Style: Psychedelic rock, progressive rock, jazz rock (instrumental)
Recommended for fans of: Gentle Giant, Caravan, Pink Floyd
Country: United Kingdom
Release date: 13 March 2026

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The Canterbury scene was viewed as a prominent focus point in the development of progressive rock in the late 60s and early 70s. Originating in Canterbury, in south-east England, its sound was defined by a jazzy, improvisational style that incorporated psychedelic influences, and was produced by a number of bands, often with shared members between them. While some of the artists involved in the scene may find themselves at odds with the nomenclature, opining that it’s less a musical label and more of a “journalistic” one; nevertheless, Canterbury was inarguably a breeding ground for the musicians who birthed a distinct type of airy, wistful English prog rock. Today, we’re taking a look at the latest output from one of the most reputable acts to come out of the scene, Soft Machine’s thirteenth album, aptly titled Thirteen. 

Soft Machine ventures into Thirteen with a psych-rocking, jazzy guitar-centric work that echoes the sounds of the early 70s with its warm, tube-amp character and roomy drum tones. Yes, the band may have lived through iteration after iteration to last until 2026, but Thirteen’s heart and soul remain firmly planted in the golden age of prog rock, where saxophones and Rhodes pianos, Mellotrons and woodwinds were mainstays alongside fretless bass guitars and humbucker pickups. The track listing, consisting of thirteen all-instrumental pieces, runs the gamut from the somewhat more conventional, bluesy-guitar opener “Lemon Poem Song”, to the experimental, wildly discordant tenor sax cacophony “Seven Hours”, and the evolving thirteen-minute prog epic “The Longest Night”. The longest track on the album, this is a multi-part, psychedelic romp that features an extended organ interlude and an acrobatic jazz flute run that would impress a panel of Olympic judges. 

There’s no shortage here of wild ideas, and indeed, Thirteen is clearly an album that doesn’t like to be pigeonholed. The transitions into and out of odd-metered sections in “Green Books” are impeccable, and the band is so locked in to every movement and groove that they could stump a metronome. The hard-rocking unrest of “Turmoil”, with its multi-instrument shredding, lives up to its namesake with a building pandemonium, culminating in one of the best experiences on the album; meanwhile, “Time Station”’s funky sax and walking bassline wouldn’t feel amiss in a 60s spy film. These are just some of the really impressive moments peppered throughout Thirteen, a testament to the legacy and wealth of experience that each member brings to the table. 

Without detracting from that, it must be said that the pacing is all over the place, and that finding these moments can be a bit of a labour of love. The middle of the album is populated with two slow, heartfelt pieces—“Disappear” and “Beledo Balado”—that each come after and before more uptempo pieces, and cause some push-and-pull in the track listing that I felt interrupted the flow. Many of the songs also feature extended solo sections, and tend toward a similar structure which, improvisationally, flow naturally from soft to intense; but over the course of an album, have a propensity for predictability. To that end, maybe a couple more hard-rocking moments wouldn’t have gone amiss, as Thirteen mostly leans into a pensive, meditative sound, with stark mood changes being few and far between.

Despite presenting an ever-changing lineup over the last sixty-or-so years, Soft Machine has retained their experimental, adventurous nature, and Thirteen is another great example of that inclination, as this album displays musical competence on all fronts. If the more avant-garde, philosophical, jazzy jam band is your thing, you’re not going to want to miss this release. Some might say thirteen’s an unlucky number; Soft Machine would beg to differ.

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Recommended tracks: Lemon Poem Song, The Longest Night, Daevid’s Special Cuppa
You may also like: Ologram, Alex Carpani, Cardiacs (link if we have reviewed)
Final verdict: 7.5/10

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Related links: Bandcamp | Facebook

Label: Dyad Records

Soft Machine is:
– John Etheridge (guitars)
– Theo Travis (tenor and soprano sax, flute, alto flute, duduk, Fender Rhodes piano; piano, track 1; mellotron, electronics)
– Fred Thelonious Baker (fretless bass)
– Asaf Sirkis (drums, percussion; piano, track 6)

With guests:
– Daevid Allen (glissando guitar, track 13)
– Pete Whittaker (organ, tracks 2, 5; Fender Rhodes piano, track 2)
– Nick Utteridge (gong, track 5)