MIND THE GAP
A Prog reader asks if waiting 13 years for an album makes it sound any better?
There’s been a right kerfuffle over the arrival of Tool’s new album. Whether or not it’s any good is almost secondary to the debate about the length of time it’s taken to release it. Lengthy breaks between prog albums aren’t a new thing though. Check out Peter Gabriel’s release schedule: there were everincreasing gaps between albums until 2002’s Up and no new material since, bar his cover versions and orchestral meanderings. Many fans also seemed cautious of Up’s challenging content which made it feel as if the wait might not have been worthwhile.
Modern technology allows bands to knock out albums even faster than ever but the creative spark still has to be there. That’s how Emerson, Lake & Palmer managed four landmark studio albums in as many years. Genesis, Tull, and Floyd also harnessed their creativity on a consistent basis back in prog’s golden age. I remember the excitement of getting the early bus to the shops so I could get my hands on the latest new releases. When I got home, I’d play each side over and over while digesting all the details of the gatefold sleeve. There’s a marked difference between the thrill of waiting to see your favourite band on TV or radio, and the modern trend towards being able to follow their every move via social media. Back in the late 70s and early 80s, I don’t remember any massive promotional campaigns for Genesis’ new albums, just the occasional snippets of news in the weekly music rag of choice heightening the anticipation. I can still remember where I was and what I was doing when Duke came out. I’m not sure there are many albums I can say that about now.
So what’s dulled our enthusiasm towards epic waits? Perhaps the internet is partly to blame. We’re so used to a constant barrage of tracks released ahead of an album (we used to call them singles) and leaked album streams that fans have heard most of the record before it’s even been released. Even when our favourite proggers do go into the studio, it can sometimes result in patchy output. Take Yes for example: in the last 20 years, aside from all the reissues, we’ve only had four studio albums that have varied in quality and worth, so you can understand why some fans may be grateful for the lack of new material.
That said, there are still plenty of prog bands who don’t take 13 years to release a new album. I was delighted to read in Prog that IQ have added Resistance to their excellent catalogue, and we’re lucky enough to live in a time when Haken, Riverside, KOYO and Steven Wilson create wondrous new sounds on a regular basis to keep us hooked. Many of the old guard, such as King Crimson and Marillion, still thrill us with their live shows, which makes me wonder if we really need new music from them? Or can we be satisfied with a stream of remasters, repackages and 5.1 mixes?
I wonder what prog will be like in another 10 or 20 years time? Will we still be waiting for Tool’s sixth album?
Got an opinion on the matter that you’d like to share? Please email us at: prog@futurenet.com. Opinions expressed in this column aren’t necessarily those of the magazine.