ADVENT HORIZON

1. Water for the latent symphonic, atmospheric intro, bringing the sound of a sparkling FM alternative rock; marshmallowy, cottony verse, borderline vocal phrasing and a danceable pop-rock riff; the prog section is played in the calm break and a lit guitar solo before a crystalline piano finale 2. Snow Child which ends with this too fast interlude 3. How Did It Get So Good? arrives for the slap; nervous sound, softness of the air on an electrified STYX, bold synths and solos including one from Randy from PORCUPINE TREE; enjoyable, creative, non-regressive moment with an adrenaline rush 4. Rain On Open Water for the radio pop-rock moment, a well-calibrated consensual rock with another beautiful melodic guitar solo; on AOR on a used sound from the 80s anyway, I who criticize vintage retro I point out 5. Your Flaws with Kristen in female voice on an acoustic which starts with a nice melody, marshmallow again it's beautiful but 6. Truth follows, BEATLES tune at the start, Kristen this time in harmonic behind, the riff is intended to be chiseled like the dueling voices; electro pop rock a la PURE REASON REVOLUTION soft, interesting for the piano derivation halfway through and Mike's rap; a sweetness which applies to the basic melody hooked by the final heavy riff

7. Calling It Off goes to a different sound, yes on Steven WILSON directly, incredible; latent musical space, melody chopped up by the riff now factory paste, yes US rock between metal and prog, with a more incisive voice a bit from ENCHANT; the progressive variation arrives suddenly, a little piano from MOTORS in the distance then Jordan's solo, yes still a masterpiece, it's not for nothing that I love DREAM THEATER; perfect and progressive 6 minute piece 8. Control muted bass in the intro, psychedelic jazz-rock, Rylee smooth voice; a well-calibrated and fresh air of US rock; dark break, imposing, final of 'The Wall', tormented and the sax which leers on the KING CRIMSON, on FOREIGNER, bursting until the wind finale with a warm accordion 9. Maybe changes climate on an acoustic and metronomic right drums; a beautiful ballad with a crescendo then latent piano variation and guitar arpeggio for a bucolic moment, fresh, airy and full of happiness, which changes a little from the dark prog tunes, an tune which segues into 10. Cell To Call Home where we feel like Fripp's 'Talk', ENCHANT's 'A Blueprint'; arpeggio and suave voice, on a rustic ALAN PARSONS; we go into 2nd gear and the fruity air hits, very much in the US vein, yes that's how it is; I find a pell-mell of good recent FROST*, WILSON again, the solo of suddenly Randy or Rylee who floods the piece halfway through, without warning, obliged to put it back for the trouble; well it starts again with a vengeance, perhaps a tad too melodic at once; the vocal feedback on the ballad avoids the explosion that I expected and introduces, yes, linked titles 11. Hold Me for the Wilsonian ballad, slow 'plananto-rockian' drift yes; a bit of a riff from FLOYD's 'Animals', it's beautiful, soft, it flows, it slides, it's beautiful, well calibrated and it lacks a bit of bite, but for a melodic album it would be perfect; Olympian choirs suddenly arrive to amplify the hypnotic melodic tune; in short, a slap in the face of this album.(4.5)

A Salt Lake City-based band releasing its third studio album since it's punky 2012 debut, Immured (and fifth including their 2017 and 2021 EPs).

1. "Water" (5:03) the music here reminds me of Devin Townsend, even the vocals, but only if Devy toned down his growls, sang in a higher range, and if his walls-of-sound guitars. I'm a little turned off (as usual) by the plastic sound of the drum heads being hit, but, overall, this is a pretty cool song--containing some surprising and likable youthful optimism and "cheer." Nice opener. A top three song. (9/10)

2. "Snow Child" (1:10) some gorgeous GEORGE WINSTON-like solo electric piano. I'd give this "top three" credit were it a full song. (5/5)

3. "How Did It Get So Good?" (7:14) acoustic guitar picked, Mellotron strings-supported EAGLES-like fabric over which singer Rylee McDonald sings in his smooth JD SOUTHER-like voice. At 1:35 the music flowers into an early-STYX like soundscape. This is really excellent (the plastic drum heads sounding better mixed into the heavy music). The instrumental passage that begins at the three-minute mark sound like a Black Sabbath version of a THIN LIZZY motif all performed and engineered with a bit of what I call "the 21st Century video game influence." (like Jem Godfrey's Experiments in Mass Appeal FROST* album). Impressive guitar solo from Randy McStine (Porcupine Tree) at the end of the fifth minute. Interesting shift into an unexpected and unusual final motif with about 90 seconds left. (13.25/15)

4. "Rain on Open Water" (4:43) a "heavy" classic rock pop song with a very pop-oriented vocal over the top (not unlike the feel of a FREDDE GREDDDE or WIPPY BONSTACK or even DEVIN TOWNSEND-lite song). (8.75/10) 5. "Your Flaws" (3:49) nubile-sounding female vocalist over acoustic guitars. Kristen McDonald has a very likable, engaging voice. Turns full rock after a couple of verses. Rylee enters to make it a duet with Kristen. (8.666667/10)

6. "Truth" (5:54) with Rylee in the lead and Kristen as harmony vocalist, this one sounds like something from PURE REASON REVOLUTION's heavier (and, for me, disappointing) sophomore album, Amor Vincit Omnia. (8.66667/10)

7. "Calling It Off" (5:46) I like the heavier, more melodic chord sequences and soundscapes of the two (very different) motifs that open this song: the first heavy and instrumental, the second more spacious with Rylee's voice singing over the top. I really like Rylee's background vocals here, as well. Though the chorus doesn't quite live up to the promise of the opening and brief heavy bridge between the first two verses, there is definitely something very special in this song construct. (I wonder if it has a different compositional team than the previous four songs.) Nice synth work from Jordan Rudess in the instrumental passage in the fifth minute. The finish reminds me quite a little of STEVEN WILSON's solo work. Definitely a top three song for me. (9.125/10)

8. "Control" (5:34) bass and Fender Rhodes behind Rylee's vocal in the opening motif. During the second verse the music hits some bombastic JOURNEY/FOREIGNER-like points with Rylee's vocal trying to channel some Steve Perry. Very nice multi-voice vocal arrangement in the fourth minute. Then we move into a heavy, plodding sequence over which Hayden Payne gives us a very FOREIGNER-like sax solo. The music dissipates and decays after this, allowing an accordion-like wind instrument to take us out. (8.875/10)

9. "Maybe" (3:48) jazzy electric guitar chord strikes, each with a different chord (almost in a Roddy Frame/AZTEC CAMERA-like way). When Rylee starts singing he sounds a lot like OWL lead singer Adam Young--until the crescendo in the second chorus, when he goes metal. There follows gently picked acoustic guitar arpeggi with pedal steel chords and heavily-effected piano single note playing. Gorgeous finish! Interesting and refreshingly creative song. My final top three song. (8.875/10)

10. "Cell to Call Home" (10:15) opens very much like a Jem Godfrey/John Mitchell FROST* prog song, but then goes soft gentle Indie pop for the first verse of singing. The second verse adds a heavier prog sound, giving it very much a STEVEN WILSON sound and feel. The PinkFloyd/"Time Flies" guitar strum at the four-minute mark opens the door for an amazing guitar solo--one that goes on until the six-minute mark. (The burning question is: Who was that on the lead guitar?) Innocuous vocal section returns and then seems to end at 8:40--but, psych! It's only a pregnant pause as the band comes bursting forth a few seconds later to take us to the end. (17.5/20)

11. "Hold Me" (6:19) a rather sedate song showing both Americana/Southern Rock influences (Jared Leach/GHOST MEDICINE-like) as well as, later, the BEACH BOYS--and containing some great electric guitar soloing (in the fourth minute). The vocal performance has some very heart-wrenching qualities to it. I've even tried to glean its meaning/significance from its lyrics: to no avail. I don't get it--but I want to know. (8.875/10)

Total Time 59:35

An collection of excellent songs that all seem to do a remarkable (if unintentional) job of bridging the best of the 1970s radio-friendly classic rock and the upbeat/positive feelings of many indie-pop artists of the 1990s and 2000s. A lot of prog lovers may be turned off by the cheery optimistic feel of this album's music, but I always like this kind of youthful hope and enthusiasm.

Though Rylee & company's music has always had a wonderful eclecticism to it, their sound and compositional acumen has matured tremendously--and definitely moved well into the realm of "progressive rock." Rylee seems to have less to prove vocally and the band's music has passed through its punky-grunge phases into more sophisticated Prog Metal compositions often feeling more akin to Devin Townsend and Steven Wilson.

B+/4.5 stars; a near-masterpiece of eclectic prog music reflecting a wonderfully refreshing youthful perspective while somehow being grounded in sounds that are very familiar to all of us; an album I recommend whole-heartedly to any and all prog lovers.

This is the 3rd album from this US Prog band, but the first I've heard from them, and I was blown away by it. Wonderful melodies and hooks, great vocals, with solid production and interesting, engaging arrangements. Great balance between lighter and heavier aspects, as they showed a gentle touch on the ballads and softer sections, but also hard-driving rock and crunchy riffs in the heavier sections, while still maintaining a strong melodic sense throughout. A delight from start to finish, with highlights including Water, How Did it Get So Good?, Rain on Open Water, Calling it Off, and culminating with the mini-epic title track. 4.5 stars

Salt Lake City prog rockers Advent Horizon returned in May this year with their second studio album titled 'Stagehound.' The 11-track record comes with a focused story-telling, remarkable songwriting and with an offer of something that separates them from the bigger part of the prog gang. The band is not shy to explore within pop, indie rock or alternative and fuse these elements with sound-defining progressive rock and metal influences.

Although 'Stagehound' is not a concept album, it feels as a musical that tells a certain story to a listener. The classic rock beats in 'Diary' strip down the sound from the progressive quirkiness of the opening 'Invasion Theorem' and second number 'Motion.' Rush-influenced vocal performance of Rylee McDonald, who also handles the guitar duties, is one of the many highlights 'Stagehound' hides in its anatomy. Listen to 'Midweek Maniac,' and the energy of 'The Working Man' by Canadian top progsters will show itself, out of the blue. However, Advent Horizon still have space to explore before an ultimate rocker is unleashed, and it would be interesting to see them hardening their sound (perhaps on upcoming releases?).

'Stagehound' possesses great balance between the up-beat rock tunes polished with rock's progressive and alternative subgenres, but what this album shows is talent of the band which certainly can bring something epic. Until then, let 'Stagehound' shows itself in its full brilliance.