Ten years later, Gazpacho's fourth LP, Night, remains the group's best representation of isolation, reflection, and yearning.
Crescenzo is proud yet humble, blunt, and occasionally enigmatic in discussing Act V, as well as the past and future of The Dear Hunter in general.
Agalloch regularly melded metaphysical ponderings into its light-and-dark sonic tapestries, yielding a catalog that’s as enticing intellectually as it is musically.
Knifeworld mastermind Kavus Torabi discusses the positive rewiring effects of LSD, Gong's late Daevid Allen, and Knifeworld's newest, Bottled Out of Eden.
Beardfish frontman Sjöblom discusses the makings of his latest solo effort, The Unbendable Sleep, as well as the future of Beardfish, Big Big Train, and more.
Drummer Josh Eppard offers a jovial yet highly earnest examination of how his career, personal demons, and pop culture interests relate to Coheed and Cambria's newest disc, The Color Before the Sun.
The purpose of this column has been to revisit, reassess and, above all, celebrate classic prog rock, so it’s inevitable we name names and select the best of the best.
Guitarist Piotr Grudziński reflects on the inspirations, processes, and intentions that make Riverside's latest opus, Love, Fear and the Time Machine, another fearless trip into its distinctive and beloved style.
With Love, Fear and the Time Machine, arriving next month, it's worth discussing why these five tracks make Polish quartet Riverside one of the best modern prog rock bands.