Album Review: Yuka & Chronoship – Ribbon Butterfly

Released in 2015, The 3^rd Plantary Chronicles was the third album from Japan’s Yuka & Chronoship. Yuka’s brand of neo-prog on that album was a remarkable synthesis of classic motifs, rock power and Keith Emerson-level musicianship. 2018’s Ship was also quite good. After its release, seven years went by (at least to the knowledge of this reviewer) without another word from the outfit.

Happily, that quiet period has ended with the release of Ribbon Butterfly. The new album follows on with Yuka Funakoshi’s strong melodic sense, presenting tunes rooted in accessible form but with the requisite sonic texture, muscular playing and inventive arrangement demanded by fans of progressive rock.

Yuka’s sparkling keyboards as – as ever – at the center of the proceedings, but her fellow players contribute quite a bit of what makes the album interesting as well. Musically, the album is – in spots – reminiscent of Yes’ Drama, albeit with a lighter touch (in terms of sensibility, not power). Yuka’s lovely vocals are effectively employed as an instrument, so while there are lyrics, the sound of her voce is of more importance than the words. Takashi Miyazawa’s fiery guitar leads giver the music a sharp edge, one that never belies the music’s sophistication. Rather, it builds upon that foundation.

The group’s rhythm section – Shun Taguchi on bass and drummer Ikko Tanaka – lay down an impeccable and thunderous bed upon which Yuka spreads her creamy keyboards – lots of glistening piano, melodramatic Mellotron and searing synth – and the album even folds in bits of folk (or folk-leading, folk-adjacent) textures on cuts like the vaguely Gentle Giant-ish “Aunt Clairvoyance.”

The wobbly string synth – possibly Chamberlin – on “Chronofish” – adds a breathtaking and cinematic quality to the song. The undulating, crashing waves help, too. And Taguchi’s bass pushes to surpelement melodic tune forward with intensity. A few minutes in, the tracks takes an unexpected

9but very welcome) turn. Yuka plays with a jazz inflection rarely heard in her other work.

Acoustic elements (see “Children of Yewtree”) give the album a lovely and organic flavor, one often absent on prog excursions. But they’re expertly balanced – counterpointed, even – with more modern and electronic sounds, creating a lively hybrid that works; think of Steve Howe’s “Clap” combined somehow with “Close to the Edge” and you’ll get the idea.

To Anglophone listeners, the song titles might smack of Guided by Voices: “Hourglass Cove,” “Polar Dark.” But the album’s primarily instrumental approach means that such ideas are merely a distraction. It’s the music that counts here, and with Ribbon Butterfly, Yuka & Chronoship have crafted a superb album. While a U.S. tour seems unlikely, here’s hoping at least that Yuka and her musical comrades will gift listeners with another gem in less than seven years.

Ribbon Butterfly is hereby shortlisted for my Best of 2025 list.