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Commentary-By "Jerry Lucky" |
Neo-Prog Misconceptions #1 and #2:
Last time I set out to establish a broad definition of
what constitutes progressive rock. I’ve always viewed the
genre as one that is relatively easy to define in fact, partially
because so much material has been produced over the years
that building a consensus is relatively easy for those who
choose to hear the obvious. My view is that each genre of
music has identifiable descriptives such that if you wanted
to create a country song or a Reggae song you simply apply
the appropriate stylistic elements and viola…the song is easily
identified as what it was intended to be. The same hold true
for a progressive rock song. ***
Since Neo-Prog is almost always compared to, or identified
as an off-shoot of Symphonic Prog, it’s essential we identify
the specific characteristics of Symphonic Prog. Symphonic
Progressive Rock is described as such not because it necessarily
sounds like a symphony but more because of the manner in which
the music is composed and arranged. The bulk of what many
consider Progressive Rock, from the Moody Blues to Spock’s
Beard tends to fall into this sub-genre of prog. This is by
far the largest and according to many surveys the most popular
sub-genre of prog. ***
To describe Symphonic Prog in somewhat more detail, it
is music that borrows’ much from the structure and style of
classical music but it is blended with the harsher, more direct
aspects of rock. What this means is that Symphonic Prog is
music that is dramatic and dynamic. It has loud and soft parts
throughout as opposed to a traditional pop or rock song which
tends to follow a prescribed audio pattern of consistency.
Symphonic Prog incorporates the rock element but blends it
with the grander symphonic style of slow and fast, loud and
quite, complex and simple. In other words, Symphonic Prog
is the most inclusive of the prog genres. It is conceivable
to hear huge swells of instruments forming dramatic crescendos
followed by the most minimal, ambient passages leading into
an aggressive rock based 4/4 section that then changes tempo
and time signature to introduce a completely different melody
that may never repeat itself. The overriding element in Symphonic
Prog is melody. Melody is that one aspect of the compositional
pallet that allows the composer to leave the listener with
something to hum, a tune to whistle, an idea to bounce around
in the brain. Melody is the thing our brains remember most.
Symphonic Prog allows the composer the ultimate freedom in
creating a piece of music that conveys every emotion needed
to tell the story. But just for clarification, Symphonic Prog
is called symphonic because of two things: the compositional
structure and the arrangement. ***
Therefore we can expect to hear music that is layered,
music that reflects changes in mood and atmosphere, music
that for a variety of reasons seems at odds with what is heard
on mainstream media. I say at odds in that it seems to be
constantly defying musical custom, defying convention or at
its best defying the pop-rock tradition. To the average listener
Progressive Rock and within that genre the sub-genre of Symphonic
Prog always seems to sound either too busy, to complex, or
too confusing. For aficionados that may seem to be a strange
reaction and yet it is not coincidental that were these people
listening to actual classical symphonic music their reactions
might be very similar. The reason for this is best exemplified
in the music of YES. The musicianship established by this
band (along with others) has done much to confirm the symphonic
rock tradition. What you have essentially, is a band ethic
where everyone plays lead much of the time. Each member, guitar,
drums, bass, and keyboards will for a good portion of the
composition be performing their own distinctive part, rather
than just supporting the others. It is the manner in which
the band arranges these parts that then completes the symphonic
effect. Whereas a traditional rock or pop band relies almost
exclusively on the bass/drum rhythm being supported by harmonic
open-chording and little lead-work, the symphonic prog approach
has each member performing with a greater emphasis on lead-work
almost as if each instrument were performing solo. So in truth
it is more complex than what most people hear in the media.
Symphonic Prog brings together the most accessible aspects
of classical composition but yet demands a stringent level
of rock music composition. It is in many respects it is the
best of both worlds. ***
Having laid the groundwork let’s now look more closely
at what is typically labelled as Neo-Prog. ***
Most important for me is not simply to make the assertion
that the use of the term Neo-Prog is flawed, but to present
an argument that clearly and concisely dismantles previously
held opinions and assertions to the contrary. However, in
order to do that we need to examine what is typically labelled
Neo-Prog and why. I’ve visited a number of respected internet
sites looking for their definitions of Neo-Prog in the hopes
of identifying the key descriptives used that hold some consistency
across the board rather than just relying on idle opinion.
These definitions are presented at the end of this article.
What you find in reviewing these various attempts at defining
Neo-Prog however, is that far from there being any consistency,
each of these sites tends to introduce elements into the definition
that are particular to the individual author. As such there
remains much inconsistency when trying to pin down what it
is that actually constitutes a Neo-Prog definition. That in-and-of-itself
is perhaps reason enough to question the legitimacy of the
term. ***
I have chosen to use the term “misconception” for each
of these identifiers not because of the controversial nature
of the term, but rather to simply allow for a concise response
to the purported claim. As I go through each of these misconceptions,
let me be perfectly clear about one thing as I describe various
bands and their musical output. I love all this music. What
I may say about a band in comparing it to another is by no
means meant to denigrate but simply to demonstrate. That being
said here are 13 claims made that are purported to identify
Neo-Prog followed by my response: *** · Misconception #1 –
Neo-Prog is less complex than other Symphonic Prog It is commonly
held that Neo-Prog is less complex than other forms of Progressive
Rock but specifically other Symphonic Prog artists. In fact,
most would probably say that it is the least complex, perhaps
sitting just a tiny notch above Art Rock. But is this really
the case. If we use the most recent CDs from Pallas (Dreams
of Men) and IQ (Dark Matter) as a current reference point,
how do these two releases stack up against history? If we
are to compare these two releases against the symphonic style
of early King Crimson or Gentle Giant or even some of the
more ambitious compositions of Yes and Genesis we would be
safe in saying they are in fact somewhat less complex. How
much less becomes highly subjective. On the other hand if
we were to compare Pallas and IQ to say, Barclay James Harvest,
Strawbs, Le Orme, Banco or even some Ange and Mona Lisa the
argument of complexity begins to thin somewhat for many of
the releases of these symphonic bands are in fact less complex
that Dreams of Men or Dark Matter and are in many cases a
collection of melodic songs. This is true of many of the classic
early British, Italian and French bands. Truth is the Moody
Blues on their first seven recordings created music that was
far from what many today might consider complex yet few can
deny its Symphonic Prog roots. The music’s simplicity is hardly
a case for calling it Neo-Prog. So today clearly complexity
is hardly an appropriate form of measurement for this particular
musical style. ***
The idea that complexity is a bastion of the old guard
is a false notion. There are many contemporary bands such
as Glass Hammer, Spock’s Beard, Neal Morse and many others
whose musical output is not only far more complex in terms
of composition, but also arrangement and musicianship. So
if complexity is your frame of reference for determining what
Neo-Prog is then by rights, many of the old guard would have
to be labelled in such a way. If not, then complexity alone
cannot be used to single out certain bands for the Neo-Prog
identification. Complexity is very much alive and well in
many modern prog artists. ***
· Misconception #2 – Neo-Prog is a sub-genre that is
distinct from Symphonic Prog While scouring the net looking
for bands that others label as Neo-Prog, it was amazing to
see that in every case (I was going to say virtually but there
wasn’t a single example otherwise) the bands held up to represent
this supposed sub-genre were in fact symphonic in nature.
These lists would include not only Pallas and IQ but also
Marillion, Jadis, Twelfth Night, Pendragon, Arena and in some
cases Spock’s Beard, Glass Hammer, The Flower Kings and so
on. So when you peruse the list what do see? To my eyes there
are only symphonic bands. I’m hard pressed to name a single
band that might be labelled Neo-Prog and NOT be a Symphonic
Prog band. Not one. ***
I believe there is a reason for this, and that reason
is that all these bands are in fact first and foremost Symphonic
Prog bands creating music that is in the same tradition as
the original progressive rock icons. Each of these new bands
incorporates elements of the past but then has clearly created
their symphonic sound. Really after a dozen albums, to still
describe a band like IQ as sounding like Genesis seems to
be a classic case of not listening to what’s actually on the
disc. If we are to be fair and honest, IQ sounds like IQ.
Bands like these are clearly second; third or perhaps even
fourth generation Symphonic Prog bands. ***
By way of comparison, no one labels the Rolling Stones
Neo-Rock even though the blues and rock music of the late
Fifties and early Sixties influenced them. So my contention
is that Neo-Prog is not distinct from Symphonic but is in
fact every bit symphonic in nature. It is not a sub-genre
of Symphonic because the bands identified are clearly holding
true to the symphonic hallmarks. They cannot be Neo-Prog since
they are first and foremost Symphonic Progressive Rock bands.
***
Next time we’ll look at a few more Neo-Prog misconceptions.
As always your comments are welcome. ***
Jerry Lucky
jlucky@pacificcoast.net
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