Episode 55 – Genres and Prog
On The Big Note I strive to play a good amount of new Australian releases from as many Australian artists across multiple genres as I can, because there’s so much amazing local talent out there. Anyone familiar with the show knows that I also discuss topics related to music that I hope are as interesting to my listeners as they are to me. In the past I have mixed new songs and subject matter haphazardly and have wondered if that might be a bit confusing at times, as often the musical themes or subject matters being discussed don’t always correlate with some of the music played. So I’m introducing a new format of playing new releases for approximately half of the show and discussing topics, with related and hopefully relevant music in the other half. Please let me know if this works for you or otherwise. Thanks to Simon Rigoni of Two Inch Tape for reminding me of this idea when we caught up a couple of weeks ago. Todays topic: **The Problem with Genre Definitions and Prog** There’s a problem with any given genre definition and the problem with talking about genres—and not just musical genres, but literary, cinematic, whatever—is that these things we’re talking about, trying to categorise and pigeon-hole are not really concrete things with discrete lines between them. Genres are simply a way of describing families of styles and a way of grouping creatives together in a way that makes sense.For better or worse our brains like to sort things into this, that or the other. But like so many things our brains like to do, the actuality of the world outside of our perceptions is a bit more complex. For example, where is the line between blues rock and blues, and hard rock and heavy metal? There is no real answer to that, and that’s alright because as with a lot of world views, beliefs and/or opinions every individual has different perceptions of the universe. Today we focus on the genre of “Prog (Progressive) Rock” (Part 1, no doubt) Episode Image: Cover Art for King Crimson’s 1969 album “In The Court of the Crimson King” by Barry Godber.
Let It Go by Kat Greta
Good Vibes by Cassidy Rae
Glasshouse by Legs Electric
The Deluge by Fanning Dempsey National Park
North Winds by RAMARIA
The Great Australian Silence (G.A.S.) by the Beatnik Preachers
Underground by Abbie Cardwell
Collide by Room 51
Falling In Place by Frostbite
Gondi by King Gizzard and The Lizard Wizard from Changes
Essay In Paranoia by Spectrum/Indelible Murtceps from Testimonial
Who Are The Brain Police? by Frank Zappa & The Mothers Of Invention from Freak Out
I’ve Seen All Good People by Yes from The Yes Album
Time To Kill by Gentle Giant from Free Hand
The Boat I Row by Tame Impala