Back in 2019, I was contacted by an ambitious band called Trope. They were pitching their debut album Eleutheromania; I liked it, so I proceeded to review it like I normally would. Directly thereafter, the band’s relationship with their label dissolved and the album disappeared for two years. It would release in 2021 with a new cover, but it stood the test of time. It was heartfelt. It was authentic. It was really good.
Fast forward to 2025, and the band has become quite well-known in prog circles, opening for the likes of King’s X, The Pineapple Thief, Soen, Symphony X, and more. Now, they are preparing to launch their sophomore effort, and the sense of ambition has not vanished. DYAD is a giant step up to the plate, and a bold swing for the fences. The album does not have a release date yet, but I expect it before the end of the year.
The lineup here is noteworthy, too. Trope officially consists of a duo: Diana Studenberg on vocals, and Moonhead on vocals, bass, guitars, piano, keyboards, and programming. Drums are provided by Max Botco, and we get guest spots from Gavin Harrison and Tony Franklin. I just want to insert here that Diana’s vocals are impressively varied and dynamic; true blood, sweat, and tears went into her performance. One thing that surprised me was the number of Moondhead vocal songs in the latter half of the album. His voice is velvety and warm, though, and a welcome added layer of variety.
Trope originally played a prog-leaning alternative rock. I’m not entirely sure progheads were who they wanted to attract, but that’s who they’ve got. Thus, the new record is a double album, but not just a collection of too many songs. No, Side A is a progressive rock record on its own, and Side B is an alternative rock album on its own. The band, rather than compromise, has given us both sides of their sound. I think that’s really smart.
Look, I’m not really a fan of double albums, with obvious exceptions, but this one changes the game somewhat. Each side is like a complete record, and it does not feel drawn out or jammed packed with filler. There are seventeen total tracks, the first seven landing in progressive rock, and the final ten landing in alternative. I obviously can’t touch on every single track, so let me highlight my favorites on each side.
For the prog side, the band is clearly influenced by Tool. You’ll hear the intricate bass lines and ominous atmospheres. Diana’s voice adds a completely different element than Maynard’s, though, so it feels fresh. I really like the opener “Spoiled Leaves”; it’s actually something of a slow-burn with how it evolves and grows methodically. “Fever Dream” is another favorite for its powerful guitar ending and addictive rhythmic character. “Walk on Water” is one of those tracks that flies beneath the radar: I love the ambient portion in the middle and how it rises into a mighty, confident, roaring ending. “Sigil” is another highlight, with its fiery groove and cool riffs, it is definitely a crowd-pleaser. “Past” closes this part of the album by blazing a trail of raw destruction, and I absolutely love it. It’s the perfect transition to the second disc.
The alternative side of the record is actually my favorite, which might be surprising. I think it is well-balanced and genuine. I like the opener “Glory”, which for some reason reminds me of a Haken ballad. “Happiness” arrives next and Moonhead sings this one; it reminds me of a 90s tune with its addictive chorus and acoustic character. I really like the cover of The Stranglers’ “Golden Brown”, as it feels very natural here. Another favorite is “Incurable”, equally as catchy but with real emotion that cements it in my brain.
This half of the album is just so lush and sing-able. Of course, “A Mare’s Nest”, even though it’s on the alt side of the album, is this exquisite, ambient piece with haunting vocals and so much character. I love it so much. As the album progresses, you’ll notice that some of the songs become duets, like the rich ballad “Slipping Away From Me” and the emotional “What I Want”, which has some gorgeous piano. The last two songs follow suit, and it makes me wonder if vocal harmonies are the future of this band. “Use” and “Lie” are both high octane tracks with excellent vocal harmonies that give a satisfying contrast, and a wonderful close to the record.
Trope have taken their sound up several notches with DYAD. It is a thrilling record with something for everyone, from striking instrumentation to fantastic vocals, and from melodic sensibility to raw humanity. The band has something special, I think, that feels both nostalgic and fresh. I hope for great things in the band’s future because this record is a powerful foundation for growth.
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Find Trope online:
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The PROG Mind 