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Getting out a full edition of a magazine devoted to prog music every month obviously treads a difficult path, remaining relevant whilst retaining the ethos of prog rock. Prog manages this incredibly well, mixing content from all parts and all eras of the genre. ProgBlog reflects on 10 years and 100 editions of Prog magazine

By ProgBlog, Jul 13 2019 03:41PM


Prog 100
Prog 100

2019 marks 10 years of Prog magazine and as I write this, the 100th edition has been landing on the doormats of subscribers. A cricketing analogy seems appropriate for progressive rock while we’re waiting for the final of the Cricket World Cup, the long-form strategy of 5-day Test matches coming closest of any sport to embody the ethos of prog; the innings looked to be over as Team Rock, publishers of Prog, Metal Hammer and Classic Rock were plunged into administration in December 2016 only to be declared not out, saved by original owners Future Publishing in early January 2017 who bought the titles for a reputed £800,000 (having sold them for £10.2m to Team Rock in 2013.) The most heart-warming part of this story was that British metal band Orange Goblin raised over £70,000 through a Just Giving page for staff who were made redundant, put out of work without any severance pay just before Christmas; an illustration of the importance of the magazines to the musicians and the fans.


BBC Four - Prog Rock Britannia: An Observation in Three Movements
BBC Four - Prog Rock Britannia: An Observation in Three Movements

Though it had never left my radar, prog as a genre resurfaced in the mainstream media in January 2009 with the BBC Four series Prog Rock Britannia: An Observation in Three Movements following a series of false starts, one of which was the Virgin/EMI 3CD ‘The Best Prog Album in the World... Ever’, somewhat cynically released in time for Fathers’ Day in 2003. Not too long after the initial airing of that BBC Four series the first edition of Classic Rock Presents Prog hit the newsstands, intended at the planning stage as a quarterly publication but quickly becoming bimonthly due to its instant success. I can’t remember from which newsagent I bought my copy of that first issue but I assumed it was a one-off until I came across issue 2 (June 2009) Prog’s Avant Garde Old and New in Real Groovy records in Christchurch, NZ while on holiday in August 2009; my collection is devoid of the third and fourth editions, and also number 16, the issue published immediately before I set up a subscription.

In what could be seen as confirmation that prog was once more acceptable to discuss outside of dungeons or shady pub back-rooms, Alexis Petridis penned an article for The Guardian newspaper in July 2010, the week before the re-formed ELP headlined the High Voltage festival in London’s Victoria Park that reported on, with some surprise, the resurgence of prog https://www.theguardian.com/music/2010/jul/22/prog-rock-genesis-rush-mostly-autumn

Petridis interviewed Prog magazine editor Jerry Ewing and revealed a healthy circulation of 22,000 copies per issue which at the time was half the circulation for the long-established NME.


Go back to go forward - Alexis Petridis in The Guardian
Go back to go forward - Alexis Petridis in The Guardian

Serendipitously, Ewing had chosen exactly the right time to launch the magazine; the third wave of prog that began in the mid 90s, itself a testament to the quality of the music, was going from strength to strength and exerting ever greater influence, and a vinyl revival had begun a couple of years before. Progressive rock may not have been truly fashionable but was nevertheless massively successful in the 70s, shipping millions of vinyl albums, where part of the pleasure of the prog experience was absorbing the images, lyrics and technical information on the gatefold sleeve. I believe that more than any other the genre, the vinyl LP is associated with progressive rock. A measure of this success is that some bands were effectively exiled from the UK by the government’s tax regime; when Labour took power in 1974 the top rate of income tax was increased from 75% to 83% and the surcharge on investment tax took the top rate on investment income up to 98%, rates that applied to 750,000 people with incomes over £20,000 per year, including the best-selling prog bands like Yes, ELP and Jethro Tull.

Prog 01
Prog 01

It was obvious that there was no way that a periodical dedicated to progressive rock could last long by only reporting on the music produced between 1969 and 1978, or even by appending on the era of neo-prog. I don’t read every article and I’m sometimes disappointed that what I consider an important event isn’t picked up by the editorial team, prompting me to fire off a disgruntled letter (or two.) I’m still of the opinion that there’s insufficient coverage of classic rock progressivo Italiano, although new material from PFM in 2017 and Banco del Mutuo Soccorso this year addresses this to some extent, but I was sure that 2013’s Le Porte del Domani by La Maschera di Cera, a conceptual follow-up to the acknowledged classic of Progressivo Italiano, Felona e Sorona by Le Orme surely deserved a mention, especially as La Maschera di Cera, like Le Orme before them, issued an English-language version of the album. However, the magazine manages to meet the requirements of unreconstructed 70s prog-philes whilst still managing to preserve a place in the competitive periodicals market by representing a spectrum that takes in progressive-minded metal, electronica, folk, jazz and ambient and though stable mate Classic Rock magazine might contain some content overlap of less-niche prog-associated acts like Pink Floyd, there are so many bands that they miss entirely, because they are neither the next big thing nor filling stadia. I’ve recently witnessed a tendency for general music journalism to reference progressive traits, in Muse for example, as handy epithets to confer a description that a group doesn’t simply follow the ordinary; this creates a space apart from conventional publications for a magazine devoted to prog.



Letter to Prog, May 2013
Letter to Prog, May 2013

With 100 editions in ten years, the frequency of Prog nicely balances new and freshly reappraised copy, with novel material provided by a cohort of younger musicians who can reflect on the music played by their parents and fusing this with other music that has been around for less time. This brings a new perspective to the genre, one of the reasons, I believe, that prog rock found a new respectability in the 90s and the secret of the third wave’s longevity. I’ve previously griped about prog metal but it is unlikely that there would have been a third wave if there had been no assimilation of a progressive ethos into metal. Catalysed by a shared heritage that cherished technical ability, prog metal began to arise in different parts of the world, most notably Scandinavia and the USA. This renewed interest in (or alternatively, a reduction in hostility towards) prog allowed the resurrection of King Crimson, who still felt the need to test the water by releasing the VROOOM EP in 1994. The double trio incarnation of Crimson revisited some of the ideas abruptly curtailed in 1974, complex and heavy, aligning themselves with prevailing trends and even touring with Tool in 2001.


There will always be debates about what constitutes prog rock, which nicely plays into the success of Prog magazine, tapping into any genre that cross-pollinates with prog. The Bloody Well Write letters page may contain missives from unreconstructed 70’s progressive rock fans declaring they will no longer subscribe to the publication but there are far more letters pointing out what a good job the Prog team are doing. That the magazine is now 10 years and 100 editions old is testament to their efforts. I’m happy to subscribe to Prog; Without it I’d have been too reluctant to give Anglo-Finnish Wigwam a chance and I’d never have discovered the excellent Zappa-like Supersister (from the Netherlands) or the amazing Yak who have no guitarist but sound like Steve Hackett.

I’m looking forward to the next 100 editions in the next 10 years.


Postscript

Though electronic media has played a part in the demise of the printed word, the best strategy seems to be balancing both forms of medium. I read Armando Gallo’s early Genesis biography I Know What I Like on a Samsung tablet and found it deeply unsatisfying but I am aware that one of the secrets to commercial success is to mix formats. So hats off to Prog magazine getting the balance right and keeping going, seemingly from strength to strength in a fiercely competitive environment.

I was both amused and surprised to see free copies of the NME available outside Whitechapel station when I started to work in the East End in 2015. Sporting an image of Taylor Swift, with a prominent yellow bubble appearing like a peeling sticker announcing MUSIC FILM STYLE, I realised that like other freebies handed out at transport hubs the print edition of the NME had become nothing more than a listings magazine, finally succumbing to what I always thought was their unspoken ethos that style was more important than the music. The print edition of the NME closed down in 2018.

Paul Stump's words could not have been wiser: the music’s all that matters


Credit: Jordan Hughes/NME
Credit: Jordan Hughes/NME

Post-postscript

For my part, I have learned to accept prog metal as a valid and valued sub-genre



Prog metal - Prog 12 December 2010
Prog metal - Prog 12 December 2010







By ProgBlog, May 31 2019 08:50PM

Popping into a local supermarket for essentials on our return from a recent trip to Milan, the sales assistant enquired where we’d been and when informed, asked us if we’d visited ‘the designer shops’. After my first visit to the city for Expo 2015, I was unsure if I liked it, but the time spent there was primarily devoted to the Expo and a day trip out to Bergamo, which I enjoyed (and discovered the delights of the Elav brewery where, amongst their range of music-related beers, was the Progressive Barley Wine – unavailable at the time of our trip.) This time, like then, we avoided designer shops.


Elav Brewery's Progressive Barley Wine
Elav Brewery's Progressive Barley Wine

It was fortunate that we managed to walk around the roof of the magnificent duomo on that first visit, because it has been undergoing restoration work ever since. On each subsequent trip I’ve begun to feel quite at home and got to like the city more and more. The first stop after the airport is Bar Centrale in Milano Centrale station for an espresso, an institution that has attracted poor reviews on Google for the alleged expense and the rudeness of the staff. Don’t these people know that the idea is to grab a quick coffee before you go about your daily business and the baristas are simply serving the hordes of commuters as efficiently as possible? You can’t go wrong if you follow the locals: pay for your drinks (and brioche if you want a bite for breakfast) at the till before standing at the bar; if you choose to sit down the service will be less efficient and more expensive. This is not the best espresso that the city has to offer, though it came close last year when they used Lavazza beans. Unfortunately they’ve changed supplier again and I’m not such a fan of the current roast.

Second stop is La Feltrinelli, which extends over three floors within the station and provides the opportunity to browse some vinyl and to buy the latest edition of Prog Italia. There’s even a dedicated Progressive Italiana CD section, unique to this particular branch of the chain. Only after this ritual can we check in at the hotel.


La Feltrinelli, Milano Centrale
La Feltrinelli, Milano Centrale

We’ve stayed in three different hotels for our visits, all perfectly pleasant although only one is well situated, the NH Machiavelli close to Repubblica Metro station and only 10 minutes walk from Milano Centrale. The UNAHotels Scandinavia was a lastminute.com bargain but the closest Metro stop is Gerusalemme on the M5 line (not fully completed at the time) so an interchange was necessary for each journey. The first prog-related visit was for the 2017 Z-Fest, held at Milan’s Legend Club, a 10 minute walk from Affori Centro, close to the northernmost terminus of the M3 line while our hotel on that occasion was one stop from the northern terminus of the M1 line. I took a taxi to the venue and left before the end of the performance, catching the metro to Duomo at around 1am as the station was closing and I couldn’t get a connection. Fortunately there were taxis around the Duomo piazza to get me back to the hotel. The third trip was just passing through on a journey from Paris to Como by rail. With a few hours between arriving at Centrale and getting a train out to Como, we dropped off our bags at left luggage and killed time by walking to the duomo, by chance (we had no map so I was navigating from memory) passing the NH Machiavelli, which was to become our base for the subsequent two visits for the 2018 Z-Fest and the 2018 FIM Prog Fest; the former easily accessed by metro (and metro replacement bus on the return journey), and the latter within walking distance at the Piazza Città di Lombardia.


It turned out that the NH Machiavelli has another advantage: it’s round the corner from a branch of Libraccio, a chain of shops selling stationery, books and music. The Viale Vittorio Veneto branch is especially good for stocking AMS releases which I normally have to order over the internet from btf.it as AMS, who have a Milan contact address, don’t appear to have a physical shop. Excluding the Vittorio Veneto Libraccio, the Feltrinelli in Centrale and its large sister branch in the Galleria Vittorio Emanuele II, the only dedicated Milan record shop I had ever managed to trawl through up to this latest visit was Rossetti Records and Books (via Cesare da Sesto, 24) a specialist in second-hand music founded in 1981. On the first trip I bought three CDs: Il Giorno Sottile (2001) by the experimental Fabio Zuffanti project Quadraphonic, a bleak, interesting and challenging album of industrial music, loops and electronica that just about retains the memory of melody; the self-titled release by Dedalus (1973) which strays into jazz-rock territory; and symphonic prog Il Bianco Regno Di Dooah (2003) by Consorzio Acqua Potabile (CAP); this time I came away with an original copy of Uomo di Pezza by Le Orme (1972).


Rossetti Records and Books, Milano
Rossetti Records and Books, Milano

The weather in northern Italy over our weekend stay was pretty awful and a threatened strike by Trenitalia staff meant we couldn’t plan any excursions to nearby towns. I have considered attempting an expedition to the Marconi bakery where PFM rehearsed and appropriated their moniker, and Chiari, between Milan and Brescia remains one of the few towns in the region that we’ve yet to explore. The omission of a day trip allowed us to take in more of the attractions within the city itself: the Torre Branca observation tower in Parco Sempione; a slow walk around the Navigli district where some canals still remain; the art deco Villa Necchi Campiglio (Piero Portaluppi, 1932-35) filled with innovative design features; and the Pirelli HangarBicocca, a huge contemporary art space converted from a former locomotive factory. Along with the stops for coffee there was also an attempt to photograph the brutalist Department of Accounting at Bocconi University, but my poor navigation and a degree award ceremony put an end to that adventure; what was more successful was ticking off more of the independent record stores.

King Crimson’s Live at the Marquee, August 10, 1971 was playing in Il Discomane (Alzaia Naviglio Grande, 38) when I went in. Primarily a second-hand vinyl store, there was an interesting rarities section but nothing which grabbed my attention; I may not have bought anything but I’d certainly go back for another browse. A couple of doors down was another branch of Libraccio, split into three separate units, but they didn’t have any vinyl that I could see. Serendeepity (Corso di Porta Ticinese, 100) selling new vinyl was also a very short walk away but the ‘Progressive’ section was tiny. Vinylbrokers (Via Privata Pericle, 4) is in the Precotto district, a 20 minute walk from the Pirelli HangarBicocca and it appeared to be closed when we visited, though it wasn’t closing time. However, just as we were turning to go the owner opened up the shop and let us in. To save time I asked for the progressivo Italiano section but he told me they only sold ‘Americana’ and suggested I visit Metropolis Dischi (Via Carlo Esterle, 29). I’d recommend Vinylbrokers for being helpful and friendly, but don’t go there if you’re only looking for prog.


The real purpose of the Milan trip was to attend the FIM Fiera prog fest, organised by Black Widow Records’ Massimo Gasperini in the role of artistic director. This year the event was billed as ‘Da Vinci’s Spirit’, designed to pay tribute to the Renaissance genius on the 500th anniversary of his death. FIM director Verdiano Vera suggested that progressive rock is a musical genre that more than any other embraces Leonardo’s spirit of experimentation due to its diverse influences, unusual time signatures, tempo changes and variations in amplitude and speed, all of which nurture talent, inspiration, inventiveness and ingenuity.



The four bands appearing, Silver Key, Macchina Pneumatica, Universal Totem Orchestra and FEM provided a broad range of examples of the genre from almost straightforward symphonic prog through to neo-prog, psyche-prog and avant-prog/jazz rock, though one constant was a set of Leonardo drawings projected behind the bands providing a constant visual reminder of the link between his futuristic thinking and prog, a musical form known to push at boundaries.

Silver Key began life as a Marillion cover-band in Milan in 1992 and has undergone a number of personnel changes. Over the past seven years they have produced three albums of original neo-prog, starting with In the Land of Dreams (2012), followed up with 2015’s The Screams Empire where keyboard player Davide Manara was left as the only founding member. Current guitarist Roberto Buchicchio and bassist Ivano Tognetti joined for The Screams Empire, and vocalist Dino Procopio was introduced for the latest album Third, released in April 2019; Procopio also provided the lyrics. The band don’t have a drummer – the album credits ‘Mr Drummer’ with percussive duties but when chatting to Massimo Gasperini after their performance, Manara owned up to programming the drums. Concentrating on material from Third, the music was nicely conceived and well played, incorporating convincing-sounding drum parts, expressive guitar, solid bass, nice ambient moments, and multiple false endings. It was evident that Procopio can sing (the vocals were in English) but unfortunately he was under-mixed during the full-ensemble blows.



Silver Key
Silver Key

One of the main draws was Macchina Pneumatica who released their debut album Riflessi e Maschere on Black Widow Records (BWRDIST 680) earlier this year. It’s primarily riff-based and moderately heavy, so it comes across as being on the psyche end of the prog spectrum. I’m reminded of the dominant, driving bass and penchant for distortion of fellow countrymen MUFFX who inhabit much of the same sonic landscape and who I gave a glowing review last year for L’Ora di Tutti; the difference is MUFFX are instrumental and Macchina Pneumatica use vocals, sung by Raffaele Gigliotti with lyrics inspired by everyday life, moods and relationships. The live performance, like Silver Key before them, was dogged by an imperfect sound, with house sound engineers running on stage to adjust the bass volume. From where I was sitting, right of centre and close to the front, some distance from the mixing desk, Gigliotti’s guitar volume was a bit too low and though Carlo Giustiniani’s bass was fairly dominant, it also cuts through on the CD without adversely affecting the sound balance. I was close to keyboard player Carlo Fiore, so I could fully appreciate his synth, piano and organ work, with accurate analogue-sounding patches to recreate a 70’s vibe. Their songs sound deceptively simple but counting out Vincenzo Vitagliano’s rhythmic patterns they’re anything but straightforward and there’s sufficient variation, including melodic passages and lead synthesizer lines, to hold your attention. They’re a relatively new group, formed as a keyboard trio Atom Age Empire in Milan in 2013, renamed Nudo when guitarist/vocalist Raffaele Gigliotti joined, and finally changed to Macchina Pneumatica during the recording of Riflessi e Maschere. They are currently working on a new album.


Macchina Pneumatica
Macchina Pneumatica

I’m well acquainted with Mathematical Mother, the 2016 album by Universal Totem Orchestra; the music is dense and complex with the intensity and pace of Magma or the Mahavishnu Orchestra, especially the 1974-75 incarnation where Gayle Moran adds vocals. The operatic approach to the vocals, whether female or male chorus evokes the Wagnerian facet of Zeuhl but there’s also the exploratory jazz of Coltrane. They employ an eastern scale on the track Elogio del dubbio, all of which indicates a fearless approach to music making that epitomises prog.

I love the intricacy of the compositions and it can’t be denied that Ana Torres Fraile has a superb voice but in the live setting I felt the lead vocal impinged on the instrumental sections, especially scat vocal in the style of Cleo Laine, and Fraile too seemed to have problems with her amplification. Whereas the guitar of Daniele Valle, Yanik Lorenzo Andreatta’s bass and Fabrizio Mattuzzi’s keyboards were all spot on, the saxophone and drums, played by Fedeli Antonio and UTO G. Golin respectively, occasionally sounded a bit loose but that’s not so surprising when you’re pushing boundaries.


Universal Totem Orchestra
Universal Totem Orchestra

The FEM (Forza Elettromotrice) set seemed rather brief after UTO’s sonic bombardment, but this was the closest to symphonic prog all evening, and I felt it ended too soon. The band (Alessandro Graziano, vocals; Paolo Colombo, guitars; Alberto Citterio, keyboards; Pietro Bertoni, trombone and keyboards; Marco Buzzi, bass; and Emanuele Borsati, drums) were showcasing their 2018 album Mutazione and could have been hampered by an injury to Cittero who had his left arm in a sling, but his playing, along with the rest of the ensemble, was fluent. I felt Bertoni was a little under-used but he was furthest from me and I may not have been able to hear him clearly. What did come across was the way each song had been carefully put together; one of the numbers reminded me of Focus.


FEM
FEM

The one downside of a multi-stage or multi-disciplinary event like the FIM Fiera is that there are occasions when you want to see more than one thing at one particular time; Fabio Gremo, bassist with Il Tempio delle Clessidre, has just released a second solo album and was performing it outside in the piazza while Da Vinci’s Spirit was in full flow in the auditorium Testori. I’m a big fan of Fabio Gremo’s La Mia Voce (2013) which demonstrates his considerable classical guitar skills, but the recital of Don’t be Scared of Trying also included piano accompaniment from Sandro Amadei of Melting Clock, so I was disappointed I didn’t get to see them play. I did get to chat with Sandro and his brother Stefano when they came to take in some of the prog fest, but I didn’t get to speak to Fabio. A major plus is that Da Vinci’s Spirit, and last year’s Prog On, showcased not just incredible music, but the confirmation of a ‘prog family’ that is all-embracing in its approach and one that rejoices in differences. The concept of a prog rock festival as Da Vinci’s Spirit is perfectly apt. Thanks, Massimo Gasperini and Verdiano Vera. See you next year!


Postscript

Even if you’re not into prog, forget Milan and fashion and seek out Milan and Leonardo da Vinci. There’s a waiting list for tickets to view The Last Supper which is in the former refectory of the convent attached to Milan’s Church of Santa Maria delle Grazie, but I managed to arrange tickets for the first of our 2017 trips. If you are planning on going to Milan I’d strongly recommend booking a guided tour; the refectory and Leonardo’s masterpiece form an integral part of the convent architecture which is a UNESCO World Heritage Site. And the prog's not bad, either.


Leonardo's The Last Supper
Leonardo's The Last Supper











By ProgBlog, May 13 2019 10:31PM

I have a soft spot for the Barrett-era Floyd, where the psychedelic whimsy found on The Piper at the Gates of Dawn is tinged with a darker edge, and for those of us who weren’t able to see this version of the band play live, there are recorded hints of Pink Floyd as sonic pioneers in Astronomy Domine and Interstellar Overdrive – the vanguard of space rock. Having bought Relics around the same time as acquiring Dark Side of the Moon, my next Floyd purchase, within a week of its release, was A Nice Pair. I may have heard bootlegs of Atom Heart, Meddle and Dark Side but at that time I was more familiar with their earlier oeuvre and as much entranced by the gatefold sleeve of A Nice Pair and Nick Mason’s architectural sketch for the cover of Relics as I was of Dark Side’s prisms.


A Nice Pair
A Nice Pair

By the time I first got to see the Floyd play live they’d dropped almost all intimation of their progressive rock sound even though the scope and realisation of The Wall shows was totally incredible. The 1988 Momentary Lapse of Reason show I saw at Wembley Stadium concentrated on Dark Side, Wish You Were Here, The Wall and their current release and while 1994’s Division Bell tour included dates where they played One of These Days or Astronomy Domine, it was only the former that featured on the leg of the tour when I got to see them on October 14th, the earliest piece of music that I’d seen them play.


I went to see early-Floyd tribute act Ummagummaa who played at Croydon’s Ashcroft Theatre in May 2004 because, being a proponent of music in local venues, I thought it would have been churlish to miss it. Ultimately, I came away disappointed and vowed never to watch a tribute band ever again. This was a bit unfair on the group, who weren’t bad musicians and rather than play the material note-perfect, which is possibly what I was expecting having never attended a gig like that before, they improvised around the song themes which was entirely in keeping with live early Pink Floyd; I wasn’t too sure about the vocals which didn’t sound like any of the original members but it may have been the inclusion of songs like If and San Tropez in the set that most concerned me, straying from my personal viewpoint as to what conformed to ‘early’ Floyd, despite playing undisputed classics like Astronomy Domine, Careful with that Axe Eugene, A Saucerful of Secrets, Set the Controls for the Heart of the Sun, One of These Days, Echoes and finishing with Arnold Layne and See Emily Play. They even had an appropriate ‘liquid light show’ to provide an accurate reminder of the period.



(Early) Pink Floyd tribute act Ummagummaa, Croydon May 2004
(Early) Pink Floyd tribute act Ummagummaa, Croydon May 2004

I stupidly turned down the opportunity to see Nick Mason’s Saucerful of Secrets on their opening tour, unwilling to join the on-line ticket queue and pay what I thought was rather a lot of money to stand and watch a band that included an ex-member of Spandau Ballet. I reconsidered for the current leg of the tour, reasoning that £50 for a seat at the Roundhouse wasn’t too bad and the chance to see one original band member performing this material was actually too good to miss. I must have become aware of the Chalk Farm Roundhouse from browsing music weeklies in the mid 70s but it’s unlikely I made the connection to the Pink Floyd story until sometime later, including its significance to the beginnings of UK counterculture; the first cultural use of the Roundhouse was as the venue for the launch party of the International Times (IT) in October 1966, a multi-media all-night rave and happening billed as a ‘pop-op-costume-masque-drag ball’, featuring performances from Pink Floyd and Soft Machine plus screenings of films and poetry readings; the Roundhouse and early Floyd are intrinsically connected.


poster for International Times launch party
poster for International Times launch party

Built between 1846-7 for the London and North Western Railway by Branson & Gwyther as a building for turning round railway engines, the Roundhouse has been recognised as a notable example of mid-19th century railway architecture and was listed in 1954, amended to Grade II* in January 1999, then declared a National Heritage Site in 2010. 24 cast-iron Doric columns arranged around the original locomotive spaces support a conical slate roof and the columns are braced with a framework of curved ribs, imbuing the internal space with a distinctive industrial Victoriana. The recent refurbishment respects the structure while making it fit for purpose as an events venue – it was my ‘venue of the year’ in the 2018 Prog magazine readers’ poll.


The Roundhouse, May 2019
The Roundhouse, May 2019

I have mixed feelings about the gig. On the one hand I was pleased to be there to see Nick Mason’s ensemble in that particular setting because of its historical rock and sociological relevance; on the other I was seated in a better position than for the Portico Quartet performance last year but I thought the sound was not nearly as good, and it didn’t appear to have been too good on the main floor either, demonstrated by loud crowd murmurings when Mason was making an inaudible announcement between songs; at times it was difficult to hear Dom Beken’s keyboards, an essential part of the early Floyd sound. I also thought they weren’t very tight as a unit even though Mason’s drumming sounded as good as I’d ever heard it. I was possibly expecting a tone of naivety in the vocals, but neither guitarist Gary Kemp or Lee Harris, nor bassist Guy Pratt did wonderment and this detracted from the earliest songs. That’s not to say I disapproved of the treatment of See Emily Play or Lucifer Sam and I fully appreciated their version of Vegetable Man, written by Barrett in 1967 and originally scheduled as a B side to putative single Scream Thy Last Scream which was never released; it was finally officially put out on The Early Years (1965-1972) in 2016. It may actually have been the brevity of the majority of pieces they played that I found too strange to handle, along with the interpretation of ‘early’ Pink Floyd. My favourites from the evening tended to be longer material; opener Interstellar Overdrive, Astronomy Domine, One of These Days, Set the Controls for the Heart of the Sun, A Saucerful of Secrets, the excerpt from Atom Heart Mother; what I wasn’t too keen on, and I have to stress this is personal opinion, was the inclusion of If from Atom Heart Mother which bookended the title track, Fearless from Meddle and the Obscured by Clouds songs, all of which are low down in my listening priority and, as the writing partnership between Gilmour and Wright evolved and Waters was developing a distinct style, don’t conform to what I would describe as early-sounding.


Nick Mason's Saucerful of Secrets, Roundhouse 3/5/19
Nick Mason's Saucerful of Secrets, Roundhouse 3/5/19

Ticket for Nick Mason's Saucerful of Secrets, Roundhouse 3/5/19
Ticket for Nick Mason's Saucerful of Secrets, Roundhouse 3/5/19

Apart from providing Floyd enthusiasts with material that’s unlikely to be played by any current or former member of Pink Floyd ever again, Mason is currently presenting a nine-part series for BBC radio: A History of Music and Technology, https://www.bbc.co.uk/programmes/w27vq4h7 Produced in association with the Open University, it’s something on which his role in Pink Floyd has bestowed the appropriate qualifications. He also has an excellent voice for radio and the programme, which charts a history of the innovations which have shaped popular music, should be compulsory listening for anyone into prog. Episode 1: The Story of Sound Recording related the attempts to capture sound, from an oral tradition to Edison’s phonograph and it’s replacement by the gramophone, from vinyl to magnetic tape and eventually the CD, driven by cost and convenience rather than the quality of the technology. Episode 2: Electronic Music Pioneers may have covered some of the material from Robert Berry’s The Music of the Future (Repeater Books, 2016), a quest to find today’s musical futurists, but I found it totally fascinating; Thaddeus Cahill’s Telharmonium from 1896 which is not only believed to be the first electromechanical musical instrument but it could also be considered to be the precursor of streaming, sending a signal through wires which were translated into music through large paper cones acting as a form of primitive loudspeaker. There was some good coverage of the Theremin, an instrument that may have defined science fiction soundtracks but still features in the current prog scene. The ondes Martenot (1928) came about when Maurice Martenot exploited the overlap in tones generated by military oscillators, producing a cello-like sound. The instrument he devised was touted around European conservatoires and features in over 100 classical music compositions; George Jenny’s ondioline was a cheaper version of the ondes Martenot which began production in Paris around 1940 and became destined for a more commercial market thanks to the talents of former medical student Jean Jacques Perrey who released the seminal Prelude au Sommeil in 1958, allegedly as a form of sonic tranquilizer for patients in mental hospitals; the hymnal music incorporated minimalist motifs that were later developed by Philip Glass and Terry Riley and could be considered the first ambient music.




Touching on musique concrète and tape manipulation, on Raymond Scott’s automatic music machines which played sequences of differently arranged patterns, the programme reminded us that though we might think electronic music is relatively recent, it’s now well over 100 years since the first electronic instruments appeared. The next episodes cover the electric guitar and the Hammond organ. Well worth a listen.








By ProgBlog, Apr 10 2019 09:29PM

As the rest of the world watches, the UK plays out a real-time tragicomedy that the actors know is going to cause severe damage to services and the economy but, like the slow-mo approach to the cliff edge, seem incapable of taking appropriate action to avert the impending disaster. I flew to Bologna on the day of the UK’s scheduled departure from the EU (I had tickets to see Ian Anderson on the Jethro Tull 50th Anniversary tour) and fellow passengers laughed at our choice of dates and the confusion we’d have encountered if parliament had approved the Prime Minister’s deal. I was in Genoa the previous weekend where, over dinner with Italian friends, I was asked what on earth we, the UK, were doing. Brexit makes watching televised parliamentary business like watching an episode of The Office; excruciating but compulsive viewing.


Jethro Tull 50th Anniversary Tour, Bologna 30.03.19
Jethro Tull 50th Anniversary Tour, Bologna 30.03.19

Exiting the European Union is an act of wanton self-harm regardless of whatever anyone says about ‘respecting the will of the people’ or ‘give us what we voted for’ but unfortunately the genie has been released from the bottle and conflicting desires following the 52:48 split have used up our wishes to poison debate with hatred and accusations of treachery, fuelled by the personal ambitions of a few die-hards and financed by shadowy figures running insidious Facebook advertising campaigns. As it stands, Theresa May has at last extended an invitation to Jeremy Corbyn to work out some compromise on getting the European Union (Withdrawal) Act 2018 passed, having had her preferred deal, what she regards as the only deal, rejected by the House of Commons three times; we’ve also had a series of indicative votes, seeking out a consensus for a resolution, none of which has commanded any majority in the House. Judging from reports of the current state of affairs it seems that she’s asking Labour to compromise and not shifting her own red lines.


I voted to remain in the 2016 referendum but if we are forced out of the EU, any deal must protect workers’ rights; the environment; the Good Friday Agreement; the rights of UK citizens living within the EU and EU citizens in the UK; food and manufacturing standards; and businesses importing and exporting between the UK and the EU; in other words a soft-Brexit with some form of customs union. One potential model has been coined ‘Norway plus’. Norway, along with Liechtenstein and Iceland, are members of the European Free Trade Association (EFTA) and the European Economic Area (EEA). Norway plus, which was proposed towards the end of 2018, would consist of membership of EFTA and membership of the EEA, combined with a separate customs union with the EU to create a trade relationship similar to that between the EU and its member states today. The one potential drawback cited by critics is that the UK would have to abide by EU regulations without any political representation in the EU's bodies, though it encompasses an idealised wish list for a soft Brexit.


I’ve always been intrigued by Norway, from Scandinavian mythology to physical geography lessons during my schooldays in the early 70s. Unlike the UK, who did exactly the opposite with money from North Sea Oil extraction, the Norwegian government created two sovereign wealth funds. One of these was for reinvesting surplus revenue back into global stocks, shares and assets and the other, the smaller Government Pension Fund Norway, invested in Norwegian and some Scandinavian businesses, acting like a national insurance scheme. Norway featured heavily in the second of my Interrail travels, where 10 days were spent exploring the country from Oslo up to Narvik, well inside the Arctic Circle and the farthest north I’ve ever travelled, 68o28’ N.

This trip coincided with campaigning for the 1983 Norwegian local elections, so university friend and fellow traveller Nick Hodgetts and I hung around with the Norsk Arbeiderparti (who had a band on stage singing about social democracy) and the Greens on our first afternoon in Oslo. I really enjoyed Norway; the people, the landscape, the towns and cities, picking redcurrants for a free night and breakfast at Åndalsnes Youth Hostel, and though the trains were frequently crowded, the travel was enjoyable, too. The journey up to Narvik was by bus, having unsuccessfully attempted to hitch a ride from Fauske. The road trip was just over 5 hours long, hugging the coastline and crossing two fjords by ferry. I described it as ‘cosmic’ in my diary, driving along quiet, unlit roads, climbing out of valleys and descending towards the head of a fjord with the mountains darker than the night sky. Just after midnight on the walk from Narvik bus station to the railway station, a casual glance towards the firmament revealed a constantly changing green shadow, fading, growing, shifting and finally dissipating; the aurora borealis clearly visible above the glow of the city lights.


Early morning mist over Bergen, August 1983
Early morning mist over Bergen, August 1983

We managed to see a number of free live music performances and though one of the last concerts I attended in the UK before setting off on my northern Europe trip was Pendragon, Solstice and The Enid at the Ace, Brixton on May 11th, an indication that neo-prog had truly arrived (partially thanks to being embraced by Kerrang!) it was striking that throughout the country the predominant musical style and associated fashion was heavy metal, though it was almost impossible not to hear Mike Oldfield’s Moonlit Shadow or Irene Cara’s Flashdance being played on the radio (or some cassette player.)

Whereas I’d started listening to Sweden’s Bo Hansson in the mid 70s and began buying Finnish prog in the mid 00s, I hadn’t actually paid any attention to music from Norway. A couple of years after my Norwegian trip, a-ha became the country’s top musical export with uplifting pop, though the trio themselves were irked that music critics couldn’t see beneath the shiny surface of their songs where the application of classical theory and a rich harmonic language made them mini-symphonic masterpieces straight out of the book of prog. Also around that time, the Norwegian love-affair with heavy metal evolved into Norwegian black metal, a sub-genre that peaked in popularity in the early 90s and was considered to rival Swedish death metal. I remain unconvinced that Sweden’s Opeth should fall under the prog banner despite prog flourishes amongst what I still hear as death metal and I that have been and am equally dismissive of black metal groups from Norway that have adopted prog stylistic leanings. However, when the third wave of progressive rock surfaced in Sweden and the USA in the early 90s, if it wasn’t quite metal with prog sensibilities it could certainly be classed as material close to the sound of Red-era Crimson; heavy prog but not prog metal.


My first taste of Norwegian prog was a set from Arabs in Aspic at the 2017 Porto Antico Prog Fest in Genoa. Not knowing what to expect, I was nevertheless impressed with their brand of prog which though biased towards the heavy end of the spectrum, contained sufficient melody, variation and surprises to suit someone more accustomed to symphonic prog. They sang and communicated to the almost exclusively Italian crowd in excellent English, reminding us that we were united by progressive rock. They also formed the backing band for the Saturday headliner, space-rock legend Nik Turner.


Arabs in Aspic, Porto Antico Prog Fest, Genoa, July 2017
Arabs in Aspic, Porto Antico Prog Fest, Genoa, July 2017

When I first bought Jerry Lucky’s The Progressive Rock Files I used to take it around Europe as a reference when I went into record stores until it became worn and fragile. This was also the source of my first interest in Anekdoten and Änglagård, expanding my knowledge of Swedish prog. The book was eventually replaced with Lucky’s The Progressive Rock Handbook, a more complete and up-to-date volume with a set of different album sleeves presented in full colour. One of those depicted was Wobbler’s debut Hinterland (2005) which, I’m ashamed to say, I paid absolutely no attention to.


Jerry Lucky - The Progressive Rock Handbook
Jerry Lucky - The Progressive Rock Handbook

I’m pretty sure I saw adverts for Rites at Dawn around the time of its release in 2011 but it was From Silence to Somewhere (2017) that finally hooked me. One of the people I follow on Twitter had raved about it when she got her copy but at the time I didn’t follow up the recommendation. Some time early in 2018 I’d been browsing on Bandcamp and somehow ended up on the Karisma Records page which linked to the band, where I ended up listening to it, was blown away by it and bought a copy on vinyl. Hinterland (on vinyl) and Rites at Dawn (CD) followed and since then I’ve bought Hinterland and From Silence to Somewhere as presents for my brothers. I’ve also just ordered a remastered CD of Afterglow (2009) as a present to myself. The music sounds like early 70s symphonic prog, largely thanks to a keyboard set-up that would not have been unfamiliar to Rick Wakeman while recording Fragile, and trebly Rickenbacker bass. It’s a full sound, well structured, expertly played and nicely produced. Wobbler certainly aren’t afraid to stretch themselves with lengthy compositions, all of which could attract the criticism that they’re merely regurgitating music from 45 years ago rather than progressing, but the band started out playing music that they liked without worrying about where they would be pigeonholed. I like it, too. I like it very much.


The Wobbler collection (as of April 2019)
The Wobbler collection (as of April 2019)

It was while I was selecting a CD of Hinterland for my brother that I came across Jordsjø, another band allied to Karisma Records and after checking the reviews, bought Jord. There are some similarities with Wobbler but in the main they play prog with a large dose of Scandinavian folk. It reminds of the An Invitation EP by Amber Foil, not only in the palette, but the feel of the music which evokes unidentifiable forces dwelling in some dark forest. I’m a big fan of the flute on the album which adds to the folk feeling but the last track is something very different, though equally good – an electronica outing that could easily have been composed by Tangerine Dream in the mid 70s.


Jord by Jordsjø
Jord by Jordsjø

So if the UK is to leave the EU, and the leaders of EU countries are discussing this as I type, I’m going with Norway...




By ProgBlog, Feb 25 2019 09:36PM

My first visit to Amsterdam was as a 20 year old, the first stop on a month-long journey around western Europe by train with university friend Nick Hodgetts, where we attempted to find examples of the cactus Lophophora williamsii on the barges tied up along the canals – archetypal botany student behaviour or an unconscious nod towards Happy Nightmare (Mescaline) from the Focus debut album In and Out of Focus – botanical gardens frequently featured in our itinerary as though we were in some sort of competition to tick off the most jardin botanique in a short time. Perhaps the most striking memory is being caught up in a housing riot, a tale related to a family friend on my second visit to the city earlier this month. What Nick and I witnessed was a flare-up of the Vondelstraat Riots which began on 29th February 1980 and lasted for four days, prompted by the eviction of large numbers of squatters from a building on the corner of Vondelstraat and Eerste Constantijn Huygensstraat. A second episode of violent street protest coincided with the coronation of Queen Beatrix on 30 April and other, smaller outbreaks occurred in August, September and December and into 1981 and 1982. What we saw, quite close up, was a running battle between riot police and youths wearing crash helmets for both disguise and protection from tear gas armed with baseball bats; the police had a strategic advantage as they manoeuvred their barge-mounted water cannon along the canals, so Nick and I retired to an area of safety.


Amsterdam, August 1980
Amsterdam, August 1980

The 24 hours spent in the city in 1980 was perhaps not as much of an eye-opener as you might imagine, even though the basic hotel where we stayed (the Schreierstoren Hotel, named after the 15th century tower which formed part of the medieval city walls, but apparently no longer present at least under that name) was in the middle of the red light district; the area in front of Amsterdam Centraal involved numerous approaches from individuals enquiring if we’d like to buy drugs but my first day in central London as a fresher a couple of years before was no different and, unlike the seedier Soho, Amsterdam’s Walletjes didn’t really have a threatening atmosphere, possibly because it was bright and sunny, appearing more open-to-all touristy.


The opportunity to return, long overdue after an almost 39 year absence, came about as a consequence of FOMO. My wife had visited the city with friends just before Christmas and based on her description of the architecture and various cultural attractions, together with my belief that there was a rich seam of Dutch progressive rock to be found in Amsterdam’s legendary vinyl record shop scene, I signed up for a two-night exploratory weekday visit, with Susan entrusted to act as some form of guide.

Amsterdam isn’t a big city so we didn’t need to be based in a particular location. We chose the museum quarter where there was a suitably comfortable NH hotel in easy reach of Centraal station by a number 24 tram, and because I’d expressed a desire to visit the Rijksmuseum, specifically for its King Crimson connection. Travelling by Eurostar meant there would be no restriction on baggage allowance so I did some forward planning, cross-referencing reviews of prog bands from the Netherlands, compiled a wish list, and packed two canvas bags for vinyl purchases.



Though we had an early start (the 08.16 from St Pancras International, a direct service to Amsterdam) we encountered a problem somewhere between Belgium and Holland and had to be diverted onto a local service route, reaching Amsterdam Centraal 83 minutes late and desperate for a coffee. Despite the delay, we met up with the family friend at a bar near the Opera House at the scheduled rendezvous time and had a pretty awful coffee. Fortunately, our hotel bordered the Pijp district, a bohemian area characterised by Middle Eastern eateries, artisanal craft shops, old school pubs and cafés where, after checking in to the NH and dropping off our luggage, we came across the exceptionally good Locals Coffee on our way to the first of the record shop stops.

Situated on a corner plot, Locals Coffee has a double aspect through large windows, making it bright and airy. The interior was clean and unfussy with contemporary decor; the counter, channelling Rem Koolhaas’ Fondazione Prada in Milano, is a thing of beauty! Even before stepping inside I was attracted by the sign in the door 'baristas wanted', suggesting that they were serious about coffee. It's really not easy to find a decent espresso-based coffee in mainland Europe outside of Italy but the friendly and helpful staff were all trained to a high standard and produced consistent high quality espressos and cappuccinos. They use Italian roasted beans (Buscaglione of Rome), and their model of espresso machine was the one I was trained on. We made it our local coffee shop, stopping in a couple of times each day, taking time to sample the cakes (excellent) and the pancakes (ditto!)



The local record store, Record Mania (Ferdinand Bolstraat 30) turned out to be another great find where, over two visits I ticked off the top two albums on my hit-list, Glory of the Inner Force (1975) and Beyond Expression (1976) by Finch along with more from my list: Marks (Alquin, 1972); At the Rainbow (Focus, 1973); Royal Bed Bouncer (Kayak, 1975); To the Highest Bidder (Supersister, 1971); plus a couple not on my list which I couldn’t resist, Introspection 2 by Thijs van Leer (1975) because it was in perfect condition, in the €2 bin, and In a Glass House by Gentle Giant (1973), which I’ve wanted on vinyl for some time. This really is a must-visit for anyone into music; well-stocked, friendly and helpful.

There wasn’t much time to seek out other stores before closing time but I did manage to rootle through the bins in Record Palace (Weteringschans 33A) as the owner was bringing in his stock from the pavement for the night. Opened in 1988 and considered to be the vinyl shop of Amsterdam, the Netherlands rock section was quite small but there was a section dedicated to progressivo Italiano which contained a few albums I was tempted by. Feeling a little under pressure as the clock edged towards 6pm, I came out empty-handed, the Supersister compilation being in too poor condition to warrant purchase.


Record Mania, Amsterdam
Record Mania, Amsterdam

As with all our family city breaks, the trip had to include activities for everyone so the next morning, following a hotel buffet breakfast and a coffee at Locals, we made our way towards Anne Frank House starting from the south-westerly edge of the Museumplein with another King Crimson reference, the Amsterdam Concertgebouw, past the modern art Stedelijk museum and the Van Gogh museum (saved for another trip), past the Rijksmuseum (saved for later), and past the not-yet-open Second Life Music (Prinsengracht 366). Tickets for Anne Frank House are timed and are only obtained online, though this wasn’t clear from our 2019 guidebook or leaflets from the I Amsterdam tourist information; we had (incorrectly) assumed that getting tickets on the door for a pre-lunchtime visit on a Tuesday in early February was going to be simple and straightforward, so our plan for the day was adapted according to circumstance. Watery sunlight had begun to break through the cloud so we took the opportunity to be real tourists, crossing the IJ by ferry and ascending the A’DAM tower to the Lookout and the Over the Edge swing. This formed one of the a modern architecture sessions of the visit – the former Toren Overhoeks was a modernist icon designed by Arthur Staal (completed in 1971) and the regeneration of the Overhoeks district now includes the angular EYE Film Institute (Delugan Meissl Associated Architects, 2012), a building that rather fittingly appears to be in motion.



We were attempting to take in as much of the city as possible by foot, and as I didn’t have any recollection of the Oude Kerk, Amsterdam’s oldest building, founded in the early 13th century, I considered it a must-see. It’s located in the red light district which, thanks to the efforts of the city council who direct visitors to museums and bars and other attractions, appeared quite sanitised. With time getting on and the Begijnhof, the next stop on the agenda beckoning, I skipped Redlight Records (Oudekerksplein 26) but found Records and Books (Nieuwezijds Voorburgwal 371), a shop that had been on my list, closed. To compensate I was allowed to visit Waxwell Records (Gasthuismolensteeg 8) which I’d also singled out as a potential cornucopia for prog, and it was. I came out with another Dutch classic Mountain Queen (Alquin, 1973) and added to my UK-centric vinyl collection with Free Hand (Gentle Giant, 1975); Out in the Sun (Patrick Moraz, 1977); Sorcerer OST (Tangerine Dream, 1977); and World Record (Van der Graaf Generator, 1976). I’d recommend it for its range of stock and the helpfulness of the staff.



I made a lightning visit to the Rijksmuseum on Wednesday morning, arriving not long after opening and beating the crowds. The building, originally designed by Pierre Cuypers in the late 19th century underwent modern but sympathetic redevelopment by Spanish architects Cruz y Ortiz alongside French architect Jean-Michel Wilmotte and restoration architect Van Hoogevest, between 2003 and 2013. With an ‘All the Rembrandts’ exhibition opening two days later, the museum was in the final stages of preparation but the painting I’d gone to see, Rembrandt’s Night Watch (1642), was accessible. It's rightly a world-famous canvas but most importantly from a prog point of view, a track from King Crimson’s Starless and Bible Black, originally recorded in the Concertgebouw but largely over-dubbed because of a malfunction with David Cross’ Mellotron during the live performance.



Day three was also a modern architecture day, specifically featuring Renzo Piano’s NEMO Science Museum (opened 1997) which provided panoramas of the city from its rooftop. The return to the hotel to pick up our luggage was planned to include some gift shopping and, on the same canal-side street, Second Life Music. This was too cluttered for my liking and though there was a section for Netherlands rock, most categories were randomly scattered and, due to the piles of records, sometimes inaccessible. It would be nice to recommend the shop but the two members of staff behind the counter were both deep in conversation with a customer or friend so that it was difficult to speak to them or get served. I took a punt on Ton Scherpenzeel’s Le Carnaval des Animaux (1978), in perfect condition, for €7.


And so our rather successful Amsterdam trip ended. While in Waxwell discussing the remarkable number of record shops in the city, I was informed that the population of Amsterdam is a little over 820000 people, with numbers swelled by tourists (6.7 million foreign hotel-booked tourists in 2017) and that there might be some people who would say there were too many record shops... Not me. I’ve still got the early Kayak albums to look out for and, if it ever resurfaces, Present from Nancy by Supersister. I’ll be back.







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