The album cover for Monumentata by Nad Sylvan features a grayscale, close-up photo of Sylvan’s face, obscured by a grid or mesh overlay. The artist's name appears in small white text in the top left, while the album title is rotated vertically in the bottom right.

Nad Sylvan Ponders Mortality on a Less-than-Monumental “Monumentata”

Nad Sylvan – Monumentata (InsideOutMusic, 2025)

For those of us who’ve followed Nad Sylvan’s theatrical arc, from his captivating vampiric persona in The Vampirate Trilogy to his superb work alongside Steve Hackett, it’s jarring to hear him pivot so firmly into the realm of radio-friendly rock. With Monumentata, due June 20th via InsideOutMusic, Sylvan trades in Mellotrons and myth for major chords and midlife catharsis. The album is framed as his most personal statement yet, and while the sincerity is palpable, the musical choices steer away from prog-rock.

Indeed, Sylvan himself admits this isn’t a prog album. “About 75% of the lyrics are directly about my life,” he says, emphasizing its emotional vulnerability. That honesty is welcome, refreshing, even, but it comes nestled in arrangements that lean more toward adult contemporary and AOR than the symphonic splendor of classic prog-rock. Yes, you’ll catch a Moog squiggle or an extended guitar solo that momentarily flirts with grandeur, but overall, Monumentata prefers ballads with jazzy overtones and hooks you could imagine on late-’80s FM radio.

The title track is perhaps the clearest window into Sylvan’s current state of mind: grief-laced, quietly philosophical, and unafraid to confront mortality. “I lost my parents,” he confides, “and knowing that they’re gone, and that I’m probably next in line, that felt ‘monumental’ to me.” The made-up word Monumentata merges the English “monumental” with tata, Hungarian for “father,” a nod to his heritage and personal loss.

Despite the inward gaze, Sylvan doesn’t go it alone. The guest list reads like a prog who’s-who: guitarists Randy McStine, David Kollar, and Neil Whitford; drummers Marco Minnemann, Mirko DeMaio, and Felix Lehrmann keep the pulse varied and refined; and on bass, Jonas Reingold, Nick Beggs, and the ever-reliable Tony Levin bring depth to the low end. The talent is unquestionable, yet their contributions often feel more like cameos than catalysts.

To be clear, Monumentata isn’t a bad album, it’s polished, heartfelt, and in many places genuinely melodic. However, for longtime fans expecting labyrinthine suites or nuanced arcs, the experience may feel curiously subdued. Sylvan seems less interested in dazzling us than in telling us his truth. There’s value in that.

Buy Monumentata.

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