The genres of progressive rock music

Progressive rock (shortened to prog, or prog rock when differentiating from other… genres) is a broad and convergent style of rock music and progressive music which arose in the late 1960s , reaching the peak of its popularity in the early 1970s , but continuing as a musical form to this day. This genre music is a catalyst to raise considerably the level of musicanship among rock bands and bring a new level of depth and sophistication to rock. Popular bands associated with progressive rock include JETHRO TULL, KING CRIMSON, GENESIS, PINK FLOYD, YES, the much-discussed newscomers ARENA, IQ, PENDRAGON, DREAM THEATER, MARILLION, PORCUPINE TREE and many other bands come from there. If you’re not familiar with Prog Rock, it’s a rather adventure some style of music . We hope you enjoy your browse through thirty years of progressive rock history when you visit our ‘Progressive’ and related departments. Nowadays its more underground but with a very loyal following.

One of the most defining characteristics of prog is the classification of bands and artists. There are various sub-genres of progressive rock (or “prog”, as it is sometimes abbreviated). People can (and will) argue for hours about whether this or that band belongs in this or that sub-genre. This list below is just a simple outline of the characteristics of each sub-genre, and by NO means a strict guideline. Remember, this is not a definitive list.

SUB-GENRES

• Art Rock
• Canterbury Scene
• Experimental/Post-Rock
• Indo-Prog/Raga Rock
• Italian Symphonic Prog
• Jazz Rock/Fusion
• Krautrock
• Neo Progressive
• Prog Folk
• Prog Related
• Progressive Electronic
• Progressive Metal
• Proto-Prog
• Psychedelic/Space Rock
• RIO/Avant-Prog
• Symphonic Prog
• Various Genres
• Zeuhl

Art Rock

This was the original name of progressive rock music. We now use this within the umbrella of Prog or Progressive Rock as category that is used to refer to explorative works by bands that cross different genres or have an experimental nature that is not specific to one genre. Some of these bands may have had roots in other prog categories in their early years but later became more AOR or mainstream or vise versa starting out mainstream then becoming prog. These bands are considered primarily to be prog bands.

Canterbury Scene

A fraternal collective of musicians clustered around the Kentish tourist town that is home to the Church of England’s Archbishop, the Canterbury Scene provided the cradle for a half-dozen of the most freewheeling British bands of the post-psychedelic era. Though the direct musical similarities between Canterbury’s major bands — the Soft Machine, Caravan, Gong, Robert Wyatt, Kevin Ayers, Hatfield & the North, Egg, National Health — aren’t overwhelming, each featured a clever synthesis of jazz improvisation and rock rhythms with clever, intellectual songwriting tied to psychedelia. It’s no wonder the Canterbury bands became so close, since many of its major figures began their musical careers in a beat group called the Wilde Flowers. Together from 1963 to 1969, the Wilde Flowers included most of the figures who later formed Canterbury’s two best bands, the Soft Machine (Robert Wyatt, Kevin Ayers) and Caravan (Pye Hastings, David Sinclair, Richard Sinclair, Richard Coughlan). After both the Soft Machine and Caravan released their debut albums in 1968, they became popular in England’s psychedelic underground. By the early ’70s however, a series of fragmenting lineup changes and the subsequent formation of new bands soon multiplied the force of the Canterbury scene. Early Soft Machine member Daevid Allen formed Gong, and both Kevin Ayers and Robert Wyatt eventually left the Softs to begin their own solo careers. The musicians that led the new incarnation of the Soft Machine, including Elton Dean and Hugh Hopper, began pushing the band in the direction of instrumental jazz-rock. By the mid-’70s, many of the remaining Canterbury bands had progressed from psychedelic and prog-rock to embrace extended fusion jams with few lyrics. Many of Britain’s better avant-garde or fusion musicians of the 1970s and ’80s — including Fred Frith, Allan Holdsworth, and Peter Blegvad — also began their career playing in Canterbury bands.

Experimental/Post-Rock

EXPERIMENTAL:
Experimental music is any music that challenges the commonly accepted notions of what music is. There is an overlap with avant-garde music. John Cage was a pioneer in experimental music and defined and gave credibility to the form. As with other edge forms that push the limits of a particular form of expression, there is little agreement as to the boundaries of experimental music, even amongst its practitioners. On the one hand, some experimental music is an extension of traditional music, adding unconventional instruments, modifications to instruments, noises, and other novelties to orchestral compositions. At the other extreme, there are performances that most listeners would not characterize as music at all. This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article “Experimental Music”.

POST-ROCK:
The term post-rock was coined by Simon Reynolds in issue 123 of The Wire (May 1994) to describe a sort of music “using rock instrumentation for non-rock purposes, using guitars as facilitators of timbres and textures rather than riffs and powerchords.”

Originally used to describe the music of such bands as Stereolab, Disco Inferno, Seefeel, Bark Psychosis and Pram, it spread out to be frequently used for all sorts of jazz- and Krautrock-influenced, instrumental, electronica-added music made after 1994. Bands from the early 1990s such as Slint, or earlier, such as Talk Talk were influential on this genre. As with many musical genres, the term is arguably inadequate: it is used for the music of Tortoise as well as that of Mogwai, two bands who have very little in common besides the fact that their music is largely instrumental.

The aforementioned Tortoise was among the founders of the movement. After the second Tortoise LP Millions Now Living Will Never Die, the band became a post-rock icon. After Millions… many bands (e.g., Do Make Say Think) began to record, inspired by the “Tortoise-sound” and were often described as post-rock.

In the late nineties, Chicago, Illinois, became the home base of many different groups. John McEntire (of Tortoise) became an important producer for lots of them, as well as Jim O’Rourke (of Brice-Glace, Gastr del Sol and many more). Post-rock began to range from the slow, guitar-based ambience of Boxhead Ensemble to the up-tempo electronica of Stereolab.

Montreal, Quebec band Godspeed You Black Emperor! — later renamed ‘Godspeed You! Black Emperor’ — brought a political element with anti-globalization movement leanings.

By the early 2000s, the term had started to fall out of favor, while the major artists kept on making high quality recordings. The wide range of styles covered by the term had robbed it of its usefulness almost from the moment it was coined.

Closely related to post-rock is the genre known as Math rock, characterized by more percussive timbres, and more dissonant harmonic gestures.

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article “Post-rock”.

Indo-Prog/Raga Rock

The private, metaphysical relations to oneself, to the other, the symbolism of existence are connected, transfigured by the particular expression of raga, classical India music. The emotion provided by this music is not only “affective”. It’s a real message, an aesthetic of the nature, of the divine, a virtue able to guide the listener to a state of emotional trance. In the mid-60’s with the launch of international success of raga masters as Ravi Shankar, Ali Akbar Khan…European and American artists will become more and more captivated by the dynamical relation between mystical emotion, spirituality and music. The emergence of Raga schools from everywhere (still perpetuating the ancestral musical traditions), the travels of our modern classical, jazz and popular composers to India will provoke a growing agitation for this musical universe. The emphasis on repetitive circular rhythms, ornamentation (gamaka), the use of patterns, the sense of long, endless improvisations are the central characteristics of this music in term of practice and form. Emotionally, the function on the listener is hypnotic, voluntary trying to reach him into a higher state of consciousness, modulating his perception of time. The basic conception of “drone” (continuous sound form) will be taken back in popular music and turned into electronic “drone” (for instance by the 70’s Berlin underground electronic scene). After Seventh sons’ first original but rather discreet effort simply called “raga” (1964), famous bands as the Beatles in “Revolver” and Traffic in their album “Mr Fantasy” will be seduced by the sonorities of Indian raga music, occasionally integrated sitar elements to their music. Among the most notorious artists who participate to the original dialogue between rock and Indian music we can quote many jazz musicians influenced by “world” elements (the guitarists Volker Krieger, Steve Tibbetts, the clarinet player Tony Scott). They are often recognised to practice a fusion between jazz rock harmonies and raga’s instrumentations (tabla, sitar…). Among them Collin Walcott and Alberto Marsicano were Ravi Shankar’s pupils. The world of “raga” rock can also include folk bands as Quintessance, Fit & Limo, Flute & Voice which are largely impregnated by mysticism, sonic meditation and sitar.

Italian Symphonic Prog

Indeed so much progressive music has emerged and continues to emerge from Italy that some people believe it belongs in its own sub-genre. Lyrics are almost entirely in Italian. Compositions sometimes follow traditional Italian arrangements and compositional style, some based on particular regions of Italy. However, Italian prog styles can, and do, also fall within all of the other sub-genres.

Jazz Rock/Fusion

Sometimes includes progressive jazz. This style fuses traditional jazz arrangements, instruments, and performance style with elements of progressive rock. The result is usually instrumental jazz-rock with a somewhat more technical and complex edge. Very interesting to listen to – especially if you are a musician who marvels at the amazing virtuosity of some of these artists.

Krautrock Krautrock refers to the legions of German bands of the early ’70s that expanded the sonic possibilities of art and progressive rock. Instead of following in the direction of their British and American counterparts, who were moving toward jazz and classical-based compositions and concept albums, the German bands became more mechanical and electronic. Working with early synthesizers and splicing together seemingly unconnected reels of tape, bands like Faust, Can, and Neu created a droning, pulsating sound that owed more to the avant garde than to rock & roll. Although the bands didn’t make much of an impact while they were active in the ’70s, their music anticipated much post-punk of the early ’80s, particularly industrial rock. Kraut rock also came into vogue in the ’90s, when groups like Stereolab and Tortoise began incorporating the hypnotic rhythms and electronic experiments of the German art-rock bands into their own, vaguely avant-garde indie rock

Krautrock can also be considered as 70’s “acid” rock from Germany. A majority of bands experiment long instrumental improvisations with an important use of psychedelic effects, weird electronic sounds.

Neo Progressive

The Neo-Progressive subgenre of progressive rock grew out of a movement in the early 1980s by a number of U.K.-based bands that focused on music that was deeper than new wave, both instrumentally and lyrically. The premier band of the genre was Marillion, who went from lengthy club tours to the top of the charts within a few years and dropped from popular favor almost as fast. Neo-Prog bands are generally influenced by early Genesis, Camel, and to a lesser extent, Van der Graf Generator and Pink Floyd. The music holds a much more lush sound than general rock, but lacks the sophistication of truly symphonic progressive bands like Yes or amel. Instrumentally, the bands tend to be characterized by a “noodling” approach that focuses on dynamic solos, and at its best, neo-prog lyrics are deep, insightful, and acerbic. Whether neo-prog is diluted progressive or adventurous pop depends on the point of view of the listener — most progressive rock listeners are likely to find the genre dull and unchallenging, while fans of AOR will find the mix more interesting than most rock bands. Although all of the major bands are still producing albums, the classic era of neo-prog effectively ended when vocalist Fish left Marillion in 1987.

Prog Folk

In the wake of the 60’s, a Folk revival started on both sides of the Atlantic, and got quickly linked with a protest movement, not always, but often linked to more left-wing tendencies, which did not sit well with the authorities. BOB DYLAN, JOAN BAEZ, WOODY GUTHRIE, JOHN DENVER, BUFFY STE-MARIE, but also the FARINA couple Richard and Mimi for the US and SHIRLEY COLLINS and EWAN McCOLL (mentor of BERT JANSCH, JOHN RENBOURN ) for the UK and HUGUES AUFRAY in France. In Quebec, there was the “Chansoniers” phenomenon among which CLAUDE LEVEILLE and FELIX LECLERC were the most popular, waking up the sleepy “Belle Province” and stand up for itself from the English rule. The English part of Canada also brought up JONI MITCHELL, LEONARD COHEN (although he was from Montreal) and NEIL YOUNG.

As DYLAN turned electric with his Highway 61 Revisited album, much to the dislike of purists who yelled for treason, Folk Rock was born, opening the floodgates for younger artists to turn on the electricity. As DYLAN soon abandoned to style to create Country Rock with his next album, his British equivalent Scotsman DONOVAN stayed true to Folk Rock. In the US, THE BYRDS were the main promoters of the style by now, culminating with the superb “Eight Miles High” track with a lengthy (for the times) guitar solo of almost one minute. But countless other bands on the west coast, such as LOVE, JEFFERSON AIRPLANE (and later its spin-off HOT TUNA), GRATEFUL DEAD, QUICKSILVER MESSENGER SERVICE, PEARLS BEFORE SWINE, and TIM BUCKLEY all started in the folk rock realm. Even San Fran’s SANTANA with its Latino traditional music and, on the east coast, NY’s THE LOVING SPOONFUL had folk roots. Notwithstanding the immense popularity of SIMON & GARFUNKEL and their delicious harmonies, Folk Rock was appealing only to the rock public as the older generations turned their backs in folkies.

In the UK, following on their countrymen DONOVAN, many Scotsmen were very influent in exploring new grounds for folk rock: INCREDIBLE STRING BAND (led by Scots Palmer and Williamson) with their two highly influential albums “5000 Layers Or The Spirit Of The Onion” & “The Hangman’s Beautiful Daughter” and THE PENTANGLE (led by other Scots Renbourn, Jansch and McShee and their superb bassist Danny Thompson) and its incredible fusion of folk, blues and jazz style were very instrumental in developing the style to the same extent as FAIRPORT CONVENTION and THE STRAWBS who by that time were still more conventional US “west-coast folk rock”. The single artistes in folk rock became known as Folk Troubadours were also numerous and often presented a more progressive side of folk: AL STEWART, NICK DRAKE, ROY HARPER, TYRANOSAURUS REX (actually a duo of Steven Took and Marc Bolan) , JOHN MARTYN etc…

However, the real angular album that will lead to further change of Folk Rock is FAIRPORT CONVENTION’s “Liege & Lief” album, that proved to be highly influential for another generation of groups: this album concentrated into electrifying seminal English traditional folk and retained that quaint Englishness taste. It is interesting to see that both leaders of FAIRPORT quit the band after this success to go their respective way: Sandy Denny to a solo folk songwriting career and Ashley Hutchings to a very traditional folk rock. By this time, most connoisseur were talking of Acid Folk, Psych Folk, and Progressive Folk, all having limited differences and no particularly drawn-out limits or boundaries, but all relying on experimental or groundbreaking adventures and good musicianship but not necessarily of an acoustic nature.

Groups like THE THIRD EAR BAND and QUINTESSENCE relied on eastern Indian music influences and, sometimes, medieval tones. Other groups like the weird COMUS, THE TREES, SPYROGIRA, FOREST, the superb JAN DUKES DE GREY (all listed in the ProgArchives) but also TRADER HORNE, TUDOR LODGE, FOTHERINGAY, MAGNA CARTA, TIR NA NOG (all of whom could also be in the ProgArchives) were out to break new ground but with less commercial success as their predecessor. By 1972, all of the glorious precursors bands were selling fewer records and had problems renewing themselves and a newer generation of groups was relying in a more Celtic jigs or really traditional sounds. Such as HORSLIPS, DANDO SHAFT, STEELEYE SPAN, AMAZING BLONDEL, ALBION DANCE BAND and SPRIGUNS OF TOLGUS. Although JETHRO TULL had some definitive folk roots right from the start, their only albums that can be regarded as Prog Folk are 77’s Songs From The Woods and 78’s Heavy Horses. Ian Anderson (another Scots) was very keen in acoustical traditional songs. Some Folk Troubadours such as TIM BUCKLEY and JOHN MARTYN started turning records more and more axed towards fusing jazz and folk (a bit in what THE PENTANGLE were doing) , others became more and more electric and they started to be referred to as Singer Songwriters especially those with country rock influences.

In Germany, HOELDERLIN (and their fantastic debut album), EMTIDI, OUGENWEIDE, CAROL OF HARVEST, WITTHEUSER & WESTRUPP were exploring German folk while KALACAKRA , SILOAH and EMBRYO were indulging with Indian music. In South America, most notably in Chile, LOS JAIVAS (very bent upon Andean Indian music) and EL CONGRESSO (more Spanish-Latino folklore) were using folk in their rock, so much that some press talked about them referring it with the hateful term Inca Rock. In Quebec, the progressive movement exploded with the cultural identity and the Chansoniers tradition and this was carried out with LES SEGUIN and HARMONIUM and so many more. In France, many groups were out for folk rock such as RIBEIRO ALPS, TANGERINE, and ASGARD. In Spain, Flamenco playing a dominant role as well as Basque folk, TRIANA, ITOIZ and HAIZEA were the head of the movement once the Franco regime fell apart after his death.

There is also a very important medieval music influences dimension in some groups as the term Medieval Folk was also mentioned for a while but apparently dropped by musicologists. Among the UK groups are obviously GRYPHON, GENTLE GIANT and THIRD EAR BAND, in France: MALICORNE and RIPAILLE and in Scandinavia: ALGARNAS TRADGARD and FOLQUE.

Prog Related

Rock and Pop Bands and Artists after 1970 who were not truly “prog” (as that term is generally and broadly defined, even by the site), but who were clearly not “mainstream” or simply “rock” bands.

A wide subgenre that encompasses two kinds of bands/artist, that either consist of progressive artist that strayed away from their progressive roots into mainstream rock or were influenced by progressive rock.

Even though the music by these artists is sometimes unrelated it had things in common with prog music in that it was very structured and even adventurous, sometimes hard or heavy, sometimes mellow, strong melodies, good hooks are an integral part of most of the material. Sometimes these artists pioneered other rock genres.

Though most of these artist can’t really be considered progressive themselves, their relation to progressive music is not to be underestimated.

Progressive Electronic

Krautrock groups such as Can and Neu! integrated synthesizers and tape manipulations into their rabid experimentalism, but the two most important electronic artists to emerge from the scene were Kraftwerk and Tangerine Dream. Kraftwerk pioneered the concept of pop music performed exclusively on synthesizers, and their robotic, mechanical, hypnotic style had a tremendous impact on nearly all electronic pop produced in the remainder of the 20th century. Tangerine Dream, meanwhile, was indebted to minimalist classical composition, crafting an atmospheric, slowly shifting, trance-inducing sound that helped invent the genre known as space music. Other crucial figures included Klaus Schulze, who explored a droning variation on space music that was even more trancelike than Tangerine Dream, and Brian Eno, whose inventive production and experiments with electronics in a pop context eventually gave way to his creation of ambient music, which aimed to blend thoroughly into its environment and often relied heavily on synthesizers. Ambient and space music helped give rise to new age, which emphasized the peaceful, soothing, and meditative qualities of those influences while adding greater melodicism; the progressive electronic branch of new age crafted a more dramatic, lushly orchestrated style that broke with electronic music’s roots in minimalism. Synth-pop, techno, and its artier companion electronica all owed a great deal to the basic innovations of early electronic artists as well.

Progressive Metal

Progressive metal (shortened to prog, or prog metal when differentiating from progressive rock) is a heavy brand of progressive rock which is characterized by the use of complex compositional structures, odd time signatures, and other features.

Its origins can be traced all the way back to traditional progressive rock acts of the 1960s and ’70s like Yes, Pink Floyd, King Crimson, Genesis and Rush, but progressive metal didn’t develop into a genre of its own until the mid-1980s. Acts such as Dream Theater, Queensrÿche and Fates Warning took elements of these progressive rock groups, primarily the instrumentation and compositional structure of songs, and merged them with heavy metal characteristics attributed to bands like Metallica, Megadeth, Deep Purple, Black Sabbath and Iron Maiden. The result could be described as a progressive rock mentality with heavy metal sounds.

The genre reached its commercial peak in the early ’90s when Queensrÿche’s “Silent Lucidity” became a massive radio and MTV hit. It was not a typical progressive metal song (it is more accurately described as a heavy metal power ballad), but nonetheless it opened Queensrÿche’s music to a whole new legion of fans, which in turn had an effect on the popularity of other progressive metal bands of the time. In 1993 Dream Theater’s “Pull Me Under”, a more typical progressive metal song than “Silent Lucidity” but still more accurately described as straight heavy metal, became popular on radio and MTV.

If fringe progressive metal acts are to be included, Tool would be the most popular group in the genre. Tool exploded to prominence in the mid 90s with the release of their second album, Ænima, and have since gone on to become one of the most popular rock acts in the world. Their eclectic mix of heavy metal, rhythmic drumming, complex structures and deep lyrics has prompted many people to classify them as a progressive metal band although their music differs substantially from traditional progressive acts (see Diversity section, below).

Progressive metal could be broken down into countless sub-genres corresponding to certain other styles of music that have influenced progressive metal groups. Two bands that are commonly identified as progressive metal, King’s X and Opeth, are at opposite ends of the sonic spectrum to one another. King’s X are a group influenced very heavily by softer mainstream rock and grunge, whereas Opeth’s growling vocals and ultra heavy guitars usually see them cited as death metal.

A good single example of the genre’s diversity is The Mars Volta, who have successfully joined progressive metal and hardcore, genres which 10 years ago were opposites of each other in every way.

Classical and symphonic music has also had a significant impact on sections of the progressive metal genre, with bands such as Symphony X and Spock’s Beard fusing traditional progressive metal with a complexity and grandeur usually found in classical. Similarly, bands like Liquid Tension Experiment and Planet X have a large jazz influence, as has their progenitor Dream Theater.

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article “Progressive Metal”.

Proto-Prog

Rock Bands in existence prior to 1969 that influenced the development of progressive rock. The late 60’s was a predominately experimental period for music. These bands were moving in a stream that eventually led to prog. The influence could have come from new sophisticated forms of writing and playing music, recording techniques, new instruments and vocal harmonies to name a few. Some of these bands became progressive rock bands themselves others did not.

Psychedelic/Space Rock

Psychedelic Progressive: Emerging in the mid-’60s, as British Invasion and folk-rock bands began expanding the sonic possibilities of their music. These groups confined themselves to the brief, concise verse-chorus-verse patterns of rock & roll, they moved toward more free-form, fluid song structures. Just as important, the groups began incorporating elements of Indian and Eastern music and free-form jazz to their sound, as well as experimenting with electronically altering instruments and voices within the studio. Bands range from early Pink Floyd, and Djam Karet, to newer artists like Phish and Ozric Tentacles. These days, psychedelic commonly informs music space rock and space fusion.

Space Progressive Rock: Space rock tends to be jam-orientated, with synthesizer and guitar effects approximating that propulsive “interstellar traveller” sensibility of vintage science fiction films. Hawkwind is the genre’s key innovator. Examples: Hawkwind, Alien Planetscapes, Quarkspace, Amon Düül (the English lineup).

RIO/Avant-Prog

Rock-in-Opposition — Often abbreviated RIO, this form of progressive rock relies heavily on early 20th century avant-garde classical structures. Dominated by dissonant chords, odd time meters, polyrhythms, and abstract, sometimes politically-oriented vocals, this style is often dismissed even by die-hard progressive fans. Like the other more avant-garde styles such as Krautrock, it should be listened to, and not just heard. Musicianship is extremely high, yet appreciation is somewhat low. This form of prog is best appreciated in live concert settings as the interaction between musicians is quite astounding to watch.

Avant-Prog – Avant-Prog is short for avant-garde progressive rock. This style appeared in the late 1970s as the extension of two separate prog rock sub-styles: Rock in Opposition (RIO) and prog of the Canterbury scene. RIO is a term restricted to temporal limits; Canterbury prog to geographical limits. The late 1970s onward saw the development of an avant-prog scene often functioning in the margin of mainstream prog. A host of groups and artists mainly from the USA, but also from Europe and Japan, started to write mostly short instrumental pieces that focused on complexity and stripped down instrumentation, while avoiding the pomposity and stage props of the big prog acts

Symphonic Prog

Symphonic is without doubt the sub-genre that includes the most bands in Progressive Rock because for many people it’s almost synonymous classic Prog, something easy to understand being that most of the classic and/or pioneer bands released music that could be included in this sub-genre, except JETHRO TULL and PINK FLOYD (who still blended some symphonic elements), even KING CRIMSON who very soon expanded their horizons to more experimental music, made their debut with a Symphonic album, “In the Court of the Crimson King” which is a cornerstone in the development of the genre.. The main characteristics of Symphonic are the ones that defined Progressive Rock: (There’s nothing 100% new under the sun) which among others are:

• Mixture of elements from different genres.

• Complex time signatures.

• Lush keyboards.

• Explorative and intelligent lyrics, in some cases close to fantasy literature, Sci Fi and even political issues.

• Non commercial approach

• Longer format of songs But in this case the main characteristic is the influence of Classical music (understood as Orchestral works created from the late Gothic to Modern Classical) using normally more complex structure than other related sub-genres like Neo Progressive (That’s why sometimes the borderline that divides Symphonic from Neo is so unclear being that is based mostly in a degree of complexity rather than in an evident structural difference).. It is easy to find long keyboard solos reminiscent of Johan Sebastian Bach or melodic works that could have been written by Handel

But as in any case, different Symphonic bands had different approaches to Classic Music, for example YES and GENESIS are mainly influenced by the Baroque and Classical periods, while EMERSON LAKE & PALMER has a predilection for post Romantic and modern authors like Mussorgsky, Rimsky Korsakov, Bartok or Ginastera, being that their sound is less melodic and more aggressive.

The peak of the genre starts in 1969 and lasts until the mid/late 70’s (more precisely until the release of A Trick of the Tale), when the genre begins to blend more mainstream influences that took to the birth of Neo Progressive (a new approach for a new decade). It is important to remember that even though the creative peak of Symphonic Progressive ended before the 80’s, we can find a second birth in the 90’s coming from the Scandinavian countries (specially Sweden with ANGLAGARD or PAR LINDH PROJECT) and even bands that still in the 21st Century recreate music from this period like SPOCK’S BEARD or ECHOLYN. Before ending this short description I feel necessary to say (In order to be strictly accurate) that the term Symphonic is not 100% exact, because these bands very rarely played symphonies and was probably used because the music that influenced the genre was performed by Symphony Orchestras, but it is so widely accepted by the Progressive Rock community that would be absurd and futile for anybody to attempt a change after so much time.

Various Genres

Albums or CD’s where more than one artist is featured either as a SAMPLER or a TRIBUTE to a particular band. Examples: – Peter and The Wolf – Prog Fairytale – 1975 / The Reading Room – 2000 / Leonardo – The Absolute Man – 2001 / Best Prog Rock Album in the World… Ever – 2003 / Un Voyage En Progressif Volume 1 to 8 / Kalevala – A Finnish Progressive Rock Epic.

Zeuhl

Zeuhl is an adjective in Kobaïan, the language written by Christian Vander, drummer and founder of the French band Magma.

Pronunciation: zEU(h)l, while the EU are like a French E with a slight U, and the (h) is a semi-silent letter which is an integrated part of the EU, totaling in a “syllable and a half”.

The word means celestial, although many times it is misunderstood as meaning “celestial music”, since the members of Magma describe the genre of their music as Zeuhl. Zeuhl Wortz, though, means Music of the universal might.

The genre is a mixture of musical genres like Neoclassicism, Romanticism, Modernism and Fusion. Common elements: oppressive or discipline-conveying feel, marching themes, throbbing bass, an ethereal piano or Rhodes piano, and brass instruments.