7D Media 2026
Changes can be strange and unnerving, yet intrepid New Yorker and her coterie ready to embrace perpetual challenges
Transmogrify
It may be a requirement for this musician’s chosen genre, prog rock, to ensure a forward motion, but while many other fellow travelers are content to wallow within the old stylistic frontiers, Jane Getter made the shifting of viewpoints and identities part of her art. She attempted to inhabit various personas on 2021’s "Anomalia" and switched the perspective again on “Division World” three years later; however, “Transmogrify” finds her moving further, edging close to a bleaker horizon, as suggested by this album’s largely monochrome cover. One can surmise whether Jane is chasing escapism here, after dealing with a harsh-mistress reality on her previous platters, or imagining tragedies that could happen – only do Getter’s reasons for reaching into such a gloomy pocket of existence really matter when the pieces the American artist fashioned lately take the listener inside their own mind and psyche?
In order to discover the key to this question, it’s advisable to access the album’s finale “Just Run”: first issued as a digital single back in 2022, the song fell through the cracks and has been waiting for a proper context ever since. Now the gorgeous ballad is finally placed in the perfect spot, where electric strum and half-hidden heavy riffs fuel the fiery vocal lines that follow “Little Steps”: the instrumental in which acoustic licks gradually become resonant and robust to blur the line between indecisiveness and resolve. There’s much more vigor in opener “Still Dreaming” which offers to bring the same point home – yet instead of Jane, who’s singing in the background and playing bass, Chanda Rule’s pipes are at the fore, measuring the number’s swells and pits and setting the scene for anxiety, the record’s apparent topic. With worry and doubt to rule the game, “Transmogrify” will first seem unsettling, but the album’s titular epic provides a shelter for those afraid of shedding their skin, a myriad of Getter’s melodies forged to carve a niche in the ether, Alex Skolnick’s heavy guitar and Adam Holzman’s delicate ivories fleshing out the aural space in cosmic cushions.
Still, “Turned Around” sends electronic signals to the broken-hearted and proposes a piano ripple to support all the people willing to surrender to emotional alchemy, and “Blinded” morphs denial into a life-affirming flight – here’s why jazzy passages sound sympathetic rather than alienating, and the number’s slowly revealed orchestral scope is so welcoming. And here’s why the aloof “He’s Gone Away (Won’t Stay)” feels so triumphant in its shattered glory, polished to stun and rocking its synthesizers with a lot of defiance.
A heartfelt album from a headstrong artist, “Transmogrify” is a statement and a confession one must learn to love.
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