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The Guardian newspaper occasionally includes a reference to prog - I suspect a couple of the writers are closet fans - but I was surprised when an edition earlier this month had two references: an article about Kate Bush and another about how rock musicians shouldn't have dabbled with disco...

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, Apr 30 2018 09:34PM

The gig marathon did pause, temporarily, for the annual week-long skiing holiday. This year’s resort was Sölden in Austria and, after the relative success of the self-organised trip to Chamonix in January, plus a wealth of experience planning prog-themed visits to Italy, flights, public transport transfers and accommodation were all booked individually and independently of tour operators. This meant that we could avoid the early Saturday morning chaos at Gatwick by choosing a Tuesday lunchtime flight, though a planned gig on the day of return, Tuesday 17th April, meant there was going to be something of a rush when we’d arrived back in the UK.

Despite some poor visibility when it snowed on the days we were on the mountains, we did ski every day and the conditions when the sun did come out were near perfect; carving down almost empty runs in fresh powder. I’d been to the resort before, in 2007 but the amount of investment that had been poured into the area made it almost unrecognisable. Not only could I not work out where the hotel I’d stayed at had been (if it still existed) but the Gaislachkogl lift, which I may have used once during my last stay, became the prime station for getting up anywhere in the ski area. Anyone familiar with the James Bond film SPECTRE would recognise the resort because the mountaintop clinic where Bond meets the female lead, Dr Swann (played by Léa Seydoux) is the ice Q restaurant on the summit of Gaislachkogl at 3048m, a beautifully designed building that fits perfectly within its high mountain environment and which serves really fine cuisine. We ate there, twice.


the ice Q restaurant, Gaislachkogl
the ice Q restaurant, Gaislachkogl

Our B&B may have been a little way from the centre of Sölden but it did have a bus stop right outside, where journeys during daylight hours were free with a lift pass and hourly buses wound down the valley to Ötztal station, so this is where the trek to the ESP 2.0 gig on 17th April at the Half Moon, Putney began. I’d ordered a copy of their forthcoming release 22 Layers of Sunlight from their Bandcamp page and fortunately for me Cheryl Stringall, the owner and managing director of their record label Sunn Creative, recognised my name from previous correspondence and asked if I’d like a pre-release copy. This meant I was able to hear the whole album a couple of times and parts of it a few more times to acquaint myself with the music before the show.


The calm is over: Pitze bus stop, Sölden...
The calm is over: Pitze bus stop, Sölden...

The Half Moon, Putney
The Half Moon, Putney

I am a big fan of the original Tony Lowe – Mark Brzezicki ESP collaboration and after the launch of the debut album Invisible Din (2016) I pronounced that I wanted to hear more from them. A year and a half later 22 Layers of Sunlight is the product of a more settled outfit, with Lowe and Brzezicki being joined by Peter Coyle (ex-Lotus Eaters) on vocals plus bassist Pete Clark and keyboard player Richard Smith; ESP Invisible Din was more of a collective which though showcasing the talents of a variety of guest musicians including David Cross and David Jackson (whose collaboration CD Another Day arrived on my doormat the same day as 22 Layers) and vocalist John Beagley, would have been a nightmare to organise as a touring entity.





Coyle brought the concept with him, an original, cautionary tale of global tech-monopolies and AI that has increasing relevance in modern society. It was good to hear the instrumental layers are all still there, with the opening track God of Denial and its subsection The Code shifting seamlessly from angular post-rock guitar riffs to a couple of bars of lead synthesizer that wouldn’t be out of place on a proggy Steven Wilson album and then to orchestrated soundscape, all neatly tied together by Coyle’s clever lyrics. Algorithm contains some post-Hackett Genesis-like drumming and a dual vocal passage that strongly reminds me of Sigur Rós, then the title track has a cinematic orchestrated movement that gives way to a quality prog workout before reprising the chorus and main melody, though overlain with some gorgeous guitar soloing. Ride through Reality allows the players to let rip, it’s an instrumental with a little vocalising, partly jazzy but equally reminiscent of Lamb Lies Down-era Genesis instrumental blows, brief but not short on quality. Smiling Forever is another post-rock composition, laden with Mellotron string patches before it also goes full-Floyd with beautiful, tasteful slowburn guitar and after a vocal reprise blends into the laid-back Don’t Let Go section of the longest track on the CD Butterfly Suite with flute Mellotron patches. Traveling Light is the excellent instrumental part of this track, harking back to the sounds and complex rhythms of Genesis circa 1973 with some great synthesizer and organ work and more tasteful guitar, which eventually resolves into a very Hackett-like, disturbing riff before Sensual Earth continues with similar sounding themes, alternating analogue synthesizer lines and expressive guitar.

Gunshot Lips is a more modern-sounding track, its urgency dissolving into trance grooves before the driving beat resurfaces, though it retains the multiple layers of the more cinematic and prog pieces. Introducing the song at the Half Moon, Coyle confessed he didn’t know why it was called ‘Gunshot Lips’. Final track Ballad of Broken Hearts is an orchestrated, melodic piece with a deceptively pop-y structure overlain with harmonic splashes of guitar and lead synth. It’s quite optimistic sounding until about three quarters of the way through to the end when it slows and becomes more proggy and reflective as Coyle sings ‘is this all I can hope for?

You can tell it’s an ESP album – there are certain similarities in quality of voice between Coyle and his Invisible Din predecessor Beagley – with the same degree of originality and a greater feeling of consistency on 22 Layers, though there are probably more excursions away from the undeniably symphonic prog feel of Invisible Din. It’s certainly a worthy sophomore effort, expertly crafted with excellent writing and musicianship, impeccable production and once again, beautiful presentation. I made it to the live performance with time to spare; the Half Moon is fairly convenient for me and it’s a great venue. The set consisted of material from both albums, expertly handled by the quintet and this was warmly appreciated by the crowd. I think of ESP Invisible Din as a Lowe/Brzezicki band but that evening Coyle played the part of front man and the 2.0 group appeared to be more democratically organised. It was a thoroughly enjoyable gig.


I may have made it from Sölden to the Half Moon but there wasn’t a great deal of time before it all started again, roughly 52 hours between getting back from Putney and setting off on the next leg of the gig marathon to Brescia, thematically connected to ESP through David Cross who has been touring as a guest musician with legendary progressivo Italiano band Le Orme. Previously acquainted with the small, beautiful city after staying there to see Banco del Mutuo Soccorso play in January, one of the first reminders of why I had come this time was plastered over a wall on our way to the hotel.



First stop of the afternoon was the Tostato coffee shop (although we’d already had coffee at Verona station) and then it was on to the record stores; Music Box and its sister store Brescia Dischi were closed but we wandered away from the centre to Kandinski, an excellent shop selling new and second-hand vinyl and CDs where I was allowed to browse through the selection ordered in for Record Store Day, being held the following day. I couldn’t really justify getting the special edition The Piper at the Gates of Dawn so I chose three albums from the Italian prog and International prog re-pressings racks: Il Tempio della Gioia by Quella Vecchia Locanda; ...per un Mondo di Cristallo by Raccomandata Ricevuta di Ritorno; and Visitation by Pekka Pohjola. It was nice to chat about music and about being in Brescia specifically for music, and about the meaning of Record Store Day. As I left I was presented with a CD released in 2016 on Kandinsky Records, Double Rod Pendulum by Ant Mill which I was warned wasn’t prog but on subsequent listening have discovered is highly original guitar-driven rock which at times crosses into psyche. It’s not really my thing being relatively heavy and more blues-rock based than anything else in my collection, but it’s still melodic, with vocals all in English. It was recorded live in the studio and you can detect a raw edge, but the production, typified by the snare drum sound on Tale #11 [Lullaby for E] is really good.



The evening’s entertainment was Le Orme and David Cross at Dis-Play, a temporary venue set up in the Brixia Forum the city’s exhibition space, a 10 minute taxi ride from our hotel. This was me ticking off another classic 70’s progressivo Italiano band, though the current line-up includes just one original member, drummer Michi Dei Rossi. Keyboard player Michele Bon has been with the band since Tony Pagliuca left in 1992, so the most recent recruit is bassist/guitarist/vocalist Alessio Trapella who joined in February 2017. I was totally blown away by the musicianship – the performance seemed to have been comprised almost entirely of early material that I’m familiar with and the band had found a superb replacement for Aldo Tagliapietra in Trapella (I’d seen Tagliapietra performing the whole of Felona e Sorona in Genoa in 2014 which was quite special). The inclusion of David Cross on the tour was perfect; Le Orme are no strangers to guest musicians - Peter Hammill wrote English lyrics for Felona and Sorona and David Jackson has performed with both Tony Pagliuca and Aldo Tagliapietra - and the violin seems like such a natural fit with the Venetian-formed band. Dei Rossi (with the help of Cristiano Roversi) released an album of Orme material arranged for orchestra ClassicOrme last year and in 1979 the classic line-up released Florian (after Caffè Florian in Piazza San Marco), an album recorded using only traditional (non-rock) instruments augmented with violin, an exercise in modern classical music with a progressive touch. Cross featured heavily during the gig and in return the ensemble played a version of Exiles, based more on Cross’ interpretation from his album of the same name than the original Larks’ Tongues version, but it was good to see the acknowledgement of the King Crimson influence on Italian prog. I thought there was an interesting comparison between the role of Dei Rossi, the drummer and only original member, with that of PFM’s Franz di Cioccio. Though Dei Rossi didn’t sing he spent quite a lot of the time between and sometimes during songs in front of his kit not only acting as spokesperson, but also directing the audience and the band. There was a humorous moment where he pointed out that he still had a lot of hair and the majority of the males in the audience had very little.



Apart from some technical problems with Michele Bon’s monitor and earpiece right at the beginning of the set, which required the removal of his jacket and held up the start of the show, it was a flawless performance by a group of exceptionally gifted musicians. Best of all, I managed to got to see the whole performance because I’d worked out how to order a taxi late in the evening, when the taxi hailing smartphone app no longer worked. My merchandise stand foray resulted in a limited edition copy of Elementi (2001) on vinyl but Chiemi Cross had moved off elsewhere for a moment so I couldn’t say hello and I’d just taken delivery of my Cross and Jackson CD at home.



The following day, Saturday, we headed off to nearby Cremona, a UNESCO World Heritage site listed in 2012 for the intangible heritage of violin making; to mark Record Store Day the main thoroughfare was lined with stalls selling vinyl and CDs. I got into conversation with a couple of stall holders and bought Florian for €15 and Per un Amico for €40, though I was being encouraged to buy an original Italian copy of Chocolate Kings complete with poster (my copy of Chocolate Kings is the Manticore release with the stars and stripes covered chocolate bar which on that particular stall had a higher mark up than the Italian version.)




We flew back to the UK on a late afternoon departure from Verona, and whereas I’d had time to get dinner before going to see ESP 2.0 when I came back from Austria, this time I headed straight from Verona (26oC) to the Union Chapel, Islington (14oC) for the first of two Tangerine Dream shows...












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