Though the genre may carry the ‘progressive’ label, prog metal can often be disappointingly stagnant: when every band out there is attempting to emulate the sound of Dream Theater or Haken, just how forward-thinking these groups are is called into question. Such criticism haunted Nospūn’s otherwise phenomenal debut record ‘Opus’ in 2023— for all its bombastic prog metal riffs, conceptual storylines and sweeping vocal melodies, the album saw Nospūn taking a little too much inspirations in places, leaving us anticipating a more distinct sound from them in future. New EP ‘Ozai’ is not that leap forward: rather, it’s a look back for the band as the four-piece have gone through the painstaking process of remaking their first project from 2014. While it’s hardly the most exciting venture, the 2025 EP is nonetheless an enjoyable holdover for Nospūn fans, indulging in all the familiar tropes we’ve come to expect.

Comparing the old and new versions of ‘Ozai,’ it becomes increasingly clear why the band wanted to reupholster the project. The 2014 EP holds up in a shocking number of areas— the group’s writing is almost fully formed, as we’ll touch in later— but falters in its overall presentation. Contrasting the confident and lush sound design of 2023’s ‘Opus,’ this decade-old project reflects the relative inexperience of its creators, dialling in guitar and bass tones with a relative back of bite to them: given that multiple members of Nospūn are audio engineers themselves, their desire to pull these tracks out of the murky depths they were stuck in is an understandable one. In a similar vein, the four-piece’s performances are strong on the original EP but lack the unrestrained freedom of expression we’ve come to expect from them— vocalist Phillip Rich, in particular, has come a long way in the past decade. Strictly comparing the old and new point by point, it’s almost undeniable that Nospūn have put a loveable new shine on these five tracks, soaking them in the band’s modern aesthetic.

Seen in a more flattering light, the tracks from ‘Ozai’ are well worth checking out: though they may not stand toe-to-toe with the momentous offerings of ‘Opus,’ these five cuts are nonetheless welcome additions to the Nospūn discography (and, most likely, to the group’s future setlists). Opener ‘Life, the Universe, and Everything’ earns its cute Hitchhiker’s Guide to the Galaxy reference, amping itself up to celestial heights as its ominous piano-led intro gives way to one of many classic prog metal riffs to be found across the EP. As Nospūn’s riff-writing goes, this first cut isn’t their strongest, stringing the track together with in a more scattershot manner than we’ve come to expect from the four-piece— nonetheless, Rich’s characterful voice leading pairs well with the track’s cosmic synths, displaying a wonderful grasp of melody throughout. Between its quirky chorus and huge ballad-like solo, ‘Life, the Universe, and Everything’ is sure to be a hit with all manner of prog metal fans, though it may not be a favourite for any of them.

It’s in single ‘The Effervescent Power’ that ‘Ozai’ picks up some steam, displaying the same infectious confidence that’s always made the group’s music so endearing. Though a little self-indulgent at times, the track mostly shows a refreshing degree of constraint from Nospūn— across a measly three-and-a-half minutes, the listener is treated to one of the band’s catchiest choruses to date, as well as another fantastic James Nelson guitar solo. A similar comfortable familiarity pervades the following ‘Out With a Bang,’ which drenches itself in more cheese than the world’s hammiest soap opera. Though the track could be criticised for just how over-the-top it can be, the band are clearly aware of it: by indulging in the song’s cheery nature, the four-piece create a genuinely euphoric atmosphere that continues to stick with the listener for long after lyrics like these elapse.

“If you can't fly then fall with style

Into a better day

Your legacy is yours to make

Don't let it slip away”

It’s in its last leg that ‘Ozai’ differentiates itself most clearly from ‘Opus:’ though Rich has been known to experiment with his vocals in the past, ‘Mecca’ has him growling in a manner almost unheard of for this style of progressive metal. The track is undoubtedly Nospūn’s heaviest to date, lumbering along with all the momentum to rival a slower Meshuggah song— the four-piece aren’t a djent outfit, admittedly, but it’s impressive to see just how striking the track is in comparison to the rest of the EP (and all without feeling like a particularly jarring addition, as James Nelson, Cole Millward and Paul Wood continue to bring their signature instrumental styles to the project). Closer ‘Jormungand’ is similarly interesting, attempting to build itself up into a doom metal-inspired epic befitting of the world serpent’s name: we must admit, though, that the experiment is disappointingly hit-or-miss, taking far too long into the song to find its footing and leaving the EP on an unconfident note as a result.

Taken as a new release under the Nospūn banner, ‘Ozai’ indulges in all the prog metal clichés we’ve come to expect from the four-piece: aside from the thunderous barrages of ‘Mecca,’ there isn’t too many new or interesting ideas separating this EP from the likes of ‘Opus.’ That’s hardly the point though: the 2025 project is a love letter to the band’s own past, breathing new life into a fun (if inconsistent) collection of tunes. The EP should be just enough to keep fans satiated for the time being: even still, Nospūn’s future continues to hang on their next full album, which we wait for with bated breath.