And…..he’s back. It’s been weeks since I’ve posted anything. In my own defense, I can only plead that I had the best of reasons for neglecting to post: vacations, long visits to friends, weddings to attend, buttloads of work at the ol’ liberry, etc. But in truth, for the past two+ weeks, something very specific has been occupying all of my time. (Ok, not a something so much as a someone.) More on that later. Or probably not.
So in lieu of intimate details from my personal life, which I’m sure will bore everyone to tears, I’m going to talk about something far more interesting: music. Specifically, the reemergence of a musical genre which I often enjoy, but always assumed would be the absolute last to suddenly become hip again. Yes, we are, of course, talking about Prog Rock, that 70’s genre notable for its 20 minute opuses, flute solos, sci-fi stage sets, lyrics about space travel and Ayn Rand novels, and general overall pomposity. (Yes, I do realize that putting “Ayn Rand” and “pomposity” in the same sentence is redundant.) While I will admit (usually late at night and after many, many beers) to a certain affinity for some purveyors of this genre, I never expected to see anyone attempt to tackle it again.
My first inkling that a revival might be underway was last year, when Pitchfork, the Self-Appointed Arbiter of All That is Hip, favorably reviewed a bunch of reissued albums by hoary prog dinosaurs Yes. Perhaps it was the cover afforded by Pitchfork’s implied blessing of a genre it had always scorned, but the kids have suddenly started churning out the proggy goodness in droves.
The first volley was fired in March, with the release of Frances the Mute by The Mars Volta. A sprawling album consisting of 5 songs stretched out over 77 minutes and divided into no fewer than 15 separate movements, Frances is a worthy successor to the Yes/Rush/King Crimson school of prog: wild shifts in melody and tempo, long ambient passages, jazzbo freakouts, obscure, tongue-twisting lyrics; and shrieking vocals and guitar. Pitchfork savagely (and stupidly) panned the album, but thankfully, other reviewers got on the band’s wavelength and were able to judge the album on its actual merits, rather than their own indie rock-fueled prejudices.
Those who prefer the more trippy, druggy end of 60’s-70’s music would do well to check out the eponymous debut from Black Mountain. This one features liberal doses of Velvet Underground, Pink Floyd, and a bit of Sabbath thrown in for good measure. Ironic since, judging by the band photo on the inside cover, not one person involved with the creation of this music was alive when Dark Side of the Moon was released, much less White Light/White Heat or Paranoid (not that I was alive for all of them, either.)
But so far, my favorite neo-prog album this year (discovered via uber-music fan KB ) is Dungen’s Ta Det Lugnt. Some (including myself on occasion) might argue that this isn’t really prog, but more psychedelic or acid rock. These guys are fully plugged into 1968; the music instantly evokes shades of Cream, Traffic, and especially White Album-era Beatles. The only drawback is that, since I don’t speak Swedish, I have no clue what the hell they’re singing about. They could be talking about eating babies for all I know, but with melodies this gorgeous, I could care less.
So, to sum up: Buy all these albums. Immediately. If listening to young musicians reverently echo and build upon sounds of the past is your thing, toss all that Strokes/Killers/Franz Ferdinand/Interpol crap in the garbage where it belongs, and listen to some folks revive music that actually deserves to be revived.
And while you’re at it, pick up In the Court of the Crimson King or Meddle or Close to the Edge or Low Spark, and get a taste of the original masters in all their pre-mammalian glory.