ProgBlog

Welcome to the ProgBlog

 

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, 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 29 2018 06:10PM

One of my Record Store Day 2018 purchases, that is one of the limited editions specially produced for the occasion rather than one of the albums I happened to buy as I wandered through the stalls set out in Cremona’s Corso Campi on the day itself, was a 40th anniversary edition of UK by UK. My original vinyl pressing of this album is in perfectly good condition and I think it’s a well produced record but I was seduced by the promise of the booklet and intrigued by the idea of an Eddie Jobson re-mastering; I’ve not listened to the original LP for some time so I can’t be certain but I think the individual instruments are more discernible on the new release – it has a nice clarity.



Eight years on from the birth of progressive rock in the form of In the Court of the Crimson King, the genre was getting a little tired and large numbers of the record-buying public were getting tired of prog. Not helped by self-imposed exile from the UK for tax reasons but surely driven by creative burn-out to a great extent, the hiatus between studio albums meant that the three really big players in the field slipped out of the music paper headlines and created a void to be exploited and filled by the standard-bearers for Punk, claiming that the excesses of prog indicated how out-of-touch these bands were.

It wasn’t enough to simply release a ‘best of’ (though Yesterdays, released in 1975 was really my introduction to the first two Yes albums and something I still like.) Following the completion of the British leg of the Relayer tour in May 1975, bar an appearance at the Reading Festival in August that year, there wasn’t another UK appearance by the band until October 1977, though all five members of the group issued a solo album. ELP might be perceived as being the worst offenders, not playing on UK soil for 18 years after their 1st May 1974 show in Liverpool and though they performed in Europe and the USA later in 1974, they were absent from the stage between 21st August 1974 and 24th May 1977 with only a Christmas single (I Believe in Father Christmas, Greg Lake, 1975) and a near-novelty single (Honky Tonk Train Blues, Keith Emerson, 1976) to satisfy their fans. Pink Floyd seemed to have managed fans’ expectations quite well, despite the length of time taken between The Dark Side of the Moon and Wish You Were Here, then Wish You Were Here and Animals and the lack of live dates, especially in the UK. Between 14th December 1974 and the first Wall show in Los Angeles on February 7th 1980, they undertook a three month long North America tour and then played Knebworth in July 1975, toured Animals around Europe including the UK with dates in London and Stafford and North America between January and July 1977. Two of the members also produced solo albums, David Gilmour and Rick Wright’s Wet Dream.


For my part, I was less satisfied with ELP’s Works Volume 1 and Pink Floyd’s Animals than I had been with their preceding records; Yes’ Going for the One was a radical departure from Relayer but I thought it was still high quality, with Awaken high up in the list of all-time great prog tracks. In the case of the former and the latter, I wasn’t over-impressed with the keyboard tones from the Yamaha GX-1 and Polymoog respectively; Animals featured far less keyboards than Wish You Were Here so that I hesitate to call it progressive rock. By 1977, other acts like Camel, Caravan and Gentle Giant had stopped writing epics and both Caravan and Gentle Giant had begun to lose their appeal to core fans; Focus seemed to have disbanded, having released an uneven album of studio scraps the previous year; and Genesis may have released Seconds Out but this coincided with the departure of Steve Hackett. I thought that the future belonged to jazz rock and bought my first Isotope LP.


Looking back, 1978 started on an exceptionally good note with the release of Bill Bruford’s first LP as a band leader Feels Good to Me and the eponymous debut from National Health, both records being examples of jazz sensibilities mixed with prog leanings which resulted in complex, melodious albums. I think Feels Good to Me has a more experimental feel, thanks to Annette Peacock’s vocals and using flugelhorn in a (broadly) rock context; National Health is more intricate and, in the tradition of the band’s forerunner Hatfield and the North, didn’t take itself too seriously.


A good way to start 1978 - National Health
A good way to start 1978 - National Health

Then came UK.

Following the demise of the trio version of King Crimson in 1974 which took Robert Fripp away from music for a couple of years, Bill Bruford and John Wetton continued their musical education by rotating through a number of different bands. I thought Bruford’s involvement with Gong and National Health were interesting and it was definitely quite pleasing to find him sharing a drum stool with Phil Collins for Genesis’ Trick of the Tail tour, as he appeared to be helping out all the right bands. Wetton’s move to Roxy Music and then Uriah Heep impinged less on my consciousness; I was never really interested in post-Siren Roxy and thought Uriah Heep’s music unadventurous. However, his touring arrangement with Roxy started before King Crimson officially ceased to exist . It was meant to be a temporary measure before Crimson was due to recommence touring, and served to introduce him to Eddie Jobson. The proposed 1977 collaboration between Wetton, Bruford and Rick Wakeman could have been amazing but its failure to get off the ground ultimately resulted in the formation of what was hailed as a ‘supergroup’: UK. Their eponymous debut is a slick progressive rock album with jazz rock styling thanks to Bruford and Holdsworth but the modern sound, courtesy of Jobson, made it seem quite different from long-standing progressive acts and newer groups from that time, like symphonic prog band England; the three-part In the Dead of Night is an indisputable prog classic though it’s only now that I’ve got the 40th anniversary edition, complete with lyrics, that I can distinguish the words. The song writing was mature, involving all the group members, leading to a truly coherent effort where equal weight was afforded to each individual and it’s my belief that this equality, the fluid guitar lines from Holdsworth, the power and precision of the rhythm section along with Jobson’s virtuosity on keyboards and violin, adding a contemporary feel but with a past tied to the early progressive era, that made the record stand out as something with significance for the whole genre, like a new In the Court of the Crimson King.




Jethro Tull’s Heavy Horses was also released in April 1978 and I really like this second offering in the prog-folk trio of albums, with an enhanced palette thanks to the guest violin of Darryl Way, though there was a distinct sense of continuity from Songs from the Wood rather than being something that stood out as unique. My copy of the LP, bought in Barrow, was a swap for King Crimson’s Earthbound which I had just bought but thought was disappointing. Thanks to the staff in Blackshaw’s for sanctioning the exchange.

Steve Hackett released his second solo album Please Don’t Touch which was quite different to 1975’s Voyage of the Acolyte, an album I rate higher than any post-Gabriel Genesis. I found it a bit of a mixed bunch and it’s that lack of consistency that marks it down – it’s not really UK progressive rock. Meanwhile, Hackett’s erstwhile bandmates released the decidedly thin end of the wedge ...And then there were Three... I first got a copy of Please Don’t Touch on cassette in 1981 or 1982 so I could also compare it to the excellent Spectral Mornings (1979); And then there were Three was acquired by a friend shortly after its release and I gave it a couple of listens before giving it the thumbs down. The seeds sown by the second-rate Your Own Special Way in 1976 were bearing a bitter fruit – Genesis could no longer be classed as a progressive rock band. Hackett’s other former colleague Peter Gabriel released the second of his self-titled albums which I don’t think can be called prog, either, though that doesn’t mean I didn’t like it. Rather, it was an example of what we might today call post-rock, very much a successor of the first Gabriel solo album. If prog was to wither away, this would provide a reasonable alternative; the highlight has to be Exposure.

Van der Graaf Generator shed an organist, a saxophonist and the ‘Generator’ for 1977’s The Quiet Zone/The Pleasure Dome, becoming more urgent sounding and, despite the excellent lyrics, more basic; it could even have been classed as prog-punk for sheer attitude. Bolstered with an appearance from David Jackson and with Charles Dickie on cello and synth, the group bade farewell (until the 2005 reunion) with a live album Vital. My brother went to see them in Leeds during that tour but it wasn’t until the reformation that I could really appreciate the intensity of the group. When I first saw Hammill performing solo in 1984 it was full-on but in a band context, it was off the scale.

Camel managed to keep one foot firmly in the prog idiom with Echoes and The Sleeper from their ’78 album Breathless but however good the melodies on the other tracks and the bright production, the relative brevity of most tunes makes it seem almost pop-prog descending into funk on Summer Lightning and outright silliness on Down on the Farm. This was another album bought by a friend at the time of its release but I don’t remember listening to it very often; I think we anticipated Peter Bardens’ departure because there appeared to be a tension between chief song-writers Bardens and Latimer, fuelled by an interfering record label, as they moved away from the early, classic Camel sound.

The cracks had not yet appeared in Yes but the cover of Tormato was a hint that all was not well. I bought the album on the day of its release, shortly before heading off to university armed with what I would discover was the best hi-fi in my hall of residence. I also managed to get to see them for the first time that October, in the round at Wembley Arena on the Tormato tour. The album contains some great ideas but the heavy-handed production detracts from the quality of the writing and the lack of a over-arching concept makes it appear devoid of a distinct identity. Taken on its own it doesn’t indicate the end of the golden era of progressive rock but it did suggest that Yes needed to rethink their future plans. The end of progressive rock was most starkly illustrated by Emerson Lake and Palmer with Love Beach. If the image on Tormato was a poor excuse for an album sleeve, the band photo on Love Beach was the antithesis of prog and that, more than anything else, meant I avoided the album until last year, and I only bought it then because it was cheap and I was filling a gap in my record collection. Even taking the best moments of Memoirs of an Officer and a Gentleman into account, it’s a really poor affair, succinctly exposing the true meaning of ‘contractual obligation’.


1978 ended with another National Health album, with a subtly different line-up to the debut but equally as good and, if anything, even more adventurous: Of Queues and Cures. National Health may get lumped in with the rest of prog but though the music conformed to many of the prog traits, the ease with which a substantial number of the musicians fitted into the British jazz and avant-garde scenes made them stand apart. Prog had withered without anyone to grasp the possibilities revealed by UK, whose 1979 follow-up Danger Money was a bit schizophrenic; reduced to a trio the material was a mixture of first-class retro-prog and verse-chorus-verse-chorus FM-friendly tunes played by progressive rock musicians.


The golden era of progressive rock was over.









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, Mar 6 2018 03:20PM

The Instagram and Twitter trend ‘9 albums that changed my life/mean most to me’ (#9albums) that appeared in January didn’t pass me by but its appearance on various social media platforms made me somewhat wary; as a piece of social investigation it’s an interesting topic but when internet monopolies get involved it becomes a little more sinister. I can’t be the only person in the world to get annoyed by adverts, including smart adverts, driven by clicks on Google, Facebook and Amazon. I want to make my own choices and, just because a large proportion of Yes fans might like Rush, it doesn’t mean that I do, or want to. Put another way, I’m not a lemming or a sheep and I know what I like (in my wardrobe). Why nine albums? Is it because it forms a neat 3x3 square for an Instagram photo or does the Instagram generation have an average of nine significant events in their lives? How should we define significant?


There were appearances of this question in January 2016 and 2017 but there’s evidence that the trend goes back to at least 2013. I suggest that it fits in with the New Year resolution phenomenon; a reflection on your life but one that doesn’t necessarily require any form of reappraisal or change. It’s all part of the challenge!

There don't appear to be any specific rules so I’ve arranged my nine choices chronologically by date of impact on my life. I got into prog fairly early so the chronology also fits roughly, but not exactly with the release date of the albums.


These are my personal choices:



Close to the Edge (1972) – Yes

It wouldn’t be fair to include the debut Roxy Music album, released three months prior to Close to the Edge, although Roxy were the first band to pique my interest in rock music when they appeared on BBC TV’s Top of the Pops playing Virginia Plain, because I only ever heard that single from the album. In September 1972 Close to the Edge was unlike anything I’d ever heard before and remains, in my opinion, the definitive progressive rock album and as close to musical perfection as you can get. It’s the reason I got into prog.



The Dark Side of the Moon (1973) – Pink Floyd

Likely to appear in a large number of the lists compiled across the world but this was the first new Floyd album to appear after I’d set out down the road of progressive rock. Before its release I’d borrowed a couple of bootlegs from a school friend and bought Relics but this seemed like a massive leap forward. I was hooked by the whole package; not just the music and the way the whole album linked together but the stickers and posters and the prism and pyramid imagery (I studied physics at school.) I was even impressed by Roger Waters’ lyrics which came in for some criticism in the music press.



Focus 3 (1972) – Focus

I was given a small transistor radio as a present for Christmas 1972 and one of the things that always seemed to be on Radio Luxemburg around 10pm was Sylvia, released as a single by Focus in January 1973. Focus 3 was circulated amongst friends of my brother and I was struck by the flute and what I felt was a distinct branch of highly melodic prog, to which I’d later add Camel and Steve Hackett’s earlier solo works.



Birds of Fire (1973) – Mahavishnu Orchestra

Jazz was the predominate musical form in our household even after my brother and I began to buy our own records, so the fusion of jazz and rock was something quite easy to get into, having been introduced on rock radio. The fluency and attack of the guitar, drumming like I’d never heard before and the interplay between guitar, keyboards and violin was just amazing; I bought the album in 1975 and it became key to opening up the extraordinary world of jazz rock where melody was sometimes sacrificed for proficiency: Isotope, Brand X, Weather Report, Return to Forever and even mid-70s Soft Machine.




Starless and Bible Black (1974) – King Crimson

This was the first Crimson album in our household and I still regard it as a mixed bag which goes relatively unnoticed between the groundbreaking Larks’ Tongues in Aspic and the influential Red. I find the first side of the original LP slightly unfulfilling despite the strength of Lament and The Night Watch; side two is brilliant and demonstrates the power of the group and a sublime mastery of tension and release. This obviously kick-started a life-long fascination with King Crimson but the cover inspired me to seek out Tom Phillips’ work at the Tate when I first arrived in London and more than that, I became such a great fan of John Wetton’s bass playing that I bought myself a bass guitar on my 18th birthday.



Rubycon (1975) – Tangerine Dream

This was my introduction to electronica. One of my rules for discovering and enjoying new music was the presence of keyboards, so Tangerine Dream had something of an advantage! I bought Rubycon shortly after its release having heard and been intrigued by Phaedra in 1974 and sold on the suggestion that they were influenced by Pink Floyd. I loved the single composition format over the two sides of the LP (Rubycon part 1, Rubycon part 2) which seemed to be a Virgin Records thing, but it was the amorphous other-worldly nature of the music, transporting you somewhere alien but largely benevolent which most attracted. I still maintain it’s the best record to listen to through headphones in the dark.



Cook (1974) – Premiata Forneria Marconi

Cook has probably had the most profound effect on my life after Close to the Edge and is responsible for my appreciation of Rock Progressivo Italiano. I can’t remember exactly how PFM came across our radar but I must have seen their performance on The Old Grey Whistle Test and Alan Freeman must have played them on his Saturday afternoon radio show. Cook was the first of their records that I bought but we were also listening to Photos of Ghosts, Chocolate Kings and Jet Lag, blown away by the musicianship and intrigued by the Italian take on prog.




UK (1978) – UK

As brilliant as this album is, it’s disappointing because it marks the end of the first era of progressive rock. At the time it seemed like it marked a new beginning, a strong album with excellent tunes and great playing and incorporating, through Allan Holdsworth and Bill Bruford, a jazz rock sensibility. Following the demise of King Crimson, it seemed like the formidable rhythm section which drove Crimson from 1973 – 1974 had, after some wandering that added to their musical educational, found an ideal home. Of the other ostensibly prog releases that followed, only National Health produced music of a quality that could match anything from the golden age of progressive rock. Genesis were down to three members and consciously going pop; Camel, directed by their record company, had given up on epics; Yes seemed bereft of a coherent concept and put out the patchy Tormato, where poly-Moog drenches everything apart from flanged bass, and ELP produced Love Beach.


Lux Ade (2006) – La Maschera di Cera

By 2005 I had begun to fully appreciate the breadth of output from Italian prog bands operating during the golden period of progressive rock, despite rarely featuring in the UK music press at that time. 2005 was the first year of an almost unbroken series of annual pilgrimages to Italy and the first where I consciously sought out record stores in an attempt to build up a collection of classic Italian prog. Fast forward to 2008 and it was only by chance that I came across a copy of Lux Ade in Beano’s second hand record store in Croydon and, tempted by the obvious 70’s keyboard set up, production courtesy of PFM’s Franz di Cioccio, plus the fact I had a 50% discount as a ‘member’ of Beano’s, that I handed over £5 to complete the best ever speculative buy I’ve ever made. This CD opened up the Italian progressive rock scene that re-emerged in the mid 90s to me and, in a parallel to hearing Close to the Edge, the first rock album I’d ever listened to, I think that Lux Ade is the best of the current wave of Rock Progressivo Italiano albums.



I found it relatively easy to come up with the bands that made up my nine but I originally chose Moving Waves instead of Focus 3 and Red instead of Starless. I seem to recall hearing The Inner Mounting Flame before Birds of Fire, but I didn’t own the first Mahavishnu album for some time and I actually most like Between Nothingness and Eternity (which I also bought in 1975.) It seems a shame to miss out some of my favourite albums but that’s not the point of the exercise; I tried to choose titles which had the most meaning and my taste tended to expand organically, with an appreciation for The Nice opening up ELP and then Refugee. It’s not unfair to say that my predilection for music hasn’t really changed at all in the 35 years I’ve been buying records, and that includes life-affirmative events like getting married and becoming a father. My wife went through the exercise and almost instantly came up with a fairly eclectic mix that seems to have more to do with life events than mine but also reflects a constant evolution, partly spurred by the discovery of music through Shazam: Simon and Garfunkel's Greatest Hits, Let’s Get it On by Marvin Gaye, Bat out of Hell by Meat Loaf, Vienna by Ultravox, Private Eyes by Hall and Oates, Dare by The Human League, Chris Rea’s self-titled fourth album, True by Spandau Ballet and ending up with Truth Came Running, the first album by Australian singer-songwriter Mark Wilkinson, bought from the man himself as he was busking in Sydney in 2012.


I thought it might be interesting to ask a group of close friends and relatives, all with an interest in prog that was nurtured in the golden age, to come up with their nine albums. I grew up with almost all of them and most are regular gig companions; there’s no evidence that they’ve taken part in the challenge before and I didn’t stipulate that they must choose progressive rock releases. This is certainly not hard science but I thought it would be interesting to note their route into music and any divergence from core prog. Their responses, and an attempt at some analysis, will be published in the next blog...



By ProgBlog, Jan 2 2018 08:32PM

New Years Eve, 2017

It’s 7pm and I’ve just started the blog. I plan to go to bed early because I’m on call and I’m hoping that revellers don’t accidentally contribute to the strain on hospital A&E departments. Not a fan of this night, any year, because of the way it’s been hyped up by advertisers and the drinks industry and how it seems to have become accepted that on this particular occasion it’s OK to get totally wasted, my best new year was spent stargazing on the summit of a small drumlin on the Furness peninsula to mark the transition from the 1970s to the 80s.


Night sky over Furness
Night sky over Furness

TV has been awful this week. The BBC 24 hour news channel has been filling the gaps between genuine pieces of news with reviews of the year for Sport, Film, Deaths, Royals and so on, shown with a frequency that positively numbs so that it becomes difficult to work out which day of the week it is. Having gone to see Crystal Palace play today I can confirm that the football schedule doesn’t help with this feeling of dislocation; lucrative broadcasting deals mean that Premier League teams and their fans are at the mercy of TV executives so that this year, what used to be traditional Boxing Day fixture took place over three days and the New Year’s Day fixture is also due to be spread over three days. Throw in odd kick off times (Palace played at noon) and it’s also messing around with my circadian rhythm.


A couple of days ago we had the announcement of who appeared in the New Year’s Honours list. This is something of a end-of-year ritual and despite a promise to end cronyism, a concession wrung out by a public increasingly disillusioned with the way politics works, we end up with a knighthood for Tory kingmaker Graham Brady and another for ex-deputy PM Nick Clegg, whose lust for power facilitated 7 years of austerity, massive student debt and the impending destruction of the NHS. This ‘recognition’, though a little better than the obvious returning of a favour to Lynton Crosby in the list last year, reinforces the notion that politics is played by an elite for people within their own, tiny bubble and with little or no connection to everyday life. This is obviously not the case for all MPs but there are a number of parliamentarians (and, at a local level, councillors) who use their power and influence to manipulate policy so that it benefits themselves or their families; those with directorships of private health companies or the landlords of multiple properties, for instance. If there’s one burning issue of the times it must be inequality, whether that’s a lack of access to decent housing, decent social services and healthcare provision or decent jobs but, to the shame of us all, the gap between the haves and have nots is getting wider.


PM David Cameron and Deputy PM Nick Clegg (Getty Images)
PM David Cameron and Deputy PM Nick Clegg (Getty Images)

I find it obnoxious that the lies told during the Brexit debate have put the country in a position which exaggerates inequality; resentment at a lack of investment in former industrial regions, backed up with the spurious mantra that we’d ‘take back control’ was channelled into stoking anti-immigration sentiment and the subsequent devaluation of Sterling means that the increased cost of goods disproportionally affects the less well-off whereas the concomitant rise in share value benefits the already wealthy. It’s incredible that we can boast about the return of blue and gold passports (during the increased time in queues at customs, perhaps) swapped for seamless, invisible borders for exports and imports, and continue an archaic honours scheme which celebrates the achievements of some of the most inappropriate individuals. As for football, today’s Palace performance might have convinced me that it’s ok to get another season ticket for next year; the lack of application from players on silly wages at the beginning of the season felt like they didn’t care about the fans who pay to see them play, their earnings outstripping that of the average punter by some unholy figure.



Crystal Palace vs. Manchester City 31/12/17
Crystal Palace vs. Manchester City 31/12/17

I’m a bit torn by the awarding of any kind of prize where intangibles are weighed up by panels because everyone has innate bias; likes and dislikes. One of the rituals I used to go through as a youth in the mid-70s was to check the Melody Maker, NME and Sounds annual polls to see how the artists that I favoured fared. Some of the results ran counter to both my tastes and to reason, such as Gilbert O’Sullivan reaching no.2 in the Male Singer category and no.4 in the Keyboards category of the 1972 MM Readers’ Poll and I was somewhat bemused by some of the musicians ranked in ‘Miscellaneous Instrument’ because it didn’t tell you which particular instrument it was referring to for each artist and they could easily have been covered by one of the other categories.


The concept has been taken up by Prog magazine which, apart from holding an awards ceremony includes an annual 20 Top Albums of the Year feature where the results are culled from the preferences of the journalists themselves. Additionally, we were invited to vote in their annual reader’s poll, mimicking the format of the classic music papers during the 70s, with the results due out in the next edition. I’ve moved on a little since the 70s and though I don’t mind a list that is supplemented with a bit of information, the Top 20 Albums of 2017 as chosen by the writers at Prog magazine isn’t really my thing. However, I submitted some obscure choices for the Readers’ Poll so I will take a look at the published results.



New Year’s Day, 2018

After listening to one of my Christmas presents, the excellent Three Piece Suite retrospective by Gentle Giant, the first complete recording I’ve listened to for nearly a week due to work, football and family commitments, I thought I’d share some of ProgBlog’s category winners, based on material released in 2017 and the concerts I attended, material unlikely to get much of a mention in Prog...


Playing Three Piece Suite by Gentle Giant
Playing Three Piece Suite by Gentle Giant

(I got called out and got home a little before midnight)

Back to the blog. Tuesday 2nd January


Album of the year: An Invitation by Amber Foil

Strictly an EP, this is the creation of João Filipe, and it’s a wonderful, all-round and well balanced item. The music takes you back to classic 70s prog, blending very modern concerns with a kind of Grimm’s fairy tale. The quirkiness of the music is reflected in the CD packaging which also contains a ‘blueprint for a house’. It’s unique. Get yourself a copy.


Commended: Alight by Cellar Noise


Bassist: John Wetton

Wetton died in January 2017, the third original progressive rock bassist to pass away in the last couple of years. Whereas there are undoubtedly a large number of amazing technical players who were represented on record or I saw play live during 2017, the accolade has to go to Wetton for the unbelievably wide range of material he’s left for us, including some of the most inventive lines expressed during his time with the 1972 – 1974 incarnation of King Crimson. A great loss to the prog community.


John Wetton circa. Caught in the Crossfire
John Wetton circa. Caught in the Crossfire

Drummer: Franz di Cioccio

The only original member of PFM remaining in the band, di Cioccio now spends as much time behind a microphone acting as front man as he does behind his kit, but along with long-term associate bassist Patrick Djivas he’s steered the ship through periods of not-so-good music to produce their best album of original material for a very long time. Emotional Tattoos may not quite hit the heights of L’Isola di Niente and Photos of Ghosts (I think it lacks sufficient contrast) but the songs are strong and the playing assured. Di Cioccio’s boundless energy, with either sticks or mic stand in his hands, is something to behold.


Guitarist: Allan Holdsworth

Holdsworth is another progressive rock legend who died last year, though in reality he was probably more of a jazz guitarist whose fluid lines graced releases by Tempest, Soft Machine, Gong, Bruford and UK. Highly regarded by other guitarists, his style was idiosyncratic. He’s another fine musician who is sadly missed.


Keyboard player

There are actually too many excellent prog keyboard players to choose from. Of course it’s great to see Rick Wakeman performing classic Yes again with ARW but I’ve also been most impressed with up-and-coming talent from Italy like Niccolò Gallani from Cellar Noise and Sandro Amadei from Melting Clock.


Miscellaneous instrument: Mel Collins, King Crimson (flute, saxophones)

I’ve always considered this a category for non-conventional rock instrumentation, rather than picking a particular type of keyboard like Moog, Mellotron or synthesizer but it was fine when Mike Oldfield used to pick up the prize for playing everything. My preference for a prog-associated instrument not covered by bass, drums, guitar or keyboards is the flute, followed by violin; I was very impressed with Lucio Fabbri when I saw him with PFM and his playing on Emotional Tattoos is real quality but I’m going to plump for Mel Collins for his woodwind. Crimson may not have played the UK in 2017 but the set-list for the US gigs, released on vinyl and CD last year, highlights the formidable talents of Collins.


Vocalist: Emanuela Vedana, Melting Clock

I’m one of a fairly small number of people to have seen the two gigs by Melting Clock but I don’t imagine it will be too long before they reach a much wider audience when they release an album later this year. Their brand of symphonic progressivo Italiano would undoubtedly appeal to all fans of the genre, but two obvious reference points are Renaissance and neo-prog. The songs are highly melodic and well-crafted with multiple layers, utilising twin guitars and keyboards to set the tone for Emanuela’s strong, operatic vocals. Simply stunning.



Live act

Choosing a favourite live act is too difficult, so I’m not going to make a decision. I’ve managed to get to see quite a number of Italian bands from the 70s, including PFM at the fourth attempt, and seeing Wakeman, Jon Anderson and Trevor Rabin performing Yes music together was quite special, but it’s the surprises like Cellar Noise and Melting Clock, both of which included accurate early Genesis tributes in their sets, which make it impossible to decide on an outright winner.


Cellar Noise at the Legend Club, Milan
Cellar Noise at the Legend Club, Milan

Venue: Porto Antico, Genova

Choosing a favourite venue is equally hard. The acoustics inside neo-rationalist Teatro Carlo Felice in Genova are brilliant, but the architecture and the internal decor are terrible; the Royal Festival Hall is a great looking building, also with amazing acoustics but I was disappointed with the Dweezil Zappa set. I loved the intimacy of Genova’s La Claque whereas Rome’s Jailbreak Club was a bit too crowded over the weekend of the Progressivamente festival. Brighton Dome is a beautiful performance space though it can be a bit of a drag getting back from Brighton by car or public transport at the end of a gig.

A fantastic setting, good sound and a great line-up made the Porto Antico Prog Fest very special and it was only a 10 minute walk back to my hotel.









fb The blogs twitter logo HRH Prog 4 Line Up (F+B) Keith Emerson at the Barbican My Own Time