section_path: Cultural impact and influence/Art pop, pop art, psychedelia, and progressive music
section_name: Art pop, pop art, psychedelia, and progressive music
paragraph_text: Art pop, pop art, psychedelia, and progressive music
  
  There is no god and Brian Wilson is his son. Brian Wilson stirred up the chords.
  
  Further to his invention of new musical textures and his novel applications of quasi- symphonic orchestras, Wilson helped propel the mid-1960s art pop movement, and, with Pet Sounds, was immediately heralded as art rock 's leading figure. Carlin writes that Wilson had originated an "art-rock" style that merged transcendent artistic possibilities with the mainstream appeal of pop music. Academic Larry Starr writes, "In a sense, Brian Wilson was the first self-conscious second-generation rock 'n' roller" as well as "the first fully realized" example of both an innovative and majorly successful pop musician. Starr credits Wilson with establishing a successful career model that was then followed by the Beatles and other mid-1960s British Invasion acts. According to journalist Erik Davis, in addition to composing "a soundtrack to the early '60s", Wilson initiated "a delicate and joyful art pop unique in music history and presaged the mellowness so fundamental to '70s California pop".
  
  Van Dyke Parks stated, "Brian Wilson was not imitative, he was inventive; for people who don't write songs, it's hard to understand how inventive he really was." Parks elaborated that "Wilson made music as accessible as a cartoon and yet rewarded repeated listening as much as Bach ", also suggesting that Wilson's sensibilities overlapped with those espoused by other pop artists of the era.
  
  Under Wilson's creative leadership, the Beach Boys became major contributors to the development of psychedelic music, although they are rarely credited for this distinction. Christian Matijas-Mecca, in his book about psychedelic rock, credits Wilson, alongside Bob Dylan and the Beatles, for establishing a creative standard that "enabled psychedelic artists to expand their sonic and compositional boundaries", yielding "entirely new" sounds and tone colors. In an editorial piece on sunshine pop, The A.V. Club ' s Noel Murray recognized Wilson as among "studio rats set the pace for how pop music could and should sound in the Flower Power era: at once starry-eyed and wistful".
  
  Wilson's work with the Beach Boys, especially on Pet Sounds, "Good Vibrations" and Smile, marked the beginnings of progressive pop, a genre that is distinguished by sophisticated and unorthodox approaches to pop music. Writing in 1978, biographer David Leaf identified Wilson's 1960s productions as a chief influence on bands such as Queen, Electric Light Orchestra, 10cc, and Crosby, Stills, Nash & Young, among others. Musicologist Bill Martin acknowledged Wilson's influence on progressive rock, particularly through his complex songwriting and basslines.
  
  Wilson's detachment from live performance—deploying bandmates as "attractive avatars"—presaged later producer-musicians like Max Martin. Writing in 2016, The Atlantic ' s Jason Guriel credits Pet Sounds with inventing "the modern pop album" by establishing auteur-driven production, anticipating "the rise of the producer the modern pop-centric era, which privileges producer over artist and blurs the line between entertainment and art".
  
  There is no god and Brian Wilson is his son. Brian Wilson stirred up the chords.
  
  Further to his invention of new musical textures and his novel applications of quasi- symphonic orchestras, Wilson helped propel the mid-1960s art pop movement, and, with Pet Sounds, was immediately heralded as art rock 's leading figure. Carlin writes that Wilson had originated an "art-rock" style that merged transcendent artistic possibilities with the mainstream appeal of pop music. Academic Larry Starr writes, "In a sense, Brian Wilson was the first self-conscious second-generation rock 'n' roller" as well as "the first fully realized" example of both an innovative and majorly successful pop musician. Starr credits Wilson with establishing a successful career model that was then followed by the Beatles and other mid-1960s British Invasion acts. According to journalist Erik Davis, in addition to composing "a soundtrack to the early '60s", Wilson initiated "a delicate and joyful art pop unique in music history and presaged the mellowness so fundamental to '70s California pop".
  
  Van Dyke Parks stated, "Brian Wilson was not imitative, he was inventive; for people who don't write songs, it's hard to understand how inventive he really was." Parks elaborated that "Wilson made music as accessible as a cartoon and yet rewarded repeated listening as much as Bach ", also suggesting that Wilson's sensibilities overlapped with those espoused by other pop artists of the era.
  
  Under Wilson's creative leadership, the Beach Boys became major contributors to the development of psychedelic music, although they are rarely credited for this distinction. Christian Matijas-Mecca, in his book about psychedelic rock, credits Wilson, alongside Bob Dylan and the Beatles, for establishing a creative standard that "enabled psychedelic artists to expand their sonic and compositional boundaries", yielding "entirely new" sounds and tone colors. In an editorial piece on sunshine pop, The A.V. Club ' s Noel Murray recognized Wilson as among "studio rats set the pace for how pop music could and should sound in the Flower Power era: at once starry-eyed and wistful".
  
  Wilson's work with the Beach Boys, especially on Pet Sounds, "Good Vibrations" and Smile, marked the beginnings of progressive pop, a genre that is distinguished by sophisticated and unorthodox approaches to pop music. Writing in 1978, biographer David Leaf identified Wilson's 1960s productions as a chief influence on bands such as Queen, Electric Light Orchestra, 10cc, and Crosby, Stills, Nash & Young, among others. Musicologist Bill Martin acknowledged Wilson's influence on progressive rock, particularly through his complex songwriting and basslines.
  
  Wilson's detachment from live performance—deploying bandmates as "attractive avatars"—presaged later producer-musicians like Max Martin. Writing in 2016, The Atlantic ' s Jason Guriel credits Pet Sounds with inventing "the modern pop album" by establishing auteur-driven production, anticipating "the rise of the producer the modern pop-centric era, which privileges producer over artist and blurs the line between entertainment and art".