I'm not saying that YES' music is easy to play; I'm just saying that the entirety of their work is not built on the premise that every song has to be blazingly fast. Not only are they prog rockers; they are one of the primary ones to legitimize the genre.

TL;DR: IMO, you can be a progressive rock musician without making songs that require athletic virtuosity because tempo is just one of many parameters in a song that can be manipulated. If you have read this much, I suspect you may LOVE this album by Arena called "Pepper's Ghost".

Do you know of other prog bands making songs that are a clear alternative to the 200 bpm stuff? Some call it "Melodic Prog". If so, please share!

This song, Friend or Foe, imo is many things at once. The beginning may make you think this is Depeche Mode, and when the main lyric kicks in, it may sound like simple rock. However, as the song continues, Riverside does things I don't think I'd ever hear in a simple pop song. Can you appreciate aspects of this song?

I learned about this video from this AL.com article. Read that article to learn how this 81-year-old gets himself ready for a concert!

The title links to a concert by Piknik (Пикник) in 2023. I'm curious to read the ideas you may have about their songs. I am intrigued by Piknik's music because, just like in every culture, these rock songs seem to come from the classical and/or folk traditions. I am not posting this for political reasons. It should be common knowledge that being Russian is not evidence of support/or non-support for Russia's government. Anyway, here is Piknik's official YouTube channel. You might want to explore the discography there.

Russia has a lot to offer musically both presently and historically. If you're into very melodic progressive (and often beautiful, imo) rock, I bet you'll love Inna Pivars and her "Histriones". If you prefer pop ear candy (and you have a stereo or earphones that does justice to the sound), I bet you'll love SBP4's Злой, which appears

My guesses are as follows: Ariana Grande, Lady Gaga, Harry Styles, Queen Bey, Kanye, Pink, Justin Timberlake, Justin Bieber, Billie Eilish, Lorde, Grimes, XXXTENTACION, Taylor Swift, Olivia Rodrigo.

Analysis

Hi lemmy.studio! I hope this post doesn't break self-promotion rules.

I just released my latest album this week. It's my take on the lo-fi, dark citypop genre. If citypop isn't your thing, you can check out the rest of my music on http://linktr.ee/secondstagenavigator. I literally do a different genre on every release. :)

i.e. early Poppy (pop) and modern Poppy (metal)

In case you guys missed it, somebody fixed the original version found here

https://www.reddit.com/r/Draingang/comments/ich0o2/weezer_in_drain_gang/

Out of all the legendary albums on this list, I doubt many of them had their origins as an abandoned rock opera. Many arrangements and scraps of Pete Townshend’s abandoned Lifehouse project became the basis for Who’s Next, an album that has no underlying theme or storyline. This sense of freedom allowed The Who to focus on making great individual songs rather than an overarching story.

The result is The Who growing up in public. The songs combine the hard-hitting energy of the band in their youth with the more experimental elements explored on Tommy. The most noticeable improvement is Roger Daltrey’s voice, reaching heights that were only hinted at in the past. Keith Moon’s drum solo followed by Daltrey’s scream at the end of “Won’t Get Fooled Again” remains as one of rock’s greatest moments.

While everyone knows about the singles, from the

I'm looking for unique songs in pop, alternative rock, hip-hop, funk, et cetera that are melodic but easy on beginners.

Who would have thought four twenty-somethings from Minneapolis could produce something so timeless, so vital, and so vivid? Back in 1984, when The Replacements dished out their magnum opus, Let It Be, nobody did. While all eyes were on Prince at the time, Paul Westerberg, Tommy Stinson, Chris Mars, and Bob Stinson were creating pure, unadulterated rock and roll. With his heart on his sleeve, Westerberg poured his love, his loss, and his inhibitions into each and every lyric, note, chord, and yelp.

On “Androgynous,” the first hit of the piano strikes your nerves, tugging at your eyes, and by the time Westerberg sings, “Future outcasts, they don’t last,” you’re right there beside him — in the dusty bar, within the late hours of a week night, and with nobody to hold onto but the music. That’s everything The Replacements were meant to be; here they

By "widely mixed," I mean like if you're wearing headphones, the music attacks you from all sides.

How would you differentiate among "bops," "bangers," and "jams?"