In Absence of Velocity di Singlelito, album del 2026.
On Progressive Rock World I have already talked about the project of Singlelito, an exponent of international Neo-Canterbury and Avant-Prog, characterized by a multi-instrumental approach in which the artist independently manages composition, performance and production.
His music is an exploration of the pressures of modern society.
Singlelito on this blog is the protagonist of a detailed monographic entitled "Singlelito: Neo-Canterbury and International Avant-Prog" in which I described his artistic profile, that of the Colombian multi-instrumentalist Juan Pinto, one of the most interesting voices of the contemporary progressive scene with his style that is a fusion between classic progressive rock, the Canterbury school (Hatfield and the North style).National Health), the Zeuhl genre (inspired by Magma) and Avant-Prog.
I also talked about Non-Consciousness (2025) a work that mixes psychedelic atmospheres, jazz-rock and complex organic structures, characterized by a use of vintage keyboards and analog organs.
One of the key figures in understanding the Neo-Canterbury movement, where a single multi-instrumentalist musician manages the entire creative vision.
You can find this information by consulting the Artist Cards section or the alphabetical list on the Artists page of the site.
"In Absence Of Velocity" is his second album, released in April 2026 by áMARXE. After the success of his debut "Non-Consciousness" (2025), Pinto returns with an album that fits into the trend of eclectic progressive rock, with jazz-rock, psychedelic and Canterbury-style influences.
As on the first album, Pinto wrote and played almost everything by himself: drums, keyboards, guitar, bass and vocals, with the help of a few external musicians. On "In Absence of Velocity", he maintains his one-man band style, playing almost all the instruments. The sound is classic and layered, complete with vintage keyboards and electric guitars.
Pinto is in charge of playing practically everything on the album. Drums and percussion? All his, in every track. Organ and electric piano, essential for that Canterbury sound that characterizes the record, are always under his fingers. Even the guitars, both rhythm and solo, leave no escape: Pinto plays them in every song. For the electric bass, however, he took care of tracks 1-4, while the voice, with all the solo parts and backing vocals, is always his.
To give an extra touch to some tracks, Pinto called into question some musician friends. Esteban Aparicio puts the trumpet on track 4, while Luis Eusse takes over the bass on track 5. On this same track, we also find lead guitars by Ricardo Santiago and Ainner Navarro, lead keyboards by Ivan Insignares and additional vocals by Angie Bula.
The album was recorded between Singularity Studios, Pinto's home studio, and the Universidad del Norte in Barranquilla. Pinto has used a mix of modern techniques that he has refined over time, creating a unique and personal sound.
The title "In Absence of Velocity" is a metaphor that perfectly encapsulates the emotional and creative state of the author. Imagine a moment of "biological standstill", an oasis of peace where the noise of the outside world dissolves, leaving room for the artist to look inside. Juan Pinto describes it as a real healing path from painful memories, where the "lack of speed" becomes the precious silence necessary to process the past and find serenity.
But there's more! The title also recalls the quote "An album from the unlikeliest of places". Think of peripheral areas of Colombia such as Magangué, far from the hustle and bustle of international rock. There, time flows differently, with an almost surreal calm. "Speed" is lacking in terms of infrastructure and music industry, but it is precisely in that void, in that "absence of speed", that a complex and stratified work was born, a true musical jewel.
The author himself describes this album as a "dedication to the outcasts" and a "farewell to painful memories". He explained that the music was born from moments when he felt isolated or faced personal difficulties.
In a nutshell, the title celebrates the patience and creative tenacity of a young artist who, starting from a condition of isolation, was able to build an entire musical universe. An example of how creativity can flourish even in the most unexpected places, thanks to the magic of "lack of speed".
This album is a crazy mix of historical European styles with a modern and South American sensibility. The strongest influence is the Canterbury School, with odd rhythms, dreamy vocal melodies and plenty of organ and electric piano that immediately take you back to Soft Machine or Hatfield and the North. Then there's Jazz-Rock and Fusion, with instrumental sections filled with technical improvisations, complex bass lines, and a dynamic rhythmic structure reminiscent of the electric jazz of the '70s. And let's not forget Experimentation and Psychedelia: Pinto gives us atmospheric passages and sound stratifications that create a sense of "emptiness" or introspection, in line with the concept of "absence of speed". The drums are precise and jazzy, while the guitars range from clean arpeggios to distorted and sharp solos.
"Low-Level Depictions of Uncensored Kinetic Works" opens the album in a grand way, capturing the essence of Eclectic Progressive Rock. It's a journey through unusual tempo changes like 5/4 and 7/8, and includes jazz sections. The organ and electric piano are reminiscent of the greats of the Canterbury School, such as Egg or National Health, but with a touch of modern rhythm. Juan Pinto does everything himself: super energetic drums, melodic bass lines, layered keyboards and the lead vocals, which appear in almost dreamlike moments between long instrumental parts.
"Handprints of a Wealthy Settler" is a piece that connects the various atmospheres of the album. It is close to Psychedelic and ethereal Prog, with a more linear trend but rich in sound textures. Synthesizers weave a space carpet on which melancholic melodies lie. The song is entirely the work of Juan Pinto, who here shows off his talent as a sound engineer, carefully taking care of the reverberations and vocal stratification.
"Old People Sit Outside" is a Jazz-Rock piece, with a pastoral touch, which perfectly captures the atmosphere of an everyday scene. The title, "Old People Sit Outside," suggests quiet observation, and the music mirrors that with a hypnotic bass line and clean guitar arpeggios. It is the song that best embodies the idea of "absence of speed". Juan Pinto took care of all the instrumentation, creating an intimate atmosphere thanks to a less aggressive drums, with a focus on brushes and cymbals.
"Lovesong / Letter / Poem / Anything for Ale" is an 11-minute musical journey that starts as a progressive ballad and then turns into a real explosion of Fusion. It is the most lyrical piece of the album, a special dedication to a loved one, "Ale", where the music unfolds like a letter, a confession. Esteban Aparicio, with his trumpet, is fundamental: he adds a touch of almost Milesian warmth, creating a dialogue between rock and jazz that enriches the song. Juan Pinto, on the other hand, takes care of the rest of the instrumentation and vocals. This song is the beating heart of the album. It is not a simple love song, but an attempt to express something deep when words are not enough (that's why there are so many terms in the title: song, letter, poem...). The text explores vulnerability and total dedication to a supportive person ("Ale"). Musically, Esteban Aparicio's trumpet acts as a "second voice", transforming the song into a melancholic but hopeful conversation. The piece begins as an intimate thank you and then evolves into a complex suite, showing how a simple feeling can give life to an immense artistic structure.
"Fuente" (14:38) is the highlight of the album, a real suite that blends Symphonic Prog and Jazz-Rock choral. It is the richest piece of contrasts, alternating moments of almost deafening silence with grandiose orchestral finales. The title, "Fuente" (Source), represents the origin of the artist's entire creative process. In this piece, Pinto opens the doors of the studio to other musicians for a screaming finale: Luis Eusse, on electric bass, helps Pinto free himself from the drums, so he can concentrate better. Ricardo Santiago and Ainner Navarro, on lead guitars, challenge each other in intertwined solos in the finale. Ivan Insignares, on lead keyboards, duels with the guitars in a breathtaking back-and-forth. Angie Bula, with additional vocals, creates a choral carpet for the final climax.
Despite the prog structure, with long tracks and continuous tempo changes, the album is surprisingly catchy, thanks to the care for the melody that makes it accessible even to those who are not experts in the genre.
In short, it is a record that sounds like a meeting between European technical complexity and the expressive urgency of a young Colombian multi-instrumentalist. Absolutely recommended!
My Version
Label: áMARXE – 0426CD
Format: CD, Album
Country: Spain
Release: 2026
Tracklist
1. Low-Level Depictions of Uncensored Kinetic Works 09:29
2. Handprints of a Wealthy Settler 08:45
3. Old People Sit Outside 05:46
4. Lovesong - Letter - Poem - Anything for Ale 06:56
5. Fuente 06:02
LineUp
Juan Pinto - drums (all), vocals (all), keyboards (all), bass (1-4), guitar (all), lyrics (all)
Esteban Aparicio - trumpet (4)
Luis Eusse - bass (5)
Ricardo Santiago - lead guitar (5)
Ainner Navarro - lead guitar (5)
Ivan Insignares - lead frets (5)
Angie Bula - vocals (5)
Listening link on the main streaming platforms at the following links:
Bandcamp (Full Album): Official page of In Absence of Velocity. On this platform you can listen to the tracks in free streaming (with limitations after some listening) or buy the album in digital format and physical CD.
Bandcamp Artistic Profile: Singlelito Music, where you can also find other works of his
Note: All links to the musicians’ works are in the TAGS under the article title or on the "Artists"
