You can’t go very long in a conversation about art pop before the name ‘Björk‘ springs up. Whilst progressive rock fans look more towards Kate Bush as the heralding maiden of the genre, it would be greatly amiss not to appreciate Björk‘s contributions to experimentation, artistic expression and technological innovation in pop music over the past few decades.
From the youthful energy in Debut‘s electropop to Vespertine’s sensual microbeats and from Medúlla‘s primal a capella to Vulnicura‘s emotionally-devastating string section, there is very little in Björk‘s solo discography that hasn’t experimented with a wide variety of styles, instrumentation and themes. Cue Utopia – Björk‘s latest album that explores the use of woodwind instrumentation and, quite unsurprisingly, circles the theme of paradise.
Those of you who know me personally know how much I anticipate each Björk release, so what did I think about it now that it’s released? More importantly, what did you think about it? Leave your thoughts in the comments section below the review, but without further ado – let’s talk Björk:
Independent Bandcamp artists – they can be quite the unassuming species, can’t they? Amongst the layers of aspiring lo-fi bedroom artists; waves of opportunists jumping on the vaporwave memewagon and a scattering of experimental oddities, there is gold to be panned.
Vancouver-based artist Glaswegians is one of those rarities, with 2017’s Severance being better than an underground independent release has any right to be. Severance is 65 minutes of progressive, folk and post-rock excellence that puts most professional artists’ work from this year to shame.
Boston-based art rock act Bent Knee have been about since their 2011 self-titled release, and on the playlists of almost every Prog Talk admin since their explosive 2014 sophomore release in Shiny Eyed Babies and the excellent Say So from last year.
The band has gained a reputation for pushing the boundaries of pop, rock and the avant-garde simultaneously, and many here at Prog Talk would gladly label them the most exciting upcoming act of the 2010s.
That said, does their most recent release, Land Animal, live up to our notably high expectations? Are we asking too much of the band? Will Leth, Cerpin and Symphony make it to the 21st Century? Find out the answer to all of these questions on this upcoming episode of… “Roundabout“!
As ever, we’d like to remind you that our Roundabouts are compilations of each Prog Talk admin’s individual and subjective opinions. While we may or may not have expressed our thoughts on the album in private beforehand, we do not collude while writing our reviews. So without further ado, let’s talk progressive art rock.
While we at Prog Talk love talking about all the new progressive acts hitting the music scene, sometimes it’s great to simply revisit the classics. As such we’re starting a new segment dedicated to precisely that; where all interested admins will discuss the albums and artists who have shaped prog history.
To kick it off with a bang, we have an album which many would argue to be the most iconic prog rock album of all time. It’s time to dive into Yes and their magnum-opus, Close To The Edge.
Let’s face it; this album needs little introduction. Originally released on 13 Sept. 1972, this was Yes’ fifth studio release and quickly became one of the defining works of the progressive rock genre. In this Roundabout, we will be tackling only the three tracks found on the original version of the album.
As per usual, all reviews are written independently to avoid influencing each other. Prog Talk as a collective never has an official view on any album, but the admins each have their own. So if your opinions differ from ours, let us know! So without further ado, let’s talk prog.