut solo album “16” three years ago, it felt a bit like an experimental playing ground, a necessary side step that allowed him to dive into many different aspects of his musical creativity free from the stylistic focus (or, more negatively framed, limitations) he and his bandmates had manoeuvred themselves into over the last couple of Leprous albums. With “Vox Occulta”, his recently released second solo effort, he explores those cinematic vibes that were already present on “16” as hints here and there, to the absolute maximum, even bringing in The Norwegian Radio Orchestra on about half the songs to maximise on that effect. It’s becoming very clear that Einar has found his musical voice, at least the one that reflects his current stage in life. (You could also say he has reached his sophisticated Latin phase.) Granted, it’s not as occult or obscure as the title of the album would suggest, but there’s still an element of controlled, focused chaos in all these intricate orchestral arrangements and odd, syncopated rhythms that keeps things interesting. How this overly cinematic and dramatic (in the best sense) side of Einar will translate to the live stage remains to be seen. We will be able to witness it on the upcoming European tour in the fall already, preceded by two festival appearances in the summer at Midsummer Prog (NL) and Radar (UK) and ending at the legendary ProgPower Europe Festival in Baarlo (NL). Dario

It feels weird to say that “An Unnameable Desire” is only Plini’s third full length album, since the Australian guitar innovator has been around in the music circuit since debuting with ‘Moonflower’ in 2012 and has put out a lot of music ever since – just rarely in long form album format. Ten years after his full length debut “Handmade Cities”, this new one features two of his arguably heaviest tracks to date with ‘Canyon’ & ‘Manala’. But for me, it’s still his gorgeous fusion sensibilities that shines on gems like ‘Vespertine’ (with a wonderful keyboard solo by Dave Mackay), ‘Ruin’ or the final ‘The Time Will Pass Anyway’ that take hold of me gently and make me feel like I’m basking in pure, warm sunshine. “An Unnameable Desire” is without a doubt essential listening if you’re even remotely into heavy, intelligent instrumental music. Who knows, maybe you’ll come out with different favorites on it. Dario

How to include tons of Jazz influences into heavy instrumental music in a completely different manner is something Norwegian newcomers SPEKKHOGGER will show you on their exhilarating self-titled debut album. What their countrymates Shining called Blackjazz 16 years ago, the four musicians from Kristiansand call Apokalypse-jazz. Be prepared for some similarly controlled chaos and lots of dissonant fun that almost leaves you breathless.  Be it small under-three-minute miniatures like the opening ‘Ahab’ or the quick and dirty yet absolutely epic centerpiece ‘Atolla’, or the rather chill and melancholy 11-minute ‘Regnbyge’ with its slow-burning build-up: the compositions throughout the entirety of “SPEKKHOGGER” (“Killer Whale”) are absolutely gripping front to back. An apocalyptic roller-coaster ride that leaves you wanting more, even though you’re completely exhausted after the first ride already. Dario

20 years after the release of what I consider one of the greatest compositorial achievements in Symphonic Art Rock – Kotebel’s ‘Pentacle Suite’ – there’s another suite that feels completely like its natural successor: “PLEIADES SUITE”. And look, two of the musicians behind the PHAEDRUS project, Carlos G. Plaza and César G. Forero, were also the main guys behind Kotebel. This time completely instrumental, their take on an absolutely unique mix of Prog, Contemporary Classical spiced up with Jazz and Fusion bits strikes me as absolutely spellbinding! A true work of art that doesn’t end with the music alone – the cover painting by third band member Víctor Rodríguez enhances the conceptual nature of the album as much as the descriptions of all the 7 goddesses the parts of the suite were composed about. Absolutely unique stuff that deserves to be heard by a curious, adventurous audience from both a Prog/Fusion angle as well as Contemporary Classical aficionados. Dario

From one instrumental trio to another one – albeit with an entirely different instrumentation. Whereas the three members of PHAEDRUS seem to primarily work keyboards first, with some filling in with drums and bass/guitar stuff (see review above). Aziola Cry is comprised of Jason Blake (Warr guitar), Mike Milaniak (guitar) and Tommy Murray (drums), so their music heavily leans into the rhythmic side of things, especially with the tapped Warr Guitar as percussive glue connecting guitars and drums. Concluding his review of Aziola Cry’s previous album “The Ironic Divide” in 2021, our reviewer Bob hoped for a shorter span in between albums than the 14 years between albums number two and three. With “Dysphoria Ritual”, their fourth album is out now, and only five years after the previous one at that! This time, the playing time of the individual songs is more equally distributed across all of them  compared to its direct predecessor, and I must say, the six to eight minute range suits their instrumental storytelling style really well. Not quite as abstract as the “PLEIADES SUITE” above, “Dysphoria Ritual” showcases subtle complexity and accomplished songwriting innovation within a warm, clear production. An instrumental highlight without a doubt! Dario

After four instrumental albums, it’s high time to get back into some vocal territory, don’t you think? Three years after his debut album “Provenance”, Bergen (Norway) based artist Paulo Chavarría aka Ozul presents “Stillborn Hope Vol. I”, a narrative prequel to 2024’s “Man on the Shore”, which I must have missed somehow. But I can easily rectify that mistake by just putting it in the queue, which will provide the conceptual story in chronological order at that. The liner notes hint at a heavier third part of the trilogy, but for now I’m just quietly enjoying the hell out of the dark, semi-acoustic, cinematic melancholy between “Damnation” era Opeth and Floydian lead guitars. Really got me on the edge for the third part now. Dario

An eclectic concept album that goes from string quartet and Dark Suns-like vocal delicacy via some The Dear Hunter/Thank You Scientist like American Indie Prog vibes (‘Scavengers’/’Sycophant’) all the way to a sort of all out skate punk anthem (‘The Rakehell’), all over the course of very few songs. I guess that must be quite unheard of. Don’t quote me on that though, as I know nothing of that other genre. Shagohod are back at it again, five years after the release of their sophomore effort “Tin, Gold, Lead & Blood”, which seemed to gain my favor back then with an equally eclectic mix of influences. And their new one, entitled “A Curse That Hides the Door”, is seemingly pulling off that trick again, despite above mentioned style(s) that are not usually my go-to vibes. How the hell the two guys managed to weave in some growls and a concept about mummies of all things, I have absolutely no clue. Miraculously, it works rather well though. Their prog sides gains the upper hand as well with ‘In Linen, Entwined’ and the concluding titular suite, ending on quite an epic note, which is always welcome. Don’t act all surprised though if you’re suddenly confronted with some groovy Synthwave vibes for a change. Oh and that return of the string quartet works like a charm as well! But wait, there’s some more skate punk. At least it’s spiced up with some proper jazz this time…Dario

Truly genre-defining bands are scarce, but At the Gates have long solidified this claim by stamping their hometown’s name onto a style: The Gothenburg flavor of Melodic Death Metal (granted, In Flames and Dark Tranquillity also took part, forming a mighty triumvirate). A solid 36 years after the band’s formation, “The Ghost of a Future Dead” marks their 8th full length release and their first since 2021’s “The Nightmare of Being”. It is particularly emotionally charged by nature of founding frontman Tomas “Tompa” Lindberg’s passing shortly after recording the vocals for the album, after having already had a major surgery to his mouth to battle cancer. To pay respect, the posthumous release followed all of Lindberg’s wishes regarding title, sound, tracklist and artwork.

At the Gates has come a long way since the iconic “Slaughter of the Soul” (1995) – “The Ghost of Future Dead” is much more polished and melancholic at the expense of riffing prowess. Songs like ‘In Dark Distortion’ and ‘The Dissonant Void” evoke “posty” and atmospheric vibes. Nevertheless, the album is not short on the characteristic high-speed riffing (‘Of Interstellar Death’ comes to mind), shifting gears to form a proper dynamic. A sorrowful acoustic track, aptly named ‘Förgangliggheten’ (transience), sends us off to Tompa’s curtain call song “Black Hole Emission”. The mournful theme lasts throughout the album. Certainly a must-listen for fans, as well as an archetype for those looking for a present-day exhibit of the Gothenburg style. Bas