Progressive music isn’t really known for being the friendliest genre. Since this is supposed to build on what modern music can do, you can’t really blame people for not getting into something that doesn’t fit within the normal bounds of pop or rock music. If an artist has that certain spice, they may manage to find their way into your heart regardless.
As prog has made different twists over time, there have been artists who are ready to turn the genre into something that can be much more accessible for what your average rock fan might listen to. Instead of your traditional time signature shifts left and right and songs that go on for minutes, these are the kind of progressive records that appeal to mainstream audiences, with songs that work just as well on the radio as on the radio. do for the seasoned prog boss looking to dissect the inner workings of melody.
Admittedly, these records aren’t necessarily a walk in the park for fair-weather rock fans either. These are the kind of records that might require a bit of homework before you really let it all sink in. If school has taught us anything, it’s that doing your homework helps you grow as a person.
The biggest hurdle that comes with progressive rock is how much you have to take in at once. When you have something that’s really meticulous from note to note, it’s going to become a whole lot of mush when you try to bring it to stadiums all over the world. If you want to play prog in arenas, you make music that sounds great outside of arenas.
Admittedly, it’s not as if Muse are necessarily the most prog-centric band these days. Going further down the rabbit hole with different arena rock and electronic rock tracks, they have certainly carved out a place for themselves. When they first arrived on the scene in the 2000s, Black Holes and Revelations are where it all came together, creating songs that Queen would have done if they had somehow gone one way. even more artistic than before.
From song to song, it’s almost like you’re having a completely different experience each time, like the power ballad Starlight set right next to the dance funk of Supermassive Black Hole. Muse definitely had the stadium crowd in mind here too, and songs like Assassin and Invincible have riffs that seemed designed to be played only through the huge speakers you see in the likes of Wembley Stadium. Compared to other garage rock bands of the time, it was more than just a rock album. It was a real rock opera from outer space.