Back in 2023, OK GOODNIGHT released the stunning “The Fox and the Bird,” a release that quickly established itself as one of the most exciting progressive rock/metal offerings in recent years. Coincidentally, I revisited that record just last week and noticed the band had quietly released a new single, “Spiral.” I gave it a spin, enjoyed it immensely, and then kind of failed to look into whether they would release a new album. So color me surprised when I discovered that on June 12th, 2026, the band had not only released another single, but an entire new album titled “stop/go.”
The band has been operating as an independent band since the release of their debut effort, “Limbo.” Being an independent band is always a bit of a leap into the unknown. On one hand, there’s more creative freedom; on the other hand, there’s nobody there to catch you if things go wrong. Judging by their track record, however, OK GOODNIGHT seem to be thriving in that environment. Naturally, I had no choice but to immediately drop everything and listen to it.
OK GOODNIGHT consists of musicians who honed their craft at Berklee College of Music: Casey Lee Williams (vocals), Martín de Lima (piano/guitar), Augusto Bussio (drums/guitar), and Peter de Reyna (bass). Incidentally, Berklee is also where members of WILDERUN studied, which leaves me with only one question: what in the name of progressive music are they putting in the tap water over there?
“stop/go” builds upon the foundations laid by “The Fox and the Bird” while exploring a few new corners of the band’s sound. It’s slightly less heavy overall, but it loses none of the band’s trademark eccentricity. The polyrhythmic wizardry is still very much present, the arrangements remain delightfully unpredictable, and yet somehow the band wraps all of that complexity in melodies that feel approachable and inviting. That’s perhaps the album’s greatest strength. Despite containing enough rhythmic gymnastics to keep prog fans busy for weeks, it never feels inaccessible. In fact, this might just be the kind of record that convinces people who don’t normally listen to progressive music that maybe, just maybe, prog isn’t that scary after all.
The album opens with “No Sound,” which immediately showcases one of the record’s secret weapons: the bass. The groove is absolutely infectious, while Casey Lee Williams delivers a vocal performance that is both vulnerable and powerful. At first, the song almost feels like a gentle introduction to what’s coming, a soft launch into the world of “stop/go.” Then Casey belts out the title phrase, the drums begin to build, and suddenly the album starts revealing its true colors; goosebumps!
Next comes “22,” apparently the first single—a fact I completely missed because apparently my investigative journalism skills deserted me. The song opens with a gorgeous guitar tone that almost feels rooted in ’90s alternative rock before the prog machinery slowly begins to reveal itself. The ebb and flow between atmospheric passages, groovy bass work, and rhythmic complexity is fantastic. And then, around the 3-minute mark, the song suddenly decides it wants to be a metal track. The djent-flavored riffs arrive, a guitar solo follows, and surprisingly, instead of turning into a POLYPHIA-level shred competition, the solo serves the atmosphere.
“Top of the Bottom” continues the momentum. Casey gets plenty of opportunities to showcase her impressive range, while the rest of the band seems determined to leave absolutely no musical stone unturned. Around the 1-minute mark, the song briefly descends into complete controlled chaos. I’m here for it. The track somehow manages to feel heavy without becoming overtly metal. A particularly memorable moment arrives during a whispered section in the middle of the song, where atmospheric textures surround Casey‘s voice in a way that almost feels ASMR-like. It’s strangely soothing and slightly unsettling at the same time; one of the many highlights of the album.
“The Game” starts more delicately, but once again the drumming immediately stands out. Throughout this entire record, the drum sound is exceptional. There’s so much color and detail in the production that every fill feels purposeful. The song slowly builds toward a crescendo before opening up into one of the album’s most adventurous compositions. There are moments that feel inspired by classic ’70s progressive rock, others that flirt with jazz, and then suddenly there’s a saxophone. Look, I have a simple rule in life: if you put a sultry saxophone into your rock or metal song, you immediately gain bonus points. It’s science. The ending, with its almost dissonant choir-like textures, sends the song in yet another unexpected direction.
Then we arrive at “Spiral,” the first track from the album that I had already heard beforehand. Every time it starts, it has an oddly calming effect. The opening almost feels like it belongs in a yoga class before the band gradually introduces more complexity. It’s probably the most immediately approachable track on the record, which explains why it works so well as a single. Casey‘s vocals once again shine, while the jazz-infused piano chords and subtle upright bass textures create a wonderfully smooth atmosphere. If someone asked me where to start with OK GOODNIGHT, I’d probably point them here.
“Call Me Away” continues along similar lines. It’s introspective, jazzy, and perhaps one of the album’s most understated moments. At just over 2 minutes, it’s the shortest track on the record and functions almost like a palate cleanser between the larger, more ambitious compositions.
“The Show” immediately announces itself with applause and spoken dialogue, as if the listener is being welcomed into some bizarre theatrical production. Naturally, things only get weirder from there. The fragmented conversations and fourth-wall-breaking moments remind me a little of Devin Townsend‘s more absurd tendencies. At times, it feels like you’re being pulled into a circus by force while the band continues throwing increasingly inventive musical ideas at you. Thankfully, it’s exactly the kind of circus I enjoy visiting.
Then we arrive at my personal favorite: “Humpty Dumpty (Some Body!). Trying to explain what happens during this song is almost impossible. The bass work is phenomenal, the energy level is through the roof, and the entire composition feels like it exists slightly outside the boundaries established by the rest of the album. The track constantly keeps you guessing, and just when you think you’ve figured out where it’s heading, it takes another turn. Casey adds a little extra grit to her vocals toward the end, and the song concludes surprisingly abruptly. Normally, I’d complain about that, but here, it works perfectly.
“The People” follows and offers a slightly calmer experience, although “calm” is obviously a relative term when discussing progressive music. The song balances melancholy and optimism beautifully. The keyboards add bright melodic colors while the rhythmic foundation remains wonderfully intricate. There are moments that feel almost like a tribute to classic progressive rock, complete with gorgeous acoustic guitar passages. When Casey starts adding vocal embellishments toward the end, I swear I can hear a little bit of Jon Anderson energy sneaking into the mix, and I absolutely adore it.
Finally, we arrive at “Where I’m From.” By this point, I honestly couldn’t believe how quickly the album had passed. The closing track begins with delicate textures that sound almost like wind chimes, immediately creating a warm and intimate atmosphere. Casey‘s vocals feel particularly heartfelt here, and the entire song serves as a perfect conclusion to the journey. Rather than ending with a grand finale, OK GOODNIGHT chooses to gently guide the listener back to earth. The song lingers long after it ends, which is exactly what a great album closer should do.
By the time “stop/go” reaches its conclusion, one thing becomes abundantly clear: this is a remarkably confident record. The band has continued refining a sound that feels entirely their own. Every musician gets room to shine, yet nobody ever feels like they’re playing solely to impress. The production is excellent, allowing every instrument to breathe while maintaining a cohesive whole. Even during the album’s busiest and most bombastic moments, it never becomes overwhelming. Instead, it remains consistently engaging, rewarding repeated listens with new details hidden beneath the surface.
Perhaps that’s what impresses me most. Independent releases can sometimes feel like artists removing all restraints and disappearing so far into experimentation that only three people and a pet goldfish understand what’s happening. “stop/go” somehow strikes the perfect balance between artistic freedom and accessibility. It’s quirky, adventurous, occasionally downright bizarre, but it never forgets to write actual songs. Whether it’s the jazz-infused passages, the progressive complexity, the occasional bursts of heaviness, or Casey Lee Williams‘ endlessly captivating vocal performance, “stop/go” succeeds because it never loses sight of the emotional core underneath all the technical proficiency. And unless the second half of 2026 suddenly becomes extremely competitive, I have a very strong suspicion that “stop/go” will still be sitting comfortably in my personal Top 10 albums of the year when December rolls around.
Written by Laureline Tilkin
Tracklist
- No Sound
- 22
- Top of the Bottom
- The Game
- Spiral
- Call Me Away
- The Show
- Humpty Dumpty (“Some Body!”)
- The People
- Where I’m From
Lineup
Casey Lee Williams – Lyrics, Lead Vocals, Backing Vocals, SFX
Martín de Lima – Keyboards, Guitars, Orchestrations, Backing Vocals, SFX
Augusto Bussio – Drums, Guitars, Backing Vocals, SFX
Peter de Reyna – Bass, Backing Vocals, SFX
Label
Independent
