Word: prog
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Dates: during 2000-2009
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...requires music of a similar scale to prop it up. For Muse, that means crunching guitar riffs and driving base lines overlaid with Matt Bellamy’s operatic, choirboy-gone-bad falsetto. When all these elements come together, Muse songs can be sublime slices of ominous, oddly euphoric prog rock; when they don’t, the songs veer quickly into the realm of the absurd. Through four albums of material, Muse’s releases have generally tended towards the former. “Black Holes and Revelations,” realeased in 2006, finally earned them popularity...
...completely in charge of his craft.Though Pollard is indisputably the leader of the group, Boston Spaceships has clearly become a very tight band. John Moen (The Decemberists) on drums and Chris Slusarenko (Guided by Voices) on bass help build the swirling melodies that sometimes lean towards shoegaze or even prog-rock, but they always revert back to straight ahead hooks and riffs. “Headache Revolution” is a particularly strong example of this. Beginning as a straight-ahead rocker, by the chorus the instruments are vying for supremacy as Pollard sings the track title over and over...
...Chinese Democracy,” Guns N’ Roses imitate every conceivable style of rock, sounding more like a bad tribute band than the rock messiahs they were once heralded as. Rose whines all over “Riad n’ the Bedouins,” a prog screed that Yes forgot to record; “Better,” the album’s second single, sounds like a Styx track with extra bleating; “Catcher in the Rye” is a bad cover of a lost Dispatch tune; and Slayer would have...
N.E.R.D. Seeing Sounds; out June 10 This duo still gets off on being as weird as it can be, which on the chop-suey soul-metal-prog Spaz and Everyone Nose is pretty damn weird. Even its worst experiments aren't the least bit predictable, which almost absolves Pharrell Williams of his inability to come up with anything to say beyond--and we're paraphrasing--Sex is nice...
...holds off until just past the halfway mark, then cuts loose in a crash of screaming, cymbals, piano, and spastic classic rock guitar. Likewise, both “The State” and “Plaza of Trinidad” manage to merge country tinges, bluesy undertones, and prog-rock guitar, but both explode halfway through (with organs and screaming, respectively).When not engaging in their usual dramatics, Destroyer does well just being pretty. Opening track “Blue Flower/Blue Flame” sticks firmly to strummy acoustic guitar. Piano and lazy steel guitar eventually drift...