|
Classic Prog (70's)
The music is characterized as an attempt to combine classical music's
sense of space and monumental scope with rock's raw power and energy.
It combined the musical genres of classical, rock, R&B, jazz and folk.
Subject matter for the albums was drawn from science fiction, mythology
and fantasy literature. The music itself is described as complex,
dynamic and multi-dimensional. Musical virtuosity and self expression
were revered. The music and lyrics had a dichotomy spawned by the
hippie counterculture which was trying to reconcile the conflicts with
the Vietnam war, the Establishment, the sexual revolution and personal
enlightenment. Hence the constant shifting in the music between
acoustic/electric, vocal/instrumental and climax/reprise... but always
"progressing" in complexity and theme development. It creates a sense
of unpredictability, tension and non-conformity. Classical music's
multi-movement suites and symphonic poems of the 19th century composers
were the basis for the complex sound structures. Album covers were an
essential part of setting the tone and backdrop for the music. The
bands all put out their definitive or best recordings between 1971 an
1975 which included King Crimson, ELP, Yes, Genesis, Pink Floyd and
Jethro Tull as well as Van Der Graaf Generator, Renaissance, Gentle
Giant and Curved Air.
Neo-Prog (80's and
90's)
Although classic prog-rock had been overshadowed by Punk and New Wave
in the late 70's, a new movement began in the early 80's, spurred by a
sense of nostalgia and the desire to recreate or prolong the cultural
attitudes of the early 70's. This began in several small clubs in
Southeast England with bands such as Marillion, Pendragon, IQ, Pallas,
Twelfth Night, Ark and Haze. The music had a more sensible approach
which appealed to a broader audience, not just the middle class. This
"neo-progressive" rock contained analog and acoustic instruments,
surrealistic and occasionally psychedelic visuals and vocals, and
ambitious thematic conceptions. In the late 80's this style moved out
to a more international presence with bands from Italy, Japan, USA and
South America which is where most of the activity lies today. This neo-prog
music rivaled the classic prog music of the 70's... yet it was much
simpler in composition with shorter blocks and less shifting of meter.
The multi-movement suite was abandoned, rather they would weave
together several unrelated musical ideas, which would then be subject
to fairly literal repetition. The prerequisite "tension" in the music
was created by balancing unpredictable phrase structures and harmonic
progressions with repetition of key melodic and rhythmic ideas from
section to section. However the musical breadth and expansiveness of
the music is largely lacking compared to the classics of Yes, ELP,
Genesis, etc.
Post-Prog (90's and
beyond)
While some of the more inventive neo-progressive bands of the 80's
managed to get surprising mileage out of the classic 70's style, one
cannot see this situation continuing indefinitely. On the other hand,
rock has proven to be an extremely elastic music, and several new bands
have managed to create new directions by merging the resources of world
music, minimalism and electronic experimentation into a new
"post-progressive" style in the 90's which has enriched and expanded
the legacy of traditional English Progressive Rock. These bands are
also almost entirely instrumental, which avoids the lyrical
associations with both the outdated 70's subject matter and the more
contemporary mindset which risks sounding commercialized. Not only do
these bands bring a modern sensibility to the classic 70's idiom, they
introduce a number of entirely new elements such as minimalism,
electronic experimentation and various ethnic styles. In this sense,
all of these bands carry on in one way or another the post-progressive
rock revolution initiated by King Crimson with their 'Discipline' LP.
Examples of this sub-genre are Djam Karet, Edhels and Ozric Tentacles.
|