Issue 2026-004
Atomisti — Fight Flight Freeze
Jan Buddenberg
Did you, like me, grow up in the 80s to the synthwave sounds of Depeche Mode, Ultravox, Duran Duran, The Human League, OMD, and Gary Numan that ruled the airwaves? Did you enjoy the modern prog-approach of bands like Eloy, Asia and Rush in the safety of your home? And did you develop a particular fondness for this time-specific, synth-pop-infused, prog-era that blends elements of all these into one refreshing modern talking mix? Then I reckon Atomisti's retro-futuristic debut Fight Flight Freeze will tick quite a few boxes.
Atomisti is another alias of multi-instrumentalist Tomi Kankainen from Finland. A musician who, after decades of accumulated fame through his involvement with a.o. Waterfront Weirdos and Heathen Hoof, in recent years released two Confusion Field efforts (check the DPRP Search) that both landed a top spot in my yearly Top-10 list. Fight Flight Freeze would have been there as well if it wasn't for the fierce "competition" in 2025. Because the exceptionally well-crafted music is very much in line with what is offered on these outstanding albums.
All composed, arranged, programmed (synths, drums) and performed by Kankainen (vocals, guitar, bass), the connection to previous albums applies mostly to Future Impact Of Past Diversions. That one already showed an exciting shift towards more compacted, synth-oriented, prog-songs that oozed the roaring 80s. The music on Fight Flight Freeze twists this 80s dial even further towards a refreshing pop / synthwave / dark-wave direction. Admittedly at the expense of various prog elements, but thoroughly enjoyable nonetheless.
The level of enjoyment also goes for Atomisti's Taistele Tai Pakene, which is the Finnish version of Fight Flight Freeze that hit the stores in March 2025. Although I do feel fairly lost in translation there as this "alien" language reads and sounds fairly different from anything I've (phonetically) encountered. Thanks to the catchy, pop melodies at play, take Kuka Tietää 
, this proves to be no issue at all. However, there are some consequences. The English version, for example, shows that lyrics become darker and more gloomy as the album progresses. In regard to the general uplifting nature of the music, this creates a beautiful tension towards the end. This stays completely hidden in the Finnish version if you don't speak the language. A second example is that both Far And Fast and Past Is A Prison reveal a lyrical kinship with Future Impact Of Past Diversions, both also address a theme of escapism, which is a connection I never made through Äärettömyys and Tänään on sana.
The one connection established in both versions is that wonderful transportation back to the futuristic 80s. A musical link The Perfect Moment instantly created by rich synth textures, tight dynamic rhythms, cheerfully bright atmospheres, and a masterly multiverse of meticulously arranged melodies that shift with compelling ease through dark and light. Hologram Heartbeat follows this just as lively with a soothing, Ultravox meets Eloy, synth sequences, pop melodies, and great flowing guitar work. Far And fast perfectly captures the sense of hopelessness as portrayed by Kankainen through melancholic atmospheres descending into darkness. A thematic tie to Confusion Field is created.
This bond is especially strong in the successive Past Is A Prison. It opens with pounding bass that unleashes imprints of Eloy and Riverside. This tantalising synth-driven composition perfectly demonstrates Kankainen's immaculate attention to detail as it encompasses an array of arrangements that will have Tears For Fears shout in appreciation. A reaction I follow with cheers of gratitude thanks to the delicious guitar parts that unlock memories of Rush at the time of Grace Under Pressure.
Like A Satellite has clear and bright song structures and a rotary of droning sounds that hover over a tribal resonating rhythmic foundation, concluded by a peerless coda of stellar guitar work. Powerful synths boost Information Warfare and signal even more Rush, as ominous atmospheres rise and pulverising drums combined with striking Lifeson-like guitar, to weaponise this magnificent composition with warnings of imminent threat and perceptions of Power Windows.
This level of apocalyptic danger is also palpable in When The World Turned Black, which, in contrast to its troubling context, feels strangely uplifting. As well as in the shattering finale of City Of Ruins where a towering doom scenario is meticulously articulated as one fantastic musical whole through the use of many delightful building blocks incorporated in the nine formidable crafted tracks that precede it.
Fight Flight Freeze is a well-constructed album awash with massive synths, atmospheric richness, and catchy compositions that showcases intricate arrangements and excellent performances all around to please many a fan of modern, 80s synth-prog. If Confusion Field and the variety of bands mentioned above appeal to you on more than one level, then the highly recommendable Fight Flight Freeze leaves no other choice response than the one of discovery.
Alisa Coral's {Mono Chrome} — Atomic Autumn: Kurchatov Records
Jerry Kranitz
Based in Moscow, Russia, Alisa Coral is the mastermind behind the long-running Space Mirrors, which since 2004 has explored a variety of often unique forms of space rock and metal. A creative and organisational force of nature, Alisa has brought together a global cast of musicians to create the Space Mirrors albums. Another collaborative project has been Psi Corps, which saw Alisa releasing albums inspired by the works of Roger Zelazny and Edgar Allan Poe. Alisa has also worked solo with such projects as Neutron Star, Frozen Fields, and now {Mono Chrome}.
Atomic Autumn: Kurchatov Records is the second album from Alisa's {Mono Chrome}, following 2024's World In Greyscale. Dedicated to Igor Kurchatov, the father of Soviet atomic energy, this is different from any of Alisa's other projects. It's a beautiful blend of intense yet floating hypno-symphonic space excursion and space-industrial vibe.
The album includes four lengthy tracks. Physics First (F-1) is propelled by a chugga-chugga rhythmic pulse. Along with Alisa's ethereal vocals, the music blends space-industrial and Kraftwerk with a wee bit of synth-pop. Across eight minutes Alisa develops the enticingly gurgly melody, the swirly synth solo, and the darkly upbeat atmosphere and beats.
The next two tracks, Atomic Autumn I: The Weapon and Atomic Autumn II: The Powerplant, total nearly 42 minutes and play like one continuous piece. Much of this is pure space exploration. I'm partly reminded of Vangelis' more overtly deep space works, as the music produces a symphonic feel with multiple layers of slowly cascading cosmic swells. But it also has light elements of Hawkwind's brand of space rock. The percussion flows smoothly but also folds in rhythmically stilted and shifting patterns and ominously thudding grooves.
I like the elusive complexity that allows the listener to meditate and groove along amongst the many layers, beats and effects. Alisa injects her spoken word but also incorporates samples from Kurchatov's speech at the 1959 21st Congress of the Communist Party of the Soviet Union. The effects on her vocals make for an intriguing sci-fi narrative feel, invoking the spirit of the late great Robert Calvert. Later the music takes on a more hip-shaking space rock groove, though the overall feel is like floating through a dreamily danceable place in space. The music is primarily electronic, but there's a gradually developing heavier rocking mode and more of that cosmic industrial feel. I like the hypnotic melody that sounds like a horn but could be guitar or keyboard. At times it's like a blend of Hawkwind and Tangerine Dream.
Finally, the 17-minute Kurchatov Records is the most Tangerine Dream-styled track of the set. We've got haunting sustained keyboard lines, lightly symphonic deep space washes, but also rickety electronic percussion and plinkity melodic bits. Alisa excels at synthesising multiple influences. I like the sweet spot she occupies on the floating space vs. rhythm spectrum. Alisa's narration on this track reminds me of Cate Blanchett's voice of Galadriel in the Lord Of The Rings movies (I just rewatched all the Peter Jackson Lord and Hobbit movies so that was fresh in my mind).
I've followed Alisa's work for over 20 years, and she never ceases to amaze me as a continually growing and multi-faceted artist. Prog fans with a taste for space will find much to enjoy here.
The Ergot Project — A Family Secret
Greg Cummins
Yet another unknown band that I offered to review. This one will definitely fall into the tick and flick pile. Having paid for a ticket, I was hoping my musical voyage would reveal something a little special, maybe even unique. Fat chance homie! RYM considers this album as progressive rock, but I found very little to support that title. There's a degree of stoner rock, plenty of sludgy passages, your obligatory walls of sound, lots of distorted guitars and thunderous drumming but not much else to support the time spent in the studio.
The album's underlying concept was derived from a famous case in America involving Billy Morgan's multiple personality disorder that created some media controversy at the time. I never heard about the case before, and I'm probably glad it never reared its head here.
A Family Secret plays like an album permanently stuck in its own intro. Nearly every track hints at development but never follows through, settling instead for repetition and atmosphere that quickly turns stagnant. Songs drift along on similar tempos, similar textures, similar moods, making it hard to tell where one ends and the next begins. What might have felt cohesive instead comes off as underwritten and padded.
The arrangements rarely build or pivot in interesting ways. Melodies, of which there are very few, circle the same ideas without escalation, and when a song finally fades out, it feels less like a conclusion and more like the artist giving up on it. There's a persistent sense that these tracks are sketches rather than finished statements, content to exist without making an impression.
The breathy vocals are meant to sell atmosphere and emotion, urgency, but they mostly land as performative and flat. They strain for conviction while offering little actual tension or release, leaving the listener unmoved. In the end, A Family Secret isn't offensively bad — it just never gets going, content to stay in first gear while every other musical vehicle overtakes at speed, offering so much more imagination and originality. It's dull, cautious, and forgettable, an album that mistakes restraint for depth and monotony for mood. Of course, if dragged, slow stoner rock is your thing, have a listen. But that's not me.
Duo Review
NMB — L.I.F.T.
Patrick McAfee
Mike Portnoy's return to Dream Theater in 2023 created uncertainty on the projects he had established during his fourteen years away from the band. That made the recent announcement that the 'The Neal Morse Band' had recorded a new album, all the more surprising. Formed in 2012, NMB (now not only styled as NMB but the longer name Neal Morse Band is no longer mentioned) has previously released four consistently strong albums. L.I.F.T, their fifth, maintains that momentum.
All the traditional Neal Morse elements are here, including a grand overture, sweeping instrumental virtuosity, and accessible choruses. That said, this is no exercise in banality. In my opinion, a few of Morse's other more recent projects have somewhat missed the mark for that reason. Here, though, he is revitalised. The results are wholly collaborative and sound compellingly vibrant. There is substance to the material, with some of the best songwriting in the band's catalogue.
As would be expected, the performances are across the board excellent. A special nod goes to the shared vocals of Morse, guitarist Eric Gillette and keyboardist, Bill Hubauer. There is also no overlooking the exceptional work by bassist, Randy George, and drummer Portnoy, who as usual, puts on a clinic.
Tracks such as I Still Belong, Hurt People, and The Great Withdrawal resonate with an impressive amount of grit. There is an emotional depth that runs throughout the conceptual feel of the album. Shame About My Shame, Carry You Again, Shattered Barricade, and Love All Along, all deliver on affecting sentiment, without an ounce of treacle. Fully Alive Parts 1 & 2 act as centrepieces of the album and are a blueprint for all that makes this band exemplary.
This surprise new release cements NMB as the best, most unfailing of all the projects that Morse and Portnoy have worked on together. Yes, in my humble opinion, that includes Transatlantic. L.I.F.T. is overflowing with indelible melodies, potent lyrics, and magnificent performances. Simply put, it is another exceptional album from this talented group of musicians.
Greg Cummins
Neal Morse is about to release his next album of contemplative music that I am sure is going to be a huge hit globally. As a huge fan of his work with Spock's Beard, Transatlantic, Flying Colors, Neal Morse Band, along with his numerous solo projects, Neal must surely be credited with being one of the most prolific and consistently competent musicians alive today. His previous output has been incredibly well received, his live shows are immensely popular, and his deep-felt messages touch people on a very personal level. While the majority of progressive rock fans that attend live concerts seem predominantly male, perhaps the more tender side of Neal's lyrics appeals to the ladies more often as I notice many more women in attendance at his shows, compared to a traditional prog band.
NMB's ability to assemble and guide an exceptional group of musicians is once again central to the album's impact. The playing throughout is deeply musical and profoundly respectful of the songs themselves. Each musician contributes with restraint and intuition, creating arrangements that not only add incredible instrumental impact but allow the songs to evolve organically. Subtle rhythmic shifts, carefully voiced harmonies, and unforced crescendos all serve the emotional narrative rather than drawing attention to technique. The result is an album that feels unified in spirit, as though everyone involved understands the deeper purpose behind the project. Eric Gillette's guitar work is sublime, while more often than not, Bill Hubauer's incendiary keyboard mayhem really add something special. When you also add some additional vocal harmonies that sound better than on previous albums, you realise this album has been incredibly well-crafted to ensure it reaches a vast audience.
The album opens with Beginning, and it doesn't waste any time in getting the innings off to a flying start. With a phenomenal riff backstopped with a great synth run and Mike's relentless triplets and double bass drumming, this is a great balls-to-the-wall opener. Reminds me very much of some of the better stuff from Roine's consort of merry minstrels. Fully Alive builds on that foundation with a sense of resolve and being a slightly mellower track, it allows Neal's voice to shine through perfectly. Its melody carries a quiet insistence that life, even when heavy and challenging, still holds meaning worth reaching for.
One of the most affecting moments for me comes with I Still Belong This song touches on the vulnerability of a child and his perspective of the lies that society delivers. It's a softer balladic type of affair that feels almost disarming, touching on themes of identity and worth without ever becoming self-indulgent. Though I'm not overtly religious, I found myself unexpectedly emotional, more than once, throughout this album as the lyrics are so well written and sincere. That is one of the aspects of Neal's music and lyrics that don't bother me. Sure, he follows a religious road that other prog fans might not follow. However, as he avoids overt preaching, the quality of the music and sincerity of the words simply reinforce our need to be more tolerant and practice a more accepting style of life. They seem written for a world fraying at the edges, offering empathy rather than answers.
That emotional weight deepens with Hurt People, a standout track that refuses to rush its message. It's a long, searching piece that understands pain as something cyclical and human rather than something abstract. The instrumentation and synth work is simply phenomenal. Similarly, Shame About My Shame confronts inner conflict with remarkable honesty, pairing introspective lyrics with music that feels both fragile and resolute.
The album's pacing is masterful. Short instrumental or reflective pieces like Gravity's Grip, Contemplation and Shattered Barricade act as emotional punctuation, allowing moments to pause, absorb, and prepare for what comes next. For me the stand out track must surely be Carry You Again as its lyrics speak to me more than merely on a personal level. They almost mimic some of my own disappointments with life, especially about marriage, but could easily refer to so many people who have found themselves lost throughout life from time to time.
The return of Fully Alive, Pt. 2 is particularly effective, not as repetition but as reflection, suggesting growth, perspective, and continuity. And then there is Love All Along, a closing statement of remarkable grace. It's expansive without being indulgent, profound without strain. By the end, the album's title feels fully justified.
L.I.F.T. is not an album that denies the state of the world—it acknowledges decline, disconnection, and fatigue, but it also insists, gently and persistently, that we are not beyond redemption, compassion, or renewal. In a time when the world often feels fractured, reactive, and increasingly unkind, L.I.F.T. feels like a quiet insistence on something better. It reminds me that kindness, tolerance, love, and understanding are not abstract ideals—they are choices we make, sometimes simply by listening. This album didn't just move me; it softened me. And in doing so, it offered exactly what its title promises: a lift, when one is most needed.
This is a remarkable album that comes with my highest recommendation and will definitely be within my top 10 albums for 2026. If you are familiar with Neal's previous music, you will surely want to add this gem to your collection.
Zen Orchestra — Zen Orchestra
Ignacio Bernaola
There is something very appealing about Zen Orchestra. This is a debut album, so I had never heard anything about this band. But after my first listen I realised that this was not just another album that leaves you indifferent. There was something there that stayed with me, even if not everything clicked immediately.
Maybe it comes from the long and complex history of the band, or maybe it's simply because the album feels honest and carefully made. This self-titled debut took many years to finally happen, and instead of sounding old or outdated, it feels calm, confident and well-balanced.
The story of Zen Orchestra goes back to the early 90s, with different names, long breaks and a project that stayed dormant for years. When a debut album takes this long to arrive, expectations can be hard. Here, the result is clearly positive: the album feels mature and thoughtful, as if it really needed time to find its own voice.
Musically, the album sounds powerful and very well produced. While it clearly sits in the neo-progressive rock territory (you can name your own references here), it also includes modern touches in the instrumentation and arrangements that help keep things fresh while maintaining a very emotional ambience. The sound is clean and strong, and everything is well-defined, which makes the listening experience very enjoyable from start to finish.
On a personal level, I like the album more with each new listen. It's not the kind of record that gives everything away immediately. Instead, it slowly grows on you, revealing more details and atmosphere over time. It feels familiar but never boring, and that balance works really well.
In the end, Zen Orchestra is a very promising debut album. It shows personality, confidence and room to grow. I will highlight the great job done by Mark Barrett with the vocals. They sound powerful but really integrated with the music. Definitely a band worth following, because if this is only the beginning, the next releases could be even more interesting.