Issue 2025-075
The Black Cat's Eye — Decrypting Dreams Of Weird Animals And Strange Objects
Ignacio Bernaola
If The Black Cat's Eye are still flying a bit under your radar, you're not alone. They're one of those bands quietly operating in that foggy zone where psychedelic rock, krautrock and a relaxed progressive mindset overlap, without making a big fuss about it. No hype, no grand statements, just long tracks, atmosphere, and a clear preference for letting the music breathe.
Decrypting Dreams Of Weird Animals And Strange Objects is very much cut from that cloth, and it feels like an album made by people who trust the listener's patience. I'm one of those... The record gets off to a really strong start with Hell Bent For Sæther, which is exactly how you want an album like this to open. Guitars kick things off with confidence, there's a proper sense of movement, and despite stretching past the ten-minute mark, it never feels like it's hanging around for the sake of it. Things evolve naturally, ideas come and go, and before you know it, you're already settled into the album's pace which is always a good sign.
From that point on, the record flows smoothly, without big spikes or sudden detours. The Black Cat's Eye clearly aren't interested in constant pays off or showy moments; this is more about locking into a mood and staying there. It's the kind of album that works best when you stop checking how long the tracks are and just let it run, preferably without too many distractions (this is not background music for answering emails).
In terms of sound, there are some familiar reference points that help to set the scene without defining the whole picture. You can hear echoes of krautrock repetition and forward motion, alongside classic psychedelic and space rock flavours that might bring Pink Floyd or Hawkwind to mind. That said, luckily this isn't a tribute act.
The album is mostly instrumental, with vocals appearing only from time to time, used more as an extra colour than as a lead feature but when they do show up, they actually feel like an event. Tracks like The Walls Of Crystal Keep and Unicorn bring in a slightly more melodic touch, while Sternenfels Space Gate shows how comfortable the band are with repetition, building momentum through subtle shifts rather than obvious changes.
Everywhere I Rest My Head The Ground Is Shifting is where everything really stretches out, slowly unfolding into a deeply immersive piece that feels designed to mess gently with your sense of time. The closing The Magic Balloon avoids any unnecessary drama, acting as a calm, slightly woozy landing rather than a big finale.
Decrypting Dreams Of Weird Animals And Strange Objects isn't a genre-defining masterpiece, and it doesn't pretend to be one. But it's a very solid, very enjoyable album that does a lot of things right and leaves you with that dangerous thought of "I should probably play that again”, which is usually how these records get under your skin. Very good album that definitely leaves you thinking that if this is where they're at now, the next one could be something special. I´m betting on it!
Innuendo — Don't Take Offence At My...
Jan Buddenberg
Innuendo is a solo project started in 2021 by multi-instrumentalist Tim Jakobi (guitars, ukelele, bass, keyboards, programming, percussion) in dedication to his love for intricate lyrics and (progressive) rock music. Hailing from Germany and accompanied by Rob Lundgren (lead, backing vocals) and Anika Nilles (drums, future Rush), it is Don't Take Offence At My... that marks his debut album.
Reading the project's name, I can't help but think of Queen's final album (before Freddie's death). And sure enough Queen is amongst Jakobi's many inspirations when it comes to down to composing. The most outspoken example being Gatekeepers. Next to powerful melodic rock, tight performances, and alternating mood swings, this brings a massively influenced Liar, Liar chorus which raw in sound propels one irrefutably back to Queen's progressive roots as explored on Queen I and Queen II. Expressive vocals and diverse guitar styles, with fast riffs and exciting melodic acrobatics, brings Tom Morello (Rage Against The Machine) and Rik Emmett (Triumph) to mind. This is however not where Jakobi's string-bending and songsmithery ends. As it turns out, he has quite a considerable amount of other musical aces up his sleeve.
The first one pulled is the instrumental Racing The Bull On Scottish Highway, which fuses fast tracked Van Halen extravaganza with dexterously driven Steve Morse fusion. In the end it brings the melodic approach of Xavier Boscher to mind.
The Boscher impression also surfaces in the beautifully flowing To Gently Breathe The Air At Lake Geneva. This time elegantly vented with a smooth touch that envisions guitar heroes like Steve Vai, Marcel Singor (Kayak), and John Petrucci (Dream Theater). The melodies flow gently forward, carrying the distinctive and appealing style of Michel Héroux's compositions.
Jakobi's second ace is on The Traveller. Bursting with musical ideas, it predominantly envisions early Queen and potent Thin Lizzy at first. Then it continues in alluring prog metal with a focus on melody, that often reminds me of Symphony X, thanks to Lundgren's powerful voice which firmly resonates with Russell Allen.
Thanks to those vocals, this thrilling Symphony X aspect also stands out in the excellent Passages. And even more so in National Republican Army. This one blasts open with rumbling bass and heavy bombastic prog metal underscored by classical piano, in spirit of early Pain Of Salvation. The tightly operating trinity of musicians relentlessly fire off contagious rounds of sublime prog metal and appealing symphonies.
Fully emptying his sleeves, it is the epic Island. Its five consecutive stages end Innuendo's debut on an overwhelming high. They're pulling out all the stops with fierce prog metal riffs akin to Savatage/TSO. In the first few stages, this leads to some animated Dream Theater virtuosity, coupled with glorious, organ-driven, Symphony X prog metal. Ethnic vocal parts also enforce memories of Myrath. The acoustic bridge displays spectacular melodic shredding, like Michael Romeo meets Rik Emmett. The triumphant conclusion has outstanding drum parts by Nilles. Rush fans still in doubt about Lee and Lifeson's choice on Nilles for their upcoming tour need only listen to this stunning composition to know that their decision is fully warranted and spot on!
At the moment, Innuendo's social media sites are still under construction. Which is something I can't state for this excellent rock solid debut. Displaying virtuoso musicianship, exceptional song smithery, fine production values, thoughtful lyrics, and a top-drawer mix of different guitar styles and techniques, Don't Take Offence At My... is an impressive, fully finished product that holds a lot of promise. Hopefully Jakobi finds time to record a follow-up at some point. Until then, I'll happily sit back, enjoy, and listen some more to this highly recommended album, which I heartily encourage prog metal fans to check out.
Neo Atlantis — Neo Atlantis
Owen Davies
Prog has more than its fair share of descriptive labels and subgenres. They include signposts like Canterbury Scene, jazz-rock / fusion, Krautrock, and space rock amongst others. I don't normally find these indicators that helpful when describing music as many prog albums do not fit neatly into a particular category.
Nevertheless, sometimes a descriptor really helps to suggest what the music might sound like. Certainly, the category of Symphonic prog (although arguably ill-defined and far-reaching) would aptly describe much of Neo Atlantis' eponymous debut album. More specifically comparisons with bands such as, Camel, Solaris and Focus might give an even more accurate and vivid impression of what a listener might experience and encounter.
Neo Atlantis were formed in 2019 in Kansai, Japan by drummer Hiromitsu "Jeff" Kaneko. Their self-titled debut album was originally released in Japan in 2023. During 2025 Masque records of Brazil licensed the album and have rereleased it with new packaging and artwork.
Masque have done a wonderful job and should be commended on getting this music out there once again. The sound quality of the release is excellent and the timeless quality of the music saturated with a classic retro symphonic prog sound and style speaks for itself.
The music is dominated by fluid guitar solos and sweeping synthesizer interludes. The bass is punchy and melodic and the drumming is busy and crisp. There were many occasions when the melodic tones of Kazuya "Leslie" Okumura guitar was comparable with the type of expressive playing that Andrew Latimer of Camel is renowned for.
The tunes are accessible and easy on the ear. They have a defined structure that seldom goes off-piste, or deviates into avant territories, or unexpected paths. This trait is both reassuring and a tad frustrating. Although I thoroughly enjoyed the music, I would have liked a little bit more unpredictability. I am not certain that it is an album that will reveal anything new after more than a dozen or so plays.
Nonetheless, there are plenty aspects of Neo Atlantis that are very satisfying and enjoyably rewarding. Recognizable themes drift in and out of several of the tunes. The album was originally conceived as a concept album. Therefore, the revisiting of some melodic aspects on several occasions makes sense and gives the album a satisfying feel of continuity.
The synthesizer flourishes of Ayako Asano are outstanding and give the album an identifiable flavour and provides many impressive musical passages. The buoyant exchanges between synth and guitar are an undoubted highlight. Their verve and panache reminded me of Solaris' music albeit without the flute.
The album begins with Sailing Ship Across the Sea. It begins with a gentle melodic Camel vibe, but later evolves into a heavier piece with some muscular guitar parts.
As well, as synths the album also features piano. Makoto Shirakawa is the principal pianist, but the release also features Megumi Yamauchi in a few tracks.
Enemy Attack On The Homeland is an interesting piece that features the piano. Its end section is quite out of place in the context of the overall accessible and melodic nature of much of the album. Set against a heavy guitar riff an improvised piano solo emerges and evolves. It's free flowing nature reminded me of Keith Tippett's exciting work in King Crimson's Lizard release. (King Crimson's newly released elemental mix edition highlights some of Tippett's work on Lizard to great effect).Whilst this comparison, is no doubt misguided, there can be no mistake when comparing Bermuda Triangle with elements of King Crimson.
Bermuda Triangle is the odd one out of the release. The ear caressing melodic approach of many of the compositions is ditched in favour of something much more powerful, but equally rewarding. Nevertheless, even Bermuda Triangle features a wonderful guitar solo that utilizes a whole range of rich tones that Latimer aficionado's would identify with and enjoy.
Bermuda Triangle channels many of the disturbing rhythmic qualities of Larks Tongues In Aspic and there were several points when the tune was remarkably similar in structure, sound, and form. Remarkably, when the pace slackens the tune also features an interlude with a Floydian like soundscape of keys, guitar and bass.
The closing tune has a cinematic quality, and it could be an imagined movie soundtrack. Interestingly, it also has some baroque elements with harpsichord styling. This offers a n interesting contrast when set against the extended screech howl guitar solo that follows. Unfortunately, in its latter stages the tune is marred by bell and siren sound effects. No doubt they illustrate something to do with the albums concept, but I found them somewhat superfluous.
Yet, Neo Atlantis is an enjoyable and accomplished release. It will appeal to listeners who enjoy wonderful guitar solos and the twisting tones of a well-played synth. It will certainly appeal to anybody who usually enjoys music associated within the wide parameters of symphonic prog.
Psychonaut — World Maker
Calum Gibson
Psychonaut have graced us once again with an album. Following on the success of 2022's Violate Consensus Reality, they have returned now in 2025 with World Maker. With 20 years' experience behind them, this is the group's 3rd full length effort. And judging by what some friends have been saying — it is a future classic. So, let's have a listen.
From the opening notes of World Maker, to the closing sounds of Endless Erosion, the album traps you. Melodic, ethereal, blisteringly heavy yet smooth and gentle. It has it all and touches every area perfectly. Technical licks abound between heavier chugs; enthralling cleans and harsh growls.
The band are exceptionally tight, with some seriously strong songwriting. Encompassing dark overtones, melded with catchy riffs, aggressive bridges and soothing moments of introspective calm. For example, we go from the crushingly heavy, borderline melodic death metal of You Are The Sky, and then seamlessly into the Pink Floyd-esque ...Everything Else Is Just The Weather.
Everything flows perfectly with a feeling of “a place for everything, and everything in its place”. Every riff, drumbeat, vocalisation is perfectly placed to keep you attached. The only downside, if it can be called that, is the old saying “time flies when you're having fun” applies here, and it feels that the album ends too soon, despite being nearly an hour long.
In short, it is an album of contrasts. Highs and lows, brutality and beauty, violence and peace. Filled to the brim with grooves, gripping songwriting and just enough accessibility to entice folk in, but enough metal to keep lovers of the heavy stuff as fans. If this doesn't feature in several end of year top 10s, I'll print this review and eat it.
Fans of Klone, Devin Townsend, Caligula's Horse and similar modern prog should give this a listen. After this album, I am thoroughly looking forward to seeing them at Damnation festival on November the 9th.
Tiger Moth Tales — Cocoon Live At Trading Boundaries
Greg Cummins
Tiger Moth Tales' new double live album, Cocoon Live At Trading Boundaries, is the sort of release that feels like a celebration, a retrospective, a warm hug and a slightly chaotic prog party all in one. It's a lovingly assembled snapshot of what Pete Jones does best: storytelling, theatricality, top-tier musicianship and the irresistible sense that he's having so much fun he cannot possibly stop releasing multiple versions of these songs.
This album is less “live record” and more “evening with Pete and friends,” made with the kind of affection that long-term fans will lap up like regulars who hear about free cocktails down at their local.
Recorded in the intimate, atmospheric surroundings of Trading Boundaries, the album captures something that many live records miss: presence. You can hear the room. You can feel the audience smiling. You can almost see Pete's grin when a gag or musical flourish lands the right way up.
The mix balances clarity and warmth — the sort of mix where the piano feels close enough to touch, the sax floats through the air like scented smoke and the guitars chime in crisply without ever drowning the storytelling.
Let me give you some song highlights.
Hygge has always been a favourite as it embraces melody with emotion and does it so damned well.
Tigers in the Butter has always been one of Pete Jones's most fantasia-charged pieces but live it becomes a full theatrical adventure. The guitars scamper and leap, the keyboards add these wonderful pastel washes of colour and Pete's vocals dance between innocent wonder and mischievous narrator.
The live tigers growl with more personality — helped along by some delightfully playful synth textures that give the whole track a “storybook brought to life” quality. It's one of the moments where you can hear the crowd collectively thinking, “Ah yes, this is why we love him.”
The Isle of Witches. Let's be honest: this track has always been a bit unhinged — in the best, most Pete Jones kind of way. Live, it becomes almost a mini stage play. Voices, sound effects, dramatic keyboard stabs, and a general feel that we've entered Pete's childhood imagination, and he's still delighted we're willing to follow him in. It's a perfect example of how unusual instrumentation makes this album sparkle.
The First Lament is where Pete's emotional range really blooms. The saxophone here isn't just decoration — it's practically another character. The opening lines sound like someone telling you a story with just breath and brass. When the guitar eventually joins in, it feels like a companion stepping forward to share the weight. It's one of the most moving tracks of the whole evening and easily one of the best arguments for releasing this live album in the first place.
Don't Let Go, Feels Alright. If you listen to this without at least some emotional reaction, congratulations: you are made of polished granite. The live version builds slowly, patiently, gorgeously — from tender piano to soaring vocals to a spacious instrumental middle section that might as well have “Please cry responsibly” printed on the sleeve. The sax comes back here too, lifting the hopeful final section into something luminous. It's the kind of performance that makes you stop whatever you're doing and just breathe it in.
One of the delights of this live release is hearing how the arrangements breathe differently:
The piano, Pete's signature instrument, is always warm and expressive, grounding everything, while the saxophone feels surprisingly emotional and is an essential component to those tracks in which it is featured. The acoustic guitar gives certain songs an intimate, around-the-campfire kind of glow while the electric guitar adds drama and flair when the stories take epic turns. Synths and special effects - these are the secret sauce. They're whimsical, eerie, nostalgic… sometimes all three at once. Finally, the bass and drums are always delivering tasteful and supportive embellishments but never overpowering proceedings. It's a masterclass in arranging a live show while keeping the core personality intact.
Cocoon Live At Trading Boundaries is the definitive “Pete Jones in a natural habitat” experience: funny, emotional, imaginative, musically rich, and bursting with personality.
It's the best kind of live album — one that doesn't just replay the studio tracks but reinterprets them, expands them and lets them breathe in a real room with real people. If you already love Cocoon, this is like seeing it in full colour. If you're new to Tiger Moth Tales, it's a near-perfect introduction — showing both the intimacy and the theatrical flair that makes Pete Jones so special.
Vibravoid — Remove The Ties
Jerry Kranitz
From Düsseldorf, Germany, Vibravoid have built a sizeable discography since at least back to 2000. Though their roots are in 60s psychedelia, the band variously blend pop-psych, acid-rock and space rock in ways that make them more than a mere retro band. From short, catchy acid-pop tunes, to lengthy freeform jams and covers of psychedelic classics, Vibravoid has mined a lot of territory.
Songs like Neustart and The Power Of Dreams are trademark Vibravoid. I love the way the music teeters around the middle region of the acid rock and pop-psych axis. Great songs with catchy hooks, power guitar chords, trippy leads, and enough creatively freaked out effects to make you want to fire up the hookah and fill the room with lava lamps and strobe lights. Your Revolution Is Dead is like an acid-anthem. I like the fuzzed out acid-surf vibe of Increasing The Pain, with incessantly pounding drums that command serious dance floor action. A State Of Mind recalls the most acid drenched of 60s garage-psych, feeling like Vibravoid synthesized the entirety of the Nuggets compilations. And the title track chugs along, creating a darkly intimidating vibe, enveloped by repetitive drone waves, serpentine riffs, and a valium-drenched, hallucinatory flow.
All outstanding songs though seasoned fans won't find anything particular different about them. Which is why my favorites were the two that seemed to tinker outside the usual Vibravoid box. Computer Dreams immediately brings to mind Kraftwerk. It's got that band's pulse and vibe though the sound is taken into more pop-psych realms. Based on the note in the promo sheet about this not being a Kraftwerk 'copy', the band must be sensitive about the analogy, though they needn't be. This is a refreshing take on the usual Kraftwerk influence. Vibravoid really soar into space on the rhythmically pounding Follow Me Follow You, including an extended instrumental passage that injects eccentric loops and delirious swirls of wigged out effects, and a melody that reminds me of Neu!'s Isi. It conjured up images of the 1960s UFO club filled with tripping dancers.
In summary, Remove The Ties serves up the usual solid set of well written, produced and executed songs we've come to expect from Vibravoid. It's more of the same for the most part, plus a couple welcome tunes that stray from the well-worn path. If you've not heard the band and are intrigued, you couldn't find a better place to start.
Daniel Vincent — Means Of Escape
Martin Burns
This new release by Daniel Vincent is interesting and challenging. He is a longstanding half of the duo The Resonance Association, who have had seven releases reviewed in these pages. Previously reviewed is one of his many solo releases, 2009's This Building Is Under Electronic Surveillance At All Times with Jim Corcoran's extremely positive response.
On Means of Escape Daniel Vincent plays all the instruments, mainly keys, electronics and programming as well as some fine guitar and vocals. The album is steeped in darkwave electronic, alt-rock, krautrock, psychedelic elements and prog rock. A nicely eclectic mix over which hovers the ghost of 1980s synth rock (Violator era Depeche Mode) and bass driven goth-rock.
The album commences with the dark pulsing bass of Far Beyond the End of the World featuring two great guitar solos, and Vincent's vocals that are strong and tuneful. This is like Radiohead covering one of Depeche Mode's more out-there songs. The album continues mixing songs with instrumental tracks. Obfuscation is a cracking instrumental. Guitar chords whirl and overlap each other, with propulsive bass and drums. It takes a breather for wordless choral voices and electronics before a chordal guitar solo breaks in.
Third up is another great Song-come-instrumental, The Waiting Room. It's song like structure has spoken word in place of singing, surrounded by atmospheric keys, bass and brushed cymbals that has the feel of Angelo Badalamenti's Twin Peaks soundtrack, earie and disturbing.
After the terrific trio of tracks that open Means Of Escape there is a marginal dip with some of the other tracks. Moment in the Sun is a ballad that does not suit Vincent's voice, though it does have a nice bluesy guitar solo, while the song Boy in Space is underwhelming attempt at a pop song. The quality soon returns though with Hubris/Defiance's Joy Division style bass sound and Radiohead inventiveness.
There are gut punching brutalness to the Nine Inch Nails echoing Red Flag. The two part title track, unfortunately split up in the running order in my book, moves from moody krautrock electronics to the psyche blues of Pink Floyd in it languid and lush second part.
Daniel Vincent's Means Of Escape has so many ideas on it that you wonder why he isn't better known in the progressive world. The bands mentioned in comparisons in this review are meant as guide to the kind of sound world you are entering when listening to this mighty fine album.