Was Anglagard the reason why Prog rock rebirth?

^ thanks Ivan. Recommendations always welcome

I thought symphonic prog was just a sub genre of prog? Anyway if the discussion is just about symph prog then I will challenge anyone to listen to Par Lindh's 'Veni Vidi Vici' and then specify which seventies prog albums he is plundering.Please.

Epignosis wrote: WalterDigsTunes wrote: Epignosis wrote: WalterDigsTunes wrote: Your inability to present yourself as an element of the pre-89 era in proper album form merely underscores your scorn for the Golden Age of Music. And oh God how I scorn it!  'Night Walter.  Have a good one and remember: Say "NO!" to new music. Already have a good one.  Just need a longer one.

Take some pills, then. That's a fine way of getting additional sleep.

WalterDigsTunes wrote: Epignosis wrote: WalterDigsTunes wrote: Your inability to present yourself as an element of the pre-89 era in proper album form merely underscores your scorn for the Golden Age of Music. And oh God how I scorn it!  'Night Walter.  Have a good one and remember: Say "NO!" to new music.

Already have a good one.  Just need a longer one. 

Oh Walter

Your inability to present yourself as an element of the pre-89 era in proper album form merely underscores your scorn for the Golden Age of Music.

See? That's the churlish attitude of a remorseless thief of the post-89 persuasion. The works of him and his ilk should be excised from the annals of human existence.

Ivan_Melgar_M wrote: WalterDigsTunes wrote: However, originality in the post-89 context is non-existent and absolutely impossible. Its all a rehash of previous greatness.  Why impossible? If it was possible for Bach to make original Baroque music 200 years after Monteverdi, then is possible for any good artist to make original Symphonic music after 10, 20, or 50  years. Genres used to last centuries, why do we insist in the idea that Symphonic Prog only lasted 10 years? Iván

A style, an approach and an aesthetic are all the product of their time. The 70s produced excellent symphonic music, and superb bands latched onto the possibilities during this period of time. Latecomers in the post-89 era operate in an era without ideas, without originality. These johnny-come-latelies artificially replicate the ethos of another age. Their false productions are inherently derivative and inferior to the original pieces. Divorced from its proper context, the musical approach they seek to replicate is a weak aberration sustained by the bankrupt ethics of the post-89 age. Every time you support a post-89 "artist" you are endorsing theft and the disenfranchisement of a pre-89 hero.

Genres don't last centuries. The 20th century is littered with fleeting movements and styles that encompass short time spans of a decade or less. Symphonic prog had its moment. Let's enjoy the fruits of that era rather than consume the poisonous errors of post-89 thieves.

ExittheLemming wrote: WalterDigsTunes wrote: ExittheLemming wrote: It seems absurd to cite the advent of digital technology in the 80's as the last credible innovation in music. We're talking about SAMPLING here hello? i.e. the means to copy any audio source and splice same into your own music. Digital sampling should have represented a fantastic creative tool for musicians but it ended up as a lazy substitute for a lack of original ideas and that pretty much sums up the output of the 'magpie decade' in my book. Even something as dodgy as plagiarism has a hierarchy: to copy something verbatim and pass of as your own creation you can use a digital sampler - the other type of sampler is the one that exists between your ears and you actually have to understand music to replicate what you hear using one of those. Now that everything can be copied, what's original? Except for the works of innovators who happen to operate in the initial moments of digital sampling, the idea quickly becomes a cliche. Sampling is the logical endpoint for innovation, and this occurs in the late 80s. The 80s is the last moment in which originality is allowed to even exist. Plagiarists have been able to copy since before there was even electricity, it's just that digital technology made it considerably easier. Your post reads like something the late Kathy Acker would have written i.e. one of those post-modernist dismissals where plagiarism is considered an acceptable artistic device with it's apologists citing 'irony' as their muse. Following your logic here, the advent of the camera in the 19th Century would have forestalled Cubism, Fauvism, Futurism, Expressionism and Surrealism? That's bollocks ain't it?

I can't stand post-modern ideas.  I stand by the modernist notions of progress and originality. However, originality in the post-89 context is non-existent and absolutely impossible. Its all a rehash of previous greatness. Sampling, in the 80s, is novel and innovative. However, in the post-89 era its novelty wears out.and becomes a standard element in music. Stealing and recontextualizing becomes old hat, another banality in an age without ideas.

ExittheLemming wrote: It seems absurd to cite the advent of digital technology in the 80's as the last credible innovation in music. We're talking about SAMPLING here hello? i.e. the means to copy any audio source and splice same into your own music. Digital sampling should have represented a fantastic creative tool for musicians but it ended up as a lazy substitute for a lack of original ideas and that pretty much sums up the output of the 'magpie decade' in my book. Even something as dodgy as plagiarism has a hierarchy: to copy something verbatim and pass of as your own creation you can use a digital sampler - the other type of sampler is the one that exists between your ears and you actually have to understand music to replicate what you hear using one of those.

Now that everything can be copied, what's original? Except for the works of innovators who happen to operate in the initial moments of digital sampling, the idea quickly becomes a cliche. Sampling is the logical endpoint for innovation, and this occurs in the late 80s. The 80s is the last moment in which originality is allowed to even exist.


Edited by WalterDigsTunes - November 04 2010 at 22:37