The first two weeks of November: 16 explosive highlights!

Add a fourth part to three EPs and you’ll get an album, part 1. i Häxa’s self-titled debut album is finally complete. About “Part Two” I wrote: “Especially ‘The Well’ is a rare gem of shining, aching beauty, maybe even the most beautiful thing I’ve heard since A.A. Williams’ ‘The Echo’. About “Part Three” I wrote: “The clash of organic beauty and destructive, technological industrial noise seemingly culminates in the aptly titled ‘Destroy Everything’, but is that really the end? “Part Four” will conclude the i Häxa cycle when the self-titled debut album will be out on November 1st. Only then will we know if and how the destruction can be overcome.” Well, it can, but only once you get through the ‘Infernum’. The densest, deepest, darkest atmosphere you’ll find all year: that is “i Häxa”! Dario

Belgium’s Ice Sealed Eyes also combine their first three EPs with a few songs to a complete, full length debut album. “Altar” continues the atmospheric theme but adds some nasty djent and core brutality to the equation. The thematic thread that ties these two very different releases (i Häxa & Ice Sealed Eyes) together: transformation. What is it that sets “Altar” apart from the myriads of djent-core and Sleep Token clones though? Eclectic, varied songwriting that offers an astonishing amount of diversity to musical material that is as atmospherically cohesive as “Altar”. Add to that some goosebump-inducing moments filled with great emotional power, and you got yourself a clear stand-out debut album in a currently oversaturated genre that’s bound to make an impact. About “Vol.3: Laments” I wrote: “…‘Inner Wings’ that oscillates between serene beauty and nastiest breakdowns. And the best thing is: this dichotomy never feels like a trope used because it’s currently ‘in’ or ‘the thing to do in the scene’. These compositions ooze emotions, sincerity and gravity.” Couldn’t have said it any better about the whole of “Altar” now. Dario

Coming out of nowhere, Finnish prog metal band Coma Control drop their debut album “Perennial“, and it is an absolute slapper! Lots of really fun passages, solid production, and great musicianship. From the early instance, I was hearing a decent amount of Opeth influence, but as it progressed, I started to hear more Between the Buried and Me and Haken in their sound; definitely on the heavier side of things. These guys manage to still push to grasp a bit of their own identity, and this is a promising start to find something even more focused later down their career. Whether it is truly original or not, this album is incredibly enjoyable and could reach lots of yearly lists for prog fans in 2024. Colin

Danish proggers VOLA continue their rising star path with their latest full-length release “Friend of a Phantom”. Their name derives from their characteristic, vastly open choruses with crystal-clear vocals, a concept that is evident as always. Mastermind Asger Mygind has named Meshuggah as a key inspiration for the band’s sound, with a degree of heaviness cleverly weaved into conventional and catchy compositions, to form a soundscape that can be described as “pop in djent’s clothing”.

In 2016, VOLA really struck a chord with their modern classic “Inmazes”, fusing these elements while maintaining a certain raw edge. 8 years and 3 albums later, this style has steadily continued to be refined. Even more than the predecessors “Applause from a Distant Crowd” (2018) and “Witness” (2021), “Friend of a Phantom” transmits an immediate sense of polish. The production is pristine, with modern low-tuned guitar chugs interposed with the reverb-laced depth of trance synths. While they are back with their trademark heavy riffing, this sense of flawlessness somewhat detracts from their former edge. VOLA definitely know how to groove with the best of ‘em, their prowess on display in ‘Paper Wolf’ or the stompy ‘Hollow Kid’. The drums courtesy of Adam Janzi are remarkable and add a unique groove and vibe. Ethereal vocal arrangements are among the most memorable facets of the album, with catchy hooks and peculiar lyrics to carry the tunes.

For the songwriting, VOLA’s concept has become so mature and focused (to put it positively), that it tends to feel formulaic. Their roots may be in the prog realm, but heavy riffing aside, the structures now scream “pop”. This will certainly open up opportunities for well-deserved broad range success. Connoisseurs of less conventional progs should still give the album a spin, to appreciate the sparkly brilliance – and if all else fails, “Inmazes” will remain available. Bas

“The Unseen” might be their ‘lightest’ record so far, yet it doesn’t lack any depth nor emotional impact. And this increased lightness provides more space for bassist Enzo Alfano and (returning) saxophone player Mathie Metzger to shine, which is a very welcome addition to the classic sound. Not that these elements were not present before, but they’re definitely a lot more pronounced now. So even though the degree of distortion in the guitars might have decreased significantly over the last ten years or so, Klone’s songwriting skills are still spot on, if a bit formulaic at times. (But what did my esteemed colleague Luis write about Soen once? “Awesome formulaic music is still awesome” or something along those lines…) Ok, ‘Spring’ is no ‘The Last Experience’,not by far, but since the band has been quite vocal about how “The Unseen” feels like the closing of a chapter for them, so who knows what innovations the new chapter of Klone has in store for us. Dario

It’s been a while since I’ve been really impressed by a new neo prog album, but the self-titled Chasmhead debut just did the trick. The contrasting vocals of Mary Hernando and Diane Galen (also responsible for the drums) on top of mastermind Paul Samber’s sprawling, epic synths and some Kyros colleagues lending their production and bass (Shelby Logan Warne) and mastering (Joey Frevola) skills make for an excellent result overall. Quite gorgeous and a much needed breath of fresh air I’ll be coming back to frequently in the days and weeks to come probably. Dario

I have seen Australian extreme proggers Alarum live twice already: once in 2008 and once in 2012, both times at ProgPower Europe. Problem is: I only really got into the more extreme facets of prog (and metal) around 2016. So while I found their shows certainly impressive back then, they failed to capture me fully, emotionally. Now they’re back with a new album called “Recontinue”, their 5th album in 32 years of band history. And now I can finally appreciate their whacky extreme thrash metal jazz. So now I really hope they’ll be back in Europe soon. I’ll be first row this time! Dario

Italian underground purveyors of eclectic extreme music of the I, Voidhanger label are churning out the records like crazy lately, but I got to admit: many of those are either too experimental or too extreme for my tastes. Belgian quartet Moss Upon The Skull somehow hit an excellent balance though between progginess and brutality while keeping that raw underground edge without sounding too cavernous with their sophomore album, “Quest For The Secret Fire”. Their self-chosen genre tag Organic Dissident Death Metal describes adequately what’s going on here I’d say. Dario

Sometimes there’s just a bit of Coldplay in ⅞ needed after that much of musical extremism in a row (see the two mini reviews just above this one). Luckily, Danish newcomers Isbjörg got us covered with their sophomore effort “Falter, Endure”. Alex wrote in his in depth review: “This band deserves a spotlight, and if you like melodic prog (Subsignal, Agent Fresco) with a lot of piano melodies and a bit of math guitar goodness, you should definitely check this album out. Some choruses might be even stuck in your head afterwards.” I’ve got nothing to add to that. Oh, maybe check out our interview as well right here. Dario

EXXASENS is definitely one of the more unique sounding post-rock bands, combining “spacey” synth sound with heavier riffs and drumming, especially the kicks. With “INFINITUM”, the band continued to deliver fresh, atmospheric and cosmic instrumental post rock. Inspired by different sci-fi themes, the 10 tracks definitely would shoot you into space: with enough melody and kicks to keep you interested. From ‘Tiempo’ and ‘This Will Destroy You’ (I wonder if it’s a reference to the legendary post-rockers), to more mellow and melodic closure ‘Infinitum’, it’s a space journey that you should not be missing, if you like instrumental and atmospheric post-rock. Alex

Has it really been nine years already since “+4626 – Comfort Zone”, Beardfish’s previous opus? The Swedish prog rock quartet is back in their classic Sjöblom/Zackrisson/Hansen/Östgren line-up, just like that, as if no time at all had passed. A reunion as important and with as much significance for classic Swedish progressive rock as last year’s sudden reappearance of Moon Safari I’d say. The whimsical Beardfish feel is back as well and makes for a somewhat nostalgic listen of “Songs For Beating Hearts”. Welcome back and thanks for some musical sunshine during these times when it’s getting colder and colder again outside… Dario

Well, if Beardfish from Sweden celebrate a bit of a retro proggy sound already, what’s going on with Rosalie Cunningham from the UK then? Oh dear, I think we have to go back even further, not only to the golden age in the 70s, but rather pre-Crimson times in the 60s. Way before anyone was using the term progressive rock at all. “To Shoot Another Day” is her third album and even though I did really enjoy Rosalie’s show with her band at Prognosis Festival 2023, I never got around to checking out the previous two. Probably a huge mistake judging by the staggering quality present on “To Shoot Another Day” from start to finish. This is so much fun, god damn. I only wonder how the hell it is possible that the opening title track was not announced to be used for an upcoming retro-James Bond movie yet… Dario

Post metal, part 1: with a band name like Drownship and an album title like “Tidal Passages”, the Hamburg based five-piece seems to carry on with the tradition of German post metal bands who like large bodies of water. There are some distinct sludgy undertones present here though, despite a lot of heartfelt, emotional clean vocals. The screamed vocals are a tad too screamo-screamy for my taste, but not so much as to be able to diminish my overall enjoyment of the album. I’ll definitely be keeping an eye on them. Dario

Tapping into the more primal, visceral, brutal side of post metal is Scottish 5-piece Codespeaker with their second album, “Scavenger”. Rather on the slower, doomy and sludgy side, the “Scavenger” crushes you with a certain relentless, bulldozing energy, while maintaining an all-encompassing oppressive mood through both the heavier and the ‘lighter’, atmospheric passages. Dario

Picking up the pace again with A Scar For The Wicked from Ottawa, Canada, and their first full length album, “Acolythus”, after releasing three EPs in the last twelve years. Labeled as deathcore on the Metal Archives (I didn’t even know deathcore bands were allowed there), I’d assume the technical death metal influence to be just as important for their sound as anything -core, if not more. High-speed drums, fast riffs and even faster, blistering, sometimes slightly neo-classical leads all played with absolute precision without sounding too sterile drives this nice extreme metal slap in the face home. Dario

Ever since touring with Pain of Salvation and collaborating with Anneke van Giersbergen, Icelandic indie folk trio Árstíðir have been kind of adopted by parts of the prog crowd. Or was it the other way around? Anyways, their biggest hit of sorts, on YouTube at least, has always been ‘Heyr himna smi​ð​ur’ though, ever since they uploaded an impromptu rendition of this oldest of Icelandic hymns inside the train station of Wuppertal 11 years ago. Having amassed 8 million views so far, it was only a matter of time for Daníel Auðunsson, Gunnar Már Jakobsson & Ragnar Ólafsson to tap further into that potential of a more widespread success. And with their exceptional and unique sense of musicality it was bound to become a thing of extraordinary beauty. Together with fourth vocalist, Pétur Oddbergur Heimisson, they finally delivered on that promise they gave all those years ago: “Vetrarsól”, an immaculate A Capella wonder of an album. Dario