The Bunny Boy was the 2008 project from the Residents, but it's much more than just an album. The album was inspired by the Bunny Boy Internet series, which also extended into the tour. Here's the supposed story: a friend of the Residents' has had his brother go missing, apparently on the island of Patmos in Greece. This friend ("Bunny") is a (mostly) computer illiterate man who spends most of his time in his "secret room." He's got some clues: postcards from Patmos and the contents of his brother Harvey's computer. From the secret room, he posts video messages (the webisodes) on the Internets hoping that people will help him find his Armageddon-obsessed brother (who went to Patmos because that's where St. John supposedly received the Book of Revelations).
German art rock innovators Can were known for creating relentlessly experimental albums boiled down from endless improvisational sessions, but they possessed a keen sensibility for writing offbeat pop songs. They released a decent amount of 45s, all of which are collected in one place for the first time on The Singles. Even though some of these selections appeared in longer form on the group's seminal albums, here they're presented as three- or four-minute edits. In the case of tracks like Tago Mago's sprawling centerpiece "Halleluwah" or the lovely riverside drift of Future Days' title track, the single version distills them to their essence, concentrating on the moments with the heaviest grooves and most up-front vocals. Of course, Can's albums contained plenty of tracks that were obvious choices for singles, and tunes like the smooth, trippy "She Brings the Rain" and the immortal funk jams "Vitamin C" and "Mushroom" are among the most memorable and instantly appealing selections in the group's sprawling catalog. Two of the group's poppiest singles even managed to become genuine chart hits at the time of their release.
Progressive pop is making something of a welcome revival. Alan Parsons prefers it as being a ‘better’ description of his music, pointing to the ways in which progressive rock integrates modern trends and influences whilst combining it with an ‘epic’ sound and orchestral layers. Steven Wilson likewise claims that his musical vision aims to create a ‘modern equivalent’ of the progressive pop of his youth, music which is approachable and accessible on the surface but which can engage people on deeper levels with intelligent lyrics, good production values and high levels of musicianship.
It is also the description quite deliberately used by Thomas Thielen and Dominik Hüttermann for their ‘progressive pop project’ Clouds Can…