Neal Morse – The Restoration – Joseph, Part Two
A warning for die-hard fans only: Morse’s second Joseph instalment recycles every trademark of his 30-year catalogue.
A warning for die-hard fans only: Morse’s second Joseph instalment recycles every trademark of his 30-year catalogue.
A grief-soaked doom-tinged debut from a local band whose quality has nothing to envy internationally known acts.
A multi-instrumentalist guitar virtuoso proves progressive rock doesn’t need long songs — short, punchy tracks packed with technique.
A drummer’s album loaded with stellar guests, but held back by the same drummer’s constant urge to steal the spotlight.
A theatrical concept album blending guttural death metal with classical harmonies and hospital-drama narration.
A jazz-rock debut bankrolled by a Texan ex-executive and stacked with elite session guitarists, Andy Timmons especially.
A refined, distinguished German debut with real promise, though two tracks could have been left off entirely.
94 minutes of masked, pseudonymous jazz-metal from Stuttgart — demanding, sprawling, and technically flawless.
A Chilean band fuses rock with Andean roots music — charango, quena and triple metre — into what they call “rock de raíz”.
Sweden’s sweetest AOR sextet returns after a decade with a record that is wonderful in its first half and saccharine overkill in its second.
The former members of Dog Fashion Disco deliver a wild, genre-hopping record that is equal parts hilarious and unsettling.
A hard-to-classify, demanding ninth record from the Finnish trumpeter, closing with a genuinely disturbing final track.
A Swedish-in-York debut swinging between complex, Indukti-esque prog and softer folk detours — uneven but promising.
A Spanish duo’s smooth, sophisticated take on epic doom — reviewed without saying the word “epic” too many times.
The Barcelona band’s cleanest, most impeccably produced record yet, without losing the retro hard-rock edge that defines them.
21 years on, Gabriel’s dual-mix comeback record has flashes of brilliance but mostly recycles a formula that technology has hollowed out.
A Badalona rock band’s fifth album deserves more attention than it gets — a solid, varied record with nothing to envy its foreign peers.
A reshuffled line-up sends this concept album into deliberately lo-fi space-rock territory, anchored by the album’s real star: the bass.
The New Zealand drummer closes his four-volume series with a classically instrumented, deeply impressionistic jazz record.
Three prog heavyweights team up again for a sugary, onomatopoeia-heavy record that only really clicks on its rockier tracks.
The Bulgarian veterans, unchanged since 1998, deliver a consistent, dark, sixth record with an unusually intimate closer.
A Swedish keyboardist’s instrumental love letter to classic seventies prog, from Canterbury textures to Opeth-adjacent moments.
The legendary drummer’s restrained solo debut is a solid rock-metal record that never overdoes the drumming fireworks.
A prog-metal supergroup debut with an impressive résumé and an even better ear for gentle vocal melodies over punishing instrumentation.
The Riverside bassist’s electronic solo project leans hard into vintage synth sounds — charming at first, wearing thin by the end.
A 66-minute record with real gems, especially in its second half, but stretched well past the point of diminishing returns.
A Fripp-schooled guitarist and the former Porcupine Tree bassist trade ambient textures long-distance — demanding, uneven, occasionally rewarding.
The Arcade Fire cellist’s solo record is unpretentious chamber-post-rock, at its best when Chinese percussion takes over.
A Barcelona band’s third record is let down by heavy mastering compression — the songwriting and live energy deserved better.
A record of two halves: an entertaining, melodic first act undone by a saccharine, dated-sounding second one.
53 musicians later, Gong’s current line-up honours Daevid Allen’s legacy with a classicist, meditative record.
A Finnish trio’s second album is a superb, no-holds-barred statement — one of the bands to watch on the European prog scene.
A French keyboardist’s Saga- and Toto-inflected prog record, engaging and richly produced from start to finish.
The endlessly unpredictable Australians swap guitars for synths on a mostly forgettable electronic detour.
A Hull–Porto duo’s Muse-indebted debut album shows what long-distance songwriting by file transfer gains — and loses.
Spain’s biggest-selling thrash band delivers a punishing, 59-minute record that sticks to every genre standard — and does it very well.
A technically flawless quartet record that never quite shakes off the feeling of already-heard jazz-fusion ideas.
A lean 35-minute instrumental record that fuses jazz-rock and prog with impeccable taste — short, good, and twice as good for it.
A scathing takedown of Roger Waters’s spoken-word reinterpretation of Pink Floyd’s classic — an old man nobody asked to hear from, talking over every track.
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