New Genre Titles....
So, on tsururadio, I call modern indie bands who dip into prog, "Indie-prog", such as the last Sun Rub & Wolf Parade album, as well as some elements of the last Islands record. If you could create your own genre titles, what would you come up with and which albums/bands would it describe?

cabaret pop - Kate Nash, Nellie McKay, Regina Spektor

Ooo... I like that.

I used "summer atmosphere pop/rock" for Helvetia http://blog.tsururadio.com/2008/07/its-not-clock-that-stopped.html

I was listening to a heavy metal radio program a while ago and the dj described a song as garfield metal! WTF?

lol!

Garfield metal artists play especially heavy on Mondays.

I'd lecture on this topic, but frankly, I don't think that would save you from your wild delusion.

WP's la-*test*-('") is pretty proggy, as is Sun Rub... it's prog in the sense that follows much of what is written in this wiki article: Characteristics Musical characteristics Form: Progressive rock songs either avoid common popular music song structures of verse-chorus-bridge, or blur the formal distinctions by extending sections or inserting musical interludes, often with exaggerated dynamics to heighten contrast between sections. Classical forms are often inserted or substituted, sometimes yielding entire suites, building on the traditional medleys of earlier rock bands. Progressive rock songs also often have extended instrumental passages, marrying the classical solo tradition with the improvisational traditions of jazz and psychedelic rock. All of these tend to add length to progressive rock songs, which may last longer than twenty minutes. Timbre (instrumentation and tone color): Early progressive rock groups expanded the timbral palette of the then-traditional rock instrumentation of guitar, organ, bass, and drums by adding less typical instruments, such as flute, saxophone and violin, and exploring the capabilities of new electronic keyboards, synthesizers, and electronic effects. Modern progressive rock artists continue the tradition of experimenting with new and different sounds and instruments. Some instruments – most notably, the Moog synthesizer and the Mellotron – have become closely associated with the genre. Rhythm: Drawing on their classical, jazz, and experimental influences, progressive rock artists explore a variety of time signatures, syncopation, polyrhythms, and tempo changes uncommon to mainstream rock. The lack of a single, steady beat marks progressive rock as a genre less concerned with danceability than with listening. Melody and Harmony: Music critic Piero Scaruffi argues that progressive rock has less of a melodic focus than other types of rock; he states that "progressive-rock is rock music that is not mainly melodic"<2> In prog rock, the blues inflections of mainstream rock are often supplanted by jazz and classical influences. Melodies are more likely to be modal than based on the pentatonic scale. Chords and chord progressions are also frequently modal, and augmented with 6ths, 7ths, 9ths, and compound intervals; and the I-IV-V progression is much less common. Allusions to, or even direct quotes from, well-known classical themes are common. Some bands have explored atonal or dissonant harmonies, and a few have even worked with rudimentary serialism. Texture and imagery: Ambient soundscapes and theatrical elements are often used to describe scenes, events or other aspects of the concept. A Wagner-style leitmotif is used to represent the various characters in Genesis' "Harold the Barrel" and "Robbery, Assault and Battery." The sounds of clocks and cash registers are used to represent time and money in Pink Floyd's The Dark Side of the Moon. Other characteristics Technology: To aid their timbral exploration, progressive rock bands were often early adopters of new electronic musical instruments and technologies. Emerson Lake and Palmer pioneered use of the Moog synthesizer, and the mellotron was a signature sound of early progressive bands such as the Moody Blues, King Crimson, and Genesis. In the late 1970s, Robert Fripp, of King Crimson, and Brian Eno developed an analog tape loops effect (Frippertronics). In the 1980s, Frank Zappa used the Synclavier for composing and recording, and King Crimson utilized MIDI-enabled guitars, a Chapman Stick, and electronic percussion. Concept albums: Though not unique to progressive rock, collections of songs unified by an elaborate, overarching theme or story are common to the genre. As progressive rock songs are, themselves, quite long, such collections have frequently exceeded the maximum length of recorded media, resulting in packages that require multiple vinyl discs, cassettes, or even compact discs to present a single album. Concepts have included the historical, fantastical, and metaphysical, and even, in the case of Jethro Tull's Thick as a Brick, poking fun at concept albums. Lyrical themes: Even outside of concept albums, progressive rock often has lyrical ambition similar to its musical ambition – avoiding typical rock/pop subjects such as love, dancing, etc. and focusing on the kinds of themes found in literature. Lyricists such as Ian Anderson (Jethro Tull), Peter Hammill (Van Der Graaf Generator), and Pete Sinfield (King Crimson and ELP) wrote elaborate lyrics combining introspection, social commentary, and poetic influences. Genesis often wrote surreal stories in their lyrics, while Roger Waters (Pink Floyd) combined social criticism with the personal struggles with greed, madness, and death. Literature, mythology, and folklore are also common themes and influences of progressive rock. Though fantasy and science-fiction themes are much less prevalent than some critics claim, they are part of the common stereotype of progressive rock. Presentation: Album art and packaging is often an important part of the artistic concept. This trend began with The Beatles' Sgt. Pepper's Lonely Hearts Club Band and played a major part in the marketing of progressive rock. Some bands became as well known for the art direction of their albums as for their sound, with the "look" integrated into the band's overall musical identity. This led to fame for particular artists and design studios, most notably Roger Dean for his work with Yes, and Storm Thorgerson and his studio Hipgnosis for their work with Pink Floyd and several other progressive rock groups. Stage theatrics: Beginning in the early 1970s, some progressive rock bands began incorporating elaborate and sometimes flamboyant stage theatrics into their concerts. Genesis lead singer Peter Gabriel wore many different colourful and exotic costumes in one show, and the band used lasers and giant mirrors synchronized with the music. Yes incorporated futuristic stage sets designed by Roger Dean, including massive spaceship props and complex lighting. Yes also performed 'in-the-round', with the band on a round stage set up in the middle of the arena. Jethro Tull released rabbits on stage (see here). One of ELP's many stage antics include Emerson's "flying piano" at the California Jam concert, in which a Steinway grand piano would be spun from a hoist. Pink Floyd used many stage effects, including crashing aeroplanes, a giant floating pig, massive projection screens, and, in 1980, an enormous mock brick wall for The Wall performances. Rush incorporated lasers and film backdrops into their stage show. Frank Zappa and The Mothers of Invention used a giant giraffe prop and did improvisational comedy skits. Marillion's former lead singer Fish wore a jester costume inspired by the band's first album, Script for a Jester's Tear. Pretty well written, imo.