Prog rock legends The Fierce and the Dead are back with their new album, Regional Theatre, and it’s an absolute joy from the get-go.

Opener “Loungeside” eases you in with gentle vocals from lead vocalist and bassist Kevin Feazey, strong melodies and a steady, solid beat, accompanied by some dirty, QOTSA-esque guitar riffs thrown in for good measure. It’s a great introduction to an album that constantly shifts between styles while still sounding unmistakably like TFATD.

Next up, “The 1234” starts life as a more straight-up rock track, with hints of Sonic Youth, before giving way to a driving bassline and twinkling, cascading guitars. Stu’s drums carry everything along, packed with gorgeous little fills and plenty of experimentation that keeps the track moving. Matt Stevens then lets rip with some killer prog solos, and this is exactly where The Fierce and the Dead excel. Their indulgence is always tasteful rather than excessive, and the playing never feels overbearing.

“Shake Hands and Exit” bursts into life with a swaggering guitar riff that’s impossible to ignore, alongside that gorgeous bass tone cutting through once again. There’s also one hell of a catchy chorus hook. The addition of vocals has really changed the dynamics within TFATD. They feel like a different band from the one we were first introduced to many years ago, and that evolution has clearly helped their fan base grow as more people lean into their increasingly song-based structures. There are simply more hooks to grab you.

The album also covers a huge variety of musical styles. Tracks like “Somehow” provide a little breathing space before “Hey Nightmare” comes along and pummels you with an almost Motörhead-style delivery. Then things shift pace again on “Superbia”, but the payoff when those riffs hit makes the journey all the more rewarding.

It’s the big riffs where TFATD really excel, and I almost wish there were even more of them. “Dream Sequence” and “Hypernormalisation” are prime examples, with their main guitar hooks sounding absolutely nasty, dragging you in before allowing you to drift away into a more spacious, ethereal atmosphere. A particular shout has to go to the breakdown section in “Hypernormalisation”, which really grabs your attention with its simple stripped back drums and vocal sections.

Closer “Signal Breed” eases the listener towards the finish with gentle drums and beautiful vocals, providing a calm and fitting conclusion to the album.

Regional Theatre feels like another step forward for The Fierce and the Dead. They’ve embraced vocals and more traditional song structures without losing the experimentation, musicianship and prog sensibilities that made them so exciting in the first place. There are huge riffs, intricate playing, catchy hooks and plenty of unexpected turns along the way