Progressive electronic is a subgenre of electronic music that emerged in the late 1960s and early 1970s. The style grew out of the Berlin and Düsseldorf School…
| Progressive electronic | |
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| Stylistic origins | |
| Cultural origins | Late 1960s – Early 1970s, Berlin, Germany |
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Progressive electronic is a subgenre of electronic music that emerged in the late 1960s and early 1970s. The style grew out of the Berlin and Düsseldorf School of electronic music associated with Germany's krautrock and kosmische musik scene. Though it has roots in the minimalist music of Terry Riley and Philip Glass
The style influenced the development of ambient and new age music. In the 1990s, the style was influential to the lowercase movement whose spearheading artists were referred to as "progressive electronica". In the 2000s, musicians associated with the post-noise and neo-kosmische trend drew influences from progressive electronic artists.
According to Allmusic, "rather than sampling or synthesizing acoustic sounds to electronically replicate them" producers of this music "tend to mutate the original timbres, sometimes to an unrecognizable state". Allmusic also states that "true artists in the genre also create their own sounds".[1]
Defined by AllMusic as a subgenre of new age music, and a style that "thrives in more unfamiliar territory" where the results are "often dictated by the technology itself".
Tangerine Dream's 1974 album Phaedra, recorded with a Moog sequencer, was described as "an early masterpiece of progressive electronic music" by Rolling Stone.[2] In house music, a desire to define precise stylistic strands and taste markets saw the interposition of prefixes like "progressive", "tribal", and "intelligent". According to disc jockey and producer Carl Craig, the term "progressive" was used in Detroit in the early 1980s in reference to Italian disco. The music was dubbed "progressive" because it drew upon the influence of Giorgio Moroder's Euro disco rather than the disco inspired by the symphonic Philadelphia sound.[3] By 1993, progressive house and trance music had emerged in dance clubs.[4] "Progressive house" was an English style of house distinguished by long tracks, big riffs, mild dub inflections, and multitiered percussion. According to Simon Reynolds, the "'progressive' seemed to signify not just its anti-cheese, nongirly credentials, but its severing of house's roots from gay black disco".[5]
In the mid-1990s, the lowercase movement, a reductive approach towards new digital technologies, was spearheaded by a number of so-called "progressive electronica" artists.[6]
Reynolds[7] posited in 2013 that "the truly progressive edge in electronic music involves doing things that can't be physically achieved by human beings manipulating instruments in real-time".[7] He criticized terms like "progressive" and "intelligent", arguing that "it's usually a sign that it's gearing up the media game as a prequel to buying into traditional music industry structure of auteur-stars, concept albums, and long-term careers. Above all, it's a sign of impending musical debility, creeping self-importance, and the hemorrhaging away of fun."[8] Reynolds also identifies links between progressive rock and other electronic music genres, and that "many post-rave genres bear an uncanny resemblance to progressive rock: conceptualism, auteur-geniuses, producers making music to impress other producers, [and] showboating virtuosity reborn as the 'science' of programming finesse".[9]
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