Perhaps this doesn't fit under "prog rock." It's clearly not rock music. This is electronic stuff. That said, it's not that far removed from Tangerine Dream and stuff like that. This is effective, but probably works better sort of as a backdrop.
This review is available in book format (hardcover and paperback) in Music Street Journal: 2017 Volume 1 at lulu.com/strangesound.
Track by Track Review
This Is As Far As We Go
Trippy atmospherics and space music bring this into being. It gradually moves upward from there. In a lot of ways this feels like a cross between Tangerine Dream, the trippy electronic side of Hawkwind and Kraftwerk to me. It's a classy piece of music that evolves and moves slowly. There are some non-lyrical vocals later in the piece, but really, it's an instrumental.
Libra This becomes a bit more organic and rock oriented than the opener was. It feels more like a cross between folk prog and electronic music.
Strings Much more toward the pure electronica side of things, this has a great groove to it. There are voices here, but more as samples and soundbites. It's kind of whispered stuff.
Listen Closer the Tangerine Dream school of thought, this is another classy electronic cut.
Structures
Another cool electronic number, this is slow and spacey. It's also quite cool. It definitely lands in the neighborhood of space music.
Starling There is no huge change here, just more cool electronic music.
Zero Sum The start of this is very weird. It is pretty cool, but not a major change other than the weird echoey structure of it.
For Katherine Gompert Slow moving waves of sound open this and grow outward as this piece comes into being. I like the parts that sound like tuned percussion on this. There are some interesting textures built into it. It's one of the more effect numbers here, really.
Oslo There are some sampled spoken vocals on this. It starts in mellower territory, but works to more rocking territory as it makes its way forward. This is more like electronica than anything else, but it's solid for sure.
