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With themes ranging from the occult to murder cases, I'd never heard of 'dark prog' until I got chatting to the staff at Genoa's Black Widow Records.

Another early import from the UK, the Genovese record store and label are named after the original protagonists of the genre and are nuturing many of the important bands from the scene...

By ProgBlog, Jun 11 2018 01:43PM



The resurgence of prog in the 90s was in no small part down to two seminal Swedish bands, Änglagård and Anekdoten. Änglagård’s Hybris (1992) was on my wish list for a couple of years before I managed to get hold of a reissued CD in 2014 for a sensible price from a stall at the Prog Résiste festival in Soignies, when up until that point the CD was selling for in excess of £30 on Amazon, but I first bought Anekdoten’s Vemod (1993) as a download in 2010 having read somewhere that the album sounded like King Crimson would have done had they not ‘ceased to exist’ after Red, due to their use of Mellotron; the album title, which roughly translates to ‘melancholy’, is very fitting. Wheel would have fitted very nicely on Red, especially as it includes cornet played by guest musician Pär Ekström.

I managed to see Änglagård on their first ever UK performance at the Resonance Festival later in 2014, something of a coup for the organisers of the event, and was more than impressed, subsequently being given Epilog (1995) and 2014’s Prog på Svenska - Live in Japan as presents. My wife traditionally asks if there’s any music she can get me on her annual New York trip, so on the occasion a month after buying the download, I asked her to look out for a physical copy of Vemod. Unable to locate a copy in a record store-depleted Manhattan, she phoned me from the States to tell me the bad news but that she had seen Anekdoten‘s 2009 2CD compilation Chapters and asked would I like that instead? I said yes. I then added Nucleus (1995) to my wish list and that arrived as a Christmas present in 2011. I’m attracted to the density and darkness of the music, and fully agree with the imagined post-Red King Crimson theory, so when Massimo Gasperini, the owner of Black Widow Records in Genoa contacted me to say he’d signed up Anekdoten to headline his Prog On evening at the FIM Fiera della Musica in Milan, it proved difficult to resist.




My experience of the FIM Fiera was in 2014, one of three times it was held in Genoa, where the line-up of bands for the prog stage over three days was really stellar, indicating the importance of the city for Italian prog. In 2016 and 2017 the Fiera was held in Erba (near Como) due to redevelopment of Genoa’s exhibition site and landed in Milan, at the Piazza città di Lombardia (the largest covered square in Europe) this year, with Prog On and other more formal presentations held in the adjacent Auditorium Testori.



This being a family trip, I’d identified a couple of other nearby cities to visit, to tick off more medieval squares and interesting churches, but the day of our arrival was dedicated to Milan. We wandered off towards the FIM venue via the Porta Nuova development, just to see what was around, immediately coming across the Black Widow Records stand where Massimo pointed out the one drawback with the piazza – June sunlight streaming in through the glass canopy and no shade. He then gave me a preview of the Auditorium Testori where ex-PFM guitarist Franco Mussida was giving a lecture to local schoolchildren, Cos'è davvero la Musica? (What really is music?); education in all aspects of music was a major part of the theme this year and Mussida, born in Milan in 1947, founded the CPM Music Institute in 1984, an organisation that offers 400 different programmes in music from certified instrumental courses to journalism to studio techniques.




It’s impossible to visit Black Widow Records, wherever it pops up, and not buy anything. I couldn’t say no to an LP I’d been interested in since I’d seen it had been re-issued by BTF earlier this year: a vinyl copy of Concerto delle Mente, the only release by Pholas Dactylus from 1973. I also bought re-issued vinyl copies of Museo Rosenbach’s Zarathustra (1973) and the pre-Goblin Cherry Five (1975) by Cherry Five and picked up the just-released Broken Coriolanus by Hollowscene (formerly Banaau) who were on the Prog On bill.

The day of the gig was mostly spent in Pavia, a short train journey away from Milan though I popped into Libraccio, the book and record store next to our hotel to buy Maxophone’s La Fabbrica delle Nuvole from 2017 and a Record Store Day picture disc of Tormato by Yes. We had lunch in Pavia’s Piazza della Vittoria looking out at the Broletto, the 13th Century town hall, then wandered off in search of Matrix Music only to find it had recently moved, to within 50m of where we’d had lunch, right by the cathedral. They were still unpacking and stacking when we visited and, because it’s getting ever more difficult to find progressivo Italiano that I don’t already own, I only bought a copy of King Crimson’s Live in Vienna CD from earlier this year.


Back in Milan, I set out to the FIM Fiera after a bite to eat and headed for the Black Widow stall, correctly believing that I might be able to find a copy of Vemod on vinyl but also buying the recently-released Rings of Earthly... Live CD by Ancient Veil. I couldn’t find anywhere to buy the album on-line but the band is on the Black Widow label and Black Widow were promoters of the two gigs at Genoa’s La Claque where the performances were recorded; my applause features throughout this release because I was present at both of those concerts.

While hanging around Black Widow I was introduced to another Genovese band, Fungus Family, whose music sits somewhere between the prog and psyche camps and relies on improvisation then, just as we were chatting en route to the beer tent, I bumped into Mauro Serpe and Giorgio Boleto, respectively the vocalist/flautist and bassist from Panther & C. Deep in conversation with Fungus Family about their forthcoming album and an unannounced change in running order meant that I missed some of Hollowscene’s set but what I heard was impressive – some nice Tony Banks-like synth runs and some moments of complexity akin to National Health. Prowlers, hailing from nearby Bergamo, have had a stop-start career and have been releasing music since 1994. Their Prog On performance featured songs from last year’s Navigli Riflessi but, apart from their last song which had sections in 7/4, they didn’t really conform to prog and the performance lacked dynamism. This was disappointing when you consider that in the past they recorded versions of Camel’s First Light and ELP’s The Sage for tribute albums. The contrast with La Fabbrica dell’Assoluto, on next, couldn’t have been greater. Plying their brand of heavy, high energy prog tinged with psychedelia and utilising a vast array of keyboard patches, the passion associated with RPI was forcefully clear; apart from drummer Michele Ricciardi they even dressed up in boiler suits to perform, a humorous reference to the band name. Witnessing them play live made me think of Museo Rosenbach, something I’d not really detected while listening to the record 1984: L’Ultimo uomo d’Europa. I spoke to the band at the end of the evening to congratulate them on an excellent set and, like all the other members of Italy’s prog community I’ve met, they were really easy-going and a pleasure to chat to.



Anekdoten have recently expanded to a five piece with the addition of British guitarist Marty Willson-Piper, best known for his work with Australian band The Church, but who was a guest on Anekdoten’s 2015 album Until All the Ghosts are Gone, and his playing adds even more depth to the sound. Communicating largely in English, the audience was reminded that 2018 was the 25th anniversary of Vemod so we were treated to not just a good proportion of the album, but Anna Sofi Dahlberg also played cello, something they’d not used live for some time. Though there’s a progression from foreboding, brooding dark prog to almost Radiohead-like post-rock through the albums, with each subsequent release involving a subtle change, I still prefer Vemod to the others when many commentators see Nucleus as their definitive release as it includes more mature writing than its predecessor, so I was very happy with the set list. The Rickenbacker bass, seemingly something of a staple in Scandinavian bands, provided by Jan Erik Liljeström along with the drumming of Peter Nordins are equally as important as Nicklas Barker’s angular guitar lines played over Dahlberg’s Mellotron (which was under-mixed for the first couple of songs) in defining the band’s sound. I personally prefer Liljeström’s singing to Barker’s because it complements the plaintive lyrics, much like John Wetton on Fallen Angel. Willson-Piper’s guitar provided extra density (if that’s possible) but he also helped out on percussion duties when his guitar was not required, and generally served as a source of energy propelling the ensemble onwards. My favourite moments were The Old Man and the Sea and Karelia but it was an all-round excellent performance; a major triumph for Massimo Gasperini (who was thanked by the band) and well worth the trip to Milan.



I was also very pleasantly surprised to see prog-fixer Marina Montobbio who had made the trip across from Genoa. Slipping easily between Italian, French and English she was involved in highlighting Plongée au coeur du rock progressif italien by Louis de Ny, a French book about Italian prog, and trying to persuade me to attend the 2 Days of Prog + 1 Festival in Veruno in September.

Fortunately it was only a short walk back to the hotel so I managed to get a decent night’s sleep despite an early start the next day: a trip to Bologna. This was mainly for the architecture because the record stores were all closed, and to see if it was worth a longer visit (it is.) Our flight home on Monday was late in the evening, the last flight out of Malpensa which meant we had time to explore some more. Monza was about the right distance away so we spent a full afternoon there. Though quite pleasant, I wouldn’t have recommended anyone making a special trip there if we hadn’t visited Carillon Dischi. A fifteen minute walk away from the centre under humid June skies, Carillon is another of the brilliant record shops that you find in small Italian cities; walls lined with classic rock and prog posters, plenty of vinyl and CDs including some rarities, a good range of memorabilia, plus a friendly, helpful and knowledgeable owner, Massimo. Browsing was restricted by train times, otherwise I’d have listened to some first US tour live King Crimson, I bought Un Biglietto del Tram by Storm Six (1975), something I’ve been after for a few months and an In the Court of the Crimson King T-shirt. I’d return to Milan any time and Monza really isn't out of the way...









By ProgBlog, May 22 2018 06:20PM



With an ever expanding selection of progressivo Italiano on vinyl and CD (vinyl, either new or second hand being my preferred choice) and a library of Prog Italia magazines plus a set of Italian texts on progressive rock, I seem to have found my niche obsessive compulsive disorder. The listening and reading material is sourced on the family trips to Italy, which means I’ve also amassed a substantial digital image collection taken at all the stops I’ve ever made around the country; the Trenitalia app is one of the most used apps I have on my phone. It gets worse: I’ve even imported coffee beans from a small artisan roaster in Venice, Torrefaziano Cannaregio, which I’d recommend to any coffee drinker who finds themselves in the city. Perhaps I’m subconsciously working towards citizenship for when the UK plunges out of the EU...



I was aware of a ‘Little Venice’ region of London, so-called because it’s centred on the conjunction of the Grand Union and Regent’s canals, having started a year-long post-graduate course in Biomedical Sciences immediately after commencing work at the South London Blood Transfusion Centre. One day each week I’d travel from Streatham up through central London, by bicycle in good weather, to Paddington College, an establishment close to the canals and waterways of Little Venice that taught the mysteries of hospital laboratory science. However, it wasn’t until very recently that I discovered London’s Little Italy, on a family outing to the Postal Museum, recently shortlisted for the Art Fund Museum of the Year award – the museum opened the former Mail Rail 610mm narrow gauge railway system to the public last summer.

Desperate for a decent coffee on a cold Easter Sunday, by chance we came upon Terroni of Clerkenwell, which turned out to be the oldest Italian delicatessen in England, not just London, having been established by Luigi Terroni in 1878. Before the influx of (mostly) southern Italians the area bounded by Clerkenwell Road, Farringdon Road and Rosebery Avenue was known as Saffron Hill but subsequently became Italian Hill or the Italian Quarter, before Italians from the north of the country migrated to England and settled in Soho. Terroni’s was busy but we were still able to get a seat at a table, then shortly after our coffees and selection of cannoli had arrived, a huge queue formed at the counter as families poured out of the church next door, the grade II* listed St Peter of all Nations - conceived in 1845 by St Vincent Pallotti, designed by Irish architect Sir John Miller-Bryson modelled on the Basilica of San Crisogonoin in the Trastevere district of Rome, and consecrated in 1863.


Little Italy was transplanted to Islington last week, as Italy’s best-known progressive rock export checked in to play one night at the O2 Academy. It was suggested by Peter Sinfield, who provided the first English lyrics for the band and produced Photos of Ghosts (1973), that non-native Italians wouldn’t understand the group’s name Premiata Forneria Marconi (the first-class Marconi bakery, where the band rehearsed) and that they should call themselves PFM. Drummer Franz di Cioccio explained to Will Romano (in Mountains Come Out of the Sky, Backbeat Books, 2010) that this didn’t really work out at the time because the band members became a bit tired of everyone asking what the initials P.F.M. stood for! It’s interesting that the band name on releases after their signing to Manticore/Asylum Records are a bit schizophrenic: the cover of Photos of Ghosts includes both the full name on the front and the acronym in the form of a recognisable logo on the back but both 1974’s L’Isola di Niente and English version The World Became the World use the band’s full name; Live in U.S.A. (Italian release) uses only the band’s full name whereas Cook (UK/US release) uses PFM; the Italian version of Chocolate Kings (1975) has a large ‘PFM’ at the top and ‘Premiata Forneria Marconi’ in small font at the bottom of the front cover but the chocolate bar pop art of the UK/US release only uses PFM; my Manticore printed Jet Lag LP uses PFM but my Italian CD (on Sony) with its subtly different paper aeroplane cover, has PFM and includes the full name in small text. Even the releases from 2013’s In Classic onwards vary in their use of their full title; this was the first album to feature a consistent logo, utilised through the ‘re-imagined’ albums up to and including last year’s Emotional Tattoos.


I finally managed to get to see them at Teatro Carlo Felice in Genoa last year and was really pleased that the set was primarily comprised of early material. They’ve been touring ever since and added two UK dates to their itinerary; the London show, and one in Southampton. I’d never been to the O2 Academy Islington before, in any of its former guises, but it’s easily accessed from Angel tube station and there’s a pub selling decent beer and food just over the road, The York. On arrival in the hall, a standing-only venue, the first thing to strike you was the noise from the air conditioning unit, so that when Andy Tillison appeared for his solo support slot, from my position the machinery could be heard above his keyboard and vocals. Though I’ve been following prog for over 45 years and Tillison has been playing prog for around 40 years, I’ve not knowingly come across the music of Parallel or 90 Degrees or The Tangent, though I’ve seen articles about the man himself and The Tangent in Prog magazine. Three of the four songs he played, The Music that Died Alone (a Tangent song from their debut album of the same name in 2003), Blues for Lear (from The Time Capsule by Parallel or 90 Degrees, 1998) and the debut performance of Sanctuary in Music, were primarily blues-jazz but the other song was a very interesting instrumental along the lines of early Tangerine Dream. He didn’t provide us with the title of this piece, explaining that it meant ‘progressive rock’ in German, as though his pronunciation would upset the guests from his German record label. He’s not got a bad voice and his keyboard playing was quite impressive, but what came across most of all was that his heart is in the right place; Sanctuary in Music reflected on religious fanaticism and the prohibition of music. The other nice bit of between-song banter was a tale of buying PFM’s Per un Amico from a record store in Florence when he was 13 or 14 years old, asking for some progressive rock and being told it was the only kind of music they sold! It was quite evident he was really honoured to be the opening act for the Italians.




It’s hardly surprising, this being a continuation of the Emotional Tattoos tour, that the set list was very similar to that I’d seen in Genoa. They began with Il Regno, the opening track from Emotional Tattoos (in Italian) and then performed a string of early classics: Four Holes in the Ground (from The World Became the World); Photos of Ghosts; Il Banchetto (from Per un Amico but which also appears on Photos of Ghosts), then four of the iconic tracks from their debut album Storia di un Minuto (1972): Dove... Quando... part 1 and part 2; La Carrozza di Hans; and Impressioni di Settembre. They returned to Emotional Tattoos with a song that kind of linked to Tillison’s Sanctuary in Music, La Danza degli Specchi and followed that with the instrumental Freedom Square, a song that harks back to the classic period of the band in the mid 70s.

This is where this concert deviated from the material performed on the Italian leg of the tour. There had been an intermission at this point in Genoa, restarting with Quartiere Generale and the little-known in the UK Maestro della Voce from the 1980 album Suonare Suonare; Islington was treated to Promenade the Puzzle (from Photos of Ghosts) and, from an album unrepresented in Genoa, Harlequin from Chocolate Kings. I think the UK got the best deal!

Though Franz Di Cioccio, the only remaining original member of the band, is indisputably the leader of PFM, Patrick Djivas is a long-term member and is put on equal footing to Di Cioccio. It fell to Djivas to point out the importance of classical composers to PFM music and joked that though they didn’t have an orchestra on stage they were still able to play Romeo e Giulietta: Danza dei Cavalieri which had been covered on their 2013 PFM: In Classic album. This neatly set the stage for Mr. Nine Till Five appended with Five Till Nine including their crowd-pleasing interpretation of Rossini’s William Tell Overture. It was no surprise that the encore was Celebration (from Photos of Ghosts) which included a playful drum duel between Di Cioccio and Roberto Gualdi.


One of the other differences from last November’s gig was that Di Cioccio spent more time behind his drum kit and left most of the vocals from early PFM material to Alberto Bravin, though when he did sing he displayed the same level of energy as he had done last year. I was a bit surprised to find the sound at the O2 better balanced than at Carlo Felice with its impeccable acoustics; Alessandro Scaglione’s keyboards were nice and distinct and utilised some authentic-sounding patches and you could hear how good Marco Sfogli’s technique was as you watched his fretwork. The only technical hitch was during Il Regno when Lucio Fabbri couldn’t get his violin amplification to work but one of the roadies eventually did something to an effects pedal and everything was OK for the rest of the performance.


This was probably the gig of the year so far for me, and I enjoyed it more than the Teatro Carlo Felice show. The standing audience and the ability to get close to the stage helped the atmosphere – the boarded-over orchestra pit in Genoa made the septet seem quite far away, even when Di Cioccio ran around in the empty space – but the London set list was better suited to a UK audience and the playing was out of this world. During the show it dawned on me that La Carrozza di Hans strongly reflects the original PFM influences, with fast stop-start breaks reminiscent of 21st Century Schizoid Man, a track they used to play at the beginning of their career, and that the old material was full of counterpoint which is less evident on Emotional Tattoos.


It was good to see a number of Italians in the audience (far more than there were Brits in Genoa!) and with the entire venue filled with appreciation for the band and their music, a small corner of Islington was turned into Little Italy for one night.




Grazie London! Grazie PFM!
Grazie London! Grazie PFM!

(Photo from the Offical PFM Facebook page)



By ProgBlog, Mar 19 2018 08:38PM

At the beginning of 2018 the proprietors of Genova bar and music venue L’Angelo Azzurro posted a message on their Facebook page that suggested that after almost nine years of putting on concerts they were very likely to have to close down for good because they had insufficient funds to cover their rent and were facing eviction. The energy, dedication and passion they’d put into the club really could not be questioned and the local musicians I’ve spoken to were seriously concerned about the loss of a venue that had been very supportive of the Genova progressive rock community; limiting the potential exposure of bands of whatever genre would have undoubtedly had an impact on a number of up-and-coming local bands.



Owners Danilo Lombardo and Katya Daffinoti launched an appeal for €6000 through the issue of shares and within the first three days had managed to collect over a third of that sum, prompting them to acknowledge that the club was more than simply their business, it belonged to family, friends, musicians and music fans within the community as ‘a shelter and a reference point.’ They received many certificates of esteem which indicated that their commitment over the past few years had obviously left good memories with the musicians who came to play and those in the audience who came to watch. By the end of January they were very close to reaching the total and held open meetings to discuss future plans and suggestions for improvement. I arrived at the club, still going strong and with more performances announced, on Friday 9th March.

I’d gone along to support Melting Clock, playing their third gig and premiering some new material that has been written for their forthcoming album and the event, part of a series organised by local impresario Marina Montobbio called ‘Lady Prog Nights’ was made even more attractive by the second act of the evening who already have two high calibre symphonic prog albums under their belt, Panther & C.



L’Angelo Azzurro is relatively quick, cheap and easy to access by public transport in the evening, costing just €1.60 for a ticket from Genoa’s main station (Piazza Principe) to the suburban stop Genova Borzoli, from where it’s a 10 minute downhill walk to the club. Unfortunately, Google maps drops a pin by a roundabout in what appears to be the middle of nowhere so it took me a little while to work out where the venue really was and how to get there, descending the hill beyond the roundabout then almost doubling back on myself through a 1930s industrial estate; a trip reminiscent of getting to the Progressivamente 25 festival at the Jailbreak Live Club in Rome last October or BMS at Circolo Colony in Brescia in January. I’d had to join the Circolo Colony club in addition to getting a BMS ticket; for this Lady Prog night entry to the gig was a one-off payment of €10 which included membership of the club. It was really good to meet up with friends from previous trips to the city and it was patently obvious how much the club meant to this community; the place was full and buzzing with anticipation.



I was seated behind a table occupied by members of Panther & C. along with their friends and family and was told by flautist/vocalist Mauro Serpe that he’d be joining Melting Clock on stage, for what I assumed was one of the surprises Melting Clock had hinted of. The event began with a short introductory speech by Montobbio about the club and the special brand of Genovese symphonic prog we were about to be treated to, but there was a delay before the band could start because there were problems with Simone Caffè’s acoustic guitar lead which took the house sound engineer a little while to rectify.

Once the guitar lead was fixed, the set commenced with the short instrumental Quello che Rimane, a track very much in keeping with the melodic symphonic prog style that characterises the band. Material that they’ve played on the previous occasions I’ve seen them followed: L’occhio dello sciacallo; Banalmente (first played at La Claque last November); Caleidoscopio; Strade Affollate; each song revealing nuances I’d not previously detected as the musicians had become more confident in their performance. I’ve previously compared them to Renaissance and while Emanuela Vedana’s voice matches Annie Haslam’s beautiful vocals, there’s something more adventurous about the music of Melting Clock, something in the layered sounds of the twin guitars of Caffè and Stefano Amadei that add an extra degree of complexity. If I was detecting new subtleties in the songs I’d heard before, I wasn’t prepared for the latest composition to be played live for the first time, Vetro. This song involved sudden stops and changes and reminded me of the early classic Italian prog bands, taking their lead from UK prog, most notably King Crimson. Stefano and Sandro Amadei both suggested that they’d been a little nervous of tackling something of that difficulty for the first time in front of an audience but I thought it sounded remarkably tight and contrasted nicely with the flowing tunes I associate with the band. The technical challenge faced by the musicians, not least drummer Francesco Fiorito and bassist Alessandro Bosca, will have tested the audience in a different way. I actively seek out music that could be difficult to listen to and though this wasn’t in any way extreme and would still be classified as symphonic prog, I can’t believe that it didn’t make a few people sit up and marvel at the writing and execution of the piece; the applause at the end of the song suggested that the crowd really appreciated an excellent piece of music.



We were back on familiar territory for the next two songs, my favourite Antares and the evocative Sono Luce before Panther & C.’s Serpe joined them for their final number, by tradition a cover version of a prog classic. In acknowledgement of Marina Montobbio’s fantastic efforts getting the series of concerts off the ground, they played a song that originally featured Steve Hackett, one of her all-time favourite musicians, Firth of Fifth, with flute provided by Serpe.

Apart from the glitch at the beginning of the set, the sound was mostly good. The mixing desk was at the side of the stage so the engineer had to walk out in front of the band to judge how well he’d balanced the instruments and it took him a couple of trips to get Vedana’s vocals to a suitable level in the mix. Being a bit of a fan of keyboards, I wouldn’t have complained if they’d been a little clearer when the band was in full flight.



The Panther & C. performance was as good and professional as you’d expect. I’m relatively familiar with their music having bought both of their CDs when I last saw them at the Porto Antico Prog Fest, so I’m beginning to pick out more subtleties in their music, too. The set was a mixture of material from both of their albums (my personal favourite was ...e Continua ad Essere which segued into Giusto Equilibrio) but whereas you expect them to play high quality symphonic prog, the theatrics of Serpe also play an important role and that’s not something I’d particularly noticed before or something that comes across on CD. In a previous review I’d incorrectly ascribed opening song La Leggenda di Arenberg to the famous cycle race through the Arenberg forest but, aided by the CD booklet I now understand it’s about the Flemish king Helmut, and how he battled bravely despite being outnumbered by another army with around 100000 cavalrymen. Legend tells of the reappearance of Helmut and his foes for one night every year, disappearing as the sun rises.

This has caused me to reappraise the band. The musicianship is of a very high standard (Serpe on flute and vocals; Alessandro La Corte on keyboards; Riccardo Mazzarini on guitars; Giorgio Boleto on bass; and Falco Fedele on drums) and the compositions are well-crafted and the lyrics poetic. They certainly tell a very good story through both music and words; add in the use of masks and it’s clear that they’ve derived some inspiration from early Genesis.



Montobbio and her husband very kindly gave me a lift back to my hotel at 2.30 am – public transport had shut down by the time the gig ended – but in the intervening period while the two groups packed up their equipment, I was introduced to some other members of the Italian Riviera prog scene: Bruno Cassan who is based in Nice and is responsible for, amongst other things, Prog’Sud in Pennes-Mirabeau, France (Panther & C. played there in 2017); and Il Tempio delle Clessidre bassist Fabio Gremo (who had come along with ITDC guitarist Giulio Canepa to support his good friends from Melting Clock.) The sense of community can’t be understated, and it would be a terrible loss if L’Angelo Azzurro was forced to close. Every time I visit the city, I’m awed by the friendliness of everyone involved in the prog scene in Genova: the support from the staff at Black Widow Records, the work and enthusiasm of Montobbio, and a world of welcoming musicians. I’ll be back











By ProgBlog, Feb 20 2018 03:57PM

In the last blog I commented on how difficult it was to pigeonhole Portico Quartet who don’t really sit easily on a sliding scale between jazz and anywhere but need something else, another superimposed scale perhaps, to give more of an indication of how you might identify their music. I’ve just had a fairly intensive session listening to L’Ora di Tutti (Time for Everyone) by Italian band Muffx and, as with Portico Quartet, I really like their music but whilst they fall somewhere in the amorphous prog cloud, they also defy a strict classification, taking a dash of psychedelia, a dose of proto-prog, incorporating some heavy blues aspects that featured in a number of the early RPI bands, some blues-inflected keyboard prog like Greenslade, swing, and experimentation.


It came as something of a surprise to me that L’Ora di Tutti is their fifth album, although only three prior to this one have been released: ...Saw The... (2007), Small Obsessions (2009), and Époque (2012); the material making up Nocturno which was recorded after Époque was shelved following the untimely death of producer and friend Pierpaolo Cazzolla. The band was formed in Salento (Puglia) by guitarist Luigi Bruno (leader of the Mediterranean Psychedelic Orkestra and co-founder of the Sagra Del Diavolo, the Devil’s Festival) and garnered favourable press when they toured Italy to promote their debut album; a success repeated when they released their second and third albums; they’ve even toured in the UK and have played with special guests from the prog world, like Richard Sinclair (now resident in Puglia) Aldo Tagliapietra and Claudio Simonetti.


The album reflects the band’s geographical roots, with the title L’Ora di Tutti taken from the 1962 cult novel by Maria Corti about the Ottoman attack on Otranto on the eastern side of the Salento peninsula in August 1480. In the book, the event is narrated by five different characters, fishermen and farmers, so in effect it is five stories told in the first person, offering different perspectives that complement each other chronologically; presenting an alternative narrative of heroism and sacrifice in contrast to the official chronicles. There are subtly different cover graphics for the vinyl and CD releases by Massimo Pasca, who appears to be channelling images of hell like Coppo di Marcovaldo, Pieter Bruegel or Hieronymus Bosch, depicting the attack; it’s not a mainstream prog cover but does fit a ‘dark prog’ tag, a category firmly associated with Genoa’s Black Widow Records who co-produced and distributed the disc.


Opening track Un' Alba come Tante (A Dawn like Many Others) begins as far away from the sleeve artwork as you can imagine, with birdsong indicating the bucolic existence associated with the heel of Italy. The introduction of a deliberate flanged bass figure (played by Ilario Suppressa) and electric piano (courtesy of Mauro Tre) is reminiscent of early structured Pink Floyd; there’s a short, heavy fuzzed bass riff which resolves into a triumphant sounding, uplifting motif which is repeated on brassy synth before the riff changes style, becoming firstly more bluesy then jazzy with a swing beat provided by Alberto Ria. A walking bass line overlain with a synth solo has a very 70’s feel, like a subdued Greenslade, before a reprise of the ‘heroic’ riff that could have featured in the 70’s BBC TV series Gangsters (see Greenslade’s Time and Tide, 1975) with wah-wahed electric piano, finally ending with a section reminiscent of Barrett-era Pink Floyd. There are two guest brass players on the track, Gianni Alemanno who plays trumpet and Andrea Doremi on trombone whose contributions fit seamlessly with the piece, adding brightness rather than colour and enhancing the jazzy nature of the composition.


It’s a great start to the record, 11 minutes of predominantly riff-based music and some impressive but unflashy soloing. The constant changes prevent it from becoming boring and the bright riff which features near the start and is reprised later on in the track is a true ear-worm; I set off to work on Friday whistling the refrain and came back home still whistling the phrase! Only a minute shorter, second track Vengono dal Mare (They come from the Sea) quickly moves from the relative tranquility of wave sounds to vaguely disturbing guitar (think of the opening sequence of David Cronenberg’s cinematic adaptation of Crash by JG Ballard, scored by Howard Shore.) There’s a short spoken passage in Turkish by Gorkem Ismail which adds to the atmosphere without relieving the tension, then a short guitar figure before the introduction of a driving riff underneath a repeating keyboard figure and some more wah-wahed keyboard. There’s a slightly sinister edge to this track which reminds me of Goblin, so it comes as no surprise that Claudio Simonetti has played as a guest with the band.


Ottocento (800) features some great Farfisa organ, a keyboard tone not unlike the work of Rick Wright or Bo Hansson but any hint of Pink Floyd is covered with new additions, gull-cry guitar and other-worldly theremin. It’s the most psychedelic of the four tracks and possibly the least musically complex with stomping fuzzed bass and other fairly straightforward bass lines and rhythms, but there is some mesmerising highly reverbed guitar which sketches the outlines of a Middle Eastern scale.

Bernabei, named after an Ottoman soldier who doesn’t actually appear in Corti’s novel, is the shortest of the four tracks but following a deliberate, short, heavy riff that links to the preceding track, a fast Middle Eastern-scale guitar line is reintroduced and there’s some experimental early-Floyd jamming. A picked guitar motif is played over some Turkish text and then the guitar and synthesizer double up to play a fast eastern-sounding riff. The group switches between rock improvisation, jazz sections and the eastern riff, all played presto vivace and the record closes with a reprise of the eastern riff.


Written by Bruno and recorded live in the studio in two 10-hour stints after days of rehearsal, it’s possible to detect a sense of urgency about the music but it’s coherent and well played. I like the fact that the band has chosen a concept that relates to their home region, an examination of personal cultural history and an interpretation of what is regarded as a major literary work. The link to Goblin goes a bit deeper than occasional sections sounding like them; they had the idea of making the album as a soundtrack to an imaginary 70’s film of the novel, choosing instrumentation to match. This obviously adds to the prog sound but also puts Muffx in the Giallo category.


It’s prog, but it’s a mixture of heavy, Italian proto-prog (influenced by Deep Purple and Black Sabbath), psychedelia and jazz. It may be another ‘hard-to-pigeonhole’ album, but it's really good.


Muffx - L'Oro di Tutti (2017) BWRDIST 675



By ProgBlog, Dec 24 2017 12:17AM

2017 isn’t quite over but there will be a short break for ProgBlog over the Christmas period. As I type there are almost 900000 hits on the website, many of which might not be from individuals who stayed to browse but in the 45 months since the site was founded, the trickle of visitors per month has shot up, accelerating from a total of 174000 at the beginning of 2016 thanks in part to my adoption of twitter and a dedicated Facebook page, a strategy suggested by the hosts of a Guardian Masterclass in how to promote your website.

It can’t be denied that substantial proportion of music bought in the early to mid 70s, the so-called ‘golden age’ of the genre, was progressive rock, so prog wasn’t really niche because it produced some very successful acts though an observer of musical trends over the past 50 years might not think so. Fast forward to 2017 and proof that progressive rock is regarded as mainstream (or at least present and recognisable as something distinct) comes in the guise of BBC TV family quiz show Pointless series 17, episode 10, where the final round is about prog! Yet it’s hard to explain the resurgence of a musical form which attracted such vitriol at the end of the 70s, despite the fact that Prog magazine, after something of a scare this time last year, is once again thriving and obviously serving a large fan-base, and across in mainland Europe, the Prog Italia title seems to be doing well and publisher DeAgostini, in conjunction with the magazine, has started to reissue a massive series of classic progressivo Italiano records on 180g vinyl which are available from newsstands. So why exactly is prog currently in vogue when it’s not really commercial and therefore not attractive to major labels, and the struggle for bands to get heard above the competition is far more difficult now than it ever was in the 70s?


Prog goes mainstream (1) Pointless categories
Prog goes mainstream (1) Pointless categories

Prog goes mainstream (2) Pointless questions
Prog goes mainstream (2) Pointless questions

I don’t think the answer lies in 2017 but it was a year when trends seems to coalesce and were picked up by the media. This is certainly true of the vinyl revival story, despite the rise in sales commencing in 2014, if not a couple of years earlier and though vinyl isn’t restricted to prog albums, classic prog is linked to the popularity of the LP and even CD box sets now come laden with facsimiles of original sized album artwork and other goodies. Talking about the music helps enormously, whether in print like Prog magazine, via social media (where the prog community behaves more civilly than almost any other group), or at one of the increasing number of occasions where the fans are able to approach and interact with musicians face-to-face. However sad, it’s a fact that the protagonists are dying and though 2017 might have seemed less tragic in terms of numbers of recognised musicians who passed away compared to 2016, all we’re left with is the irreplaceable sonic legacy of John Wetton (who inspired me to take up the bass), Phil Miller and Allan Holdsworth. But their deaths got us talking, too. National newspaper The Guardian printed obituaries of Miller and Holdsworth and the Daily Telegraph carried an obituary of John Wetton; it is only right that we celebrate their music. As far as mainstream print media goes, I try to keep tabs on the number of mentions in The Guardian concerning progressive rock and it’s more than you might realise, from crossword clues to film reviews!


Allan Holdsworth obituary - The Guardian 19/4/17
Allan Holdsworth obituary - The Guardian 19/4/17

From a purely personal point of view, over the latter part of the year I’ve learned to test my boundaries a bit more. This has proved somewhat challenging because I’m someone who doesn’t use music as a backdrop to other activities as I like time to concentrate on what’s being played. On a number of occasions I’ve been asked to review (or at least listen to) some new music, which has come in a range of styles. I’m exceedingly grateful that my judgment is valued enough for complete strangers to contact me and take this as a vindication of my opinions aired via the blog and associated bits of social media. I’m sure that a graphical representation of my particular tastes would result in a normal distribution curve but the wide spectrum that makes up prog means that some of this material was going to be right up my street and some was less likely to appeal. For anyone who has sent me links to their music, please be patient; I think that the promotion of prog music is a worthwhile pursuit and I will get around to writing about it however, I do have a daytime job which sometimes carries on out-of-hours.

The point is that once I’ve agreed to give something a listen, I can’t just play it in the background while I’m doing the ironing or reading my daily newspaper and then come up with an opinion, I have to really listen and pick out moments which I like and explain why I like it. I approached Process of Illumination’s Radiant Memory with a degree of trepidation because when I read their influences I genuinely thought it wasn’t going to be my cup of tea. After repeated listens I could really appreciate the guitar and keyboard interactions and maybe they did have a metal edge, but they also had a good ear for a melody and mixed adventurous complexity with ambient washes. On the other hand, An Invitation by Amber Foil sounded and looked like a slice of 70’s prog and got me hooked instantly, and then proceeded to pull me deeper into a dark and vaguely disturbing storyline; though only an EP, An Invitation is my album of the year. Dam Kat’s Alawn mixes Kate Bush with Pink Floyd and Steven Wilson and adds a dash of traditional Breton music and the result is very pleasing, so I’m glad that I was invited to listen to it; the music of Dublin’s Groundburst was new to me, despite a back catalogue of EPs stretching back 10 years, with their latest EP Triad frequenting ground shared between prog and math rock, and though a full-length album due to be released next year will include much of their devilish complexity, it’s also rumoured that lengthier tracks will allow for more symphonic development; Seattle-based Gaillion are another band I’d describe as outside my old comfort zone with a more concise approach but I can’t help but admire their musicianship and rhythmic invention on their latest CD Renewal and Release; Servants of Science from Brighton and Hats Off Gentlemen It’s Adequate from London have both covered exceptionally deep concepts on The Swan Song and Broken but Still Standing respectively, the former about an astronaut witnessing the end of the earth from space, and the latter following the story of human evolution from the last universal common ancestor to conflict and finally symbiosis with artificial intelligence. Both are cinematic but The Swan Song tends towards haunting alt-rock and Broken but Still Standing is more in the mould of Floydian soundscapes, aided by really gorgeous flute. Both are well worth seeking out.


2017 saw me manage multiple trips to Italy where I witnessed the first ever gig by the much admired Ancient Veil, in their home city, and became one of only a couple of hundred people to see the first two performances by Melting Clock. This young Genovese band may not have released an album yet but their symphonic prog is brilliantly structured and possesses an enviable accessibility, so I’m pretty sure they’re going to do well. Another young band who did release their first album was Milan’s Cellar Noise with Alight. This harks back to classic 70s Italian prog, even though it’s sung in English and the concept is based around stations on London Underground. I caught their show at Milan’s Legend Club, part of the Z-Fest, and bought the CD immediately after they’d completed their set. I actually took in two major prog festivals over the course of the Italian summer; the Porto Antico Prog Fest in Genova and Progressivamente in Rome. The former was an international affair organised by Black Widow Records where Melting Clock debuted, and the totally free Progressivamente festival, held over five nights, featured established bands (including some which had recently reformed), presenting an unmissable opportunity to catch up on incredible music from the last 45 years. The last trip to Genova included a night at La Claque where Ancient Veil played unplugged; Melting Clock played gig no. 2 and wowed the crowd; and Phoenix Again demonstrated their quality with a brand of jazzy/heavy/symphonic/complex prog. I stayed in the city for a couple of extra days because PFM were performing at the Teatro Carol Felice and I’d managed to get a ticket.



I don’t really speak Italian so I’m indebted to all the people I met to discuss prog for kindly resorting to converse in English. This list includes a whole host of musicians from Melting Clock, Panther & C, Phoenix Again and Ingranaggi della Valle, the friendly and knowledgeable staff from Black Widow Records, promoter Marina Montobbio, and audience members at the gigs like Vincenzo Praturlon and the cousin of Semiramis bassist Ivo Mileto. Part of the attraction of Italy is seeking out record stores in the different cities, where once again communication was in English, otherwise we couldn’t have had any sort of sensible conversation. Guidance and expert advice from Genova’s Black Widow comes as part of the package but new shops were discovered in Como (Frigerio Dischi, Alta Fedità); Savona (Jocks Team); and Rome (Elastic Rock, Millerrecords).

Wandering around record stores in the south east has been a major feature of the latter part of the year. There’s a shop just around the corner of my road which I recently discovered sells second-hand vinyl but the best find is a short tram journey away, Wanted Music in Beckenham where proprietor Adriaan Neervoort keeps a wide stock of prog and electronica, in great condition and at market rates. I’ve discovered it’s often worth popping into charity shops where amongst the James Last and battered classical LPs you might find the odd gem for £1 or £2, like my French version of the Chariots of Fire soundtrack and the Synergy album Electronic Realizations for Rock Orchestra. Then there are the flea markets...


Wanted Music, Beckenham
Wanted Music, Beckenham

I attended a few gigs on UK soil, the most anticipated of which was Anderson Rabin Wakeman who I went to see in Brighton, but the highlight of the year was the Pink Floyd Their Mortal Remains exhibition at the Victoria & Albert museum, an in-depth historical perspective of the band using their music and a wide range of personal and band artefacts, providing a must-see experience for any Floyd fan.



That’s 2017 in a nutshell; good bits and low points. It demonstrated that prog is still going strong and I’ve already got some events lined up for next year... Prog on!











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