Here are the 11 best prog rock songs of 2025!
Elsewhere in recapping the year’s best in prog, Loudwire rummaged through both the best progressive metal albums and best progressive metal songs of 2025, as well as the best progressive rock albums of the year.
So, it’s time to finish our four-part series by diving into the prog rock songs that impressed us the most over the past several months!
This was probably an even more difficult list to compile than our one about prog metal songs since there were exponentially more tunes battling it out before being excluded or included. Expectedly, about half of our picks are from records that made our prog rock albums feature, too, with the rest being highlights from LPs that almost appeared there.
READ MORE: The 11 Best Prog Rock Concept Albums of All Time (Ranked)
In typical genre fashion, there are a handful of multipart suites here that last between 15 and 30 minutes as well. Luckily, they were released as single tracks, so they’re easier to digest in one shot.
Feel free to champion your own picks – and admonish us for ours – after you’re done reading and listening to what we’re discussing below, too!
Now, let’s get this thing going by going through the 11 best prog rock songs of 2025!
-
The 11 Best Prog Rock Songs of 2025
Giant Electric Pea / Reingold Records / Obiymy Doshchu / Karisma Records
Giant Electric Pea / Reingold Records / Obiymy Doshchu / Karisma Records -
Jacob Roberge, “The Passing”
Release Date: Jan. 31
Sometimes, amazing albums come out of nowhere from people just starting out and that’s exactly what happened with Jacob Roberge’s debut LP, The Passing. Described as “an emotional journey steeped in profound themes,” the record harkens back to the prog/symphonic rock of yesteryear without feeling derivative. The eponymous 32-minute finale – which “explores the five states of grief” – is excellent proof of that.
Naturally, the orchestral opener is breathtaking and the rest of the piece appropriately runs the gamut between sorrow and hostility as beautifully sung segments collide with grand spectacle. Just about every instrument gets a few moments to shine along the way, and in a sense, it combines the spiritual songwriting of The Neal Morse Band and Tiger Moth Tales with the heartfelt but fiery complexities of Trans-Siberian Orchestra. It’s an outstanding creation.
-
Pattern-Seeking Animals, “Another Holy Grail”
Release Date: Feb. 14
Comprised of four former or present members/collaborators from Spock’s Beard (vocalist Ted Leonard, bassist Dave Meros, drummer Jimmy Keegan and keyboardist/songwriter John Boegehold), Pattern-Seeking Animals aim for a marginally more melodic/”songy” and less eccentrically intricate approach. Their fifth outing – Friend of All Creatures – might be their best yet and a big reason why is “Another Holy Grail.”
The lengthiest and most ambitious tune in the set, “Another Holy Grail” houses some of the quartet’s loveliest lead singing and harmonies as it perfectly blends shades of panic and purification. The band’s characteristic instrumental drive is here, too, with sharp guitarwork and chilling strings coalescing with quirky rhythms and ghostly keyboards. Plus, it captures PSA’s knack for lyrical and instrumental storytelling so specific and compelling that you can practically visualize the whole affair.
-
Echolyn, “Tiny Star”
Release Date: March 7
As one of the prominent voices in American neo-prog for the past 35 years, Echolyn are revered for their balance of warm encouragements and snarky edginess. Despite their various lineup changes and sizable gaps between album releases in recent years, they always deliver something specia, and their two-part comeback collection (TimeSilentRadio II and TimeSilentRadio vii) keeps the trend going.
Whereas the former consists of two expansive epics, the latter LP contains several shorter and simpler odes and it concludes with its best one: “Tiny Star.”
Beginning with radiant piano and acoustic guitar chords alongside uplifting percussion, heavenly singing and relatable contemplations, it only gets more blissfully therapeutic and sophisticated from there. The interlocking voices halfway in are especially enjoyable and, despite not being as “proggy” as their ‘90s stuff, it’s every bit as eloquently moving.
-
Karmakanic, “Transmutation (The Constant Change of Everything)”
Release Date: March 7
Karmakanic is the solo project of esteemed bassist Jonas Reingold (The Flower Kings, Kaipa), and he routinely uses the talents of other genre heavy hitters to flesh out his visions. Case in point: the title track to his sixth studio record – the remarkable Transmutation – which is elevated by singer John Mitchell, keyboardist Andy Tillison, drummer Nick D’Virgillio and guitarist Steve Hackett.
Although it possesses the flamboyant splendor you’d expect from Reingold (and Swedish progressive/symphonic rock in general), “Transmutation (The Constant Change of Everything)” is also quite emotional. That’s due as much to Mitchell and singer Dina Höblinger’s shared somberness as it is the gorgeously meditative music that surrounds them. Of course, the arrangements oscillate between colorful friskiness and subdued gloominess without fail during the midway jam, too, so every moment of its 23-minutes is superb.
-
Coheed and Cambria, “The Continuum IV: So It Goes”
Release Date: March 14
Vaxis III – The Father of Make Believe harnesses virtually everything that made its predecessors — and Coheed and Cambria‘s catalog overall — so wonderful. Just as their records often open with fetchingly in-your-face prog rock theatrics, so too do their records conclude with sing-along bittersweetness and ballad “The Continuum IV: So It Goes” is no exception.
The key entity of its success is its wistfully playful cinematic power, with sentimental piano chords, spunky guitar licks and rousing rhythms decorating frontman Claudio Sanchez’s pluckily poignant verses (“Out of my head and into your arms / Confused by protection, I lost your affection”).
It’ll get your toes tapping as it gets your eyes watering and the song’s carnival-esque evolution and references to prior triumphs such as “Pretelethal” and “Window of the Waking Mind” are characteristically clever.
-
Steven Wilson, “Objects Outlive Us”
Release Date: March 14
After contentiously straying from his art/prog rock roots with 2021’s The Future Bites and 2023’s The Harmony Codex, genre royalty Steven Wilson returned to them with The Overview. Divided into two roughly 20-minute parts (“Objects Outlive Us” and “The Overview”), the sequence is inspired by “the overview effect” and channels virtually every project Wilson’s has led (including Porcupine Tree, Blackfield and no-man).
That’s particularly evident on the superior half, “Objects Outlive Us,” as it fuses Wilson’s penchants for wildly demanding musicianship (“Cosmic Sons of Toil”), catchy songwriting (“The Buddha of the Modern Age,” “Objects: Meanwhile”) and melancholically spacey soundscapes (“Ark,” “No Monkey’s Paw”).
If that weren’t enough, it repeatedly reprises motifs to make it as impactful and unified as possible, cementing it as one of Wilson’s most masterful solo compositions.
-
IQ, “The Unknown Door”
Release Date: March 28
It seems like there’s just no stopping the legendary IQ, as they’ve put out some of their best material in the last 20 years. This year’s Dominion is certainly a part of that distinction and while all of it is outstanding, nothing that comes later rivals beginning behemoth “The Unknown Door.”
The first few minutes embody the band’s affinity for affective emptiness, with Peter Nicholls singing as touchingly as ever over haunting synths and horns. Then, “The Unknown Door” carefully builds tension as it evolves into a typically combative neo-prog crusade packed with all the irresistible hooks, suspenseful chaos and arresting atmospheres IQ devotees have grown to love.
Naturally, it comes full circle at the end as well, leaving little doubt that IQ remain at the top of their game.
-
Magic Pie, “Opus Imperfectus Pt. 1 – The Missing Chord”
Release Date: May 16
Magic Pie recall the major symphonic/prog rock and prog metal artists that came before them. Yet, the delightfully rich voice of frontman Eirikur Hauksson helps them stand out a lot, as do their songwriting and exquisite vocal layers. In other words, their top-tier quality compensates for their familiarity, as Maestro starter “Opus Imperfectus Pt. 1 – The Missing Chord” resoundingly reveals.
The orchestral opening establishes the track’s overarching sentimental tone and after a flurry of tricky jamming, Magic Pie juxtapose festiveness, grief and liberation as they navigate between magnificently forceful and unpredictably strange and challenging. As usual, there are some stellar solos sprinkled around, too, and their detailed storybook lyricism is joyously engaging and striving.
If you’ve yet to fall under Magic Pie’s spell, “Opus Imperfectus Pt. 1 – The Missing Chord” is the perfect place to start.
-
Obiymy Doschu, “На відстані” (“At a Distance”)
Release Date: May 30
By far the least known artist on this list, Obiymy Doschu ingeniously meld “melodic progressive rock with lush live strings, jazz, pop, post-rock, neoclassical and neofolk influences” alongside “a touch of melancholy and poetic Ukrainian lyrics.” That’s quite the mix of influences and intentions, but as “На відстані” (“At a Distance”) demonstrates, they absolutely nail what they’re going for.
Built upon a hypnotic keyboard pattern, “На відстані” is a alarmingly beautiful ode reminiscent of Cynic and The Pineapple Thief (which is fitting since the latter outfit’s head honcho, Bruce Soord, mixed it). In addition, mournful strings and post-rock devastation envelop singer Volodymyr Agafonkin’s sublime angst, so much so that there’s barely a moment to catch your breath.
“На відстані” the clear highlight of Vidrada and a rivetingly harrowing listening experience.
-
Moron Police, “Pachinko, Pt. 1”
Release Date: July 25
In general, Pachinko retains a bombastic amusement and complexity of 2019’s A Boat on the Sea, with tons of sing-along passages, wacky detours and vibrant textures welcoming us back into Moron Police’s world of eclectic merriment. At the same time, it frequently doubles down on their heavier tendencies, and lengthy voyage “Pachinko, Pt. 1” encapsulates all of that exceedingly well.
At its heart, the song is an endearing romp bursting with Moron Police’s trademark celebratory feistiness, vivid timbres and fun-loving hooks (“My name is Pachinko, I sing the flamenco / My songs are something you never can forget”). It’s also coated in gruff guitarwork and rattled percussion, though, so there’s an extra layer of fury covering its Candy Land core. As such, it’ll satisfy anyone looking for more bite to Moron Police’s fundamental eccentricities.
-
Gazpacho, “We Are Strangers”
Release Date: Oct. 16
Almost anything from Gazpacho’s fabulous Magic 8-Ball could’ve taken this spot, including the evocatively impulsive “Starling,” the elegantly sad “Immerwahr” and the twisted sideshow attraction that is the title track. Ultimately, however, it’s second single “We Are Strangers” that epitomizes the six-piece ensemble’s synthesis of morose classical underpinnings, otherworldly rock vigor and magnetic singing.
Like most of Gazpacho’s strongest songs, it would work brilliantly even without vocals because its collage of ever-changing themes and punctuations are so fascinating. Luckily, frontman Jan Henrik Ohme’s silky smooth fragility makes “We Are Strangers” exponentially better due to his alarmingly poetic verses and — more importantly — earworm chorus (“We arе strangers / In the silver sky we fly”).
It’s an easily accessible entryway into Gazpacho’s one-of-a-kind artistry that still maintains all of their tried-and-true techniques.
