ProgBlog

Welcome to the ProgBlog

 

There’s now a new reason to make a pilgrimage to Canterbury; the city has three excellent independent record stores, two of them very new, which cover subtly different markets.

Some of the other touristy bits aren’t too bad either!

By ProgBlog, Jul 23 2017 12:25PM

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


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

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

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


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


Melting Clock
Melting Clock

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


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



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


Delirium IPG
Delirium IPG

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


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



Mr Punch
Mr Punch

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

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


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

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









By ProgBlog, Mar 5 2017 11:00PM

ProgBlog wasn’t posted last week due to the annual skiing holiday, this year undertaken by only two Pages, father and son. Booking a skiing trip inevitably involves a degree of chance, including will the weather be good for skiing and will there be sufficient snow to last the full week. There are other unknowns, too, such as the quality of the accommodation if, like us, you resort hop from year-to-year to experience different places.

Planning the trip normally relies on synchronising three diaries and taking into account Crystal Palace FC home fixtures, gig bookings and avoiding both UK and French/Italian/Austrian school holidays and everything has to be completed before the end of the financial year – for one of us working in local government finance.

We used to drive to the French Alps but for the last 10 years or so we’ve booked with a high street tour operator. Driving was fun. You could take whatever you needed and, as the family has similar musical tastes, turn the journey into one long progressive rock show. I downsized my car in 2008 and went without a car between 2012 and 2013 before getting an even smaller car which has effectively ruled out self-drive. Also, even when we set out on a Friday evening and stayed overnight at a budget hotel in northern France, the section of road approaching the Geneva turn-off first became a crawl and then a solid line of steel and aluminium, so now we fly.

Given the good-natured family relationship, built on a love of prog and a love of skiing, choosing a suitable destination ought to be easy but we do tend to book fairly late. With Google searches notching up the price of a holiday (unless you delete your Chrome browsing history) the choice is facilitated through a multitude of browsing tabs directed to different tour operators and TripAdvisor reviews. The range of reviews on offer needs to be carefully dissected and put into context. Some people like to ski and party and therefore just need somewhere basic to rest; some like home comforts and will criticise the noise from the street outside as revellers (see above) return to their rooms at 3am. We like something large enough to spread out a little and though we’re used to self-catering, we’re equally happy to be catered for... ...as long as it’s not a chalet!

This year I went back to Val d’Isère, having been there previously in 2003. This was my son’s first visit but I knew that he’d find enough skiing because the area is huge. We had been tempted by the cheaper Tignes as a lift pass combines both Tignes and Val d’Isère, at least partly because of the architecture but the accommodation was some way down the valley and was therefore a less attractive proposition. We booked an apartment in Alpina Lodge, very close to the central lift hub of the village, and were pleased to find it a good-sized suite intended to accommodate 6-8 people. I don't know if this was a post- EU referendum effect associated with the devaluation of Sterling compared to the Euro but Val d’Isère is a resort traditionally associated with the British and though English probably remained the dominant language in resort, the flight out from Gatwick was not full. However, I was quite happy to be put up in a space big enough for eight and I'd never been in self-catering accommodation of this standard before; there was a mezzanine bedroom, there were two bathrooms and even the cooker had four rings! Whereas I'm used to packing out my ski bag with cleaning materials and toilet rolls, Alpina Lodge was run on hotel lines with a mid-week clean, a plentiful supply of towels and complimentary toiletries. Luxury!

The wifi in the rooms was not brilliant but we were able to download films onto a tablet to watch after cooking and eating. We ate out on two nights; the first was at Flash Pizza, a recommendation by the Crystal rep. You'd expect ski reps to know the cheapest places to drink in resort but you might not be interested in their choice of restaurant. However, Flash Pizza turned out to be a tiny, cosy and friendly restaurant with a good choice of pizzas and though it would have been best to book, we managed to get seats at the bar after having to wait only 5 minutes. I had a Bailletta (tomato, mozzarella, goat’s cheese, walnuts and honey) which came perfectly baked; a thin crust on the well-done part of the spectrum and at €13 for a pizza 33cm diameter, the price for Val d'Isère was very reasonable. The ultimate recommendation came from the chef at one of the more established restaurants in the village – our intended destination for the last evening - who arrived to pick up his takeaway on his night off and stayed for a glass of wine and a chat. We didn’t get to eat at the Taverna d’Alsace because once again, we failed to book a table. Not booking a restaurant for the final evening of a skiing trip is madness, something we’ve done (or not done) on other trips. Fortunately, we could see another restaurant from the front door and made our way through the snow to La Casserole. A board outside indicated there was no break in service so fitting in two people at 6pm was not a problem.

La Casserole served local fare and the specialities, not surprisingly, were casseroles. The beef in my casserole, cooked in a local red wine, was presented in large chunks which melted in your mouth; genuinely lovely, filling home-cooked food. We also chose to indulge in dessert, both choosing a massive crème brûleé flavoured with vanilla, a hint of lime and bourbon and served in a special dish: A dessert to die for.



The first two days of skiing we undertaken in excellent conditions – clear blue skies and the occasional cloud and firm snow. Sadly, conditions on days 3, 4 and 5 included some of the worst mountain weather I’ve experienced where blizzards and flat light made progress very difficult. My poor eyesight means I’ve been known to fall over backwards from standing still when I’ve not been able to see features on the piste. We did manage to do some skiing on each of those days but in my case it was a genuine struggle.


Day 6 dawned bright and we set off for the furthest point in the area, the Aiguilles Percee beyond Tignes. This is a rock wall with needle-like features and an amazing quirk of geology, a natural arch in the rock which looks like some sort of cosmic space-time portal, accessible with a minor off-piste excursion. A full day ended with reduced light and strong winds, blowing away powder from the ungroomed pistes; a successful venture despite the reduced time on the slopes.



Downtime during the day when we were unable to get onto the mountains was spent preparing a postcard story, listening to music on my mp3 player, and going in search of coffee. The spread of independent coffee shops in the UK is taken for granted but, outside of Italy, mainland Europe is lagging behind and for those of us who rely on a good roast bean nicely prepared, the alternatives are rarely worth bothering with.

Fortunately for us, we found Arctic Cafe which does mountain energy foods, smoothies and organic coffee which was as good as anything you'd get in Shoreditch; a really well prepared espresso shot that we sought out every day and twice during the morning we were waiting for our transfer out of resort.


Ski playlist:

A Saucerful of Secrets – Pink Floyd

Fragile – Yes

In ogni luogo – Finisterre

Equatorial Array – Gareth Page

Invention of Knowledge – Anderson-Stolt

La Coscienza di Zeno - La Coscienza di Zeno

Meddle – Pink Floyd

Red - King Crimson










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.


.


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.












By ProgBlog, Jan 31 2016 10:18PM

The Steven Wilson gig did not disappoint. It helped that I had a front row seat, pretty much centre stage (courtesy of Neil with his hyper-quick responses when booking opened) and though Craig Blundell was obscured behind his drum kit, this was a view as good as it gets. Being so close to the stage had the slight disadvantage of not getting the best sound balance; the mixing desk was at the back of the stalls so I imagine that was where you’d experience the perfect listening environment. Ian Bond, veteran front-of-house sound man did a pretty good job for the front row, too, because the only difficulties we had with the sound were a rather quiet Adam Holzman Moog and some indistinct bass, though the latter may have been a venue-wide problem because Nick Beggs was making full use of a range of 5 string instruments; needless to say Wilson’s guitar, from his Bad Cat amp and cabinet placed directly in front of us, was crystal clear. It was satisfying that they played the entire Hand.Cannot.Erase, including the short Transience which had been omitted from the UK shows following the album’s release. After the intermission we were treated to a range of other Wilson material from Porcupine Tree to Storm Corrosion (the dark, haunting but brilliant Drag Ropes) plus, as a tribute to the recently departed David Bowie, Space Oddity which was filmed on a series of Go Pro cameras. There was also an outing for half of his new album 41/2, a collection of five songs that didn’t quite make it on to either Raven or H.C.E, not because of a perceived lack of quality, rather that they didn’t quite fit in with the feel of those albums, plus a reworked Don’t Hate Me, originally recorded by Porcupine Tree that appeared on Stupid Dream (1999). Theo Travis supplied flute and saxophone for the original release and his contribution was covered by keyboards and guitar when the piece was played live. The 41/2 version includes Travis plus singer Ninet Tayeb and live, without Travis but with its trippy Floyd-inspired lengthy spaced-out middle section, was one of the highlights of the evening. Tayeb, who was guest vocalist on a number of songs, is such an incredible talent she’s still able to add an extra dimension to the stellar-quality line-up of the Steven Wilson band. It seemed somehow appropriate that she should sing on Don’t Hate Me which utilised eastern scales.



Steven Wilso ticket 27th January 2016
Steven Wilso ticket 27th January 2016

During an interview for The Pedal Show before the Bristol gig a couple of days earlier, Wilson described himself as approaching the sound from a producer’s perspective, hinting that his musical ability wasn’t perhaps in the same class as his band. This could be cited as an example of classic English reserve, for Wilson is an undoubted talent, but I’ve heard this statement before, in the same context, from Italian bassist Fabio Zuffanti. There are quite a number of parallels between Wilson and Zuffanti though apart from in his native Italy, Zuffanti has not really been recognised as a major force in modern progressive rock.

I saw Zuffanti and his Z band when Jim Knipe and I attended the Prog Résiste convention in Soignies in April 2014, showcasing his latest solo effort La Quarta Vittima but also playing songs from a back catalogue of 20 years in the music business; extracts from the Soignies performance are available to view on YouTube (Rainsuite https://www.youtube.com/watch?v=Y6Dlf3HmzAc is a good example.) It was at the post-performance interview, fortunately carried out in English, that someone suggested a parallel with Steven Wilson and Zuffanti, in a self-depreciating manner, suggested that he wasn’t in the same calibre as his band-mates. What he revealed at this interview were his thoughts on his musical projects. He suggested that if Quarta Vittima was going to be compared to Wilson’s The Raven That Refused to Sing (which had been released a few months before, and which Zuffanti obviously felt was the pinnacle of Wilson’s output at that time, Höstsonaten were the equivalent of the Enid, with a very symphonic palette. Though Porcupine Tree was on hiatus at the time, the inference was that PT was the primary vehicle for Wilson’s music, rather like La Maschera di Cera was for Zuffanti.



Though I was aware of other Zuffanti projects, at the beginning of 2014 I only had Maschera di Cera albums and the first Finisterre album (Finisterre, 1995). I’d bought LuxAde (2006) for £6 from Beanos second-hand store in February 2009, without listening to it, based on the instrumentation and the fact it was produced by PFM drummer Franz di Cioccio. I hadn’t appreciated that this was a band revisiting the Orpheus saga (c.f. Focus and Eruption) but it remains one of the best buys I’ve ever made; when I got home and checked my Progressive Rock Files, even before listening to it, it was evident that I had acquired something special. I wasn’t disappointed because the recording is as close as you can get to classic 70s Italian prog; analogue instrumentation including some excellent fuzz bass, symphonic scope and operatic vocals, all executed with consummate skill. I was so impressed I began looking for Maschera di Cera albums on every subsequent trip to Italy but for some reason I couldn’t locate any and finally plumped for a download of their second album Il Grande Labirinto (2003) from Amazon in 2010, describing it in an Amazon review as a Fragile to the Close to the Edge of LuxAde (some of the details turned out to be not quite right!):


“...Il Grande Labirinto is their second album, and with no Italian trip scheduled for a while, I had to indulge in the mp3 download. (When I'm next in Italy I'm going to seek out and buy the CD for myself and two prog-minded brothers.) This release is slightly less musically mature than Lux Ade - kind of like the relationship between Fragile and Close to the Edge - almost perfect but not quite.

The musical territory is classic 70s Italian prog. PFM are an obvious comparison, though La Maschera di Cera are less jazz-influenced. Some of the keyboard trills sound like early Genesis, and there's a Wakeman-sounding synth line or two. My favourite passage is the final section of the 22 minute 37 second long Il Viaggio Nell'oceano Capovolto Parte 2 (Voyager to the Inverted Ocean) that builds up from a haunting gentle woodwind melody that reminds me of Islands-era King Crimson.

Did anyone think prog was dead? Think again, and invest in this great album.”


As soon as I’d heard the band were going to do a companion piece to Felona e Sorona (1973) by Le Orme, entitled Le Porte del Domani (2013) released in both Italian and English versions (The Gates of Tomorrow), I had to buy both mixes; the Italian version was my album of the year.

I hadn’t really formed an opinion about the music of Finisterre other than I liked it and it seemed not quite fully formed. Tracks seemed to be truncated mid-flow which left me feeling slightly dissatisfied. I bought In Limine (1996) when I went to the Riviera Prog Festival in 2014 where Zuffanti, in his home city of Genoa, was wandering around chatting to friends and fans on the first day. The title track of that album was one of the pieces played by the Z band in Soignies. I bought In ogni luogo (1998) and La Meccanica Naturale (2005), both in cardboard gatefold sleeves from Galleria del Disco in Florence later in 2014 and have now come to the conclusion that Finisterre was a band for trying out ideas. Back in Soignies I bought both La Quarta Vittima and Höstsonaten’s live version of The Rime of the Ancient Mariner (2013) from Zuffanti’s merchandise stand and then also from the same shop in Florence, Höstsonaten’s Winterthrough (2005.) It’s true that Höstsonaten are symphonic; the music is layered and melodic and Ancient Mariner, performed with dancers, was a modern opera.

There was no full concert recording of the Z band so late in 2014 Zuffanti and his collaborators recorded the material they’d been playing during their live set, live in the studio, releasing Il Mondo Che Era Mio at the end of the year. My copy was bought early in 2015 and it is a faithful reproduction of the Z band live experience, a mixture of dynamics, strong melodies and classic-sounding instrumentation.

Last year I spent a family long weekend in Milan and came across the excellent Rossetti Records, and amongst my haul I bought Il giorno sottile (2001), by the rather obscure Zuffanti project Quadraphonic. This represents Zuffanti at his most experimental, producing an interesting and challenging album of industrial music and electronica, heavily reliant on loops, which at times is bleak though it does retain the memory of melody.

Zuffanti seems to be at the centre of the vast Genoa prog scene. When Francesca Francesca Zanetta, guitarist with Unreal City, was interviewed after their performance at the Riviera Prog Festival, she thanked Zuffanti for helping the band (he produced their debut album La Crudeltà Di Aprile, 2013) and another band he seems to have helped, who also appeared at the same festival, were Il Tempio delle Clessidre and most recently he’s collaborated with keyboard player Stefano Agnini from La Coscienza di Zeno, a band who played at both Soignies and at the Riviera Prog Festival in 2014. This project, under the title of La Curva di Lesmo, features a cast of the new wave of Italian prog and the music ranges from out and out symphonic prog to some traditional-sounding Italain music, taking in folk and electronica on the way. I bought a heavyweight white vinyl copy to play on my new Rega RP3 and the cover, by legendary artist Guido Crepax, harks back to Nuda (1972) by Garybaldi, in a similar manner to Maschera di Cera using artwork by Lanfranco for Le Porte del Domani, after Le Orme’s cover for Felona e Sorona, an album also released in English with lyrics by Peter Hammill.



Zuffanti shares with Wilson an appreciation for the origins of the genre (including a love of Mellotron) but they also choose to work with a range of other musicians which informs their style, seeking out different avenues for their talents. Wilson is now a global star; I’m just waiting for Zuffanti to get the full recognition he deserves.







By ProgBlog, Aug 16 2015 08:59PM

It may be the largest seaport in Italy, served by several cruise lines, but Genova is hardly geared up for tourism. I first visited the city in May 2014 for the Riviera Prog Festival but was intrigued by the UNESCO World Heritage designation for the largest medieval city centre in Europe including the Palazzi dei Rolli. This vertical city also has some unusual modes of transport. Your 100 minute ticket (€1.60) is good for the Metro, local train services, the bus and elevators and a funicular railway. The lifts are incredible – I couldn’t quite believe the map last year when I saw ‘ascensore’ marked and I somehow managed to walk right past one; last week, when I went for a return visit with my wife Susan, I made sure we used them. There’s even a Starship Enterprise-like lift that travels horizontally for some distance before ascending – possibly the only example of its kind in the world.

It seems appropriate that Genova should host an annual prog festival though it’s actually a music festival associated with a musical equipment fair held in the Fiera, the exhibition centre reclaimed from the sea in the 1960s.

Last year the excellent Black Widow Records (Via del Campo 6R) had decamped to the prog festival leaving the shop closed but on our first afternoon we somehow managed to make the pilgrimage to what I can only describe as one of the best record stores I’ve ever visited. Small in area but filled with vinyl and CDs, owner Massimo Gasperini is a fountain of knowledge and also friends with a number of musicians. He may not have been quite prepared for the Englishman who came into his shop and encouraged by his wife, began to select a rather large pile of CDs. Rather than having the CDs themselves accessible, Massimo has saved space by displaying four CD covers in plastic wallets the size of a vinyl album. It also meant that the storage racks could be uniform; a system I’d previously seen in Rossetti Records in Milan. On former trips I’d taken lists or one of my Progressive Italiano books but the gaps in my collection are becoming fewer and fewer and I now recognise what I want to acquire without too much trouble. The gaps that do exist are generally more recent album releases, bands that formed or reformed during the third wave of progressive rock and these 90s onwards groups aren’t all covered in my books. I have to rely on engaging the shopkeeper in conversation, mostly in English because my Italian is very basic, using a shared appreciation of the music itself. I was both surprised and impressed to see a copy of Marsbeli Kronikak by Hungarian symphonic prog band Solaris. Initially released in 1984, this is a highly regarded piece of work and somewhat difficult or expensive to come by in the UK. When I last checked my Amazon wish list it was selling for £43; I bought it there and then for €17. It really is a well-crafted melodic piece of work, spoiled only by some harmonica on the last of the two bonus tracks.

An old release from 1973 that I’d not previously come across in any of my travels was Melos by Cervello, the only record they produced before breaking up. I was aware that there was no keyboard player in the band but there’s plenty of flute and they utilise some interesting dynamics; the entire concept is based around Greek myths which is enhanced by a strong Mediterranean feel.

I saw Il Tempio delle Clessidre at the Riviera Prog Festival last year and was impressed enough to buy their first CD and a T shirt from their merchandise stand. I’d previously seen a review of their 2013 album Alienatura in Prog Magazine but I’d not actually seen it other than at the music festival. They’re a Genova band and their material is released on Black Widow Records so it wasn’t too much of a surprise to pick it up in the shop!

I’ve now seen La Coscienza di Zeno twice, on the second day of Prog Résiste last year in Soignies and again the following month, once more in Genova. I think I preferred the Genova set more, possibly because I’d heard the material which has some neat hooks but can also be quite rhythmically complex. A lack of ready cash and a shortage of luggage space meant I didn’t buy anything on either of these occasions but I couldn’t resist buying Sensitivita (2013) this time.

I’d resisted buying Latte e Miele records until I got a copy of Passio Secundum Mattheum from 1972 on a day trip to Padova from Venezia late last year. I‘d originally been put off by suggestions that the members of the group were inspired by religion but found the music and musicianship quite incredible, genuine classic Italian prog and anyway, rather religion than dodgy right-wing politics. I’ve been looking out for Marco Polo Sogni e Viaggi from 2009 but Black Widow had Passio Secundum Mattheum The Complete Work which is a 2014 remake of the original album, extended and rearranged and released on the Black Widow label – Latte e Miele being another Genovese group. It’s interesting to see the list of narrators who appear on the album, a list that includes other Genovese and some of the greats from the original RPI scene.

I’ve been a Goblin fan for some years and managed to find a copy of the eponymous Cherry Five album, which I like a great deal, in Pisa a couple of years ago. I was delighted that a reformed Cherry Five had just released Il Pozzo dei Giganti which is based on Dante’s Inferno, on the Black Widow label. It’s quite clear they’ve picked up from where they left off in the 70s; not only is it thematically Cherry Five material but the analogue keyboard sounds are very fitting.

Finally, Massimo produced a CD that wasn’t in the racks and asked if I was interested: Palepolitana by Osanna, the just-released reinterpretation of Palepoli from 1972 by the current line-up. I explained that I was a big fan of the original album but less impressed by their later material; Landscape of Life (1975) has two great tracks but the line-up was in transition for that album and the remaining material is really very throwaway. Massimo told me that the original Palepoli was supposed to have been a double album and the current group had not only recreated the material released in 1972 but included the songs that would have made up the other LP in the proposed double album, described as “an act of love for the city of Naples...” There are hints of the very early material, the Mediterranean feel mixed with psychedelia but I still prefer the three tracks Ora Caldo, Stanza Citta and Animale senza Respira which continue to reveal surprises.

That’s my advert for the Genoa tourist board. I've not mentioned one other of the Genova greats: La Maschera di Cera. I've got all their albums apart from Petali di Fuoco (2010) plus a considerable number of albums by Fabio Zuffanti. Coincidentally, Genova featured in the travel section of The Guardian this weekend http://www.theguardian.com/travel/2015/aug/14/italy-genoa-food-drink-chocolate-walking - it was as though I was still there...



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