Exactly.
In my own writing I honestly don't even think about "chord progressions" at all anymore. It is ultimately a very restrictive view on harmony. A more horizontal, contrapuntal way of thinking is almost always better.
I just write a line and then thicken it in any number of ways. Sometimes it will be as simple as thirds and octaves, other times you could examine it as full triads or extended chords, sometimes it's contrary motion, sometimes just a weird cluster that worked at that moment.
Then I often do the same to different melodies that may be occurring at the same time.
I find the results much more musically, aesthetically and intellectually stimulating than just "chords + melody"