The Progressive trio Harpo Jarvi, hailing from St. Louis, Missouri, returns three years after their previous work “Babushka Noir” — warmly received within these pages (read our review here) — with an ambitious new concept album. “Toadstradamus,” released on August 08, 2025, presents a long-form suite divided into eight distinct movements, showcasing the band’s continued evolution within the Progressive landscape. The album opens with “Storytime With Uncle Toad,” a composition that immediately reveals the variety of musical directions the trio can explore. Beginning as a Progressive introduction with synthesizers and vocals, it gradually ventures into Jazzy territories while retaining the retro-tinged Progressive Rock aesthetic that defines their sound. The interplay between instruments and vocal passages is dynamic and expressive throughout, with keyboards naturally taking the spotlight in the absence of guitar. This opener touches upon Canterbury-esque territories, enriched by refined wind arrangements and a rhythm section dense with groove and constantly evolving. Its second half transforms into an engaging Jazz jam before closing with final vocal lines and a pompous, richly layered keyboard soundscape. “The Fifth Crucifixion” follows seamlessly, launching with a frenetic Jazzy rhythm section where virtuosic drumming and bass interplay underpins inventive keyboard work. This is music that compels movement — impossible to remain still — before vocals and melodic passages evoke the finest Canterbury sonorities. Modern and personal in execution, the track blends Fusion and Progressive Rock with electronic touches, resulting in a dynamic and engaging piece packed with ideas and subtle nuances. “Enter the Toad Zone” builds on electronic keyboards paired with melodic, expressive vocals. Through fluid tempo shifts, the band fuses Jazz and Funk frameworks with a more Experimental edge, constantly evolving the central theme. Enveloping vocals, intricate arrangements, and remarkable solos make this piece immersive, bridging Funky grooves, Progressive complexity, and soulful warmth without sacrificing incisiveness. “Vomit Prophecy” develops the preceding keyboard motifs within a more intricate structure. Tempo changes propel the music into Jazzy Progressive Rock territories reminiscent of the magic of the ’70s. Warm, enveloping vocals and carefully crafted arrangements highlight the band’s compositional depth and technical prowess. The second half is enriched by captivating solos, closing with dreamlike atmospheres intertwined with precise, technical passages. One of the shorter tracks, “Exit the Toad Zone,” still stretches past three minutes. Its labyrinthine textures convey the sense of a deliberately challenging “exit.” Vocals remain expressive and dynamic, while avant-garde inflections merge seamlessly with Progressive complexity and melodic richness. “V.O.I.D. (Vehicle of Impending Doom)” opens with pompous keyboards, immediately setting a more ominous tone. This elaborate composition unfolds through shifting tempos, darker atmospheres, and layered keyboard textures, all supported by a tight and intricate rhythm section. Vocals, at times recalling Peter Hammill in his more energic delivery, add dramatic weight without descending into imitation. Electronic and vintage timbres intertwine, creating a distinctive and richly orchestrated soundscape. The album’s longest track, “Invocation and Ritual Dance of the Great Old Anuran,” acts as the conceptual climax. Opening with percussive drumming, the mood remains shadowy and tense. Storytelling blends seamlessly with instrumental complexity, balancing an elaborate rhythm section and sophisticated keyboard arrangements. Virtuosic bass lines and intricate drumming anchor the piece through a succession of tempo changes, leading into heavy Progressive passages dominated by organ, reminiscent of ELP yet firmly grounded in the band’s own voice. The result is a powerful crescendo that sustains interest across its extended duration. The closing “An Inebriated Anti-Climax” is brief but intense, a Jazz piece punctuated by a final wind solo and multiple tempo changes — a witty, tight conclusion to the suite. “Toadstradamus” proves that there are still bands willing to explore unconventional sonic paths, applying a distinctive and original touch to their music. This is a concept album that skillfully interweaves Progressive Rock, experimentation, and generous doses of Canterbury-style Jazz Fusion, all filtered through the band’s unique identity. The songwriting flows with remarkable cohesion, blending expressive vocal passages and intricate instrumental sections into a continuous stream of high-level ideas and rhythmic shifts. At just over 41 minutes, divided into eight movements, this is a work designed to be revisited — each listen revealing fresh nuances and details. A highly accomplished follow-up that confirms Harpo Jarvi’s place as one of the most intriguing acts in today’s Progressive scene.
Tracklist
01. Storytime With Uncle Toad (06:35)
02. The Fifth Crucifixion (05:10)
03. Enter the Toad Zone (04:10)
04. Vomit Prophecy (06:21)
05. Exit the Toad Zone (03:10)
06. V.O.I.D. (Vehicle of Impending Doom) (06:20)
07. Invocation and Ritual Dance of the Great Old Anuran (08:01)
08. An Inebriated Anti-Climax (01:49)
Lineup
Dan Ilges / Drums
Nick Johnson / Bass Guitar, Upright Bass, Synth
Jim Miles / Vocals, Piano, Rhodes, Organ, Synth, Sax, Flute, Melodica