Countermovement (Yes, 2026)

 "Aurora" ist the 24th studio abum by Yes and, IMHO, their best 2020s album so far. The main reason for such an achievement is the shared composition work they adopted here more than ever in their recent efforts. Take this 14-minute suite: all the members of the band are credited as authors and this is why the track is so fresh and varied. It is divided into four movements: Taro, Anytime Soon, Blink of An Eye and Freedom's Edge, each of them well written and perfectly arranged (useless to say, wonderfully performed). 

Guess who painted this cover art?

The sung themes all all rather catchy and leave the right space to sharp and unpredictable instrumental passages, including keyboard and guitar solos. Different moods and sonic solutions are there and the sleeve notes of the album inform us that those movements were originally standalone songs, then all the band's member worked together to enrich and link them into the flushing suite that made the album. This is exactly how good bands work and it's great to see how Yes can still be a real group after so many years.

The River I & II (This Winter Machine, 2023)

English vocalist and song-writer Al Winter started this West Yorkshire-based quintet in 2016 and even if you could label it as a neo progressive act, I'm happy to say that those musicians had their own signature sound since their debut album. A mildly distorted electric guitar marks their rock moments, full of energy and beautiful changes, but I admit that their atmospheric songs and passages are my favourites by far. 

This is the band's fourth studio album.

This 11 minutes song is the opening mini-suite of their 2023 album, titled "The Clockwork Man", a concept around a future society where human clones are enslaved to perform hard and dangerous jobs. "The River" includes both sides of their production: after an electronic crescendo, the first part is a tough mid-tempo  prog rock, while part II is an awful, poignant piano driven ballad, something really, really well written and well sung with a perfect guitar solo. This Winter Machine seem to like a  thorough but also essential prog rock and they skip any useless ornament. That's not so common, after all, and certainly is a refreshing approach.

Kontraster (Jordsjø, 2025)

Here you are another Norwegian brilliant band, progging away between pure symphonic rock, folk hints and some experimental, even dissonant moments. Jordsjø released their first album in 2015 and this track comes from a 2025 split record including this Jordsjø's title track on vinyl version side A and another side-long track by Breidablik, an electronic prog project by Morten Birkeland Nielsen on side B. "Kontraster" ("Contrasts", in English) does as its title says and offers an awesome variety of moods, arrangements, instruments and musical ideas. 

This is the second joint venture of Jordsjø and Breidablik.

It is a rather low tempo collection - maybe a suite - of inner reflections and by such a rich palette you could hardly guess that  Jordsjø is formed by just two musicians: multi-instrumentalist Håkon Oftung and percussionist Kristian Frøland. Be as it may, this duo leads the listener through a fantastic and unpredictable trip, flowing very deep inside their souls (our souls, I daresay). It is an enriching and entertaining listening, something you won't easily find nowadays.

The Bryden 2-Step (for Amphibians) Part 1 + Part 2 (National Health, 1978)

National Health is one of the most intricate and jazzy Canterbury Scene bands, strictly linked to Hatfield And The North, keyboardist Dave Stewart's band from 1973 to 1975 after his previous experiences with Egg and Khan, but also drummer Pip Pyle's and guitarist Phil Miller's ex band. For their 1978 album "Of Queues And Cures", National Health also included multi-instrumentalist John Greaves of Henry Cow fame. The two parts of The Bryden 2-Step (for Amphibians) respectively open and close this record and are two splendid specimens of Canterbury sound, mixing up melodies, jazz-rock passages and folk-rock elements in a warm, diversified and intricate structure. 

A real cabinet of curiosities...

The two sections are rather different in mood (the first one being more up-tempo and jazz oriented than the second one), but there is a strong consistency between them, reinforced by the recurring main theme and the presence of the same guest musicians: Phil Minton (trumpets), Paul Nieman (trombones) and Georgie Born (cello), whose instruments give a wider sonic landscape to this split suite. A special mention goes to the main theme, one of the most charming Canterbury-branded compositions ever and to the constant search for originality throughout these overall 13 minutes of unpredictable music.

Omni Part 2 (Karfagen, 2025)

 Antony Kalugin, the ukrainian multi-instrumentalist behind Karfagen, is a man of many talents and his 2025 album "Omni" is another good example of his stunningly prolific vein (you'll find more elsewhere in this blog)."Omni" Part 2 is a well built suite, a 22 minute one divided into 4 movements, also enjoyable as stand-alone songs, many of them in a rather slow tempo, but with some welcome accelerations and many, unpredictable changes. 

As usual, an inspiring cover art

As always, there are very good melodies and beautiful solos, and this time the vocals, provided by the kinds of Marco Glühmann, Richard Sinclair, Jean Pageau, Bartosz Kossowicz plus, of course, Olha Rostovska and Antony Kalugin himself,  play an essential role in the great picture, something we don't easily find in Karfagen's discography. All those different and sensitive voices fit perfectly in such a rich musical texture. Among other guest musicians, Michel St-Père's (of Mystery fame) guitars and John Hackett's flute need no introductions and are two more bonuses added to this musical pearl. This is Neo-Progressive rock & Symphonic Rock at their best and I'm glad to loose my mind in this flowing, lush musical river.

Phase 1 (Karfagen, 2016)

Karfagen are a stunning band from Ukraine, the brainchild of  multi-instrumentalist Antony Kalugin. One of the most prolific acts I've ever known (21 studio albums during their first 19 years!), they produce mostly instrumental tracks, but this one, coming from their 2026 album "Spektra", also includes a choir section. As usual for Karfagen, this seven movement suite is simply unpredictable and deliciously varied. Classical music inspires many parts of "Phase 1" and if keyboards prevail all along the track, there is a good choice of instruments , such as violin, acoustic and electric guitars, some unusual percussions and, of course, a vocal trio, singing in latin. 

This is Karfagen's eighth studio album.

As you can imagine, tempos, moods and  arrangements are in a perpetual change, spanning from atmospheric to rock moments, including some very good guitar and keyboard solos and many lively interplays. Nonetheless, this is not a collection of sparse compositions. On the contary, there is a strong pattern all along the suite and each passage is there for a good musical reason, enriching the previous one and preparing in a way the next one. A beautiful, invigorating experience.

20.000 leghe sotto i mari (Nuova Era, 2025)

Nuova Era are among my favourite bands when it comes to vintage sounds and classic Italian prog. Walter Pini and his friends are veteran proggers and this 2025 album, retelling Jule Verne's masterpiece novel Twenty Thousand Leagues Under The Seas, is their sixth official release, but their sound is as refreshing and creative as it used to be during the '80s. First things first: the tempo, mood and instrumentation changes are stunning. 

Nemo and friends under the prog seas!

Stately organs, dainty acoustic passages, strong vocals, breathtaking progressions, intricate rythms and of course beautiful melodies... al things Italian Prog are there! Being a 36 minutes suite, divided into 8 parts, "20.000 leghe sotto i mari" is a true musical ordeal, treating the listener with both compositional and performing skills. Each variation introduces a different world and even the marine sound effects perfectly fit into the great picture. All in all, this is IMHO one of the best pages of Nuova Era's flushing repertoire.

El Cortejo de un Día Amarillo (Bubu, 1978)

 Bubu were (and still are, a a completely different line-up) one of the most intriguing bands coming from the vibrant Argentinian prog scene. Their music is always surprising, unpredictable and intricated. This two parts suite comes from their 1978 album titled "Anabelas" and fills the entire A-side of the original LP. Its nearly 20 minutes are divided in two sections: i) Danza de las Atlántides and ii) Locomotora Blues. It really is a tricky experience even for the prog-oriented ears, including dissonant passages and a great deal of instruments: there are 8 official members in the band, a guest pianist and a five members choir. 

"Anabelas" is the only album of Bubu's original line-up.

Rather incredibly, each and every musician has its own space in the track's plot, where guitars, violin, flute, sax, drums & assorted percussions, piano, bass and the choir follow each other, perform beautiful solos and perfecly melt into this fluid, rather jazzy and avantgarde piece of music. Beyond the anarchist façade of "El Cortejo" lies a strong, keenly built structure following the best eclectic prog tradition. So don't be afraid and dive into this suite: you'll surely find something you like!

Wychmore Hill Suite (Anthony Phillips, 2024)

We all know Ant Phillips lives in a musical world of his own, a very charming one. This track comes from his 2024 "The Golden Hour" album, twelfth installment of the "Private Parts and Pieces" series, an archival project begun in 1978. This 19 minutes suite for classical and 12 string guitars was recorded around 1989 and IMHO is the brightest gem of "The Golden Hour": varied, well balanced, full of beautiful themes and built up on a coherent, dynamic pattern. One wonders why such a beauty had to wait a release for more than 35 years. 

Ant Phillips took himself this beautiful cover photo.

Its four movements ( I. Country Mile - II. Ring of Steel - III. Peaceful Land - IV. Jack The Lad ) each feature two or three recurring themes and alternate fast and calm moments, so they're never boring and conjure up folk, gypsy, pastoral and classical roots, sounding fully English the way only Phillips can do. A parting note about the title: a Wychmore Hill doesn't exist, Ant was inspired by Northern London's Winchmore Hill: he switched to a sharper and almost medieval sound.

Between Air And Water (Sykofant, 2024)

"Sykofant" is the self titled debut album of a Norwergian band I immediately appreciated for their perfect balance between classic and innovative prog rock. "Between Air And Water" is their leading single and also a beautiful way to get into their musical world. On first listen, one falls in love with Emil Moen's and Per Semb's guitars, undoubtedly two skilled and sensitive performers reminding me the early Pink Floyd's mood and Wishbone Ash's double guitar work, all with a modern, eclectic twist. 

Sycofant's debut album cover art.

Then a more careful listening unfolds the stunning work provided by the rythm section, namely drummer Melvin Treider and bass player Sindre Haugen. Not only they supply an accurate but never repetitive background, but they also prepare the amazing tempo changes giving to the track an even more progressive texture. Please note that prog rock acts without keyboards are not so common and it's always a daring job, but Sykofant perfectly worked it out!

Where Oppisites Meet (Sky, 1979)

Each time I listen to a Sky's track, their rich melting pot comes to me like a surprise. Pop, rock, funk, classical music... everything's there, including that unmistakeble warm atmosphere from the late '70s. Of course, John William's guitars are a treat for everyone and all the musicians here are so skilled, but in this 20 minutes (or so) epic written by keyboardist Francis Monkman there's more. First of all, an awesome collection of good musical themes, a well found series of mood changes and a polished, brilliant sound.

As Sky was their name... 

The somewhat esoteric inspiration the song title implies perfeclty fits in the light, measured and nonetheless surprising plot of this track. We breathe the end of the prog era and the beginning of the lighter '80s scene through the classical hints and the electric, dynamic, even essential rythmic carpet of the suite. All in all, this is a highly enjoyable piece of music I'm glad to add to my blog.

North Star (Pendragon, 2023)

Pendragon's EPs are always worth a keen listening and this "North Star" is no exception. I'll focus my attention on the title track, a suite divided into three movements (I. A Boy And His Dog, II. As Dead As A Dodo and III. Phoenician Skies), whose atmospheric, pastoral and folk-oriented sounds are a coherent follow-up to the band's 2021 full length album "Love Over Fear". Past the late 2000s and  early 2010s rougher era, Pendragon are back to their signature gorgeous melodic prog. 

...And what a beautiful cover art by Liz Saddington!

I like that, and I like this suite, where dreamy themes, instrumental sketches ans a perfect blend of electric and acoustic instruments (including a guest violin provided byJohanna Stroud) build up 18 minutes of bucolic and varied music. Nick Barrett is obviously in the foreground not only with the beautiful electric guitar final solo, but also with a wide choice of acoustic guitars and his well known, distinctive voice. The whole track is permeated by the almost spiritual colour palette of the Cornish country, something... out of this world!

Vesper's End (The Id, 2017)

 The Id are a truly International band, with members coming from different countries and that apparently never met in the flesh. Nevertheless, they released six albums between 2015 and 2019. They play a melody-oriented neo-prog music and if they're in this blog is because I think they know how to do it. Even if their arrangements aren't stunning new and the production is just the best a self produced band can get, they write beautiful melodies and always put emotions first and that's exactly what I like. 

There's alway a disquieting eye on The Id's cover arts.

This 20 minutes suite taken from their 2017 album "Confluence 1", is one of their best tracks, IMHO. You'll find here instrumental skills, beautiful tempo changes, catching riffs, enlightening atmospheres and, of course, well found musical themes.  The solos are perfectly performed, but they're never showy and always functional to the big picture. Another good reason to love The Id.

Esotanc (Yesterdays, 2022)

Yesterdays are a very good prog band from Hungarian speaking minority of West Romania. This song Esotanc (meaning "This Dance") comes from their fourth album titled "Saint-Exupéry álma" and released in 2022. As most of their music, this is a clever mix of different styles, including a Yes-inspired symphonic rock, jazz-rock and folk elements. Multi-instrumentalist Bogáti-Bokor Ákos is the life and soul of Yesterdays, but all the members add their own skills and the final product is a multicoloured, unpredictable 20 minute pure prog song, including both acoustic and electric passages. 

Bogáti-Bokor Ákos is also responsible for this cover art.

Guitar solos and piano  passages, a vast choice of keyboards and Stéphanie Semeniuc's  vibrant vocals, Kecskeméti Gábor's flute and some well found electronic effects are just a few of the reasons to listen to this track (and to the rest of the album, as to that). Yesterdays really provide a rare blend of classic prog and new, original sound. Something prog rock always needs so much.

Il petalo del fiore (Greenwall, 1999)

 "Il petalo del fiore" (meaning "The Flower's Petal") is a na long suite (nearly 34 minutes) split into two tracks and six movements by the Italian act Greenwall, the brainchild of keyboard player Andrea Pavoni. It comes from the band's debut album and proves once more the equation prog = diverse, probably the only mathematics thing I perfectly understand. Keyboards are obviously the main course of this song, but if the piano driven sections are my favourite ones, I also like the way other instruments come in and draw a colourful fresco all around me. 

Mellow Records is responsible for this hidden prog jewel.

Fabio Nani's guitars are simply perfect here in both electric and acoustic moments, even where a dreamy mandolin comes in. I like the wide range of musical writing, spanning from well found (and so Italian) melodies to groovy, nearly spoken lines, not too far from the '70s singers-songwriters way. Furthermore, you'll find complex and symphonic parts along with ethereal, minimal phases. That's the perfect solution to the above equation.

Space Cowboy (Gazpacho, 2020)

Gazpacho refined their own kind of prog all along their career, mixing atmospheric mood, some majestic arrangements and bits of heavy rock from time to time. They're always enjoyable and highly professional, but you need more to set up a beautiful song. And when they find these bonus ingredients they really are perfect to me. The "bonus" are, of course, good melodies. You'll find at least two in this suite titled Space Cowboy and coming from the 2020 album Fireworker. And that's not all. 

Another beautiful cover art by Antonio Seijas. 

The band master here some interesting (and sometimes dangerous) elements like a powerful choir and a strong diversity between the track's different parts. Both these peculiarities demand a solid sense of proportion, but Gazpacho have the experience and the right taste to succeed in such a task. That's why this suite flows like a beautiful river passing through many different landscapes and growing more and more stimulating each time you listen to it. The lyrics about the hidden animal insinct inside men (the concept of the whole album) and the way this human trait goes through eras and generations adds some more food for thought. What else should we ask?

Friends I + II (Turdetans, 2020)

 Turdetans are a Spanish prog band from Alcalá de Guadaíra, in the Seville area, a very important prog province, I daresay, home of Triana, Guadalquivir, Smash and many more. And after all their name comes from the ancient  inhabitants of their region. This time, don't expect a resurgence of rock andaluz: these musicians like to blend with skill all the faces of prog rock to create a fascinating sound, rich and diversified. Acoustic blue skies, fluid and captivating, are suddenly perturbed by electric and even metal storms, folk rains or symphonic winds. 

The album's cover beautifully refers to the work's main topic of dreams.

A treat, as this little suite called "Friends" will easily prove. You'll be surprised to discover how Turdetans set up a consistent and well balanced track in spite of all the changes in time, volume, mood and instrumentation they play out. Such an achievement comes from the perfect fusion of excellent melodies and genuine energy. "Suite of Dreams" in their only album to date, but we can only hope it will soon be followed by more releases

Pavilion (Glaswegians, 2022)

Here you are a very unconventianal approach to prog, something that will intrigue, I'm sure, my open minded friends reading this blog. Glaswegians is Michael Elder's brainchild and as far as I know it's a Canadian project, so don't ask me where's its link with Glasgow... maybe Michael himself will explain this. "Pavilion" comes from the 2022 album Quaternary ( Glaswegians' fourth studio release, still to be released when I'm writing this) and is a fascinating instrumental suite, switching between twirling, compulsing electronic sounds and acoustic, melodic interludes. 

"Quaternary" includes four tracks and is the fourth album by Glaswegians.

There's an awesome number of musical instruments here and even more tempo and mood changes... so prepare yourself to a rich and unusual blend. It's almost Brian Eno meets Ant Phillips... and if you think that's an impossible match, well, listen to this and you'll change your mind. It's a profound, uncanny track, even distressing at times, but when such an experience is over you'll find yourself somewhat different, like someone coming home after a trip in a far, exotic land. Only, this land is inside yourself. Well done, Michael!

Concerto For Group And Orchestra (Deep Purple, 1969)

This famous Concerto was the best way to musically end up the Sixties when released back in December 1969. Deep Purple (and especially their late keyboardist, Jon Lord) concurred in their own way to the proto-prog era and this live recording is an essential part of those seething, hectic years. It's a very long suite in the shape of a classical concerto, divided into three movements: 1. Moderato - Allegro, 2. Andante, 3. Vivace - Presto. Entirely composed by Jon Lord, it starts (First Movement) with a sharp fight between the Royal Philarmonic Orchestra and the band, each of them playing the same tunes and trying to overcome their musical "opponent". 

The concert at the Royal Albert Hall took place on September  24th.

The second Movement moves to more peaceful quarters and we can also appreciate Ian Gillian's voice and lyrics laid on a beautiful ballad theme. Here the orchestra and the group begin to merge, but it's only in the final and shortest Movement that all barriers fall down and the two ensembles act as one, building up a lively and even frenzied finale. Well known as it is, this ambitious, challenging and everchanging piece of music, maybe ahead of its time, is surely worth another go on our playlist.

Overture / Reaching for The Sky (Transatlantic, 2021)

Once you've find your path through the different versions of Transatlantic's "The Absolute Universe" album, you'll find, I'm sure, one of the best prog releases of the 2020s. This couple of tracks make up one of the official videos by the band and this is how the Abridged version (also titled The Breath of Life) begins... and it's a great way to start! The instrumental overture includes both recurring themes of the album and a rich palette of variations and digressions, among which I must single out a stunning electric guitar solo and a highly creative bass line, not to mention the extraordinary skills of all members, never too showy and always at the service of the great picture. 

The cover arts alone would be a good enough reason to buy all the album's versions...

The following "Reaching for The Sky" develops the same highly dynamic pattern of the Overture, adding vocal contributions by all the band's members - Morse's one is perhaps my favourite one - on a new captivating theme and a (simply perfect) final guitar solo by Roine Stolt. I'm also fond of the rythm section's work on both tracks, but the likes of  Portnoy and Trewavas need no introduction. No doubt: this is true, quintessential, good old prog!