Issue 2026-001

Omnium Gatherum — May the Bridges We Burn Light The Way

Calum Gibson

Ah Finland, what have we got this time? It is more melodic metal in the form of Omnium Gatherum. With an extensive line up since forming back in 2003, Markus Vanhala (Insomnium, ex Pressure Points and more) has remained the only original member. This latest release May The Bridges We Burn Light The Way marks the band's 10th album. Having enjoyed The Red Shift and New World Shadows, can this reach that high bar?

Initial reports suggest that yes, it can. For those who know OG, this album likely won't surprise you in its style and sound, but it also won't disappoint. For those who don't know them, they are one of the leaders in Finnish melodic death metal, and this album is no exception. Fast, technical, filled to the brim with harmonies and atmosphere — it has it all.

Each track is a worthy single in its own right, with clean and harsh vocals alongside blistering solos, fun drums and orchestral keys. Hooks are thrown out left, right and centre and each one manages to catch you and pull you in. While being a relatively short album (two of the nine tracks are short instrumental pieces), it still has a fair amount of meat to it.

Despite being death metal, there is an abundance of pop and mainstream sensibilities throughout. Choruses are catchy, the music perfect for air guitar, and the general tone is bright and polished. There is enough technicality and punch to keep any fan of this style happy, but also enough mainstream appeal to be able to pull in any outside fan who has been keen, but wary, of dabbling in the waters of melodeath.

A fun side note — the vocal tracks were cut on the SSL console used by Queen on their Innuendo album.

Any fan of groups like Insomnium, Be'lakor, Amorphis and most of the other Nordic metal bands will undoubtedly enjoy this.

P'Faun — The Marburg Sessions

Jan Buddenberg

Back in February of 2023, the P'Faun union of Sammy David (guitars, bass on Marburg Session 08), Tommy Betzler (P'Cock, electronic drums, percussion), and Michael Brückner (synthesizers, keyboards, sequencers, electronics) gathered at David's studio near Marburg to work on new music. Taking improvisation as a starting point, one of the many strengths these seasoned musicians possess, they decided to record various jam sessions based on spontaneity and on-the-spot interaction. Which they would then lay to rest for a period of time and revisit sometime later with an open mind.

By applying only a fracture of cosmetic (cosmic?) treatments to the recordings in order to cautiously preserve the progress of ideas and flow of the original jams, the resulting The Marburg Sessions caters ten (eleven when counting the synth-focused, groovy remix of Marburg Session 01) of these instrumental work-outs. Musical exercises that each in their own unique way fuse elements of Berliner Schüle, space rock, Krautrock and progressive rock into one exciting whole that frequently resonates with Pink Floyd, 70s Eloy, and Klaus Schulze.

Cosmic as a general atmospheric rule, this Pink Floyd and Eloy imprint surely comes to mind in the opening minutes of Marburg Session 01, before funky guitar enters and melodies gradually intensify towards a soothing finale with great flowing guitar arrangements. And again in the opening statement of Marburg Session 02, where David's style emulates that Gilmour's from The Wall era. Supported by a carefully formulated build-up of increasing rhythms and multilayered synth modulations, David's varied guitar extravaganza in this second session then starts to resonate Alan Holdsworth, which is especially fine. The concluding amalgamation space rock and Krautrock truly delivers on the psychedelic front.

Marburg Sessions 03 starts off small with a serene, soul-soothing atmosphere, and quietly progressing melodies of compelling guitar play. The musical glow reminds me of Flame Drop. Marburg Session 04 follows with similar improvisations played in slightly shifted lead roles. Betzler adds a variety of earthly tribal nuances. The beautifully constructed and frequently rocking Marburg Session 05, to my taste, waves goodbye far too early when David energetically takes the dynamic melodies along in a style reminiscent to Long Tall J.

The same actually goes for personal favourite Marburg Session 06. The guitar sound in this formidable jam at first unmistakably harkens back to that of Roye Albrighton as on the much-treasured Sounds Like This by Nektar. This image is further underscored by Büchner's wonderfully virtuoso organ play that strengthens the exciting Krautrock feel of the composition. After after a psychedelic sound collage of howling guitar and lush synth flows, the end comes beautifully on its own again, culminating in a fiercely rocking climax. The trinity of players go all out with dazzling synth-enriched dynamics. Especially this final segment could have lasted me for hours on end. If not days.

This is equally true for the spirited Leslie West (Mountain) shredding finale of Marburg 08. As the album's second highlight, this lengthy track, alongside impressions of Saga, perfectly illustrates the experience and chemistry at play during these never-tiring jam sessions. At the same time, it proves that P'Faun's loosely bound improvisational approach, which leaves room for all to shine, is an outstanding tailor-made formula that ideally suits them.

The set is completed by a conveyed reflection of Vangelis meets Pink Floyd in Marburg Session 10 and two consuming Berliner Schüle-inspired explorations. Songs that to great satisfaction probe into futuristic ominous atmospheres (Marburg Sessions 07) and galactic vastness in close proximity to Sequentia Legenda featuring Tommy Betzler (Marburg Sessions 08). And the overall conclusion is a fairly straight forward one: for those about to prog to a thriving and never tiring symbiotic mixture of EM, Krautrock and psychedelic space rock with magnificent guitar escapades, P'Faun's The Marburg Sessions offers the perfect synergetic trip. Highly recommended!

What's the weather like these days in Marburg, P'Faun? Fancy another go for session 11 to 23?!

Pinn Dropp — For the Love of Drama

Sergey Nikulichev

Taking off on Calling from Some Far Forgotten Land and giving itself a brief rest during Live in Lodz, the mascot firebird of Polish Pinn Dropp landed on a seemingly AI-generated, but still rather solid gothic cover of the band's second full-length album For the Love of Drama. The journey was long (seven years have passed) and much has changed since the release of Pinn Dropp's mammoth debut Emotionally Flawed, with its multifaceted themes and long epics. Love of Drama, on the contrary, is the one release that features only minimal similarities with the major Polish prog scene. Elements of Collage and Riverside's sound were one ingredient of many on Emotionally Flawed, and now only vestiges of the famous Polish (urbanistic / romantic) sound remain. What was it sacrificed for? For the good old heavy groove – not strictly retro, but rooted in the pre-millennium approach to production.

The sophomore release, as the band affirms, makes a half-concept album, loosely dealing with an introspective story of a mystic hermit's journey through centuries and his own consciousness. In the words of the band, “each text stems from the personal experiences of the authors – universal experiences that affect us all. The protagonist of this journey is none other than the Hero from Joseph Campbell's monomyth – a figure in whom every listener can find their own reflection”. Well, not the tritest source of inspiration, is it?

Already the opener Unholy rocks hard, with a doomy rock riff, and obvious inspirations from 80-90-ies Sabbath and Dio. The vocalist, Mateusz Jagelo, is not shy to sound like a cross between Russell Allen and RJD - and what is even more astonishing this is not the ceiling of his vocal skills, as the next tracks affirm. Point of No Return is a song of many faces, to me sounding like a cross between A.C.T. and Dream Theater (note the precision with which the band evokes the vibes of Awake, as the vocals enter: “This is my proclamation…” – perfect!).

The kaleidoscopic change of moods and staccato riffs here makes me think of Today's Report. Recycled Feelings serves as one of the album's singles, and it's a fabulous choice – an optimistic, but smart ballad filled with light and tenderness (think of the first time you heard Silent Lucidity). After a short interlude the rocking vibes rule the waves once again on Logismoi, again evoking the classic prog metal acts in equal portions – namely the ubiquitous US quintet, Pain of Salvation and Vanden Plas. Notice again, how Mateusz leaps from tender LaBrie intonations to aggressive roar and back.

L'Illumination dealing with the cruelties and strivings of the French Revolution, features a dark yet groovy bassline in the vein of Riverside circa ADHD and dramatic storytelling not unlike Arena at their most aggressive. The title track For the Love of Drama offers a slowly-evolving, vast and dramatic epic, echoing the unfairly forgotten art-rock moves of Shadow Gallery. Hugag closes the album with a DreamTheater-esque ballad, a worthy homage to the US giants and a much more elegant one, than yet another shredfest in the name of John Petrucci.

What wins my attention and praises, is that the band, while clearly loving the prog metal classics, does not follow the current “heavier-faster-thicker” competition, instead focusing on the dramatic – as the album title hints – aspects of the 90s heavy / prog/ metal, and musicians' own capabilities. Having said that, I certify that the band's main achievement lies in that the release sounds precisely like Pinn Dropp. Influences remain nothing more than influences, and the band's own style is what matters most. For the Love of Drama surpasses in terms of quality, focus and emotions everything the band released before, and many releases from the high-reputation Polish scene.

Pymlico — Core

Edwin Roosjen

Pymlico are a band from Oslo and led by Arild Brøter. The band has a solid core of seven members including his brother Øyvind Brøter. Core is their fifth album since they signed with Apollon Records Prog in 2016. Meeting Point was released in 2016, Nightscape in 2018, On This Day in 2020 and Supermassive in 2022.

Pymlico play an instrumental mix of progressive rock and jazz. Core is filled with melodies played either by guitar, keyboard or saxophone. Their sound does not have overcomplex jazzy structures which makes Core more accessible than other fusion albums. What I mean to say is that I can play with other people around who are not jazz or prog fans, and they do not start telling me they cannot think because the music is too complex.

Core is one big trip through different melodies in different songs with each its own specific theme or main upfront instrument. I really like the use of the saxophone throughout the whole album, not just one solo but used on a regular basis throughout the whole album. I am a guitar fan but I must say I really like the use of saxophone in their sound. There are many different instruments are present but still Pymlico made Core is a very well-balanced album.

Opener Welcome Back starts with a frantic saxophone that really kicks in. Pretty soon the music becomes more melodic and relaxed and comes more alive. After a funny sound effect, the start of Ellipsis has a strong resemblance to the chords of the song Bloody Well Right by Supertramp, but the sound effect makes it sound as if you were listening to it from the toilet of a concert venue. Do you know the feeling? You really have to go to the toilet at a concert and when you are in the toilet you hear the starting tune of your favorite song and you have to rush back to hear that favorite song. That is what this sound effect reminded me of. The sound effect is a strange choice, funny but not really contributing to the album in my opinion but that could just be me.

On Captain Teebs there is more guitar work and there is more complex stuff and jazzy rhythms on this song. People really looking for that complex jazzy stuff will not find enough of it on Core. Even in a song like Captain Teebs it never becomes really complicated for the sake of complexity, it's at a level that I really like. The melodic music continues in Fair Play, Don't Do That and Point Nemo. 221B is just over eight minutes long, and this is where Pymlico stretch the boundaries. The first part of the song has some complex rhythms with many saxophone solos and the second part is more intense and heavier. Done And Dusted closes the album in a gentle style, a nice ballad.

Core is my first introduction to the music of Pymlico. And it is a positive introduction. Instrumental progressive rock with a jazzy sound. Not overly complicated and filled with a loads of melodies. If you like the previous albums of Pymlico then you will like this one, no doubt. Core is an album I can put on anytime, a highly enjoyable album.

Retreat From Moscow — The Illusion Of Choice

Greg Cummins

Retreat From Moscow are a Welsh band that originally formed in 1979 and played live quite prolifically for a number of years before deciding to pull up stumps. It was not until 2022 that the band finally regrouped, dusted off their instruments and released their first album with a second one following shortly thereafter in 2023. 2025 sees the band releasing their third offering, which begs the question as to why they didn't persevere when prog music was still in vogue. Their output so far suggests they are a band to be reckoned with, yet so far I have unfortunately not found any of their music that ignites my senses like a new IQ, Marillion, or Glass Hammer album might.

The band consists of John Harris (guitars, harp, keyboards, guitar synth, mandolin, flute, vocals), Andrew Raymond (keyboards, grand piano, guitar, pedal steel guitar), Tony Lewis (Wal Bass, fretless bass, backing vocals), Greg Haver (drums, percussion) so with a smorgasbord of instruments at their disposal, you would hope they have all bases covered.

However, there's something wonderfully British about a band vanishing for decades, probably to tend gardens and grandchildren, then suddenly re-emerging to release a handful of neo-prog albums as if they'd only nipped out for milk. The Illusion of Choice feels exactly like that: a slightly dusty suitcase of melodies and time signatures that's been stored in the attic since the early 80s and is now being proudly unpacked, mothballs and all.

Musically, the album is a pleasant ramble through familiar prog countryside—rolling Mellotron hills, guitar solos that appear on cue like well-trained spaniels and lyrical musings that oscillate between the cosmic and the confusing. Several songs do that charming neo-prog thing where they start softly, consider becoming a ballad, then dramatically remember they're supposed to be slightly “epic” and sprint toward a grand finale, replete with complex time signatures. It's hard not to grin. They do however, broach a number of more poignant issues that confronts the world today, including the Russian invasion of Ukraine.

Vocally and instrumentally, the band sound rejuvenated—like a group of dads who've rediscovered the joy of playing loud enough to annoy their neighbours. But while the enthusiasm is genuine, the material occasionally gives off the faint whiff of déjà-heard. You know the moments: the wistful acoustic intro you've met somewhere before, the synth pad that seems to have escaped from a 1993 studio preset, the lyrical references to choice, illusion and destiny that are practically on a first-name basis with half of neo-prog's back catalogue.

That said, the album is perfectly enjoyable. It's like comfort food, shepherd's pie prog. You've tasted every ingredient before, yet somehow you're still happy to tuck in. Yes, it's all been done before, but Retreat From Moscow play it with enough warmth and sincerity that you forgive the familiarity.

In short: The Illusion of Choice isn't reinventing the prog wheel, but it does give it a nostalgic polish and sends it rolling merrily downhill once more. And honestly? That's half the charm. The album is well constructed, well played and produced but it ain't going to set the prog world on fire regrettably. If I was to use the older rating system, I'd probably give the album a hearty 7.5 / 10. Nice work guys!

Us — Between The Apex And The Pinnacle

Jerry van Kooten

We've reviewed many albums by Dutch prog band US over the years, starting with their debut A Sorrow In Our Hearts (by yours truly) to the previous album Stars In Broad Daylight. Changes in line-up over the years led to slight changes in the music but with founding father Jos Wernars as the main composer, most of the music has the same foundation.

I believe a few albums were done by Jos Wernars completely on his own. It is not uncommon that when a single person is driving a project, the lack of feedback from other musicians might have led to albums with less variation and therefore lukewarm responses. But today, the line-up, as with the previous album, is a four-piece. Jos Wernars is the main composer, sings, and plays everything with strings. Peter-Jan Kleevens plays several things with keys, old and new, and I love his sound. And it is wonderful to see that original drummer Paul van Velzen is back on drums and vocals, having joined with the previous album. Marijke Wernars continues to add vocals.

I hear sections that hark back to the sound of the first album, and in atmosphere sometimes even nack to the pre-decessor's 1979 album To Whom It May Concern when they were called Saga. Super-melodic symphonic prog. I didn't count but I feel there is a little more emphasis on keyboards than on guitar when it comes to the solos. When the guitar gets going, the music is a tad heavier than before. Which this reviewer likes. Its like a mix of classic Genesis or Yes style synths and guitars with the heavy Hammond and guitars of Uriah Heep circa Demons And Wizards in a modern prog style.

One thing I had to get used is the mix and / or mastering in certain parts. The instruments are recorded clearly, but at several times I was thinking I would have done things differently for the final mix. In most cases where I feel this, it's the vocals that are a bit soft, and a few times an effect on the vocals are applied for a little too long. Once or twice, the drums a little too loud . The middle of the second track, for example, it's hard to distinguish the sounds that are made. Perhaps on purpose, since other parts are so clear. The vocals in the next part are again a bit low.

In Pandora's Box, a break with acoustic guitar sounds louder than the distorted electric guitar following it, and the vocals are again a bit pushed to the back. There's a story here, and I'd love to be able to understand it. Jos Wernars' voice is warm and clear and without accent, easy to listen to, so a more prominent place in the mix would benefit the album as a whole. Finally, in the end section of All We Call Fate, the cymbals are up-front pushing the guitar and main drums a bit to the back. In all these cases, the other instruments, like keyboards and bass and vocals, work very well. I also really like how the acoustic guitar and quieter piano come through in a lot of places. The bass gets plenty of space as well, mainly on the opening of Pandoras Box, and I love how melodic the bass can sound.

Overall, there is a lot to enjoy here. The multi-layered arrangements are a joy. A good mix of uplifting and melancholic songs / sections. My taste tends to lean towards the latter, and I therefore prefer the title track to the opening track Alice, but there's something for most symphonic prog fans here. Something that appeals a lot to me, for example, is the title track's second half. An amazing, fast-paced, grooving progressive blues-based section with lovely Hammond sound alternating with a symphonic chorus, followed by a soaring keyboard solo. Excellent stuff. Or Pandora's Box second half. Slower but melancholic and gloomy. Or the keyboard / guitar / keyboard solo in the middle of the last song.

The keyboards used will please a lot of prog heads. I love the variation. With a bluesy blanket of Hammond, Mini-Moog solos giving a neo-prog feel, and modern strings for the symphonic touch, Peter-Jan Kleevens' playing is excellent. Paul van Velzen on drums is making his presence known. He surprises with a lot of unexpected fills or patterns. Marijke Wernars adds a nice complement to Jos' vocals and another contrast in the sound.

The long songs show a lot of variation. Although the compositions are in a certain atmosphere and progressing, they are not bouncing from wall to wall. I like that. For those with slightly less patience, some parts might take a little too long. But there are many parts on here that push the right buttons for me, and pushing a right button a little longer also works very well.