Prog Rock in the New Millennium

Robert Christgau made a call for papers over at the National Arts Journalism Program blog concerning Euro-centric musical ideas in music of the new millennium. I couldn't think of anything to recommend, but I did add my two cents in the comments section. Since I haven't contributed to my blog in a while, I thought I'd repost it here:

Dean Christgau,

I wish I had an article to recommend to you; I'll have to keep looking. In the meantime, I certainly have a lot of ideas about this style of music. I read a recent article unpacking Theodor Adorno's analysis of form and narrative cohesiveness in Webern's Op. 11 that is extremely relevant to bands like Battles and the Mars Volta (the article is: Julian Johnson, "The Nature of Abstraction: Analysis and the Webern Myth"). Basically, like Webern in his Op. 11, these bands rely on our understanding of traditional song form (or in Webern's case, sonata form, which is a lot like contemporary song form) to "surprise" us with their tricky song structures and avoidance of conventional (musical) thematic material. I worry that without these culturally-shared musical expectations, and the surprise factor of avoiding them, that their songs don't make a whole lot of sense (esp. the Mars Volta).

In contrast, I feel that most seventies prog rock aimed to lengthen or expand traditional song structure, either with solos or just by adding more themes or sections that are related to how ideas are expressed in traditional song form (for example, Yes or Genesis). These newer prog bands, however, sound to me like they want to disfigure traditional song form, so that their commentary on traditional song forms and themes is recognizable, but the aural result is a grotesque alteration of these traditions. I guess this is meant to prove how clever they are. In Adorno's terms, they are forcing structural ideas onto their music, rather than letting the material grow out of the music itself to produce a more satisfying "truth content." (He uses Stravinsky and Schoenberg, respectively, as his examples in Philosophy of the New Music.) That's vague, I know, but there are plenty of books explaining Adorno: I'm glad I don't have to write one. (Have you read Adorno? Though he's a classical music guy through and through, you have a lot in common with him Mr. Christgau.)

Perhaps Radiohead's use of form and thematic content relates to both the seventies and the new millennial categories of prog rock, perhaps with OK Computer and In Rainbows, respectively. (I would argue that Kid A uses song form that comes out of the musical material, and is thus more successful.) I'd have to listen back to all of this to see if I'm on to something, but at least this may start a conversation somewhere. In the meantime, I'll listen to the new Randy Newman or maybe Los Campesinos! instead, who actually create new song forms to organize their original thematic material that doesn't sound forced or exhibitionist. (Oh, and Jaguar Love--thanks for that one Dean.) I have to add that Newman's alteration of blues form in the song "Harps and Angels" is just completely masterful.

As for the Arcade Fire, at least on Neon Bible, they use extremely simple song form and traditional thematic material underneath their orchestral arrangements. The orchestral textures may sound complex, but they are just decoration over a thoroughly conventional harmonic and melodic framework. Perhaps that's why it's so cohesive and powerful. I can't sit through Funeral, so I can only vouch for Neon Bible. I hope this throws some ideas out there for someone who is not procrastinating their school work due this afternoon, and can take up the baton and run with it. Any takers?