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There’s now a new reason to make a pilgrimage to Canterbury; the city has three excellent independent record stores, two of them very new, which cover subtly different markets.

Some of the other touristy bits aren’t too bad either!

By ProgBlog, Jul 5 2017 07:55PM



The 2017 Porto Antico Prog Festival is being held in Genoa next week (Friday 14th – Sunday 16th July) and as I’m going along, I thought I’d take a look at some of the bands who are performing. Panther & C. play early in the evening on Saturday. I saw them at the Fiera Internazionale della Musica in 2014 and thought they were a confident ensemble playing an impressive melodic symphonic progressive rock, somewhere between the classic Italian style and subsequent incarnations of prog.



Yet another band from the new centre of progressivo Italiano, Panther & C. formed in 2003 but didn’t release their debut album L’Epoca di un Altro (Another Time) until 2015. The entire recording clocks in at less than 38 minutes which may be the ideal length for a vinyl LP but, considering they had other material that was already in a polished format in 2011 and the album only came out on CD and digital formats, it’s somewhat unusual for the times. That’s not to take anything away from the group who play beautifully constructed progressivo Italiano and tend to mix 10 minute+ compositions with shorter pieces. This first release boasts two epics; the opener Conto alla Rovescia (Countdown) and the closing La Leggenda di Arenberg (The Legend of Arenberg.) The latter, if my interpretation of the song is correct, relates to the cobbled track, once used by miners but now an integral part of the infamous Paris-Roubaix classic one-day cycle race, as it runs through the Arenberg Forest in northern France. It’s predominantly instrumental but the vocals possess an expressive, theatrical touch. I detect hints of Locanda delle Fate, especially the interactions between piano and flute and if there’s any reference to the UK prog scene, I’d suggest they were influenced by Lamb Lies Down-era Genesis. The line-up for the first album was comprised of Riccardo Mazzarini on guitar; Mauro Serpe on flute and vocals; Alessandro La Corte on Keyboards; Giorgio Boleto on bass; and Roberto Sanna on drums.





It’s appropriate that they’re once more playing on home turf because they recently released their sophomore effort Il Giusto Equilibrio (The Right Balance) (Black Widow BWRDIST 668), an album which is not yet available in the UK. Sanna has been replaced by Folco Fedele on drums but this doesn’t appear to have changed the sound in any way. This album, like the first, features five tracks mixing short pieces with three longer ones so that the running time is extended to 47 minutes; once more suitable for vinyl. Unlike the first album, Il Giusto Equilibrio has a loose theme linking the five songs, how mankind attempts to reconcile the human condition, finding the right balance between the competing essentials of existence.

Opener …e continua ad essere… (...and Continues to Be...) is firmly in classic territory, commencing with a baroque harpsichord figure before being joined by wildly racing vocals and guitar which in turn subside to calm section which has some haunting Camel-like flute drifting on to the end of the track; short, but perfectly formed. The second (title) track Giusto Equilibrio contrasts the beauty of nature and the dark side of nature, like the lion killing the gazelle. This is the first of the extended pieces and is mostly in the classical style. There’s a particular moment where the piano and organ work together in a style similar to that developed by Banco del Mutuo Soccorso and the changes in style and tempo reinforce this feeling. The track ends with a quite wonderful expansive guitar solo. Oric is the other short track, about the ‘hopes of positive feelings in the transition from one life to another’ neatly distilled into a gentle ballad with mellow picked guitar chords, Mellotron strings and choir and some Genesis-like flute. It works because it provides a dramatic contrast to the other, more full-on prog. Having said that, the second of the three lengthy tracks Fuga dal Lago (Escape to the Lake) begins in a similar fashion. This instrumental has been around since at least 2011 and relates to the need to escape from the stresses of everyday life. There are some amazing melodies weaving their way through this piece, from early Crimson flute passages to some immediate post Gabriel-era Genesis guitar and keyboard lines. The earliest versions of the piece could have fallen into the new-age category and though snatches of programmed keyboard sections remain, it’s now largely shaken off that feel but sounds like neo-prog rather than 70s prog. The last song, the 13’40 L’Occhio del Gabbiano (The Seagull’s Eye) commences with the same mellow picked chords of Oric but builds nicely. It describes a gull who witnesses the attack on the Twin Towers in New York on September 11th 2001, comparing the majesty of natural flight with the murderous intent of the hijackers. The vocals express a remarkable sadness but it’s predominantly instrumental with some great guitar and synthesizer melodies (think Misplaced Childhood and post-Hackett Genesis for sounds), all expertly held together with a dextrous, inventive rhythm section.




The album artwork probably won’t suit all tastes. Whereas L’Epoca di un Altro is illustrated by stand-up cardboard figures of the band in a manner not dissimilar to the figures depicted on the cover of Vital by Van der Graaf, Il Giusto Equilibrio has hands ripping through a leather hide. Fortunately, there’s a hint of revealing something interesting or intriguing behind the ripped covering.

Look beyond the sleeve – the music inside is well worth a listen.


See you in Genoa!






By ProgBlog, Jun 28 2017 08:50AM

There’s a great deal to be said for being open-minded, the willingness to try different things, because it’s a wide world and being able to see someone else’s point of view helps us to build bridges and overcome divisions in society. Past experience invariably influences present and future choices, for either good or bad, but forming impressions of the widest possible range of stimuli is most likely to be a positive force. Genetics obviously plays a role in how we react to events but the molecular mechanisms are nothing when compared to environmental impact: Jazz was the predominant musical form in the house I grew up in but after hearing Close to the Edge I quickly found friends who liked the same sort of music and whether or not I was still happy to listen to my father’s jazz recordings, being of an age where you could choose to buy whichever records you wanted was a crucial part of adolescence.



Practitioners of progressive rock, appropriating bits and pieces from a multitude of sources, should really be regarded as exemplars of open-mindedness and, in keeping with the lofty ideals of the late 60s and early 70s, they took it upon themselves to end the cultural hegemony of the upper and middle classes through popularising classical music by amalgamating it with rock and jazz and other idioms. Progressive rock wasideally placed to carry out this change as it was by-and-large looked upon as a movement promulgated by the middle class with exponents such as the Charterhouse alumni making up Genesis being an exception at one end of the social scale, and Jon Anderson from Lancashire mill town Accrington at the other end of the ladder. This emancipation of the romantic European musical form was in keeping with the countercultural zeitgeist and could be viewed as reaching out to disparate tribes by embracing differences.

I jumped from not being interested in rock music to being intrigued by Roxy Music to being a dedicated prog-head in just a couple of months. I carried on watching Top of the Pops and remained friends with school mates who liked Slade or T Rex but around the age of 13 or 14 and certainly by 15, most people were forming a distinction between pop and rock and leaving pop behind though there were musicians I had begun to admire who used the pop idiom for one reason or another; Robert Wyatt with I’m a Believer springs to mind... At the height of the golden era of progressive rock bands still eschewed singles but by 1976, following the hiatus in studio recording by a number of the big-league players, the music industry had become more hard-nosed and the labels required their acts to generate money by writing hit singles. Adjusting to produce something specifically for this market may have been tricky enough if you were used to taking ten minutes or more to get your ideas across to the listener but the difficulty was exacerbated by a far more sophisticated competition.



The announcement of the forthcoming Steven Wilson album To the Bone has been greeted with keen anticipation from fans. As much as I like Hand.Cannot.Erase I got into Wilson’s music via the rebooted 70s prog of The Raven that Refused to Sing, rather than the more narrow sound of Porcupine Tree. H.C.E strays from the original progressive rock blueprint and takes in electronica and post-rock and the result is another great record, but it’s not really prog. This is simply an observation and, in the overall scheme of things, it doesn’t matter but with videos available for three tracks from To the Bone, it can be seen as part of a trajectory towards what Wilson himself describes as ‘progressive pop’. While this refusal to stand still is in principle a good thing, the (give or take) five minute length of the previewed tracks doesn’t provide enough scope for development, although there is the promise of 9’20 of Detonation. From the examples available to the general public and from comments he’s posted on his website, it seems that the territory he’s now occupying is similar to that of more of the music he liked as a youth; Peter Gabriel’s So, Kate Bush’s Hounds of Love, and Tears for Fears’ Seeds of Love, pop music which had a degree of depth. I’m a recent convert to Hounds of Love for The Ninth Wave suite which makes up the entire second side of the original LP though I’ve followed her career with interest since she first hit the airwaves with Wuthering Heights in 1978. Like Wilson, I also appreciate the Kate Bush – Peter Gabriel partnership probably best known for Don’t Give Up but which started six years earlier on No Self Control from Peter Gabriel III, a far more prog-sounding track; Bush and Gabriel also shared an interest in sonic innovation and were at the vanguard of the Fairlight CMI revolution. It could be argued that Gabriel’s solo output wasn’t really prog but it is undeniable that his method, if not all of his songs, conform to the overall prog scheme.


Wilson’s musical taste is suitably diverse, as indicated by his playlists and the two-song singles that were compiled for his 2014 album Cover Version; six original pieces paired with six cover versions of songs by Alanis Morissette, Abba, The Cure, Momus, Prince and Donovan (though The Unquiet Grave is a 15th Century folk song interpreted by Wilson.) He was even sporting an Abba T-shirt when I saw him on the second of the two Royal Albert Hall gigs in September 2015 though I can’t think of any redeeming features of Sweden’s number one musical export.



The nearest I get to a guilty musical pleasure is sharing record storage space with my wife’s Fleetwood Mac, Marvin Gaye, Meatloaf, Robert Palmer, Chris Rea, Simon and Garfunkel and Bruce Springsteen – she has her own CD storage - and though I often have to grit my teeth when I buy her music as a present, it’s somewhat unfair on her that she gets streams of prog-related recommendations. Fortunately, Susan occasionally finds something she likes which might fit into the ‘progressive pop’ category, such as Gotye’s Making Mirrors or S. Carey’s chamber-pop Range of Light.

There was a time when I owned Anita Ward’s 45 rpm single Ring My Bell and although it features early syndrum and I can still sing along with it, this was never intended as a serious purchase; after suggesting I was going to buy it, I had to go along with the joke but it did only cost 50p. I have a pristine copy of Bryan Ferry’s Boys and Girls (Our Price, £5.29) bought along with Sting’s Dream of the Blue Turtles which were released two days apart in June 1985, neither of which fits in particularly well with the rest of my collection though David Gilmour ad Tony Levin feature alongside Ferry and Sting quotes from Prokofiev on Russians. It’s interesting to note that the drums on both albums are performed by Omar Hakim which fits in very nicely with Sting’s jazz-lite and might have been responsible for some subliminal appreciation of Boys and Girls.



Another pop-rock album which sits between my Endless River and Storia di un Minuto LPs is Every Breath You Take: The Singles, part of my leaving present from my first workplace but which was sanctioned by me. I didn’t like the early Police material but two-thirds of the group had decent prog connections (Stewart Copeland – Curved Air; Andy Summers – Dantalian’s Chariot; Soft Machine; Robert Fripp) and the songs on later albums Ghost in the Machine and Synchronicity showed a high degree of sophistication. The first CD I bought was actually Nothing Like the Sun but Richer Sounds wasn’t really a place to buy recorded music – I just needed a CD to play on my newly acquired Yamaha CD player – and Sting was the least offensive artist available. I’ve still got it.



No one should have any guilt about the music in their collection. We buy and listen to the music we like, however broad or narrow our predilections. I applaud the broad-minded, but when it comes to music, my collection hardly encompasses anything other than progressive rock (in its myriad forms), jazz and a bit of classical; my taste is somewhat narrow.










By ProgBlog, Jun 20 2017 05:06PM

I’ve been listening to a fair amount of electronica over the last week, including an old favourite from my school days Rubycon and a couple of albums by Redshift, Halo and Ether. The idea was to help me sleep with night temperatures in London in the high teens or even low twenties, treating the music as a relaxant as the compositions seem to develop organically, even when there’s a sequencer beat driving things along. Then on Saturday I managed to drag myself out of a stifling house into the brilliant sunshine and June heat to witness Metamono playing on their home turf, at the Crystal Palace Overground Festival.




I discovered the band by accident, following a trawl through the second-hand records in the basement of Bambino in Upper Norwood and, after a brief discussion about Phaedra by Tangerine Dream, which I was in the process of buying, with Mark Hill who runs the record department, I was given a promotional postcard with his email address: mark@metamono.co.uk. Following this encounter, my subsequent blog was all about Crystal Palace and as part of my research I investigated ‘metamono’, discovering them to be an electronic musical trio formed in 2010 who, in September 2013, featured as The Guardian’s ‘new band of the week’ https://www.theguardian.com/music/2013/sep/06/metamono-new-band-of-day

It was evident to me that Hill knew his electronica from the previous time I’d visited the store. I’d rifled through a box of (largely) Tangerine Dream-related vinyl that hadn’t quite made it downstairs to the record bins, selecting a copy of Edgar Froese’s Aqua and inquiring about the chances of locating Epsilon in Malaysian Pale. Evidently a huge fan of the genre, Hill is actually a fine artist who just coincidentally runs Sound Vinyl in Bambino's basement and plays vintage analogue keyboards (and radio, and Stylophone) with Crystal Palace’s answer to Düsseldorf’s best. The other two members are Jono Podmore and Paul Conboy. Podmore, as Kumo, has collaborated and released albums with Irmin Schmidt of Can; Conboy has worked with Bomb the Bass and is responsible for film soundtracks. What is most intriguing about this collective, something right up my street, is their manifesto. Dutifully read out before Saturday’s performance, they eschew any form of digital sound generation or processing and limit the sound sources available to them to old analogue instruments, found and repaired, to reflect the struggles of society. They believe that music has lost its transformative power, subsumed in a corporatist-capitalist order and use their own music “to kick against the pricks.”

Music journalist David Stubbs has postulated that this musical form, the Krautrock of the 70s, is being referenced by groups who want to branch out in different directions, suggesting that returning to basics and moving on from there is a quicker route to innovation than by simply evolving. This fits in with the Metamono ethic, that “Our limitations will be our aesthetic.”


Whereas found instruments hint at scrap heap recycling, evidently a good thing for the planet, this wasn’t at all like the first time I saw exponents of the genre, admittedly a group more in the Kosmiche or Berlin-school sub genre: Node. My dalliance with appropriating electronica commenced in 1974 or 1975 but I went on to sell Rubycon to a school friend in 1977 or 78 after being underwhelmed by Stratosfear. I’d been intrigued by the appearance of Kraftwerk on the BBC TV’s popular science programme Tomorrow’s World where they appeared to play hotplates with radio aerials and though friends subsequently got into Kraftwerk and Can, they never really pushed the right buttons for me. Consequently, it was only after a reappraisal tinged with a bit of FOMO that my first experience of live electronica came in February 2015 when I attended a performance by analogue synth quartet Node at the Royal College of Music, their first gig for 17 years. I thought the venue was entirely appropriate, affording electronica suitable recognition as a distinct, legitimate musical form but it was the hardware on display, reputedly the largest collection of analogue synthesizers ever seen outside a recording studio and rumoured to be worth around £500,000 which contrasted with Metamono’s recycling chic.



It was pointed out to me that the audience for Node was replete with the great and the good from the UK electronica scene. I don’t know if any of Metamono were present but the working backgrounds of the members of the two groups are very close: music production and film score composition.

Node played four pieces over two sets that lasted 90 minutes; all of which was sequencer driven but which fell into two distinct styles, spacey and industrial. Although I’m not averse to aggressive, percussive sequencer beats I’m more in favour of sequencer as lead instrument, bubbling to the surface, subtly changing over each cycle and giving the impression of drifting, rather than driving.

Node, like Tangerine Dream before them, also used guitar; Dave Bessell performed with a Les Paul strung around his neck which he occasionally lightly strummed. Their overall sound was multilayered and full, with a nicely-balanced live mix in the Amaryllis Fleming concert hall, a dedicated performance space carefully lined with speakers along the length of the room and though I’d describe the ambience as academic, serious or thoughtful, I thoroughly enjoyed the performance and on more than one occasion floated away on the dreamy waves of keyboard wash. In contrast, Metamono managed to get a well-balanced mix from a temporary stage in Crystal Palace Park with a 45 minute set filled with fun, joyful music. The sequencers (or did they employ an old rhythm machine?) produced deep dance beats, the pressure waves moving the material on the bass speakers and summoning members of the crowd to their feet to dance in front of the stage. The top line was classic thin late 70s or early 80s synth, filled out with Podmore’s Theremin and some well-place radio transmission, used most effectively on their cover version of Kraftwerk’s Europe Endless, a track they had reworked and released as a single a week before the EU referendum last year as a plea to everyone to vote ‘remain’.


Considering how easily they instilled good vibes in a large crowd and looked as though they were enjoying it too, they have a serious message about not just the music business but about the way our lives are run by vested interests. It seems perfectly fitting that Crystal Palace, the site of the People’s Palace after its season in Hyde Park should produce an inclusive, outward-looking band who play music on found and refurbished instruments, applying a doctrine which seemingly restricts but actually liberates their creativity. Metamono – my band of the week.










By ProgBlog, Jun 11 2017 05:59PM

The UK has been gripped by the general election over the last week, somewhat surprisingly when it appeared that the electorate was completely battered by a spate of recent polls: The Scottish Independence referendum; the 2015 general election; the EU referendum; then the somewhat unnecessary call for a stronger mandate to bolster Theresa May’s negotiating hand for our exit from the EU. Yet, on Friday as I prepared to go for work, there was an indication that the world of politics may never be the same again as the results indicated a hung parliament and a good number of seats gained by the Labour Party, including mine in Croydon Central. Seven weeks ago there was a tacit understanding, promoted by almost all mainstream media, that Labour faced annihilation and that Jeremy Corbyn would be personally responsible for the wipe-out at the ballot box. However, on that morning commentators and a large proportion of the Parliamentary Labour Party had to admit just how wrong they’d been; though Labour didn’t get more seats than the Tories it was widely recognised that in overseeing a net gain of 32 seats, including positive results in Conservative heartlands such as Canterbury and Kensington, Corbyn had emerged as the biggest winner of the previous night.


Croydon Central. Photo: Chris Gorman www.standard.co.uk
Croydon Central. Photo: Chris Gorman www.standard.co.uk

At the start of the campaign, the contradictory behaviour of May, parroting that she was ‘strong and stable’ while embarking on a series of damaging U-turns seemed to be sufficient to dispel any vestiges of interest in politics in all but the politicians themselves, numbed as we were by the inane slogans of a political class which frequently put itself before the constituents. The gap in the polls between the two main parties was running at over 20 points, leading to the conclusion that May was calling the election, already with a working majority, for simple political gain. Despite the backing of media moguls and big business, however much money was thrown at the Tory campaign it was insufficient to hide May’s innate deficiencies. Badly advised and playing to vested interests, and projecting many of the damning qualities she accused the Labour leadership of possessing, her presidential-style campaign came unstuck with her refusal to debate head-to-head, the catalogue of changes in policy, a lack of empathy towards struggling working people, plus her dismal record as Home Secretary as she sought to pin the blame for the murderous attacks in Manchester and London on ‘terrorist sympathisers’ leading the opposition.

Meanwhile, Corbyn did what he does best; take his campaigning style out around the UK. Helped by the most socialist manifesto for a generation, one which had been agreed by the PLP, he sent out a message of hope and a rejection of seven years of failed neo-liberal economics. If anything, the manifesto was a little too cautious for me but I understood that the Labour document would undergo more forensic scrutiny than anything produced by the incumbents; fortunately for Labour, the Tories relied on their (entirely unwarranted) reputation for sensible fiscal management and didn’t bother to properly cost their programme, thus revealing a deep disdain for the voting public. The trend for the poll gap to close in some surveys, attributed to Corbyn’s message of hope to the young, was also dismissed as being of little concern because of the perceived notion that young people wouldn’t bother to turn out to vote.

The other misplaced presumption was that UKIP votes, even those from former Labour supporters would end up with Conservative candidates. This worried many prospective Labour MPs in the north, in Wales and the Midlands where they believed that Corbyn was responsible for alienating voters. What I already knew and what people saw following the announcement of the election, was that when seen outside of the bear-pit of the House of Commons with its turn-off adversarial politics, a game Corbyn was unhappy playing, he went down very well with thousands of people all around the country and, when reported on the news outside the prism of normal parliamentary coverage, millions more could hear his message of hope and positivity and witness his inclusivity. It became obvious, rather quickly, that he wasn’t a monster with fringe ideas dedicated to destroying the UK but quite the opposite; he wanted a fairer system where those who could afford to, paid a bit more tax and through investment, wealth was better distributed and services were resumed for the benefit of all.


I became politically active when Andrew Lansley proposed his Health and Social Care Bill after the formation of the coalition government in 2010. This was something that didn’t even feature in the Conservative manifesto at the time but, because of its swift introduction, it had evidently been pre-planned and I could see that it spelt out the certain break-up of the NHS. Over the following years I marched, sat down in the middle of Westminster Bridge for an hour or two and made connections with like-minded individuals. The highlight of this time was giving a short address to a crowded Central Hall, Westminster, about the threat of privatisation in the NHS. I’d just organised a ‘Hands Around St Thomas’ Hospital’ event, held opposite Parliament during some of the most dreadful spring weather imaginable and Jeremy Corbyn was one of the only MPs to attend; then, when I’d given my speech, John McDonnell approached me to say how much he enjoyed what I’d said.


The drift towards an acceptance that austerity was the only possible answer to the global crash of 2008 was simply the will of large corporations who wanted to carry on as normal. Politicians, possibly fearing the wrath of vested interests, went along with this because the alternative narrative required a shift to economics proposed by the left and a refutation of centrist social democracy so ironically, it was Labour who saved neo-liberalism. The coalition inherited an economy that had begun to shows signs of recovery but, following the dogma that decried the requirement for any form of state control, they imposed a wage cap on the public sector and began a series of cuts to services which hit the poor, the ill and the young while cementing the lifestyle of the top earners. The downward pressure on wages of already low-earners in an economy dominated by the service industries provided one of the sources of anti-immigrant sentiment; another was a chronic shortage of appropriate housing stock. No one in a position of power had the will to challenge the causes of this tension because this too would have upset the orthodoxy. Instead, we witnessed the return of slum landlords and an increase in top-end properties bought by foreign investors who never set foot in their purchases; the divide between haves and have nots got ever wider and resentment simmered in former industrial heartlands, stoked by the multimillionaire proprietors of The Sun, The Daily Mail, The Daily Express and The DailyTelegraph and the people ignored by Westminster.


This election result changed all that. Originally deeply despairing of the Labour leadership, fuelled by the difference in opinion of the members and the PLP, The Guardian came round to supporting Labour following the publication of their manifesto. The contrast between Labour and Conservative became quite stark: positivity vs. fear and negativity; concern for social justice vs. conceited indifference and, crucially; discipline vs. chaos. Even after the exit poll at 10pm on Thursday there were still some Labour MPs who doubted. Of the imagined carnage, they only lost five seats but gained 37; the Conservatives lost 33 seats and gained 20, losing the parliamentary majority they held before the election. May’s Brexit-election gamble backfired spectacularly. Winner? Hardly!


Jeremy Corbyn may be an unorthodox leader but his sincerity and willingness to listen in a world where shouting loudest (including electronically) and acting strong were formerly seen as important traits, has enabled him to rewrite the rules. Brexit may have been a tussle between the Conservatives and an irrelevant UKIP but 40% of the voting public had much more to worry about and Labour has the best answers to their problems. I’m looking forward to the Conservative-DUP deal coming unstuck – bring on the next general election!






By ProgBlog, Jun 5 2017 07:31PM



Genovese prog rockers Il Tempio Delle Clessidre (The Temple of the Hourglass) released their third studio album last month, four years on from AlieNatura. The new album, Il Ludere is another excellent piece of music that fits nicely in the progressivo Italiano canon. I’ve followed them since 2014 but their journey began in 2006, when keyboard player Elisa Montaldo met former Museo Rosenbach vocalist Stefano ‘Lupo’ Galifi in the Black Widow record store in the heart of Genoa. They assembled the group Il Tempio delle Clessidre, named after a subsection of the 1973 Museo Rosenbach classic Zarathustra with the notion to perform that album live – with the inclusion of Giulio Canepa on guitar, Fabio Gremo on bass, and the 19-year old Paolo Tixi on drums. There’s a DVD of a 2011 performance in Seoul with extras including footage of their 2009 debut performance from Genoa’s Teatro della Gioventu, which acts as a documentary of the Galifi era (Black Widow Records BWR168). Part of the Seoul gig was the modern recreation of Zarathustra in its entirety which, though technically challenging was hailed as a resounding success.


My introduction to the band was at the Fiera Internazionale della Musica in Genoa in May 2014. I’d specifically gone to see La Maschera di Cera but was struck by the stellar range of the line-up, a testament to the healthy state of Italian progressive rock in general and the importance of the host city in particular. Il Tempio delle Clessidre played on the first day and, because I had seen drummer Paolo Tixi play with Fabio Zuffanti’s Z-Band a few weeks before, I was intrigued by their inclusion on the bill. I’d looked up references to them before seeing them and was delighted to hear their style of melodic symphonic prog. Afterwards, I could fully appreciate their tag as a successor to Museo Rosenbach.




Il Tempio delle Clessidre  Genoa May 2014
Il Tempio delle Clessidre Genoa May 2014

Il Tempio delle Clessidre  Genoa May 2014
Il Tempio delle Clessidre Genoa May 2014

Il Tempio delle Clessidre  Genoa May 2014
Il Tempio delle Clessidre Genoa May 2014

Vocalist Francesco Ciapica replaced Galifi for the second album, AlieNatura (2013) and his voice has a similar quality to Galifi, full and rich with a good range. The entire performance was very assured and impressed me sufficiently to visit the Black Widow stand and buy a copy of their first CD; I also bought an ITDC T-shirt from the dedicated merchandise stall. I bought my copy of AlieNatura in Black Widow in 2015 (the shop had been temporarily closed in 2014, though it was specially convened at the Fiera) and it has proved difficult to decide which of these first two albums I like better; both are of an amazing quality, best exemplified by Il Centro Sottile from the first album and the multi-part suite Il Cacciatore from AlieNatura.

Il Ludere includes another change of personnel, with former Änglagård drummer Mattias Olsson replacing Tixi. As with the preceding album, the title Il Ludere is a pun combining the Latin verb ludere (to play), with the article il generates a double meaning: the act of playing and, from the verb illudere, deception or illusion. The cover illustration continues this theme and the first track Le Regole del Gioco (The rules of the game) spells it out. What is immediately striking is that this is more conventional rock-sounding than the full-on symphonic prog of its two predecessors, although it remains firmly in the prog camp thanks to great playing, intelligent writing and, to a greater extent, a rejection of straightforward form.

Le Regole del Gioco owes something to musique concrète: an instruction to the listener how best to enjoy the stereo effect before segueing into the upbeat, jazzy La Parola Magica (The Magic Word) where the first hints at a different sound can be detected. The organ tends to follow the vocal melody, the guitar is distorted and the concluding electric piano seems to be influenced by the Canterbury scene. If that isn’t hint enough, Come Nella Favole (As in the Fables) begins like a heavy rock track and Ciapica even pulls off a high register vocal. What separates this track from a multitude of early 80s metal bands is a fiendishly tricky break, though I can imagine this being a new live favourite. There may be a hint of guitar hero about the soloing on next track Dentro la Mia Mente (Inside My Mind) but this is a fairly lengthy, more complex piece which reminds me of some of Finisterre’s experimentation featuring tape effects. As if triggered by this media manipulation; the rest of the album is undeniably proggy.

Spettro del Palco (Stage of the Spectrum) which has been selected as a single, is the tale of an unrequited love with a tragic ending. It’s set in a theatre and comes across as suitably dramatic, with themes picked out first by delicate acoustic and ending with a crescendo of passionate electric guitar. The coda provides a prelude to the theme running through the penultimate track La Spirale del Vento (The Wind Spiral.) Prospettive (Perspectives) opens with an acoustic guitar figure and builds slowly with piano and synthesizer before a Mellotron like break and some striking electric guitar. The vocals are full of feeling and most effective, producing some high quality prog. One of the most achingly beautiful moments on the whole release is the Gilmour-like guitar on Manitou where the percussion, similar to the recording of Peter Gabriel IV, is played out on the bottom kit, without cymbals. This provides an earthy, world music feel which is fitting for a song about a fundamental life force. Nuova Alchimia (New Alchemy) flows on almost seamlessly, initially with sparse percussion, though it’s very riff-driven. There’s an interlude with a sort of carnival atmosphere before Montaldo plays a fast synthesizer solo in classic RPI style; the vocals form an important part of the song, adding immediacy, but unfortunately it doesn’t really develop.

Perhaps it was the influence of their new drummer, but there are some distinctly angular lines that call to mind Olsson’s former band Änglagård or even Fragile-era Yes on La Spirale del Vento which, at 8’43 is the longest track on the album and closest to the material from the first two albums. This is my favourite track; there is plenty of space between the vocal passages to allow Montaldo to shine with some excellent lead synthesizer and the whole piece is well-constructed. One of the biggest surprises is Gnaffe, included as a bonus track. Based on the 14th Century Decameron by Giovanni Boccaccio, a collection of stories ranging from the tragic to the erotic, it includes tales of wit and practical jokes. The song, at times medieval and at others what I would regard as traditional Italian popular music (during the duet between Ciapica and Montaldo), offers the contrast between almost scholarly classical guitar and outright playfulness during the storytelling.

Despite being uncharacteristic of progressivo Italiano, this album has grown on me the more I’ve listened to it. Maybe I’m mellowing with age because I really enjoy another 2017 release, the eponymous Christadoro album which is also not true RPI. To be fair to Il Tempio delle Clessidre, they have produced a more homogeneous work because they’ve widened the pool of creative input. This may seem counterintuitive but it’s the distorted, riffing guitar that has pulled them towards rock. On the other hand, there’s still a huge variety of textures that would never get represented in the mainstream and the inclusion of Olsson has provided the impetus for utilising a variety of effects. It’s unfortunate that my grasp of the Italian language is so poor, because I’m sure that there are more musical and lyrical puns at play throughout the release.


Despite my inability to pick up nuances in the language I think that though it may be a little atypical of the genre, from the atmospheric to the dramatic, this is a great album.







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