Nad Sylvan, known as vocalist with legendary guitarist Steve Hackett, announces his vulnerable & personal new solo album ‘Monumentata’ for release on 20th June 2025 via InsideOutMusic. Sylvan’s music draws heavily from the golden age of progressive rock while blending in folk, classical, and modern rock influences, resulting in a sound that feels both classic and contemporary. This collection of 8 tracks continues bridging those styles while sprinkling in a few more, from the jazzy-pop feel of “Flowerland” to the 60’s R&B influenced “Monte Carlo Priceless,” to the aggressive rock flavour of “That’s Not Me.”
It is the latter track that is launched today, and you can watch the video for “That’s Not Me” here:
Nad comments of the track: “It’s a very heavy, aggressive song with a strong funk influence—kind of like James Brown meets Deep Purple. It’s got a groovy feel, and I absolutely love it because it represents the heavier side of my music. The song explores the challenges of adapting to another culture while traveling the world.”
Much of the album comes from Sylvan’s life experiences. “This album is much more vulnerable. I’d say about 75% of the lyrics are directly about my life—it’s me laying everything out there, wearing my heart on my sleeve.”
The title track signifies an important moment in the singer’s life when he lost his father, leaving him without both parents. Sylvan explains, “I lost my parents, and knowing that they’re gone—and that one day, I’m probably next in line—that felt “monumental” to me. That’s where the word ‘Monumentata’ came from. “Tata” means “Father” in Hungarian, and my dad was half Hungarian. So, I combined those two words to create something new. It’s about losing someone and the disappointment.”
While Sylvan handles vocals, keyboards and most of the guitar parts, the album features a number of notable guest appearances, including guitarists Randy McStine, David Kollar, and Neil Whitford. The drummers on the record include Marco Minnemann, Mirko DeMaio, and Felix Lerhmann. On bass, the singer is helped out by fellow Hackett band member Jonas Reingold, Nick Beggs, and Tony Levin.
‘Monumentata’ will be available as a Ltd CD Digipak (incl. bonus track), Gatefold transparent green LP & as Digital Album. Artwork was handled by Hajo Müller (Steven Wilson).
The acclaimed Swedish progressive rock band Karmakanic is back with their highly anticipated sixth studio album, ‘Transmutation’. Produced by the band’s founder and visionary leader Jonas Reingold, The album has been mixed by five-time Grammy Award winner Chris Lord-Alge, renowned for his work with legends such as Muse, Tina Turner, and Bruce Springsteen.
For this album, Jonas Reingold has assembled a Dream Team of internationally renowned musicians, including Simon Phillips, Steve Hackett, Nick D’Virgilio, John Mitchell, Andy Tillison, Craig Blundell, Randy McStine, Amanda Lehmann, Rob Townsend, Roger King and Luke Machin, to name just a few!
Jonas Reingold comments:
“With ‘Transmutation’, I wanted to create not just music but an experience – the best progressive rock album in modern time, a place where the listener can dream, reflect, and be carried away by the sound. Listen to all these wonderful musicians in a high fidelity environment. Working with these extraordinary musicians has made this album truly special to me.”
Lofty ambitions from the renowned bass player and all round stellar musician, can this new release from one of my favourite modern day progressive units live up to them, let’s see shall we?
It’s been a long time since the release of Karmakanic’s previous album, the rather excellent ‘Dot’, back in 2016 and Jonas has been a very busy man in that time, being the ‘go-to’ bass player for not just progressive rock acts. Thankfully for us, Jonas has found the time to create another profound collection of songs under the Karmakanic banner and I consider myself to be a lucky soul bringing you the fruits of his labours here in this review.
I have always been huge fan of Karmakanic, their wonderful joie de vivre and the hope and joy in their uplifting songs is just amazing to hear and always lifts my mood. Send A Message From The Heart from 2008’s ‘Who’s The Boss In The Factory’ and Higher Ground & Steer By The Stars from the aforementioned ‘Dot’ are just a few examples of the inspiring music that Jonas and the band can create and gives him a lot to live up to.
Album opener Brace For Impact is a powerful instrumental introduction to the new release with some fiery, edgy guitar from Jonas, thunderous drums from Simon Phillips and Andy Tillison’s distinctive keyboards all combining to deliver a profound statement of intent. I braced myself for the next track, the utterly captivating End Of The Road, possible the best Karmakanic track yet delivered to an expectant audience, it really is that good! A spellbinding introduction leads to one of John Mitchell’s finest vocal performances, ably assisted by the lush tones of Randy McStine. Gorgeous musical themes abound, Luke Machin delivers some elegant guitar lines and solos along with exquisite acoustic guitar from Jan-Olof Jonsson and you are welcomed into a wide ranging vista of bewitching charm. Don’t be surprised if the repeat button on your remote gets a lot of work with this track, it is just brilliant. Cosmic Love has more than a feel of the 80’s about it with the fine keyboards of Jonas and John’s urgent voice driving things along. Some excellent slap bass straight out of that decade will put a smile on your face as, in tandem with more dynamic drumming from Craig Blundell, he ups the ante. Randy adds great backing to John and the requisite guitar lines to create another great track.
I don’t know if it is just me but John Mitchell’s vocals seem to be at their finest at the moment and he goes on to showcase his excellent voice on the stunning We Got The World In Our Hands, a song that shouts Karmakanic more than any other on the album. The music literally has you walking on air and feeling the world is a happy place and if you can go through the eight minutes of this track without singing the chorus, you have a lot more restraint than me! A four strong guitar line up of John, Jonas, Randy and Krister Jonsson imbue the song with sophisticated layers and Simon Phillips is once again on top form with the drum kit. It’s another superb track but it’s the vocals that really stand out for me, just dazzlingly sublime. An edgy atmosphere arrives with the opening to All That Glitters Is Not Gold, an almost folky feel brought on by flute and accordion to this cautionary tale. Jonas’ songwriting seems to just get better and better and is brought to life by this supreme collection of highly talented musicians. John’s vocal has a catch to it, a sombre feel if you like and the music a little haunting edge, along with some fine lead guitar, all strident and dominating, from Kristen again. If it could be said that Karmakanic have a dark side, it is let loose on this deliciously dark feeling piece. A big nod must go to Rob Townsend and his ever impressive saxophone playing.
A measured guitar and keyboards add to John’s precise vocal delivery to give a cautionary feel to Gotta Lose This Ball And Chain, a harder edged piece of music that shows a more measured and considered side to the band. Sven Cirnski layers his sophisticated guitar over Tomas Bodin’s keys and the fabulous rhythm section of Jonas and Simon and Krister gets to fire off a suitably impressive guitar solo. A catchy chorus and the fine musicianship give subtle polish to the track and it is wonderful to hear Göran Edman’s stylishly theatrical vocals at the end. And so to the final, and title, track, Transmutation, Jonas and Karmakanic have always been known for delivering superb and engrossing epic tracks on their albums (Dot and Send A Message From The Heart being prime examples) and Jonas does not let us down here with a twenty-three minute musical tour-de-force. The song ebbs and flows perfectly with some utterly mesmerising musicianship from the assembled cast of legendary progressive musicians, Steve Hackett, Andy Tillison, Krister Johnson, Roger King, Rob Townsend, Jan-Olof Jonsson, Nick D’Virgilio, the list goes on and every single one of them seems just happy to be there and be involved in this amazing musical project. Thunderous guitar and drums, elegant keyboards and Hammond organ, brilliant saxophone and John Mitchell and Amanda Lehmann laying down exquisitely graceful vocals, this track literally has it all and showcases the musician’s ability to blend complex musical arrangements with superb musicianship and emotional depth. I couldn’t think of a finer way to close an album.
‘Transmutation’ takes all the best elements of ‘Who’s The Boss In The Factory’ and ‘Dot’ to create an utterly engaging listen with all the hallmarks of what makes Karmakanic such a celebrated outfit. Consistently brilliant from the first note to the last, Jonas Reingold and his FC Barcelona of progressive all stars have delivered a musical experience to transcend most others.
“What do you get when you take two theatrical lead vocalists, a keyboard player from Juilliard, a jazz-rock genius on guitar, a bass player from Monster Island and a drummer with progressive rock in his DNA? The modern cinematic ProgRock band Circuline.”
That’s a pretty impressive opening gambit from the press blurb for Circuline’s latest release ‘Counterpoint’ and the next line nearly made me crack-up!
“Circuline’s newest release, ‘Counterpoint’ (May 2016), features an all star line-up of SEVEN guest guitarists…”
No, you didn’t misread that, it said SEVEN guest guitarists!! Well, to me that could just turn out to be overkill or the musical equivalent of herding cats but, you never know!
So, for the sake of completion, here are those guests…..
Randy McStine (The Fringe, Lo-Fi Resistance), Doug Ott (Enchant), Alek Darson (Fright Pig), Ryche Chlanda (Fire Ballet, Renaissance), Alan Shikoh (Glass Hammer), Matt Dorsey (Sound of Contact, Dave Kerzner) and Stanley Whitaker (Happy the Man, Oblivion Sun).
So, would these additional musicians add to the depth of talent the band already has or would they prove that too many cooks can actually spoil the broth? Read on and find out……
The album opens with a a powerful statement in New Day, a track that builds on a rolling drum beat and off-kilter keyboards to almost drive you crazy. Coruscating guitars blaze across the landscape, it is like some crazy sci-fi soundtrack or diabolical mind weapon that seems to be forcing you into submission. Dynamic guitars dominate the soundscape, interspersing with the keyboards like some ELP-esque monster. It’s forceful and influential Prog with a vivid outlook and a highly impressive beginning to what is awaiting us.
Like a one-two knockout, Who I Am explodes into the ring on the back of staccato piano opening, insistent and demanding, before a huge crunching riff literally knocks you over. Man, I’m getting hooked on this already! A huge wave of sound engulfs you with its magnificence and you just hang on for the ride. A break in the squall sees that piano note return, gentler and questing, along with the benign waves of the cymbals, calming your heartbeat. The vocals begin and they are theatrical to the max, superb interplay between Billy Spillane and Natalie Brown giving the music an extra nuance. That monstrous riff is what drives this catchy song on though, brooking no resistance. I love the laid back, chilled sections that occasionally grace your aural sensors, they give you a sweet respite from the upsurging music that hits you square on the jaw but always leaves you smiling. To be honest, it’s one of the best tracks I’ve heard this year and I could almost recommend the album just on the strength of this one song.
Did you expect a pause for breath? Well you should have known better. Another drama laden introduction building to something profound leads in the mysteriously named Forbidden Planet, keyboards swirling all around , apprehensive and almost sinister, are setting the scene. The vocals begin, quite emotive and descriptive, adding more shine to the proceedings. I’m almost reminded of the latest Dream Theater album, but in a good way. The thumping chorus will have you singing your lungs out, it is pure musical theatre of the best variety. Artful and dramatic, the guitar solo that fires out is superb and just adds to the feel that you are in an actual theatre, enjoying a musical show. The excellent bass-lead, guitar heavy, run out of the song adds even more of that drama and leaves you with a knowing smile on your face.
Hollow is a more circumspect song, the introduction washes over you before a passionate vocal and guitar fire up and lead the way. Heartfelt and moving, even a bit darker in places, there is a more progressive than cinematic feel to the track as it gets into its stride. To my ears there a definite hints of Glass Hammer and even Dream Theater in the intricate keyboard playing and the way the song seems to be built in layers, the instrumental sections are really convoluted and complex. It’s almost as if the musicians decided that they just wanted to have a prog-infused jam session, and a mightily enjoyable one at that! Once normality is restored we get more of the dominating vocals, leaving an ominous overtone in places. There is something for everyone in the song, baroque progressive moments, touches of Prog-Metal and, well, just excellent songwriting and musicianship.
One of the shorter tracks on offer, Erosion is an instrumental that opens full of suspense, the cinematic overtones are there in spades, this could be the soundtrack to a sci-fi film with its haunting atmosphere and heavy doses of tension. It is quite disturbing in fact and I found myself on edge all the way through.
I love the bassline that opens Nautilus with its jazz-funk feel, there’s a really upbeat atmosphere to the song, the distinct guitar note and vigorous drumbeat adding to that high energy aura. The vocals, once again, hit the spot and give the song its own identity. At first, you aren’t sure whether there are too many influences running through the music but, by the time you’re really involved in the album, it is a distinctive sound unique to Circuline. I feel the keyboards generally take the lead and the rest of instruments follow and it works very well indeed. Another clever integration of the complexities of progressive rock infused with some powerful rock elements to give that cinematic feel, the guitar solo is another sterling effort.
The mood quietens for the delightful Stay which has more akin to a piano lounge track than your usual progressive fare but I really like it. Laid back, funky and with chunks of jazz dripping all over it, Natalie’s vocals are the centre-point of this sepia tinged song. Thoughtful and contemplative, it really does give you a complete feeling of chilled out security. The guitar playing is fluid, serene and composed, it is a song for a wonderful, warm summers day when you haven’t got a care in the world.
S.O.Ais just over one minute of quite unsettling mind warfare if you ask me, it is really quite sinister……
That mood carries on into the opening of Inception with its 80’s synth overtones that seem to want to invade your mind. Again, another impressive cinematic soundscape that draws pictures deep in your psyche, music that challenges the mind as well as satiating the soul. It is almost transfixing in the way it draws you into its embrace to leave you feeling oddly at home. Then the vocals start and your attention changes, the voices, lilting in their delivery, have a hypnotic edge and work in concert with the inventive music to give a superlative listening experience, a musical journey that, once traveled, you are happy to return to time after time. The closing out of the song is particularly brilliant.
So, onto the final instalment in this cinematic treasure, Summit has all the clever subtleties of what has gone before, a quite enigmatic opening before the song begins its final traverse of your musical landscape. Sultry bass lines and drumming add a great backdrop to the exemplary harmonised vocals, like the perfect recipe from some masterchefs of the musical world. Nothing is ever too simple with these guys though, we have some involving musical sections to add substance to the lush vocals laid before us. Grin inducing guitar solos and keyboard runs abound and you are just left floating in a world of musical well-being. The potent chorus adds strength to the beauty of the rest of the song, you are left wanting for nothing with this band’s repertoire and it is shown to the full on this finishing track, some more prog wizardry to add to the dramatic and cinematic feel. I have to admit, by the end of this song and album, I am left feeling that I have been spoiled by the music and talent on offer.
So, do too many guitarists leave you herding cats or give extra shine to an already impressive collection of musicians? Well, if you’ve read what goes before this conclusion you’ll know that they enhance things immensely. A deep well of musical wonderment is laid before you to drink from at will, take a small sip and come back for more (as you will) or take it all in one gulp to be completely indulged. Whichever way, you’re going to love it!
