Issue 2026-003

Alta Forma — Trajectory

Martin Burns

This is the second release by the trio Alta Forma, following on from 2023's Spatium & Tempus which was given a glowing review by my colleague Jan. Alta Forma are a mix of neo-prog style, concise songs with an underlying energy and arrangements from jazz-fusion. The three members are fusion bassist Antoine Fafard who also shows he is no slouch on guitars either, one time Styx drummer Todd Sucherman who absolutely rules this release with his rhythmic invention, I mean just how many arms does this guy have? And on vocals and keyboards is JK Harrison. His vocals are strong and powerful.

Trajectory opens with its title track a tight five minutes of precise jazz-fusion, barrelling along on Sucherman's drums it leaves barely a breathing space for Harrison's wordy lyrics. I surprised that the vocals manage to work in the context of jazz-fusion but it does, just. Fafard's guitar playing provides a nice solo and organ fills pop out of the dense arrangement. Often on this album the keyboards are a little lost in the mix, only coming to the fore on occasion.

Now the issues I have with this album arise on the second track Independent Mind, as a bassy atmospheric opening gives way to full on neo-jazz prog, here the vocal melody and words seem almost disconnected from the main melody and it never quite comes together for me. Though the bass solo is worth the price of admission. The tracks that do work are great. Will You Be My Question? where the strings, electric and acoustic pianos and its mid-paced melody all come together.

Personas is another mis-paced track features piano and the vocal and the backing do not fight each other. The up-tempo riffy Conspirations starts in heavy prog mode and is a little less reliant on jazz-fusion tropes. The chorus has a wonderful Todd Rundgren like melody to it and has a shreddy guitar solo.

When Alta Forma's Trajectory works it really works well. It tends to be the tracks where the music responds better to the often wordy lyrics and the songs feel better balanced. For the other tracks I personally would have preferred them as jazz-fusion instrumentals such as you find on Farfad's releases under his own name. But as a whole I applaud the inventive nature of the music and the singing. It impossible to to fault the musicianship on Trajectory.

Little King — Lente Vivente

Sergey Nikulichev

Apart from The Mars Volta, the Lone Star State doesn't have a lot of musical projects to offer to an average proghead – the fact that brings zero discomfort for both parties, honestly. It is under the radar that many interesting things happen in the locals music scene, including Little King, a humble yet ambitious project from Texas.

Being regular guests on DPRP, with previous releases reviewed by Jan (Amuse De Q) and Tom (Legacy Of Fools), the trio might not need another introduction to frequent DPRP readers. This is, however, my first acquaintance with them, and upon several spins I eagerly admit two things.

First, I liked the new material no less than Jan did four years ago. It is well-crafted, balancing well between the instrumental skills and accessibility, with superb replay potential (I am spinning the disk for the fourth time, and it still sounds fresh).

Second – despite the brand-new rhythm section hired by Paul Rosoff, the band leader, it doesn't look like Little King made any drastic changes as compared to previous releases. The Bandcamp page hashtags now Porcupine Tree and Pink Floyd as potential reference points, but that is quite misleading. The band plays power-trio alternative rock with a lot of groove and a distinct post-grunge feel, that may appeal to fans of post Test for Echo Rush, King's X and lesser-known but great projects like Godsticks and The Tea Club. So, don't expect any Gilmore / Wilson vibes, brace yourselves for the trademark Ty Tabor / Alex Lifeson riffs and laid back licks. Groove prog is the term I am quite fond of, as applied to such acts – and the icing on the cake here are the cello parts, played by Dave Hamilton (also on bass), that do enrich the sound palette.

Ryan Rosoff stressed repeatedly in interviews that the creative path led Little King to the concept of mini-epics, i.e. to my understanding, songs of normal length, but featuring a vast, rich and thick sound. While this is nothing new from a historical point of view (bands like AIC or Soundgarden did quite a lot of these “mini-epics” back in the 90-ies, rather oblivious to prog tradition), the concept itself works fine to describe what the band does, and the material stands up to this characteristic. It may sound somewhat lopsided, especially to lovers of sympho prog, but again, the album is succinct to bordering on being labeled an EP. The songs' average length only affirms that.

Lyrically, as the press release affirms, “Lente Viviente explores the delicate dance between memory and presence, perception and truth. The songs span a wide emotional arc... At its core, the album asks how we see ourselves—and each other—through the ever-shifting lens of time, emotion, and experience”. Proggy enough, right?

If you're not against adding a speck of Rush's sophistication to southern style heavy rock, Lente Vivente might prove to be a good spin. For the rest — recommended as a nice break away from your standard 70-minute prog marathon.

Peter Mergener — Chip Meditation 2025

Jan Buddenberg

As a reasonable newbie to the electronic music scene, I must admit I have no knowledge of Peter Mergener's past activities. Apart from his New Horizons album, that is, which I reviewed in 2023. Little do I know of his previous work with Michael Weisser as German electronic duo Software. A collaboration that lasted from 1984 to 1989 with Mergener primarily in charge of composing until they each went their separate ways.

One glance upon Chip Meditation 2025's artwork did tell me just about everything on what to expect from a musical point of view. Simply for the fact that this style of imagery, for me, almost exclusively brings Klaus Schulze's Innovative Communication (IC) record label to mind. A company that over the years provided a home to EM pioneers such as Schulze, Robert Schröder, and P'Cock to mention but a few names involved on the 600+ albums that Discogs mentions.

The beautifully crafted, retro-evolved, Berliner Schüle inspired compositions on Chip Meditation 2025, all newly composed in celebration for the 40th anniversary of the original Chip Meditation , in my mind would have made a perfect fit to this roster of artists. Because, to my great satisfaction, every composition fully meets this IC expectation. However, it's Lambert Ringlage's Spheric Music label that takes full credit for the release. Which proves to be an equally fine fit.

The opening title of Chaos And Order might accidentally throw one slightly off-track for the duration of eight soothing minutes from a contextual point of view. Because everything elegantly bubbling, intricately flowing, and hypnotically sequenced, is perfectly attuned and recalls Tangerine Dream. In other words, there's absolutely no trace of chaos to be found anywhere. However, when the multi-layered, headphone-inviting, cosmic atmosphere of Julia Quantity begins to tickle the senses with rich futuristic arrangements and oxygenic beats reminiscent of Jean Michel Michel, it all starts to align.

Offering appeasing relaxation through glowing sequences and gentle cosmic oscillations in Relaxation, showcasing attraction through gracious synth flows and intricate rhythm nuances in Attractor, I especially find Synergetik, which prompts Sequentia Legenda, to stand out. This is mostly thanks to its upbeat, almost disco-like, pop structure and simulated positronic brain sounds.

Iteration is a soundscape that through a sequence of mysterious alien atmospheres, imaginary spaceflight sounds, intriguingly captures the imagination in a manner similar to Stanisław Lem's literary masterpiece Eden. And then the mysteriously charged System Overload, where a vacuum of penetrating sound effects and solar flares gradually progresses towards an upbeat momentum, supported by tribal patterns.

The scintillating conclusion of White Noise is another Tangerine Dream-inspired composition. It resonates with 80s synth-pop melodies. The mind-stimulating musical diversity of Chip Meditation 2025 successfully transports listeners to the tempting sounds of electronic music from "the old days" for its entire sixty meditative minutes. A fine achievement by Mergener. I'm convinced that the splendid Chip Meditation 2025 will easily find its way to those specifically in favour of Klaus Schulze, Tangerine Dream, Eternity, and Berliner Schüle.

Ptolemea — Kali

Calum Gibson

Out of the small country of Luxembourg emerges the group known as Ptolemea. Taking the name from Claudius Ptolemaeus' theory that the distance between planets corresponds to musical intervals, this is a journey into spirituality and existence, combined with esoteric music that takes elements from grunge, indie and even doom styles to create a unique and vibrant experience. After dropping their first album Balanced Darkness in 2023, they have returned in 2025 with a new release of esoteric audio enlightenment in the form of Kali.

From the start, I am hooked. Rolling drums mix with soaring and powerful vocals, while guitars thread dark and ominous riffs alongside thick basslines that create an air that just feels heavy with the weight of everything.

It drifts from melodic alt rock, to post metal styled walls of sound, before twisting into riffs reminiscent of groups such as Swallow the Sun or Solstafir and even having some passages that remind me of Deftones in their tone and sound. Priscilla has an outstanding voice, able to convey a range of emotions and it infects you with the power she can put into the performance.

Musically, it is ethereal, atmospheric, soft and heavy. The drums roll by giving it a grounding In intensity, while the vocals lift us to the skies to see the vast expanse below us as the guitars and bass stops everything from becoming too distant. Altogether, the album is one that will stick with me for a long time.

Any fan of emotion-driven alt prog groups such as Madder Mortem, Katatonia, Anathema or Novembre should have a listen. Hopefully they will enjoy it as much as I did.

The Rome Pro(G)ject — And Thus The End

Greg Cummins

I first discovered The Rome Pro(G)ject over a decade ago when I stumbled across a four-disc marathon release by Colossus Projects called Decameron - Ten Days in 100 Novellas - Part II. Apart from a short, five-minute but highly rated track by Vicenzo Ricca and Co, other relatively new names to me at around that time included Nexus, Jinetes Negros, Willowglass, The Samurai Of Prog, Steve Unruh, Rhys Marsh, Narrow Pass, and Robert Webb who fronted England, (a favourite of mine back in the mid 70s). Having also discovered the enormous depth of talent on subsequent compilations courtesy of The Colossus Project, it was a no -brainer to snap up any new albums from that label as and when they were released. I have not been disappointed since.

In a somewhat predictable way, climbing on board those previously mentioned albums was akin to doing likewise with the Rome Pro(G)ject. After reviewing the band's previous release in 2022, checking some statistics on rateyourmusic.com, proved, as expected, this was another body of work that I needed in the collection. Every album by The Rome Pro(G)ject has been favourably reviewed on RYM so that is a great endorsement for anyone whose decision about this album (and band) has not yet been formed.

To quote from the accompanying media release notes:

With its six albums dedicated to the events of ancient Rome, The Rome Pro(G)ject has become the longest concept project ever created in progressive rock history. A monumental musical journey, narratively coherent across 57 nearly all-instrumental original tracks, evoking the grandeur of the Roman world through a modern and visionary lens.

At the centre of it all is Vincenzo Ricca, whose keyboards function as both architecture and atmosphere. His writing favours slow harmonic revelation over immediate impact, letting chords bloom, decay, and subtly reconfigure themselves. Synths, piano, and textural layers glide between eras: sometimes warmly analogue, sometimes austerely modern but always purposeful. This is prog that thinks before it speaks.

The opening track, VI (Six), is a concise but telling prelude. In under four minutes it establishes the album's tonal grammar—measured pacing, restrained dynamics and a melodic sensibility that prefers suggestion to statement. The propulsive bass and stabbing keyboards let you know this adventure is about to begin, in a big way. Paulo Ricca's guitar enters not as a hero but as a narrator, delivering smooth and emotive accompaniment at exactly the right time.

We Wandered expands the emotional palette. Bernardo Lanzetti's voice arrives with a sense of weary clarity—expressive without indulgence, carrying just enough grain to suggest a well-lived experience. The song drifts through gentle metric shifts and layered textures, with Frank Carducci's bass appearing like a thought you didn't realise you were having. The vocals shift from more accessible sections to more angular and gritty interludes with total aplomb. Great synth runs finish proceedings with Lanzetti adopting a very mellow exit.

The album's gravitational centre is undeniably 1229 Years, a sprawling 28-minute composition that refuses to justify its length—and doesn't need to. Structurally, it unfolds in movements rather than verses, passing through evolving rhythmic frameworks and tonal centres with unforced confidence. Frank's rhythmic contributions are subtle but decisive, while Jackson's efforts with wind add a tactile, almost three-dimensional presence.

Themes recur, mutate, and dissolve; motifs are revisited from unfamiliar angles. It's technically impressive without ever announcing itself as such. Blistering synth runs accompanied by some stabbing organ keep the adrenaline factor on overdrive while some slap bass from Frank reinforces exactly why he is in such huge demand as a valued contributor. There are literally so many sub pieces to this song, you will not only need a compass but probably some scuba equipment as the complexity and strength of the arrangements will drown you with its sonic effects. This is one of the most brilliantly constructed epics I have heard in years and is more than enough reason to buy the album, purely on the strength of just this one song alone. Consider the other six tracks as dessert.

Far from Home offers a moment of relative intimacy. Its melodic contours are more direct, but the arrangement remains elegantly layered. Steve Hackett adds a faint shimmer, while Paolo Ricca's electric guitar lines trace the emotional subtext rather than dominating it. The song feels reflective rather than nostalgic, aware that distance can be temporal as well as geographical.

With Ad Gloriam Romae, the album gestures toward grandeur, though it never tips into bombast. The title may invoke history and monument, but the music remains humanly grounded. Billy Sherwood makes his second appearance on bass. It's a track that balances reverence and restraint yet still has the appeal of a heavier track compared to that which is to follow.

The brief title track is less a conclusion than a philosophical shrug. Tony Levin plays bass with an uncanny degree of emotion and restraint, with each note justifying its inclusion within such a delicately structured piece. At just over a minute, it functions as a quiet epilogue—fragmentary, reflective, and intentionally unresolved while the album concludes with a bonus track, Over 2000 Fountains 2025.

Earlier releases hinted at this level of ambition. And Thus The End commits to it fully. Where previous albums sometimes felt like collections of strong ideas, this one feels like a single, unified statement. More confident, more focused, and more emotionally resonant. It has quickly become my favourite album by the band and sits at a level that few other albums could hope to achieve. I know instinctively, the replayability factor on this album will be very high.

Sonically, they live in that familiar progressive neighbourhood where bands like Malibran, The Watch, La Maschera De Cera, PFM, Banco and other Italian bands have raised the bar time and time again. But The Rome Pro(G)ject don't set up camp in anyone else's house. There's a modern, slightly adventurous edge to the guitars, paired with a huge array of synth textures that feel less formulaic but with a more whimsical effect. The rhythm section is patient but alert, like it knows something the rest of us don't. Instrumentation is classic prog on paper—electric guitars with layered effects, bass that actually says things, drums that understand restraint, and keyboards that drift between atmosphere and menace—but it's the way these parts are arranged that gives the album its character. Nothing feels wasted. Even the quieter moments seem to be doing overtime in the background, filing emotional paperwork.

In a genre built on excess, this album proves that clarity of vision is still the most powerful tool prog has. And yes — I'll be listening to 1229 Years again. Probably immediately.

Spectral Sorcery — Hyperspace Odyssey

Jerry Kranitz

Spectral Sorcery are a Pennsylvania-based band who describe themselves as "cosmic doom and psychedelic space rock", making comparisons to the likes of Electric Wizard, Jex Thoth, Hawkwind's Space Ritual, and Rush's 2112. Lyrically the band draw on "the rich worlds of classic sci-fi and fantasy: the cosmic visions of Philippe Druillet's Lone Sloane, the epic scope of Frank Herbert's Dune, and the astral adventures of AD&D's Spelljammer" (the latter referring to Advanced Dungeons & Dragons). Hyperspace Odyssey is their first full-length album, following an EP from the previous year, and is my introduction to Spectral Sorcery. The album includes three lengthy tracks.

The set opens with the 21-minute title track. I like the stoner-doom riffage, which can be appropriately grinding but is far more majestic than Electric Wizard styled sludge. We've got stoned guitar chords, simple but beautifully melodic solos, stately organ, alien electronic effects, and anthemic vocals. Despite its potency, the music has a dreamy quality. There aren't any dramatic thematic shifts throughout this lengthy tune. But Spectral Sorcery held my attention with vocals, siren song allure, and my personal taste for a jamming quality in music. Lyrically, this will immediately get the attention of Hawkwind fans and those who love early Black Sabbath: "Into the void, the golden void. The wizard soars, his spaceship soars. Through folds in space, through hyperspace. And holes in time, black holes."

The 10-minute Dreams Of Arrakis opens with a misty ambience and robotic voices before launching into a stoned space-metal dirge. It's similar to the opening track in pace and feel, though more overtly metallic. The guitar solo has a more psychedelic sound, and the effects are cascade bubbly, chattering, and freaky. Other than that and different lyrical content, this sounds like the first song with some alterations.

The 10-minute Spelljamming Time closes the set. The organ is much more prominent and nicely augmented by cymbals and electronic swirls. The music strikes a solid balance between metallic force, soulful organ, and sheer cosmic drift. I also like the harmonies that support the vocals and lyrics, which combined with precisely struck buzzsaw guitar chords and ascending/descending effects gives the music a heavenly spaced-out yet intensely regal feel. This is my favorite track and the one that would most appeal to prog fans.

In summary, I like what Spectral Sorcery are doing. They've got a great blend of stoner-psych, space rock, and sci-fi/fantasy themes, though I'd like to hear a little more variety throughout the set.