Issue 2025-051
Cyklad — Angiportum
Jerry van Kooten
Cyklad's third album Angiportum has arrived. After Reflect and Offline I was looking forward to the progress of Björn Sandström's project.
Sandström wrote the music, and Saida Krause Söderström wrote all the lyrics and also did the artwork. Although Sandström is credited with "instruments" (mainly guitar and bass), there are a few important other players. Ronny Hemlin is the drummer on the album (he is a multi-instrumentalist) and the sole male vocalist. His voice can be warm and melodic as well as powerful, and sometimes reminds me of the singer of Disturbed.
Jenny Pettersson and Therese Thomsson provide the female vocals. Thomsson is of Swedish prog metal band Disdained. The credits do not mention who is singing on which tracks, but you hear two different voices. Together with Hemlin they form a good and powerful bunch. Several parts are sung by one vocalist, but others, like in The World Is Screaming, shows that Sandström has chosen a combination of voices that really work well together.
There is one more guest on the album: guitarist Per Nilsson provides solos on Intro and Combat. Nilsson plays in prog death metal band Scar Symmetry, plays in Kaipa and toured with Meshuggah.
On the previous Cyklad albums, there was a strong focus on the storytelling and the lyrics, giving off a musical vibe. It's sometimes a bit like a metal version of Clive Nolan's musicals. On this third album, this happens especially on the first and last tracks and Point Zero (the three longest tracks, coincidentally), where the music is sometimes tuned down a bit and arrangements are becoming sparser, to give more focus to the lyrics and vocal performance.
These three tracks take the opportunity to stretch things for atmosphere but also longer solos. The almost jazzy guitar solo in New Game is unexpectedly weird and welcome. Sandström really shows more sides to his musicianship and playing on here.
On the tracks in between, the arrangements are fuller. Here, the prog metal can shine in all its glory. Very melodic, good riffing, sometimes epic. Heavier overall, while even these have a lot of variation in the compositions. There are more vocal harmony arrangements on these tracks. The overall sound seems more important. This results in a varied album, which has a more balanced sound, but heavier.
The playing and the arrangements are very good, which was to be expected. It is giving a full sound for most of the album. My taste prefers the full sound over the focus on vocals, which is plentiful as well, and it feels less as a musical / concept album than the previous albums. This third album is a next step for Cyklad. Sandström is raising expectations...
The Foundation — Relations
Martin Burns
Keyboardist Ron Lammers' symphonic/neo-prog project The Foundation have released a new album Relations. A follow-up to the well-received debut album, 2023's Mask. Using the same style of instrumentation but with a personnel change or two, but the core cohort remains stable and Relations continues in the same general sound world. A sound world, however, that is slightly different as this time as the songs are written by various individual members of The Foundation.
Again, Relations, like the debut, has an overall theme from Ron Lammers of relationships. Relationships with ourselves, others, our world and with "our creator". This is not an overtly religious-themed album in the style of Neal Morse, but musically it shares DNA with Mr Morse. The overall feel is of those 70s classic albums by Genesis. Take the opening track Alpha for example. It starts with flute and Mellotron and a super synth melody circa Nursery Crime and Selling England By The Pound.
The Foundation (promo photo)
The album moves through different moods. A folk melody opens the instrumental Beauty Of Nature before it turns heavily symphonic. Backbone follows a similar pattern but starts with Hackett like classical acoustic guitar. Ses Lunettes Noires is a ballad, written and sung in confident French by vocalist Mark Smit.
It also has a lovely finely drawn guitar solo. The guitar work (Rinie Huigen and Jens van der Valk) throughout this album is superlative and matches the keyboard-laden sound with ease. Flute (Judith van der Valk) and violin (Masaki "Makkie" Shimakawa) add further colour to the supremely melodic prog on here. The longer tracks, Rubberband and Omega, display this to full effect.
However, and apologies to the rest of the musicians involved, the star for me of this particular show is the bass playing and Taurus pedal work of Gijs Koopman (former colleague of Rinie Huigen in the band Cliffhanger). He seems to be channelling Mike Rutherford circa The Lamb Lies Down On Broadway and Chris Squire at the same time. He never showboats and is in full sync with the melodies and the artful drumming of Jan Grijpstra.
If you are in the mood for highly melodic symphonic prog with a contemporary edge then have a listen to The Foundation's Relations and you won't go far wrong.
Duo Review
Philosophobia — The Constant Void
Calum Gibson
International collective Philosophobia formed back in the dark days of 2020, coming together in the midst of the pandemic to bring their brand of heavy prog to the world. Releasing their self-titled album in 2022 to praise and rave reviews through the prog world, they have now returned in 2025 with The Constant Void that they describe as “combining the strength of the debut album with a more modern, heavier twist”. If it meets the bar set by their debut, it is sure to be a future classic.
The album certainly makes use of the combined talents of the musicians. Blistering solos trade off with crushing riffs, rapid fire drumming lays the groundwork for some furious bouts of metal, while now and then gentle vocals and ballads breathe out the speakers. There is a hefty mix of dark and light through the album, while being firmly rooted in the power/prog side of things in terms of melodies and structure.
Philosophobia (promo photo)
The Forgotten Part II is the standout number, featuring the greatest ingredients from the previous tracks and combining it into a 20-minute-long epic of a closer. Dueling solos between keys and guitar, and melancholic vocals are laid against a backdrop of mournful piano and intricate rhythm work. Weaving from a delicate ballad to a balls-to-the-wall metal offering and then back to reprise- some of The Forgotten Part I, it is a wonderful closer to a great album.
In terms of criticism, some of the tracks are predictable. The album is power/prog and as such, you do expect the “epic solos” and “sad ballads” and some of the riffs are a bit lacking in a unique sound. But then again, this is still a young band only on their second album. If Opeth can do a 70s tribute album in the form of Heritage, then I think these guys are allowed to have some of their influence come through.
Fans of Kamelot (the drummer's other band), Powerwolf, Dream Theater and Stratovarius would probably enjoy them.
Andy Read
Anyone remember Greek prog-metal hopefuls Wastefall? Around the turn of the century they released a couple of decent albums in the style of prog-metal that was prevalent at that time, but with a clear Pain Of Salvation influence. Check out their second album Soulrain 21.
Well, this has a different name, but featuring Wastefall frontman Domenik Papaemmanouil, it is the natural successor to that band.
Philosophobia was actually created back in 2007 by long-time friends guitarist Andreas Ballnus and drummer Alex Landenburg. The project went on hiatus as the pair worked on other projects. Then in 2022 they regrouped to finish on a bunch of songs they originally wrote in 2007.
These formed the basis of Philosophobia's self-titled debut album. It rightly made my list of Top 20 albums of 2022.
In my original review, I concluded that the album was perfect for those who would enjoy a heavier Pain Of Salvation. And such an observation can equally apply to this, the band's second offering. Apart from the fact that this is even better.
Domenik, Andreas and Alex remain the core of the band, alongside Tobias Weißgerber on keyboards. Bassist Sebastian Heuckmann comes in to replace Kristoffer Gildenlöw, who played on the debut.
Philosophobia (promo photo)
There are not many bands producing albums in the traditional style of progressive-metal any more. The genre has moved onto an unclassifiable variety of different sounds. Yet, with The Constant Void, Philosophobia have shown that the older values and stylistic tendencies can still be highly relevant when delivered with such aplomb.
The eight songs offer a roller-coaster ride through various "progressive metal" styling. We have everything from extreme harsh vocals and blast beats to plaintive soulful vocals and melancholic acoustic moments. The band has evolved the songwriting and instrumental strengths of the debut, with a more modern and heavier twist. Yet the music never loses focus from the importance of the song.
There are common themes that repeat throughout the album, giving it a cohesive whole. It all flows beautifully. A proper album that succeeds as a sum of its many parts. Everything is beautifully played and placed. I love the guitar-work throughout. Andreas delivers some unforgettable riffs and solos. Domenik is one of the genre's most unique singers and uses his variety to keep the listener engaged. The closing 20-minute epic sums up everything perfectly.
It is unlikely that a better album in this traditional style of progressive-metal will be released in 2025. Fans of this style of music would be foolish not to give this their time. Superb.
Turtle Skull — Being Here
Jerry Kranitz
Turtle Skull are a guitar, bass, drums, synths quartet from Sydney, Australia. Being Here is their third album and my introduction to their music. The band characterise themselves as "neo-psych with indie and alt-pop sensibility". They do sound "modern", yet distinguish themselves by blending stoner, pop-psych and 70s hard rock elements.
The title track opens the set with a corrosively fuzzed guitar lead. When the band kick in we're treated to a brief stoned jam before the vocals transform it into stoner-inflected but beautifully melodic acid-pop-psych.
Three band members are credited with vocals and the lead and harmonies sound great. I could easily hear these vocals on jangly sunshine pop tunes. Apathy is an edgy hard rocker that's like a pop-psych Wolfmother with a dash of Led Zeppelin. Into The Sun is another fuzz rocking psychedelic pop infused hard rocker. The band stretch out a little with a synth and fluttery guitar exploration that explodes into a tightly rocking jam.
Bourgeoisie consists of caustic fuzz-drone guitar leads and lovely vocal harmonies that take on a stoner hard rock edge, adding spacey synth lines before reaching a deep space crescendo. It Starts With Me achieves Black Sabbath levels of stoned, yet Turtle Skull maintain an accessible swinging song structure that dovetails with the stoner vibes. Heavy As Hell brings to mind Donovan backed by a stoner-psych band. I know, crazy analogy, but the vocal melody gives the song that feel. Eventually it morphs into one of the most stoned jamming tunes of the set, though the synth melody gives it a strangely contrasting 60s edge.
Modern Mess has a stoner-psychedelic foundation yet is the most melodically tranquil song of the set. Finally, at nearly 9 minutes, Moon & Tide is the longest track. I like the melding of hard rock and psychedelic dreamland, with ripping acid-fuzz guitar licks and spacey synth lines. I especially like the segment with choral chanting vocals that are soon taken over by a mass of sludgy guitar and bass stoner riffage.
In summary, the songs on Being Here are well-written and catchy, but there's also lots of tasty jam segments. The playing is solid though it's the vocals that are Turtle Skull's strongest asset. The promo sheet cites analogies such as Black Moth Super Rainbow, Idles, Causa Sui, Spiritualized, and The Flaming Lips. I hear some Causa Sui and Spiritualized, and the guitar often reminded me of Stefan Koglek of Colour Haze. This is a good album that will appeal to a varied crowd due to Turtle Skull's blend of varied, through-the-ages styles.
Worlds Beyond — Rhapsody Of Life
Jan Buddenberg
The Dutch expression "de aanhouder wint" roughly translates to "persistence will pay in the end". For those admiring female-fronted symphonic prog-metal, this saying fully applies to the continuous efforts of the person behind the promotion of Worlds Beyond's second album towards DPRP.
And good on him for being so persistent. Because the conceptual Rhapsody Of Life, celebrating human existence through songs that narrate particular experiences from our collective lives, is a clear and thoroughly enjoyable winner.
Recorded with a crystalline sound that sets every instrument beautifully apart, Worlds Beyond certainly waste no time to exhibit their promising prowess with the outstanding opener Familiar Skies. Full of energy, elegant symphonic bombast, and with rocking violin, that envisions Robby Steinhardt (Kansas), this compact and catchy composition foremost evokes alluring memories of Winter In Eden, thanks to its rich orchestrated nature. Additional impressions are of After Forever on account of the song's immaculate contagious drive and the heavenly vocal performance of Valerie De Kempe, who has the voice of an angel.
Correction: angels! Over the course of the album her mighty impressive and emotionally touching soprano voice also brings Marcela Bovio (Ayreon), Sharon den Adel (Within Temptation), Simone Simons (Epica), and Charlotte Wessels (ex-Delain) effortlessly to mind.
And it doesn't end there. The purity of her voice in the adventurous symphonic Unwind Our Story, a song blessed with engaging pop sensibilities and contagious melodies in finer Kingfischer Sky tradition, envisions Farrah West of League Of Lights. Whereas Sleepless Dreams, an album highlight that may haunt my daydreams anytime, manages to unlock a swift memory of Kate Bush. And a recollection of Heather Findlay (Mostly Autumn, Zio) is added in the emotively touching semi-ballad The Calling. This song showcases symphonic arrangements completed by melancholic guitar work and violin that yields a beguiling John Holden meets IO Earth attraction.
With her voice rivalled in interpretations by the other musicians, it is the fiercely rocking Breaking Free that precedes this with full blasting symphonies and enrapturing bombastic melodies which in playful spirited likeness to Vanessa Mae massively appeals to my love for the violin. To my joy, this admiration is also fulfilled in the enchanting Beyond Reality, fully focused on melody, soaring high with orchestral grace and sublime uptempo dynamics.
Worlds Beyond fascinatingly up the classical ante with Enchantment, fully living up to the title's expectation. And even more so with the stunning The Moment. It's perfectly suited for classical radio stations (those airing Beethoven and Bach, I mean) and offers subtle orchestrations and elegant sadness until graceful guitar and gorgeous operatic vocals take hold of the melodies for an indulgent goosebumps moment. This is a sublime example of female-fronted prog. Especially with the glowing completeness of One With The Stars. A union of refined piano and symphonic splendour carry the emotional lead. Halfway, harmonising vocals by De Kempe are ever higher as a scorching guitar solo brightens up the beautiful serene atmospheres.
This brings us to the epic Rhapsody Of Life, the gratifying "saving the best for last" story concluding the album. With Worlds Beyond fully committed collectively, this magnum opus starts with spoken words and theatrical bombast that recalls Trans Siberian Orchestra. It offers up an impressive compelling decor of enthralling movements that alternates vigorous rock with grand opera styled symphonic designs, that fuelled by violin foremost recalls Savatage and aforementioned TSO. It is most satisfyingly completed by divine operatic vocals, spoken sound fragments in different languages, and outstanding guitar work. This song marks a remarkable finale to an equally remarkable album and is worth the price of admission alone.
If Rhapsody Of Life had been released by a band originally from the Netherlands, I would certainly have given it the highest possible praise of "On-Nederlands Goed". A rather peculiar saying that states an album to be so good that it seems to be foreign. Aka, "Un-Dutch Good". After many listens to this exceptional album, I definitely feel the need to use it still. But now in the correct way. Because as an absolute must-have/must-hear for fans of female-fronted symphonic prog, Worlds Beyond's massively impressive Rhapsody of Life is simply pure Belgian brilliance! Thanks for actively pointing that out to me, Mike!
Yak — The Pink Man & The Bishop
Mark Hughes
The Pink Man & The Bishop is the first release in 10 years by the instrumental band Yak, the follow-up to 2015's Quest For The Stones. This is the fourth studio album by the group, and much like the first album put out under the name, 2004's Dark Side Of The Duck is the sole work of keyboardist Martin Morgan.
However, if you think that the album is one of layers of electronic sounds akin to any unaccompanied solo albums of a whole host of famous, and not so famous, keyboard players, then you would be sorely mistaken. Morgan is very adept at producing very realistic sounding guitars, basses and drums from the use of Propeller Head's Reason software. He also has the skill to combine all the elements to make the recordings sound almost like it is an actual band playing together.
Yes, the drums are occasionally rather too precise, lacking a natural swing, but unless you concentrate, they largely come over as very natural, with some of the fills being astonishingly good considering their origins. Likewise, the guitars perhaps don't have the full tonal range of a stringed instrument, but again, unless you are focusing too hard on them, or are exceptionally pedantic, it is not an issue. A wide range of keyboard sounds have been utilised throughout, giving a wide range of sonic palettes for Morgan to play with.
All well and good, you might say, but what of the music? Well, there is no doubting that the progressive rock boxes are all firmly ticked to which you can add some joyous melodies and compositional flair. Crimson Camel presumably takes part of the piece's title from a band that provided inspiration for the piece, and I am not referring to King Crimson here. Yes, there are nods in the direction of Camel but only if one is familiar with some of the deeper cuts of that band, but overall the piece, and the entire album, has its own style and lots of originality.
Standout piece for me is Long Long Ago, a beautiful melody with dollops of exquisite sadness which blossoms out, in a Camelesque manner with consummate style. The 'drumming' on this piece is exceptionally worthy. The introduction to Maddox Street has string samples that sound like an enormous swarm of bees but don't worry they are rapidly ushered away by some stonking organ and ferocious 'guitar'.
Also included are two bonus tracks from the archives. Aragorn originally appeared on the first Yak album in 2004, but was re-recorded five years later with David Speight (drums) and Gary Bennett (bass) for a Tolkien-themed French Compilation album that was limited to 1000 copies and features no other artists that I have heard of! Keeping with Tolkien, Flight Of The Noldor was written a few years ago but has never been released previously.
As an aside, the other tracks excepting Aragorn were all written between 2020 and 2025 so it would not have been unreasonable to have included this piece on the main album. Although I suspect that to make it sit comfortably alongside the other six tracks it might have required a bit of editing or rearranging. Not that there' 's anything untoward about the piece, there are some fantastic moments and even a keyboard saxophone, but the flow could be a bit tighter.
All-in-all, this is an immensely enjoyable instrumental album with top notch compositions and performances. Morgan is to be congratulated for his vision and technical skills in creating a full band album by himself. A worthy addition to any music collection. And if that is not enough, all profits from sales of the album are being donated to an animal charity.