As any stylistic fan knows, the early ‘90s brought about a resurgence of sorts when it comes to American progressive rock; sure, the ‘80s had some important bands here and there, but the genre was definitely a ghost of its former self. Fortunately, many acts emerged at the turn of the decade to return the field to the glory it had in the ‘70s, and while several of them were especially instrumental, few have established a legacy and level of dependable excellence like Pennsylvanian quintet Echolyn.

Formed twenty-five years ago, the band has maintained the same line-up (Chris Buzby, Tom Hyatt, Brett Kull, Paul Ramsey, and Ray Weston) for almost all of that time. Despite a few brief breaks from productivity, Echolyn never fails to deliver an incredible musical journey. Be it an older collection (like As the World or When the Sweet Turns Sour), a single suite (Mei), or even 2012’s arguable comeback, Echolyn, the fivesome always crafts luscious, heartfelt, and complex music whose intricacy supports, rather than supersedes, its songwriting. Thankfully (and unsurprisingly), they do it once again on i heard you listening, a gorgeous, moving, and refined sequence that further demonstrates how special their amalgam is.

A definite highlight of the LP is its opener, “Messenger of All’s Right.” As usual, Buzby starts things off with a moving piano motif, which is complemented with restrained rhythms and Weston’s full yet fragile melodies. Truthfully, he’s always been among the most distinctive and charmingly impassioned singers of the modern progressive rock age, and he hasn’t lost any of his power here. Specifically, the harmonies during the verses are stunning, while his chorus is among the most hypnotic Echolyn has ever had. Likewise, the bridge introduces a pastoral richness that’s quintessentially Echolyn. Kull delivers a killer solo too, and Ramsey decorates the latter half with subtle yet endearing percussion as stunning dynamic shifts prove how skilled the band is at arrangement emotive frenzy. All in all, this track starts things off perfectly.

Next, “Warjazz” is faster and more fun; its aggressive momentum and catchy counterpoints clash with fierce guitar riffs, dizzying keyboard patterns, and abrupt timing shifts. In contrast, “Empyrean Views” is mostly soft and cathartic (aside from its bombastic chorus), with warm qualities (both vocally and instrumentally) exemplifying Echolyn’s uniqueness. Later on, “Carried Home” truly feels like a lost segment from Mei (which is wonderful) in terms of its timbres and construction, while “Once I Get Mine” is apocalyptic, wild, and quick, like certain standouts from As the World. You’ll want to blast it and sing-along.

Without a doubt, “Sound of Bees” is one of the most beautiful ballads in Echolyn’s arsenal, as it evolves carefully from delicate confessions to explosions of interlocking angst, all the while adding more exquisite layers without ever becoming too virtuosic or incomprehensible (again, it’s that ability that helps Echolyn stand out so much). Finally, closer “Vanishing Sun” rocks harder than most of its siblings, with a majorly steady beat and abrasive keyboard, guitar, and bass tones. The final moments (during which Weston declares, “All he ever wanted was to disappear / All he ever wanted was to take his life back” over a cacophony of synths and hand claps) are magnificent and arresting.

I heard you listening would be a remarkable record for any band, so the fact that it comes from a group of guys who’ve been creating for a quarter of a century is truly commendable. Although it’s arguably not as diverse, risky, or surprising as some prior releases, it’s easily among their most consistent and confident efforts. Echolyn has always been one of the most idiosyncratic, cherished, and important bands in the field, as they truly offer something no one else does. i heard you listening upholds the legacy perfectly. Not only is it one of Echolyn’s finest hours, but it’s easily one of the best progressive rock albums of 2015.