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My dear sir, you have some nerve to come up with this yourself and then "nicely" ask not to derail the thread.
Though being a musician is not my primary profession music is most definitely more than a hobby for me; I write my own compositions and have had in-depth training. Fortunately I don't have to make a living with music; my primary job is extremely well paid.
The early Tangerine Dream albums were most definitely not pop. It would be a very interesting and weird world if the music on "Zeit" were considered to be pop.
I could post track after track of early Tangerine Dream with quite basic harmony, rhythm and melodies which would be at home in pop, particularly if the compositions were less extended in time or background music for film. New age music from the 70s perhaps one might say.
Instead of an answer:
This is pop?
I asked you nicely not to derail the thread with this discussion and I have entertained the questions to a point. Please post it as its own topic please as it is not relevant here.
I already answered you: yes the source material in terms of harmony, rhythm etc is not out of place in pop. There's no altered scale in sight, no 7 against 15 etc things which might happen in any number of prog subgenres, not just in symphonic prog.
The timbres, the pacing and time expended in TD's music are obviously not common in pop but in fact would work well as background music for film or as new age music.
If you think that's enough to be prog, absolutely your choice and I am sure some would agree however I also think it's one of the reasons TD don't come up for most people in terms of prog like Yes or Genesis as being absolutely central to the tradition.
Now can you please respect the thread topic and create your own thread if you want to have extended discussion about this?
Then I am afraid I must point out to you that the source material of those bands you cite (Yes, Genesis) is not so far from pop as you claim; the harmonic material is in my opinion generally pretty basic. And I am a trained musician myself; I play about 20 different woodwind instruments and violin and viola.
How many times do you have to be asked nicely not to derail the thread and to start your own?
I have no idea what a trained musician means but I train musicians myself directly in music schools and conservatories for a living, not as a hobby. Prog rock is a hobby for me but music decidedly is not.
If one has the proper 'training' and analyzes the elements I mentioned it's fairly obvious what I have in mind in regard to TD when I liken it to background film/new age music and similar to pop in another sense but again I ask you nicely to please stop discussing this here before I ask a moderator to intervene.
Again, I have already stated that although I don't see them as being very central to prog rock, they are welcome here as far as the topic was concerned.
The early Tangerine Dream albums were most definitely not pop. It would be a very interesting and weird world if the music on "Zeit" were considered to be pop.
I could post track after track of early Tangerine Dream with quite basic harmony, rhythm and melodies which would be at home in pop, particularly if the compositions were less extended in time or background music for film. New age music from the 70s perhaps one might say.
Instead of an answer:
This is pop?
I asked you nicely not to derail the thread with this discussion and I have entertained the questions to a point. Please post it as its own topic please as it is not relevant here.
I already answered you: yes the source material in terms of harmony, rhythm etc is not out of place in pop. There's no altered scale in sight, no 7 against 15 etc things which might happen in any number of prog subgenres, not just in symphonic prog.
The timbres, the pacing and time expended in TD's music are obviously not common in pop but in fact would work well as background music for film or as new age music.
If you think that's enough to be prog, absolutely your choice and I am sure some would agree however I also think it's one of the reasons TD don't come up for most people in terms of prog like Yes or Genesis as being absolutely central to the tradition.
Now can you please respect the thread topic and create your own thread if you want to have extended discussion about this?
Then I am afraid I must point out to you that the source material of those bands you cite (Yes, Genesis) is not so far from pop as you claim; the harmonic material is in my opinion generally pretty basic. And I am a trained musician myself; I play about 20 different woodwind instruments and violin and viola.
The early Tangerine Dream albums were most definitely not pop. It would be a very interesting and weird world if the music on "Zeit" were considered to be pop.
I could post track after track of early Tangerine Dream with quite basic harmony, rhythm and melodies which would be at home in pop, particularly if the compositions were less extended in time or background music for film. New age music from the 70s perhaps one might say.
Instead of an answer:
This is pop?
I asked you nicely not to derail the thread with this discussion and I have entertained the questions to a point. Please post it as its own topic please as it is not relevant here.
I already answered you: yes the source material in terms of harmony, rhythm etc is not out of place in pop. There's no altered scale in sight, no 7 against 15 etc things which might happen in any number of prog subgenres, not just in symphonic prog.
The timbres, the pacing and time expended in TD's music are obviously not common in pop but in fact would work well as background music for film or as new age music.
If you think that's enough to be prog, absolutely your choice and I am sure some would agree however I also think it's one of the reasons TD don't come up for most people in terms of prog like Yes or Genesis as being absolutely central to the tradition.
Now can you please respect the thread topic and create your own thread if you want to have extended discussion about this?
Tribal, it sounds to me like your definition of prog is classical symphonic progressive. Prog isn't defined only by myriad key and tempo changes within the space of five bars. TD's aesthetic is different. They're not fusion, they're not Zeuhl. They're Tangerine Dream. They're one of the bands that made the world safe for Teutonic and ambient electronic styles. They're very much a progressive group in that regard.
My criteria don't regard symphonic progressive any more than they do any other genre like jazz-rock, zeuhl etc.
The point is that is if one's melodic structures come from certain source material and one's harmonic vocabulary comes from a certain place, then it can easily be 'pop' vocabulary. TD's vocabulary is a lot closer to pop in that sense while their timbres and the length and pace of the tunes are obviously not.
That is why I say that it sounds like pop music to me in its essentials where Gentle Giant, Mahavishnu, Henry Cow, Magma or many others, all different from each other, do not. It's not their timbre or pacing which make them progressive. It's the deeper structures.
I'm not interested in debating that here though; let's make a thread in the general discussion about it.
The early Tangerine Dream albums were most definitely not pop. It would be a very interesting and weird world if the music on "Zeit" were considered to be pop.
I could post track after track of early Tangerine Dream with quite basic harmony, rhythm and melodies which would be at home in pop, particularly if the compositions were less extended in time or background music for film. New age music from the 70s perhaps one might say.
Tribal, it sounds to me like your definition of prog is classical symphonic progressive. Prog isn't defined only by myriad key and tempo changes within the space of five bars. TD's aesthetic is different. They're not fusion, they're not Zeuhl. They're Tangerine Dream. They're one of the bands that made the world safe for Teutonic and ambient electronic styles. They're very much a progressive group in that regard.
The early Tangerine Dream albums were most definitely not pop. It would be a very interesting and weird world if the music on "Zeit" were considered to be pop.
I could post track after track of early Tangerine Dream with quite basic harmony, rhythm and melodies which would be at home in pop, particularly if the compositions were less extended in time or background music for film. New age music from the 70s perhaps one might say.
I don't really intend to debate this in this thread but I'm a musician and have played and taught in music schools and conservatories for years around the world and mean something quite a bit more specific here to the extent it matters.
Maybe you're focusing on timbre and length of composition primarily but what I am describing regards the basic building blocks of much of their music.
Many of the more prominent qualities associated with prog like tempo changes, odd meter, extended chordal harmony, melodic source material drawn from scales beyond simple major scale or straight pentatonic melodies are not exactly in overabundance there either. It could still easily be background incidental music for film and were I to play it for people unfamiliar with the group, they would generally assume it was that as opposed to music by a prog rock band first and foremost.
I stand by my original statement that it's mostly a question of timbre and pace in TD's case that associates them with prog and as such I don't see them nearly as central to prog as Yes or Genesis. Not by a long shot.
If you disagree, that's great but please let's have that out in a dedicated thread and not here where I have already stated that they are worth including in the general discussion of prog popularity even if I don't think much of them as a prog band per se.
Since this is an English language board, I actually imagined that most here wouldn't be aware quite how big PFM are in Mexico, Brazil or Argentina and may not be aware of venue sizes in Italy either. They really are an incredible success story in many regards.
Banco also played Mexico, Japan, South America and the US (I saw them headline ProgFest 2000, which was held in a small but very nice theater in eastern Los Angeles). They got a new vocalist after Francesco passed away. Along with PFM and Le Orme, they're one of the "big three" of RPI.
I lived in Italy at length and am very familiar with Italian prog and yes Banco and Le Orme are both definitely of note and deserve to be discussed here so thanks for that. However Banco can't really tour outside of Italy besides the festivals and neither can Le Orme and definitely not in 2500--3000 seaters. PFM's booking is a of a different caliber abroad for sure.
The early Tangerine Dream albums were most definitely not pop. It would be a very interesting and weird world if the music on "Zeit" were considered to be pop.
As much as I feel they should cease activity, the current incarnation of Tangerine Dream could easily do a limited tour of major cities in the States: Los Angeles, San Francisco, Seattle, Chicago, NYC, Philadelphia and Boston.
I agree with you on that. Do most here think of them as prog at this point?
They'll always have the prog label, just like Genesis and Yes, but at least TD turned it around 15 years back and ditched that trance dancey crap that Jerome brought into the band with him in the '90s.
Thanks. I can't speak for the consensus on this site but I know that they never come up as being relevant to prog among any of the people I know who are interested in prog so I rarely even think of them in that context.
I took a listen to shows from their last couple of tours and admit I am hard pressed to see them as more prog than some DJs I know but again if they can be considered prog enough by most people here, that's more than ok for purposes of this discussion.
I do think there are obviously huge differences between them and Yes/Genesis in terms of being seen as a prog band by prog fans in many ways but for purposes of discussion I think a big tent approach is best for this topic.
I gather you're not too familiar with Tangerine Dream. They emerged as a band straddling the greying boundaries of Krautrock and psychedelia before they forged new paths in synthesizer-centric progressive.
I'd recommend sampling some of their '70s albums to get a feel for what they're really about. (For now, disregard anything you may have heard circa 1990-2000.)
Electronic Meditation (1970 – more for the curio factor)
Zeit (1972)
Phaedra (1974 – the album that put them "on the map")
Rubycon (1975 – an atmospheric tour de force)
Ricochet (1975)
Stratosfear (1976 – more eclectic in feel, one of my favorites)
Sorcerer (1977)
Encore (1978)
Cyclone (1978 – Side A has vocals)
Force Majeure (1979 – another enduring favorite)
Green Desert (1986 – an album originally tracked in '73 and "finished" in '84)
Thanks. I've heard some but not all of those and am listening to some more now. I don't hear them as being all that proggy in their harmonies, melodies and rhythms as opposed to some of the timbres now and then.
They often sound like soundtrack work/pop albeit with some of the more typical prog sounds to me. Maybe I haven't found the right tracks but I could easily have seen all of this as soundtrack work in the background and not much remarked upon.
I get the general vibe and can see why someone might like the music. I also see it has a connection to the prog of its time but I struggle to imagine that prog fans around the world would see this as central to the 'core' of prog like old Genesis and Yes were.
Still, I'm happy enough to include them in discussions here.
Since this is an English language board, I actually imagined that most here wouldn't be aware quite how big PFM are in Mexico, Brazil or Argentina and may not be aware of venue sizes in Italy either. They really are an incredible success story in many regards.
Banco also played Mexico, Japan, South America and the US (I saw them headline ProgFest 2000, which was held in a small but very nice theater in eastern Los Angeles). They got a new vocalist after Francesco passed away. Along with PFM and Le Orme, they're one of the "big three" of RPI.
As much as I feel they should cease activity, the current incarnation of Tangerine Dream could easily do a limited tour of major cities in the States: Los Angeles, San Francisco, Seattle, Chicago, NYC, Philadelphia and Boston.
I agree with you on that. Do most here think of them as prog at this point?
They'll always have the prog label, just like Genesis and Yes, but at least TD turned it around 15 years back and ditched that trance dancey crap that Jerome brought into the band with him in the '90s.
Thanks. I can't speak for the consensus on this site but I know that they never come up as being relevant to prog among any of the people I know who are interested in prog so I rarely even think of them in that context.
I took a listen to shows from their last couple of tours and admit I am hard pressed to see them as more prog than some DJs I know but again if they can be considered prog enough by most people here, that's more than ok for purposes of this discussion.
I do think there are obviously huge differences between them and Yes/Genesis in terms of being seen as a prog band by prog fans in many ways but for purposes of discussion I think a big tent approach is best for this topic.
I gather you're not too familiar with Tangerine Dream. They emerged as a band straddling the greying boundaries of Krautrock and psychedelia before they forged new paths in synthesizer-centric progressive.
I'd recommend sampling some of their '70s albums to get a feel for what they're really about. (For now, disregard anything you may have heard circa 1990-2000.)
Electronic Meditation (1970 – more for the curio factor)
Zeit (1972)
Phaedra (1974 – the album that put them "on the map")
Rubycon (1975 – an atmospheric tour de force)
Ricochet (1975)
Stratosfear (1976 – more eclectic in feel, one of my favorites)
Sorcerer (1977)
Encore (1978)
Cyclone (1978 – Side A has vocals)
Force Majeure (1979 – another enduring favorite)
Green Desert (1986 – an album originally tracked in '73 and "finished" in '84)
For example, can any French band besides Magma or Gong manage a real tour outside France or a band besides PFM outside Italy?
Goblin has mounted multiple tours in the States in recent years since their comeback. There are more dates booked this year already.
I don't think PFM could do the same. They'd have to play a festival or perhaps just play several major cities like Los Angeles and NYC.
So, popularity-wise, thanks to their connection to giallo and horror, I think Goblin is Italy's best prog representative today.
Actually PFM are a lot bigger than you realize. They played a 2700 capacity theater in Mexico City, 2500 capacity in Buenos Aires, an 8000 capacity venue in Sao Paolo, a 1400 capacity theater in Rome, 2500 in Padua and the 700 capacity Highline Ballroom in NY among other spots just recently.
They actually are a candidate for biggest non-English language group in the world for prog.
Goblin can't do those numbers in most of those territories though I agree they are riding a wave of retro interest in giallo movies in the US in particular along with a few other spots and deserve a mention too (I confess I never really thought of Goblin as all that prog either though they fit the broad definition in use here). Goblin don't tour South America unlike PFM who are genuinely big there but on the other hand Goblin have better numbers for North America where I think they are viewed as a gimmick band essentially.
If they're viewed as a gimmick band (which I don't think they are, as that tends to be a perjorative), that only means they're able to capitalize on the connection. But Goblin's an awesome band, too. They don't sound like any other band. They're as RPI as any other RPI band, except they left the derivative symphonic style they indulged with great success in their earlier incarnation as Cherry Five. After doing some soundtracks for Argento, they even returned to it with the all-instrumental Roller (one of the best word-free prog albums of the '70s) and the more traditional Il Fantastico Viaggio del Bagarozzo Mark. They're fantastic players: Claudio and Fabio easily rank among my favorite keyboardists and bassists, respectively..
My response to the OP concerned which Italian prog band could successfully play a tour in the US. Goblin's been doing it. Not to take away from PFM, but your citing a 700-seat venue that PFM played in NY only proves that that's what they can do in the US. South America's much more receptive to non-English language prog bands. That's the way it is.
Goblin hasn't only been playing American dates, either. They performed in Athens, Oslo and Stockholm last year.
I'm the OP and I didn't specify just touring the US alone,
Yes, you are. Sorry about that.
I asked which bands could tour outside their own borders. The US is relevant but it's not the only relevant point. South America and other places are every bit as relevant.
I just pointed it out due to frequency. But Goblin plays outside Italy quite a bit, as does Claudio Simonetti's Goblin (formerly Daemonia).
I agreed Goblin was well worth a mention so thanks for that. I do think it bears pointing out that their popularity is at its peak in the US but way lower in other spots where they do not play at all like South America for example. And it bears pointing out that in North America, they are marketed in conjunction with horror/giallo more than anything else.
You seem to be making South America into somehow being less relevant but I'd say that an Italian band playing to thousands of people there in multiple countries is incredibly rare.
No, I said "South America's much more receptive to non-English language prog bands." (And so is Japan.) Goblin's instrumental, which gives them the edge in the US, along with the giallo-horror connection. They're not playing large venues, they're playing nice theaters to very enthusiastic audiences.
[QUOTE=tribalfusions]In fact, PFM is practically the only non UK/US band doing that in fact (other than Opeth or Meshuggah who sing in English) and they are playing venues which are bigger than anything Goblin has ever done anywhere in the world.
And that's great. I'm not here to disparage any of these bands. I'm just pointing out what one particular band has been doing as of late.
I hear you and once again, thanks for pointing Goblin out. They definitely merit inclusion in this discussion even if I think that PFM is the bigger band overall. Both bands are unusually successful either way.
Since this is an English language board, I actually imagined that most here wouldn't be aware quite how big PFM are in Mexico, Brazil or Argentina and may not be aware of venue sizes in Italy either. They really are an incredible success story in many regards.
I'm not sure I can think of another prog band singing in anything other than English at that level. Maybe Magma is the closest though the numbers appear significantly lower.
For example, can any French band besides Magma or Gong manage a real tour outside France or a band besides PFM outside Italy?
Goblin has mounted multiple tours in the States in recent years since their comeback. There are more dates booked this year already.
I don't think PFM could do the same. They'd have to play a festival or perhaps just play several major cities like Los Angeles and NYC.
So, popularity-wise, thanks to their connection to giallo and horror, I think Goblin is Italy's best prog representative today.
Actually PFM are a lot bigger than you realize. They played a 2700 capacity theater in Mexico City, 2500 capacity in Buenos Aires, an 8000 capacity venue in Sao Paolo, a 1400 capacity theater in Rome, 2500 in Padua and the 700 capacity Highline Ballroom in NY among other spots just recently.
They actually are a candidate for biggest non-English language group in the world for prog.
Goblin can't do those numbers in most of those territories though I agree they are riding a wave of retro interest in giallo movies in the US in particular along with a few other spots and deserve a mention too (I confess I never really thought of Goblin as all that prog either though they fit the broad definition in use here). Goblin don't tour South America unlike PFM who are genuinely big there but on the other hand Goblin have better numbers for North America where I think they are viewed as a gimmick band essentially.
If they're viewed as a gimmick band (which I don't think they are, as that tends to be a perjorative), that only means they're able to capitalize on the connection. But Goblin's an awesome band, too. They don't sound like any other band. They're as RPI as any other RPI band, except they left the derivative symphonic style they indulged with great success in their earlier incarnation as Cherry Five. After doing some soundtracks for Argento, they even returned to it with the all-instrumental Roller (one of the best word-free prog albums of the '70s) and the more traditional Il Fantastico Viaggio del Bagarozzo Mark. They're fantastic players: Claudio and Fabio easily rank among my favorite keyboardists and bassists, respectively..
My response to the OP concerned which Italian prog band could successfully play a tour in the US. Goblin's been doing it. Not to take away from PFM, but your citing a 700-seat venue that PFM played in NY only proves that that's what they can do in the US. South America's much more receptive to non-English language prog bands. That's the way it is.
Goblin hasn't only been playing American dates, either. They performed in Athens, Oslo and Stockholm last year.
I'm the OP and I didn't specify just touring the US alone,
Yes, you are. Sorry about that.
tribalfusions wrote:
I asked which bands could tour outside their own borders. The US is relevant but it's not the only relevant point. South America and other places are every bit as relevant.
I just pointed it out due to frequency. But Goblin plays outside Italy quite a bit, as does Claudio Simonetti's Goblin (formerly Daemonia).
tribalfusions wrote:
I agreed Goblin was well worth a mention so thanks for that. I do think it bears pointing out that their popularity is at its peak in the US but way lower in other spots where they do not play at all like South America for example. And it bears pointing out that in North America, they are marketed in conjunction with horror/giallo more than anything else.
You seem to be making South America into somehow being less relevant but I'd say that an Italian band playing to thousands of people there in multiple countries is incredibly rare.
No, I said "South America's much more receptive to non-English language prog bands." (And so is Japan.) Goblin's instrumental, which gives them the edge in the US, along with the giallo-horror connection. They're not playing large venues, they're playing nice theaters to very enthusiastic audiences.
tribalfusions wrote:
In fact, PFM is practically the only non UK/US band doing that in fact (other than Opeth or Meshuggah who sing in English) and they are playing venues which are bigger than anything Goblin has ever done anywhere in the world.
And that's great. I'm not here to disparage any of these bands. I'm just pointing out what one particular band has been doing as of late.
As much as I feel they should cease activity, the current incarnation of Tangerine Dream could easily do a limited tour of major cities in the States: Los Angeles, San Francisco, Seattle, Chicago, NYC, Philadelphia and Boston.
I agree with you on that. Do most here think of them as prog at this point?
They'll always have the prog label, just like Genesis and Yes, but at least TD turned it around 15 years back and ditched that trance dancey crap that Jerome brought into the band with him in the '90s.
Thanks. I can't speak for the consensus on this site but I know that they never come up as being relevant to prog among any of the people I know who are interested in prog so I rarely even think of them in that context.
I took a listen to shows from their last couple of tours and admit I am hard pressed to see them as more prog than some DJs I know but again if they can be considered prog enough by most people here, that's more than ok for purposes of this discussion.
I do think there are obviously huge differences between them and Yes/Genesis in terms of being seen as a prog band by prog fans in many ways but for purposes of discussion I think a big tent approach is best for this topic.
Edited by tribalfusions - October 20 2018 at 12:12
As much as I feel they should cease activity, the current incarnation of Tangerine Dream could easily do a limited tour of major cities in the States: Los Angeles, San Francisco, Seattle, Chicago, NYC, Philadelphia and Boston.
I agree with you on that. Do most here think of them as prog at this point?
They'll always have the prog label, just like Genesis and Yes, but at least TD turned it around 15 years back and ditched that trance dancey crap that Jerome brought into the band with him in the '90s.
For example, can any French band besides Magma or Gong manage a real tour outside France or a band besides PFM outside Italy?
Goblin has mounted multiple tours in the States in recent years since their comeback. There are more dates booked this year already.
I don't think PFM could do the same. They'd have to play a festival or perhaps just play several major cities like Los Angeles and NYC.
So, popularity-wise, thanks to their connection to giallo and horror, I think Goblin is Italy's best prog representative today.
Actually PFM are a lot bigger than you realize. They played a 2700 capacity theater in Mexico City, 2500 capacity in Buenos Aires, an 8000 capacity venue in Sao Paolo, a 1400 capacity theater in Rome, 2500 in Padua and the 700 capacity Highline Ballroom in NY among other spots just recently.
They actually are a candidate for biggest non-English language group in the world for prog.
Goblin can't do those numbers in most of those territories though I agree they are riding a wave of retro interest in giallo movies in the US in particular along with a few other spots and deserve a mention too (I confess I never really thought of Goblin as all that prog either though they fit the broad definition in use here). Goblin don't tour South America unlike PFM who are genuinely big there but on the other hand Goblin have better numbers for North America where I think they are viewed as a gimmick band essentially.
If they're viewed as a gimmick band (which I don't think they are, as that tends to be a perjorative), that only means they're able to capitalize on the connection. But Goblin's an awesome band, too. They don't sound like any other band. They're as RPI as any other RPI band, except they left the derivative symphonic style they indulged with great success in their earlier incarnation as Cherry Five. After doing some soundtracks for Argento, they even returned to it with the all-instrumental Roller (one of the best word-free prog albums of the '70s) and the more traditional Il Fantastico Viaggio del Bagarozzo Mark. They're fantastic players: Claudio and Fabio easily rank among my favorite keyboardists and bassists, respectively..
My response to the OP concerned which Italian prog band could successfully play a tour in the US. Goblin's been doing it. Not to take away from PFM, but your citing a 700-seat venue that PFM played in NY only proves that that's what they can do in the US. South America's much more receptive to non-English language prog bands. That's the way it is.
Goblin hasn't only been playing American dates, either. They performed in Athens, Oslo and Stockholm last year.
I'm the OP and I didn't specify just touring the US alone, I asked which bands could tour outside their own borders. The US is relevant but it's not the only relevant point. South America and other places are every bit as relevant.
I agreed Goblin was well worth a mention so thanks for that. I do think it bears pointing out that their popularity is at its peak in the US but way lower in other spots where they do not play at all like South America for example. And it bears pointing out that in North America, they are marketed in conjunction with horror/giallo more than anything else.
You seem to be making South America into somehow being less relevant but I'd say that an Italian band playing to thousands of people there in multiple countries is incredibly rare.
In fact, PFM is practically the only non UK/US band doing that in fact (other than Opeth or Meshuggah who sing in English) and they are playing venues which are bigger than anything Goblin has ever done anywhere in the world.
And in Italy, PFM is bigger than Goblin too for that matter in most ways. The fact that they also can do a 700 capacity theater in NY is evidence that they have more popularity across the board as the US is a weaker territory for them and they can still pull that off.
In contrast, Goblin don't play Buenos Aires or Sao Paolo at all much less in 3000 or 8000 seaters.
Goblin are an odd example because really their notoriety is so film related and as such quite different i.e. 'gimmicky' in terms of perception and promotion in places where the hipsterish trend of elevating giallo has taken hold.
Edited by tribalfusions - October 20 2018 at 11:58
I don't think any Japanese prog bands are doing much outside Japan but I'd love to hear the contrary.
Electric Asturias from Japan have been appearing regularly at festivals. I saw them on Cruise to the Edge 2014, and they've been on a few other cruises since then. I think they also did Rosfest. But as the OP pointed out, a festival appearance is not a "tour".
Good point and interesting that the only Japanese band singled out so far is one that has barely done any shows outside of Japan, though perhaps still more than any other contemporary Japanese prog band in recent years.
Do we have any specialists on Japanese prog here who might have some information on this topic?
The only other bands I can think of with any connection to prog from Japan who play abroad to some degree are Dir En Grey and X Japan though in both cases I admit it's a stretch or a band like Galneryus which might appeal to Dream Theater fans though I think they are considerably less prog.
Magma toured the USA recently and Gong are planning a tour. Steve Wilson tours the USA regularly and I'm seeing Nik Bartsch Ronin for the third time in the USA soon. Leprous and Haken are currently touring the USA.
Soft Machine toured recently too I think.
I just saw them last night in fact and they are playing Progtoberfest this weekend :)
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USAGirl wrote: