Jay Matharu- These Clouds Are So Undisciplined!

Guitarist Jay Matharu released this mind bending album a couple years ago in October of 2017.  He definitely pushed a lot of genre boundaries on his album, blending lots of great sounds.  Matharu mixed progressive music, jazz, blues, and I think I even heard some progressions that were influenced from classic rock and classic progressive music of the 70’s! Putting it short and sweet: his sound is very wide, and not narrow at all.  It was a joy to listen to a soulful, musical album by a guitarist and not a guitar masterclass.  That style probably turns off more people who don’t want so much speed and technical parts that they won’t bother.  In this case though, “These Clouds Are So Undisciplined” is an album full of emotion and surprises.

Jay has a really good ear, and it really helped big time when he wrote this album.  There’s a lot of subtle melodies underneath a lot of the sections, and really stand out especially on the ending of “I Regress”.  It’s a definite change in pace to your average aggressive guitarist instrumental album, and is a lot more laid back.  Sure, there’s some heavy and rocking parts but it’s more experimental and calm for the most part.  In fact, his playing isn’t really speed focused.  Jay’s guitar style is a lot more melodic, soulful and emotional.  It’s not based off how fast he can play or how many sweep picking patterns he can do in 10 seconds.  Simply put, it’s a very mature virtuoso styled album that shows its true colors (and there’s lots of colors his album shows).


Matharu also had a plethora of guest musicians on this album.  They are as listed as follows:

Andreas Boliden – Digital Trumpet solo on “Kaleidoscope” (03:11)
Ponch Satrio – Guitar solo on “Illumination” (04:24)
Nili Brosh – Guitar solo on “Breath In, Breathe Out” (05:18)
Oscar Hansson – Bass guitar on “A Mother’s Love”
Emil Ingmar – Piano on “The Battle Within”
Kaffe Myers – Drums on all tracks
Max Nyström – Audio editing, Mixing & Mastering
Jay Matharu – Everything else


“These Clouds Are So Undisciplined!” is a musically engaging album that will shock you every song.  Give instrumental music a shot.  What is there to lose? He’s a totally different guitarist than the hip, fast playing guys.  He packs a lot of emotion into his leads, some groovy riffs and some psychedelic laid back proggy sections to throw you off for a bit.  Check out the album below if you’re intrigued by any of this.  I hope you are!


The Inner Urge Self Titled

Pennslyvania’s The Inner Urge released this album ironically almost a year ago, on March 25th of 2018. If I actually knew these guys a while ago, I’d have added this to my 2018 best of list. They’re not your typical instrumental band, which is something I think our followers will love.  They blend a plethora of sounds that work extremely well.  That laundry list include: jazz, ambience, psychedelic rock, fusion, prog rock, brass instruments,  keyboard, violin, saxophone, vibraphone and random percussive instruments.  There’s a lot more instrumental bands out there (especially in the jazz/fusion world, outside of instrumental metal and it’s many subgeneres) I think these guys stand out so much especially with a debut album.

They are super talented, nobody actually stands out and sure as heck don’t mean that in an insulting manner.  This is what I respect about certain bands.  Some are guitar heavy and written for guitar riffs, vocally focused, rhythmically focused or an instrumental band/guitarist (Vai/Satriani style) shred band.  The Inner Urge has put out an album that is COHESIVE, nobody hogs the spotlight and their impressive sound layering again is key to it all.  It’s super melodic whether its the saxophone taking a melodic lead, or guitar, or a cool xylophone the guys don’t overdo it with such a densely satisfying sound.  Of course a killer rhythm is section is what you need, and that is what their big backbone is.  If they didn’t click so well, I guarantee it’d be a mess of a sound.  Again fellow guitarists,  APPRECIATE A GREAT RHYTHM SECTION. I just admitted that, and I think you all can too.


Alex Price – Guitar/Violin
Andrew Koss – Bass/Saxophone
Jesse Griffith – Drums
Michael Garbett – Vibraphone/Percussion

Additional Live Musicians:
Nashwan Abdullah – Violin
Will King – Percussion
Josh Wertz – Tenor Saxophone
Matt Klumpp – Keyboard

The band has so many unique and unusual rhythms it’ll keep you grooving for years.  Jesse and Andrew are such a good choice on rhythm they feed off each other so well.  Drew’s fills on bass are so tasteful it’s like a perfectly cooked medium rare steak. Not hiding so far in the sound, but plays some great fills in the right spots that spice up their expansive sound.   The drums aren’t reserved by any means, and perfectly fits The Inner Urge’s sound.

Mike’s percussion and vibraphone adds more layer to their sound, which helps their songs out a whole lot.  It’s actually quite key (HAR, HAR) at some points in their songs and helps maintain the moods they aim for.  And well, what can I say about Alex? He also represents PRS as proven by that picture…..high five my friend! The young guy has a great future as a player no questions asked.  Playing on a clean channel (with some random added reverb, echo, delay and other slight additions) for a good part of the album is impressive.  He doesn’t play outside of his means, and clearly annunciates his melodies on guitar even the more subtle ones.  I think it also helps the 4 main members went to music schools.  Hell two of the members play on cruise ships and their vibraphone player drums on the Pittsburgh Steelers drum line! These young whipper snappers are music, they live and breathe it.

Listen to the self titled album below, and then buy it because pimpin ain’t easy.  If you live in the Northeast, check out their shows when they play.  I’m sure it’s a hoot.  I’ve heard this album about 8 times in the past week and have no shame in admitting that.  Great job, especially for a debut it’s awfully eye opening.  So excited for new music whenever their busy lives call for it.  Absolutely FLAWLESS job gentlemen.  Cheers!



Forever In Transit Interview & “Re-Connection” EP Premiere

Forever In Transit released a spectacular album last year “States Of Disconnection”, and Dan is going to release a follow up EP soon titled “Reconnection”.   I wanted to get the world to see how Dan is, his creative mind works, what his influences are, and in general  get his music out there that should be heard by more people.  He’s a really cool dude, hope you dig the interview and maybe gather some quality information and advice.  Oh, and by the way he’s graciously given us the new EP as well! Enjoy everything!



TMR” Explain your journey as a musician…..when you started, your first instrument….give everyone a glimpse into your artistic journey.


I started playing piano when I was 5 or 6, and started drums and guitar when I was in high school.  I didn’t really get into composition until well into high school – maybe junior or senior year? I had a lot of great friends in school who are very talented and pushed me to challenge myself more and more.  I started transcribing video game soundtracks and making piano arrangements for a website and that’s what really got me into composition! I didn’t start playing metal until I was almost through high school – was more of a jazz and film/game score guy – and had been in a couple of bands that became progressively more progressive until I decided to pursue Forever in Transit as my main creative outlet.

TMR: How and when did you become a multi instrumentalist? As long as I’ve known you, that’s what’s wowed me the most outside of your talent.  It’s great to see artists that want to tackle more things, and try their best at many things rather than stick to just one.  


I started playing piano at a young age, but I wanted to play in concert band in middle school.  I tried mallet percussion since there was a lot of carryover from piano. When I got into high school, the band director wanted me to take drum lessons to become a more balanced percussionist and I stuck with them through college – my drum teacher, Kevin Soltis, still teaches in Buffalo and has been one of the most positive influences on my playing to date!  Guitar and bass I sort of picked up along the way jamming with my brother and friends in school. I didn’t really start to take guitar seriously until I began playing in rock and metal bands in college. I’m most proficient as a drummer and keyboardist.


I view myself more as a composer than as a performer of any one instrument, so I learned how to play each instrument just   because I needed to out of necessity to write! I’m not the sort of person to settle in my comfort zone, and that’s why I love Forever in Transit – it’s a no-holds-barred creative outlet and I can keep pushing and expanding and realizing my sound!

TMR: Do you think you’ll have any shows for Forever In Transit?


I would love to put a live show together, especially as I release more material.  The biggest challenge is that there are so many musicians involved, plus I play all of the keyboard and drum parts myself in studio.  I would need to find either a drummer or keyboardist, and make sure that I have all of the vocals covered. Backing tracks for the keyboard parts are an option, but I’d much rather hit the stage with a full lineup!  As I’m finishing the material for the next FiT LP, the line-up is starting to gel. Re:Connection features Eric Richardson on guitar, adding a lot of cool textural and atmospheric tones and effects, as well as Jeremy Schroeder, who contributed most of the guitar on States of Disconnection.

TMR: Explain how you came up with the name for your band and why it seemed to fit.


I spend a lot of time working with sound design and recording ambient soundscapes.  I recorded the very first track of States of Disconnection, the ambient opener Forever in Transit, on New Year’s Eve a few years back.  I’m terrible at naming things, but the impression I got hearing the song played back was of something sort of suspended in the air, never quite reaching its intended destination.  To me, “forever in transit” implies a focus on the journey and of growth rather than a fixation on the end goal or destination. I think it is a very appropriate name for this project because I intend for it to represent my growth as a composer and in a broader sense as a person.   I’ve met a lot of talented musicians and artists along the way and I want to feature them in the project as well. It’s a vehicle for the lessons I’ve learned along the way, the people I’ve met, and the experiences I’ve had. At its core, FIT is about taking the listener on a sonic journey without regard for established convention.


Forever in Transit - States of Disconnection - cover

TMR: You recently started to try to sing.  What motivated you to try? And what vocalists do you love and inspire you vocally and lyrically?


I’ve always wanted to try singing – there’s something that is just so intrinsically captivating and expressive about a great vocal performance.  Also, I’ve had a hell of a time trying to find vocalists that are a good fit for Forever in Transit. Initially, I felt that I would benefit from practicing singing, learning the mechanics of the voice and how to write “proper” vocal arrangements, and then to have the parts I write performed by a session vocalist.  I took private vocal lessons for a while and I feel I’ve really improved with practice. Again, I view myself more as a composer than as a performer, so I began singing to write better music! I think I will always have other vocalists fronting the material for FIT, but if nothing else, I can contribute a lot more. The vocal section of “Fractal Shards” is the first I’ve really contributed vocally to any project I’ve been a part of, and I think it turned out well if I may say so!


As far as my favorite vocalists, I’ve always loved Chino Moreno from Deftones. He has such an ethereal voice and his sense of melody is very unique.  Daniel Tompkins from Tesseract is fantastic as well – easily among the best live vocalists I’ve ever seen. Other vocalists that come to mind are Devin Townsend, Daniel Gildenlow from Pain of Salvation, Einar Solberg from Leprous, and Greg Puciato from The Black Queen and Dillinger Escape Plan.

TMR: Go into further detail about your astonishing debut album “States of Disconnection” and its themes and lyrics.  Describe your album for the people that haven’t heard it yet.


States is conceptually rooted in the theme of connectivity – how we engage with the world around us, including our sense of identity and community, and how we frame our reality.  Specifically, each song deals with a lapse in connection in some way. The World That Never Was explores how people tend to project into or escape into narratives – novels, video games, television series – essentially contextualizing their sense of reality with a work of fiction.  Level All Waves deals with the information overload that is so pervasive in modern society, and how it can numb us to extreme events as well as warp our sense of self and how we view those we perceive as “other”.  Glass Bridge was originally intended as a metaphor for one’s life goals and the treacherous, fragile path we have to walk to realize those goals.  One wrong step, the bridge goes down. Trial By Fire deals with humanity’s attempt to understand its own place in the universe, from a more existentialist standpoint, rationalizing our own existence.  It is one individual’s life-changing search within themself for these answers. The title track deals with the pain of separation, as one is separated from their friends and families – disconnect from a more interpersonal standpoint.  It ends with a more positive sentiment that disconnection is not necessarily a permanent or final state.


From a musical standpoint, it is an amalgam of the diverse forms of music that I’ve explored growing up, and my attempt to integrate those sounds into a cohesive whole that represents where I’m at as a composer.  With the exception of James Jagow’s guitar solos on Honor and States, I composed all of the music as well as lyrics.  I drew influence from progressive music, especially Dream Theater and Porcupine Tree, New Age and Ambient forms, fusion and world music.  My songwriting has also been heavily influenced by game music, which a whole diverse world itself! The way I approached writing the instrumental side is by viewing each instrument as a cog in a greater machine, rather than allowing any one instrument to take the forefront.  This was my first effort writing entirely on my own, so I felt that approach would be interesting in that I was the only ego in the room! I feel that unless a band has incredible chemistry, that interwoven approach much harder to pull off.




TMR: What bands have inspired you the most as an artist?


Dream Theater was my gateway into prog, and I have learned an invaluable amount of information from them by listening to/studying their material – everything from arrangement to synth sound design and constructing more long-form, instrumentally heavy songs.  What I love about Dream Theater is that their music always seems to take me on a journey, and that as adventurous as they can be, they maintain cohesion and their own sound. That is exactly what I want to achieve as a composer! Octavarium was I think the first album I heard from them start to finish.  Panic Attack from that record is one of my favorite covers to play on drums!


My biggest artistic influence at this point is Cynic.  They have such a unique blend of death metal, jazz fusion, world, prog – you name it – and their ethos and integrity as artists is admirable!  To me, they one of the most ground-breaking bands in the prog scene, not to mention all of the other projects that the members of Cynic have contributed to!  They are my benchmark for artistic freedom and a forward-thinking, convention-eschewing mentality. I had the incredible opportunity a view years back to take a few songwriting lessons from Paul Masvidal, Cynic’s vocalist and guitarist.  Carbon Based Anatomy is I think my all-time favorite song.  


TMR: Who are your favorite drummers and keyboardists?


Favorite drummers: Sean Reinert, Mike Portnoy, Gavin Harrison, Craig Blundell, David Garibaldi, Matt Garstka, and Baard Kolstad


Favorite keyboardists: Diego Tejeida, Jordan Rudess, Hiromi Uehara, Ludovico Einaudi, Nobuo Uematsu, Kevin Moore, and Daniel Pizarro


**Favorite at time of this interview and the first that come to mind!  There are so many incredible musicians out there – far too many to list!

TMR: Can you go into detail about the track you’re debuting “Fractal Shards”?  And what made you want to dip into the instrumental side of prog this time around?


Fractal Shards is a track that I wrote and demoed out around the same time I was finishing States of Disconnection.  It is inspired by the rendering of fractals – an often simple pattern is repeated unto itself, with no apparent structure initially, until after enough iterations a complex shape emerges.  This is a component of chaos theory, where the initial conditions and patterns of repetition have profound implications on the system later on, like the butterfly effect. This idea is represented by a large number of fairly simple, repetitive layers.  The track begins without any apparent structure, then as more and more layers come in, and the different parts are arranged together, the track evolves and develops a cohesive structure. The challenge I made for myself was to create a track that was interesting and engaging to the listener despite the repetitive nature of the song.  


Musically, I was heavily inspired by post-rock(bit of a phase!) as well as unconventional long-form prog tunes like Porcupine Tree’s Voyage 34 and Riverside’s Eye of the Soundscape.  I wanted to expand on the sonic pallet I was using so far for FIT, especially by exploring more diverse and effected guitar tones and getting more into synthesis and sound design.  Eric delivered on all fronts in that regards – he has a great collection of guitar pedals and other gear and is fantastic at designing tones. Coupled with Jeremy’s technical savvy and flexibility, all bases were more than covered from the guitar standpoint.  I performed most of the keyboard parts using my Roli Seaboard, which is a keyboard controller with a continuous silicone surface allowing for vastly more expression compared to a standard keyboard. It’s my favorite piece of gear I own! I decided to record Fractal as an interim release along with another unreleased track I had written around that same time, while working on the next full length album.   I’ve compiled these two tracks as a release called Re:Connection because, for me, it was a revisiting of the years I spent working on States of Disconnection.  As far as dipping into the instrumental side, that is honestly vastly more natural for me than writing with vocals in mind!  


At the earliest stages structure is unclear

Without warning, sudden changes appear.

A system of spiral complexity

Expanding endlessly

An unstable system of calculated error

All semblance of order derailed – It will eventually fail.

Each step amplified by the last

A thousand fractal shards in a system of disregard”

  • Fractal Shards, Forever in Transit


TMR: Who are some of your favorite bands that are newer or underground that you think are going to make a serious impact on the music scene? Namedrop, son!

There are a ton of great prog bands coming out of the Boston area – Native Construct, Thank You Scientist, Bent Knee, Astronoid, and In the Presence of Wolves – and each one is breathing a bit of new life into the scene.  For example, NC has ridiculously tight orchestral arrangements, TYS incorporates horns and violin into their sound, and Astronoid has this totally ethereal yet melodic approach to their sound. Other innovative prog bands that come to mind are Earthside, Agent Fresco, White Moth Black Butterfly, Disperse, Persefone, and Vola.  One trend that I’ve been enjoying the past few years is how much more attention is being paid to arrangement and sound design, which really serves to push the envelop as far as what a “conventional” band can sound like and achieve.


TMR: What albums are you looking forward to and what are your favorites so far in 2019?


I can’t wait to hear Devin Townsend’s new album, Empath.  I’m sure it will be a trip!  At the time of writing this, I’m currently listening to Dream Theater’s Distance Over Time – I’m about halfway through my first listen and so far it’s been very fun and refreshing!   Apparently Leprous is working on a follow-up to 2017’s Malina – stoked to hear more from them!  Also, Paul Masvidal is releasing a series of mini-albums this year titled Mystical Human Vessel – I’m incredibly excited to hear it.




TMR: Your favorite albums of all time?


Pretty much everything Cynic has released, Porcupine Tree’s last few albums, Haken’s Affinity and The Mountain, Deftone’s White Pony, Dream Theater’s Octavarium, Six Degrees, and Dramatic Turn of Events.   Megadeth’s Rust in Peace and Pantera’s Cowboys From Hell were my gateway into metal.  Mastodon’s Crack the Skye.  Isis’ In the Absence of Truth.  Blood by OSI.  Play With Fire by the Reign of Kindo.  The first four Devin Townsend Project albums.  A lot of Coheed and Cambria material would make the cut too.  There are too many to name, and I guarantee I’ll think of dozens more to include by the time this is published!!

TMR: You can only bring ten albums with you on a lengthy road trip…..whaddya got?


  1.  Carbon Based Anatomy – Cynic
  2.  Fear of a Blank Planet – Porcupine Tree
  3.  Hand. Cannot. Erase. – Steven Wilson
  4.  Six Degrees of Inner Turbulence – Dream Theater
  5.  White Pony – Deftones
  6.  In the Passing Light of Day – Pain of Salvation
  7.  Affinity – Haken
  8.  The Alchemy Index – Thrice
  9.  Blackwater Park – Opeth
  10. Fractured – Lunatic Soul



TMR: Your favorite piece of gear you own? Anything on your wishlist currently?

My Seaboard, hands down!!  It’s essentially an ultra-expressive MIDI controller with a continuous silicone playing surface.  Currently looking to upgrade my drum kit, probably a Tama Starclassic in some kinda of green or blue finish.  I’ve been hoping to pick up some sort of analog hardware synth soon as well! Maybe a Korg Monologue or one of Arturia’s synths.  


TMR: You collect vinyl & albums like any other artist….go into detail about your collection. Any new purchases?


I got into collecting vinyl about two years ago, and I think at this point I have about 100 albums.  I managed to find a copy of every release Cynic has put out to date including their EPs, Retracted and Carbon Based Anatomy which were really limited runs!  I found a copy of Carbon from a seller in Ukraine which thankfully was in great condition!  Last year Thrice put out a 10th anniversary version of The Alchemy Index which is just gorgeous.  The Alchemy Index is a series of 4 EPs each themed to the four classical elements, each of which has its own songwriting and production style.  Fire is raw and aggressive, whereas water is much more mellow and ambient, for example.

TMR: Any advice for aspiring artists and musicians you have learned along the way you’d like to share?
Write as much as possible.  Don’t procrastinate and wait for inspiration to strike.  I approach creativity more as something I open myself up to, and setting aside consistent times, almost like a regular 9-5 job, maximizes the chances that inspiration will manifest.  Obviously most of us cannot commit 40 hours a week to one artistic pursuit, unless it is one’s profession, but setting aside a designated and consistent time with clear cut goals goes very long way towards getting the most out of time spent.  In my opinion, it isn’t so much about the total time spent as it is the consistency and quality of time spent. Also, understand that you cannot realistically do everything yourself. I have been fortunate to have had incredible instructors as well as close friends that share my passion for music.  If you need to reinvent the wheel at every stage, you may end up with a unique end product, however it will take 10x longer to get to that point than it would to have had objective input or instruction in the required skills. On the other hand, I also find “sandbox” practice sessions – no goals, no expectations, just play and create – to be useful for breaking down creative barriers as well. Try setting a timer for an hour and seeing what you can create before the timer stops. You’ll be surprised at how much you’ll accomplish as well as how focused you can be despite the lack of goals or parameters!  Last year I released a mini-album of ambient tunes that all started as “one-hour songwriting experiments” I highly recommend checking out The War of Art by Stephen Pressfield!  It’s an exploration of creativity as well as overcoming the resistance we face with any creative/artistic endeavor.

Consider The Source- You Are Literally A Metaphor

Well…..what can we say about Consider The Source that hasn’t been said already? To be fair, we only knew of them for a month or so before we caught them at Buffalo Iron Works on February 23rd……yeah, even with all their virtuosity they put on an energetic and jaw dropping show.  Check out our two videos below, if you want some proof.



This is just a small cut of what you can expect from this great trio, and their latest release “You Are Literally A Metaphor” that dropped on March 1st.  We have come across many solid instrumental bands since starting this site, but man these guys are taking the cake…..A studio performance of one of the songs from this album “Enemies Of Magick” convinced us to go to their show here in Buffalo a few weeks ago.

What really strikes me with this band is their complex nature AND diversity.  There’s lots of prog elements here…..the fretless guitar on a double necked beauty, which sounded great live by the way.  The bassist’s wild tapping, fills and robust talent that felt like he was also a rhythm guitarist! I just can’t get over how amazing the band is, and the drummer is equally as diverse who can play a lot of different styles that this trio calls for.


Gabriel Marin- Guitars

John Ferrara- Bass

Jeff Mann – Drums and Percussion

Bands like Consider The Source are what we are looking to promote on our website….there’s not literally one band that sounds like them, in any shape or capacity.  There’s also a lot of European (specifically Mediterranean, Eastern European and Middle Eastern) sound and melody in their music, on top of some jazzy and progressive sections.  They’re so unique, you can’t label them as much as I hate labeling band’s sounds but you have to describe music somehow…..I guess? They’re like Primus, in that vein…..but a billion times more talented, diverse and eclectic.  They blend so many sounds and influences its extremely tough to pick  something out of a hat, so you just call them by their band name.




I often find myself bored with a lot of instrumental bands, primarily because I feel that they’re lacking substance that vocals, for me, would normally fill. But all it took was a couple minutes of that 10+ minute video for me to realize that I’d have to be stupid to not check these guys out. But I was still on the fence about checking them out live. And I eventually reminded myself that you only live once, and sleep is for the weak. 

I can say, without question, that Consider the Source put on one of the most impressive acts I’ve seen in my tenure of going out to shows. Their musicianship is absolutely otherworldly. It was tough for me to choose who I wanted to watch; it’s pretty easy to miss one of the other dudes doing something spectacular while you’re watching the third one do something equally spectacular. 

The day after their show, I spent my morning immersing myself in their discography. It boasts over six hours of music that will take you on the craziest roller coaster you could ever imagine to be on. I am enamored by the complexity, variety and the heavy Eastern European and Indian influences. And with titles like “You Won a Goat!”, “Blue Steel”, and “White People Problems”, we’re reminded that a little sense of humor goes a long way. Even the best of musicians don’t take everything so seriously, and I think there’s something to learn from there. 

“You Are Literally A Metaphor” is a continued dominance of their previous works and sound.  Gabriel, John and Jeff are so tight it’s nuts. This may be some of the most demanding music I have heard yet in my short life…..Consider The Source isn’t another modern rock band, they set themselves apart from a lot of bands and genres of music.  They TOTALLY have created another genre of music that isn’t out to imitate anyone…..but is the band themselves. Gabriel’s wild melodies on guitar and John’s wild bass playing are extremely prevalent on my favorite track ‘They Call Him The Smiling Assassin”.  There’s so many sounds that go into this band every song is legitimately different and have new surprises.  Jeff Mann does so much on drums he can play about anything, anytime anywhere.  Whether its a fusion or jazz section, or even something electronically he has it all…..even the bongos.  The trio has a unique and awfully impressive chemistry.

These guys aren’t on a label, so your support means so much more than it does for your average band.  Plus, if they were they would be forced to write “catchy” and “appealing” music that would kill the band and their creativity.  You can listen to the album below, and check out their other albums that came out before “You Are Literally A Metaphor”. There are CD’S available and even vinyl as well.

We’ve been sleeping on these dudes for a decade, and we think you should learn from our mistakes. Check these guys out, you won’t be disappointed. 

Left Eye Perspective Official Premiere of “Death Of The Sun”

Progressive Metal group Left Eye Perspective is premiering their single “Death Of The Sun” today through us and we couldn’t feel any more honored! These guys mix a sludgy, stoner sound with the melodic prog style that peaks its head out every now and then.  The song is taking from their upcoming EP “Defiance!” officially out March 2nd.  The band is a riff heavy prog band similar to my Mastodon boys. I love their dynamic guitar work, rhythms and eclectic vocals. I’ve been waiting on this project for a final product, and man am I glad the patience paid off.  There is so much emotion and mood packed into this 7 and a half minute epic you’ll be craving more.  But you’ll have to wait until March for that! For now, we hope you enjoy this new jam.

Denis Shvarts- Dreamology


Dark Matter Secret mastermind Denis Shvarts released his second solo effort “Dreamology”.  It’s a pretty different sound compared to his wildly technical instrumental band, but still has that trademark sound he’s achieved.  His first album “Through The Universe” came out in 2014, but the further I went into “Dreamology” the more I came to the realization it’s more polished.  His debut album was raw, yet still very heavy.  I feel his newer release is well written AND produced, his sound is wider and more melodic than the first album.  This guy is so underrated its sickening, and not many people know of his wild talents on guitar.


Lineup for “Dreamology”:
Denis Shvarts – Guitars & Music
Pavel Semin – Fretless Bass (Dark Matter Secret, Irreversible Mechanism)

Here’s a playthrough from “Dreamology”.  You’ll see another video below of how his projects differ in sound…..his own moniker is more melodic, a bit less wild and more diverse.  

Shvarts’ playing has caught my eye since I heard his band’s full length “Perfect World Creation” 2 years ago.  He has the talent where he makes music, not boring and annoying shred repeating the same pattern…..OVER, AND OVER.  Denis will surprise you at every chance he gets, and then some.  Give his second album a try, it’s extremely entertaining and a bit jazzy at times.  There’s a rock sound in here, that isn’t obviously present in Dark Matter Secret.  Pavel’s bass playing is absolutely flawless.  The two of them have a great chemistry and understand each other PERFECTLY.

And here’s the mighty Dark Matter Secret.  You can tell the total difference in sound right away…..much more technical, heavier, extreme and the rhythms are more complex and weirder than his solo project.  Either band is a stellar choice, but both don’t necessarily sound the same.

“Dreamology” is out now and available on his bandcamp.  It will eventually be on the Apple platforms sooner than later.  Check out the album below! Enjoy this amazing piece of music!

Bruteus- Anthem

Bruteus is an instrumental prog/fusion trio from North Carolina who released this album “Anthem” last year in November.  The trio will give you something new to listen to and try with their wide and expanded sound.  They have a lot of influence from many eras between jazz fusion, pop, progressive rock and classic rock they’ll leave you guessing with all their mood changes and sound changes.  There’s a lot of psychadelic melodies in here that’ll leave you drifting away…..metaphorically, not literally.   The band takes a mature and melodic with their sophomore release (their first album was released in 2016).  Our followers will love this band if you liked bands we’ve recently covered such as Tortoise Forest and Desert Of The Real.


The guitar work is absolutely stellar.  I really like the drummer, he keeps a consistent groove but can surprise you with some sweet fills.  The bassist is very tasty, and adds a lot to the rhythm when there’s guitar solos, keeps the music very fresh.  I appreciate the fact they focus on song structure, and have good structures at that.  In these genres, it can get too “wankish” or sounds like a few great musicians are just practicing not paying any mind that its a song and not freeform jamming.  Old prog heads and newcomers will definitely dig Bruteus, as their sound is expansive enough to draw in all sorts of ages and crowds to their cool sound.  If you wanna try something out of the norm Bruteus will be a good place to start! We all get in a lull looking for new music, and why not try this band out?  Check out the album below, and head over to their band camp to listen to their first album….and more importantly buy their music!

Challenger Deep drops “Immersive”

Instrumental prog/math rock band Challenger Deep released an awesome song earlier this month “Immersive” on us and it really, really shreds.  They also released a music video in relation with the song, which you may want to check out especially if you have a sense of humor.  The guitar work is Aaron Marshall/Intervals influenced, may I add.  It’s melodic and clean, with sweet fills between the different progressions.  The rhythm is really, really stellar too.  The rhythm section in this band really stands out in a positive light.  If you’re into that style of instrumental music I suggest you listen to the Challenger Deep guys.  I hope you dig the track and pay attention to this band!

TrYangle- Wolf

TrYangle is a stellar progressive psychedelic rock band from England.  The band will really diversify your palette, if you give them a chance.  I was impressed with their vocals and soundscape that created some really, really cool melodies along the way.  The nods to classic progressive rock and classic rock make for one heck of an experience.  If anything, this newer band tips their cap to the classic prog bands with their own twist in comparison to modern progressive music.  If you’re into that, TrYangle’s latest release will definitely satisfy your ears.


Gonçalo da Silva Nova: vocals & guitars

Nuno Castro Maio: basses

Ricardo Maio Castro: drums


The rhythm section lays down a seriously good grove, keeping the band tight as can be.  The guitars are very melodic and very emotional as well.  It only adds to that said emotion of “Wolf”.  If you wanna try something new that isn’t like your normal progressive rock or progressive metal band I’d highly suggest TrYangle.  Check out the album “Wolf” right here and form your own opinion.  I think the guys did a solid job and is refreshing to hear a more melodic and atmospheric approach, rather than the technical side of the genre.


Mörglbl- The Story of Scott Rötti

The highly talented and entertaining Mörglbl have released their latest instrumental prog metal fusion masterpiece “The Story Of Scott Rötti”.  I first got into this band last year after listening to their latest album and went all downhill from there.  The trio is absolutely phenomenal and once again have put out a great album. Mörglbl’s weird sound is really captivating and interesting, because it’s so unusual.  The band is heavy enough to be considered metal, I guess.  But their spacey and psychedelic sounds make them a more diverse band than they already are.  The band’s album is streaming through Metal Sucks right now, and is an odd choice in my opinion because they promote metal…..and Mörglbl is MUCH more than a metal band.  Either way, I’m not complaining and glad they’re branching out!




Christophe Godin – guitar
Ivan Rougny – bass
Aurelien Ouzoulias – drums


Godin’s guitar talents are extremely underrated.  He is far from a shredder, and is a very melodic player when it comes to guitar solos.  Ivan and Aurelien lay down some sweet beats behind Christophe’s immense wall of guitar tracks.  Aurelien’s drumming is top notch, and really dig his diverse catalogue of styles he adds to Mörglbl.  Like many other great bands, this puppy will go under the radar big time.  But with this album premiere through Metal Sucks I hope it generates more interest in this great and unusual band.  If you dig bands like Panzerballet, then Mörglbl is calling your name! I highly suggest you pick up “The Story of Scott Rötti” (whoever Scott Rotti is and whatever his story is!) as soon as its released…..because TMR said so!