Editing Progressive rock (section)

====Post-punk and post-progressive====
{{Main|Post-punk|Post-progressive}}
{{See also|New wave music}}

Punk and progressive rock were not necessarily as opposed as is commonly believed. Both genres reject commercialism, and punk bands did see a need for musical advancement.{{sfn|Martin|1996|pp=189–190}}{{refn|group=nb|[[Sex Pistols]] frontman [[John Lydon|Johnny Rotten]] famously wore a T-shirt that read "I hate Pink Floyd",<ref name="derogatis98"/> but he expressed admiration for Van der Graaf Generator,<ref name="boros">{{cite web |last=Boros |first=Chris |title=Peter Hammill: Prog Rock's Unsung Hero |work=NPR |date=6 November 2008 |access-date=23 June 2013 |url=https://www.npr.org/templates/story/story.php?storyId=96712715 |archive-date=20 October 2013 |archive-url=https://web.archive.org/web/20131020022846/http://www.npr.org/templates/story/story.php?storyId=96712715 |url-status=live }}</ref> Can,<ref name="lydon">{{cite interview |last=Lydon |first=John |interviewer=Will Hodgkinson |title=John Lydon: Soundtrack of my Life |work=The Guardian |date=31 October 2009 |access-date=23 June 2013 |url=https://www.theguardian.com/music/2009/nov/01/sexpistols |archive-date=8 November 2016 |archive-url=https://web.archive.org/web/20161108192349/https://www.theguardian.com/music/2009/nov/01/sexpistols |url-status=live }}</ref> and many years later, Pink Floyd themselves.<ref>{{cite web|url=https://www.theguardian.com/music/2010/feb/18/john-lydon-pink-floyd|title=John Lydon: I don't hate Pink Floyd|author=Sean Michaels|work=the Guardian|date=18 February 2010|access-date=16 December 2016|archive-date=8 November 2016|archive-url=https://web.archive.org/web/20161108192347/https://www.theguardian.com/music/2010/feb/18/john-lydon-pink-floyd|url-status=live}}</ref> [[Brian Eno]] expressed a preference for the approach of the punk and new wave bands in New York, as he found them to be more experimental and less personality-based than the English bands.{{sfn|Tamm|1995|p=30}}}} Author Doyle Green noted that [[post-punk]] emerged as "a kind of 'progressive punk{{' "}}.{{sfn|Greene|2014|p=173}} Post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined rock as "progressive", "art", or "studio perfectionism".{{sfn|Bannister|2007|pp=36–37}} In contrast to punk rock, it balances punk's energy and skepticism with art school consciousness, [[Dadaist]] experimentalism, and atmospheric, ambient soundscapes. [[World music]], especially African and Asian traditions, was also a major influence.{{sfn|Rojek|2011|p=28}}

Progressive rock's impact was felt in the work of some post-punk artists, although they tended not to emulate classical rock or Canterbury groups but rather [[Roxy Music]], King Crimson, and [[krautrock]] bands, particularly Can.<ref name="ClassicRock">{{cite journal|title=Did Punk kill prog?|author=Tommy Udo|date=September 2006|journal=[[Classic Rock (magazine)|Classic Rock]]|volume=97}}</ref>{{verify source|date=August 2016}}{{refn|group=nb|[[Julian Cope]] of [[the Teardrop Explodes]] wrote a history of the krautrock genre, ''[[Krautrocksampler]]''.<ref>{{cite news |last=Morgan |first=Frances |title=The power of pop |work=New Statesman |date=6 September 2007 |url=https://www.newstatesman.com/books/2007/09/cope-japrocksampler-japanese |archive-url=https://web.archive.org/web/20090917185926/https://www.newstatesman.com/books/2007/09/cope-japrocksampler-japanese |archive-date=17 September 2009 |url-status=dead}}</ref>{{importance example|date=August 2023}}}} [[Punishment of Luxury]]'s music borrowed from both progressive and punk rock,<ref>{{cite web |url=https://www.allmusic.com/artist/punishment-of-luxury-mn0000370447 |title=Punishment of Luxury |author=<!--Not stated--> |website=[[AllMusic]] |access-date=20 November 2020 |archive-date=23 October 2015 |archive-url=https://web.archive.org/web/20151023090848/http://www.allmusic.com/artist/punishment-of-luxury-mn0000370447 |url-status=live }}</ref> whilst [[Alternative TV]], who were fronted by the founder of the influential punk fanzine ''[[Sniffin' Glue]]'' [[Mark Perry (musician)|Mark Perry]], toured and released a split live album with [[Gong (band)|Gong]] offshoot [[Here & Now (band)|Here & Now]].<ref>{{cite web |title=Alternative TV |website=[[Trouser Press]] |url=https://trouserpress.com/reviews/alternative-tv/ |access-date=20 November 2020 |archive-date=28 October 2020 |archive-url=https://web.archive.org/web/20201028023826/https://trouserpress.com/reviews/alternative-tv/ |url-status=live }}</ref>

The term "[[post-progressive]]" identifies progressive rock that returns to its original principles while dissociating from 1970s progressive rock styles,{{sfn|Hegarty|Halliwell|2011|p=225}} and may be located after 1978.{{sfn|Martin|1998|p=20}} Martin credits [[Roxy Music]]'s [[Brian Eno]] as the sub-genre's most important catalyst, explaining that his 1973–77 output merged aspects of progressive rock with a prescient notion of new wave and punk.{{sfn|Martin|1998|p=251}} New wave, which surfaced around 1978–79 with some of the same attitudes and aesthetic as punk, was characterised by Martin as "progressive" multiplied by "punk".{{sfn|Martin|2002|p=99}} Bands in the genre tended to be less hostile towards progressive rock than the punks, and there were crossovers, such as Fripp and Eno's involvement with [[Talking Heads]], and Yes' replacement of Rick Wakeman and Jon Anderson with the pop duo [[the Buggles]].{{sfn|Martin|2002|p=99}}

When King Crimson reformed in 1981, they released an album, ''[[Discipline (King Crimson album)|Discipline]]'', which Macan says "inaugurated" the new post-progressive style.{{sfn|Macan|1997|p=205}} The new King Crimson line-up featured guitarist and vocalist [[Adrian Belew]], who also collaborated with Talking Heads, playing live with the band and featuring on their 1980 album ''[[Remain in Light]]''.<ref>{{cite web |url=https://ultimateclassicrock.com/king-crimson-discipline-album/ |title=How King Crimson Were Reborn on New Wave-Influenced "Discipline" |author=<!--Not stated--> |date=22 September 2016 |website=[[Ultimate Classic Rock]] |access-date=20 November 2020 |archive-date=8 November 2020 |archive-url=https://web.archive.org/web/20201108093217/https://ultimateclassicrock.com/king-crimson-discipline-album/ |url-status=live }}</ref><ref>{{cite web |url=https://www.pdxmonthly.com/arts-and-culture/2014/11/adrian-belew-november-2014 |title=What Do David Bowie, Frank Zappa, and the Talking Heads Have in Common? This Man. |last=Schonfeld |first=Matthew |date=4 November 2014 |website=[[Portland Monthly]] |access-date=20 November 2020 |archive-date=28 November 2020 |archive-url=https://web.archive.org/web/20201128160222/https://www.pdxmonthly.com/arts-and-culture/2014/11/adrian-belew-november-2014 |url-status=live }}</ref> According to Martin, Talking Heads also created "a kind of new-wave music that was the perfect synthesis of punk urgency and attitude and progressive-rock sophistication and creativity. A good deal of the more interesting rock since that time is clearly 'post-Talking Heads' music, but this means that it is post-progressive rock as well."{{sfn|Martin|1998|p=251}}