Progressive rock is a broad genre of rock music that developed in the United Kingdom and United States throughout the mid to late 1960s. Termed "progressive pop", the style was an outgrowth of psychedelic bands who abandoned standard pop traditions in favour of instrumentation and compositional techniques more associated with jazz, folk, or classical music. Additional elements contributed to its "progressive" label: lyrics were more poetic, technology was harnessed for new sounds, music approached the condition of "art", the studio, rather than the stage, became the focus of musical activity, which involved creating music for listening, not dancing. Prog is based on fusions of styles and genres, involving a continuous move between formalism and eclecticism. Due to its historical reception, prog's scope is sometimes limited to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, an obsessive dedication to technical skill. While the genre is cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, only a handful of groups purposely emulated or referenced classical music.
The genre coincided with the mid 1960s economic boom that allowed record labels to allocate more creative control to their artists, as well as the new journalistic division between "pop" and "rock" that lent generic significance to both terms. Prog faded soon after. Conventional wisdom holds that the rise of punk rock caused this, but several more factors contributed to the decline. Music critics, who labelled the concepts as "pretentious" and the sounds as "pompous" and "overblown", tended to be hostile towards the genre or to ignore it. After the late 1970s, progressive rock fragmented in numerous forms; some bands achieved commercial success well into the 1980s or crossed into symphonic pop, arena rock, or new wave. Early groups who exhibited progressive features are retroactively described as "proto-prog"; the Canterbury scene, originating in the late 1960s, denoted a subset of prog bands who emphasised the use of wind instruments, complex chord changes and long improvisations. Rock in Opposition, from the late 1970s, was more avant-garde, when combined with the Canterbury style, created avant-prog.
In the 1980s, a new subgenre, neo-progressive rock, enjoyed some commercial success, although it was accused of being derivative and lacking in innovation. Post-progressive draws upon newer developments in popular music and the avant-garde since the mid 1970s; the term "progressive rock" is synonymous with "art rock", "classical rock" and "symphonic rock". "art rock" has been used to describe at least two related, but distinct, types of rock music. The first is progressive rock as it is understood, while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favour of a modernist, avant-garde approach. Similarities between the two terms are that they both describe a British attempt to elevate rock music to new levels of artistic credibility. However, art rock is more to have experimental or avant-garde influences. "Prog" was devised in the 1990s as a shorthand term, but became a transferable adjective suggesting a wider palette than that drawn on by the most popular 1970s bands.
Progressive rock is varied and is based on fusions of styles and genres, tapping into broader cultural resonances that connect to avant-garde art, classical music and folk music and the moving image. Although a unidirectional English "progressive" style emerged in the late 1960s, by 1967, progressive rock had come to constitute a diversity of loosely associated style codes; when the "progressive" label arrived, the music was dubbed "progressive pop" before it was called "progressive rock", with the term "progressive" referring to the wide range of attempts to break with standard pop music formula. A number of additional factors contributed to the acquired "progressive" label: lyrics were more poetic. Critics of the genre limit its scope to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, an obsessive dedication to technical skill. While progressive rock is cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, only a handful of groups purposely emulated or referenced classical music.
Writer Emily Robinson says that the narrowed definition of "progressive rock" was a measure against the term's loose application in the late 1960s, when it was "applied to everyone from Bob Dylan to the Rolling Stones". Debate over the genre's criterion continued to the 2010s on Internet forums dedicated to prog. According to musicologists Paul Hegarty and Martin Halliwell, Bill Martin and Edward Macan authored major books about prog rock while "effectively accept the characterization of progressive rock offered by its critics.... They each do so unconsciously." Academic John S. Cotner contests Macan's view that progressive rock cannot exist without the continuous and overt assimilation of classical music into rock. Author Kevin Holm-Hudson ag
¡Megaton Shotblast! is the debut album by De Facto. Instrumental, the album pulls influence from various genres, including electronica, dub and jazz. "Manual Dexterity" – 2:21 "Cordova" – 10:17 "El Professor Contra De Facto" – 4:59 "Fingertrap" – 3:13 "Descarga De Facto" – 8:18 "Mitchel Edwards Klik Enters A Dreamlike State... And It's Fucking Scandalous" – 4:27 "Thick Vinyl Plate" – 6:49 "Coaxial" – 7:15 "Simian Cobblestone" – 4:23 "Rodche Defects" – 3:57 Omar Rodríguez-López - bass Cedric Bixler-Zavala - drums Isaiah Ikey Owens - keyboards Jeremy Michael Ward - melodica, sound manipulation Alberto "El Professor" Aragonez - percussion Ralph Dominique Jasso - keys Eric Salas - percussion David Lopez - trumpet Gabe Gonzalez - piano Ángel Marcelo Rodríguez-Cheverez - vocals https://web.archive.org/web/20120227034127/http://defacto.bandcamp.com/album/megaton-shotblast
Leo Genovese is an Argentine jazz pianist and composer. Genovese was born in Venado Tuerto, Argentina, in 1979, he began playing the piano at the age of 5 or 6, but became more interested in playing around ten years later. Genovese began studying music and accounting at the University of Rosario, but soon abandoned accountancy, in 2001 he began studying at the Berklee College of Music, he graduated in 2003. His first album, Haiku II, was released the following year and was followed by Unlocked in 2008, but Genovese talked them down, stating that they were "just a way to document where I was at the time". From 2005 he toured internationally, recorded with and vocalist Esperanza Spalding. A reviewer for The New York Times commented on Genovese's 2013 album, that, "by refusing to privilege one historical style over another, he strengthens his claim as a polyglot". Down Beat observed that Genovese's compositions for the album "share an exploratory nature, whether the new terrain in question is a marriage of electronic and acoustic sounds, an unlikely use of chromatic scaling or the successful juxtaposition of otherwise disparate ideas."
An asterisk indicates that the year is that of release
Adrián Terrazas-González is a composer and multi-instrumentalist who plays the flute, tenor saxophone, bass clarinet and percussion. He is best known for having been a member of the progressive rock band The Mars Volta from 2005 to 2008. Since 2005 he lives in California. Born on October 17, 1975, raised in Chihuahua, Chihuahua, México, Adrián Terrazas-González grew up surrounded by the traditional music of Central America from Danzón, Boleros and Rumba, to Son and Mambo. Terrazas-González began developing his musical ability starting at the age of eleven, he was inclined to play the flute and the tenor saxophone with an understanding of classical music and a distinct attraction to jazz, five years chose to take on the clarinet. His grandmother, a "Danzón Nut" according to Terrazas-González, urged her grandson in that direction, but the young player was adamant towards a newfound paragon for himself: Hubert Laws. 2001 was a year. While pursuing Sociology and Music Studies at The University of Texas, El Paso, he learned more about the transmission of these ideas and theories through music.
In an effort to track the development of marked philosophical and spiritual traditions observed by ancient cultures, Terrazas-González arranged to meet and creatively collaborate with musicians involved with traditions originating from West Africa. One of his primary interests was the Yoruba tradition, the ancient African religion underlying Santeria, Vodun, Cu Taan. In May 2002 Terrazas-González was diagnosed with cancer that spread to his stomach and abdomen, treatments included surgery and extensive radiation treatment to the stomach and abdomen. In 2004, he was declared cancer free and in the same year he joined the band The Mars Volta as a full-flesh member. In 2004 Terrazas-González joined The Mars Volta recording the studio album, “Frances the Mute”, continues to work with the band on subsequent albums and all of The Mars Volta side projects; the Mars Volta is composed of guitarist Omar A. Rodriguez-Lopez, lyricist/vocalist Cedric Bixler-Zavala, bassist John Alderete, guitarist Paul Hinojos-González, drummer Thomas Pridgen, percussionist Marcel Rodriguez-Lopez, keyboardist Isaiah “Ikey” Owens.
Through his work with The Mars Volta, Terrazas-González went on to earn his first Grammy Award in 2008 for the “Best Rock Performance” category with the song "Wax Simulacra". Working with The Mars Volta has enabled Terrazas-González to gain further exposure as a multi-instrumentalist in Europe. Television performances of The Mars Volta include: The Henry Rollins Show, The Tonight Show with David Letterman, The BBC. Terrazas-González’s solid performance and versatility have allowed him many opportunities to collaborate with a vast array of professionals worldwide. Terrazas-González has shared the stage and/or recorded with the likes of Larry Harlow, Antonio Sánchez, Bob Sheppard, Edwin Livingston, Erik A. Unsworth, Dr. Willy Hill, Dr. Donald G. Wilkinson, Damo Suzuki, Lenny Castro, Money Mark Nishita, Los Lobos, EMI Gospel Artist Smokie Norful, Lisa Papineau, Omar A. Rodriguez-Lopez Quintet/Group, Hans Glawishing, John Beasley, Brian Lynch, Shaila Dúrcal, John Frusciante, Tosin Abasi, Ken Schalk, Juliette Lewis, Nuriya Michan, Deantoni Parks, The Memorials, Trevor Hall, Oscar Stagnaro, Billy Ray Cyrus, David Fiuczynski and Freedom Bremner of Screaming Headless Torsos, Pete Escobedo, Oskar Cartaya, Hadrien Feraud, Luis Conte, Jack Costanzo among others.
Terrazas-González’s professional involvement with the music industry has continued to develop under his own publishing and record label, EL REGIMEN Music BMI, leading T. R. A. M. and as a led member of one of the strongest lineups in improvisational music TRANSIENT. This dignified and prolific musician collaborates with an eclectic number of international musicians, tours internationally on an intense and annual schedule, all the while teaching workshops to numerous school districts and universities around the globe. Terrazas-Gonzalez has had the great honor of being featured on 2014's Channel 22 México and Channel 22 International. It's rare to come across a band that flips the script of conventionality, throwing caution to the wind; the debut effort from T. R. A. M. Does just that, while blazing a trail of creativity quick to turn heads throughout the world; this unit will be referred to by many as a “Super Group”. However, the members of this dynamic unit aren't in this for any reason other than to use it as a platform to further express their art without limitations or any preconceived notions.
T. R. A. M. Includes such renowned and musically proficient artists as Adrián Terrazas-González on saxophone, bass clarinet and percussion, Javier Reyes Animals As Leaders on guitar, Tosin Abasi on guitar, Eric Moore II on drums; this is a group of likeminded individuals that are gifted with the collaboration of their unique talents resulting in something amazing. Their much anticipated debut album, “Lingua Franca”, was released February 2012 through Sumerian Records. Terrazas-González states: “Tosin Abasi and I were introduced by a mutual friend, Raanen Bozzio, summer of 2
Se Dice Bisonte, No Búfalo
Se Dice Bisonte, No Búfalo is a 10-track full-length album by Omar Rodríguez-López and the second in the "Amsterdam series". It was written and recorded in 2005 in California and Amsterdam, was released May 29, 2007 by Gold Standard Labs on both vinyl and CD. A limited edition, brown marble vinyl was available. 750 were made to fulfill pre-orders through April 30. It is one of six albums written and recorded by Omar Rodríguez-López whilst living in Amsterdam in November 2005. Se Dice Bisonte, No Búfalo was conceived to The Mars Volta's Amputechture and Omar’s soundtrack to the Jorge Hernández Aldana film, El Búfalo de la Noche, where the title for the album originates. In the album's liner notes, Omar expressed that this record is a response and expression of his feelings of the film, the soundtrack of which will feature The Mars Volta contributions; the album artwork is provided by longtime collaborator Damon Locks of The Eternals. Se Dice Bisonte, No Búfalo consists of 3 vocal tracks and 7 instrumentals, includes the original studio version of the song Please Heat This Eventually.
Omar performed the majority of the compositions solo, although the album includes performances by The Mars Volta members Cedric Bixler-Zavala, Marcel Rodriguez-Lopez, Juan Alderete and Adrián Terrazas-González. It features cameos by Money Mark, John Frusciante, former Mars Volta drummer Jon Theodore who appears on the final track, recorded while he was still a part of the group. "Rapid Fire Tollbooth" became a part of The Mars Volta's live set, evolved into the song "Goliath" which appears on their studio album The Bedlam in Goliath. "Lurking About In A Cold Sweat" contains a chord progression similar to an unreleased song recorded by The Mars Volta during the Noctourniquet sessions, as well as a few instrumental jams, that were leaked in 2013 with as part of the so-called Ramrod Tapes. As the title of The Mars Volta song has never been confirmed, fans refer to it as "Clouds" or "Orchestrina." Se Dice Bisonte, No Búfalo is Omar's first solo album to chart on a Billboard music chart, peaking at #40 on the Top Heatseekers chart.
"The Lukewarm" – 0:26 "Luxury of Infancy" – 1:12 "Rapid Fire Tollbooth" – 5:03 "Thermometer Drinking the Bussness of Turnstiles" – 3:00 "Se Dice Bisonte, No Búfalo" – 7:00 "If Gravity Lulls, I Can Hear the World Pant" – 2:46 "Please Heat This Eventually" – 11:24 "Lurking About in a Cold Sweat" – 4:49 "Boiling Death Request a Body to Rest Its Head On" – 4:14 "La Tiranía de la Tradición" – 5:05 "Please Heat This Eventually" – 24:49 Omar Rodríguez-López – Guitars, Drums, Wurlitzer, Rhodes, Piano Adrián Terrazas-González – Woodwinds & Percussion, Soprano Marcel Rodriguez-Lopez – Drums & Percussion, Clavinet Juan Alderete – Bass Money Mark – Keyboards, Organ, Synths Cedric Bixler-Zavala – Vocals & Lyrics John Frusciante – Guitars Jon Debaun – Voice Jon Theodore – Drums
Omar Rodriguez (album)
Omar Rodriguez is the self-titled second solo album by The Mars Volta guitarist Omar Rodríguez-López and the first in the "Amsterdam series". Most of the overdubs and mixing were done on the road in September 2005. Gold Standard Laboratories began offering a limited edition vinyl picture disc of this release for mail order in December 2006; the Omar Rodriguez-Lopez Quintet, which formed in unison with the release of this record, toured in the Netherlands in the fall of 2005 in support of this new release. Joining on stage for one performance was Damo Suzuki, for the song "Please Heat This Eventually" which would resurface on the next two releases from the group; the centerpiece of the album, Jacob van Lennepkade is named after the street on which Omar lived during its recording. "Een Ode Aan Ed Van Der Elsken" – 3:22 "Regenbogen Stelen Van Prostituees" – 10:06 "Jacob van Lennepkade" – 17:27 "Vondelpark Bij Nacht" – 7:11 "Spookrijden Op Het Fietspad" – 5:03 "A Tribute to Ed van der Elsken" "Stealing Rainbows From Prostitutes" "Jacob van Lennepkade", a street name in Amsterdam.
"Kade" is Dutch for a street by the water. Jacob van Lennep was novelist. "Vondelpark by Night" "Wrong-way driving on the Bicycle Path" Omar Rodríguez-López – Guitar, Bass, Percussion Adrián Terrazas-González – Saxophone, Bass clarinet, Percussion Marcel Rodríguez-López – Drums, Gong, Percussion Juan Alderete – Bass Jon Debaun – Recording engineer, Bass Cedric Bixler-Zavala – Tambora Eric Salas – Drums
The Roland SH-1000, introduced in 1973, was the first compact synthesizer produced in Japan, the first synthesizer produced by Roland. It resembles a home organ more than a commercial synth, with coloured tabs labelled with descriptions of its presets and of the "footage" of the divide-down oscillator system used in its manually editable synthesizer section, it produced electronic sounds that many professional musicians sought after whilst being easier to obtain and transport than its western equivalents. The synthesizer has 10 simple preset voices combined with a manually editable section which can be manually tweaked around to create new interesting sounds. No user program memory is available, its effects include white noise generator, octave transposition, two low frequency oscillators and a random note generator. With a single oscillator, it sounds like there are several thanks to the 8 sub-osc keys; the ninth is the noise. Jarvis Cocker Blondie The Human League The Band Fad Gadget Giorgio Moroder Imagination: "Music and Lights", bass instrument Jethro Tull Eddie Jobson Jolley & Swain: Backtrackin', bass instrument Tetsuya Komuro Omar Rodriguez Lopez Radio Massacre International Steve Roach Barry White: Change, bass instrument Vangelis Vintage Synth Explorer's page on the SH-1000 Music with SH-1000