Issue 2026-026
BLKE — BLKE
Jerry Kranitz
BLKE are a dual guitar, bass, synthesizer, drums, and vocals quartet from Berlin, Germany. This self-titled set is their first full length album. The band describe themselves as "drawing from krautrock, noise rock, garage punk, and psychedelia", and I'd say that concisely sums up the BLKE sound.
How About I End Life opens with the dreamy aggression of shoegaze psychedelia. We've got a hypnotically bashing wall of guitars, a steadily flowing rhythmic pulse, and coarsely mesmerising vocals. This music is also similar to shoegaze in its compositional minimalism, creating simple yet spellbinding melodies that develop gradually and are intended to both lull and rock the listener. Up Tight is different, being a heavy guitar rocker with a motorik pulse, sounding very much like the liquid psychedelic hard rock of Vibravoid. BLKE soar into space on this one.
Never Try is similarly heavy but with a cavernous deep space atmosphere and wigged out, pulsating and screeching trip guitars, and vocals that have a whispery aggression, not unlike those on the classic Chrome albums. So Do I is the heaviest track of the set, being a valium dosed, psychedelic-metal dirge that's like a tank menacingly floating over everything in its path. Love those breathy demonic vocals.
Following the brief, shoegaze-rocking Interlude is Traffic, another spaced-out psychedelic slab of somnolent aggression. Heat is another song with a bit of a motorik pulse, plus cosmically metallic guitars that bob and weave as if reacting to the images in a liquid psychedelic lightshow. Satellite is pure space-punk rock 'n' roll and one of my favorites of the set. And Take It All is a steady rocker that closes the set.
In summary, BLKE will appeal to space rockers and fans of shoegaze psychedelia. The songs are all in a fairly compact 3 to 5 minutes. On the one hand, this is take-off-and-explore music, yet BLKE keep it short and sweet. They excel at balancing aggression and psychedelic mind massage. There's probably not enough variation for progressive rock fans. However, this could be just the thing for progheads to put on the headphones, close their eyes, and learn the joys of settling into a scrumptiously heavy psychedelic rocking dream world.
Deadnate — Mosaic
Calum Gibson
In the early years of the 2010s, Deadnate emerged from Denmark with a strong love for groove, riffs and heaviness. Described as having a similar sound to the titans of groove metal Gojira, the foursome spent their first 9 years crafting their art through singles and Eps before launching The North Sea in 2022, and now their sophomore album Mosaic in 2026.
From the very first hit of the ride bell, the aforementioned loves are clear. Groove, catchy riffs and crunchy melodies are everywhere. The Gojira influence is certainly present here, with a similar style of structure and elements of their sound through the music. But Deadnate aren't a carbon copy at all; they inject their own passion and touch to the sound to create something familiar, yet interesting and exciting.
Weaving through fast energies, to slower chugs with a mix of harsh and semi clean vocals – the group have created an interesting sound. With a definite modern sound, it also touches on some of the heavier elements from early 2000s metal, with slight touches of the more extreme edges of nu-metal/metalcore, while still staying firmly rooted in progressive metal.
The only downside really, is that despite a relatively short run time of 41 minutes, I do feel it does begin to drag a bit. While still very good, it does get a bit samey in some places so by the end I was getting a bit distracted. However, while that does sound like a criticism – it is important to remember that this is their second album. And everything so far shows great promise, talent and an immensely tight and talented band, they just maybe need to mix up some of the chugging.
But, between all the chugs, intricate drum fills and aggressive vocals, one thing does stand out. The album has a superb and crip sound for being independently produced. The quality is high and means no part of the music is lost in the mix at all. Every stop-start riff, intense drum pattern and rage filled lyric is perfectly clear and present.
So sure, while this may not be an album of the year for me – It would certainly get an honourable mention, and I'll be watching their career with great interest.
Galasphere 347 — The Synthax of Things
Sergey Nikulichev
It's on rare occasions that supergroups (of any genre) become more than sum of their parts, like ELP or UK, usually succumbing to fate of being either less-than-sum-of-their-parts (worst scenario, pick your own examples, but for me it's Them Crooked Vultures or Sons of Apollo) or precisely-the-sum-of-their-parts (basic scenario, like Karmakanic or The Aristocrats). The optimistic scenario, I guess, we can call, when supergroups do try something more or less different from where the main career of its members takes them.
Can Galasphere 347 be crowned as a new supergroup? I am yet hesitant to give my opinion. It's safe to say that the trio is formed by solid musicians, namely Steven James Bennett (Henry Fool, Tim Bowness), doing most of the instrumental and vocal work, Ketil Vestrum Einarsen (Jaga Jazzist, White Willow) on percussion and flute, and Mattias Olsson (Änglagård and many others) on drums. Einarsen and Olsson worked together in a number of projects including White Willow in the 00ies, and Kaukasus project in 2014, so Galasphere 347 can be regarded as a spiritual heir to Kaukasus, with Bennett stepping in to replace another accomplished multi-instrumentalist, Rhys Marsh.
Spiritual heir — yes. Creative heir — not quite. The music is hard to pinpoint (which is good for prog, right?) but if I find any similarities, it is precisely the golden decade of White Willow (Igniis Fatuus to Storm Season), which had combined very tender, lyrical motives with nearly avantgarde bits of weirdness, but this time with a modern twist.
As soon as electro-rock part of the opener Hiraeth Pt. 1 kicks in, echoes of Frost* circa Falling Satellites or Day and Night come into full force, and continue to rule for another ten minutes on Life As An Architect. The track is both mesmerising and weird, because it jumps so many times from digitalised aggressive sound production to very “white-willow”-ish epicness, supported by beautiful birdlike chirping of Einarsen's flute. The trio is joined here by none other than Jacob Holm-Lupo, the mastermind of White Willow himself, on guitars and bass.
The following track, also the longest of the album, Broken Bones, on the contrary, spreads psychedelic mist and juxtaposes very prominent walking bass by John Jowitt (Arena, IQ and many others) against swirls and gusts of saxophone. Bjorn Rijs of Airbag fame provides a calm, dreamy guitar solo with lots of sustain, as he can do like no other.
Nighthawks serves to remind us, what actually is Bennett's most well-known musical project, with Steven doing his best to channel his inner Tim Bowness vibes. This could have easily been a track from Henry Fool or any solo album from Tim. Perfephone hints at taking us back to a more upbeat mood with a soaring intro, but actually stays within the same “watercolour” ambiance. This is probably my favorite track on the album, because all the pieces fit together quite well, and the mood flows from moments of drama to moment of peace seamlessly. The beautiful synth opening of the title track is another highlight, which can make any proghead drool like a Saint-Bernard dog in front of a butcher shop.
If there are weaknesses on the album, I would name two. First, Bennett's vocals are not of the widest range and expression. His technique works nicely on calmer tracks, but wherever compositions require a more emotional approach, he does not reach the required peaks. Second, the album requires super-attentive listening, and the second you allow your attention drift elsewhere, the whole mosaic of themes dissolves into background music, that leaves few things in memory. It took me at least five listens to grasp the concept and the creative approach. Does that fit your schedule? Go on and pick the record if yes. The Syntax of Things is prog in the truest sense of word: hard to pinpoint, demanding and built almost entirely on nuances.
Karcius — Black Soul Sickness
Andy Read
In the space of seven albums and quarter of a century, Black Soul Sickness completes the unusual transformation of this Canadian band from mildly-engaging instrumental jazz-fusion, to prog-metal perfection.
DPRP has followed the story of Montreal-based quartet Karcius across all three decades. Formed in 2001, we slowly warmed to their take on instrumental jazz-prog fusion across their first three albums: Sphere, Kaleidoscope, and Episodes.
Then in 2012, The First Day saw the introduction of vocals and a sudden change of style into heavier prog-territory, which was developed six years later with The Fold and a live album recorded on tour in France.
However, it was their last album, Grey White Silver Yellow And Gold, that really brought this band to my attention. We no longer award scores at DPRP, but when we did, I rarely dished out perfect tens. Across 20+ years of reviewing for DPRP, I averaged just over one a year. However, Grey White Silver Yellow And Gold was an album that met the demands of a perfect score in every respect. It also headed our list of the Top 20 Heavy-Prog and Prog-Metal albums of 2022.
When I use the genre of progressive-metal to classify this album, it's a rough label. The music across the seven tracks does not display the hallmarks of the instrumental showmanship and flurry of complex time signatures, typified by the likes of Dream Theater, nor the genre-merging styles of Haken or Leprous. There is a undeniable complexity here and some incredible musicianship, but no showmanship. It's all about texture, mood, and atmosphere. Fates Warning would be a reasonable bed-fellow, especially from their APSOG and FWX period. More modern comparisons would be Apotheos, Earthside, Need and the heavier moments of Riverside and Pain of Salvation.
It is definitely the heaviest and darkest of the Karcius playbook. It is also a remarkably consistent album, but I shall pick three highlights.
We open with Wallow; a mini epic that keeps you guessing where it is going to wander throughout its 13 minutes. There are some wonderful moments in this song, but as across all the Karcius albums it is the voice of Sylvain Auclair that holds it all together. His voice is far from the traditional metal vocalist; no screams or wails here. There is a melodic sensibility around his mid-range, and noticeable touches of soul or aggression when appropriate (he plays a mean bass too). A great opener.
It's followed by the more insta-matic Out Of Nothing, built around some memorable vocal and instrumental hooks. I love the way it constantly adds layers and intensity from the opening voice and acoustic-guitar pairing.
My overall favourite is Rise. That opening guitar/vocal section gets me every time. The way the song blends different intensities is superb. Although the guitars do possess a far more metallic intent, this song always reminds me of Winger for its groove, the vocal textures, and the earworm hook.
If we still did scores, Black Soul Sickness would stand a very good chance of receiving another perfect mark. It is definitely on a par with its predecessor.
I hope the band can get get over to Europe for some live dates, as they now have two albums worth of brilliant songs that I would just love to hear performed in front of me. This is an album that deserves to be exposed to as many people as possible. A very highly recommended release that should equally delight fans of heavy-prog and the more accessible styles of prog-metal.
Julián Martínez — Ecos del Horizonte
Greg Cummins
Every once in a while, I play a new album by some musician I have never heard of. Sometimes, I shudder in disappointment due to the album's shortcomings. However, rarely does an album start playing when I receive a pleasing comment from the wife who remarks at how nice the album sounds while we are sitting at the dinner table enjoying our evening meal. "Yes dear, this guy is an unknown keyboardist from South America. I'm glad you enjoy it."
The latest offering from Argentine multi-instrumentalist Julián Martínez, titled Ecos del horizonte, is one of those rare records. While Martínez has dipped his toes into various symphonic waters in the past, this new release is a concentrated, all-keyboard masterclass that feels both like a vintage discovery and a modern revelation.
What strikes me immediately is the accessibility. Often, "all-keyboard" albums can veer into academic sterility or indulgent noodling, but Martínez has an uncanny ear for the "hook." This is a lush, melodic journey that favours evocative songwriting over mere technical display, although the technique on hand is, frankly, staggering.
The album opens with Descendientes del sol which serves as a manifesto for the record's sonic formula. It begins with a delicate piano motif quickly swallowed by a tidal wave of Mellotron pads. The way Martínez layers his textures is orchestral; he uses the electric harpsichord not just for rhythm, but to provide a sharp, staccato contrast to the soaring, flute-like synthesizer leads. The track builds with a sophisticated use of polyphonic counterpoint, making a single performer sound like a full ensemble.
The centrepiece for me, however, is the nine-minute epic Rapsodia nocturna. This is where Martínez really lets the "progressive" side of his nature breathe. It features a stunning interlocking bass line (performed on a synth-bass that has a wonderful, Moog-like growl) which provides the foundation for a series of shifting time signatures. About halfway through, the tempo pulls back for a lonely, melancholic piano etude that demonstrates his classical training. The transition from this quietude into a high-energy crescendo of Hammond-style organ swells and bright, sawtooth synth leads is nothing short of exhilarating.
Finally, the closing track, Fantasía para piano N° 9, strips away the electronic artifice entirely. It's a solo piano piece that highlights Martínez's gift for rubato and dynamic phrasing. It's the perfect song to close this amazing project, grounding the album's grander ambitions in pure, emotive melody.
Ecos del horizonte is a triumphant balance of 1970s aesthetics and contemporary production. It feels warm and organic, avoiding the "plastic" sound that haunts many modern digital keyboard projects.
This album will be a mandatory listen for fans of:
Tony Banks — particularly his ability to layer multiple keyboard textures to create a "wall of sound".
Rick Wakeman — for the sheer virtuosity and the seamless blending of classical structures with rock energy.
Patrick Moraz — for the occasional adventurous harmonic shifts and jazz-inflected flourishes.
Crucis — fans of the legendary Argentine prog scene will recognise that same fiery, melodic DNA.
I also cannot go past Larry Fast who trades under the name, Synergy, not so much for any duplication in sound but more so for the outrageous inventiveness that both musicians deliver.
If you appreciate music where the melody is king but the arrangements are complex enough to reward repeated listens, do not let this one pass you by. It's a gorgeous, albeit very short shimmering horizon of sound that I'll be revisiting for a long time. A stunning album by any measure and one that is receiving plenty of 5-star online reviews
Tritop — Tritop 120
Jan Buddenberg
When in March 2023 my prog-metal pal Peter introduced me to Tritop's debut, he escorted it with his typical qualification "een fijn stukje muziek", a eufemism that translates to "a fine piece of music". Five to ten minutes into Rise Of Kassandra I seconded this wholeheartedly.
Two years on, I can no longer ask Peter's opinion about Tritop's sophomore album Tritop 120, as he has gone to higher places by choice. However, I have every faith his enthused response would be fully identical. With the often used, flattering remark "more of the same" added to his imaginary praise.
He would have been partially right. Because Tritop 120 demonstrates that Tritop have improved their exciting songwriting and musicianship game by at least 20%. Recorded in a similar line-up featuring several guests, there are other differences of note that make this outstanding album less of the same and sometimes even more enjoyable than their first.
This does not yet apply to the short opening serenade of Rebuild Nothing which features the guesting Iacopo Di Traglia, who also composed this lovely piece of music, on classical guitar.
Neither is it for the first three minutes of Master Of Drama, which is a nod to their debut, as it opens with a distinctly 70s sound that echoes Genesis. Their fellow Americans Nightwinds come to mind thanks to the acoustic instrumentation, soothing harmonies, and the expressive lead vocals of Mattia Fagiolo.
Things rapidly start to develop rapidly from here.
No longer seeking attention through heavy prog-orientated melodies and complex arrangements that evoke Mental Fracture, this stunning composition starts to fully command from this point onward. First, there's a dazzling kaleidoscope of twisting, turning, time-signature-defying, prog-metal melodies held tightly together by Ivo Di Traglia. His rhythmic versatility relentlessly pushes the combustible melodies, reflecting the spirit of Dream Theater and Andromeda, onward. The second factor is the dramatic, Gentle Giant-like density of the performance. The unity of Jacopo Tuzi's driving bass and the sensational soloing between keys (Pierfrancesco Di Pofi) and guitar (Francesco Caponera) create compelling transfixion. And third, around the 10-minute mark, the piece embraces a pomp-laden keyboard momentum that speaks directly to my love of Styx-inspired pomp rock with satisfying authority.
Wanderlust follows with a full blast of high-spirited prog resonating Transatlantic, crafted with equally impressive instrumental skill and enriched by the delightful vibe of Ice Age and Zon. Amid standout performances from all involved, both Fagiolo and Caponera particularly impress. It is predominantly Di Pofi's classical recital passages that effortlessly steal the show for me throughout this marvellous piece. Equally captivating are the fluid melodies, which frequently recall the early musical style of Circus Maximus.
A meaningful fact about the lyrical aspects of this composition: Tritop's roots actually go back to 2008 when founder/composer Ivo Di Traglia formed the band Wanderlust.
A similar symphonic Transatlantic / melodic Circus Maximus feel is also abundantly present in the epic Asymmetrical Reflections Of A Restless Heart, which concludes the album on a heavenly high note. Several of them, in fact.
In this monumental five-part finale, the band explore a succession of perpetually appealing melodies that effortlessly glide through a broad spectrum of emotions and atmospheres with remarkable fluidity and conviction. It is enriched by a female choir featuring Roberta Campoli, Annalaura Talpa, and Eleonora Belfiore. The composition goes through evolving themes, dramatic shifts in intensity and richly layered instrumental passages.It evokes both Dream Theater and the majestic theatrical sweep of Trans-Siberian Orchestra. The impact is heightened even further by the exceptional drumming of Di Taglia, who appears to have added a few extra toms to his percussive arsenal, all of which he strikes with powerful flair and precision.
The result is a magnificent album closer that remains thoroughly absorbing from beginning to end. Moreover, this concluding epic is the kind of composition that demands repeated listening sessions before all of its musical riches are fully revealed. A time investment that is definitely worth making for prog enthusiasts who enjoy vintage-inspired contemporary heavy prog rock.
The lovely pieces of music immortalised on Tritop 120 takes me to higher places and would normally have secured this album a spot on my year-end list, just as Tritop's debut did two years ago.
It will be fascinating to see how the band builds on the impressive upward momentum achieved with this wonderful album. Perhaps with Tritop 150?