Why is it cool to hate progressive rock?

Why is it cool to hate progressive rock?

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because redcoats need to be systematically eradicated

as a prog fan, most people who are into prog are fucking nerds. biggest fucking dweebs you will meet. they are insufferable. no matter the impact prog had on the music industry, it's not something most people can really sink their teeth into. also which prog artists you're talking about vary greatly too, people who are more into king crimson are a very different type of insufferable geek than those who prefer elp.

Because it turned to shit after the early 70's.

The defamation of Progressive Rock is one of music's greatest injustices desu. Seriously, and I say this as someone who thought for years that it was all wanky bullshit, there are a lot of Prog bands who are absolutely amazing. It's all a by-product of the Punk thing, but even then most Punk bands would point to a lot of Prog as very influential on them.

It's very much a practically dead genre so the only fans of the genre today are wallowing in the past most likely which can often lead to prog rock people being labeled as people who would say "everything was better before" which makes them insufferable.

it's a dead genre because the things that defined it at its time have now become standard in a lot of music. pop especially, so much so that genesis and pg's solo stuff just turned into pop.

Emerson, Lake & Palmer [Cotillion, 1971]

This opens with "The Barbarian," a keyboard showpiece (not to slight all the flailing and booming underneath) replete with the shifts of tempo, time, key, and dynamics beloved of these bozos. Does the title mean they see themselves as rock and roll Huns sacking nineteenth-century "classical" tradition? Or do they think they're like Verdi portraying Ethiopians in Aida? From such confusions flow music as clunky as these heavy-handed semi-improvisations and would-be tone poems. Not to mention word poems. C

Pictures from an Exhibition [Cotillion, 1972]

This cover version of Moussorgsky's mouldy oldie does have a big new beat, but you can't dance to it, and the instrumentation seems a bit spare. Anyway, the truth is that I don't even listen to the original much. D+

Trilogy [Cotillion, 1972]

The pomposities of Tarkus and the monstrosities of the Moussorgsky homage clinch it--these guys are as stupid as their most pretentious fans. Really, anybody who buys a record that divides a . . . composition called "The Endless Enigma" into two discrete parts deserves it. C-

Brain Salad Surgery [Manticore, 1973]

Is this supposed to be a rebound because Pete Sinfield wrote the lyrics? Because Certified Classical Composer Alberto Ginastera--who gets royalties, after all--attests to their sensitivity on the jacket? Because the sound is so crystalline you can hear the gism as it drips off the microphone? C-

Works: Volume 2 [Atlantic, 1978]

When the world's most overweening "progressive" group makes an album less pretentious than its title, galumphing respectfully through Scott Joplin and Meade Lux Lewis, that's news. But is it rock and roll? C+

Everything Rocks and Nothing Ever Dies [1990s]

/thread

Best prog album of all time coming thru

i prefer lamb lies down just from genesis's discography, but supper's ready always gets me hype.

why no Tarkus?

Too lazy to bother reviewing it.

>as a prog fan
sounds like you hate prog and are probably a bigger cunt than the types you complain about

i am a prog fan, and thus am probably a bigger cunt than those i complain about, as i am at least as bad as them while being an absolute knob by complaining about them. sorry if i insulted you tho, im just trying to be real.

Why is this hack still alive?

>practically dead genre
But Steven Wilson

Yeah prog is very nerdy

this.

Once it went synthy it starts losing me.

I feel this way about Dream Theater fans

Because it's not socialist and it doesn't represent baby boomer youthful rebellion.

The Barbarian just sounds like Black Sabbath on keyboards.

Pink Floyd were openly socialist lefties.

...And they are the ones that are considered cool.

They were always a psych/prog hybrid anyway. Very little by way of "chops".

This. People who shit on prog rock for being "snobby" are the real snobs.

>a dead genre
its just getting good though
youtube.com/watch?v=dcwyt3oQYSA&feature=youtu.be

if prog was more like sgt peppers and smile and less like dream theater, henry cow and fucking yes maybe it would be my favorite genre ever

prog is post rock and math rock for dnd nerds

most of the prog bands in the RIO movement were socialists. You don't fucking know what you're talking about. Hell,

Your premise is flawed; nowadays it's more cool to like prog than to hate it. Prog is more "punk" than punk now. Whatever "punk" means. I feel like music should really be post-label at this point anyway.

Bands like ELP killed it. All flair, no depth. Ruined the genre by making complexity the main subject rather than using complexity as a means to an end.

I'm a Selling England man myself regarding the Genesis catalogue, I feel that it combined Nursey Cryme's whimsical English-ness with Foxtrot's harder, edgier sound into a single solid package.

Anyway, best prog album of all time coming through.

Not only that, but when you start traveling with three busses which have every band member's names on them, maybe you've crossed some sort of a line, considering that they were playing a commercially unsuccessful genre and yet acted like millionaires and pop stars. Not to mention terrible albums and atrocious attempts at commercializing the genre - Love Beach.

because it fucking sucks

Start listening to Canterbury scene bands. Then, you may change your mind. After all, King Crimson, Genesis, ELP and Yes are not the only progressive rock bands.

Thank you for your valuable opinion and substantiated claims.

anytime, friend.

At least sage when you're shitposting.

i'm not shitposting how dare you

because its edgy and if theres one thing that Sup Forums likes more than anything else in the world its to be edgy

Since this is a prog thread of sorts I'm gonna use that excuse to post this recently-uploaded gem I heard on YouTube:
youtube.com/watch?v=FIGH4Sa12PQ

I actually sent it to Adrian Belew and he replied thanking me

You fuckin know it guy

Pretentious music for pretentious cunts.

>if prog was more like sgt peppers and smile

So you want poppy prog? Just listen to 80's Genesis.

He's right, though

Progressive Rock is literally Naruto music i.e it fucking sucks dirty balls and is fedora as fuck

My dad was a prog listener and I grew to be a big prog fan in my late teens, always trying to find obscure bands, rare records and such. It took me a while but I came to realize that it's just like any other genre: those that really get into it will be nerdy about it and feel their taste is justified by characteristics associated to those genres besides their musical qualities. These characteristics come from the environments they originated from: prog had a certain "intellectual" quality that came from england's rock musicians returning from their american blues influences to more classical ones, metal opposed the optimism of psychodelia, punk opposed musical virtuosism and incorporated political rebellion, hip hop had the struggle of minorites as a theme, even all that fucking meme vaporwave stuff comes from the struggle of living in the age of constant unstoppable information and the decay of the music industry as it had been known for half a century. What I mean is that back in the seventies having a prog band was like having a grunge band in the early 90s, an emo band in the late 00s, a metal band in the fucking 80s or a jazz band in like the thirties. In the end they are all just musicians trying to reach a public and live from it. Idk about pop, that's just a mess and i think it's a lot more about the admiration of the "celebrity", rather than the music. Classical seems to be the polar opposite, the extreme version of BEING AWESOME WITH AN INSTRUMENT, desu a lot of time it goes way above my head (even Sibelius gave me some trouble and I think that's pretty vanilla for classical nerds, not to mention contemporary stuff), maybe it's too nerdy for me, maybe i'm too dumb for it. Popular musicians might not be always the best composers or the most virtuous with their instruments but man, do they fulfill our lives.

TL;DR its cool to hate it because haters are everywhere, fuck them and listen to whatever makes you feel good

Because they're just that knowledgeable about music and over people's heads, guys

These people don't talk trash about pop music. No sir, these people's pop music is Tool and Metallica

That's it in a nutshell.

To play devil's advocate though a lot of prog rock is easy to make fun of. It's what happens when someone who's personality is entirely made up of vapid masculine ideals wants to be deep and starts producing things that are "evocative and heavy" but don't get across or accomplish much of anything. Tool is a particularly easy example.

dude, fix your formatting and be more clear. i haven't a clue as to what you're saying.

>trying this hard

It's people thinking they're more profound than they actually are.

On the hand prog-rock is easy to make fun of because it's full of pseudo-deep dudebro philosophy.

Post Rock Is Prog for Hipsters

This is a very accurate post. I hate talking to prog fans, so I try to find fans of specific prog bands to talk to about said bands. Eliminates a lot of the insufferable component.

Because it's not rock

Still You Turn Me On has a nice funk riff in it.

caravan is pretty baroque and pop sounding, just try stuff from canterbury scene

camel's the snow goose is one of my favorite concept albums desu

caravan is always quality

He doesn't like Pictures At An Exhibition because you can't dance to it? Jesus Christ I don't usually say this but this man is an enormous plebeian.

when the album covers alone are this lame, it is very hard not to

I was more prog was like the Mars Volta. A lot prog just lacks edge and comes off and boring and dad-rockish.

>Jesus Christ I don't usually say this but this man is an enormous plebeian
Yes. Yes he is.

*wish

So are you saying that they're good or not?

Christgau only likes back-to-basics punk rock from the streets of New York City.

youtube.com/watch?v=i45pYq-58po
theres a whole subgenre built on that sound

>Moussorgsky's mouldy oldie
FUC K YOU

Seconding Selling England by the Pound as being the best.

I like this, I've seen this album posted but never figured that it was prog by the cover. Got any more like this?

Nursery Cryme [Charisma, 1971]

God's wounds! It's a "rock" version of the myth of Hermaphroditus! In quotes cos the organist and the (mime-influenced) vocalist have the drummer a little confused! Or maybe it's just the invocation to Old King Cole! C-

Foxtrot [Charisma, 1972]

This band's defenders--fans of manual dexterity, aggregate IQ, "stagecraft," etc.--claim this as an improvement. And indeed, Tony Banks's organ crescendos are less totalistic, Steve Hackett's guitar is audible, and Peter Gabriel's lyrics take on medievalism, real-estate speculators, and the history of the world. This latter is the apparent subject of the 22:57-minute "Supper's Ready," which also suggests that Gabriel has a sense of humor and knows something about rock and roll. Don't expect me to get more specific, though--I never even cared what "Gates of Eden" "really meant." C

Selling England by the Pound [Charisma, 1973]

The best rock jolts folk-art virtues--directness, utility, natural audience--into the present with shots of modern technology and modernist dissociation; the typical "progressive" project attempts to raise the music to classical grandeur or avant-garde status. Since "raise" is usually code for "delegitimize," I'm impressed that on half of this Peter Gabriel makes the idea work: his mock-mythologized gangland epic and menacing ocean pastorale have a complexity of tone that's pretty rare in any kind of art. Even more amazing, given past performances, organist Tony Banks defines music to match, schlocky and graceful and dignified all at once--when he's got it going, which is nowhere near often enough. As for the rest, it sounds as snooty as usual. B

The Lamb Lies Down on Broadway [Atco, 1974]

I wanted to call this the most readable album since Quadrophenia, but it's only the wordiest--two inner sleeves covered with lyrics and a double-fold that's all small-type libretto. The apparent subject is the symbolic quest of a Puerto Rican hood/street kid/graffiti artist named Rael, but the songs neither shine by themselves nor suggest any thematic insight I'm eager to pursue. For art-rock, though, it's listenable, from Eno treatments to a hook that goes (I'm humming) "on Braw-aw-aw-aw-aw-aw-dway." B-

. . . And Then There Were Three . . . [Atlantic, 1978]

The departure of Peter Gabriel having long since left them a quartet, what might this title indicate? Ask ex-fan Jon Pareles: "Without lead guitarist Steve Hackett, the band loses its last remaining focal point; the rest is double-tracking. Hence a sound as mushy as the dread Moody Blues, with fewer excuses." D+

Invisible Touch [Atlantic, 1986]

For a while I was tempted to buzz Phil Collins over his former fearless leader. He's a warmer singer, God help them both, and the formerly useless Tony Banks proves adept with the keyb hooks. But in the end I couldn't tolerate the generalization density--not just of the lyrics (where Peter Gabriel's personal and geopolitical details offer some evidence that he's been there) but of the hooks, which end up feeling coercive, an effect unmitigated by Collins's whomping instrumental technique. And just to prove they're still Genesis, we get solos. C+

Everything Rocks and Nothing Ever Dies [1990s]