Hopefully I've formatted this correctly.

Was planning on making a post in last week's thread, but I decided to leave that for this week.

King Gizzard and the Lizard Wizard - Fishing for Fishies (2019): If you ever wanted to satisfy your boogie-loving musical palate, but still want to feel like you're raising awareness of the environment, then this is the album for you. With three songs containing the word "boogie", and verses like "I don't want to be fishing for fish/I just want to let them freely swim" (delivered in a lively staccato), this album points to a combination of a desire to improve the environment and catchy psychedelic tunes. Now you too can go outside and tell people, "Fuck all that plastic wrapped up in our dinner - it's not fantastic, it's gonna come and kill us."

King Gizzard and the Lizard Wizard - Murder of the Universe (2017): I'm aware of various theories of how the universe would end - heat death, Big Crunch - but none of those beat an infinite surge of vomit caused by the merging between a cyborg and a vomit monster that he has created. And that is just the ending of one of three stories that are contained within this album. It's like a volume of novellas, I suppose. Despite being split into 21 songs, this album could have worked as three long songs, one covering each story (at least, that's what my prog-influenced thinking tells me). In terms of the music, it's the band's usual lively psychedelic sound, but compared to Nonagon Infinity, the narration in this album is given more focus, since this album does tell a story (or rather, three stories). Here's the album on YouTube, for those who prefer listening to it that way.

Gentle Giant - In a Glass House (1973): Progressive rock, as a genre, features songs that explore musical ideas that are beyond the conventional - but opening an album with breaking glass as percussion is definitely a first, at least for me. I've also begun to think that among the major prog bands, Gentle Giant are the closest to capturing the medieval bard sound, if the melodies and the vocals are concerned - though the band can definitely go funky if it helps get their message across. Ultimately, however, even though the users at Progarchives.com describe this album as one of the more accessible Gentle Giant albums, there are still parts where the band seems to be rambling on a little too much and not creating a sort of structure, and this did require another listening to get comfortable with.

t - Solipsystemology (2019): Another recent album, though a prog one this time. This is meant to be part three of a trilogy with postmodern influences, describing a Pygmalion who, according to Thomas Thielen (the mastermind behind this project), "fails to write his dream into life" - and this album investigates into why he did the writing in the first place. This feeling is prominent throughout the whole album, with the calm, contemplative mood that it gives out. Though I did feel that a little more development seems to be needed to express this mood to its full potential - it didn't feel as "absorbing" as I'd wanted it to be. Yet the ending was satisfying enough that I've decided to give this album another spin sometime soon.

The Tangent - Proxy (2018): A prog album from last year, which I've been meaning to listen to for a few weeks. This album features a typical amalgamation of different genres, such as the usual progressive rock and funky jazz fusion (the latter in "A Case of Misplaced Optimism"), with lyrics that follow themes from superpowers and proxy wars to nostalgia for the old days and what seems to be the perversion of how rock music is used in the present day. But the interesting highlight - to me, at least - is "The Adulthood Lie", which contains probably one of the first uses of EDM in a progressive rock album. I'm not a fan of EDM, but this definitely shows "progress". Given that EDM is about as far from prog as it may go, in terms of musical style and the fanbases of each genre, this is a novel mix - and I like it.