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Recently returned from the 2018 Porto Antico Prog Fest in Genoa, where ProgBlog met up with last year's star turn Melting Clock, and discussion turned to the artwork for their forthcoming album which is due to begin recording in the next couple of weeks...

By ProgBlog, Apr 9 2018 10:38PM

Z-Fest 2018, Legend Club, Milan 23 March



Next stop: Milan. I attended the 2017 Z-Fest and apart from choosing a hotel miles from the club so that the taxi driver was unhappy to let me out of his cab because he wasn’t convinced that there was actually an event being held there and then not being able to communicate with a taxi firm to get me back to the hotel after it had finished, it was a successful venture. 2017 had something of an ‘experimental’ vibe, with the jazzy Zaal (standing in for Christadoro, a Zuffanti co-venture who released an album in February that year) and headliners Finisterre, who of all the Zuffanti projects seem to me the group who best represent boundary-pushing. That show also featured the Zuffanti-produced Cellar Noise, playing through their excellent symphonic prog debut Alight (2017) and wowing the crowd with an excellent rendition of Genesis’ The Knife as an encore. The whole band was present for this year’s Z-Fest, getting ready to embark upon their first concert outside of Europe, in Canada, and they told me the material they were writing for their forthcoming album was going to be a bit heavier than on Alight but still recognisably Cellar Noise. Z-Fest 2018 was dubbed ‘the symphonic edition’ headlined by Höstsonaten, who are without doubt the most symphonic of Zuffanti’s many sidelines and compared by the man himself to The Enid, so it was quite appropriate that former Enid vocalist Joe Payne had been invited to open proceedings, with the other slots allotted to Isproject, a prog/post rock duo augmented by Zuffanti associates, taking their place in the proceedings by virtue of releasing a fine, symphonic concept album The Archinauts (2017) produced by Zuffanti, and to Heather Findlay, the vocalist for Mostly Autumn from 1996 until 2010.



This year my wife and I were based in a different hotel, the NH Milano Machiavelli close to Repubblica, handy for Metro Line 3 to facilitate an effortless trip to Affori Centro for the Legend Club, but after a relatively relaxed flight to Milan Malpensa, we discovered that Trenitalia staff were on strike so we had to catch a coach to Milano Centrale. Not that I minded, because I’m happy to show solidarity with rail workers, but it would have been nice to have known before we got to the airport station ticket hall. Every visit to Italy since Rome last September has included some form of industrial action!
This year my wife and I were based in a different hotel, the NH Milano Machiavelli close to Repubblica, handy for Metro Line 3 to facilitate an effortless trip to Affori Centro for the Legend Club, but after a relatively relaxed flight to Milan Malpensa, we discovered that Trenitalia staff were on strike so we had to catch a coach to Milano Centrale. Not that I minded, because I’m happy to show solidarity with rail workers, but it would have been nice to have known before we got to the airport station ticket hall. Every visit to Italy since Rome last September has included some form of industrial action!

I’d last seen Joe Payne performing with The Enid at HRH 4 in North Wales and before that at the Resonance Festival at the Bedford Arms in Balham. On both occasions it was clear that he had an excellent voice but in my opinion the theatrical presentation came across as West End musical rather than rock, and certainly not progressive rock. I got to the club as the man reinvented as 'That Joe Payne' was finishing his sound check, thanks to a combination of the efficiency of the Milan metro and the performer not realising that the doors had actually opened. Following a short interlude during which the sound engineers played a selection of classic prog, including Siberian Khatru, Easy Money and Free Hand, Payne took to the stage again and explained that he would only be conversing in English and that this was his first ever solo performance, though it wasn’t his first post-Enid show; earlier in March he’d performed at The Picturedome in Northampton with a select backing group.

His performance was relatively brief, consisting of two (long-form) songs he’d contributed to from The Enid’s Invicta (2012) One and the Many and Who Created Me? plus both sides of his new single I need a Change/Moonlit Love. Confiding in the audience that he was a bit rusty and Who Created Me? was the most challenging thing he’d had to play on piano, he also admitted, mid song, that he’d forgotten how the piece went, then courageously continued. I thought he excelled in this format, solo voice and piano and, without the full bombast of his former band to compete with for kitsch, it completely changed my opinion of his singing; that he’s got a great voice is beyond question – he proved that it works in a rock context.


That Joe Payne, Z-Fest 2018, Legend Club, Milano
That Joe Payne, Z-Fest 2018, Legend Club, Milano

Isproject were next up, Ivan Santovito (who had a slight problem with the keyboard patches on his Mac before they got going) and Ilenia Salvemini, who after a couple of tracks as a duo were joined on stage by core members of Höstsonaten: Paolo Tixi; Marcella Arganese; Daniele Sollo; and Martin Grice.

Their inclusion at this symphonic Z-Fest was fully warranted. The music alternates between a post-Waters Floydian sweeping cinematic sound, melodies and instrumentation that recall classic 70s Italian prog, and a few guitar-driven moments that hint of prog-metal. The proggiest moments were the lead synthesizer lines over full band backing where a relative lack of layers evoked the early 70s sound; there was also plenty of delicate piano which contributed to the symphonic feel. Apart from playing the keyboards, Santovito handled a good portion of the vocals, sung in English, while most of the time Salvemini was responsible for providing harmony vocals or singing as a duet. The performance wasn’t quite faultless, with Salvemini occasionally demonstrating an unfortunate lack of stagecraft, generating low-level feedback by exposing her mic, held by her side when she wasn’t singing, to her monitor. This slightly naive behaviour didn’t affect the way I thought about the music and I visited the merchandise stand following their slot and bought a copy of The Archinauts on CD; I’m pleased I did, because Zuffanti’s production is beautifully clear and the symphonic nature of the music shines through.


Isproject: Ilenia Salvemini and Ivan Santovito
Isproject: Ilenia Salvemini and Ivan Santovito

I don’t own any Mostly Autumn or Heather Findlay music other than a live version of Evergreen that featured on the free CD that came with one of the early Prog magazines concentrating on prog-folk. Her time in Mostly Autumn has helped her amass a good following and since leaving them in 2010 she’s fronted her own band, collaborated with some of the biggest names in the prog world (including Ian Anderson and John Wetton) and, in 2016 formed Mantra Vega with Dave Kerzner, pulling in a number of Mostly Autumn alumni, creating what many branded a ‘supergroup’. However, this set was just Findlay accompanying herself singing with acoustic guitar, delving into a rich past of folk/symphonic tunes of which I recognised only one: Evergreen. Her voice on some of the recordings I’ve heard has a frail, ethereal quality, like a Yorkshire Stevie Nicks but live she had a good strong voice that reminded me of Sonja Kristina on some of the more song-based Curved Air material. She also communicated entirely in English and told the crowd that, like Joe Payne, this was her first ever solo gig.


Heather Findlay - her first solo gig!
Heather Findlay - her first solo gig!

I’d just missed out seeing Höstsonaten performing Symphony No.1 Cupid and Psyche in 2016 so I wasn’t going to miss the 2018 Z-Fest; this was the band I’d really come to see and they did not disappoint. I may have originally heard about them in 2007-8 when I first bought Jerry Lucky’s The Progressive Rock Files but my first exposure to their music was at the 2014 Prog Résiste festival where the Z Band performed an array of pieces from a variety of projects including the superb Rainsuite from Winterthrough, a sumptuous example of modern symphonic prog, prompting me to visit their merchandise stand following the performance to buy the CD/DVD of The Rime of the Ancient Mariner Alive in Theatre (2013). It was on a visit to Galleria del Disco, Firenze, in the subway passages underneath the main station later in 2014 that I got my hands on an AMS CD reissue of Winterthrough, and in 2016 I pre-ordered my copy of Symphony N.1 Cupid & Psyche (on pink vinyl) through Bandcamp.



The current Höstsonaten line-up of Zuffanti (bass, acoustic guitar and bass pedals), Luca Scherani (keyboards), Marcella Arganese (electric guitar), Daniele Sollo (bass) and Paolo Tixi (drums) was supplemented for the occasion by Martin Grice on sax and flute, Joanne Roan on flute, Alice Nappi on violin, and Gaetano Galli on oboe, providing a genuine symphonic dimension; Grice was part of the Z Band and Roan has appeared on a number of Höstsonaten records.

Zuffanti’s introduction was interrupted by remedial work on Scherani’s laptop (after Scherani had helped Ivan Santovito at the start of the Isproject set) but this was swiftly resolved and they began with a medley of Season Cycle tracks, Entering the Halls of Winter, The Edge of Summer and Toward the Sea. We were also treated to a large slice of 2016’s Symphony N.1, an album where Zuffanti had written the music but took a step back from much of the playing and allowed the partnership with Scherani, who arranged the piece for orchestra, to shine. I thought the evening couldn’t get any better but they next embarked upon Ancient Mariner in all its dramatic glory. I’d notice Joe Payne move a mic stand to the front of the stage between the Heather Findlay and Höstsonaten sets, so I had a pretty good idea that he’d be joining them for something, and he took on the role of the mariner really well. Sadly I had to leave to catch a bus back to my hotel during Part 3, but there’s a YouTube video https://www.youtube.com/watch?v=61N3h2qCPfk that goes some way to compensating for me missing out on Part 4 which features outstanding vocals from both Payne and Findlay.



Though the crowd was really supportive of all the acts, the club wasn’t full and with tickets at only €10, it’s something of a surprise that Zuffanti persists in hosting the event each year. However he does it, promoting his protégés, revisiting some exquisite music of his own and this year bringing UK artists to Milan, I’m glad he does. This was my second year and, like last year, it was really special. La Maschera di Cera next year?














By ProgBlog, Jan 29 2017 08:18PM

One of my Christmas presents was Yes is the Answer and other Prog Rock Tales edited by Marc Weingarten and Tyson Cornell. I’d added it to my wish list within the previous month, seduced by the very fitting looking cover (a watercolour illustration by Nathan Popp in the style of Roger Dean’s crash-landed and colonised mountains from Yessongs) together with some four and five star reviews on Amazon.com, there being no reviews, at that time, posted on the UK site. Though there wasn’t a great deal to be gleaned from the reviewer comments, the publicity quotation sounded promising: Progressive rock is maligned and misunderstood. Critics hate it. Hipsters scoff at it. Yes is the Answer is a pointed rebuke to the prog-haters, the first literary collection devoted to the sub-genre. Featuring acclaimed novelists Rick Moody, Wesley Stace, Seth Greenland, Charles Bock, and Joe Meno, as well as musicians Nathan Larson, and Peter Case, Yes is the Answer is a book that dares to reclaim prog-rock as a subject worthy of serious consideration.


Yes is the Answer
Yes is the Answer

The book is a collection of short essays by respected journalists, writers and musicians, each relating a personal progressive rock story in an almost ProgBlog-like manner, only I’m rather ignorant of US writers. It‘s a slim volume which fits the hand nicely and the quality of the paper used for the dust jacket is very pleasing. However, the standard of writing plummets immediately after a rather brilliant opening disclaimer: Some of the essays in this book are prolix and self-indulgent. These are essays about Prog Rock. This is as it should be.


It’s not that I think it has limited literary merit; I instantly disagreed with the opinion of Weingarten in his introduction that the progressive rock fan fraternity frowned upon the exponents of jazz fusion because of their propensity for ‘noodling’ and that fusion adherents were sad for their obsessive appreciation of the instruments used to make the music. On the contrary, Brand X were a successful jazz fusion act who were fully appreciated by the prog rock crowd and, speaking as someone who came into progressive rock fairly early on, long before peak-prog or the rise of punk, part of the attraction for me was the ability to obsess over the instrumentation, because without the technological advancements the music would never have been created. I'm responsible for reproducing the console of a mini-Moog on my desk at school when I was 13 and later, when I first started work after university, spent a lunchtime in a local music shop playing a Mellotron 400D. I'm sure many would agree with me that the best album sleeves are those which list the make and model of all the equipment used to make the record.

I know that there have been factual inaccuracies in my blogs pointed out by readers, but my pieces are mostly opinions, streams of consciousness posted without any proof-reading. When I come across an unchecked fact in a publication (Jerry Lucky repeatedly calling David Gilmour ‘David Gilmore’ in his 20th Century Rock and Roll - Progressive Rock, new copies of which are selling for £68 on Amazon in the UK, or Dave Ling writing in Prog magazine that the opening chords of Watcher of the Skies were played on organ, for example) it offends my sensibility.


20th Century Rock and Roll - Progressive Rock by Jerry Lucky
20th Century Rock and Roll - Progressive Rock by Jerry Lucky

Imagine my indignation when the first article, Here Comes the Knife by Seth Greenland states that Rondo (by The Nice) is on Ars Longa Vita Brevis. No, it’s on the first Nice album The Thoughts of Emerlist Davjack. Why hasn’t anyone picked this up before it went to the printers? This lack of attention to detail is un-prog but it soon becomes clear that many of the contributors discovered this music at the tail-end of the golden period or later, that the majority of them have not remained fully committed to the genre and that their views have more often than not been forged under the influence of mostly soft but occasionally hard drugs. There’s no doubt that marijuana was the recreational substance of choice for some of the artists but many eschewed drugs either through ascetic lifestyle choice or because of the technical difficulties of playing a piece made ingestion unwise. The book highlights the American experience which is very different from the UK where progressive rock developed; traditionally, rock ‘n’ roll has been romanticised in a very Hollywood way as a rite of passage, a time of teenage rebellion. Progressive rock didn’t really fit into this scheme, because the exponents were attempting to legitimise their form of rock music, with Keith Emerson building bridges between the worlds of classical and rock and all of them were looking at other idioms to expand their musical vocabulary. This is what they exported and a small number of them did well in the US, the music and underlying philosophy chiming with a nascent ecological movement and a general feeling of hope. There were only a few proper progressive rock acts from North America during the golden era (Happy the Man and Fireballet spring to mind, those being bands with albums in my collection, but I think what I’ve heard of Starcastle who received air play on Alan Freeman’s radio show in the UK might also include them in that small club) and it wasn't until the resurgence of prog in the mid-90s that there was any significant American input. Even then, this latest phase had its roots in metal and was sort of retro-fitted to the original. The short biography after each essay reveals a dearth of specialist music magazine contributors; if you like short, personal stories about coming-of-age presented in a sex and drugs and rock and roll context, you may like this book and the high-scoring reviews from Amazon US make perfect sense. However, there's nothing analytical or even enlightening about progressive rock within the pages; it's not actually about the music but about the individual contributors who at some stage in their emotional development have come across prog.

One of the articles is by British author Nick Coleman who was an NME journalist and has written a well regarded autobiography The Train in the Night: A Story of Music and Loss after suffering sudden neurosensory hearing loss – totally devastating when your livelihood revolves around music. Though progressive rock evidently played a major part in his youth, his essay Hung Up on these Silver Strings (a line from the song Axe Victim) concerns Be Bop Deluxe. Be Bop Deluxe isn’t prog but fit in to the closely-associated Art-rock sub-genre. A vehicle for the talents of Bill Nelson, the band was favoured by prog fans and dutifully, though I don’t own any of their studio releases, I bought a copy of Live! In the Air Age in lieu of a ‘best of’ album.


Live! In the Air Age by Be Bop Deluxe
Live! In the Air Age by Be Bop Deluxe

Part of the attraction for me was that Nelson was a northerner, forgiven for being from the wrong side of the Pennines, from Wakefield. The follow-up band Red Noise created an interest within my circle, possibly because they played Leeds University where my brother Tony and another of my associates were studying medicine but I wasn’t too impressed by Furniture Music, not really liking the shorter songs or the electronics. However, I did go to see Bill Nelson performing The Invisibility Exhibition at the Dominion Theatre in March 1973, an enjoyable gig where Nelson played guitar, synthesizer and percussion to backing video from 1950s art films. Shortly after that I purchased a copy of his solo album Quit Dreaming and get on the Beam, written as a second Red Noise album but held back by EMI because they didn’t like it. This is an album of clever electro pop but I had been under the impression that it came with a free LP called Sounding the Ritual Echo (Atmospheres for Dreaming), a basic, home recording straying into ambient electronic territory, and that’s what I was really interested in.


Bill Nelson's Invisibility Exhibition
Bill Nelson's Invisibility Exhibition

Nelson may have been the recipient of Prog magazine's Visionary award in 2015 but I still regard him as an exponent of Art-rock. Another Art-rocker, who has had a much heavier involvement with prog, is Brian Eno; these are the only two representatives of this form in my collection. From his Roxy Music beginnings, Eno branched out into progressive pop territory and collaborated with a wide range of prog luminaries on his accessible solo albums. This directly led to involvement with Genesis on The Lamb Lies Down on Broadway and he also assisted on the Mainstream album Quiet Sun with former band-mate Phil Manzanera. His experimentation with tape loops and twin Revox tape recorders in collaboration with Robert Fripp for the ground-breaking (No Pussyfooting) began before the release of Here Come the Warm Jets and though dismissed at the time, it is now rightly regarded as a seminal piece of music. What makes Eno stand out is his way of thinking; from the bed-stricken origins of Discreet Music to the entire ambient genre where his modus operandi, subscribing to systems that once set into motion require little or no further input from Eno himself and divulged in the sleeve notes of Discreet Music, still hold true to his output today, neatly exemplified by his Bloom iPhone app. Musical collaborations and pathfinding aside, Eno was appointed the youth affairs adviser for the Liberal Democrats in 2007, at the age of 59. He’s also interviewed Yanis Varoufakis for The Guardian and caused something of a stir last week when a Guardian interview with him ran under the headline “We’ve been in decline for 40 years – Trump is a chance to rethink”; he was obliged to clarify that he thinks Donald Trump is a complete disaster.


Prog and Art-rock obviously have a degree of crossover but the latter has always been more respected by mainstream media. Part of this is inherent re-invention along the lines of fashion, whereas prog is deemed to have ossified, like a lumbering dinosaur without an original thought in its head, being wiped out by the brash, brightly burning punks. Prog resurfaced and, since the mid 1990s has been going pretty strong. That books like Yes is the Answer are being published is testament to its longevity.

By ProgBlog, Jul 17 2016 04:39PM

Last weekend was spent based in Brno, the second city of the Czech Republic and included a day trip to Bratislava in Slovakia, less than 90 minutes away by train. I’ve been to the Czech Republic before, for a presentation at the second East-West Immunogenetics conference in Prague in 2007 and on my brief time off I managed to get to a couple of record stores, one on a late evening trip around Wenceslas Square where the rock music selection was rather poor and the other, squeezed in just before my flight home, a shop called Bontonland in the Centrum Chodov mall at the end of subway line C. Though this large, rambling store was staffed entirely by non-English speakers (my problem, not theirs) I made my request for Czech prog using an elementary phrase book and citing English examples of the genre. Despite these communication difficulties, the staff managed to produce a handful of Czech CDs and provided me with a remote to ply through the selection. I sat for about an hour listening to parts of this collection but it was predominantly blues based material that I didn’t really like or want.

I had done some research before my 2007 trip and the band Plastic People of the Universe (PPU) were foremost on my list. This group formed in the aftermath of the crushing of Alexander Dubček’s Prague Spring in 1968, named after the track Plastic People on the 1967 Frank Zappa and the Mothers of Invention album Absolutely Free. PPU were targeted by the communist authorities with punishment ranging from imprisonment to having a house burned down. Unable to perform in public, an entire underground cultural movement formed around the band during the 1970s and the sympathizers of the movement were often called máničky, indicating youths with long hair. I was unable to find any PPU releases on that particular visit but that might have been in part due to the classification of the band. Inspired by Zappa and the Velvet Underground, PPU occupy an area akin to chamber-prog, but with more riff-based music than, for example, Henry Cow.


I was aware that rock bands, including some with progressive leanings, were around in communist countries in the late 70s and early 80s. I wanted to visit the USSR in 1983, with Leningrad a short train journey from Helsinki which I visited with friend Nick Hodgetts during an Inter Rail holiday over the summer, but organising a visa while already en route was an insurmountable problem. I did get to visit East Berlin before the fall of the Wall and got shouted at by a border guard in a watch tower when I stepped over a low barrier to take a photo of the Wall from the West; I even spent my honeymoon on a two-centre holiday to the relatively ‘loose’ communist state of Yugoslavia, officially the Socialist Federal Republic of Yugoslavia where I witnessed the lack of choice available to the citizens and benefitted from a currency in freefall, cashing low value travellers cheques on a daily basis. I bought a piece of original artwork and, though I looked at some CDs, these were mostly folk music so I didn’t acquire any. Having come away from honeymoon without any local music, my first Eastern European CD purchase was a second-hand copy of U Vreci Za Spavanje by Yugoslavian band Tako, bought from Beanos in Croydon, in 2005, not from behind the Iron Curtain. I’d seen this and not bought it, but returned to the shop the following week after checking my Jerry Lucky books. My CD is a Brazilian reissue of the original 1980 LP plus a couple of bonus tracks and though the recording quality is a bit poor, it’s a very enjoyable album. The opening title track begins like something from Wish You Were Here and while there are plenty of keyboards throughout the album, there’s also a good quantity of flute, making it a great piece of symphonic prog which references Camel and Steve Hackett along with early 70s Floyd.

Beanos was the source of my next Eastern Europe music purchases in April 2008, picking up two CDs by Polish band Albion, Wabiąc Cienie (2005) and Broken Hopes (2007). The former is their second release, entirely in Polish (the title translates as Luring the Shadows, and the cover picture, which is very proggy, conveys this quite nicely) and the latter, their third album is a more mature and coherent effort but sung in English. Wabiąc Cienie demonstrates good musicianship, influenced by Pink Floyd and 80s Marillion, though it comes across as being a bit too controlled, as if studio time was the most important process and, for the most part it’s unchallenging 4/4, albeit with pleasant alternating passages of guitar and multi-layered keyboards. Vocalist Katarzyna Sobkowicz-Malec has a great voice, at times hinting at frailty but always controlled and in tune. The best track is the 11 minute plus instrumental Bieg po Tęczy (Run the Rainbow) which hints at the continued direction on subsequent album Broken Hopes, incorporating the sounds of a young baby and the flapping of birds’ wings; it contains lengthy passages in 7/8 time, too. Broken Hopes strikes me as Albion’s Misplaced Childhood with a narrative that questions politics, war and religion, all suitable epic themes for a concept album which has more variation than its predecessor but still sounds far more complete and satisfying.


A work friend told me about Solaris because one of his colleagues had introduced him to this Hungarian symphonic prog outfit. I eventually found a copy of Marsbéli Krónikák in Black Widow Records in Genoa last year, my only non-Italian purchase of the trip at just €17; the current UK price is almost £50. Solaris took their name from the science fiction novel by Polish author Stanisław Lem and their album titles from Ray Bradbury’s The Martian Chronicles, though Lem’s first novel was called The Man from Mars. I know that Marsbéli Krónikák is generally raved about, similar to the way that Ys by Il Balletto di Bronzo is hyped as being the best progressive rock album, ever, and though it’s undeniably well-played symphonic prog with lots and lots of keyboard and flute, it doesn’t press all the right buttons for me, possibly because it’s a little bit driven by some simple riffs and I’m not at all keen on one of the bonus tracks that appears on my 1995 re-issue CD – I think the quality of the material tails off towards the end of the original album. However, I’d still rate it as pretty good. Marsbéli Krónikák II is much cheaper to get in the UK because it was released in 2014, after years of the band attempting to get back together and I was given a copy for Christmas last year. This follow-up effort is stylistically similar despite thirty tears between the original and the sequel, which again tails off in quality towards the end of the album but is, overall, a really good release.


Whereas Solaris appeared in 1980, their fellow countrymen Omega had been active in the late 60s and appeared on the prog radar with the 1975 album The Hall of Floaters in the Sky. I think this may have had an airing on Alan Freeman’s radio show but I do remember looking at the interesting sleeve art in Blackshaw’s in Barrow when it was released, thinking it was a pretty odd title, not realising that it might be a literal translation from the Hungarian. I finally bought a copy from a stall in Dalston Old Market earlier this year but, despite Omega being the most successful Hungarian band and this particular album allegedly one of their best; a mixture of symphonic prog and post-Barrett Pink Floyd space rock, I was disappointed. I’m not a fan of the lyrics or the English vocals and it’s too close to heavy rock for my taste.


And so to last weekend. I really liked Brno with its flashes of Functionalist architectural style, the Villa Stiassni and Villa Tugendhat, and the day trip to Slovakia was good, taking in a number of varied sites like St Michael’s Tower and the UFO Tower over the Danube. On our first evening in Brno we’d noticed a shop selling CDs, Indies, next to the impressive Alfa Palace, a Functionalist masterpiece, and on our last morning we made time to shop. I bought two CDs by PPU, Hovězí Porážka (Beef Slaughtering) (1984) and Obešel já polí pět (I Walked Around Five Fields) (2009), the recording of a 2003 concert with the Agon Orchestra in honour of Czech philosopher Ladislaw Klima. I also bought two CDs by prog-folk band Zrni (which I haven’t had time to listen to yet.) Then I saw Vinyl Records... I have never travelled anywhere in the world with the intention of buying vinyl, not even recent excursions to Italy, but this shop, selling both new and second hand vinyl, was the obvious place to start. The incredibly helpful staff chose a selection of Czech prog for me and then let me listen to entire sides. I picked up original copies of Sluneční hodiny (Sundial) (1981), Křídlení (1983), both by Synkopy; 33 (1981) by M.Efekt; and a non-Czech LP, Brandung by Novalis (1977). Considering how small the Czech Republic and Slovakia are, there were some incredibly talented prog bands around in the 70s and 80s. I’m grateful to both Vinyl Records and the former owners of the LPs for keeping them in such great condition and, though recording studios used by rock bands in former communist countries may have been less advanced than Western Europe or American studios, I’m impressed with the dynamic range of the recordings.

If you’re ever in the Czech Republic, spend some time in Brno. The architecture is stunning and the friendly record shops contain some absolute gems.









By ProgBlog, May 29 2016 09:00PM

In the mid-70s I was aware that progressive rock could be found elsewhere in the world other than the UK. I was very much into Focus and Trace (Netherlands); PFM (Italy); Gong (France); and even had an inkling that Wigwam were predominantly Finnish. I’d also come across the work of Swedish multi-instrumentalist Bo Hansson.

Hansson had a track on Charisma Keyboards, the Charisma sampler from 1974 that also included America by The Nice, The Fountain of Salmacis by Genesis and White Hammer by Van der Graaf Generator; Hansson’s Flight to the Ford was the shortest track on the album by some margin but the brevity of the piece didn’t deter Guy Wimble, a friend from across the road, buying Music Inspired by Lord of the Rings Hansson’s most successful assault on the UK album charts, from which the track was taken. The LP had been very successful in Sweden when it was originally released on Silence Records in 1970, partly because of the adoption of The Lord of the Rings by the counter-culture but equally because the music fitted the nascent progressive rock movement. The acquisition of Hansson by Charisma exposed Hansson to a far wider market and though his subsequent albums Magician’s Hat (Silence, 1972, Charisma 1973), Attic Thoughts (1975) and Music Inspired by Watership Down (1977) were not as successful it’s unlikely that many of us would have heard of him had it not been for Tony Stratton-Smith.


Bo Hansson's Music Inspired by Lord of the Rings
Bo Hansson's Music Inspired by Lord of the Rings

The music itself is pleasant and melodic but you could never call it over-adventurous; listening to it recently I found I liked it more than I remember doing so. There’s a space rock vibe pervading the compositions (the original Silence release cover art was quite psychedelic) and Hansson layers the instruments in a way that I think may have influenced Mike Oldfield’s modus operandi; he adds some nice distorted jazzy guitar that strays into Santana territory and, though he may have jammed with Jimi Hendrix, his playing is clearly more informed by jazz than the blues. Flight to the Ford is one of two up-tempo tracks (the other is The Horns of Rohan/The Battle of the Pelennor Fields where the cymbal work suggests clashing swords) but there’s only a relatively narrow dynamic range on the entire album; the swelling organ work conjures images of rolling countryside and though not truly pastoral, it certainly comes across as very reflective. Perhaps I was swayed more by the literary influences and references than the music itself, as Hansson employs titles from books I was reading as a teenager: The Lord of the Rings (obviously); Elidor by Alan Garner and Watership Down by Richard Adams. I suppose that it’s hardly surprising that the Swedes should have taken to modern myths from contemporary authors given their own story-telling legacy and Tolkien’s desire to create a myth to match the Norse sagas.

I travelled around Sweden as part of an InterRail adventure in 1983, making a brief stop in Gothenburg to wait for a train to Oslo,spent two hours in Boden before moving on to Finland, two full days in Stockholm, about half an hour waiting for a hydrofoil in Malmo plus hours of travel on the Swedish rail network, many kilometres of which were spent inside the arctic circle where, even in August, the landscape was stark; the trees denuded as though by acid rainfall, which was just reaching our collective environmental consciousness at the time. I really enjoyed Stockholm and wished I could have spent more time there, staying overnight on a full-rigged three mast iron sailing ship built in Whitehaven, Cumbria in 1888 (SS Dunboyne) which had become permanently moored off Skeppsholmen and converted to a Youth Hostel, the af Chapman. Travelling with college friend Nick Hodgetts, now a renowned bryophytologist, we island-hopped and explored some of the less popular areas of the city, the narrow streets behind the main thoroughfares. I don’t buy ‘tourist’ things but rather I bought a Franz Kafka T-shirt from the Akademibokhandeln bookshop, 1983 being Kafka’s centenary. The legend, in Swedish, read “Kafka hade inte heller så roligt” something along the lines of “Kafka was not so funny”.


The author in 1984 sporting the Kafka T-shirt
The author in 1984 sporting the Kafka T-shirt

The third wave of progressive rock didn’t arise in the UK but in Sweden and the USA. Around the time that King Crimson resurfaced with the double trio conformation in 1994 I started to subscribe to Elephant Talk, the King Crimson internet resource run by Toby Howard and this is when I realised that there was some form of prog revival, frequently sounding like metal with some prog flourishes but also material that was reported to sound like Red-era Crimson; heavy prog but not prog metal. It probably didn’t sink in that there was a strong Swedish connection to the prog revival until I bought my first Jerry Lucky book and with two highly regarded bands mentioned very early on in the listings, Anekdoten and Änglagård, I added Änglagård’s Hybris (1992) to my wish list (copies were selling for in excess of £50 when they were available, which was infrequent) and invested in my first ever download, Anekdoten’s Vemod (1993) because I’d read a description that suggested the music sounded like King Crimson would have done if they hadn’t disbanded in 1974, a remarkably accurate assessment. Vemod is heavy, Mellotron-drenched and although it’s predominantly instrumental, the lyrics are intelligent and call to mind Richard Palmer-James, rather than Peter Sinfield. The melancholy feel of the music is enhanced by the addition of cello; at times the guitar is like the angular playing of Steve Howe on Fragile and the bass style owes a heavy debt to John Wetton. I finally got my hands on a copy of Hybris from a stall at the Prog Résiste festival in 2014, a brilliant, less heavy affair than Vemod or the Anekdoten follow-up Nucleus (1995) but still deeply rooted in the 70s progressive rock sensibility. The darkness and sadness in this trio of albums may be in part due to the Scandinavian physical geography and latitude (nicely parodied by Steven Wilson in live performances of The Raven That Refused to Sing by asking Guthrie Govan to play guitar in the style of a number of stereotypical Swedish situations) but it’s to the benefit of every prog fan that they have such an attitude. I was fortunate to get to see Änglagård play their first UK gig at the Resonance Festival in 2014 and despite a lengthy delay due to the obstinacy of a Mellotron, it was a fantastic routine.



One name that links Änglagård and Anekdoten is Markus Resch who serviced and repaired their Mellotrons and who now owns the rights to the Mellotron name. I think I’m correct in believing that I first came across his name at the Night Watch playback in 1997 where there were two Mellotrons on display.

Another leading light of the third wave is Flower Kings, led by guitarist Roine Stolt who had joined Swedish symphonic prog band Kaipa aged 17 in the mid 70s. I managed to catch them headlining at Prog Résiste but was a little disappointed because they didn’t match expectations. I subsequently read that their later material deliberately moved away from classic analogue keyboard sounds and this fits with my memory of their set, which didn’t come anywhere close to recreating 70s prog but sounded more mainstream and, if you’ll excuse the pun, more transatlantic.



Flower Kings at Soignies 26th April 2014
Flower Kings at Soignies 26th April 2014

Sometime before I managed to acquire any of the 90s Swedish prog I’d been given Seven Days of Falling (2003) by E.S.T, the Esbjorn Svensson Trio as a present and later bought their final album Leucocyte (2008), released posthumously three months after the death of pianist Svensson. This jazz trio deliberately blurred genres and if such a thing existed, they’d be labelled as prog-jazz, incorporating electronics and noise into their recordings. It was after an E.S.T gig in Brighton in 2005 that I was caught accidentally speeding (34 mph in a 30 mph zone) searching for directions how to get out of the city centre and return to Croydon. It was still a good concert.

If you thought that the only musical export from Sweden was the over-produced Abba singing meaningless nonsense, you need to reappraise. Not only was Bo Hansson riding the first wave of progressive rock, it was the Swedes who resurrected the genre, not just as prog but as genuine progressive rock in the 90s. Bring on the Bo Hansson T-shirts!





By ProgBlog, May 8 2016 06:52PM

The past ten years or so have been taken up to a worrying degree with expanding my collection of progressivo Italiano, such that family holidays to Italy always include time for seeking out record stores to scour for releases that remain on my ever decreasing list.

Aided to a large extent by Andrea Parentin’s excellent Rock Progressivo Italiano: A guide to Italian Progressive Rock (CreateSpace Independent Publishing, 2011) and the handy-sized Progressive Italiano by Alessandro Gaboli and Giovanni Ottone (Giunti, 2007), the former for the translation of the lyrics and a sense of social setting and the latter for the depiction of album sleeves and a rating system that broadly matches my opinion of the albums by the most recognised acts Premiata Forneria Marconi (PFM), Banco del Mutuo Soccorso and Le Orme, I've explored cities and towns for any signs of record stores. I can even make out some of what is written about the groups in Italian but it’s opportune that Parentin’s book is in English.


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My first full foray into Italian record shops was on a trip to the Veneto in 2005 when there were two stores in Venice and another a short train ride away in Treviso. In those days I was aided by Jerry Lucky’s Progressive Rock Files (Collector’s Guide Publishing, 2000) when I’d scour entries for remarks like “if you’re a fan of PFM then you’ll like this” and, following up a reference to Celeste that described them as “...influenced by early King Crimson but their sound is very original. You’ll hear elements of Genesis circa Trespass and even bits of PFM’s Per un Amico. A very beautiful, symphonic pastoral result. Lots of Mellotron. One of the genre’s highly rated bands” I began to seek out their 1976 release Principe di un giorno and looked for references to Celeste in the listings. One of these was Finisterre, described as “Symphonic progressive rock with long tracks containing restrained hints of bands like Celeste or Banco. They’ve chosen to create a moody and atmospheric sound that relies more on the classical style than neo-prog. Long passages of dissonant harmonies and jazzy chord voicings”. It wasn’t until I updated to Lucky’s The Progressive Rock Handbook (Collector’s Guide Publishing, 2008), that I heard of Höstsonaten and La Maschera di Cera and was able to fathom out the relationship between them. I began to collect Maschera di Cera CDs in 2009 and Finisterre CDs some time later but it wasn’t until 2014 that I bought my first Höstsonaten release, the CD and DVD of the live performance of The Rime of the Ancient Mariner. It was experiencing a live version of Rainsuite by the Z Band that really turned me on to Höstsonaten, revealing a very symphonic progressive rock style that Fabio Zuffanti himself equated with The Enid. Zuffanti’s projects are all essential listening for fans of the original progressivo Italiano movement and though I really enjoy Maschera di Cera’s albums for their modern take on the original genre, remaining true to the spirit of the work of bands like PFM and Banco, the instrumental work by Höstsonaten comes closest to symphonic rock and the Enid comparison is well founded

I pre-ordered a copy of Symphony N. 1 – Cupid & Psyche in early April and after negotiating a redelivery to my local post office, having been out at work when the postman attempted to deliver the item, I finally got hold of the LP on Friday and listened to it for the first time yesterday. I was not disappointed.

The music was conceived by Zuffanti but he has stepped away from the limelight and is only responsible for bass pedals ‘treatments and devices’, leaving Luca Scherani from La Coscienza di Zeno and a collaborator on Zuffanti’s 2015 project La Curva di Lesmo, to handle the arrangements and orchestrations in addition to playing keyboards; guitar, bass and drums are provided by long-term Zuffanti collaborators Laura Marano, Daniele Sollo and Paolo Tixi respectively.


There are many precedents of full orchestration in progressive rock and progressivo Italiano has some very notable examples including the New Trolls’ Concerto Grosso (1971, 1976, 2007) and Contaminazione by Il Rovescio della Medaglia (1973) but enhancing the symphonic scope of Höstsonaten seems like a logical step, one that is true to the principles of progressive rock as it attempted to bridge the gap between high and popular culture. The melange of influences that inform their output, their RPI predecessors, jazz and Mediterranean folk are enhanced with inspiration from Stravinsky and Tchaikovsky. I’ve thought quite hard about other orchestrated prog albums and there aren’t many that genuinely seamlessly blend the rock and the orchestral moments; the pieces by Keith Emerson with the Nice were predominantly divided into distinct sections, band then orchestra then band. There are times when Yes’ Magnification (2001) works well but this mostly comes across as orchestra instead of keyboards and has hints of Tony Cox’s imperfect arrangements on Time and a Word (1970). There are long passages of orchestral music on Chris Squire’s Fish out of Water (1975) but the most satisfying orchestrated pieces of progressive rock are Camel’s Music Inspired by the Snow Goose (1975) and Mike Oldfield’s Hergest Ridge (1974). In terms of orchestration in progressivo Italiano, Passio Secondum Mattheum by Latte e Miele (1972) impresses, but I think that Höstsonaten have come up with one of the most balanced mixes of rock and orchestra that at times reminds me of Pink Floyd’s Atom Heart Mother (1970) and the eponymous 1972 release by Il Paese dei Balocchi, both of which, like Cupid & Psyche, are predominantly instrumental; Laura Marano provides some epic, melodic Gilmour-like guitar lines but it’s the inclusion of classic prog keyboards, Moog, Mellotron, organ and piano which fit in so neatly with the strings and brass that bestow a sense of harmonious union between the classical and the rock instrumentation. Not surprisingly, there are refrains that hint of Höstsonaten’s previous output and it goes without saying that the execution is highly consummate.

Another important link with the foundation of the genre is the appropriation of literary myth in a manner similar to Genesis writing The Fountain of Salmacis, with Zuffanti utilising the Apuleius story Metamorphoses. A translation by author, columnist and philosopher Pee Gee Daniel, providing a synopsis of the chapters that make up the ten tracks, is included in the gatefold sleeve.

Maschera di Cera produced one of my all time favourite albums Lux Ade (2006) based on the Orpheus story but that was an entirely rock affair. With Cupid & Psyche, Zuffanti has realised his dream of creating a symphonic suite with group and orchestra that is also able to serve as the soundtrack for a ballet, in the manner of Stravinsky or Tchaikovsky. Beginning with an array of musical ideas suitable for the project, enlisting Luca Scherani to create a score for string, wind and brass instruments, the album easily succeeds in presenting a coherent piece of symphonic progressive rock and the ballet based on the music of the album is expected to debut in theatres later this year under the direction of the Genoese choreographer Paola Grazz. October 22nd is already reserved in my diary.












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