by Dave Campbell

The world of progressive rock is riddled with concept albums, from the classic influential albums to ones made from relatively unknown artists, but few have approached the concept album in the way The Dear Hunter has over its 20-year career. The “Act series” which began with 2006’s Act I: The Lake South, the River North, and culminated in the masterpiece albums Act IV: Rebirth in Reprise and Act V: Hymns with the Devil in Confessional, the band, led by Casey Crescenzo, told a wild story over 5 albums using any genre at their disposal incorporating pop, Jazz, Vaudeville, Disco, Metal and more. How can you top that?

In 2021, Casey started to develop the story of The Indigo Child, a character in a dystopian future. This began with The Indigo Child EP in 2021, followed by the brilliant album Antimai in 2022, a concept album centered on building the Indigo Child universe, with each song telling the story of a dystopian city-state divided into eight concentric rings. Each ring was a song exploring the extreme wealth disparity, authoritarian rule, and environmental collapse. Musically, the album was another diverse outing with the band exploring new territory once more. Now comes the sequel, Sunya. This album finds a character from Antimai leaving the city and heading into the wastelands and telling of their journey. Continuing the sonic universe they first unveiled on Antimai, Sunya finds the band leaning into synth textures and tightly wound grooves, drawing as heavily from jazz and funk as from progressive rock.

A fitting opening, “The Wasteland” is where the story begins. The song has some fanfare in tow, starting with almost a big band sound. Although much of the song has a positive tone, there are also some shadows here and there. “Welcome to the Wasteland,” he says, with a big smile and a convincing voice. What is there? Nothing. It reminds me of a service counter in the 1950’s…people are nice and accommodating, but there is nothing that they can offer you. The juxtaposition between the warm music and the message is quite striking. The signature vocal harmonies are ever-present as are all the musical layers. You can tell there will be a lot to uncover here with further listens.

“Marauders” is the album’s rocker, a track that has more spunk and more energy, and the melody is easy to follow. It’s fast-moving, funky, and fun, and some might even call it aggressive at times. The tone of his voice moves to firmer as it passes, as if he is trying to shout at you something important. Much of the signature sound of the band comes from the vocal harmonies, and they are strong in this song. There are also some playful moments, once again contrasting with the title of the song. Meanwhile, “The Bazaareteria” takes a different style again, this time with some funk and R&B, which is musically opposite of the lyrics, which depict a place where everything feels transactional, temporary, and ultimately hollow.

The album takes a shift with a 3-part suite titled “The Glass Desert”. “Part 1-Giants” is the centerpiece of the album. It again has a light, jazzy groove to it with an uplifting vibe. The second half of the song enters into 60s big band territory with horns and harmony vocals. “Part 2-Cliffs and Stormlands” sounds the most like something you might hear on the Act albums. It starts off simply with some atmospheric sounds and Casey’s voice before entering into a dancey groove like something you might find on a Bruno Mars album. “Deep is the abyss that is beneath me” he muses, and “I’m in a freefall, long enough to wonder if I reach the ground at all.” There are also more positive messages, like “if you believe in something, it better be yourself, power can rise in panic, as long as you can rise to where you fell.”

“Part 3-The Plains,” concludes the suite in glorious fashion. It has a feel of an ELO song with a wall of acoustic guitars and gorgeous melodies. The ending part of the song, where he sings “Shadows in moonlight, And whispers on the wing” is one of the best moments on the album and a truly emotional piece of music.

The title track closes out the album and is another highlight. It opens with a steady electronic pulse, and it’s like the flowers that were dormant in winter have finally begun to spring. The vocals are tender, and the message positive, and trumpet and saxophone notes accompany the sound. Like the last embers of a dying fire, it fades to completion with a cool complexity. This is also where our character gets to their final destination, only to find ruins.” This destination’s right, Your tunnel’s given way to light, But still, you’re devastated by, The sights of all you had imagined.”

The paradox on the album is dealing with the difficult and/or negative subject matter of some of the lyrics while enjoying the nice top-down ride on a sunny day that can best sum up the music. After listening to the album a few times, the picture becomes clear. The title, which translates to “nothing,” is all the doubts, fears, and insecurities we all have to face each and every day. Some people even get forever lost in them. The message of the album is that you may not find answers out there for your troubles, but there is meaning in the process of the search.

Sunya is a wondrous achievement by a band that refuses to be defined by one style or album, but rather explores any arena in order to tell a story in the most creative way possible. Where will the story go from here? We don’t know, but after this album, the anticipation will only grow. Like their last release, Sunya will no doubt end up as one of the year’s best albums.

Purchase Link: https://vyd.co/Sunya

SUNYA tracklisting:
The Wasteland – 7:16
Marauders – 3:26
The Bazaareteria 5:01
The Glass Desert I – Giants 5:18
The Glass Desert II – Cliffs and Stormlands 7:27
The Glass Desert III – The Plains 5:42
Sunya – 8:03

Casey Crescenzo – Vocals, Guitars, Organ, Bass
Nick Crescenzo – Drums, Percussion, Backing Vocals
Maxwell Tousseau – Guitars, Keyboards, Percussion, Backing Vocals
Robert Parr – Guitars, Keyboards, Backing Vocals
Nick Sollecito – Bass
Aiden Earley – Keyboards

The post The Dear Hunter – Sunya (Album Review) appeared first on The Prog Report.

(written by Islander) Today we have a reminder for you — and, as you’ll see and hear, it’s not a subtle nudge or a polite whisper. The reminder is that the epic black metal band Saille (originally formed in Belgium but now a fully Netherlands-based group) released their sixth album Forebode last month through Non […]

The post AN NCS VIDEO PREMIERE: SAILLE — “CYCLE OF CYNICISM” appeared first on NO CLEAN SINGING.

Good Day Noir Family,
The title track of Sometimes, the new EP by Spyderhuff, bursts forward with bright, confident energy. The rhythm feels urgent, driven by a solid snare that cracks with satisfying punch.

SOMETIMES is Spyderhuff’s EP Out Now

  There’s a clear blend of influences here. You can sense a touch of The Rolling Stones in the swagger, while hints of U2 surface in the expansive drive of the arrangement.

However, Spyderhuff never sounds derivative. They channel those classic rock spirits and reshape them with their own personality.

The vocal delivery adds another layer of character. A subtle double effect gives the voice a slightly vintage tone, which connects the listener to the golden era of classic rock. At the same time, the performance remains fresh and inspired. The track balances nostalgia and immediacy without leaning too heavily on either side.

Then comes “RHA-WHO-DUM,” and the atmosphere shifts. This track feels kaleidoscopic, playful, and rhythmically inventive. The band experiments with phrasing and sonic textures, yet they never lose their irreverent rock attitude. There’s a sense of freedom in the way they approach structure. The song twists and turns, but the groove keeps it grounded.

“Don’t Do It” stands out as a highlight. The main riff carries a trace of ZZ Top grit, thick and confident. The bassline moves with a sly, almost mischievous tone, locking tightly with the drums. The interplay between bass and percussion creates a strong foundation. On top of that, the guitar solo injects extra fire, pushing the track into a higher gear without overindulging.

“Saddle Up” introduces a harmonica that brings a distinct Americana twist. The mood shifts toward a 1960s rock vibe blended with country flavor. The song feels like a small-town celebration somewhere in the American heartland. It invites movement. It invites smiles.

Sometimes is an EP filled with energy, humor, and genuine rock spirit. Spyderhuff shows versatility while staying true to their roots. The result is a fun and vibrant collection that deserves attention.

SOMETIMES is Spyderhuff’s EP Out Now!

Vibrant!

With deep Detroit roots, Spyderhuff loves to bend and shape musical genres like bending and shaping metal in Motown. Most of the members grew up together in the Detroit area as friends and musicians in the late 60s and early 70s, playing in bands from jazz-fusion to hard rock.

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The post SOMETIMES is Spyderhuff’s EP Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

There was a time when Guns N’ Roses getting back together felt about as likely as a quiet night out turning into a good decision.

The post Guns N’ Roses Keyboardist Leaves Tour for ‘Personal Reasons’ appeared first on Audio Ink Radio.

Good Day Noir Family,
Davie Furey open “Donegal/The Swallow’s Tail ” with a pastoral and ethnic atmosphere.

Donegal/The Swallow’s Tail is Davie Furey’s Single Out Now

Davie Furey’s new single evokes a profound sense of Irish heritage.

Donegal/The Swallow’s Tail is Davie Furey ‘s Single Out Now

The arrangement incorporates traditional Irish influences. The melody flows smoothly, bringing to life images of pioneers leaving their homeland in search of a new future. Furey’s use of earthy instrumentation anchors the song deeply in Irish folk traditions.

If you close your eyes, you can see the mossy green of Connemara, while the ocean crashes against the cliffs.

The gentle rhythm mimics the natural pace of rural life, adding authenticity to the narrative. Listeners feel swept into a story filled with passion and bittersweet farewells.

At 3:40, the music shifts dramatically to a lively, almost festive village celebration. This moment blends acoustic charm with engaging energy. It’s like a country song switching to bluegrass in North American musical culture.

I felt like being part of a joyful communal gathering or a vibrant village fête. It recalls memorable scenes from historical films like Braveheart. The instrumental interplay during this section highlights the musician’s technical skill and emotional engagement.

Production quality enhances the overall experience, balancing clarity and warmth. Every note resonates with purpose, filling the listener’s heart with warmth. The sonic layers create a rich texture, inviting repeated listening. This single suits soundtracks for films centered on heritage and resilience.

Donegal/The Swallow’s Tail is Davie Furey’s Single Out Now!

Etnic!

Donegal/The Swallow’s Tail is Davie Furey’s Single Out Now

Davie Furey is an Irish singer-songwriter from Navan known for blending traditional Irish influences with contemporary folk storytelling. With three albums—Easy Come, Easy Go, Haunted Streets, and Glimpses of the Truth—he has built a reputation for emotive songwriting and authentic narratives. Collaborating with acclaimed musicians and notable cultural figures, Furey continues to craft music that reflects themes of identity, memory, and connection, delivering songs rooted in both heritage and modern expression.

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The post Donegal/The Swallow’s Tail is Davie Furey’s Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

Royal & The Serpent has shared details of their long-awaited debut album and offered a fresh taste of what to expect from it.

The record is going to be titled ‘Emptiness Is Godly’ and will be unleashed on May 08 via Atlantic Records.

And the track that they have shared is called ‘Steering (So Fast)’, an intimate, obscure piece of stripped-back vulnerability. Beautifully modern yet effortlessly timeless, it peels back the layers, allowing Royal to speak from the heart in the most stark tones possible. Matched with sporadic blasts of hyped-up bass, it is a real to-and-fro of thoughts and feelings that showcases so much of what the project’s purpose has become.

Royal & The Serpent had this to say about how it was crafted:

“‘Steering (So Fast)’ was written between the hours of 1am and 4am on my living room floor. My boyfriend was fast asleep next to me. He’d been playing the chords before he drifted off. I snagged the guitar and didn’t put my pen down until I was proud. I got to finish it with one of my best friends and longest collaborators (Overwhelmed, Weddings & Funerals, Salvador Dali) – Marky Style. This song feels like home. She’s surprising and confronting and fearfully bold. She’s what wanting and yearning and chasing and failing feels like. I love her.”

It’s the third song to be pulled from the upcoming record, following up ‘Fiona’, which sounds like this:

And ‘Favorite Person’, which sounds like this:

The post Royal & The Serpent Shares Intimate New Track ‘Steering (So Fast)’ appeared first on Rock Sound.