| Neo-progressive rock | |
|---|---|
| Stylistic origins | Progressive rock, Psychedelic rock, Art rock, New Wave, Hard rock |
| Cultural origins | Late 1970s to early 1980s, England |
| Typical instruments | Guitar - Bass - Keyboards - Drums - And other acoustic and electronic instruments |
| Mainstream popularity | 1980s with only Marillion gaining mainstream success, minor popularity in the 1990s |
Neo-progressive rock (or often shortened to neo-prog, not to be confused with the significantly more modern new prog) is a sub-genre of progressive rock, developed in the UK and popular in the 1980s, although it lives on today.[1][2]
Neo-progressive rock is characterized by deeply emotional content, often delivered via dramatic lyrics and a generous use of imagery and theatricality on-stage. The music is mostly the product of careful composition, relying less heavily on improvised jamming. The subgenre relies very much on clean, melodic & emotional electric guitar solos, combined with keyboards. The main musical influences on the neo-prog genre are Genesis, Yes, Camel, and Pink Floyd.[3]
Early neo-prog was marked by sophisticated lyrics and often dark themes. While the accessibility of neo-prog by the mainstream is debatable, the form did generally seem more radio-friendly, with shorter tracks, than earlier progressive rock. Nonetheless, neo-prog never achieved the heights of popular success that bands like Pink Floyd did.[4]
The early notable neo-prog albums included Fact and Fiction (1982) by Twelfth Night, Script for a Jester's Tear (1983) by Marillion, The Wake (1985) by IQ, and The Sentinel (1984) by Pallas.
In the book "The Progressive Rock Files", author Jerry Lucky dedicates a chapter on Neo-progressive rock with the title "A Neo Beginning!", stating that this sub-genre "surfaced in late 1981, bearing testimony to the lasting values of this musical form" of progressive rock, but distinguishing it from this main genre by going on to say that "Sure the sound was a bit different ... a little more bite, a little more eighties".
Later in the same book, Jerry Lucky suggested that this sub-genre of Progressive Rock peaked in the mid-1980s: "As 1984 dawned all of the British neo-progressive rock bands release material. Marillion's second Fugazi, Pallas' The Sentinel, Pendragon's Fly High Fall Far, Twelfth Night's Art and Illusion, Solstice's Silent Dance, Quasar's Fire in the Sky and plenty of others including records from Haze Ce'st La Vie, Craft, Mach One Lost For Words, BJH Victims of Circumstance, The Enid The Spell, and others".
Marillion is almost certainly the most popular neo-prog band, peaking in popularity with their albums Misplaced Childhood (1985) and Clutching at Straws (1987). Following this peak, neo-prog declined as a mainstream genre, although these three pioneering bands are still active as of 2009[update], and several newer groups have worked in the same space in the 1990s and 2000s.
By some fans of progressive rock, neo-prog is criticised for lacking originality compared to other progressive rock - even by such artists as Robert John Godfrey of The Enid,[5] whose own band has sometimes been promoted by neo-prog fans.
Despite criticisms, neo-prog still draws a significant fan base and albums are consistently released. One of the biggest labels for neo prog is InsideOut Music.[6] According to the Progressive Archives website,[7] the most popular neo prog artists are Marillion, IQ, Arena and Pendragon. News about neo progressive rock bands is given regularly on The Dutch Progressive Rock website.[8]