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Among other things, Mastodon rhythm guitarist Bill Kelliher delves into how loss and life shaped their sixth outing, Emperor of Sand.

Beardfish may've broken up, but they left us with one of the most humorous, colorful, intricate, and distinctive discographies in all of progressive rock.

Agalloch regularly melded metaphysical ponderings into its light-and-dark sonic tapestries, yielding a catalog that’s as enticing intellectually as it is musically.

Knifeworld mastermind Kavus Torabi discusses the positive rewiring effects of LSD, Gong's late Daevid Allen, and Knifeworld's newest, Bottled Out of Eden.

Beardfish frontman Sjöblom discusses the makings of his latest solo effort, The Unbendable Sleep, as well as the future of Beardfish, Big Big Train, and more.

Drummer Josh Eppard offers a jovial yet highly earnest examination of how his career, personal demons, and pop culture interests relate to Coheed and Cambria's newest disc, The Color Before the Sun.

The purpose of this column has been to revisit, reassess and, above all, celebrate classic prog rock, so it’s inevitable we name names and select the best of the best.

Guitarist Piotr Grudziński reflects on the inspirations, processes, and intentions that make Riverside's latest opus, Love, Fear and the Time Machine, another fearless trip into its distinctive and beloved style.

With Love, Fear and the Time Machine, arriving next month, it's worth discussing why these five tracks make Polish quartet Riverside one of the best modern prog rock bands.

Minstrel in the Gallery seems as autobiographical as any Jethro Tull album, before or after, and there is a vulnerability and sensitivity that the songwriter was simply growing into.

A decade after its release, Coheed and Cambria's third full-length album remains the group's highest benchmark, as well as one of the genre's best modern albums.

After the back-to-back-to-back brilliance of their previous three albums, a letdown seemed inevitable; amazingly, Ian Anderson & Co. raised the bar, instead.

Revered English musical visionary Steven Wilson discusses the inspirations, methods, and reflections that helped create his newest solo opus, Hand. Cannot. Erase.

Fifteen years after its release, Dream Theater's fifth LP remains not only the quintet's truest masterpiece, but arguably the greatest progressive metal album ever made.

While so many of their progressive rock contemporaries were writing novels in the form of side-long suites, the Moody Blues were masters of the short story.

The Pineapple Thief mastermind delves into the making of Magnolia, the [un]fair criticisms of fans, and the joys of modern Opeth, among many other topics.

Love them or loathe them, Emerson, Lake & Palmer wore immoderation like a badge of courage.

As the creative mastermind behind Jethro Tull, Ian Anderson is often considered one of the most distinct musicians of the past 50 years.

A Passion Play tends to draw the most resistance from even prog-rock aficionados; it obliges time and attention to let it work its charms.

Still Life's narrative borders on Shakespearean levels of romantic tragedy and social commentary, making it the most poetic and philosophical in Opeth’s catalogue.

Steve Howe and his Yes bandmates are obviously driven by a desire, perhaps an obsession, to measure up favorably, and to improve upon what they’ve already achieved.

There's no modern prog musician whose approaches, innovations, and reinventions are as multifaceted, brave, intricate, and original as those of Devin Townsend.

During this three album stretch, Genesis evinced as much growth and glory as any of their prog brethren, and the banner they raised still casts a huge and heavy shadow over everything that followed.

Many diehard prog rock enthusiasts dismiss modern bands as inferior imitators. These three releases prove there are still a few visionaries out there.

Jethro Tull have always confounded critics, and despite albums sales, hit songs, influence and longevity, it is above all the brain of frontman Ian Anderson that ensures they will remain forever on the outside, looking in.

In addition to being one of the pivotal bands of the early '70s, Yes perfected prog-rock as a kind of performance art in sound.

King Crimson, as much as or more than any other prog rock band, consistently shaped and refined a unique vision, arguably creating whole new types of music in the process.

Although they became hugely successful, Pink Floyd championed a type of integrity that seems uniquely associated with progressive rock: they never imitated anyone else or copied their own previous efforts.

Rush, as much as any rock band, represents the eternal present tense: they adapted and evolved in real time, reflecting the issues, sounds and styles of their day.

If 1967 characterizes a high point where rock music could be appraised as Art, it also initiated an explicit realignment of what was henceforth possible.

Somewhere between the first hit of acid and the last ray of light from the disco ball, rock music got ambitious. What we would come to know as prog rock would go on to launch a million air guitars.