It’s not every day that you hear a new album that makes you stop what you’re doing and really pay attention, but that’s exactly what Squatch made me do with their latest release, “Pilgrimage.” After my first listen, I found myself intently drawn to this album. So I listened to it again. And again. And I’ve found it on regular rotation since it came out. The album offers so much, sonically, that it demands multiple listens to suss out all of the incredible music that’s packed into this 11-song, 80-minute EP. Standout tracks include a 1-2 punch of Until the Sun Goes Cold and Mountain Head, which feature a great blend of heavy riffs and flowing jazz passages; Momentum, which features a great guitar solo accented by the use of a talkbox, and Dig, a jazz-heavy track that showcases great playing and musical choices by Gavin Hallberg (bass), Jarrett Holtslag (keys), and Andrew Witter (drums).

Over the past six months or so, several of my highly anticipated prog albums dropped, including Dream Theater’s Parasomnia and Alter Bridge’s self-titled. Both of these albums seemed to play it safe with their sounds. Squatch, on the other hand, took big swings with their album, and it paid off. By taking chances and leaning into both their progressive and jazz sides, they’ve created a selection of songs that pull you in and demand your attention. In Delta Veins, for example, the song’s opening sets a very melancholic mood. The guitar arpeggios, slide guitar, heavy reverb, and beautiful piano create a feeling of distance and longing. 3 minutes in, a false ending lulls you into a sense of resolution, only for the guitar and piano to kick back and take the song’s opening theme into another gear. In Jaywalk, after a single measure in 4/4, Witter’s drums fall into a syncopated rhythm that upends your expectations so early in the song that it leaves you anticipating where the song may go next. 

Pilgrimage was not only written by the band, but was self-produced, mixed, and mastered by guitarist/vocalist Ray Shaffer. This makes the album all the more impressive. The album’s production quality is superb. Each instrument stands out so well in the mix while blending seamlessly into the track’s soundscape. The tonal choices are spot on for each instrument. On each listen, I have been constantly drawn to how fantastic the instruments sound. I believe this is thanks to the well-crafted mix of the album. The mix feels so deep and vibrant, while still allowing each instrument to stand on its own. On the heavier tracks, you can feel every snare hit or cymbal crash. The power and brightness of the chords are dynamic; the bass dances and weaves, from laying down the low end to providing a punch that knocks you down, and the keys round out the sound while still adding a creaminess to the tracks.

The album also draws on the musical giants of prog and jazz fusion. For example, Ocean Floor starts with an arpeggio featuring a very spacey reverb that feels right out of a Pink Floyd track, then transitions into a John Petrucci-esque guitar riff, constantly moving and punctuated by crisp pinch harmonics. Other songs hint at influences such as Rush, King Crimson, and others. These moments, when you can find them, really draw you into the song further as you can hear the band masterfully incorporate stylistic choices into their own style so seamlessly that it’s easy to miss.

The only very minor critique I noticed on the album is the vocal mix. Ray Shaffer’s vocals are absolutely fantastic throughout this album, but at times they feel a little hard-pressed to cut through the instrumentation. To be clear, I don’t think this detracts from the album in the least bit. His vocal performance on this album is perfect, and the vocal layering in some tracks, like the chorus of Ocean Floor, is so good that they really stand out among tracks full of standout moments. One particularly powerful vocal moment comes near the end of Mountain Head. Shaffer’s vocals explode through the mix in a passionate line that builds tension through a repetitive A note, then walks down using a melodic walk-down and harmonies to create tension before resolving. However, at times, these moments may be hard to hear because the vocals fight the instrumentals.

All in all, this album is fantastic. I know it’s still early in the year, but this could easily be a favorite album at the end of 2026. It checks all the right boxes: incredible musicianship, a collection of fantastic tracks that weave expertly through heavy riffs and silky jazz, and top-notch production value. Shaffer, Hallberg, Holtslag, and Witter should feel nothing but pride about what they have done with this album. You can tell that they poured their proverbial blood, sweat, and tears into every facet of this album, and it pays off in every way possible.

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Watch the video below to see a performance of Pilgrimage track “Delta Veins”:

Track List

1. Until the Sun Goes Cold (11:04)
2. Mountain Head (8:22)
3. Jaywalk (7:04)
4. Ocean Floor (8:46)
5. In-Between (0:45)
6. Momentum (7:26)
7. Dig (6:17)
8. Delta Veins (10:08)
9. Perspective (7:00)
10. Interlude (4:20)
11. Tethered Souls (7:35)

Personnel

Ray Shaffer: Vocals, Guitar

Gavin Hallberg: Bass

Jarrett Holtslag: Keys, Piano

Jimmy Redman: Drums

Producer: Ray Shaffer, Gavin Hallberg, Jarrett Holtslag, Jimmy Redman

Mixing/Mastering: Ray Shaffer

Recording Studio: Angry Hobbit Studios, Moon Studios, “The Squatch House”