Editing Progressive rock (section)

===1970s–1980s===

==== Peak years (1971–1976) ====
{{See also|Krautrock}}

[[File:DarkSideOfTheMoon1973.jpg|thumb|left|[[Pink Floyd]] performing ''[[The Dark Side of the Moon]]'' (1973), the best-selling album of the entire progressive rock period{{sfn|Priore|2005|p=79}}]]

Most of the genre's major bands released their most critically acclaimed albums during the years 1971–1976.{{sfn|Macan|1997|p=27}} The genre experienced a high degree of commercial success during the early 1970s. Between them, the bands Jethro Tull, [[Emerson, Lake & Palmer|ELP]], [[The Moody Blues]], Yes, and Pink Floyd had five albums that reached number one in the US charts, and sixteen that reached the top ten.{{sfn|Macan|1997|p=28}}{{refn|group=nb|Tull alone scored 11 [[gold album]]s and 5 [[platinum album]]s.{{sfn|Cleveland|2005|}} Pink Floyd's 1970 album ''[[Atom Heart Mother]]'' reached the top spot on the UK charts. Their 1973 album ''[[The Dark Side of the Moon]]'', which united their extended compositions with the more structured kind of composing employed when [[Syd Barrett]] was their songwriter,{{sfn|Whiteley|1992|pp=34–35}} spent more than two years at the top of the charts{{sfn|Whiteley|1992|pp=4, 38}} and remained on the [[Billboard 200|''Billboard'' 200]] album chart for fifteen years.{{sfn|Friedlander|1998|p=245}}}} [[Mike Oldfield]]'s ''[[Tubular Bells]]'' (1973), an excerpt of which was used as the theme for the film ''[[The Exorcist (film)|The Exorcist]]'', sold 16 million copies.<ref>{{cite news |last=DeRogatis |first=Jim |title=The Curse of 'Tubular Bells'. 1974 also saw the rise of [[Supertramp]], as the release of their third studio album saw some success in both UK and USA |newspaper=Chicago Sun-Times |date=28 February 1993}}</ref>

[[File:Emerson, Lake & Palmer 01.jpg|thumb|right|[[Emerson, Lake & Palmer]] were one of the most commercially successful progressive rock bands of the 1970s. They are seen here performing in 1992.]]
Progressive rock came to be appreciated overseas, but it mostly remained a European, and especially British, phenomenon. Few American bands engaged in it, and the purest representatives of the genre, such as [[Starcastle]] and [[Happy the Man]], remained limited to their own geographic regions.{{sfn|Macan|1997|p=185-6}} This is at least in part due to music industry differences between the US and Great Britain.<ref name="pirenne1"/>{{refn|group=nb|Radio airplay was less important in the UK, where popular music recordings had limited air-time on official radio stations (as opposed to on [[Pirate radio in the United Kingdom|pirate radio]]) until the 1967 launch of [[BBC Radio 1]].<ref name="pirenne1"/> UK audiences were accustomed to hearing bands in clubs, and British bands could support themselves through touring. US audiences were first exposed to new music on the radio, and bands in the US required radio airplay for success.{{sfn|Curtis|1987|p=296-7}} Radio stations were averse to progressive rock's longer-form compositions, which hampered [[Radio advertisement|advertising sales]].<ref>{{cite news |last=Kava |first=Brad |title=Progressive rock's Yes: band of a thousand chances |newspaper=San Jose Mercury News |place=San Jose, CA |date=15 July 2002}}</ref>}} Cultural factors were also involved, as US musicians tended to come from a blues background, while Europeans tended to have a foundation in classical music.{{sfn|Curtis|1987|p=286}}

North American progressive rock bands and artists often represented hybrid styles such as the complex arrangements of [[Utopia (band)|Todd Rundgren's Utopia]]<ref>{{cite book | url=https://books.google.com/books?id=phsIDgAAQBAJ&dq=todd+rundgren+UTOPIA+%22PROGRESSIVE+ROCK%22&pg=PA313 | isbn=9781440835148 | title=Encyclopedia of Classic Rock | date=24 February 2017 | publisher=Abc-Clio }}</ref> and [[Rush (band)|Rush]], the eclectic psychedelia of [[Spirit (band)|Spirit]],<ref>{{cite web | url=https://www.allmusic.com/artist/spirit-mn0000746010/biography?1686364995691 | title=Spirit Biography, Songs, & Albums | website=[[AllMusic]] }}</ref> the hard rock of [[Captain Beyond]], the [[Southern rock]]-tinged prog of [[Kansas (band)|Kansas]], the jazz fusion of [[Frank Zappa]] and [[Return to Forever]], and the eclectic fusion of the all-instrumental [[Dixie Dregs]].{{sfn|Macan|1997|p=186}}<ref>Globe Staff. "Second Time's the Charm for Dregs." ''The Boston Globe''. 21 February 1992.</ref><ref>{{cite web|url=http://www.allmusic.com/artist/captain-beyond-mn0000944933/biography|title=Captain Beyond – Biography & History – AllMusic|website=AllMusic|access-date=15 June 2017|archive-date=14 August 2017|archive-url=https://web.archive.org/web/20170814224428/http://www.allmusic.com/artist/captain-beyond-mn0000944933/biography|url-status=live}}</ref><ref>{{cite web|url=http://www.allmusic.com/artist/return-to-forever-mn0000463527/biography|title=Return to Forever – Biography & History – AllMusic|website=AllMusic|access-date=15 June 2017|archive-date=20 July 2017|archive-url=https://web.archive.org/web/20170720071957/http://www.allmusic.com/artist/return-to-forever-mn0000463527/biography|url-status=live}}</ref><ref>{{cite web|url=http://www.allmusic.com/artist/frank-zappa-mn0000138699|title=Frank Zappa – Biography, Albums, Streaming Links – AllMusic|website=AllMusic|access-date=15 June 2017|archive-date=5 January 2013|archive-url=https://web.archive.org/web/20130105033959/http://www.allmusic.com/artist/frank-zappa-mn0000138699|url-status=live}}</ref>{{text-source inline|date=March 2017}} British progressive rock acts had their greatest US success in the same geographic areas in which British heavy metal bands experienced their greatest popularity. The overlap in audiences led to the success of [[arena rock]] bands, such as [[Boston (band)|Boston]], [[Kansas (band)|Kansas]], and [[Styx (band)|Styx]], who combined elements of the two styles.{{sfn|Macan|1997|p=186}}

Progressive rock achieved popularity in Continental Europe more quickly than it did in the US. Italy remained generally uninterested in rock music until the strong Italian progressive rock scene developed in the early 1970s.{{sfn|Martin|1998|pp=154–55}}{{refn|group=nb|Van der Graaf Generator were much more popular there than in their own country. Genesis were hugely successful in Continental Europe at a time when they were still limited to a [[cult following]] in Britain and the US.<ref name="spicer">{{cite conference |last=Spicer |first=Mark |title=Genesis's Foxtrot |book-title=Proceedings of the International Conference "Composition and Experimentation in British Rock 1966–1976" |date=2005 |access-date=3 July 2013 |url=http://www-3.unipv.it/britishrock1966-1976/testien/spi1en.htm |conference= |archive-date=19 October 2013 |archive-url=https://web.archive.org/web/20131019104342/http://www-3.unipv.it/britishrock1966-1976/testien/spi1en.htm |url-status=live }}</ref>{{importance example|date=August 2023}}}} Progressive rock scene emerged in Yugoslavia in the late 1960s, dominating the [[Yugoslav rock scene]] until the late 1970s.<ref name="mirković">{{cite book|last=Mirković|first=Igor|title=Sretno dijete|year=2003|publisher=Fraktura|location=Zagreb|page=5}}</ref><ref name="žikić">{{cite book|last=Žikić|first=Aleksandra|title=Fatalni ringišpil: Hronika beogradskog rokenrola 1959-1979|year=1999|publisher=Geopoetika|location=Belgrade|pages=138–139}}</ref> Few of the European groups were successful outside of their own countries, with the exceptions of Dutch bands like [[Focus (band)|Focus]] and [[Golden Earring]] who wrote English-language lyrics, and the Italians [[Le Orme]] and [[Premiata Forneria Marconi|PFM]], whose English lyrics were written by [[Peter Hammill]] and [[Peter Sinfield]], respectively.{{sfn|Macan|1997|pp=183–84}} Some European bands played in a style derivative of English bands.{{sfn|Macan|1997|p=267}}{{verify source|date=September 2016}}{{refn|group=nb|This can be heard in [[Triumvirat]], an organ trio in the style of ELP; [[Ange (band)|Ange]] and [[:it:Celeste (gruppo musicale)|Celeste]] who have had a strong King Crimson influence.{{sfn|Macan|1997|p=267}} Others brought national elements to their style: Spain's [[Triana (band)|Triana]] introduced [[flamenco]] elements, groups such as the Swedish [[Samla Mammas Manna]] drew from the folk music styles of their respective nations, and Italian bands such as [[Il Balletto di Bronzo]], Rustichelli & Bordini, leaned towards an approach that was more overtly emotional than that of their British counterparts.{{sfn|Macan|1997|p=184}}}}

The "Kosmische music" scene in Germany came to be labelled as "[[krautrock]]" internationally{{sfn|Sarig|1998|p=123}} and is frequently cited as part of the progressive rock genre or an entirely distinct phenomenon.{{sfn|Hegarty|Halliwell|2011|pp=10, 152}} Krautrock bands such as [[Can (band)|Can]], which included two members who had studied under [[Karlheinz Stockhausen]],{{sfn|Lucky|2000|p=22}} tended to be more strongly influenced by [[20th-century classical music]] than the British progressive rock bands, whose musical vocabulary leaned more towards [[Romantic music|the Romantic era]]. Many of these groups were very influential even among bands that had little enthusiasm for the symphonic variety of progressive rock.{{sfn|Martin|2002|p=82}}

===== Progressive soul =====
{{Main|Progressive soul}}
Concurrently, Black American popular musicians drew from progressive rock's conceptual album-oriented approach. This led to a progressive-soul movement in the 1970s that inspired a newfound sophisticated musicality and ambitious lyricism in black pop.<ref>{{harvnb|Martin|1998|p=41}}; {{harvnb|Hoard|Brackett|2004|p=524}}.</ref> Among these musicians were [[Sly Stone]], [[Stevie Wonder]], [[Marvin Gaye]], [[Curtis Mayfield]], and [[George Clinton (funk musician)|George Clinton]].{{sfn|Hoard|Brackett|2004|p=524}} In discussing the development, [[Bill Martin (philosopher)|Bill Martin]] cites 1970s albums by Wonder (''[[Talking Book]]'', ''[[Innervisions]]'', ''[[Songs in the Key of Life]]''), [[War (band)|War]] (''[[All Day Music]]'', ''[[The World Is a Ghetto]]'', ''[[War Live (album)|War Live]]''), and [[the Isley Brothers]] (''[[3 + 3]]''), while noting that the Who's progressive rock-influenced ''[[Who Are You]]'' (1978) also drew from the soul variant.{{sfn|Martin|1998|pp=41, 205, 216, 244}} Dominic Maxwell of ''[[The Times]]'' calls Wonder's mid-1970s albums "prog soul of the highest order, pushing the form yet always heartfelt, ambitious and listenable".<ref>{{cite magazine|last=Kendall|first=Jo|date=5 May 2019|url=https://www.pressreader.com/uk/prog/20190305/281505047507913|title=Record Collection|magazine=[[Prog (magazine)|Prog]]|access-date=23 January 2021|via=[[PressReader]]|archive-date=30 January 2021|archive-url=https://web.archive.org/web/20210130001531/https://www.pressreader.com/uk/prog/20190305/281505047507913|url-status=live}}</ref>

====Decline and fragmentation====
{{See also|Punk rock|Symphonic pop}}

Political and social trends of the late 1970s shifted away from the early 1970s [[hippie]] attitudes that had led to the genre's development and popularity. The rise in [[punk ideologies|punk cynicism]] made the utopian ideals expressed in progressive rock lyrics unfashionable.{{sfn|Martin|2002|p=78}} Virtuosity was rejected, as the expense of purchasing quality instruments and the time investment of learning to play them were seen as barriers to rock's energy and immediacy.{{sfn|Martin|2002|p=115}} There were also changes in the music industry, as record companies disappeared and merged into large [[media conglomerates]]. Promoting and developing experimental music was not part of the [[marketing strategy]] for these large corporations, who focused their attention on identifying and targeting profitable [[Niche market|market niches]].{{sfn|Martin|2002|pp=108–110}}

[[File:Robert Fripp 2.jpg|thumb|right|upright|King Crimson's [[Robert Fripp]] believed that the prog movement had gone "tragically off course".{{sfn|Hegarty|Halliwell|2011|p=177}} ]]

Four of progressive rock's most successful bands – King Crimson, Yes, ELP and Genesis – went on hiatus or experienced major personnel changes during the mid-1970s.{{sfn|Hegarty|Halliwell|2011|p=177}} Macan notes the September 1974 breakup of King Crimson as particularly significant, noting that Fripp (much later) referred to 1974 as the point when "all English bands in the genre should have ceased to exist".{{sfn|Macan|1997|p=179}} More of the major bands, including Van der Graaf Generator, Gentle Giant and [[U.K. (band)|U.K.]], dissolved between 1978 and 1980.{{sfn|Macan|1997|pp=187–188}} Many bands had by the mid-1970s reached the limit of how far they could experiment in a rock context, and fans had wearied of the extended, epic compositions. The sounds of the [[Hammond organ|Hammond]], [[Minimoog]] and [[Mellotron]] had been thoroughly explored, and their use became clichéd. Those bands who continued to record often simplified their sound, and the genre fragmented from the late 1970s onwards.{{sfn|Macan|1997|pp=181–183}} In [[Robert Fripp]]'s opinion, once "progressive rock" ceased to cover new ground – becoming a set of conventions to be repeated and imitated – the genre's premise had ceased to be "progressive".{{sfn|Macan|1997|p=206}}

The era of record labels investing in their artists, giving them freedom to experiment and limited control over their content and marketing ended with the late 1970s.{{sfn|Moore|2016|p=202}} Corporate [[artists and repertoire]] staff exerted an increasing amount of control over the creative process that had previously belonged to the artists,{{sfn|Martin|1996|p=188}} and established acts were pressured to create music with simpler harmony and song structures and fewer changes in meter. A number of symphonic pop bands, such as [[Supertramp]], [[10cc]], [[the Alan Parsons Project]] and the [[Electric Light Orchestra]], brought the orchestral-style arrangements into a context that emphasised pop singles while allowing for occasional instances of exploration. Jethro Tull, Gentle Giant and Pink Floyd opted for a harder sound in the style of [[arena rock]].{{sfn|Macan|1997|p=187}}

Few new progressive rock bands formed during this era, and those who did found that record labels were not interested in signing them.<ref name="derogatis98">{{cite web |last=DeRogatis |first=Jim |title=Everything You Ever Wanted to Know About the Prog-Rock Underground (But Were Afraid to Ask) |date=1998 |access-date=23 June 2013 |url=http://www.jimdero.com/OtherWritings/Other%20Prog.htm |archive-date=6 October 2014 |archive-url=https://web.archive.org/web/20141006041454/http://www.jimdero.com/OtherWritings/Other%20Prog.htm |url-status=live }}</ref> The short-lived supergroup U.K. was a notable exception since its members had established reputations; they produced two albums that were stylistically similar to previous artists and did little to advance the genre.{{sfn|Macan|1997|p=183}} Part of the genre's legacy in this period was its influence on other styles, as several European guitarists brought a progressive rock approach to [[Heavy metal music|heavy metal]] and laid the groundwork for [[progressive metal]]. [[Michael Schenker]], of [[UFO (band)|UFO]]; and [[Uli Jon Roth]], who replaced Schenker in [[Scorpions (band)|Scorpions]], expanded the modal vocabulary available to guitarists.{{sfn|Blackett|2001}}{{explain|date=December 2016}} Roth studied classical music with the intent of using the guitar in the way that classical composers used the violin.{{sfn|Gress|2007}} Finally, the Dutch-born and classically trained [[Alex Van Halen|Alex]] and [[Eddie Van Halen]] formed [[Van Halen]], featuring ground-breaking whammy-bar, tapping and cross-picking guitar performances{{sfn|Gress|1993}} that influenced "[[Shred guitar|shred]]" music in the 1980s.<ref>{{cite news |last=Miers |first=Jeff |title=Rowdy choice; Van Halen's rise to Rock Hall a breakthrough |newspaper=The Buffalo News |place=Buffalo, NY |date=12 January 2007}}</ref>

=====Commercialisation=====
{{quote box
|align=right
|quote=By the early 1980s, progressive rock was thought to be all but dead as a style, an idea reinforced by the fact that some of the principal progressive groups had developed a more commercial sound. ... What went out of the music of these now ex-progressive groups ... was any significant evocation of art music.
|source=– John Covach{{sfn|Covach|1997|p=5}}
|width=25%
}}

Some established artists moved towards music that was simpler and more commercially viable.{{sfn|Hegarty|Halliwell|2011|p=182}}{{verify source|date=June 2016}}{{sfn|Covach|1997|p=5}} Arena rock bands like [[Journey (band)|Journey]], [[Kansas (band)|Kansas]], [[Styx (band)|Styx]], [[GTR (band)|GTR]], [[Electric Light Orchestra|ELO]] and [[Foreigner (band)|Foreigner]] either had begun as progressive rock bands or included members with strong ties to the genre. These groups retained some of the song complexity and orchestral-style arrangements, but they moved away from lyrical mysticism in favour of more conventional themes such as relationships.{{sfn|Hegarty|Halliwell|2011|pp=181–182}} These radio-friendly groups have been called "prog lite".{{sfn|Cateforis|2011|pp=154–159}} Genesis transformed into a successful pop act, the prog supergroup [[Asia (band)|Asia]] (consisting of members of Yes, King Crimson, and ELP) scored a number-one album in 1982,<ref>{{Cite web |last= |first= |date=2 January 2013 |title=Billboard 200 |url=https://www.billboard.com/charts/billboard-200/1982-05-15/ |access-date=16 February 2023 |website=[[Billboard charts|Billboard]] |language=en-US}}</ref> and a re-formed Yes released the relatively mainstream ''[[90125 (album)|90125]]'' (1983), which yielded their only US number-one single, "[[Owner of a Lonely Heart]]". One band who remained successful into the 1980s while maintaining a progressive approach was Pink Floyd, who released ''[[The Wall]]'' late in 1979. The album, which brought punk anger into progressive rock,{{sfn|Hegarty|Halliwell|2011|p=174}} was a huge success and was later filmed as ''[[Pink Floyd – The Wall]]''.{{refn|group=nb|Pink Floyd were unable to repeat that combination of commercial and critical success, as their sole follow-up, ''[[The Final Cut (album)|The Final Cut]]'', was several years in coming{{sfn|Macan|1997|p=188}} and was essentially a [[Roger Waters]] solo project<ref name="merc">{{cite news |author=Anonymous |title=The Mag: Play: The Final Cut (EMI) Pink Floyd. (Features) |newspaper=Sunday Mercury |place=Birmingham, England |date=4 April 2004}}</ref> that consisted largely of material that had been rejected for ''The Wall''.<ref name="tsmith">{{cite news |last=Smith |first=Tierney |title=Whatever Happened to Pink Floyd? The Strange Case of Waters and Gilmour |work=Goldmine |publisher=Krause Publications |date=Apr 2011}}</ref> The band later reunited without Waters and restored many of the progressive elements that had been downplayed in the band's late-1970s work.{{sfn|Macan|1997|p=195}} This version of the band was very popular,<ref name="harrington87">{{cite news |last=Harrington |first=Richard |title=Pink Floyd, By Any Name; Minus a Longtime Leader, The Band Stays the Course |newspaper=The Washington Post |date=19 October 1987}}</ref> but critical opinion of their later albums is less favourable.<ref name="graves">{{cite magazine |last=Graves |first=Tom |title=Pink Floyd: The Division Bell |magazine=Rolling Stone |date=16 June 1994 |access-date=4 July 2013 |url=https://www.rollingstone.com/music/albumreviews/the-division-bell-19940616 |archive-date=16 January 2014 |archive-url=https://web.archive.org/web/20140116065204/http://www.rollingstone.com/music/albumreviews/the-division-bell-19940616 |url-status=live }}</ref><ref name="wyman">{{cite web |last=Wyman |first=Bill |title=The four phases of Pink Floyd |work=The Chicago Reader |date=14 January 1988 |access-date=4 July 2013 |url=http://www.chicagoreader.com/chicago/the-four-phases-of-pink-floyd/Content?oid=871627 |archive-date=12 August 2014 |archive-url=https://web.archive.org/web/20140812173644/http://www.chicagoreader.com/chicago/the-four-phases-of-pink-floyd/Content?oid=871627 |url-status=live }}</ref>}}

====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}}

====Neo-prog====
{{main|Neo-prog}}

A second wave{{sfn|Hegarty|Halliwell|2011|p=199}} of progressive rock bands appeared in the early 1980s and have since been categorised as a separate "[[neo-prog]]" subgenre.<ref name="ewing">Ewing, Jerry. "Pathways." Classic Rock Presents Prog. 17 March 2010. p.61</ref> These largely keyboard-based bands played extended compositions with complex musical and lyrical structures.{{sfn|Hegarty|Halliwell|2011|pp=183–186}} Several of these bands were signed by major record labels, including [[Marillion]], [[IQ (band)|IQ]], [[Pendragon (band)|Pendragon]] and [[Pallas (band)|Pallas]].<ref>{{cite news | url=https://www.theguardian.com/music/2010/jul/22/prog-rock-genesis-rush-mostly-autumn | title=Go back to go forward: the resurgence of prog rock | work=The Guardian | location=London | first=Alexis | last=Petridis | date=22 July 2010 | access-date=9 November 2016 | archive-date=9 November 2016 | archive-url=https://web.archive.org/web/20161109091427/https://www.theguardian.com/music/2010/jul/22/prog-rock-genesis-rush-mostly-autumn | url-status=live }}</ref> Most of the genre's major acts released debut albums between 1983 and 1985 and shared the same manager, Keith Goodwin, a publicist who had been instrumental in promoting progressive rock during the 1970s.{{sfn|Macan|1997|p=198}} The previous decade's bands had the advantage of appearing during a prominent [[Counterculture|countercultural]] movement that provided them with a large potential audience, but the neo-prog bands were limited to a relatively niche demographic and found it difficult to attract a following. Only Marillion{{sfn|Macan|1997|pp=200–01}} and [[Saga (band)|Saga]]{{sfn|Clark|2012|}} experienced international success.

Neo-prog bands tended to use [[Peter Gabriel]]-era [[Genesis (band)|Genesis]] as their "principal model".<ref>{{cite book |editor1=John Covach |editor2=Graeme M. Boone |title=Understanding Rock: Essays in Musical Analysis |url=https://archive.org/details/understandingroc00cova |url-access=limited |year=1997|page=[https://archive.org/details/understandingroc00cova/page/n24 6]|publisher=Oxford University Press|isbn=978-0195100051}}</ref> They were also influenced by [[funk]], [[hard rock]] and [[punk rock]].{{sfn|Romano|2010|loc=[https://books.google.com/books?id=2lVMAgAAQBAJ&pg=PT390 "Marillion"]}} The genre's most successful band, Marillion, suffered particularly from accusations of similarity to Genesis, although they used a different vocal style, incorporated more hard rock elements,{{sfn|Hegarty|Halliwell|2011|pp=187–188}} and were very influenced by bands including [[Camel (band)|Camel]] and Pink Floyd.<ref>{{cite web | url=https://www.loudersound.com/features/steve-rothery-people-still-think-marillion-are-a-scottish-heavy-metal-band | title=Steve Rothery: "People still think Marillion are a Scottish heavy metal band" | work=Louder | first=Mark | last=Blake | date=22 March 2017 | access-date=23 August 2019 | archive-date=6 December 2020 | archive-url=https://web.archive.org/web/20201206110719/https://www.loudersound.com/features/steve-rothery-people-still-think-marillion-are-a-scottish-heavy-metal-band | url-status=live }}</ref><ref>{{cite web | url=https://www.express.co.uk/entertainment/music/661086/Marillion-singer-Fish-favourite-music-albums | title=Former Marillion singer Fish: My six best albums | work=express.co.uk | first=Caroline | last=Rees | date=15 April 2016 | access-date=23 August 2019 | archive-date=23 August 2019 | archive-url=https://web.archive.org/web/20190823171249/https://www.express.co.uk/entertainment/music/661086/Marillion-singer-Fish-favourite-music-albums | url-status=live }}</ref> Authors [[Paul Hegarty (musician)|Paul Hegarty]] and Martin Halliwell have pointed out that the neo-prog bands were not so much plagiarising progressive rock as they were creating a new style from progressive rock elements, just as the bands of a decade before had created a new style from jazz and classical elements.{{sfn|Hegarty|Halliwell|2011|p=184}} Author Edward Macan counters by pointing out that these bands were at least partially motivated by a nostalgic desire to preserve a past style rather than a drive to innovate.{{sfn|Macan|1997|p=197}}