Kasra Goodarznezha was born and raised in Tehran, where he studied graphic design before moving to Canada. Now, Goodarznezha works as a new media artist, and he also fronts Siyahkal, a righteously angry hardcore punk band named after a 1971 uprising in which a group of guerilla fighters briefly took over an Iranian police station.…
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Set amongst the lush bushland confines of Dashville, in the Hunter Valley, Thrashville returns, ready for a one day explosion of punk, rock, metal and all in between, on the darkest, firiest day of the year, Saturday, June 27, 2026. This years line-up is a cracker, with FEAR (USA), Disentomb, The Bennies, Dregg, Hybrid Nightmares, Turtle Skull, […]UK progressive rock group Magenta has been releasing strong albums for over 25 years. The band now returns with their 10th studio album, and first in six years, titled Tarot. Recorded by the core trio of Rob Reed (keyboards, bass, producer, and songwriter), Christina Booth (lead vocals), and Chris Fry (lead guitars), along with guest drummer Nick D’Virgilio, the group delivers another shift in musical direction while still producing one of their most interesting and evocative albums to date.
A central theme has always been key to a Magenta album—whether it’s the Seven Deadly Sins on Seven, the premature deaths of cult figures on The Twenty Seven Club, or classic horror film stars on Masters of Illusion. Tarot continues this approach through the lens of Tarot cards. Inspired by the 1965 film Dr. Terror’s House of Horror, Rob Reed and his brother, lyricist Steve felt it would be an interesting way to tell the story of each character through a different Tarot card. These are represented across the album’s five main tracks: “The Lovers,” “The Magician,” “The World,” “Strength,” and “The Empress,” accompanied by short interludes, with the closing title track “Tarot” bringing the album to a gentle conclusion.
As Rob Reed discusses in a recent interview with The Prog Report (HERE), the album takes a strongly symphonic approach, drawing comparisons to the legendary prog rock group Renaissance. Christina Booth’s vocals recall the style of Annie Haslam, a similarity that is clearly intentional and works very well within this setting. Orchestration plays a central role throughout—something that has always been present in Magenta’s sound, but never quite this prominent. The results are highly effective.
Each of the five Tarot-themed tracks is substantial in length, ranging from eight to ten minutes. The opening track and first single, “The Lovers,” serves as a perfect introduction to the album. It begins with strings that lead into a bold trumpet refrain before Booth’s vocals enter. The track moves at an upbeat pace and features a very memorable chorus. Nick D’Virgilio’s drumming fits seamlessly throughout, providing both power and precision. The swirling orchestral passages in the chorus are a highlight, with a clear nod to ELO, as Reed notes in the interview.
“The Magician” opens with heavier guitar lines before transitioning into Reed’s beautiful piano work and Fry’s delicate nylon-string guitar. It’s another carefully constructed piece, with standout moments in the midsection driven by strong guitar interplay. The closing passage, featuring flute and piano, hints at a Genesis influence. Each of the main tracks contains moments that stand out without feeling excessive.
One of the later highlights is “The Empress,” built around an addictive guitar riff and, once again, excellent orchestration. The song moves into a soothing midsection before returning to its central motif for a strong finish. The album concludes with the ballad “Tarot,” which Reed has said was nearly left off the record. That would have been a mistake, as it offers a warm melody and provides an ideal showcase for Booth’s voice. It’s a fitting and understated way to close the album.
Magenta’s Tarot embraces the core elements of symphonic prog while presenting them in a more reflective and cohesive framework. It marks a shift from the band’s more narrative-driven epics toward a symbolic and emotionally guided concept, resulting in some of their most inspired material in years. With so many releases already out—and still to come—in 2026, this is one album that shouldn’t be overlooked. It’s certainly an album worth spending time with… it’s in the cards.
Released on Tigermoth Records on April 10th.
Order here https://tigermothhosting.co.uk/magenta2017/index.html
Songs / Tracks Listing
1. The Lovers
2. Etude 1
3. The Magician
4. Etude 2
5. The World
6. Etude 3
7. Strength
8. Etude 4
9. The Empress
10. Tarot
Line-up / Musicians
– Christina Booth / lead vocal
– Robert Reed / keyboards, bass, piano, Rhythm guitars, recorders
– Chris Fry / lead & Nylon guitars
With:
– Nick D’Virgilio / drums
– Peter Jones / backing vocals
– Steve Balsamo / backing vocals
– Katie Axelsen / flute
– Sam Baxter / oboe
The post Magenta – Tarot (Album Review) appeared first on The Prog Report.
Fernando Perdomo 2026 Sunset instability as a strand of space-and-time exploration by esteemed American multi-instrumentalist. has been studying serenity in motion and sparseness for some time now, yet it’s this particular chapter of the composer’s take on nephology that should … Continue reading
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R.I.P..
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1st April 2026
Support: Bau Cat
Words: Cat Finch
This was my first trip to the Artisan Tap in Stoke, and after their much-publicised travel chaos in the days leading up to it, the relief to being back on stage was clear for all to see on the faces of Blackburn’s finest rock export, Sky Valley Mistress.
Having had a brief listen to support band Bau Cat in the afternoon, I wasn’t really looking forward to seeing them, but wow, did they surprise me!! Their atmospheric blend of country, indie and psych, allowed the trio to fully demonstrate their excellent musicianship. With singer/bassist Abby, drummer Jack and guitarist Jim, the North Wales based trio had their own entourage in tow, as they played songs including “Traposhere”, “Conversations with America” and the brilliant “Ordinary People”.
I enjoyed Jims expansive guitar sounds, with lots of whammy bar, and the deep bass lines from Abby, and at times I felt as if I was watching The Monkees or some other 60’s band, Of course, I loved the cowbell from Jack, and after dedicating “Frankie” to a friend from college who was sent down for 4 years, they have a slower love song called “May Your Moon”. Abby asks her nan to give everyone a wave, which she does, as she explains the story behind “Silver Bangle”, which has plenty of groove combined with an excellent rhythm, and they finish off their lively set with “Give it up for the Band”. Their mix of styles, tempo and genres mean that they are well worth catching live.
After problems with the hearse, meaning a few cancelled gigs in London and Derby, it was great to see Sky Valley Mistress up and running on stage. With their unique style of standing opposite each other with Kayley playing the drums and Max playing guitar and kick drum, the assembled crowd were getting ready to be entertained, and we certainly got that in bucketloads.
Having reviewed their latest excellent album “Luna Mausoleum” I was keen to hear the songs live, of which they played 5, combined with older songs and some unreleased ones. Speaking to Max beforehand, they weren’t quite ready to play “Blue Desert II” but they kicked off with “Venom Veins” as his Flying V glistened in the lights. It’s a raucous start to the set with Kayley greeting us with “Good Evening Artisan Tap, we are Sky Valley Mistress and we play rock n’ roll” and boy, do they play it well.
From the first album, they play “Punk Song”, which has a big drum sound, and I enjoy their use of dual vocals, but I can’t help wondering how much Max must concentrate on playing his guitar as well as maintaining the kick drum beat. It’s very impressive and adds to the enjoyment of the gig, as with wonderful songs like “No Sleep”, they have lots of tempo changes for him to keep up with. “Sadly, the hearse didn’t make it, but we did” as Kayley explains more about the mechanical shenanigans, and 5 flatbed trucks they endured before she shouts “Fuck the RAC” in a comedic way.
Leading the vocals in “Nude Bowl” they have lots of melody across the slower song, accompanied by a great guitar solo, before they erupt, making one hell of a racket during “Self Destruction Fuel”. Their charming stage chemistry comes across wonderfully as they are constantly smiling at each other and on the word so during “She is So” there’s an explosive vocal from the duo as the tempos drift and meander in so many directions as all hell breaks loose.
“We are slowly unravelling after spending 30 hours in a freezing hearse and the conversation started to dry up” quips Max before they launch into the tremendous noise that is “Too Many
Ghosts”. The energy is high, the sound is vast and it feels is if they are releasing a lot of pent-up frustration. They slow it down for “The Exit List” before the heavy comes through, and we get Max on keyboard as Kayley speaks through a megaphone.
The kick drum takes a pounding during the rockier “Live Past Life” as they up the tempo significantly, and then dedicate their last song, “Thundertaker” to the hearse. With a doom introduction, the riffs flow effortlessly and it’s a terrific way to end what has been a tremendous set, full of pace, power and good natured anger aimed at the RAC.
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(Andy Synn presents another round-up of cool stuff you may have missed last month) A couple of days ago I promised you a second one of these “Things You May Have Missed” articles… and here it is. Of course, even with double the usual number of bands to cover I’ve still barely scratched the surface […]
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