Well, this debut release came literally out of the wild blue yonder, an unexpected gift from my homeland, a sprawling 88-minute tour de force that just may go down as the 2026 Prog surprise of the year. What makes this particularly unique, the band is from my hometown of Miskolc, so this has a personal connection that I cannot and will not dismiss. As per norm in Magyar prog, the talented crew led by keyboardist/guitarist Jozsef Simko, a tight rhythm section featuring bassist Tibor Kozak and Gergely Sumalan holding down the percussive elements rather perfectly. Add two more special members, a petulant and active Peter Toth on electric guitars and a French expatriate who decided to live in Hungary, Madeline Besson, who sings in perfect English, having been in a band called Molly Moonshine . The production and sound are pristine , the cover wholly attractive and the entire set of songs perched on a delicate balance between technical savvy by the players, and an overt feeling of humility that goes a long way to seduce the prog listener. I felt an immediate sense of maturity within the grooves, a comfort zone that embalmed my space all the way through the ‘hidden door’ that leads into my soul.
The nearly 10-minute opener “Stray Heart“ certainly prepares the journey behind the hidden door with an ultra shimmering flurry of electronic serenity, building up into a more petulant variation that had ulterior motives in mind, as both rock riffs and classical movements meld into a platform for introducing Madeline’s silky warble, setting the tempo. The harder section seamlessly blend in without to many ruffles , shoveled ahead by basalt bass and demonic drumbeats, the guilty guitars unafraid to use just the right amount of effects, flowing into ambient pools of synthy bliss, before letting the singer emote in a hushed vein. Its pretty and magically soothing.
“Release” features some of finest violin work heard in ages (Nora Kacsenyak), with mournful cello (Vivien Netti Novak) aching along for the ride, the strings swirling infinitely as if caught in a gentle gale, the piano splendiferous, and a relief of tension that is palpable. It’s an accessible prog piece that suggests a liberation that cannot be avoided. An obvious reference to a dearly departed relative (Jozsef’s father), becoming quite the eulogy in this case. The gorgeous piano work emphasizes a moment of loving reflection that is worthy of both attention and praise.
The mood becomes a tad grimmer on the brooding “Rachel Revisited”, a song about domestic abuse from the female viewpoint, an ominous commentary on the weakness of spirit that has poisoned the human condition since the dawn of time. Madeline does a masterful job on the microphone, her crystalline voice appropriately fragile, at times even trembling like a swollen lip. The instrumental presentation is dark and low-key, with progressive accoutrements, scratchy effects and doomsday symphonics that veer towards pain, the splintered guitars quietly shrieking in the front row. Impressive powerful.
For a country famous for its thermal waters, as it sits in a massive underground aquafer, and yet has no access whatsoever to any ocean or sea, “Coastline” can only refer to Lake Balaton or the Danube River. The spotlight is a delightfully intimate saxophone solo (Peter Czako) that should put wind to many a sail, a common site on the Hungarian Sea as the Balaton is often referred to. Yet the theme chooses to describe the vagaries of human relationships, the perpetual roller coaster ride of control and miscommunication, suddenly challenged by loving laughter and tender moments.
Then, the stylistics take a huge turn into even more progressive exercises , we land on a trio of megalithic epics. Clocking in a colossal 27 minutes and change, “The Brother of Sleep” stamps the prog seal of classification without any hint of hesitation. The inspiration emanates from Oscar Wilde’s “The Happy Prince”, a rollicking storyline that injects slick percussion, tinges of harpsichord and an airy opening introduction, before eventually turning the rhythm section into on propulsion mode, the vocal gymnastics breathtaking as they lead and harmony voices intertwine. Another gear is put into motion as the echoing chorus becomes escorted by a sweeping organ motif drawing ‘silver ribbons’. The third section has a harder drum pattern to rely on, a metallic shroud in the arrangement that underlines a restrained instrumental prowess that paints quite the canvas. The brazen bass is lovingly up-front and center in determining the shifting sonic transmission, settling into an explosive symphonic climax. Very cool opus.
“The Other Side” wishes to convey a sense of universality, reminding us of the benefits of respecting cultural identities, not surprising in lieu of the unicity of the Magyar ethnicity. The handclaps underline a communal environment as if sitting around a campfire, singing songs, sharing stories and playing music. Can there be a finer panacea, and a better embodiment of peace ? I think not and know of none better!
This four-part suite evokes the Book of Revelation, the quarter of an hour epic “Riders” closes the curtain on the now open door, with a wondrous sonic adventure, where light and darkness somehow dare to co-exist. There is little doubt that here the progressive elements really gallop along nicely, like the valiant horses on the Puszta plain, imagining whips cracking the air, and Puli dogs doing their magical herding. Jozsef’s elegant piano exudes a prototypical Magyar melancholia, a heady cocktail often mixed with a hint of stubbornness, playful pride and profound emotional commitment. The Peter Toth guitar solo is an ideal example, genuinely sorrowful at first and then building up into a taciturn frenzy without going deliberately crazy. The ambient piano mid-section is drop-dead beautiful, the solitude broken by a lone bass elevation that alters the pace into a bluesy organ-led adventure where Madeline gets to sing her thoughts. The upward staircase of sound rises inexorably to its mighty conclusion, with a grandiose final section, majestic and imperious , reaching for the heavens , a magnificent pinnacle that seals the deal.
One of the finer debut heard in many a moon, what really stands out is the utter humbleness expressed throughout ,and in our increasingly turbulent noise factory society, this has been quite a soothing experience that should bear many future releases in the future. Highly recommended with or without a glass of palinka.
4.5 fractured coils