Issue 2026-029
Duo Review
Bismut — Matsutake
Jerry Kranitz
Bismut are the Dutch trio of Nik Linders (guitar), Huibert der Weduwen (bass) and Peter Dragt (drums). Matsutake is their fourth album since 2016 and my introduction to the band. The album title is inspired by Anna Tsing's 2015 book, The Mushroom At The End Of The World. (The matsutake is a form of wild edible mushroom.) Bismut describe themselves as a "funky doomy mix" and "instrumental death boogie". I like this evasive sketching as Bismut are difficult to nail down. They're all instrumental, with Linders' leads serving as both guitar and de facto vocalist.
Alienation opens the set and right out of the starting gate we're blazing along with a speedy metal drive and revolving fuzzed guitar leads. After a while Bismut surprise by transitioning to more peaceful realms, with fluttering guitar and deep space soundscapes, before launching back into a crushing stoner-metal jam with breakneck guitar patterns. Neugier fluctuates between metal and more understated passages. The rhythm section pounds away, supporting the guitar as needed. About halfway through we once again shift to a quieter, spacier vibe, and the guitar leads are even a bit jazz infused. From there Bismut wind between chunky head-banging, sludgy stoner-metal, and hair-raising guitar runs.
Assemblage brings some welcome change, starting off as a dreamy space-jazz workout with melodically liquified guitar leads. The music then briefly shifts to whining acid-rocking guitar before hurtling into a bashing metal jam, though the guitar retains a somewhat psychedelic-jazz quality. All this has occurred in less than three minutes! And then, surprise again, they go into a totally spaced-out segment with freaky alien electronics, then zigging into a menacing metallic passage, then zagging into crushing stoner metal. Quite a lot happening in just under seven minutes. This is by far the most interesting of Bismut's wild and woolly workouts and my favorite track of the set.
Contamination begins as a steady-paced rocker with fuzzed psych guitar and heavier rocking jam segments. After a while the guitar spits out leads amidst an onslaught of churning space effects, but that's just a momentary meteor shower as the band hurtle through thrash-rocking space and a monster finale. Another highlight of the set. (Potentially) Immortal kicks off as a stoned psychedelic-metal jam, then diverts to ambient-jazz guitar before developing into a blazing jam with a variety of spacey jazz-metal guitar runs. And Salvage is a short finale that starts off heavy rocking but quickly dissolves in a puddle of ambience, effects, and tension.
In summary, I needed a few listens for this album to grow on me. At first I considered the music too disjointed. But once I got accustomed to Bismut's slalom race style of ducking and weaving between themes I see this as their strength and perhaps even makes them somewhat (loosely) progressive rock. Another instrumental band they remind me of is Trigon, the German psychedelic, jazz, and prog trio, though Trigon are not deeply metallic in the way Bismut can be. Someone mentioned Italian space-psych-stoner doomsters L'ira del Baccano, which is a pretty good analogy, though Bismut are generally more frenzied. I need to backtrack and hear their previous albums.
Jerry van Kooten
Bismut's fourth album is their first one on DPRP, for some reason. It's the first I've heard of them as well, but as a spoiler to the conclusion of my review, I can tell you that I am already digging through their recording history.
Alienation opens and instantly shows you what this band is about. Fast-paced, high in energy, heavy, and still melodic among the fuzz. Doom? Nah, too fast, too melodic. Post-metal? Nope, too psych. Also, alternating with more relaxed, reflective, or dreamy sections even, are not a problem for Bismut. It's where a spacier side of the band comes to the fore, and also a bluesy side.
Assemblage, for example, is built the other way around. The first 3 minutes are almost like Pink Floyd with a busier drummer. Great bass lines, by the way, the mix shows this wonderfully. This changes to psych riffing and later to crunching metal. The melodic post-metal parts remind me of Toundra. This track is showing the biggest variation in styles, which is making it my favourite track on the album and probably the one more prog-minded readers will look out for.
The descriptions of their albums all mention parts of the music consist of jams. You don't need a description like that, you can feel it. It must be both amazing and exhausting to see these guys play live. All that energy!
In (Potentially) Immortal the speed overload of the first track is revisited. Enough breaks and changes of course. A heavy space-like monster track in the vein of Yuri Gagarin. The finale is short and has some weird effects but repeats several elements of what you've been listening to, like an epilogue. It leaves you to recover from a great trip.
And in between, while the mood is mostly dark, the speed, melody, and intensity go up and down.
I really like the rather big contrasts between the spacey or bluesy and then the heavy. It takes a while to get to know it all, but I was drawn in from the first minute. The right balance between hard rocking and riffing, spacing out, contemplating, and "where do we go now?!".
Three of their albums are around 40 minutes, a good time for an album. (Their second one is over 70 minutes, which could just count as a double album.) With this kind of aural assault it is also a perfect time. I've not played the album twice in a row without a break. It's a lot to take in, and I mean that in the best possible way, because I am going to listen to it often. Bloody awesome!
Built For The Future — 2084 Empire
Edwin Roosjen
Built For The Future (B4TF) is a project resulting from the collaboration between long time friends Patric Farrell and Kenny Bissett from Texas. In 2015 they released their debut album Chasing Lights and got some attention from the progressive rock scene. They did most of the instruments themselves and used a drum computer. This first album has a lot of rock/new-wave influences, and it can be described as progressive rock meets The Cure.
On their second album Brave New World the two friends are joined by Dave Pena on guitar and keyboard, and the style of music turns more towards Rush meets Tears For Fears.
With their 2023 album 2084 Heretic B4TF turns even more towards progressive rock. The addition of a drummer instead of programmed drumming is a big step forward for their sound. The album 2084 Heretic is a bit darker than previous releases. The topic on this album is the dystopian future described by Orwell in his book 1984 but then projected one hundred years further in time.
That ominous story now continues in this new release 2084 Empire.
The sound of B4TF has evolved from rock with new-wave influences to a familiar progressive rock sound. For the 2084 albums the sound of B4TF holds influences from a variety of bands. Throughout the album you can hear influences from Rush, Tears For Fears, Porcupine Tree and RPWL. I also hear some familiarity with projects by John Mitchell like Lonely Robot or Kino. Throughout the whole album I hear tunes that remind me of some of my favourite progressive rock bands, a musical trip.
The topic of a dystopian future fits the sound perfectly. According to the story, the world will probably be flooded with water. The word Oceania is mentioned a lot. There is a song called Oceania and with a duration of over twenty-five minutes, this is the centrepiece of the album. The term Oceania is mentioned even more in the song Airstrip One, another lengthy song of more than eleven minutes.
I had not heard about B4TF before I started reviewing this album. I did some background checking and I enjoyed discovering their back catalogue. Highly enjoyable albums, but it does take a lot of time because their albums are not short. 2084 Heretic (2023) holds over an hour of music.
2084 Empire almost reaches ninety minutes of music. So it is a lot of music to digest. With every spin there is a different part that grabs the focus. It can either be one of the lengthy songs, but this album also features some short songs that are instantly likeable.
A song like Propaganda is released as a single and is made for progressive rock fans, a real earworm. The same can be said for the other single The Empire State, a more poppy song with a catchy keyboard tune and also instantly likeable. With each spin a different song comes floating to the surface to grab my attention.
I enjoyed myself a lot with the music by B4TF. After several spins I start hearing some extra references, like The Beatles even, or Arena (in The National Anthem).
This is one of those albums I can just put on, and instantly I am hooked. Hopefully, Patric and Kenny will put together a live band and bring their music to the stage.
Dimwind — The Carrion Waltz
Calum Gibson
Dimwind have been around for a few years now, storming onto the scene with the well recieved Slow Wave Violence in 2021, and followed by the superb split EP Seasons with the equally talented Breaths in 2022, and their second full length album Futility of Breathing in 2023. Now in 2026, they have expanded from their instrumental sound to now incorporate a vocalist in the form of Misha Sedini (ex Come Sleep).
The band are firing on all cylinders here, crafting an album that is emotionally raw and full of intense pain. During the writing, Jonas Eriksson's (drummer) wife was diagnosed with cancer, Misha had also recently got through cancer, and then his wife was diagnosed with the same cancer as Jonas's wife. (According to a recent interview, all three are considered cured and are on the road to recovery.) As such, this emotional intensity was driven into the music and vocals as a cathartic release from the situation
This harsh situation is channelled into the aggressive sound we have here. The sludge and post stylings of their previous releases is still here, but it is more driven and faster, with the drums and vocals (unsurprisingly) providing a lot of that energy. It still retains the melodies and introspection of their previous works, layering textures and harmonies over the chunky rhythms and technical drum work.
Vocally, I am torn. There are some areas where I do feel that “less is more”, as Misha has a broad range, from cleans, harsh shouts, deep growls and more subtle styles and occasionally they do clash a bit. Occasionally they come across strained and almost slightly out of place, such as on My Uninvited Host. But on the other hand, this mix of styles works very well on Exit Talon Grasp. So I am still undecided. However, it is important to note that this is Misha's first time doing these kinds of vocals in nearly 20 years and the road to full recovery is long. So it would be exceptionally wrong to dismiss them!
Personally, I feel this album is more of a release of all the emotions and agony from their situation, and an explosion of that energy and relief of survival. And that is reflected in the music and vocals. And when that unfiltered and genuine outpouring of life is turned into music, it adds a new aspect to it, bringing it closer to the listener and making it far more “real”. That is a win to me. I look forward to seeing where they go on the next one with Misha and seeing what is brought to the table in the future.
If you've ever enjoyed bands like Cult of Luna, Psychonaut, Baroness or Isis then Dimwind are one to add to your collection.
Enigmatic Sound Machines — Divided By One
Patrick McAfee
Enigmatic Sound Machines are a musical duo from Canada and Divided by One is their fourth album. To get an idea of what to expect, picture a mix of solo Peter Gabriel, 80s synth pop and the Moore/Matheos project, OSI.
Their electronic pop-prog style creates a nostalgic feel, while also presenting its own modern sensibilities.
The tone throughout the album is relatively subdued, but the title track, Chaos Dreaming, Pool of Mirrors, and Heaven's Rain, impress with their melodic focus.
Other tracks such as Screaming Sound Machines and Inviolate Fields are more abstract but nonetheless absorbing. The cover of Tubeway Army's hit 1979 single, Are Friends Electric provides an entertaining and reflective way to end the album.
The understated approach taken throughout Divided By One keeps it from fully blossoming. Regardless, it is an enjoyable album that is well-performed and worthy of attention.
A Liquid Landscape — Rogue Planet
Andy Read
This Dutch quartet really grabbed my attention with their amazing debut release in 2012. Nightingale Express was the perfect concept album, offering a huge variety of styles and influences, yet wrapped within a coherent and captivating musical storyline. It receied some excellent albums released that year, it topped my end-of-year charts and remains one of my favourite crossover-prog albums.
The opportunity to see them play (almost) the whole album at ProgPower Europe later that year will remain a highlight of my third-of-a-century gig-going "career".
Sadly, the follow-up, The Largest Fire Known To Man was a largely frustrating listen, as it dispensed with the immersive, concept style of the debut in favour of a more direct collection of songs. These held little appeal to me. I didn't hear the EP, Stories Left Untold, which followed two years later. After more than a decade of silence, most people presumed the band was done and dusted.
So the sudden re-emergence of A Liquid Landscape with their third full-length album, Rogue Planet, was a surprise.
Lead guitarist Niels van Dam explains the reasons for the 10-year absence. "Life started happening, you know. The pitter-patter of little feet. And then Covid hit. But we always kept working on new songs. Eventually when there was enough material, and we started playing it together in a room, it became obvious that this band was not done yet."
The line-up remains unchanged from their first release, with Coen Speelman on drums, Fons Herder on vocals / guitar, Niels van Dam on lead guitar, and Robert van Dam on bass.
So, is this a return to the form of their debut album or will it be another collection of songs that fails to excite me? Let's find out.
promo photo by Niels Knelis
Firstly, it's important to note that the album's title draws from the astronomical phenomenon of a rogue planet, a celestial body drifting freely, unbound by orbit. Vocalist/guitarist Fons Herder believes that this concept serves as a powerful metaphor for the modern human condition.
"I heard the term 'rogue planet' in a National Geographic special and it immediately spoke to me. It had something so desolate, so fragile and, yet dangerous and potentially hostile. It kept lingering, and when the time came to finish the lyrics, I started using it as a metaphor for the state of the world — our society as it is today."
That helps to understand how lyrically and musically Rogue Planet seeks to reflect the modern-day paradox; in an era where everyone is more connected than ever, a pervasive sense of isolation remains prevalent for many. Rogue Planet is both a warning and a quiet beacon, balancing themes of disillusionment, existential drif, and fragile hope. I enjoyed listening to this album while turning each page of the lyrical sheet. It connected to me on that level.
But what about the music?
A Liquid Landscape's sound is an atmospheric, guitar-driven art-rock that bridges accessibility and progressive ambition, with some hints of neo-prog and a strong leaning towards the alt-rock styling from the turn of the century.
No great changes in the past decade. The seven tracks utilise all those ingredients very well to deliver an album that is more closely aligned with the debut. This would have been an ideal second album. It's a collection of standalone songs, but there is a cohesive and consistent style and atmosphere that runs throughout the album. This, along with the lyrical theme, means it is best listened to as a whole. It could benefit from a few stronger melodic hooks and riffs,but overall it's a very enjoyable album and a welcome return to the scene for A Liquid Landscape.
Unicorn Umbrellas — Every Picture Tells A Story
Jan Buddenberg
Unicorn Umbrellas is a progressive art-rock project spearheaded by Swiss composer, producer, and keyboardist Beat Zimmermann. Although completely new to me, Zimmermann already has a considerable track record. He co-founded the neo-progressive rock band Carol around 1986, worked mainly as a freelancer with various jazz bands including his own trio, before founding Actual Proof to perform fusion compositions by artists such as Steps Ahead, Al Jarreau, and Scott Henderson. In the meantime, he also contributed as a sideman to well-known artists like Ronan Keating and Matthias Reim for more than two decades. Finally, in 2024, he invited a group of world-class musicians to record Every Picture Tells A Story, a release featuring nine original compositions.
Of these musicians, René Maurer (bass) and Zlatko Perica (ex-Tangerine Dream) are also new names to me. I certainly cannot say this about Styx drummer Todd Sucherman, whose contributions on recent albums by Legacy Pilots, Alta Forma, and Finally George have consistently impressed me. Or vocalist Michael Sadler, who has been a major player in my musical upbringing ever since I first discovered Saga back in 1982.
Today I feel just as lucky because Sadler in top form delivers a performance full of vitality and expression, echoing the energy of his younger years. He also plays a significant role in the lyrics and vocal arrangements that he worked closely on with Zimmermann for two years, resulting in a highly accomplished album with a distinctly strong Saga character.
Sadler's charismatic, clearly recognisable voice naturally has this effect on the music. Try not to take that into account, both the outcome and likeness are still incredible. This is fantastically illustrated by the opening track The Prison Within. It refreshingly breaks open the album with delicious riffs, sparkling synthesizer sounds, catchy melodies, contagious choruses, and vocal lines that inevitably summon images of Heads Or Tales.
Also invigorating is I Regret, where pop influences and clever arrangements and vocal harmonies effectively recall the atmosphere of Saga from the mid-80s, and prog-pop influences à la Irrwisch emerge. Likewise, Forgotten Land is characterised by sophisticated pop, excellent guitar work, and subtly executed melodies. A remarkable transition takes place that inevitably evokes memories of bygone Saga days. Noteworthy is also The Past. This one successfully opens a gateway to the era of Steel Umbrellas, featuring Ian Crichton-like guitar gymnastics and concluded by a sensitive symphonic coda.
Upon scratching the surface, a great many other Saga resemblances can be identified. The sequence used in The Past, for instance, has déjà vu written all over it. Much like the striking synth melody played by Zimmermann halfway through Farewell, and the background vocals that enhance the psychedelic feel in Trojan Horses. Close inspection does reveal various differences and notable surprises within these well-constructed tracks.
The combination of Maurer's bass and Sucherman's fluid, dynamic touch gives every song a slightly different character and feel. Then there is Zimmermann's fusion background, which comes uniquely to the fore in The Glass Wall through a jazzy bridge followed by excellent guitar work in the spirit of Larry Carlton. Perica exhibits a six-string approach that masterfully shies away from anything Crichton-like at selected times. Prime examples include the disco foundations laid down in The Past and Trojan Horses, the latter also showing a surprising funky twist with poppy guitar melodies that are beautifully reminiscent of Toto.
With all of the above in mind, three tracks particularly stand out. The first is Farewell, a song based on the story of Zimmermann's father, who calmly accepted his imminent fate with curiosity instead of fear or regret. After a soothing, bluesy start, filled with emotional melancholy and contemplative vocals, it goes straight for the heart with overwhelming choruses, epic orchestration, and a moving guitar solo. It concludes with by a fabulous symphonic ending from which a palpable sense of resignation emerges.
Then Open Road. A sensitive ballad that makes me feel to pull my car over just to listen to its exceptional, uplifting beauty. It's brought to life by Todd's exquisite drumming, making it breathe and flow with natural momentum. Sadler's wholehearted performance is great and Perica's peerless guitar solo that touches deep within.
And the third one is the glorious Once In A Lifetime. It's brimming with dynamic drive, tantalising melodies, and an infectious sound that harks back to Behaviour. That is somewhat reinforced by its title, my own state of reminiscing euphoria, and Sadler's spellbinding voice. This is, in my opinion, the best song Saga never recorded. The interplay, the solos, the execution, and the arrangements: everything is perfectly framed and amounts to pure enjoyment squared, topped off by a superb keyboard-driven finale. The moment this brilliant song ends, I want to spin it again!
This album has been independently released and contains graphic design by Gwen and Seren Sadler. The booklet contains lyrics and illustrative images that complement the stories told by each of its nine outstanding songs. Every Picture Tells A Story is now available on CD, vinyl, Bandcamp, and other streaming platforms. My advice? Head on over and take a chance on this album, a true gem that keeps on giving. Unless you're a Saga devotee. Then immediate action is required to secure a copy. I'm convinced it will become your go-to album of 2026, as Every Picture Tells A Story may well make your wildest dreams come true.