Issue 2026-019
Chaos Over Cosmos — The Hypercosmic Paradox
Ignacio Bernaola
I have a simple test for any album: can I listen to it from start to finish without checking how much time is left? With The Hypercosmic Paradox I failed that test. Several times. And this record is barely 33 minutes long. Chaos Over Cosmos is the project of Polish guitarist Rafał Bowman, who brings in a different vocalist for each album. This time it is Taha Mohsin from Pakistan. The idea of a long distance, two-man operation with a rotating cast is good. The result, unfortunately, is not something I can fully get behind.
Bowman can play the guitar at a speed that will make your jaw drop for about thirty seconds. I will give him that. But after those thirty seconds, you start asking yourself: okay, but where is this going? Here it feels like the speed is the whole point. That said, there are occasional moments where things slow down slightly, and right there, in those brief passages, you can hear something more interesting. The guitar breathes a little, a melody starts to take shape, and suddenly you think: yes, this could be something.
Those moments are too rare, but they are there, and they hint at what this project could do with a bit more restraint, if I may say so.
Just to give you some very distant references, I will mention the album Accelerated Evolution, which in fact is less than half as accelerated as this one, but somehow it came to my mind. I wish it were half as good as that great album by Devin Townsend.
The programmed drums never let up. No dynamics, no surprises, just hammering at full speed from beginning to end, like a machine gun. And the vocals. I have nothing against harsh or extreme singing in general, but here Mohsin's delivery sounds disconnected from everything around it, like it belongs to a different album entirely.
I tried to find my way into it. I really did. Several times, trust me. If ultra technical, hyper speed prog metal with a sci-fi twist is your thing, Chaos Over Cosmos will probably deliver. Bowman is clearly talented, and those quieter moments suggest there is a more emotionally engaging album somewhere inside this project. I would like to hear it, and I encourage our readers to follow my simple test because maybe I'm totally wrong.
Echoverse — Fall Towards The Sky
Thomas Otten
Echoverse are a band hailing from Memphis, Tennessee, the "home of the blues" and the "birthplace of rock & troll". Quite a prestigious and memorable place to launch a music career, also if that music is progressive rock – and, to be more precise concerning Echoverse's music, a blend of AOR, hard, prog, and symphonic rock.
Fall Towards The Sky is the band's sophomore album, following Whispers Between Words, released in 2024. Echoverse, I learned, means that "the last word or syllable in a line is repeated or echoed underneath to form a rhyming line, normally ending as the last line being the title of the poem."
The band consist of Kyle Graves (lead vocals), Doug Bowers (keyboards, bass, guitars, backing vocals), also responsible for production, mixing, and mastering, Rob Perez (rhythm & lead guitars), and Kyle Fagala (drums). Echoverse are one of the bands that classify themselves as Christian (Progressive) Rock. "Exploring faith and the human condition through progressive rock", that is the credo established by themselves. From what I read and hear in the band's lyrics and what I learn from the press clipping coming with the release, themes centre around transformation and hope. The lyrics thus avoid the apocalyptic tone that can easily arise as well when dealing with biblical themes.
Against this background, my personal interpretation of the album's title is one of hope and shelter as well. Falling towards the sky is impossible due to gravity. If one interprets the sky, in a broader sense, as the hands of God, one may fall (or fail) but will still be caught whatsoever. Being a religious person and a believer myself, I have a basic affinity for such lyrical orientation, provided that these topics are presented without being preachy, as is the case on this album. One thing to bear in mind, anyway: the labelling "Christian" occurs when it comes to the lyrics, the music is and remains prog.
With respect to the music, it is striking for my ears that of the components mentioned above, the hard-rock-sounding elements are quite prominent. Although it is Rob Perez' riffing which contributes to this impression, I realised a good balance between the guitar and the keyboards, nonetheless. This fact plus the rhythm section playing a role that goes far beyond simply keeping the beat therefore make the music sound balanced, "well-rounded" and carefully crafted. Kyle Graves' vocals blend seamlessly into this overall concept without taking centre stage.
Djent-like guitar riffs, pounding bass lines, a crisp drum sound, and a roaring organ open this album with Radical Rebirth. This track is rather hard than progressive rock and brings Deep Purple to my mind. Philosophy Abounds continues in the same vein and reminds 80ies Rush, given the prominent role of the bass guitar, the high-pitched vocals and the presence of keyboards both as wall of sounds and soloing instruments. Catchy and earworm-like melodies and tunes are few and far between in the first three tracks, especially on 10 Plagues, the track I found the least appealing on the album: a straightforward hard rock number with slightly dissonant sounding phases, but good work by the organ.
In the second half, the album really picks up pace in terms of its progressive sound, depth, and variety. The Serpent & The Schism is venturing into prog metal territory, with an alteration of harder and softer parts, powerful riffing, and a great synthesizer solo, not unlike Vanden Plas, and Threshold, albeit again in a slightly less melodic way. Gold Bars differs from the rest of the songs due to its intensive use of acoustic guitar and, for me, is the strongest and most "pure prog" sounding track, varied, with multi-layered vocals, breaks, and great synthesizer parts plus a melodic (!) guitar solo. The title track Fall Towards The Sky again is rather hard rock/prog metal, the most accessible track on the album with a catchy refrain repeated intensively. The album closes with Here Today, Then A Mist, a ballad with strong vocals, and a folky touch.
It took me quite a while to make friends with this album. From an objective point of view, there is nothing at all wrong with it. The musicianship is excellent, the production flawless. Subjectively speaking, it did not really grab me at first. I was missing the catchy elements, the goose bumps-producing hooks, solos, and melodies, the accessibility, the breathtaking virtuosity.
Fortunately, repetitive listening reduced my state of indifference considerably, but it did not amount to any deep love on my part. Coincidentally, when starting this review, I just had listened to L.I.F.T., the new album by Neil Morse Band, the most prominently quoted name in connection with Christian-oriented progressive rock. The process of my getting to grips with Fall Towards The Sky is also reflected in the way these two albums came close to another in terms of my appreciation. In the beginning,
I ranked Fall Towards The Sky to be way behind L.I.F.T. in terms of variety, catchiness, and accessibility. The latter album stayed at my high level of appreciation, but the former one caught up steadily the more often I listened to it. To be honest, Fall Towards The Sky remains my clear runner-up, but I'm inclined to mention both names in the same breath for comparison's sake.
The same holds true concerning the music from peers of the Christian prog genre such as Glass Hammer, Flying Colours, Salem Hill, and Kerry Livgren (although all appear to be more sophisticated and prog-sounding to me) plus with respect to (lyrically) more traditionally oriented prog bands such as Kansas (without the violin), Kinetic Element, Pattern-Seeking Animals, and Echolyn. If someone looks at this release from a Christian progressive rock perspective, Fall Towards The Sky surely is a worthwhile completion of this fairly small niche category. If not, then this release, although not groundbreaking, remains worth to be given a serious consideration. "Get their music to your ear: hear!"
Exometry — Descent
Calum Gibson
Exometry formed in 2023 by drummer Anna Mylee, string smith Alen Fomichev and vocalist Jude Benjamin, and have now dropped their debut EPm Descent. Citing influences ranging from the post/nu-metal stylings of Deftones, to the prog-death appeal of Opeth, the trio have set themselves a high bar to reach.
As a debut, we are treated to a fantastic insight into what the future may bring for these folk. Introspective layers, backed up by tense rhythms ad intricate threads weaving between the instruments, all reinforced by vocals both soothing and unnerving.
Amathia builds that tension well and is filled with grooves and riffs, as well as some fantastic drum work that rolls across the track bringing both groove and a sense of growing foreboding. Foxes & Lions follows with an intro that bears the hallmarks of early 2000s alt prog – tightly wound atmospheres, soaring vocals that evoke a sense of dark possibilities and jagged riffing.
The second half begins with Event Horizon, keeps that dark and oppressive tone as it takes us through a haunting path, filled with ominous vocal lines and rhythm work. Building up, layers and textures are added until we are met with a raucous and energetic outro that contrasts the slower passages of the previous numbers perfectly. For the closer, we have the slow burner of Desiderium. Gentle and calming – the intro lures you in under a pretence of, before hitting you with a mix of aggression and melody. It borders that line between post and groove metal with an abundance of riffs and start-stop passages that keep you gripped and listening closely, while creating a vast landscape of textures that compliment and support one another.
For a debut, it is very impressive. Perfectly capturing what made the alt metal of Deftones, Tool, and early Klone so good, but crafting it in a way that isn't derivative but instead stamps their own mark on it. Highly recommended for any fans of that style.
Dusan Jevtovic — No Answer 2
Owen Davies
Dusan Jevtovic's latest release is a fascinating and thoroughly rewarding experience. (His real name is spelled as Jevtović, but using the c without the accent is probably a wise decision in marketing.)
No Answer 2 is a fitting continuation of the approach that was so satisfying in the No Answer studio album, the No Answer Project Live In Barcelona release, and also in the No Answer Live album.
Once again, it unites three exceptional musicians who bring skill, intensity, and imagination to every moment of the release.
Jevtović's guitar work is commanding throughout. Icy shards of jagged distortion cut through the air with razor-sharp articulation, while carefully scaffolded textures build, resolve, and collapse with striking control and precision.
Vasil Hadžimanov's rich keyboard flourishes decorate much of the music. Pulsating synthesiser embellishments propel the sound into unusual, sometimes uplifting ethereal spheres, while his piano passages glisten with elegance and clarity.
His natural tone provides a compelling foil to the muscular distortion that defines much of Jevtović's playing. The interplay between the two, particularly in the closing passages of Oneness and Op/ Sa exemplifies the trio's remarkable empathy and balance. A version of Op/ Sa also featured on Live in Barcelona , and an excellent video of that recording exists. However, the rendition on No Answer 2 is arguably even more rewarding.
Asaf Sirkis once again demonstrates why he is so highly regarded in jazz and fusion circles. His playing combines subtlety and ferocity with enviable dexterity. He consistently drives the music forward through a dazzling range of rhythmic colours. His work provides a dazzling counterbalance between the snarling haze of Jevtovic's guitar and the cascading lyricism of Hadziminov's piano.
The trio create a vibrant sonic triptych that touches and clasps, the intellect, the emotions, and the senses. Stunning complexity and spontaneous exuberance all have a role to play .Shifting harmonies and organically evolving textures form a vivid and immersive soundscape.
The album begins with Blues For A, it is an impressive composition. The tune is accessible yet expansive, and it encapsulates the trio's collective strengths. Its opening section is a masterclass in tonal control and the dynamic use of volume. It recalls the evocative moods shaped by Jan Akkerman in his work with Focus. When the dominant riff emerges, it cuts through the soundscape with ominous force. Hadžimanov's shimmering solo provides a glowing counterweight to balance the piece's underlying aggression.
Strasnicki is equally compelling and possesses exhilarating qualities. Its mystery unfolds through a sequence of contrasting moods. Repeated phrases fizz with energy before the guitar ascends into Fripp-like upper-register spirals. This is offset by the natural vitality and sparkling beauty of Hadžimanov's piano.
The piece moves from melody into dissonance, and structured improvisation. Later it resolves into a hypnotic synth-driven rhythmic marching pulse. This compelling section is emphasised and punctuated by twisted guitar interjections. The impact of this bold piece lingers long after the final note.
Another highlight is High Nine. It builds slowly around Jevtovic's cleanly struck guitar and has an imposing air and a heartfelt presence.
The overall sound quality of the release is excellent, and this is emphasised by Jevtović's clever and dynamic use of Harmonics in the introductory section of the piece.
The rest of the album is equally gratifying; it even gets a bit funky in the chunky limb-bending, riff-ridden concluding piece.
Every tune has something to commend it. Time spent in the trio's company simply flies by.
Dusan Jevtović's latest release is indeed, an absolutely captivating experience. The improvised portions of the tunes are simply great, and each player proficiency and inspirational contribution is unforgettable. No Answer 2 shows what can be accomplished when three like-minded musicians work with unhindered freedom and imagination. When that occurs, there is "no answer" to what can be achieved!
Soft Hearted Scientists — The Phantom Of Canton
Jerry Kranitz
Soft Hearted Scientists formed in Cardiff, Wales as the duo of Nathan Hall and Dylan Line. They began making cassette demos at Hall's house and have been releasing albums since 2005. My introduction to the band was the 2013 released Whatever Happened To The Soft Hearted Scientists, a compilation of songs from the band's first four albums, unreleased demos, and some new tracks. I was quickly smitten by the mystical blend of psychedelia, folk, pop-psych, traditional influences, progressive rock, and so much more that makes the music elusively complex yet delightfully accessible to all.
It's been some years since I've heard new music from the band, so I was eager to wrap my senses around their latest. Originally released in 2025, the Fruits de Mer label has reissued Soft Hearted Scientists' The Phantom Of Canton as a 3LP set. The original album plays across the first two LPs. The title track has a Beatles feel while being distinctly Soft Hearted Scientists. I think this is the first time I've made a band analogy when writing about Soft Hearted Scientists. Pop-psych meets folk-prog on the nearly nine-minute Foxgloves Song, with its magically catchy melodies, swooning dreaminess, and trippy effects. Soft Hearted Scientists are masters of melody and enchanting lyrics. A good example is the surreal lyricism of the jangly Hello, Hello...
An hour of my time, spent with you is sublime
Let's get together
Instead of venting our spleen, we are two Mexican beans
That jump forever
We're dragonflies on patrol, with fireflies in our souls
And peacock feathers
We'll train the fleas
Feed the bees
Cut some keys
Clean up sleaze
Other highlights include The Canyon (Smile Of The Sun Eyed Woman), which has an exhilarating good time bouncy groove. It just feels good. At nearly 12 minutes the song takes a few turns, with delicious instrumental passages and classic psych guitar soloing. Wonder Girl has a similar spring in its rhythmic step along with bits of carnivalesque ragtime. I like the classic prog keys on the otherwise whimsical pop-psych The Cloud Parade. Trapdoor In The Sky has a 1960s dreamy pop vibe and so much more, being yet another example of Soft Hearted Scientists' creatively considered compositions and arrangements. The Laws of Physics is like a prog inspired Celtic dance hall band. And Song For My Sunflower features mystical prog-psych that melds folk and pop.
The third LP includes a nearly 18-minute suite that sweeps the listener through a reprise medley of the entire album, plus three instrumental mixes of songs from the album. They're decent enough extras, but it's the full original album that is the heart and soul of this set. If you've never heard Soft Hearted Scientists, I can't recommend them highly enough. On a certain level I think of this band as pure pop but with a progressive rock penchant for complexity, as well as a psychedelic sense of exploration and freaky effects. Start with this album. Start anywhere in their catalogue. All their music is special and equally ideal introductions to the Soft Hearted Scientists' world.
Neil Wighton — The Muse
Edwin Roosjen
Neil Wighton is a guitar player from the UK. He is the guitar player for a band called Spriggan Mist, a band that plays melodic folk hard rock. Before reviewing the album The Muse, I listened to some tunes from Spriggan Mist and some previously released music by Neil Wighton as a solo artist. It holds some nice tunes, but it certainly did not blow me away. But when I put on The Muse, it was like I previously listened a completely different Neil Wighton. (I had to double-check!)
The Muse brings a different kind of music than his previously released singles and the albums with Spriggan Mist. It is a progressive rock album with lengthy compositions and many neo-prog elements, melodic music with sharp guitar solos and many dreamy soundscapes. The music is in the style of bands like BJH, Arena, Saga, Pendragon and IQ. When listening to The Muse you will hear a close resemblance with the music of these bands. On The Muse Neil himself plays most of the instruments, and he does lead and backing vocals. On the drums is Scott Hunter, and on a few songs we have some guest musicians: Dikajee on vocals and Jon Axon provides some guitar solos. On Cry An Ocean Neil got Peter Jones from Tiger Moth Tales to deliver the second synth solo.
The single Wings Of Gold holds so many familiar tunes and influences you might think you put on an old Pendragon or IQ album. The vocals of Dikajee combined with the melodic symphonic music also reminds me a lot of the projects of Clive Nolan. This song seamlessly crosses over from one part to the next interesting composition that brings all the stuff I like in symphonic rock.
On Precious Life the music sounds a lot like BJH. The song keeps a nice steady pace and holds some very fine guitar solos. I think Neil uses some sort of filter on the vocals because on Cry An Oceon his voice has a more natural feel to it. Cry An Ocean features Jon Axon on the guitar solos and Peter Jones contributes with a marvellous synth solo.
Among The Living Dead starts with a gentle intro and then turns into a more rock sound. During the heavy rock parts the sound can become a bit messy and in general for this album I prefer the parts where the music is more symphonic. The song is over ten minutes long, and there are certainly enough symphonic parts to make this an interesting song.
The album really impresses me so far, I did not expect to hear this kind of album when I listened to Neil Wighton's previous releases. The folky hard rock of his band Spriggan Mist is clearly of interest to some people, but my taste prefers listening to The Muse.
There'll Come A Time is a short song with some jazzy influences, this song has a more free-flowing sound. The song does not really have an ending, it feels like it fades out halfway during a solo, quite strange. The Secret closes the album in style, another composition that holds a lot of neoprog stuff ending with many melodies by guitar and keys. Especially the last part of the song should appeal to fans of Arena and IQ. Just like the previous song, this one has a fade at the end of the song that feels as if there is more to come.
The Muse is an album that after a few spins started to grow on me. First it felt an OK album, a familiar-sounding symphonic rock album. Lacking a descent ending to two song feels strange to me. After a few spins, though, The Muse came alive and I started liking it more and more.