Sunday Synth Jam: Here’s a live symphonic rock jam by synthesist Erik Norlander - Trantor Station.
Norlander’s Galactic Collective project revisits some of Norlander’s instrumental compositions, originally written for Rocket Scientists, Lana Lane and his own solo albums.
The album features Norlander performing on an amazing arsenal of classic analog synthesizers (including the Wall of Doom modular, seen in the video), Hammond organ and a Steinway Model B grand piano. Continue reading
Synthesist Mark Jenkins performs his prog-style take on Henry Mancini’s Peter Gunn theme. Continue reading
In this video, Live Prog’s Marcel Haster offers his perspective on ‘a progger’s journey into EM’.
This isn’t intended to be a comprehensive look at electronic music, but primarily synth music/space music that shares some elements with prog.
It’s Monday, a Hungarian designer has already given the website a makeover and now we’ve got a five minute drum solo for you.
Have we gone insane?
Not completely! But after seeing reader Matt Riddle’s prog keyboard tour, we felt the urge for a little vintage prog rock excess.
And in that respect, ELP’s 1974 performance of Karn Evil 9 definitely delivers.
Before the massive drum solo, Keith Emerson unleashes a torrent of angular riffs on organ and Minimoog. There’s no simulated sex or knife-play in this, but based on what I see at around 1:55, it looks like Emerson can play Karn Evil 9 while chewing gum.
Reader Matt Riddle offers a behind-the-scenes look at his prog-oriented keyboard rig, which he uses in Yes tribute band Going For The One.
In addition to showcasing his rig, Riddle demonstrates it with some classic prog keyboard parts.
Is this the greatest synth performance in the history of rock?
This video captures a classic 1973 rock synth jam by the Edgar Winter Group, a live performance of the classic Frankenstein.
With this performance, Edgar Winter proves that he does not discriminate when it comes to face-melting solos.
First, he unleashes an epic stream of keytar-controlled synth awesomeness. Then Winter takes a break from the synths for a face-melting sax solo. Then – it’s time for a drum solo – and Winter delivers, trading riffs with the drummer.
Then it’s back to the keytar for some synth-faced shredding. Then comes an orgy of noise that transforms into an explosion of filthy filtered synth eruptions. Winter delivers the denouement by returning to the drums for the restatement of the intro.