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Progressive rock, or prog rock, emerged in the late 1960s and reached its zenith in the 1970s, characterized by its ambition to push the boundaries of conventional rock music. Bands like Pink Floyd, Yes, and Genesis led the way, incorporating complex compositions, intricate instrumental arrangements, and often philosophical or fantastical lyrics.
Prog rock eschewed the typical verse-chorus-verse structure in favor of extended instrumental passages and conceptual album themes. The genre’s virtuosity extended to its musicianship, with elaborate solos and use of non-traditional instruments. While some criticized progressive rock for its perceived pretentiousness, its impact on the evolution of rock music cannot be overstated, influencing subsequent generations of musicians and contributing to the broader spectrum of experimental and art-oriented genres.
Ghost’s Skeletá dives deep into darkness with raw emotion, heavy riffs, and gothic flair. Tobias Forge leads with menace and charm, blending vulnerability and power into a haunting, theatrical journey that’s both intimate and electrifying.
The Genesis story covers three distinctly different periods: Genesis with Peter Gabriel, then the post-Gabriel Genesis, and finally the ‘80s Phil Collins-led incarnation with remaining members Mike Rutherford and Tony Banks. Active Members Start Date: End Date:
Greta Van Fleet – Album Greta Van Fleet’s Starcatcher doesn’t waste time pretending they’re something they’re not. It’s another dive into their retro-fueled, bombastic riff parade—a love letter to the ’70s with plenty of pageantry, glitter, and thunder. But this time, the band seems less interested in defending their sound and more focused on refining…
Anxious, twitchy, and strangely playful, this album trades legacy for freedom—paranoia grooves, angular riffs pulse, and dread shimmers with sly charm. It’s a leaner, looser exploration of modern unease that dances while everything quietly unravels.
Jack White – Fear of the Dawn Fear of the Dawn is Jack White getting weird in his own basement and deciding to crank it up for the neighborhood to hear. It’s chaotic, sharp-edged, electrified to the point of combustion. This isn’t the elegant, folky troubadour of Blunderbuss or Lazaretto. This is the mad scientist…
The Battle at Garden’s Gate is a bold, theatrical leap into grandeur—classic rock meets prog ambition. Mythic lyrics, cinematic swells, and soaring vocals mix with sincere naiveté. It’s big, loud, and unafraid to overreach for the stars.
What gives Prequelle its real bite is the tension between subject and style. The lyrics talk of death, decay, and damnation, but the songs sparkle. It’s the poppiest album about pestilence you’ll hear, and that’s the point.
A slow, eerie drift through decay and detachment—less roar, more reckoning. This is a late-night whisper of an album, trading rage for resignation, riffs for shadows, and offering no easy answers—just unease, nuance, and a long, cold stare.
Drones is Muse returning to their core sound with a sneer, not a smile. It’s clunky in spots and wild in others, but it’s alive, and that’s what counts. The album follows a narrative arc—drone to deserter, machine to man—but never lets its concept crowd the actual songs.
Peter Gabriel’s third solo Peter Gabriel informally dubbed Melt for its cover art doesn’t want to be liked. It wants to stick to your ribs, to whisper weird things in your sleep. And it does. Melt is Gabriel’s broken mirror—and if you’re brave enough to stare, you’ll see more than just his reflection.