Stoned Jesus : "Songs to Moon"

The Ukrainian band's 7th full length finds them leaning further into sludge with an atmospheric crunch that sits somewhere between the Melvins and Mastodon on the opening track of this album. There is ample post-grunge to the riffs as the vocals layer a more introspective melodic sense after the more burly bark the song started with. It feels like most sludge albums are going to get overshadowed by Neurosis this year, so it's a good thing these guys have a more rock side to fall back on and seperate them from keeping up with those Joneses.

"ZYX" has a more indie rock sound, and it is actually the most intersting of the first three songs. There is a cool groove, subdued vocals that provide a contrast, and nuanced guitar playing, so here's hoping they continue to explore this new direction. They jam a bit at the end of the song. There is more ofa progressive slant to this album. Keyboards play a larger role. Midway into the album, it is even more apparent that they have crossed over into prog. If it worked for Mastodon, these guys took notes. This leads to cleaner guitar tones becoming more abundant as a shift away from the fuzzed guitar tones that were a staple of where they came from. 'Jackal" is the first song where I pick up on any lyrical hints they live somewhere that is being obliterated. The song builds back up into a more dramatic, sweeping build of rocking out. 

The strummed 'Window in My Room' feels like a lost alt -rock ballad from the 90s. It ambles along with almost Nick Drake-like folk energy. The album closes with "One More Empty Day". The Nick Drake-like mood of the previous song carries over into this one. The album takes a turn from how it started, with the last two songs leaning into the softer side. Overall, it works I will give this album a 9 as I like some of the newer direction they head, even if the last two songs did not register for me; they are balanced out by superior moments.

6.6

pst358

SUBMASQ : "Spirit Animal"

 This prog rock band from Israel blends some interesting sides of the genre; you can hear elements of  Muse, System of a Down, along with more traditional suspects like Dream Theater. In this regard, you could sum it up by simply using Pain of Salvation as a reference. There is some System of a Down-like weirdness, but Pain of Salvation has used that sort of thing at times, depending on the era. It is grandiose and dynamic, but not too melodramatic to give it a more Dream Theater ballad sound; I am only two songs into the album.

The more ethnic folk elements a band like Orphanlands uses are not present, though hinted at on the darker "Mechanical Prayers " that launches into a happier chorus that sounds like it would be the theme song to an anime.. "Calypso" carries a darker Queensryhe feel. It goes from brooding to grooving well. In a weird dynamic contrast, the song "Anger" does not sound that angry. Instead, it works on an electronic pulse. Even though Bumblefoot plays on the first song, this song has the best guitar solo, as it is the most melodic and memorable.

"Sanctified" goes into a tenser creep that works well with a slow build, with "Empire" era tendencies. "Uman" has a more rock feel, like almsot feels like Devo. Vocally, it's more System of a Down, and it's too upbeat for my tastes. The vocal contrast from a light falsetto to more aggressive singing- not sure I would call it harsh, but it's a wide dynamic vocal shift that I normally would be into; this one takes me a little bit for it to grow on me. The lyrics to the last song "Trust ' might be the album's best, but the delivery is once again too happy for my personal tastes. I will give this album a 9, it sounds a great deal like Pain of Salvation, but to pull that off is impressive and they still have their own thing going on so if you are wanting some early 2000's flavored prog rock this is your best bet.Out on Willowtip Record September 18th. 

pst302

Rezn- " Cycles in the Infinite Dream"

 

They are dialing more into the progressive side of what they do here, with the guitars taking on more of a riffy feel. The vocals are coming forward in the mix and not just being atmospheric elements that coast in the dream-like haze as things get more defined n the opening track. With this comes some heavier chug that holds more weight than what we are used to hearing from these guys. The sax returns to drive the prog point home, even in the face of harder-rocking riffs surfacing. Even though they have gone further into prog, only the last song goes over the five-and-a-half-minute mark. 

"Cloudfall" kicks the door in to tell you they are not fucking around with any shoegazing and came to rock. The chords that ring out here remind me of solo Ozzy.. They lean back into something more akin to what they once did on "Aerial Birth," while it's consistent with what they used to do, it dials the dynamics down to a much lower-energy place than where they have taken you for the bulk of the album so far. After a brief instrumental interlude, they come back heavier for " The Vessel. "The main verse riff is pretty hooky and reminds me a little of Matodon. The strummed guitar feels more Smashing Pumpkins in this contet.

Some of the album's most interesting guitar work goes down on "Escher". Here, they prove that bringing the vocals to the forefront can be an asset for them. "Primal Thread' falls along the line of your average atmospheric rock in 2026. The last song drifts more toward their more familiar shoegazing sound; it does not grip me like some of the other songs do. As a whole, I would say while this album rocks harder, it is not as dark and holds less drugged-out melancholy than their previous work , but the songwriting has been sharpened to a more accessible point, which often works in their favor. I will give this album a 9.5, and see how it grows on me.Out on Sargent House. 

3

pst290

Elder : "Through Zero"

 This band's progression has seen them move from being an indie stoner rock band that increased the levels of psychedelia, until they wandered away from anything resembling the Black Sabbath-worshipping genre they came from. If you see this album being referred to as anything but prog, do not trust the source. The vocal production got the most attention to detail this time around, and it paid off. There are guitar solos that sweep into what is an otherwise mesmerizing throb. Though there is nothing doom-related to it. So, here is hoping their fan base grew with them. 

The second song finds them indulging in more Rush-like acrobatics. Synths and effects color the ambiance of the song. This feels a little more along the line of what you expect from a prog band in 2026, where the opening track held a little more of their signature sound, even if it was further down the evolutionary chain. There is more rock to the winding riffs of "Through Zero." The dynamic ebb and flow of the verses works well, as do the effects on the vocals that create a vibe that brings Yes to mind. They bring more of a chill indie rock vibe going into "Strata."  The vocals also reflect this with more of a subtle indifference rather than belting it out. The more powerful dynamic shift feels more along the lines of Porcupine Tree here. Despite really digging the riff they lock into at the eight-minute mark, some of the rock elements feel predictable. 

The instrumental "Sight Unseen" cruises over a space-age groove. More electronic in the synth sounds than the "Obscured By Clouds" era Pink Floyd, but that is the album it brings to mind. While it feels like a sprawling labyrinth of turning synth sounds, it's under nine minutes long. On the last song, they are back to a more mellow brand of indie rock, with some tension drifting under the surface.  The production of this album is the most mainstream yet, but they don't have the same kind of "Tom Sawyer" hooks that made Rush a household name, so it's not a sellout from their fans' perspective. I will give it a 9, as it's well done for what it is.Out May 29th  

pst140

The Top 10 Progressive Albums of 2025

When it comes to prog, few bands actually progress. Most that claim to be a part of this genre just wank around with an overabundance of guitar solos that the songs are merely bookends for, rather than serving songs that go somewhere.  The bands that made this year's top 10 list are taking you places with their songs. There are some guitar solos here and there, but shredding is not the emphasis, nor is using odd time signatures for the sake of just doing so. Some of these bands are more metallic, and a few albums even flirt with pop at times. These are not the coolest prog albums, but the best, fuck what other blogs say,  

After sorting through the top 10 albums of all the respective genres, I use those lists to compile the top 20 albums of 2025. The fact that these bands made it on the list speaks to how great these albums are, so it's not a slight that the number 8 album is above the 9th album; there is something that just gives it an edge that makes me want to listen to it more. After all, we can try to look cool and pick the hippest bands for a list, but at the end of the day what makes an album the best is that it makes you want more, you look forward to listening to it again. You might find your next favorite on this list, and I have included links to reviews of these albums if you want to check out the audio on these guys. Anyway here are the top 10 Progressive albums of 2025

10-Korean Cars-"#1"

This band proves that black metal is not Norway's only musical export.  Kinda melodic math rock, but their guitarist proves they have chops. The production is rough around the edges, as it carries a boom. The drummer works for what they are doing, and it all falls into place, no complaints, even though instrumental music is normally not my thing. When vocals do surface, sitting back in the mix with a plaintive croon with the nuanced picking of the guitars carrying most of the slack. 

https://abysmalhymns.blogspot.com/2025/05/korean-cars-1.html

 

9-ii - "Apostles of Flesh." 

Prnounced Two Eyes, they are a very interesting ensemble. I have heard them referred to as being industrial, but Gothic chamber pop is a better description of one spectrum of their sound, though they branch out of that and wander off into prog rock that has more in common with A Perfect Circle. 

https://abysmalhymns.blogspot.com/2025/10/gothtober-ii-apostles-of-flesh.html

8-Heretoir- ""Solastalgia" 

They have fine-tuned their songwriting to make their sound bigger and make what they do more accessible to the wider metal audience than just being a shoegazing black metal band. This is not to say they do not indulge in sonic spectacles that swept you away, as they do, and it is what gives them the edge over their more nu-metal minded peers/. A more delicate electronic touch glazes over into the dynamic ebb and flow in this song. So much so that fans of modern progressive metal can find a great deal to appreciate on this album. 

https://abysmalhymns.blogspot.com/2025/09/heretoir-solastalgia.html

 

7-Igorrr- 'Amen" 

One of the most appealing things about this project is the ability to blend harsh electronic elements with organic instrumentation and find its unique groove. Mastermind Gautier Serre is experimenting on a broader scale with this album. Classical elements contrast massive metallic chug, as death metal is the primary mode of attack when things go in a more metal direction. Operatic vocals still soar to contrast the guttural vocals, but this feels like more streamlined effort. 

https://abysmalhymns.blogspot.com/2025/08/igorrr-amen.html

, 

6-Imperial Triumphant- "Goldstar"

These guys won me over live. In the studio, they have once again orchestrated chaos, which can not always be heard as the catchiest songwriting. At times, there is a more metal feel as they ride a taunt clockwork chug. The vocals are snarls, but articulated enough that the lyrics come across. It makes me think of a death metal band covering early Pink Floyd

https://abysmalhymns.blogspot.com/2025/03/imperial-triumphant-goldstar.html

5-Messa -"the Spin." 

The guitar work on this album sets them on this progressive rock path. Add in elements like trumpet solos, and it takes on a more jammy jazz flair. I'm fine with them transitioning into a prog band. If you are going to make guitar solos the centerpiece, then unveiling your Led Zeppelin influence in a more metallic manner with great grooves is the way to do it.  

https://abysmalhymns.blogspot.com/2025/03/messa-spin.html

  4-Bask-" the Turning."

 The country elements that graced their 2019 album have been dialed back for a heavier sound, though sticking to the honest plea of country-inflected vocals even amid guitars crunching around them. There is more boogie in the shuffle oat times with  layers of vocals harmonizing to give things a more jammy prog feel. It almost feels more like Porcupine Tree.  This juxtaposition works well to create dynamic songwriting that takes a few listens to absorb everything going on. 

https://abysmalhymns.blogspot.com/2025/06/bask-turning.html

3-Gaahls Wyrd- "Braiding the Stories." 

I am glad to hear Gaahl continuing to explore his singing voice. The vocals are well-layered, with more of his upper register present while the baritone croon holds center stage. He proves the emotive value of darkness is just as heavy as metal. With a range of sonic colors from strummed guitars to the more metallic tones, you might expect. When the guitar solos emerge, they are typically the album's most metal elemen,t and even then they provide a thematic melodic overlay. 

https://abysmalhymns.blogspot.com/2025/03/gaahls-wyrd-braiding-stories.html

2-Katatonia -"Nightmares as Extensions of the Waking State." 

Here we are, three albums in, without Anders. Jonas continues to steer the ship into darker progressive waters of melancholy. There is a formula in place, and the new guitarists navigate it well, unafraid to bust out guitar solos wherever. His lyrics remain just as sharp as the earlier work on this one. "L.  Jonas's voice is fragile and honest, or at least maintains a consistent persona, as nuance is king and the key to their songwriting. 

. 

https://abysmalhymns.blogspot.com/2025/05/katatonia-nightmares-as-extensions-of.html

 

-

1-Callous Daoboys - "I Don't Want to See You In Heaven."

 

You are thrown into their bizarre progressive take on metalcore. While the screamed vocals are more dominant, Carson Pace's voice continues to grow. His poppy-sung vocals carry the need hooks to contrast the chaos. If there is any justice in the universe, these guys should be at least as big as Knocked Loose, just on the merits of songwriting.

  

https://abysmalhymns.blogspot.com/2025/05/the-callous-daoboy-i-dont-want-to-see.html

Thanks for reading. Please "like" and share on social media to give music a voice 

https://www.facebook.com/abysmalhymns

Check out our Podcast here ... https://www.youtube.com/@abysmalhymns666

pst617

IGORRR : "Amen"

 

One of the most appealing things about this project is the ability to blend harsh electronic elements with organic instrumentation and find its unique groove. Mastermind Gautier Serre is experimenting on a broader scale with this album. He summarizes it well on the first track before more classical elements are introduced on "Headbutt," which finds a straightforward massive metallic chug taking over. Death metal is the primary mode of attack when things go in a more metal direction. Operatic vocals still soar to contrast the guttural vocals. 

"Limbo" flows in the more classical direction, using the glitched-out out heavier parts as dynamic accents rather than being a focal point. "Blastbeat Falafel" has more Middle Eastern grooves that work best for these guys, making it one of the strongest songs so far. It builds into a more trashy attack as a dynamic shift. "ADHD" is a dub-steppy electronic groove. It does go into a more organic section briefly with a choir and harpsichord to contrast things. "Mustar Mucous" flips the script and is a heavier song that still carries an electronic groove amid the shifting spastic currents that are not something unheard of for this project. 

"Infestis" is the first song that has a darker feel to it. It stomps with a more predictable metallic weight. Despite its swinging groove, this feels like a progressive death metal song. "Ancient Sun" has a more flowing groove to its slight trip-hop feel. "Pure Disproportionate Black and White Nihilism" starts off with a more classical feel before going into the heavier side of what they do, which comes with the glitched electronic beat. "Silemce" closes the album with a more solemn mood. It feels like the electronic elements deconstruct it as they add a harsher tone against the elegance. I will give this album a 9.5, as what they do is so impressive, and still very them, but it is streamlined into three distinct moods which are now expected rather than their previous work, which brought more of an unexpected feel.It drops September 19th on Metal Blade.  

Thanks for reading, give a listen to the song below and  please "like" and share on social media to give music a voice 

https://www.facebook.com/abysmalhymns

Check out our Podcast here ... https://www.youtube.com/@abysmalhymns666

pst412

Arcadea : "the Exodus of Gravity'

 2017  was the last Arcadea album; the lineup still finds Brann Dailor at the core, handling the drums and vocals, along with Core Atoms on the synths and Mastodon's current touring keyboardist adding even more synths. There is less of a synth wave feel this time around. His drumming is more aggressive. He piles on layers of vocal overdubs to try things he does not normally explore with his day job. The title track would feel more like current-day Mastodon if the synths were replaced by guitars. "Fuzzy Planet' is the lead single and the best of the first three songs, as it takes things in a more new wave Gary Numan direction, while applying some funky grooves. This sets the project apart as a more distinct entity. 

"Lake of Rust" has more drive in its stomping without wanting to look back in the direction of his other band, Brann's vocals have a little more of a rock feel to them. "Gilded Eye" gets a little too weird for its own good, and while this works out in the end as the jam they wander off into captures the prog feel they are going for on this album, the hooks at not as laser-focused. Dailor's drumming is what you want from yet, while showing more restraint than the bombastic performances he is known for. "2 Shells" has more of a groove while toying with space-age sounds. His vocals ride the beat. So far, the heavier groovin' "Galactic Lighthouse" is my favorite song. Though it's clear his day job has influenced the way he hears melodies in his head. 

"Starry Messenger" finds the lamb finally lying down on Broadway and Dailor getting to indulge in the kind of full-on prog that he listens to in his spare time. The main focus becomes the drums racing alongside the synths as the vocals provide an accompanying, coasting ambiance. I do like the magnitude of weirdness that unfolds on this one. What is more prog than keyboard solos? They hit a better stride as songwriters on 'Silent Spores' to find that place prog bands hit in the 80s when they collided with new wave. They do go on the weird side, but it is well-balanced here. 

They indulge their prog side in a more energetic yet grandiose fashion, his drumming speed off to chase the comet at the core of this song."Sparks" is another weird one, so much., They shift the way they mixed this one to fuck with your ears. It finds them in the tug of war I often lament over where bands have to decide between making cool sounds are writing cool songs, and they find a decent compromise more often than not.  The last song, "Planet Pounder,"  goes off into a neon hyperspace. His voice locks into a contemplative croon. It is marginally darker, though, as a general rule this album is more like the sonic equivalent of an Adult Swim cartoon, and not brooding. I will give this one a 9 and see how it grows on me, but I think they made the album they set out to make. If you want something weirder and more grooving than the Masto Dudes this is for you. 

pst388

Katatonia : "Nightmares as Extensions of the Waking State"

Here we are, three albums in, without Anders. Jonas continues to steer the ship into darker progressive waters of melancholy. There is a formula in place, and the new guitarists navigate it well, unafraid to bust out guitar solos wherever. The drums anchor "Wind of No Change."His lyrics remain just as sharp as the earlier work on this one. "Lilac" finds the drums laying down a solid foundation for the song to groove over, before they drop everything to ebb back and forth from ambiance.  Jonas's voice is fragile and honest, or at least maintains a consistent persona. 

As with most Katatonia, is production is dialed in perfectly. The textured layers of the guitar are all very nuanced. The guitar holds enough grit to at least maintain their place as a hard rock band. They play with the arrangement enough to maintain their place as a progressive band.Not sure if there are steps forward yet, but standing firmly in place for the brand Jonas created. Nothing that would have made Anders want to stay. "Temporal" is a little more anthemic. Highly melodic, sticking to the formula for dynamics, they have been working since at least "Viva Emptiness".  The chorus hits just right to prove they can still bring just what you are waiting for. 

Is this all very calculated? More than likely, but the band's mystique holds the suspension of disbelief. "Departure Trails" feels like a wandering atmospheric jam that creeps from the previous song. His vocals are tentative, but work for what they are doing here. "The Warden" is their more typical blend of melancholy pondering and rock bombast as the dynamic to emerge from the gloom. The more nuanced  "The Light Which I Bleed' is a better song, and is not just the band going through familiar motions and checking off the expected sonic boxes 

Breaking things down to a piano ballad might not be checking off a box you expect from these guys, and it really depends on how atmospheric you want these guys to be. There is some interesting vocal production on the track, but I want more rocking out. Though the song does build in an interesting electronic manner. The drums offer more of a beat for the last song, but drift into their moody ambient and only build for the chorus. I am going to have high expectations for these guys; some of their post-"Night is the New Day" albums have disappointed me, but I think this one just needs to grow on me, so I'll give it a 9.5 as some songs hit really hard emotionally, not metal. Dropping on Napalm Records.  

pst225

Korean Cars : "#1"

 

This band proves that black metal is not Norway's only musical export. The first song is instrumental. Kinda math rocky, but the guitarist proves they have chops. The playing is very melodic. The production is rough around the edges, as it carries a boom. The drummer works for what they are doing, and it all falls into place, no complaints, even though instrumental music is normally not my thing. There are vocals on the second song, though they sit back in the mix. They are a plaintive croon that sits where it should in the song, with the nuanced picking of the guitars carrying most of the slack. 

"Cheese Me Macoroni' crosses over into being outright progressive. The creeping riff weaves itself around itself and opens the door for the guitar solo to blaze out of. To their credit 'Treeline Siren" is the longest song at just over six minutes. There is more of a Pink Floyd-like feel to it. "Midway into the song, when the vocals surface, their cadence gives weight to my Pink Floyd theory. "1979" kinda of tick like a clock, but not in the moments that make up a dull day manner. There is some groove to it, but once again, more progressive than post-rock. The chill vocals to this song glide in for a short visit. 

The last song cements them as a prog band. They are much closer to a mix of Joe Satriani and Pink Floyd than Explosions in the Sky or Russian Circles. The guitar playing is great. It's pretty intricate. Overall, this album is a fun listen that took a few spins to let sink in. I will give it a 9, as there is some great playing, most of the vocals are incidental, but creatively employed. If you like prog that flows and unfolds as it jams along, then these guys are worth a listen. 

https://open.spotify.com/artist/0FUhz4nMONUfqlnejTtc4S

pst202

April's Top Ten Albums

 

It's time for April's top 10 albums. Staying abreast of the month's highlights might help casual readers see what they missed and check these artists out. I am not writing little blurbs on them; I am just linking the reviews. Inclusion here does not mean that these albums have been released this month, but it is a list of new or upcoming albums I have enjoyed the most. I have albums in my inbox that are not coming out til July, so I am normally way ahead of the curve in this regard. They are ranked in order of what I have listened to the most. This month, there is a wide variety from Pop to Death Metal, so you may find your new favorite among them. Here are the Top 10 albums of  April.  

10-Black Country New Road - "Forever Howlong" 

Progressive Rock

 

  https://abysmalhymns.blogspot.com/2025/04/black-country-new-road-forever-howlong.html

9-Scowl -"Are We All Angels"

 

Grunge/alt-rock

https://abysmalhymns.blogspot.com/2025/04/scowl-are-we-all-angels.html

8-SKUNK ANANSIE - "The Painful Truth" 

Pop

https://abysmalhymns.blogspot.com/2025/04/skunk-anansie-painful-truth.html

7-Floating - "Hesitating Lights"

Death Metal 

https://abysmalhymns.blogspot.com/2025/04/floating-hesitating-lights.html

6-Viagra Boys -"viagr aboys" 

indie rock 

https://abysmalhymns.blogspot.com/2025/04/viagra-boys-viagr-aboys.html

5-Bon Iver - "SABLE fABLE" 

Pop

https://abysmalhymns.blogspot.com/2025/04/bon-iver-sable-fable.html

4-Blackwater Holylight - "If You Only Knew" 

post-doom

https://abysmalhymns.blogspot.com/2025/04/blackwater-holylight-if-you-only-knew.html

3-Superheaven- "s/t" 

Post-Hardcore-/shoegaze 

https://abysmalhymns.blogspot.com/2025/04/superheaven-st.html

2-Youth Code - "Yours With Malice" 

Industrial 

https://abysmalhymns.blogspot.com/2025/04/youth-code-yours-with-malice.html

1-Propagandhi-"At Peace" 

Thrash / Punk

 

https://abysmalhymns.blogspot.com/2025/04/propaghandi-at-peace.html

pst200

Black Country, New Road : "Forever Howlong"

 This is the third album from these British indie folksters who flirt with rock music less, and indulge in more woodwinds and jazz-tinged passages this time around. The vocals are what anchors them in indie rock, as the more folk notions lie in the poetic melodies that run the center course of their songs.  Most of it flows really well and seems like how things just progressed. There is a more Beatles-like tone to things on this album. It reminds me of the more quaint pastoral moments from the White Album. The vocal lines on "Socks" wander around a little more. The production quality is the most notable growth as the mix balances all the layers of strings and woodwinds. 

Kate Bush could also be an influence that peers through in some of the more odd vocal phrasings that dance around the instrumentation, think her "Lionheart" era here. If this album gets the proper push, it's already evident in the first three songs that this band could break into a bigger audience with this album, as this could be embraced at local coffee shops everywhere. The arrangements also show great maturity in how these songs evolve. "Salem Sister" does a more delicate dance against the harpsichord and strings. The lyrics feel a little more abstract this time around. I would not say these songs are all that hooky, though impressive in the scope of what is being accomplished. Dynamic in a manner that most indie rock is not. 

When things take a more balladesque turn on "Two Horses," there is a slight wink to Joni Mitchell. The bass line to this one creates a 70s groove. It does take you on a more unexpected adventure than what the beginning of the song suggests, with plenty of jazz infused into it in a very progressive rock manner. "Mary" is a more straightforward folk song. Guitars with a more rock intention creep into "Happy Birthday' to further the Beatles comparisons. 

They go back into a more folky feel with "For the Old Country".  Normally, any song over the five-minute mark on this album finds the band embarking on a wild excursion. This one proves to be dynamic, but it does not venture too far from the main theme.  "Nancy Tries to Take the Night" finds a more jazz embellished wandering being embarked upon with some great drumming to propel it. "Maxwell's Sliver Hammer" is the best point of reference for the direction it heads. The title track is a more subdued folk musing It almost makes me think of something Bjork might due in one of her less experimental moments. 'It's fitting that "Goodbye" should close the album. It's more of a romantic pining with a slight country element to it. It's a pretty solid song, less wandering and abstract, that has a clear narrative rather than elusive bits of abstraction.I will give this album a 9 and see how it grows on me, despite the brilliant compositions I did not rate it higher due to the stream of consciousness vocals that could have hooked me in a little more , but hard not to appreciate what they are doing here. 

10.3

pst153

The Top 10 Progressive Albums of 2024

When it comes to prog, few bands actually progress. Most that claim to be a part of this genre just wank around with an overabundance of guitar solos that the songs are merely bookends for, rather than serving songs that go somewhere.  The bands that made this year's top 10 list are taking you places with their songs. There are some guitar solos here and there, but shredding is not the emphasis, nor is using odd time signatures for the sake of just doing so. Some of these bands are more metallic, and a few albums even flirt with pop at times. These are not the coolest prog albums, but the best, fuck what other blogs say,  

After sorting through the top 10 albums of all the respective genres, I use those lists to compile the top 10 albums of 2024. The fact that these bands made it on the list speaks to how great these albums are, so it's not a slight that the number 8 album is above the 9th album; there is something that just gives it an edge that makes me want to listen to it more. After all, we can try to look cool and pick the hippest bands for a list, but at the end of the day, what makes an album the best is that it makes you want more, and you look forward to listening to it again. You might find your next favorite on this list, and I have included links to reviews of these albums if you want to check out the audio on these guys. Anyway, here are the top 10 Progressive albums of 2024.

10- Blood Incantation- "Absolute Elsewhere" 

Sure combining Pink Floyd with Morbid Angel is a great idea. This album seems to have gotten enough hype due to it, and it certainly deserves an honorable mention here. But The rest of this list feels more original to me, and wears their influences less on their sleeves .

https://abysmalhymns.blogspot.com/2024/10/blood-incantation-absolute-elsewhere.html

&nbsp

9-Trelldom- "...By the Shadows..." 

 It can be hard to keep up with all of Gaahl's varied project's over the years, despite him being one of my favorite Black Metal vocalists. This project is more diverse than Gorgoroth, and I think makes excellent use of his voice. The members of this band have also played in God Seed, with the drummer Kenneth Kapstad having covered the most ground. I would  not call this band black metal, though they are dark, but a flowing progressive sense flows through them. The shadowy drone they sweep you away in is very cool. This is the perfect mood for me. 

https://abysmalhymns.blogspot.com/2024/12/trelldom-by-shadows.html

8 Julie Christmas -""Ridiculous and Full of Blood" 

If you do not know Ms. Christmas from Made out of Babies then I am going to just go ahead and assume you know her from the album she did with Cult of Luna. The musicians she recruited to help her with this album provide a reasonable expectation of what sonic zip codes it's going take us in, as they include the guitarist from Cult of Luna, the drummer from Spotlights, KEN Mode's bassist, and John from Candiria adding guitars as well. So pretty every genre with post in front of it. Julie adds a playfully unhinged enthusiasm to her vocal performance, that reminds me a little of Rasputina. But with less baroque wistfulness. 

 https://abysmalhymns.blogspot.com/2024/06/julie-christmas-ridiculous-and-full-of.html

7- Chapel of Disease- "Echoes of Light" 

The German band is a fairly interesting progressive death metal band, that wacky time changes aside and a penchant for rock n roll riffs are not too far out in left field. They are at times like a less gothy Tribulation. The guitarists are calling the shots here are the guitar is the centerpiece of the songs, often wandering f pocket very tastefully until things explode with the climax. 

https://abysmalhymns.blogspot.com/2024/03/chapel-of-disease-echoes-of-light.html

6-Xiu Xiu - " 13" Frank Beltrame Italian Stiletto with Bison Horn Grips"

My thoughts on Jamie Stewarts' experimental art vehicle range from respect to love to wishing he would stop fucking around and write songs as great as what was on "Dear God I Hate Myself". Here the band proves that they do not have to abandon their weird to write songs and launch into some genuine prog, enough to earn this a space on this list and not the post-punk list or the electronic list which both sub-genres the share common ground with. 

 https://abysmalhymns.blogspot.com/2024/08/xiu-xiu-13-frank-beltrame-italian.htm

 

5 -Mamaleek - "Vida Blue" 

These guys are going further down the Tom Waits rabbit hole. The guitar is carried with a jazzier tone. There is a jammy abstract element that gets broken up by their heavier tendencies. As far as musicianship goes their game has really been stepped up. It's a weird collision of prog with punk. In fact, this album leans toward jazz more often than not with the gruff vocals the only thing anchoring it to the sound you are used to, which is progress, thus their place here. 

https://abysmalhymns.blogspot.com/2024/09/mamaleek-vida-blue.html

4-Crippled Black Pheonix - "'The Wolf Changes Its Fur But Not Its Nature"

I gained a new appreciation for this band since the darker turn their past few albums have taken.  This time around they sprawl out from a creeping post-rock, into a more grandiose throb. Not as dark as what I expected after the last album but it works. Excellent production brings all the sounds into focus for this sonic adventure.  

 https://abysmalhymns.blogspot.com/2024/09/crippled-black-phoenix-wolf-changes-its.html

3-David Gilmour - "Luck and Strange" 

You might not know that Pink Floyd is one of my favorite bands,  which created a high bar for this album,. At 78  guitarist David Gilmour, is not fading away. The title track of his new album rivals almost any Pink Floyd song that is not on "Animals". It's some of Gilmour's best guitar work. Even his voice sounds great, he's not afraid to reach up into his head register for a few notes here and there. This is the last recording keyboardist Richard Wright appears on before his death. This album is almost as much Pink Floyd as the 'Division Bell' is

https://abysmalhymns.blogspot.com/2024/11/david-gilmour-luck-and-strange.html

 

2-Opeth - "The Last Will and Testament"

14 Albums later Akerfeldt is the only original member but I am willing to count anyone who has been playing since "Deliverance" so that makes two. The return of the growl, is not the best part as that feels like they are dialing it in, they are never going to be a death metal band again, and this album is not on the level of  "Blackwater Park", but it works thanks do some strong jamming grooves. Plenty of prog chaos, but more focused songwriting. , 

 https://abysmalhymns.blogspot.com/2024/11/opeth-last-will-testament.html

1-Sleepytime Gorilla Museum - "Of the Last Human Being" 

When I place one of my favorite bands on the pedestal of what other bands should aspire to, said band must then meet these exalted expectations. If they are one of the best bands I have ever seen live then expectations are even higher. If they are coming back 17 years later, after you lived thinking their last album was the final chapter, then you can only hope for the best album ever. Sleepytime Gorilla Museum reopened in an attempt to make their best album yet. 2007's "In Glorious Times" is a perfect album, so they were wise not to take it head on but in a more mature step forward with the emphasis on more of the chamber music side, while employing all the creepy dissonance they are known for. It's not just the best prog album of the year, but perhaps the best album of the year. 

https://abysmalhymns.blogspot.com/2024/02/sleepytime-gorilla-museum-of-last-human.html

pst633

Trelldom : "...By the Shadows..."

 It can be hard to keep up with all of Gaahl's varied project's over the years, despite him being one of my favorite Black Metal vocalists. This project is more diverse than Gorgoroth, and I think makes excellent use of his voice. The members of this band have also played in God Seed, with the drummer Kenneth Kapstad having covered the most ground. I am not sure I would even call this band black metal, though they are dark, but a flowing progressive sense flows through them. The shadowy drone they sweep you away in is very cool. This is the perfect mood for me. 

"Return the Distance' finds the saxophone taking a more prominent and chaotic role in creating a dissonance backdrop to the song's pulse. It's almost an interlude but enough of a complete thought for me to count it as a song. The more Swans-like "Between the World" is a darker heavier sonic monument. Though "I Drink Out of My Head"  it is not metal the drumming leans on their past in the genre. It is the song most Gorgoroth fans are most likely to connect with. Gaahl sings with a Jello Biafra-like vibrato to his voice. 

"Hiding Invisible" is more like a simmering cauldron of free jazz for Halloween. Interesting sounds not so much on songwriting. There is more of a Swans-like jangle for the more driving uptempo closing song. It's a big sonic swell and more punk than what Swans typically do in the pace with which it hammers at your ears.     While it does drift off into some chaotic sounds at times when they do lock into the songs it's dark and powerful, so I will give this album a 9. 

pst618

David Gilmour : "Luck and Strange"

 

At 78 Pink Floyd guitarist David Gilmour, is not fading away. The title track of his new album rivals almost any Pink Floyd song that is not on "Animals". It's some of Gilmour's best guitar work. Even his voice sounds great, he's not afraid to reach up into his head register for a few notes here and there. This is the last recording keyboardist Richard Wright appears on before his death. But the challenge is, will the rest of the album live up to this? This question is what we seek to answer in this review. Even regular readers Pink Floyd is one of my favorite bands. 

Gilmour's wife, Polly Samson, wrote most of the lyrics. The ambling "The Piper's Call" has more movement than the single. What he did with Pink Floyd is true without being confined to it. While I have not listened to much of Roger Water's more recent solo work, it's hard to imagine it being more like Floyd than the jams this song goes of into to highlight Gilmour's playing. Thus lies the question what makes you think of Pink Floyd more Gilmour's playing or Water's sardonic wit. I accept both "Momentary Lapse of Reason" and "Division Bell' as great Floyd album, so Gilmour's playing is what defines it to me.  Lyrically his wife penned the theme to explore aging and death. At his age, it's a closer reality, though I certainly expect him to outlive Ozzy, as he looks healthier in recent clips. "A Single Spark" is the first song you can hear the age in his voice. 

His daughter Romany sings on "Between Two Points".  She has a decent enough folk voice. The song is mellow and flowing.  'Dark and Velvet Nights' is a grooving blues tune, that allows him to rip out honey-sweet lick with an immaculate tone. The only thing about solo albums is you will find a foray into more conventional songwriting without Waters or Wright to balance him out, thus the song "Sings" , which nothing is wrong with it just sounds like your average middle-of-the-road meandering ballad. 'Scattered' is closer to something Pink Floyd might have done. His lyrical style of guitar soloing is highlighted in this song. The last song is just a more folk-inflected ballad to his daughter also lends her voice, which works well enough. The strong moments from this album and his stellar playing make me give this album a 10. He continues to amaze me. 

pst593

Mamaleek : "Vida Blue"

T

 

These guys are going further down the Tom Waits rabbit hole. The guitar is carried with a jazzier tone. There is a jammy abstract element that gets broken up by their heavier tendencies. As far as musicianship goes their game has really been stepped up. It's a weird collision of prog with punk. The groove slows down for "Vileness Slim". The bass steps up and holds it down. The drummer is also really on point now. Guitar-wise some of the zaniness in motion makes me think of Frank Zappa.  The only unnerving element is the coarse moan of the vocals. However, this does help them retain their identity. 

The title track finds their brand of weird digging deeper. Sadly it does not groove like the first two songs. There is a more dissonant element to it. There is a minimalist ambiance that pervades the middle of this song. The vocals take on a drunken scowl. The groove returns for "Ancient Souls.." They maintain their surly demeanor. Noise haunts the drone as the vocals chant along. Of course, a sonic oddity has to hi-jack the song but it still works pretty well. 

Black Pudding Served at the Horn of the Altar" has a very noir feel it, which is a stark contrast against the song's title which sounds like a Dungeons & Dragons module. This would also work on the soundtrack of a David Lynch Project. The vocals rant with desperation. "Hatful of Rain" oddly might be one of the more melodic songs, despite the growls that drip with effects the music works well as a counterpoint to this. It builds into what might be the album's most metallic moment. "Legion of Bottom Deck Dealers" wanders a bit before going into a darker metal middle section, and comes out of this in a more free-form jam. There is a more flowing jazz that emerges from this. The growled mutter of the vocals prowls around this. 

The instruments embrace melody on the last song as the vocals continue to mutter in a growled manner,this is a lighter more hopeful mood, with the howl of the vocals the only thing anchoring it to ugliness. I will give this album a 9.5, and see how it grows on me the metal elements have been reduced to a more marginalized frequency, as the jazz-influenced progressed leaning have taken over but it works really well. 

\ pst430

Fucked Up : "Another Day"

 

You never know what you are going to get with these guys. I liked their 2022 album "Oberon" It was more of a sludge metal affair, while they are back to a more artful display of punk on this album. They are far too atmospheric and adventurous to be punk these days. The vocals are the only remnant of that time. Even then there is a great deal of vocal layering. "Stimming" has prog rocking guitar coloring it. He is pondering how his body is a cell that carries him around so at the very least they are smoking plenty of pot here. The arrangements continue to level up the complexity of this album as well. 

'Tell Yourself You Will" is more energetic, and somewhat hopeful despite the gritty vocal delivery. It does not feel as nuanced as the first two songs. Progressive punk would normally sound like an oxymoron in any other context. Aside from the bombastic vocals, the title track feels more like a Queens of the Stoneage song. The backing vocals add a more melodic layer. They throw a great deal at you throughout this song. The guitar carries the more cerebral fuzzed-out tone going into "Paternal instinct".  The chorus is hookier than some of the songs. 

Some of the more upbeat melodies remind me of the Mighty Mighty Bosstones, thanks to the leather throated bellow of the lead singer. " The One to Break It" feels awkward, like it does not all fit together the way it's intended. "More" is driven by a stoned angular groove, with the vocals using a little more caution. Sometimes the lyrics feel like they need to be edited down to fit the meter best. "Follow Fine Feeling' finds them following their hippie tendencies that are the opposite end of the spectrum from what we should expect from punk. Things continue to be a little chaotic yet anthemic on the last song. I do not like this one as much as the previous album, but what they do is impressive and I appreciate the effort so I will give this a 8.5 .

pst405

the Decemberists : "As it Ever Was, So it Will Be Again"

 

This band has matured in a streamlined manner over the years, but maintained the  James Mercer from the Shins joins prog-like sense of adventure and storytelling that set them apart from other indie rock bands. hem for the opening track. The melody works well enough, and it's organically layered with warm sounds. They take you for a tango on the infectious "Oh No !". The Afro-Cuban jazz stylings establish a groove that is more effective than what you might expect from such a pairing.  "the Reapers' is when the prog really buckles in to take you on a ride. Until this point, while eclectic, they were just dipping their toes into styles, taking you back to the 70s with this one. Flutes wander around. Except for the last song they keep the songs to a reasonable length and feel free to leave things out. 

There is a country feel to "Long White Veil". It sits well with the wheelhouse of what you might expect from them along with the story it tells. "William Fitzwilliam"  falls along the lines where folk meets country music with a sense of Appalachia. It is almost more of a ballad. "Don't Go to the Woods" is a somber folk ballad, that reflects back to some of the darker moods they have contemplated earlier in their careers. They continue to strum away on "Black Maria" and get more contemplative of the folk tales they are spinning. It is hard to argue against what works, but I wonder if they fired their drummer. " All I Want Is You" is their take on a sappy love song, which is what it is, all love songs are sappy.

"Born in the Morning" is the most Beatles-influenced moment I recall ever hearing from the band. It works for what it is, but it is beginning to sound like, while they are getting the job done it might not be their most inspired album if we are measuring it against "Picaresque". Then they hit you with a 70s-influenced pop song that sounds like something you would listen to riding your bike through Central Park with "America Made Me":  "Tell Me What's On Your Mind" sounds influenced by solo George Harrison, "My Sweet Love" to be honest,  but still carries the band's identity which is a display of how they make some of these stylistic choices wisely. "Never Satisfied" finds them back flirting with country music again. It works for what it is. Not the most inspired moment of the album. 

They end the album with the 20-minute "Joan in the Garden". A twenty-minute song is a lot to consume so I am going to break this down in chunks. The first two minutes is a folk ballad. A well-produced one since like the bulk of this album all the sounds are dialed in to perfection. Then for two minutes after this they build the ambiance around this folk melody until it reaches a Pink Floyd-like synth state it begins to melt into the following two minutes. This Pink Floyd tribute swells to an impressive sonic state. At the ten-minute mark, they have allowed things to break down into faint ambient noise so everything after should be another track. Then they go into a noise section that sounds like it should be on a Swans album and drone it out for six minutes. This builds into a harder rock jam that could be on a Thin Lizzy album. I would like to hear an entire album of this kind of thing from them. I will give this album a 9.5, as the strong moments balance it, though it falls slightly short of their best work. Which still makes it better than most bands. 

pst319

Zombi : "Direct Inject"

The Kraut Rockers 7th album finds them drifting into a more prog direction. The synths to the title track that opens the album sounds like they might bust into "Tom Sawyer" at any moment. "So Mote it Be" finds the drums laying down the groove to keep things moving in a manner that never allows the electronic ambiance to the drone. The instrumental nature of what they do sometimes creates a uniformity of mood, so the songs run together unless I am paying attention to the computer screen. The only thing that helps to break this up is the moments where they are more intentional rather than allowing themselves to sail off in their own ambiance. 

This album needs more moments where they do things like bring a sax in to help break the sonic colors up and not rely on synths as much. When they default into a more kraut rock mode and just let analog synth pads ring out, things are not as interesting, no matter how hard the drummer tries to compensate for it. They are good about layering sounds in a cinematic manner and would be great at composing soundtracks, so I am not sure why that is not more of a thing for these guys. There are things like bass lines that need to stand out to break the dynamics up. They are effective at doing this with "Post Atomic Horror" which gives off a vibe that reminds me of King Crimson's "Red" album. Though the syncopation leans in a more Zeppelin vibe. 

They fall back on a wave of synths with "Insurmountable Odds" It takes them time to get ramped up into this six-minute song. They linger on the synths a bit too long. Then it is once again up to the drummer to break this arrangement up. The cosmic ambiance is effective at creating a mood, but as an instrumental it needs a little more to really keep my attention. It feels like the drummer is this album's star player, who really digs in to make these songs work. The last track is really just more of an outro, as the song does not gain more momentum. I will give this album an 8.5, it's good at what it does, what it does as an instrumental album, is just that rather than hooking me in, but they captured an excellent atmosphere here for what this is. Being released on Relapse Records. 

pst122

Midas Fall : " Cold Waves Divide Us"

 A big fan of their 2015 album "The Menagerie Inside"  despite building a bigger buzz with their 2018 album it somehow flew under the radar for me, after hearing the chilling brilliance of their new album "Cold Waves Divide Us" I might need to go back and give it a listen. Elizabeth Heaton's vocals are powerfully emotive. The underlying brooding of "I Am Wrong" is counterbalanced by the sparkling atmosphere. The guitar tones are out of this world, as this album is perfectly produced. The Scottish band falls somewhere between post-rock and progressive rock. Unlike what most commonly gets depicted as a progressive rock there is not an abundance of odd time signatures or guitar solos.  

They can summon heavy punches thanks to the stellar drumming, but this is not a metal band of any kind. If "Salt" was played on piano it would feel more like Tori Amos, particularly in how she lets her vocal lines wander. Sometimes things wander beyond the scope of the song as "In this Avalanche" becomes obscured by its cloudy vision. The drums are certainly needed to keep focus as proven in "Point of Diminishing Return". They lay the ambiance on thick but things keep moving. They do this without the vocals being a focus. 

"Monsters" is pretty much a ballad. Not even a power ballad though it does build up into something more sonic. They continue to float further into an icy wonderland on "Atrophy" which showcases her upper register though as a song it drifts a bit. Her voice is powerful, but I think they are not using all of their tools here. It is not until the title track that the stormy rock dynamics kick back in. Even then they do so in a more flowing manner and never drop the hammer to the fullest extent. This gives things a more jammy feel. "Little Wooden Boxes" is marginally more grounded. The last song finds the band doubling down on the atmosphere, while the subtle pulse of the song fights for your attention. It took another listen for this song to sink in with me, and I think the album as a whole is going to follow similar suit though it is apparent their singer is a force to be reckoned with. I  will give this album a 9, just off my first impression. 

pst28

Earthside :"Let the Truth Speak"

 

A minute into the first song it is evident we are dealing with top-tier musicians. The drumming is nuanced and technically flawless. The razzle-dazzle of this kind of brilliance is impressive, but just wonderous playing in and of itself can not carry an album, even if it is progressive rock. The telling factor for this album will be how memorable the songs are.  Much of this brand of progressive metal feels like the emphasis is on the progressive side and less on the metal, as a dialed-in distortion and a few chugs in a dropped tuning do not make you a metal band. Metal is about aggression, if it is dark then even better. This album features a different vocalist for each track. Keturah a Canadian singer, who is very technically sound, with a very precise pitch and delivery, but much like many progressive singers, sounds to me like they are too refined. Like they need to spend less time with their vocal coach and more time experiencing real-life emotional trauma to convince me what they are doing has any soul to it. 

The production is flawless and all the sounds captured are pristine, almost to a fault. Pritam of the New Delhi-based band Aarlon for the song "Tyranny". It is well crafted and very melodic, but in a similar vein as a band like Sleep Token, which is marketed as metal, but really sounds like a grandiose pop power ballad.Pritam is a dynamic singer and can bring it from his guts as called for, but much like the first singer I feel metal is just a hat he is wearing, not truly feeling, there is no struggle he is screaming against. Music for outsiders it is the plights life throws against you that make the struggle inspired. I want metal singers who are nihilistic Satanists, drug addicts, mentally ill, or trying to overcome a world they are left on the outside of and looking in. 

Aj Channer from Fire From the Gods drops a vocal for "Pattern of Rebirth". He is yet another non-metal singer who sings for a metal band making pop music. He is however effective at what he does, and his performance here is in line with the quality of singing that is consistent with who he is as a performer. This makes for perhaps the album's strongest song. "Watching the Earth Sink" is a melodic instrumental that builds off a gradual dynamic, to something that is almost more djent in timing. The guitar solos it showcases, remind me of Joe Satrinani in the way they are phrased. 

Tower of Power's Larry Braggs handled the vocals for the ballad "The Lesser Evil" This highlights the fact they are not really attempting to be a metal band on this song. Harder guitar slowly works its way in as the Saxophone of Sam Gendel, brings things to a funkier place. I prefer the more ambient " Denial's Aria" with Vikke handling vocals and the harp duo Duo Scorpio, performing with them. "Vespers" after this is an intangible cloud of atmosphere. Tesseract singer Daniel Hopkins croons over "Let the Truth Speak". He projects his voice with impressive power when called upon to do so./I also like the more Tool-centric groove of the song. When this song is jammed down into a more introspect dimension. 

Baard Kolstad of Leprous plays drums on the last song. He might be the most metal element of the album given his time with Borknager. His drumming is impressive as the song builds, but the throbbing instrumental is a collection of cool sounds being moved rather than telling much of a story. This album is well constructed, performed, and produced, but do not feel a lot from its soul, I will give it a 8.5, as there are a few strong songs, but for my personal tastes feels a little sterile and soft. 

Let The Truth Speak by Earthside