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  1. I'm straight up breaking my personal rule of "not listening to any single and just wait for the whole album" but the curiosity surrounding the sound of SS after the selftitled was huge. Now all I gotta say is that Suicide Silence will deliver a great album next year. I can't fucking wait for it. AMAZING SINGLES SO FAR.
  2. Obviously had to vote for Counterparts because NLTL is great, maybe their best record to date. Other amazing releases came from bands such as Royal Coda, Hideous Divinity, Fallbrawl, Liturgy, Despised Icon, Vatican, Left Behind, Cattle Decapitation, Red Death and Dead/Awake. Shotout to some other amazing undergroud artist that released music this past month such as Frail Body (screamo), Controversial (deathcore) Hvosch (post-black/post-hc), Toluca (post-black) and OBVIOUSLY my boys in Zeta with the sweet venezuelan experimental post-hardcore
  3. Finally, one of my rants made it to the meme thread
  4. I was expecting you to post this gem. Toluca is one hell of a band, probably one of the most unique post-black/screamo bands that has ever come from Russia. I discovered them back in 2013 and they are still great, their first EP is incredible, hopefully this one is great too. Thank you so much.
  5. Boys we are one week away to play this shit for the whole month By the way, are they back?
  6. Rorschach might be retired but he keep delivering us great music. Amazing record by this beautiful band. Every effort is better than the previous one.
  7. As if this was a Youtube clip, let me have this one: FIRST!
  8. That breakdown in HAJJ was insane. Exactly what experimental means to be, a combination of different sounds and rhythms to make good music. Amazing record.
  9. 「This fucking sucks」~for sure~
  10. Just one word: amazing. Are they releasing this song tomorrow? Can't wait to hear it on a daily basis on Spotify.
  11. The good old Zeta. Listened to their album as soon as it was released on Spotify and let me tell you, this is by far one of the greatest Venezuelan bands ever. Solid music and of course solid dudes. As a venezuelan myself I'm very proud of this record because they nailed it by fblending their post-hardcore sound with the Latin rhythms and tambores. Check it out if you really wanna experience some new and fresh music.
  12. Voted for Fit For An Autosy because yeah, that shit good. Kublai Khan, Gatecreeper, Spite, Signs of the Swarm, Varials, Nullingroots, Singularity, Rival Town and Sight & Sounds released great music this month. Shoutout to Never Ending Game (heavy hardcore), Vukari (Black/Post-Metal) and Botanist (experimental black metal) for surprising me this month with their releases
  13. List of progressive rock bands Main article: List of progressive rock artists See also 1960s portal Characteristics of progressive rock British folk rock Free jazz List of musical works in unusual time signatures Minimal music Musique concrète Second Viennese School Serialism Third stream Timeline of progressive rock Category:Progressive rock record labels Notes In the rock music of the 1970s, the "art" descriptor was generally understood to mean "aggressively avant-garde" or "pretentiously progressive".[13] From about 1967, "pop music" was increasingly used in opposition to the term "rock music", a division that gave generic significance to both terms.[20] Formalism refers to a preoccupation with established external compositional systems, structural unity, and the autonomy of individual art works. Eclecticism, like formalism, connotates a predilection towards style synthesis, or integration. However, contrary to formalist tendencies, eclecticism foregrounds discontinuities between historical and contemporary styles and electronic media, sometimes referring simultaneously to vastly different musical genres, idioms and cultural codes. Examples include the Beatles' "Within You Without You" (1967) and Jimi Hendrix's 1969 version of "The Star-Spangled Banner".[27] Allan Moore writes: "It should be clear by now that, although this history appears to offer a roughly chronological succession of styles, there is no single, linear history to that thing we call popular song. ... Sometimes it appears that there are only peripheries. Sometimes, audiences gravitate towards a centre. The most prominent period when this happened was in the early to mid 1960s when it seems that almost everyone, irrespective of age, class or cultural background, listened to the Beatles. But by 1970 this monolothic position had again broken down. Both the Edgar Broughton Band's 'Apache Dropout' and Edison Lighthouse's 'Love grows' were released in 1970 with strong Midlands/London connections, and both were audible on the same radio stations, but were operating according to very different aesthetics."[35] LP sales first overtook those of singles in 1969.[58] Beatles member John Lennon is known to have attended at least one such event, a happening called the 14 Hour Technicolor Dream.[64] Paul McCartney was deeply connected to the underground through his involvement with the Indica Gallery.[65] They are also generally credited as the first global standard-bearers of symphonic rock.[69] Tull alone scored 11 gold albums and 5 platinum albums.[82] Pink Floyd's 1970 album Atom Heart Mother reached the top spot on the UK charts. Their 1973 album The Dark Side of the Moon, which united their extended compositions with the more structured kind of composing employed when Syd Barrett was their songwriter,[83]:34–35 spent more than two years at the top of the charts[83]:4, 38 and remained on the Billboard 200 album chart for fifteen years.[84] Radio airplay was less important in the UK, where popular music recordings had limited air-time on official radio stations (as opposed to on pirate radio) until the 1967 launch of BBC Radio 1.[87] UK audiences were accustomed to hearing bands in clubs, and British bands could support themselves through touring. US audiences were first exposed to new music on the radio, and bands in the US required radio airplay for success.[88] Radio stations were averse to progressive rock's longer-form compositions, which hampered advertising sales.[89] Van der Graaf Generator were much more popular there than in their own country. Genesis were hugely successful in Continental Europe at a time when they were still limited to a cult following in Britain and the US.[97][example's importance?] This can be heard in Triumvirat, an organ trio in the style of ELP; Ange and Celeste who have had a strong King Crimson influence.[99] Others brought national elements to their style: Spain's Triana introduced flamenco elements, groups such as the Swedish Samla Mammas Manna drew from the folk music styles of their respective nations, and Italian bands such as Il Balletto di Bronzo, Rustichelli & Bordini, leaned towards an approach that was more overtly emotional than that of their British counterparts.[100] Pink Floyd were unable to repeat that combination of commercial and critical success, as their sole follow-up, The Final Cut, was several years in coming[125] and was essentially a Roger Waters solo project[126] that consisted largely of material that had been rejected for The Wall.[127] The band later reunited without Waters and restored many of the progressive elements that had been downplayed in the band's late-1970s work.[128] This version of the band was very popular,[129] but critical opinion of their later albums is less favourable.[130][131] Sex Pistols frontman Johnny Rotten famously wore a T-shirt that read "I hate Pink Floyd",[115] but he expressed admiration for Van der Graaf Generator,[133] Can,[134] and many years later, Pink Floyd themselves.[135] Brian Eno expressed a preference for the approach of the punk and new wave bands in New York, as he found them to be more experimental and less personality-based than the English bands.[136] Julian Cope of the Teardrop Explodes wrote a history of the krautrock genre, Krautrocksampler.[141][example's importance?] Yes' Tales from Topographic Oceans[187] and "The Gates of Delirium"[188] were both responses to such criticisms. Jethro Tull's Thick As a Brick, a self-satirising concept album that consisted of a single 45-minute track, arose from the band's disagreement with the labelling of their previous Aqualung as a concept album.[189] References Anon (n.d.). "Kraut Rock". AllMusic. Retrieved 25 January 2017. Macan 1997, pp. 22, 140. Lloyd-Davis, Isere. "Paperlate: the modern witch goes prog". Prog. Retrieved 17 June 2018. "Post-Rock". AllMusic. Retrieved 31 January 2017. Macan 1997, p. 187. "Pop/Rock " Art-Rock/Experimental " Avant-Prog". AllMusic. "Neo-Prog". AllMusic. Martin 1998, pp. 71–75. Hegarty & Halliwell 2011, p. 1. Lucky 2000, p. 7. Covach 1997, p. 5. Bannister 2007, p. 37. Murray, Noel (28 May 2015). "60 minutes of music that sum up art-punk pioneers Wire". The A.V. Club. "Prog-Rock". AllMusic. Robinson 2017, p. 223. Hegarty & Halliwell 2011, p. 9. Hegarty & Halliwell 2011, p. 13. Cotner 2000, p. 90. Moore 2004, p. 22. Gloag, Kenneth (2006). Latham, Alison (ed.). The Oxford Companion to Music. Oxford: Oxford University Press. ISBN 0-19-866212-2. Haworth & Smith 1975, p. 126. Moore 2016, pp. 201–202. Hegarty & Halliwell 2011, p. 2. Holm-Hudson 2013, pp. 16, 85–87. Holm-Hudson 2013, p. 16. Holm-Hudson 2013, pp. 85–87. Cotner 2000, p. 93. Willis 2014, pp. 204, 219. Willis 2014, p. 219. Romano 2010, p. 24. Holm-Hudson 2013, p. 85. Prown & Newquist 1997, p. 78. Philo 2014, p. 119. Moore 2016, p. 201. Moore 2016, pp. 199–200. Hegarty & Halliwell 2011, p. 11. Everett 1999, p. 95. Martin 1998, p. 47. Tamm 1995, p. 29. Leas, Ryan (5 August 2016). "Tomorrow Never Knows: How 1966's Trilogy Of Pet Sounds, Blonde On Blonde, And Revolver Changed Everything". Stereogum. Retrieved 15 February 2017. Martin 1998, p. 53. Cotner 2001, p. 30. Curtis 1987, p. 156-7. Curtis 1987, p. 179. Jackson, Andrew Grant (2015). 1965: The Most Revolutionary Year in Music. Thomas Dunne Books. pp. 64–65. ISBN 978-1-250-05962-8. Martin 1996, p. 4. Hegarty & Halliwell 2011, pp. 54–55. Sweers 2004, p. 72,204. Martin 1998, p. 39. Macan 1997, p. 15,20. Martin 1998, pp. 39–40. Covach 1997, p. 3. Boone 1997, pp. 41–46. Interrante, Scott (20 May 2015). "The 12 Best Brian Wilson Songs". Popmatters. Martin 1998, p. 40. Holm-Hudson 2008, p. 10. Pirenne 2005. Sweers 2004, p. 120. Weigel 2012b. Bruford 2012, p. 159. Zoppo 2014, p. [page needed]. Anon (n.d.). "Prog-Rock". AllMusic. Sweers 2004, p. 114–15. O'Brien 1999. Miles 1999. Sweers 2004, p. 119. Martin 1998, pp. 164–65. Hogg 1994. Fowles, Paul; Wade, Graham (2012). Concise History of Rock Music. Mel Bay Publications. p. 125. ISBN 978-1-61911-016-8. Macan 1997, pp. 21–22. Martin 1998, pp. 163–164. Macan 1997, p. 20. Martin 1998, p. 168. Macan 1997, p. 23. Macan 1997, p. 26. Bowman 2001, p. 184. Macan 1997, pp. 22–23. Macan 2005, p. 75. Priore 2005, p. 79. Macan 1997, p. 27. Macan 1997, p. 28. Cleveland 2005. Whiteley, Sheila. The Space Between the Notes: Rock and the Counter-Culture. London: Routledge, 1992 Friedlander 1998, p. 245. DeRogatis, Jim. "The Curse of 'Tubular Bells'." Chicago Sun-Times. Sun-Times News Group. 28 February 1993. HighBeam Research. Accessed 27 May 2013 [1](subscription required) Archived 31 March 2002 at the Wayback Machine Macan 1997, p. 185-6. Pirenne, Christophe. "The Role of Radio, 33 Records and Technologies in the Growth of Progressive Rock." Proceedings of the International Conference "Composition and Experimentation in British Rock 1966–1976" 2005. Accessed 27 June 2013. [2] Curtis 1987, p. 296-7. Kava, Brad. "Progressive rock's Yes: band of a thousand chances." San Jose Mercury News (San Jose, CA). McClatchy-Tribune Information Services. 15 July 2002. HighBeam Research. Accessed 24 May 2013 [3](subscription required) Archived 31 March 2002 at the Wayback Machine Curtis 1987, p. 286. Macan 1997, p. 186. Globe Staff. "Second Time's the Charm for Dregs." The Boston Globe. 21 February 1992. "Captain Beyond – Biography & History – AllMusic". AllMusic. Retrieved 15 June 2017. "Return to Forever – Biography & History – AllMusic". AllMusic. Retrieved 15 June 2017. "Frank Zappa – Biography, Albums, Streaming Links – AllMusic". AllMusic. Retrieved 15 June 2017. Martin 1998, pp. 154–55. Spicer, Mark. "Genesis's Foxtrot." Proceedings of the International Conference "Composition and Experimentation in British Rock 1966–1976" 2005. Accessed 3 July 2013. [4] Macan 1997, pp. 183–84. Macan 1997, p. 267. Macan 1997, p. 184. Sarig 1998, p. 123. Hegarty & Halliwell 2011, pp. 10, 152. Lucky 2000, p. 22. Martin 2002, p. 82. Martin 2002, p. 78. Martin 2002, p. 115. Martin 2002, pp. 108–110. Hegarty & Halliwell 2011, p. 177. Macan 1997, p. 179. Macan 1997, pp. 187–188. Macan 1997, pp. 181–183. Macan 1997, p. 206. Moore 2016, p. 202. Martin 1996, p. 188. DeRogatis, Jim. "Everything You Ever Wanted to Know About the Prog-Rock Underground (But Were Afraid to Ask)." 1998. Accessed 23 June 2013. [5] Macan 1997, p. 183. Blackett, Matt. "Uli Jon Roth." Guitar Player. NewBay Media LLC. Apr 2001. Gress, Jesse. "10 things you gotta do to play like Uli Jon Roth." Guitar Player. NewBay Media LLC. Jun 2007. Gress, Jesse. "Van Halen lesson: how Eddie rewrote the rock guitar rule book". Guitar Player. NewBay Media LLC. May 1993. Miers, Jeff. "Rowdy choice; Van Halen's rise to Rock Hall a breakthrough". The Buffalo News (Buffalo, NY). Dialog LLC. 12 January 2007. HighBeam Research. Accessed 7 June 2013 [6](subscription required) Archived 31 March 2002 at the Wayback Machine Hegarty & Halliwell 2011, p. 182. Hegarty & Halliwell 2011, pp. 181–182. Cateforis 2011, pp. 154–159. Hegarty & Halliwell 2011, p. 174. Macan 1997, p. 188. Anonymous. "The Mag: Play: The Final Cut (EMI) Pink Floyd. (Features)". Sunday Mercury (Birmingham, England). MGN Ltd. 4 April 2004. HighBeam Research. Accessed 4 July 2013 [7](subscription required) Archived 31 March 2002 at the Wayback Machine Smith, Tierney. "Whatever Happened to Pink Floyd? The Strange Case of Waters and Gilmour". Goldmine. Krause Publications. Apr 2011. HighBeam Research. Accessed 4 July 2013 [8](subscription required) Archived 31 March 2002 at the Wayback Machine Macan 1997, p. 195. Harrington, Richard. "Pink Floyd, By Any Name; Minus a Longtime Leader, The Band Stays the Course". The Washington Post. Washingtonpost Newsweek Interactive. 19 October 1987. HighBeam Research. Accessed 4 Jul 013 [9](subscription required) Archived 31 March 2002 at the Wayback Machine Graves, Tom. "Pink Floyd: The Division Bell". Rolling Stone. 16 June 1994. Accessed 4 July 2013. [10] Wyman, Bill. "The four phases of Pink Floyd". The Chicago Reader. 14 January 1988. Accessed 4 July 2013. [11] Martin 1996, pp. 189–190. Boros, Chris. "Peter Hammill: Prog Rock's Unsung Hero." NPR. 6 November 2008. Accessed 23 June 2013. [12] Lydon, John. Interviewed by Will Hodgkinson. "John Lydon: Soundtrack of my Life." The Guardian. 31 October 2009. Accessed 23 June 2013. [13] Sean Michaels. "John Lydon: I don't hate Pink Floyd". the Guardian. Tamm 1995, p. 30. Greene 2014, p. 173. Bannister 2007, pp. 36–37. Rojek 2011, p. 28. Tommy Udo (September 2006). "Did Punk kill prog?". Classic Rock. 97. Morgan, Frances. "The power of pop." New Statesman (1996). New Statesman Ltd. 10 September 2007. HighBeam Research. 13 May 2013 [14](subscription required) Archived 31 March 2002 at the Wayback Machine Hegarty & Halliwell 2011, p. 225. Martin 1998, p. 20. Martin 1998, p. 251. Martin 2002, p. 99. Macan 1997, p. 205. Hegarty & Halliwell 2011, p. 199. Ewing, Jerry. "Pathways." Classic Rock Presents Prog. 17 March 2010. p.61 Hegarty & Halliwell 2011, pp. 183–186. Petridis, Alexis (22 July 2010). "Go back to go forward: the resurgence of prog rock". The Guardian. London. Retrieved 9 November 2016. Macan 1997, p. 198. Macan 1997, pp. 200–01. Clark 2012. John Covach; Graeme M. Boone, eds. (1997). Understanding Rock: Essays in Musical Analysis. Oxford University Press. p. 6. ISBN 978-0195100051. Romano, Will (2010). Mountains Come Out of the Sky: The Illustrated History of Prog Rock. Backbeat Books. ISBN 978-0879309916. Retrieved 5 March 2016. Hegarty & Halliwell 2011, pp. 187–188. Blake, Mark (22 March 2017). "Steve Rothery: "People still think Marillion are a Scottish heavy metal band"". Louder. Retrieved 23 August 2019. Rees, Caroline (15 April 2016). "Former Marillion singer Fish: My six best albums". Retrieved 23 August 2019. Hegarty & Halliwell 2011, p. 184. Macan 1997, p. 197. Gill 1995. Hegarty & Halliwell 2011, p. 19. Karnick 2003. Lucky 2000, p. 47,127. Hegarty & Halliwell 2011, p. 200. Hegarty & Halliwell 2011, pp. 259–260. Hegarty & Halliwell 2011, pp. 260–262. Hegarty & Halliwell 2011, p. 264. Hegarty & Halliwell 2011, pp. 264, 266. Hegarty & Halliwell 2011, pp. 266–267. Allen, Jim. "From Tull To Tortoise: Post-Rock's Proggy Past". CMJ New Music. Accessed 20 June 2013. Archived at [15] Archived 3 February 2013 at the Wayback Machine Caramanica, Jon (20 September 2005). "The alchemy of art-world heavy metal". International Herald Tribune. HighBeam Research. Archived from the original on 31 March 2002. Retrieved 20 June 2013. Tudor, Colin. "CULTURE: Between rock and a harder place; The hardcore stops and starts of the Dillinger Escape Plan prove that rock is still evolving." The Birmingham Post (England). MGN Ltd. 9 December 2003. HighBeam Research. Accessed 13 July 2013 [16](subscription required) Archived 31 March 2002 at the Wayback Machine Miers, Jeff. "Dance of Death" (Review). The Buffalo News. 3 October 2003. Accessed 20 June 2013.[17](subscription required) Archived 31 March 2002 at the Wayback Machine Serpick, Evan (9 May 2005), Prog Rocks Again, Entertainment Weekly Sherwin 2012. Fripp 1975. Hegarty & Halliwell 2011, pp. 50–51. Hegarty & Halliwell 2011, p. 50. Covach 2000. Harrell 2012. Weigel 2012e. Rosfest staff 2013. 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Sources Anderson, Ian (2008), BBC Prog Rock Britannia: An Observation in Three Movements (Televised interview), BBC Four Brown, Arthur (2008), BBC Prog Rock Britannia: An Observation in Three Movements (Televised interview), BBC Four Cleveland, Barry (March 2005), "Prog Rock", Guitar Player, NewBay Media LLC Clark, William (25 August 2012), Ian Crichton Talks About Saga, Guitars, Throwing Shapes and 20/20,, archived from the original on 26 April 2013, retrieved 6 June 2013 Fripp, Robert (1975), The Young Person's Guide to King Crimson (LP liner notes), EG Records, Ltd Gill, Chris (April 1995), "Prog gnosis: a new generation exhumes the list wisdom of the '70s", Guitar Player Harrell, Jim (2012),,, retrieved 28 May 2013 Hogg, Brian (November 1994), "1-2-3 and the Birth of Prog", Mojo, BBC/Guinness Publishing O'Brien, Lucy (1999), Sounds of the Psychedelic Sixties,, archived from the original on 17 August 2014, retrieved 18 June 2013 Bibliography Bannister, Matthew (2007). White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock. Ashgate Publishing, Ltd. ISBN 978-0-7546-8803-7. Boone, edited by John Covach & Graeme M. (1997), Understanding Rock: Essays in Musical Analysis ([Online-Ausg.]. ed.), New York: Oxford University Press, ISBN 0-19-510005-0 Boone, edited by John Covach & Graeme M. (1997), Understanding Rock: Essays in Musical Analysis ([Online-Ausg.]. ed.), New York: Oxford University Press, ISBN 0-19-510005-0 Bowman, Durrell S. (2001), K. Holm-Hudson (ed.), "'Let Them All Make Their Own Music:' Individualism, Rush, and the Progressive/Hard Rock Alloy, 1976–77", Progressive Rock Reconsidered, Taylor & Francis, pp. 183–218 Bruford, Bill (2012), Theo Cateforis (ed.), "Reflections on Progressive Rock", The Rock History Reader, Routledge Cateforis, Theo (2011), Are We Not New Wave? Modern Pop at the Turn of the 1980s, University of Michigan Press, ISBN 978-0-472-11555-6 Cotner, John Sidney (2001), Archetypes of progressiveness in rock, ca. 1966–1973, University of Wisconsin-Madison Cotner, John S. (2000). "Music Theory and Progressive Rock Style Analysis". Reflections on American Music: The Twentieth Century and the New Millennium. Pendragon Press. ISBN 978-1-57647-070-1. Covach, John (1997), John Covach; Graeme M. Boone (eds.), "Progressive Rock, 'Close to the Edge,' and the Boundaries of Style", Understanding Rock: Essays in Musical Analysis, New York: Oxford University Press Curtis, Jim (1987), Rock Eras: Interpretations of Music and Society, 1954–1984, Bowling Green, OH: Bowling Green State University Popular Press Everett, Walter (1999). The Beatles as Musicians: Revolver Through the Anthology. New York, NY: Oxford University Press. ISBN 0-19-512941-5. Friedlander, Paul (1998), Rock and Roll: A Social History, Boulder, CO: Westview Press Haworth, John Trevor; Smith, Michael A. (1975). Work and Leisure: An Interdisciplinary Study in Theory, Education and Planning. Lepus Books. Hegarty, Paul; Halliwell, Martin (2011), Beyond and Before: Progressive Rock Since the 1960s, New York: The Continuum International Publishing Group, ISBN 978-0-8264-2332-0 Holm-Hudson, Kevin (2008). Genesis and The Lamb Lies Down on Broadway. Ashgate. ISBN 978-0-7546-6139-9. Holm-Hudson, Kevin, ed. (2013). Progressive Rock Reconsidered. Routledge. ISBN 978-1-135-71022-4. Lucky, Jerry (2000), Progressive Rock, Burlington, Ontario: Collector's Guide Publishing, Inc. Macan, Edward (1997), Rocking the Classics: English Progressive Rock and the Counterculture, Oxford: Oxford University Press, ISBN 0-19-509887-0 Martin, Bill (1996), Music of Yes: Structure and Vision in Progressive Rock, Chicago: Open Court Martin, Bill (1998), Listening to the Future: The Time of Progressive Rock, Chicago: Open Court, ISBN 0-8126-9368-X Martin, Bill (2002), Avant Rock: Experimental Music from the Beatles to Bjork, Chicago: Open Court Maske, Dan (2007), Progressive Rock Keyboard, Milwaukee, WI: Hal Leonard Corporation Moore, Allan (2004). Jethro Tull's Aqualung. Bloomsbury Publishing. ISBN 978-1-4411-1315-3. Moore, Allan F. (2016). Song Means: Analysing and Interpreting Recorded Popular Song. Routledge. ISBN 978-1-317-05265-4.* Sarig, Roni (1998), The Secret History of Rock: The Most Influential Bands You\'ve Never Heard, Crown Publishing Group Philo, Simon (2014). British Invasion: The Crosscurrents of Musical Influence. Rowman & Littlefield Publishers. ISBN 978-0-8108-8627-8. Prendergast, Mark (2003). The Ambient Century: From Mahler to Moby – The Evolution of Sound in the Electronic Age. New York, NY: Bloomsbury. ISBN 1-58234-323-3. Priore, Domenic (2005). Smile: The Story of Brian Wilson's Lost Masterpiece. London: Sanctuary. ISBN 1860746276. Prown, Pete; Newquist, Harvey P. (1997). Legends of Rock Guitar: The Essential Reference of Rock's Greatest Guitarists. Hal Leonard Corporation. ISBN 978-0-7935-4042-6. Robinson, Emily (2017). The Language of Progressive Politics in Modern Britain. Palgrave Macmillan UK. ISBN 978-1-137-50664-1. Rojek, Chris (2011). Pop Music, Pop Culture. Polity. ISBN 978-0-7456-4263-5. Romano, Will (2010). Mountains Come Out of the Sky: The Illustrated History of Prog Rock. Milwaukee, WI: Backbeat Books. p. 17. ISBN 978-0-87930-991-6. Sweers, Britta (2004), Electric Folk: The Changing Face of English Traditional Music, New York: Oxford University Press Tamm, Eric (1995), Brian Eno: His Music and the Vertical Color of Sound, Da Capo Press, ISBN 0-306-80649-5, archived from the original on 5 December 2006 Willis, Paul E. (2014). Profane Culture. Princeton University Press. ISBN 978-1-4008-6514-7. Zoppo, Donato (2014). Prog: Una suite lunga mezzo secolo (in Italian). Arcana. ISBN 978-88-6231-639-2. Further reading Library resources about Progressive rock Resources in your library Resources in other libraries Lucky, Jerry. The Progressive Rock Files. Burlington, Ontario: Collector's Guide Publishing, Inc (1998), 304 pages, ISBN 1-896522-10-6 (paperback). Gives an overview of progressive rock's history as well as histories of the major and underground bands in the genre. Lucky, Jerry. The Progressive Rock Handbook. Burlington, Ontario: Collector's Guide Publishing, Inc. (2008), 352 pages, ISBN 978-1-894959-76-6 (paperback). Reviews hundreds of progressive rock bands and lists their recordings. Also provides an updated overview, similar to The Progressive Rock Files. Snider, Charles. The Strawberry Bricks Guide To Progressive Rock. Chicago, Ill.: Lulu Publishing (2008) 364 pages, ISBN 978-0-615-17566-9 (paperback). A veritable record guide to progressive rock, with band histories, musical synopses and critical commentary, all presented in the historical context of a timeline. Stump, Paul. The Music's All That Matters: A History of Progressive Rock. London: Quartet Books Limited (1997), 384 pages, ISBN 0-7043-8036-6 (paperback). Smart telling of the history of progressive rock focusing on English bands with some discussion of American and European groups. Takes you from the beginning to the early 1990s. Weingarten, Marc. Yes Is The Answer: (And Other Prog-Rock Tales). Barnacle Book/Rare Bird Books (2013), 280 pages, ISBN 978-0-9854902-0-1. Defense of the genre. v t e Rock music v t e Progressive music v t e Jazz v t e Folk music v t e Classical music v t e Electronic rock Authority control GND: 4275757-5 LCCN: sh95010319 NKC: ph756572 Categories: Progressive rock British rock music genres British styles of music Progressive music genres Navigation menu Not logged in Talk Contributions Create account Log in Article Talk Read Edit View history Search Main page Contents Featured content Current events Random article Donate to Wikipedia Wikipedia store Interaction Help About Wikipedia Community portal Recent changes Contact page Tools What links here Related changes Upload file Special pages Permanent link Page information Wikidata item Cite this page In other projects Wikimedia Commons Print/export Create a book Download as PDF Printable version Languages Dansk Deutsch Español Français Hrvatski Italiano Nederlands Русский Türkçe Edit links This page was last edited on 6 November 2019, at 20:31 (UTC). 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