Issue 2025-076

A.C.T — Eternal Winter

Andy Read

One of prog's most enduring and endearing bands makes a welcome return with their ninth release.

I first came across Sweden's A.C.T more than 20 years ago when I was asked to review their second album Imaginary Friends (2001). I was impressed by their set at ProgPower Europe shortly afterwards, and even more so by their performance a few year's later at the massive Sweden Rock Festival.

However, it is their third album, Last Epic that remains my favourite, as it perfectly encapsulates their unique blend of prog, pop, art-rock and a teeny weeny bit of metal. Their music is often described as a crossover between Styx, Queen and Saga, with a heavy inventive nod to The Beatles.

Overall their five full-lengths, four EPs and mini albums plus a reissue of their early recordings under the band-name of Fairyland is an impressive body of work. It's often said that they should be a much bigger name than they are. However, most of their material has been independently released, so I guess they have managed to do things on their own terms. Eternal Winter is also self-released, with copies available from the band's website (link above).

I'm not sure whether to refer to this an album. With a playing time of just over 32 minutes, and all but one of the tracks clocking-in at less than four minutes, it is not a disc that over-stays its welcome. It is, in truth, too brief. A mini-album maybe?

The current line-up consists of Jerry Sahlin (vocals and synths), Peter Asp (bass), Herman Saming (vocals), Ola Andersson (vocals and guitars) and Thomas Lejon on drums. I think I am correct in saying that the line-up has remained unchanged for more than 20 years.

As a result this (mini) album is very much a case of a band doing exactly what they do very well. No real change in style. Melodies to the fore. Plenty of playful details in every song. With three singers, the multi-part vocals are wonderful. The further use of female vocals on the opening song works really well (they should do more of that) as does the additional bursts of trombone, sax and clarinet.

There are a few moments when it all becomes a bit too twee, too cheeky and too lightweight for me. But I must admit, there's a sense of fun and daring which is quite infectious.

Not the best release in the band's repertoire but there is more than enough here to please existing fans, whilst it will also A.C.T as a very accessible entry point for newcomers.

Apogee — The Two Edged Sword

Greg Cummins

Apogee's Two Edged Sword is one of those albums that makes you check whether your speakers have suddenly upgraded themselves or whether you've accidentally wandered into a parallel universe where neo-prog rock is still topping the charts. Either way, it's a surprisingly rich, slightly eccentric and thoroughly crafted release that shows a band still sharpening its blade. Be advised however, that Apogee consists of only two musicians - Arne Shafer (lead and backing vocals, electric and acoustic guitars, keyboards, bass, sampled instruments) with Ebi Graef playing drums. The resulting music therefore suggests that many more musicians were involved so it is a credit to these 2 maestros who can cram so much diverse music into one album.

Right from the opening track, it's clear Apogee is leaning hard into the hallmarks of classic progressive rock with long-form song structures, thematic motifs that sneak back in when you least expect them and enough odd time signatures to keep your inner music theory nerd quietly fist-pumping.

The production has that unmistakable “home-studio but with obsessive attention to detail” aesthetic—clean enough that every instrument gets its moment but warm enough to keep it personal.

The album shines brightest in its arrangements. The rhythm section is tight, just like a pair of jeans straight out of the clothes dryer but in a way that fans of long, slowly evolving tracks will appreciate. The keyboard work is lush without turning into cheesy symphonic soup and the guitar lines walk a nice line between melodically driven cohesion and pleasantly show-offy bits that add to the overall allure. All of these musical flourishes are handled by Arne. Nice work, mate!

There's also a surprising number of little ear-candy moments: counter-melodies tucked into the background, quick harmonic modulations, even a few bass runs that sound like Arne briefly forgot he wasn't in a jazz fusion band. These touches give the album replay value—each listen reveals something you missed while you were too busy nodding along in phrygian-mode-induced bliss.

Let's talk about the vocals.

Our singer is earnest, passionate, and fearless... particularly when leaping for the high notes. Sometimes he nails them. Sometimes he nearly nails them. And sometimes he attempts them with the unwavering commitment of a man who absolutely believes his falsetto licence is still valid, despite the renewal form clearly being lost in the post. There are moments where his voice stretches upwards like a man reaching for the top shelf—grasping, hopeful and slightly in danger of knocking over the pasta jar. But in true prog fashion, he soldiers through with sincerity and sincerity can be surprisingly disarming.

Better a bold attempt than a timid whisper, as any Brit at karaoke after two pints will tell you.

Vocally, your mileage may vary. The delivery is earnest—occasionally too earnest—like someone who has read every Yes lyric sheet and decided to go for emotional clarity over poetic ambiguity. The phrasing can feel a little stiff in places but the sincerity behind it mostly carries things through.

Lyrically, the album leans into dualities (hence the title), with themes of choice, consequence and self-reflection. Nothing groundbreaking but the metaphors land more often than they don't. And honestly, it's prog; if the lyrics weren't a bit philosophical, fans would probably send polite but strongly worded emails.

The strengths of the album include instrumental craftsmanship that borders on foreplay. Layers build, twist and intertwine with delightful anticipation. The album also shows strong thematic unity. Motifs reappear like ex-lovers at inconvenient moments but this is nicely balanced with a complexity versus melody equilibrium. We see proper dynamic build-ups and crescendos that rise like a good soufflé but drop equally quickly and land on the mat like your mate Dave after one too many brewskies.

Some tracks are also longer than a mortgage application. A prog tradition, but still. Vocals occasionally strain hard enough to qualify as an isometric workout. At least once I swear I heard a note that wanted to be somewhere else entirely. I've said it before in previous reviews, and I'll say it again. Get some help with the vocals at least. Maybe a new singer on the payroll might address the shortcomings of a voice that is not getting any younger. The excellence in the overall songwriting and the complex arrangements deserve better.

The Two Edged Sword is richly arranged, musically impressive, occasionally over-the-top and unapologetically prog. The vocalist's fearless assaults on the upper register add a certain charm—like watching someone attempt parkour who occasionally stumbles but always commits with admirable gusto.

It's bold, passionate, a bit messy in places and absolutely worth hearing. If you want a prog album that swings big, delivers plenty of musical thrills and offers a vocalist whose high notes flirt with danger, Apogee's latest might be exactly your cup of theatrically brewed tea.

Chain Reaktor — Enjoy your Live Show

Jan Buddenberg

It's Saturday the 23rd of August around the clock of noon, enjoying family life. With time on my hands, and phone in hand, I decide to take a brief unhurried glance at my pinging Facebook feed. To quickly become anxiously impatient when I notice Chain Reaktor's statement saying their "official bootleg video" The Enjoy Your Live Show is about to be launched officially.

Usually a mental note at this stage suffices. But this time it's different. First, because the package captures the band in action during their Enjoy Your Live tour on the 24th of November 2023 at Parkvilla Theater, Alphen aan den Rijn, a tour I witnessed and thoroughly enjoyed one year before. Second, because The Enjoy Your Live is released in a run of 50 CD/Blu-ray and 50 CD/DVD combos only. A clear demand for double quick phone-action on my part, obviously.

Identical in content, either package include Chain Reaktor's full concert on both audio and video format. And on the included DVD/Blu-ray offers additional official video-clips, a making of documentary, and a live interpretation of Enjoy Your Life recorded at the New Brewery Studio. For purpose of this review I'll primarily focus on the acquired Blu-ray. Simply for the fact that the audio presented on both discs is exactly the same.

Or rather, almost exactly the same. Because the CD omits some song announcements and humorous in-between banter. This in itself isn't a major issue. And quite possibly even aids the full flow of the audio CD. But I do find it somewhat sad that these moments are not fully represented. I can however see the logic behind the decision from an international point of view, as these words are almost exclusively spoken in Dutch. The subtitles that accompany the visual registration I therefore find to be a very welcoming and rather helpful gesture for those not mastering my native language.

On the night, Chain Reaktor's set-list included every track of their excellent debut Homesick. They also played a fabulous cover of Ayreon's Amazing Flight, a composition Erik "Papa" Laan (vocals, keyboards) used to indoctrinate both of his sons, Bart Laan (vocals, guitar, flute) and Arjan Laan (drums, percussion) with in the past. Completing the line-up are Mark op ten Berg on bass/bass pedals and Arianne van Nieuwenhuijsen on vocals, guitar, and percussion.

This brings me to the third reason on securing a copy straight away. The recordings itself that were made by Background Magazine's Roel Strik and his steady camera assistant Arthur Haggenburg. This is a different combination than the usual semi-professional Strik Brothers combo who were behind the exceptionally well-made Scattered Over Europe live-registration of Crystal Palace. In spirit to that release, this duo also brought dedication, commitment, passion, and strategic placement of multiple cameras, and succeeded extremely well in capturing Chain Reaktor's live concert.

One aspect I particularly enjoy about their approach is their calm and controlled recording style, which allows for a pleasant and relaxed transition between individual musicians. I also fully appreciate the fact that every passage or movement of musical significance — a solo, a moment of fatherly pride, an interactive virtuoso performance — is captured on digital tape. Besides the superb timed close-ups that show concentration and enjoyment, I find their use of composite images and split screens, allowing two to five musicians to shine simultaneously, very rewarding and successful.

Not trying to sell anyone short, because all Laan's and Op ten Berg perform fully on top of their game, there is a difference that distinctly stands out in regard to the songs played. And her name is Van Nieuwenhuijsen. Next to her guitar arrangements that add depth to the songs when compared to their studio counterparts, this especially concerns her vocal contributions. Her voice beautifully harmonises and complementary contrasts with those of main vocalists Erik and Bart. It truly brings an additional captivating dimension to the music when she takes over on lead vocals.

A fine example of the latter is the concluding Lonely City where she takes over parts that were previously sung by Erik. This broadens the appeal of this splendid set closer that has everyone in the audience loudly applauding for more. In the impressive cover version of Amazing Flight , she sings with passion and from the heart, while the "guys" soar through the various stages of this beautiful composition with subtlety, enthusiasm, dedication, and skill. Besides Erik's ravishing keyboard work and the overall chemistry at play, Bart's masterful command of the guitar and flute certainly warrants a special mention here.

As for the other songs performed, I gladly refer to my colleagues review for further insights. But I do feel the need to point out the magnificent beauty of the song Homesick. Perfectly encapsulating the full potential of Chain Reaktor's current line-up, this song starts with engaging flute melodies, melancholy, and an intricate build-up with vocal harmonies and sensitive melodies. Then it truly progs like a cradle during its meticulously arranged monumental bridge where a peerless Bart, with dynamic support from a grooving Bart, takes compelling hold of the melodies. The ethereal chants by Van Nieuwenhuijsen finally brings this phenomenal composition resolutely home.

Considering this beautiful "we-want-more" composition, I sincerely hope that Bart and Arjan will soon experience a serious case of recurring homesickness, so that Chain Reaktor will have plenty of other material to choose from for their next tour.

To quickly summarise the above with a partial quote from my colleague: without hesitation, Enjoy Your Live Show comes highly recommended. If this review happens to be your unexpected notification, then follow my lead, get cracking, and secure your copy today!

Grovjobb — Nallebjörn är död

Owen Davies

Grovjobb, that's a band name from the past!

During 1998 - 2001 they released three critically acclaimed albums. Original copies of Landet Leverpastej, Vättarnas fest, and Under Solen Lyser Solen released by Garage land Records are now much sought after. On these excellent albums, the bands style was characterised by an authentic mid-seventies sound in their delivery of instrumental psychedelic rock. In a series of loosely constructed, yet beautiful tunes, the energy the band displays is formidable.

The tunes were strewn with hard edged guitar and an inspiring flute sound. The band's music was tinged with earthy nods to Swedish folk motifs and emboldened by Indian musical influences embellished on the Sitar

Their Vättarnas fest release featured in DPRPs flute and prog rock feature published some years ago and all of the band's albums have long had a special place in my music collection. Since Grovjobb reformed in 2023, I have kept a watchful eye out for any forthcoming new material.

That time has now arrived with the release of Nallebjörn är död. The music develops Grovjobb's identifiable style and sound (albeit without the flute).

While the flute was very much a part of the bands signature style and gave the music a wide tonal range, the tunes were largely penned by founding member and guitarist Jerry Johansson. His compositional style is still very noticeable and is instantly apparent during Nallebjörn är död. His skillful use of recurring rhythms, folk melodies, memorable motifs, and a wash of hypnotic guitar lines creates an easily identifiable ambience. These ingredients irrefutably link the sound and style of the earlier incarnation of Grovjobb with the present one.

The music remains largely freely spun and exhibits a fresh sort of spontaneous feel. Repetition, as in the bands previous releases, is again used to great effect. This is not surprising, because as well as. Jerry Johansson (Guitar, Sitar, Dulcimer, Udu, Shruti Box), former Grovjobb members Ola Wolfhechel Jensen (Drums, Percussion) and Jesper Jarold (Bass) all feature on the new release.

The addition of keys played by Thomas Nyström gives their latest release a different melodic quality. However, piano, electric piano and synth are used to good effect to complement the tidal surging of Johansson's trancing soundscapes, clearly defined riffs, and the melodic discordance of twisted guitar effects.

There is a good balance of longer and shorter compositions. The shorter tunes such as, Nallebjörn är död Pt. I and Nallebjörn är död Pt. II form a part of a longer suite. However, although they are self-contained, they do contain elements that are common to other parts of the suite.

Nallebjörn är död Pt. I is a contemplative piece. The exotic sliding of the sitar sets a pungent sandal wood scene of sun-rayed harmony. Pt. II has more emphasis on a fusion of Eastern and Western musical forms. It is more up-tempo, but its mix of riffy sections and melodically recurring guitar struck, ear-holds, embellished by the twang of the sitar, hold the attention in a mesmerising grip.

The last tune of the suite also incorporates a sitar, but it is memorable because of the richly distorted guitar tones that have prominence in several parts of the piece. Repeated phrases are wrung flattened, raised, and reapplied as the pace quickens and falters. This creates imagery of a musical caverned venue of sweat gurning faces glowing in the dry-iced, low-light, frosted-haze of a distant stage.

When Nallebjörn är död Pt. I concludes, there is lovely reprise of its initial melody. Distant keys rise from the clutches of distortion. An atmospheric sitar brings the suite full circle back to Nallebjörn är död Pt. I as the notes fade gradually in the rose wood fog of a Varanasi sunset.

This, conclusion emphasises that the trio of Nallebjörn är död tunes have an interlinked organic feel. Certainly, the suite develops, evolves, and concludes in a natural manner.

The album begins with the impressive Nallebjörn är trött. It is a tune that has many differing moods and tempos. It begins sedately, has peaks of frenzy and valleys of reflection as it flows purposefully towards its conclusion some fifteen minutes later. The thick bass is prominent and the rhythm section holds everything together, whilst guitar and keys do all the melodic light and heavy lifting.

One of the key aspects of the tune is the amount of space that occurs in the pieces mellow sections. The music is given an opportunity to breathe and fill the spaces. This is in contrast to the busier sections when a Jam like ambience pervades and the music becomes more tightly packed. In the reflective stages there are numerous enchanting guitar tones and several memorable motifs and ear catching melodies. The flowing rhodes solo in the latter half of the piece works really well and was an imaginative way to resolve the insistent psychedelic soundscape that preceded it.

Without doubt, Grovjobb are a band with an illustrious past, but on the strength of Nallebjörn är död they are undoubtedly also a band with a fascinating future.

Michael Moorcock & The Deep Fix — The New Worlds Fair

Jerry Kranitz

I discovered Michael Moorcock in my teens when I was a member of the Science Fiction Book Club (Americans of a certain age will recall that and the similarly functioning record 'clubs'). I loved the Elric stories and was intrigued by Jherek Carnelian's world (the latter I appreciated more when I revisited the stories years later). Fast-forward some years and while immersing myself in Hawkwind's music, I was surprised to learn of the band's connection to Moorcock, who contributed lyrics and occasionally joined them on stage.

One of the godfather's of the 1960s "New Wave" of science fiction writers, Moorcock was a huge rock music fan. 1975 saw the release of The New Worlds Fair, credited to Michael Moorcock & The Deep Fix. The band consisted of Moorcock on guitar, mandolin and vocals, Steve Gilmore on guitar and vocals, and Graham Charnock on bass, guitar and vocals, plus numerous guests including several from the Hawkwind family tree (Dave Brock, Nik Turner, Simon House, Simon King, Alan Powell). The album is an eclectic collection of folk-rock (Fair Dealer), glam (Year Old Doom), country-ish rock (You're A Hero), Celtic hootenanny (Come To The Fair), bluesy soulful psychedelia (Ferris Wheel), and some fairly straightforward rock songs. Song For Marlene is one of my favorites of the set, sounding like a cross between Neil Innes and John Lennon tunes. Overall, the songs are decent and the playing is very good.

There are brief spoken words bits between songs that loosely tie the theme together. As Joe Banks (author of the Hawkwind Days Of The Underground biography) explains in the accompanying essay, Moorcock based the songs (or a portion of them) "around the concept of a dystopian funfair at the end of the world", as well as his experiences at actual fairgrounds. The band name The Deep Fix (I didn't know this until reading Banks' essay) was derived from a 1964 novella Moorcock wrote under the pseudonym James Colvin. The Deep Fix subsequently became the name of a fictional band in The Final Programme, the first of Moorcock's classic Jerry Cornelius novels.

The album has enjoyed at least two reissues, and now we have a new edition from the Think Like A Key label. The package includes the original 11-track album, three 'Pre-LP' songs, three additional demos and three songs by the 1981 Deep Fix lineup of Moorcock, Pete Pavli and Drachen Theaker. Hawkwind devotees know that their catalog, and 'Family Tree' items like The New Worlds Fair, has long experienced a labyrinth of reissues and compilations. For the benefit of completists, I'll quote Joe Banks' response to my question about the bonus tracks. Regarding previous reissues, he explains that the last CD reissue (Esoteric, 2008) "featured all but two of these tracks. This edition adds Good Girl, Bad Girl and Time Centre from 1981 - these two tracks featured on Hawkwind's The Flicknife Years boxset (also from Esoteric), but haven't been included with The New Worlds Fair before. You'll also notice that the running order has been adjusted so that the CD begins with the Dodgem Dude single, which was originally meant to be released before the album as a stage setter."

The Dodgem Dude single is far more gritty rocking than anything on the album. There's an additional demo version that's got a garage rock feel. Of the other two Pre-LP bonus tracks, Starcruiser is a Celtic bar room stomper with a space rock theme. On the album, Candy Floss Cowboy is a less than 2-minute spoken word set opener. But the Pre-LP bonus version is very different, being an over 4-minute song. A highlight among the other demo tracks is a space-glam version of Kings Of Speed, a song from Hawkwind's Warrior On The Edge Of Time album that Moorcock wrote the lyrics for. The 1981 tracks are quite good. Brothel In Rosenstrasse is a chunky, saucy, stoner song. I like the eerily drifting feel of Good Girl, Bad Girl. And Time Centre is completely different from any other Deep Fix track, being a bouncy bit of space and groove electronica.

Approaching his 86th birthday, Moorcock is still active. In addition to writing he has collaborated with musician/producer Don Falcone, who has been releasing albums inspired by Moorcock's Dancers At The End Of Time novels via his Spirits Burning collective project. A life well lived!

Steve Morse Band — Triangulation

Greg Cummins

It's been a long minute since we've had a full-on studio album from the Steve Morse Band and when Triangulation landed in my inbox, I was very keen to see and hear what the man and his cohorts managed to assemble in the studio. This record feels like Steve coming home—dusting off the old tone-alchemy and checking whether the fretboard still smokes under pressure. (it does.)

Part of what makes Triangulation feel special is the fact that it's been years since Steve was fully focused on a new studio record with his own band. After his long and respected run with Deep Purple, he shifted into a mix of projects and personal commitments. He's played with Flying Colors, guested on various recordings and of course maintained his long-standing connection with the Dixie Dregs. Those years away clearly didn't dull his technique, but you can hear the difference between someone constantly playing arena rock with Purple and someone digging back into the intimate, muscular fusion-rock language of his trio. So we see the return of our six string slinger along with long time buddies, Van Romaine on drums and Dave LaRue on bass.

Together they lock into that classic Steve Morse Band interplay with tight and bright musicianship along with plenty of momentum and bucket loads of melody. The songs are all well composed and played and the entire album is beautifully produced. There's no punkified hoe-downs such as The Bash , however, which is a pity as those sort of uber countrified tracks helped the Dregs find a formula that worked really well. With the band now centred around Steve and his former mates, as a trio, the sound is a little less inspiring overall, yet is interspersed with some great music here and there.

The album features 3 songs that have already been accompanied by promotional videos, namely Break Through, TexUS (featuring Eric Johnson), and Triangulation (featuring John Petrucci). These are all well produced and certainly worth watching if you are in the mood for some visuals. However, there's a stretch in the mid-section where the songs begin to blur—still technically stunning, still beautifully played but a bit samey. A violin here, or a guest keyboardist there, would've added some flavour. Make no mistake, Steve's tone is gorgeous, but guitar-trio territory can get a little monochrome over 50 minutes, even when the guitarist is Steve Morse.

Triangulation is a warm, fast, and occasionally overly uniform return from a guitarist whose phrasing and musicality I've missed. The trio is undeniably locked-in and Steve's tone is unmistakably his. A little more instrumental variety would go a long way but the album is still a joy—especially for longtime fans who've followed him from the Dixie Dregs to Kansas to Deep Purple and back to his own creative playground.

If you love Morse, you'll enjoy this. If you miss Morse, you'll treasure it. And if you're just here for the shredding… don't worry. There is shredding. Plenty of it.

Spock's Beard — The Archaeoptimist

Patrick McAfee

Since the departure of founding members, Neal Morse and later, Nick D'Virgilio, Spock's Beard has spent the last two decades somewhat in search of an identity. Their moniker still resonates, but a lack of clear direction, coupled with sporadic activity, created a void in the band's legacy. The Archaeoptimist, their first album in seven years, re-establishes the band as a force to be reckoned with.

Keyboardist Ryo Okumoto has in large part taken the reins. In doing so, he has clearly encouraged a new level of enthusiasm from guitarist Alan Morse, singer Ted Leonard, bassist Dave Meros and new drummer, Nick Potters. Much of the success of this album comes from its full embracing of the style that originally made Spock's Beard great. It doesn't reinvent the wheel in any significant way, but the results are as fresh and vital as the band has sounded in a long time.

Confidently adventurous songs such as Electric Monk, St. Jerome in the Wilderness, and the epic title track contain effectively extravagant performances. Not the least of which from Okumoto, whose keyboard work throughout is in your face, brilliant. The most unabashed nod to the past is Afourthoughts, a fourth installment in the Gentle Giant inspired song series that began on the Beware of Darkness album in 1996.

Great performances mean little without substantive songwriting, and that is truly the difference maker here. New songwriter, Michael Whiteman has collaborated with Ryo, Alan and Ted to compose some of the best Spock's Beard material in years. Just when the band's best days seemed behind them, The Archaeoptimist comes along to strongly dispel that notion. It is a significantly entertaining, old school prog album. A true return to form from the band once affectionately referred to as the Mighty Beard!

Yurt — VI-Rippling Mirrors Of The Other

Jerry Kranitz

Yurt are an Irish guitar, bass, percussion, sax, synths and vocals trio. Rippling Mirrors Of The Other is their sixth album and my introduction to the band. Yurt describe themselves as "an idiosyncratic form of progressive noise incorporating prog rock, prog metal, prog punk with elements of doom, psychedelia and jazz." How's that for hopping along the genre spectrum! The music morphs, mixes and shapeshifts genres and styles in exciting and cohesively all over the map ways.

The set opens with the over 15-minute The Cormorant Tree. Assertive drums pound away, accompanied by electronic effects. An eerie synth melody joins in along with grinding guitar blasts, making for a tribal, metallic, carnivalesque workout. Vocals kick in around the 6-minute mark, making it all feel like some kind of prog-punk-metal circus anthem but also bringing to mind heavy space rockers Litmus. Meteor shower electronics go ballistic, propelled by chunky metal guitar chords and gothic symphonic keys.

Seventh Is The Skut is next and comes hurtling out of the starting gate as a hyper-kinetically rocking slab of battle-in-space spectacle. Yurt have what in my project management days we used to call 'a sense of urgency'. This track streaks seamlessly into the over 16-minute Pagpag Variations, a powerhouse blend of space metallic rock 'n' roll and prog-punk mosh pit hysteria. (I'll bet you've never seen 'prog' and 'mosh pit' used in the same sentence.) But after the 6-minute mark the band ease into a compositionally twisted avant-orchestral, free-jazz, metal, sci-fi passage that's like Frank Zappa conducting the Ringling Brothers on Planet Mars circus orchestra. And from here on Yurt maniacally twist and turn to the end. From The Maggots Perspective is a calmer space-orchestral tune with 1960s styled organ creating the lead melody and punk-anthem vocals. Shop Of The Most Auspicious Frog (gotta love these titles) is a whiz-bang space, avant-prog and metal rocker with saxophone and alien effects madness that recalls early Hawkwind. Finally, Sun Roasted Rodent closes with some of the most intense metal but also some of the most melodically compelling segments of the set. I love the dueling guitar and organ.

After looking through their YouTube channel I asked drummer Boz Mugabe about the multiple videos by a band called The Steam Pig. He explained that this was a punk band he and guitarist Steve Anderson were in and that's the musical background all of Yurt come from. I watched a couple of the videos and they were indeed an all caps PUNK band. Their cover of The Bangles' Walk Like An Egyptian is a hoot! But it's worth mentioning given the punk elements of Yurt's music.

In summary, Yurt excel at injecting a sense of playfulness into hair-raising levels of intensity. There's plenty of compositional intricacy, thematic bobbing and weaving and tightly knit instrumental proficiency to excite prog fans, especially those with a taste for stylistic atom smashing. Yurt's absorption and distribution of influences is like a racecar that smashes into the wall on a hairpin turn, bursts into flames, lands smoothly on all four wheels and just keeps on going. I'll be backtracking through their earlier albums.