Do you know What is progressive music ?
The term “art rock” is frequently used interchangeably with “progressive rock,” but while there are overlaps between the two genres, they are not the same. Progressive rock (often shortened to prog or prog rock) is a form of rock music that emerged in the late 1960s and early 1970s as part of a “mostly British attempt to elevate rock music to new levels of artistic credibility.”
Progressive rock acts went beyond traditional rock or popular verse-chorus-based song forms, pushing “rock’s technical and creative frontiers.” Additionally, the arrangements frequently included components from jazz, world music, and classical music. Music with lyrics were occasionally intellectual, abstract, or fantasy-based, whereas instrumental songs were frequently heard. Concept albums were sometimes utilized by progressive rock bands to make unifying statements. These albums typically told epic stories or addressed broad, overarching themes.
Progressive rock evolved from psychedelic rock in the late 1960s as a result of the widespread trend in rock music of the time to take inspiration from an increasing number of various sources. Bands like King Crimson, Yes, Pink Floyd, Soft Machine, Genesis, Emerson Lake, Jethro Tull, and Palmer were among those whose music was described in this way. Around the middle of the 1970s, progressive rock began to gain the greatest popularity. Neo-progressive bands have continued to perform for devoted audiences in the decades that followed, even though progressive rock was most popular in the 1970s and early 1980s.
It’s tough to accurately sum up Grobschnitt in a single word. But here are some of the highlights: To stand out from the crowded field, the German ensemble emphasized spaciness and absurdity, using masks, evocative stage names, costumes, and strange voices (Eroc! Mist!). Behind all the outward eccentricities, however, they produced elegant, melodic symphonic prog that can hold its own against the majority of the era’s heavy hitters, from 1977’s airy swirl of Rockpommel’s Land to their voluminous, jam-filled concert masterpiece.
It’s difficult to rank prog’s Holy Trinity because they sound like one cohesive entity that influenced virtually everyone who followed in their footsteps and inspired adoration. King Crimson was there at the very start of the prog boom with 1969’s In the Court of the Crimson King, and (barring a few interruptions and one huge ’70s hiatus) they truly never went away. Longevity and consistency have to be the ultimate tiebreakers. King Crimson has thrived in the unknown, always eager to shine their flashlights in the dark, while many prog bands are content to coast on their past, rehashing old sounds and sputtering when they attempt new ideas.
Six notes from the dramatic piano theme that starts “Chariots of Fire,” an improbable No. 1 smash that was stolen from the 1981 movie of the same name, will forever associate Greek composer Evangelos Odysseas Papathanassou. But sonically, his solo discography is all over the place, blending periods of such windswept loveliness with forays into terrifying darkness. The multi-instrumentalist began working primarily on his own after quitting Aphrodite’s Child, a psych-prog band. He overdubbed keyboard-heavy pieces that combined symphonic prog with electronica, classical, and New Age “space music.”
Can keyboardist Irmin Schmidt stated to Prog in 2019 that “when I established Can, I didn’t think about a rock group.” “I wanted to see what would happen when I combined jazz, rock, new music, and other ethnic experiences. Most fans and writers categorize the German band as “Krautrock,” pointing to the hypnotic grooves and otherworldly atmospheres that merged into a loose subgenre in the late ’60s and early ’70s. We never regarded ourselves as a rock group. Regardless of what you want to call them, Can were among the most avant-garde semi-mainstream bands of the 20th century, straddling psychedelia, funk, and the truly avant-garde on works of art like Tago Mago from 1971 and Future Days from 1973.
In the 1980s, the original progressive bands had to decide whether to advance or perish. Some did it successfully: King Crimson with Discipline, and Yes (temporarily) with 90125. However, no one did it more naturally than Genesis, who kept their identity while exploding with some of the most astute stadium-sized pop of the decade. Many prog fans become haughty while discussing the Phil Collins era and turn a blind eye to records like Abacab and Invisible Touch. There are certainly deeper causes for that elitism, but we don’t have room to discuss them in this article. However, Genesis was able to endure because of those songs, which were packed with Tony Banks’ unconventional chord changes and were melodious, eccentric, and soulful.