A Modern Prog Discovery That Refuses To Let Go
This is the fifth album from the Brighton and London-based instrumental quartet, but it’s my first encounter with the band. Sometimes that’s the best way to discover new music: with no expectations, no preconceptions and no idea where the journey might lead.
The moment I dropped the needle on this vinyl edition, I knew I was listening to something special.
Before we even get to the music, a quick word about the presentation. The vinyl arrives housed in a proper archival-quality inner sleeve rather than the standard paper affair. It’s a small detail, but one that immediately tells you that care and attention have gone into every aspect of this release.
And that same attention to detail runs throughout the music itself.
Poly-Math occupy a fascinating musical space somewhere between progressive rock, jazz fusion, math rock, post-rock and Canterbury-inspired experimentation. The current line-up consists of Tim Walters (guitar), Joe Branton (bass), Josh Gesner (keyboards) and Chris Woollison (drums), with additional contributions from Ben Harris and C.A. Walters.
Their music has been described as “high-concept math prog,” but don’t let that label scare you away.
This is complex music.
But it’s also remarkably accessible.
The Universe As An Engine
The album opens with “The Universe As An Engine” and immediately establishes what makes Poly-Math so compelling.
Yes, there are intricate rhythms.
Yes, there are shifting time signatures.
Yes, there is dazzling musicianship.
But unlike some technically ambitious instrumental music, the band never loses sight of the listener.
The first thing that struck me wasn’t the guitar playing. In fact, Tim Walters shows tremendous restraint throughout the album. Rather than dominating the mix, his guitar becomes part of a larger conversation.
Instead, what continually draws me in is the rhythm section.
Joe Branton’s bass and Chris Woollison’s drums are absolutely locked together. The grooves are infectious, full of jazz-fusion flair and subtle rhythmic twists that keep the music moving forward.
The result is progressive music that feels alive rather than calculated.
Complexity Without Confusion
One of the greatest compliments I can pay Something Deeply Hidden is that I never once found my attention drifting.
We’ve all listened to instrumental albums where you suddenly realise you’re three tracks further on and can’t remember what you’ve just heard.
That never happened here.
Each composition demands your attention while rewarding repeated listens.
“One/Two/Three/Four Body Problem” delivers hypnotic riffs, layered textures and moments of metallic intensity before revealing passages that reminded me of Gentle Giant. Whether that’s an intentional influence or simply where my ears took me doesn’t really matter. The point is that the music continually reveals new details.
The same can be said for “No Such Thing As Now,” one of the album’s highlights.
The spaciousness of the arrangement is remarkable. The bass and drums create a constantly shifting landscape while the guitar weaves around it rather than attempting to dominate it. The result is atmospheric, exciting and deeply musical.
As a guitarist myself, I found it fascinating to hear someone so willing to serve the composition rather than the ego.
The Power Of The Rhythm Section
If there is one recurring theme throughout this album, it’s the extraordinary contribution of the rhythm section.
Joe Branton deserves special mention.
His bass playing is not merely supportive; it often acts as the lead melodic instrument.
There were moments that brought to mind Chris Squire, Stanley Clarke and even Mariusz Duda’s work with Riverside. Not because Poly-Math sound like any of those artists, but because the bass occupies such a central role in driving the music forward.
Tracks such as “Spectral DisOrder” and “Chronostesia” are propelled by bass lines that are inventive, funky and utterly captivating.
Meanwhile Chris Woollison’s drumming is exceptional throughout.
This is one of those rare albums where you may find yourself playing air drums rather than air guitar.
Light, Shade And Surprise
What impressed me most about Something Deeply Hidden is its sense of balance.
The album can be heavy.
It can be intense.
It can be rhythmically challenging.
Yet it never feels aggressive for the sake of it.
“Euthyphro Dilemma” moves between shimmering, almost aquatic guitar textures and more metallic passages before unexpectedly drifting into territory that reminded me of early Syd Barrett-era Pink Floyd.
Elsewhere, “Spectral Dis/Order” blends funk, prog, fusion and metal with an ease that feels completely natural.
There are moments that evoke King Crimson.
Others that hint at Dream Theater.
Occasional flashes of Riverside.
Yet Poly-Math never sound derivative.
They’ve clearly absorbed a vast range of influences and transformed them into something distinctly their own.
Terror Management Theory
The album closes with the epic “Terror Management Theory” and it is the perfect finale.
Everything about the sequencing of this album feels deliberate, and this track provides a stunning conclusion to the journey.
Beginning with disorientating textures before evolving into complex, groove-heavy progressive rock, it demonstrates everything Poly-Math do so well.
The quieter passages are particularly effective.
At one point, the bass line had me thinking of Marcus Miller while the guitars hovered overhead, circling patiently before re-entering with dramatic effect.
It’s thrilling music.
Not because it’s technically impressive—although it certainly is—but because it remains emotional and engaging throughout.
The listener is never left behind.
The band invite you along for the ride.
As someone who spends a great deal of time listening to new releases, it’s always exciting when an album arrives completely out of nowhere and demands your attention.
Something Deeply Hidden is one of my discoveries of 2026.
It’s an album that combines technical brilliance with genuine musicality. Progressive without becoming self-indulgent. Complex without becoming inaccessible. Instrumental without ever feeling cold or detached.
Most importantly, it sounds like four musicians having an incredible time making music together.
If you’re a fan of progressive rock, jazz fusion, King Crimson, Gentle Giant, Riverside, or simply adventurous instrumental music that rewards active listening, then I cannot recommend this highly enough.
This may be my first Poly-Math album.
I very much doubt it will be my last.
Phil Aston | Now Spinning Magazine
