Music

Why Is Prog Rock So Inadequate, Simplistic, Reductive, Portentous and Perfect?

Image from King Crimson, In the Court of the Crimson King (1969)

Somewhere between the first hit of acid and the last ray of light from the disco ball, rock music got ambitious. What we would come to know as prog rock would go on to launch a million air guitars.

It's always crucial, when talking trends -- musical or otherwise-- to contextualize the times and remember that wardrobe malfunctions, chemical excess and unspeakable atrocities like porn-star mustaches never exist within a vacuum. To properly remember, and assess, the good, the bad and the ugly of what accelerated (or, in some cases, stunted) our collective forward progress, we should feel obliged to stop, look and listen. And taste, and smell. And always make sure to program our perspective and especially our sense of humor for what we're about to experience. For make no mistake: when it comes to lessons learned, unfortunate choices and free comedy, progressive rock remains a gift that keeps on giving.

Long story short: somewhere between the first hit of acid and the last ray of light from the disco ball, rock music got ambitious. Rock music got serious. And make no mistake, rock music got pretentious. And, for the most part, this was a wonderful thing. The Beatles began imitating Bob Dylan and then (in less than two years) came into their own as unique wordsmiths. Love it or loathe it, “Norwegian Wood” is a million miles away from “Please Please Me” (thanks LSD!) and “I Am the Walrus” is a million miles from… anything (thanks LSD!). In short order, The Rolling Stones began to take things a tad more seriously, and real contenders like Ray Davies and Pete Townshend started crafting miniature pop masterworks that engaged the mind as well as the gut.

And then, emboldened, or inspired -- or both-- wide-eyed songwriters followed their muses, and their thesauruses, and all bets were off by the early ’70s. What some of us still refer lovingly to as progressive rock held sway over the sonic landscape: with side-long suites and literary allusions in overdrive, prog rock became an enterprise that launched a million air guitars. These songs (these albums) were of their time in every regard and invoke inextricable connotations of the decade itself: bloated, hazy, earnest, misguided, visionary, awkward, awesome.

So it behooves us, if we want to have a sober discussion of which music from this era is worthwhile, and why it endures, to remember just how much overly produced music was made by overindulged acts throughout the ‘70s. The excesses -- both aesthetic and recreational -- informing the scene also sorted the field, separating contenders from has-beens and assorted flavors of the Billboard Hot 100. Put bluntly, these were the not-so-good old days when coke-snorting executives in leisure suits green-lighted hit singles by acts destined for the dustbins and oldies circuit. Put even more bluntly, acts like Barry Gibb, The Bay City Rollers and K.C. and the Sunshine Band all managed to be millionaires.

No need to invoke Dickens; it was neither the best nor the worst of times. At one extreme we had dancing queens and dry ice edging ever closer to the public (and publically accepted) stage; at the opposite end of the spectacle we witnessed the emerging proposition of punk rock. To its credit, the punks’ do-it-yourself ethos scorned the self-parody of both dinosaur arena acts as well as the aforementioned jungle boogie bandwagon jumpers. This raw wave crashed in a spray of broken glass, safety pin piercings and bloody spittle that served to shake up the power-pop vanguard. The prevailing formula had suffocated on its own self-importance, and the new fashion harnessed hairspray and spite in equal measure to establish brand new ground rules.

Or at least that’s the generally sanctioned version of events we tend to hear entirely too often. Raise your hand if you’ve read (one time or one hundred times) the facile and hackneyed account of how punk killed progressive rock so that we could all live miserably ever after. The reality, as it stubbornly tends to be, is much messier and more complicated. Progressive rock came and went (and came back), but opinions differ on what specific years it covered and which artists epitomize it. Perhaps this is unavoidable, because this so-called era isn’t easily packaged into a particular time period or specific aesthetic, and what we are left with is the all-encompassing moniker of prog-rock, which manages to be inadequate, overly simplistic, reductive, portentous and… perfect?


A form of musical expression that, for lack of a better cliché, transcends time and place is created and exists on its own terms, so there is no barrier of language, ideology or agenda that prevents it from finding its audience. The only requirement is a sufficiently open mind and ears (or eyes) capable of picking up what is being put down. Of course this same criteria can be -- and typically is -- applied to any artistic expression. So why is it different, or at least more complicated, when it comes to assessing the pros and cons of prog rock? Put as simply -- and starkly -- as possible, many beautiful babies were thrown out with the bath water by hidebound critics who were content to snootily dismiss the more elaborate (pretentious!) works that certain bands were putting out as a matter of course in the early-to-mid ‘70s.

One of the many reasons progressive rock remains controversial, and taken less-than-seriously by the so-called serious critics, is because fairly or not it frequently gets associated with sci-fi and fantasy. Matters of musical proficiency aside, it is true to suggest that little of the material holds up especially well, lyrically speaking (of course that is true of most rock music—a topic for another time). This is not a sufficient—or necessarily legitimate—cause to dismiss it as is usually the case, but defenders can only get so much mileage discussing the unparalleled chops of, say, ELP, Yes, Rush, et al.

"I may make you feel, but I can’t make you think". This line, from Jethro Tull’s Thick as a Brick, serves as a succinct summation of why prog rock did—and does—inspire such intense adoration and/or aversion. The people who reject it (then, now) likely would ask, and not without merit, who wants to think? Music typically fails if it can’t burrow past your beer gut.

It’s fair to suggest that, regardless of its merits or lack thereof, the most successful music of this genre made you think. Inevitably, the artists who were too self-conscious for everyone’s sake; the ones trying a tad too hard to make you think -- especially the ones who wanted to make you think how clever they were -- crossed the verboten third rail of pretension and have been punished accordingly (then, now). But the best practitioners, through their lyrics, themes and conceptual ideas that occasionally spanned entire albums, went for your head as well as your heart.

For some reason the gatekeepers of the Establishment (many of whom are the ultimate hipsters, poseurs and baby-boomers; many of whom are men; many of whom, coincidentally, have written for Rolling Stone) seem embarrassed by the notion that rock music can -- or should -- be capable of eliciting thought as well as feeling. That it can be unaffected without the face-saving cynicism too many songwriters, the ones predictably lionized by these same besotted journalists, feel compelled to employ. What is it about prog rock in general that makes these self-satisfied scribes so uncomfortable? That is a rhetorical question.

There is, ultimately, something irrepressible and life-affirming about this music, and in a market (then, now) where opportunism and cold calculation are the default settings, this unabashed -- and unapologetic -- devotion to an unjaded vision could almost be considered revolutionary.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less
Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

Next Page
Related Articles Around the Web
Film

Subverting the Romcom: Mercedes Grower on Creating 'Brakes'

Noel Fielding (Daniel) and Mercedes Grower (Layla) (courtesy Bulldog Film Distribution)

Brakes plunges straight into the brutal and absurd endings of the relationships of nine couples before travelling back in time to discover the moments of those first sparks of love.

The improvised dark comedy Brakes (2017), a self-described "anti-romcom", is the debut feature of comedienne and writer, director and actress Mercedes Grower. Awarded production completion funding from the BFI Film Fund, Grower now finds herself looking to the future as she develops her second feature film, alongside working with Laura Michalchyshyn from Sundance TV and Wren Arthur from Olive productions on her sitcom, Sailor.

Keep reading... Show less

People aren't cheering Supergirl on here. They're not thanking her for her heroism, or even stopping to take a selfie.

It's rare for any hero who isn't Superman to gain the kind of credibility that grants them the implicitly, unflinching trust of the public. In fact, even Superman struggles to maintain that credibility and he's Superman. If the ultimate paragon of heroes struggles with maintaining the trust of the public, then what hope does any hero have?

Keep reading... Show less

The Paraguay-born, Brooklyn-based indie pop artist MAJO wraps brand new holiday music for us to enjoy in a bow.

It's that time of year yet again, and with Christmastime comes Christmas tunes. Amongst the countless new covers of holiday classics that will be flooding streaming apps throughout the season from some of our favorite artists, it's always especially heartening to see some original writing flowing in. Such is the gift that Paraguay-born, Brooklyn-based indie pop songwriter MAJO is bringing us this year.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image