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ProgBlog goes to the Biennale Architettura 2018 in Venice but still manages to find prog connections - and a relatively new record store...

By ProgBlog, Nov 19 2018 02:31PM



Contrary to my previous pronouncements about the availability of prog in Venice, I can now reveal that there is a relatively new record store in the city, Living in the Past, Sestiere Dorsoduro 3474, 30123 Venezia, and it’s pretty good. Venice was where I first made a conscious effort to collect Italian prog, in 2005, when there were two shops to choose from. My diary from that particular trip reveals that sometime after lunch on Wednesday 13th July, the second day of the holiday (my wife’s first time in Venice), we began winding our way back towards San Marco via the side streets of Dorsoduro, a slow but purposeful journey in the afternoon heat. Anyone familiar with the city will appreciate how you find yourself doubling back on your tracks as you seek a bridge over a canal so that what looks like a straightforward journey on a map devoid of detail is in fact fiendishly complex. I maintain that undertaking adventures through Venice’s maze-like alleys is the best way to explore the unique city, where you come across well-known tourist spots and less recognised gems by accident. That particular trek resulted in the discovery of what looked like prog heaven, despite its name: Discoland, a music shop with all manner of progressive rock CDs in the window, including the entire 2005 re-mastered catalogue of Van der Graaf Generator; Egg; King Crimson; Gentle Giant; Steve Hackett and more... but it was closed for lunch! A quick check of the time revealed that the store was due to reopen in 15 minutes so I popped into the Leonardo da Vinci exhibition in the Chiesa di San Barnaba until the shop owner returned, late. I asked if he had any Italian prog, but he said no. Rooting around did reveal that he had a couple of CDs by The Trip so I picked out Caronte, reissued in a cardboard sleeve, the first Egg album, and The Least we can do is Wave to Each Other, H to He, Pawn Hearts and Godbluff from the VdGG selection.


Though considered a classic progressivo Italiano record, I’m not actually such a great fan of Caronte (1971), a concept album based on the ferryman character Charon from Dante’s Divine Comedy who initially objects to taking Aeneas, a living man, on his boat; Charon is re-interpreted by The Trip as a metaphor for conformity. It’s steeped with psyche/blues characteristic of proto-prog, so comes across as more Iron Butterfly than The Nice. The Trip were actually founded in London in 1966 and included Ritchie Blackmore on guitar but the future Deep Purple guitarist had departed before the arrival of Joe Vescovi, whose keyboard style, influenced by Keith Emerson, is the best feature of the band. The other Venice music shop was Parole & Musica in the Castello Sestiere where I bought an early PFM live compilation The Beginning 1971-1972 Italian Tour. A day trip to Treviso on that 2005 holiday also involved finding a record shop where I bought Concerto Grosso n.1 and 2 by New Trolls, the very disappointing Donna Plautilla by Banco, and an album I’d really wanted to buy in Venice itself, Contrappunti by Le Orme, because that was where the band formed. Originally a beat group, they underwent some personnel changes and then released what many regard to be the first RPI album, Collage, in 1971. I managed to get to see the current incarnation earlier this year in Brescia with David Cross as a guest musician. The album that I most associate with the city is actually Le Orme’s Florian, released in 1979, named after Caffè Florian, alleged to be the oldest establishment of its kind in Europe, dating from 1720 and located under the Procuratie Nuove in piazza San Marco. A two-year hiatus following 1977’s Storia o Leggenda allowed the group to prepare for what seemed like a radical departure from progressive rock, where the electronic instrumentation was replaced with acoustic and early instruments. The result is still recognisable as Orme (they dropped the definite article from their name for the release) even though it should more correctly be referred to as chamber music or chamber prog; the original idea is said to have come from keyboard player Tony Pagliuca who realised that audiences were turning away from prog but didn’t want to subscribe to the mediocrity of commercial pop. The pieces on the album are effectively a protest against destructive economic forces within the music industry and those in the wider world choking other aspects of Italian culture. The lack of a record shop on the island(s) meant I had to look elsewhere for a copy, eventually finding the CD in Vicenza’s Saxophone record store on a day trip out from Venice in 2014; I found a second-hand vinyl copy earlier this year, on Record Store Day, on a stall in Cremona.



I spent a couple of days in Venice during the summer of 1980 on a month-long Interrail trip, staying on Giudecca in a youth hostel, and was blown away by the city. During that stay PFM were playing somewhere in Mestre but I didn’t have the wherewithal to organise getting to see them. On 15th July 1989 Pink Floyd famously played on a barge floating in the Grand Canal, nearing the end of the Momentary Lapse of Reason tour. This was broadcast live on Italian TV and precise timing restrictions meant that some songs had to be curtailed before their natural ending. I recorded this performance when it was shown on UK TV but that disappeared in a clear out of VHS tapes years ago – it’s now available as an unofficial DVD release Pink Floyd ‎– Pazzia & Passione - Live In Venice '89 from Room 101 Entertainment.

The closest I ever got to live prog in Venice was seeing the construction of a stage for Peter Gabriel playing an open air concert in piazza San Marco in 2007; we were staying less than 50m away in the Albergo San Marco but our flight back to the UK was a matter of hours before the performance – apparently Signal to Noise and Washing of the Water were played at the sound check in the early afternoon, where Gabriel acknowledged the fans who had begun to gather around the square after realising that he was present on stage. If that had happened in the last couple of years I’d have found accommodation for an extra night and bought a flight for the following day.






Despite the presence of Living in the Past and the historic connection of Le Orme to the city, Venice doesn’t really appear to have much of a connection with the modern prog scene apart from being somewhere bands like to perform – King Crimson finishing their mainland continental European tour with two dates at the end of July this year at Teatro La Fenice, for example. The ubiquitous newsstands of Italian cities, normally packed full of journals and periodicals, handy for picking up copies of Prog Italia and maybe the DeAgostini classic rock progressivo 180g vinyl reissues, are filled with tourist tat in Venice. Last year my wife found a copy of Prog Italia on Lido for me but there was nothing on any newsstand in any of the main Sestiere this year, or in any of the larger Tabacchi.


Apart from the basic accommodation on Giudecca, I’ve previously only stayed at hotels close to the piazza San Marco when visiting Venice. This trip was a departure from that norm, splashing out on an NH hotel in Dorsoduro abutting neighbouring Santa Croce, an area largely tourist-free but filled with students; there are two universities in the area, Università Ca’ Foscari and IUAV, the architecture school, contributing to the really good vibe. There’s a relative paucity of Venetian gothic and a noticeable presence of more modern architecture, which may explain the lack of visitor interest despite its proximity to the cruise ship terminal, Santa Lucia station and the bus terminus, one of only two places where cars are allowed (the other being Lido) but there are still dozens of friendly restaurants and bars where an Aperol spritz is half the price you pay in London. It wasn’t supposed to be a prog trip – we’d gone for the Architecture Biennale – but there does seem to be more than a passing link between architecture and prog, beginning with the early years of Pink Floyd at Regent Street Polytechnic.


However far removed from modern prog, the city is still able to turn up references to the genre in some of the oddest places. Hats Off Gentlemen it’s Adequate have just released a new CD, Out of Mind which includes the track De Humani Corporis Fabrica, named after Andreas Vesalius' treatise on human anatomy from 1543 which challenged the prevailing doctrine proposed by the Greek physician Galen in the second century AD. I’m a particular fan of the song because it features some of Kathryn Thomas’ gorgeous flute and also includes a passage in 13/4 time, so when I came across the Mario Botta Architects’ installation in the Corderie at the Arsenale, a tactile, circular timber structure where the work of students was presented as tabernacle-like architectural research, I was amazed to find a section labelled De Humani Corporis Fabrica!


Like all cities Venice continues to change. Living in the Past was previously a second hand bookstore but was revamped in 2017 as a shop selling books and second-hand vinyl. There’s a decent selection of Italian prog along with a good selection of international prog and classic rock. Handily, it was a five minute walk from the hotel where we were staying and though I didn’t imagine that I’d find any records on this trip, I still had my cotton LP bag to hand for my purchases: Par les Fils de Mandrin by Ange and David Gilmour’s About Face, an album I’ve never physically owned in any format but once had a tape recorded from a friend’s LP. The shop is certainly a welcome addition to the Venetian landscape, a retail gem amongst some of the most stunning architecture in the world.








By ProgBlog, Jul 23 2017 12:25PM

The port in Genoa, overlooking the Mediterranean Sea, is over 1000 years old but has been reinvented during the last 20, thanks in large part to local starchitect Renzo Piano. The facilities, a mixture of new build and renovated historic buildings include an aquarium, harbour offices, a viewing platform known as the Bigo and a 20m diameter crystal sphere, the Bolla (‘Bubble’) on a floating platform containing the largest collection of ferns in the world. The matrix of steel poles which support the Bigo, inspired by the cranes on the old wharfs, also support the membrane above a performance space, the Piazza delle Feste which is where the Porto Antico Prog Fest is held.


Piazza delle Feste from the Bigo (Daryl Page)
Piazza delle Feste from the Bigo (Daryl Page)

It may be entirely by accident but the reinvention of the old port has parallels with progressive rock. In the early 70s before the redevelopment of the harbour area, Genoa was home to some of the well-known names in progressivo Italiano: I New Trolls; Delirium; Gleemen; Garybaldi; Latte e Miele; Osage Tribe; Nuova Idea, and the recent resurgence in the genre has some very strong Genovese connections, from the Fabio Zuffanti projects including Maschera di Cera, Finisterre and Höstsonaten to other now well-established acts like Ancient Veil, Il Tempio delle Clessidre and La Coscienza di Zeno.

The second Porto Antico Prog Fest, organised by local record label and record shop Black Widow, was held over the weekend of 15th – 17th July, with live performances on the Friday and Saturday and, alongside famous artists, featured some of the emerging or less well-known but nevertheless incredible local talent, including Melting Clock on Friday and Panther & C. on Saturday.


Melting Clock was something of a revelation. Fronted by amazing vocalist Emanuela Vedana, the group who also comprise Sandro Amadei on keyboards, Stefano Amadei on guitar, Alessandro Bosca on bass, Simone Caffè on guitar and Francesco Fiorito on drums, have not yet released a record but they performed some wonderful, highly accomplished symphonic progressivo Italiano with a nice full, well-balanced sound. The stand-out track for me was a piece called Antares with Mellotron strings and harmony vocals and plenty of musical drama, although the entire set was thoroughly enjoyable. They may have concluded with an excellent rendition of Firth of Fifth but their music doesn’t seem to be directly influenced by the UK prog scene, it’s seeped in the expressive, lyrical style of RPI. It’s well worth checking out their music at https://www.youtube.com/channel/UCu4J-y-P_JnFFXtHiu2kPfw


Melting Clock
Melting Clock

Mad Fellaz hail from Bassano del Grappa in the Veneto and though they say they were influenced by classic UK and Italian prog bands along with more recent exponents of the genre, the octet (Luca Brighi, vocals; Enrico Brunelli, keyboards; Marco Busatto, drums; Paolo Busatto, guitar; Ruggero Burigo, guitar; Carlo Passuello, bass; Lorenzo Todesco, percussion; and Rudy Zilio, flute, clarinet, keyboards) played complex tunes which came across as a blend of Zappa and Canterbury. It certainly wasn’t music that you could fall asleep to, with unpredictable twists and turns somehow all fitting together brilliantly. I was reminded of some of the bands I’d seen at Prog Résiste in Soignies in 2014 which seemed to specialise in RIO acts – uncompromising, challenging and really enjoyable.


Il Cerchio d’Oro were around in the 70s but never managed to release an album of original material until reforming in the 00s. I was looking forward to this appearance because I’d read some good things about Il Viaggio di Colombo (2008) and Dedalo e Icaro (2013) and there is another album in the pipeline. For this version of the band, the original members Gino (drums) and Giuseppe Terribile (bass) and Franco Piccolini (keyboards) were augmented by Massimo Cesare (guitar), Piuccio Pradal (acoustic guitar, vocals) and Simone Piccolini (keyboards), with guest vocalist Pino Ballarini (ex-Il Rovescio della Medaglia) and guest drummer Paolo Siani (ex-Nuova Idea.) The compositions were well structured but I felt there was less complexity than there might have been – some of the singles they released in the 70s weren’t actually prog. It was still an enjoyable performance and the appearance of the two guest musicians was warmly appreciated by the crowd.



One of the main reasons for attending was seeing Delirium on the bill, another local band who formed in 1970 and whose debut Dolce Acqua (1971) and third album Delirium III – Viaggio Negli Arcipelaghi del Tempo (1974) are considered classics of the genre; the first album is largely acoustic with an Italian folk influence and features Ivano Fossati on flute and vocals and the set at the Prog Fest contained a number of songs from this release; Delirium III is highly regarded and full-on symphonic prog though despite the absence of Fossati, who left to pursue a solo career before the second, less successful record to be replaced by Englishman Martin Grice on flute and sax, there are obvious sonic comparisons between III and Dolce Acqua, especially on opening track Il Dono. Grice has performed with Fabio Zuffanti in the Z Band and I’ve seen him at a number of gigs in the city. The present line-up, reconvened in 2015 after a hiatus of six years for the album L’Era della Menzogna features Grice, Fabio Chigini on bass, Alessandro Corvaglia on vocals (another Zuffanti connection, La Maschera di Cera), Michele Cusato on guitar, Alfredo Vandresi on drums and original member Ettore Vigo on keyboards. A very enjoyable set.


Delirium IPG
Delirium IPG

It’s pertinent that he headline act on Friday, Gens de la Lune, followed Delirium on stage because they feature Francis Décamps, formerly of French prog superstars Ange, and Ange’s crowning glory was Au-Delà Du Délire (Beyond Delirium, 1974.) I started collecting Ange CDs whilst on holiday in August 2004 from what is now Bazoom BD Musique in Auray and, not knowing which best represented their output, decided that Le Cimetière Des Arlequins was most suitable based on its year of release (1973.) I was really pleased that I detected Aujourd'Hui C'Est La Fête Chez L'Apprenti Sorcier during the Ange medley because despite the stop-start expressionist nature of the music and the theatrical delivery of Décamps (in grease paint and long leather coat, performing some serious tongue flicking) and vocalist Jean Philippe Suzan who wore a Venetian plague mask and bowler hat during one song, there wasn’t too much of Ange in evidence. Though touching on prog metal at times where the ensemble got very heavy, the music was pretty varied with more gentle moments such as guitarist Damien Chopard performing an acoustic guitar solo, and the use of a theremin and a Haken Continuum Fingerboard by Décamps. One of the highlights was an unusual percussion duet with Suzan and drummer Cédric Mells. Bassist Mathieu Desbarats was really solid throughout. They were a very good way to end the first day, finishing their set at nearly half past midnight.


The second day began with Panther & C. performing a very accomplished set of melodic symphonic prog. Their latest album Il Giusto Equilibrio was reviewed on ProgBlog earlier this month http://progblog.co.uk/the-blogs/4583484660/Panther-C./11189638 and as I’d only streamed that album and listened to their debut release L’Epoca di un Altro on YouTube, I thought I ought to do the decent thing and buy both CDs from the Black Widow stand.



Mr Punch
Mr Punch

I didn’t get to see the full Mr Punch performance and saw none of The Mugshots because I’d booked a table at a local restaurant, Le Rune. What I did see of Mr Punch, a Marillion tribute act, was pretty good as they played through Misplaced Childhood. Featuring Alessandro Corvaglia for the second time that weekend, delivering a fairly convincing Fish vocal and barefoot, just for the shooting stars, he was joined on stage by another link to Fabio Zuffanti, Luca Scherani (who plays keyboards with La Coscienza di Zeno and Höstsonaten), plus Marcella Arganese (guitar), Roberto Leoni (drums) and Guglielmo Mariotti Pirovano (bass.) I returned after dinner to see the Arabs in Aspic set and was impressed by their brand of prog which tended towards the heavy end of the spectrum but which contained sufficient melody, variation and surprises to suit someone more accustomed to symphonic prog. The Norwegian quartet sang and communicated to the crowd in excellent English, reminding us that we were united by progressive rock and when they’d finished, I was a little bemused that they weren’t helped by a group of roadies to clear their equipment. In fact, guitarist Jostein Smeby stood in the shadows stage left and began to tune one of his instruments because along with the rest of the band (Erik Paulsen, bass; Eskil Nyhus, drums; Stig Arve Jorgenson, keyboards) he was part of the backing group for Saturday headliner and space-rock legend Nik Turner.

I have to admit I didn’t stay for the whole of Turner’s performance but I did watch them tick off old Hawkwind favourites Motorhead, Silver Machine and Master of the Universe. My Hawkwind collection is limited to Space Ritual, Silver Machine and Quark Strangeness and Charm (the latter bought from Black Widow Records earlier this year) and though I’d never call them prog, there are moments when it’s appropriate to turn up the amplifier and blast out some driving riff tracks like Brainstorm and Orgone Accumulator or the electronics and spoken-word Sonic Attack. I think Quark Strangeness and Charm is a much more coherent effort than preceding albums but I do feel Nik Turner’s contribution to the early material (he left the band after Astounding Sounds, Amazing Music in 1976) is a key part of the attraction of their music and it was a real pleasure to see him on-stage, backed by a group of exceptional musicians.


The success of the festival was due to a combination of factors but the organisational nous of Massimo Gasperini and the Black Widow team and the international network of gifted musicians associated with the Black Widow roster were vitally important. It helped too, that the weather was amazing and the Piazza delle Feste provides a really good performance space. My one minor gripe was an over-zealous security guard but that was swiftly resolved by the organising team.

From the old bands to the new, Genoa is the centre of progressivo Italiano; I can’t wait to go back.









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