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Still reflecting on the latest venture to the Italian Riviera, ProgBlog looks at the legacy of the port city of Savona: Delirium and Il Cerchio d'Oro who released the rather good Il Fuoco Sotto la Cenere in the autumn

By ProgBlog, Sep 4 2017 10:23PM

I’ve just watched the 1987 Arnold Schwarzenegger sci-fi/adventure film The Running Man which, when it begins, is set in 2017, jumping to 2019 after Ben Richards (Schwarzenegger’s character) is framed, and imprisoned for a mass murder of innocent civilians. Based on a Stephen King novel published under the pseudonym of Richard Bachman (with the Bachman borrowed from Canadian rockers Bachman Turner Overdrive) the 2017 of the future hints at the 2017 of today: “By 2017 the world economy has collapsed. Food, natural resources and oil are in short supply. A Police State, divided into paramilitary zones, rules with an iron hand. Television is controlled by the State and a sadistic game show called ‘The Running Man’ has become the most popular program in history. All art, music and communications are censored. No dissent is tolerated and yet a small resistance movement has managed to survive underground” but it’s the plot relating to editing video footage, the use of ‘fake news’ to manipulate the masses, along with the quest for ratings, which most resemble our present. It’s quite incredible that two actors from the film, Schwarzenegger himself and professional wrestler Jesse Ventura (who plays Captain Freedom) would make the shift from entertainer to politician: Schwarzenegger was the Republican governor of California for two terms from 2003 and Ventura was the Reform Party candidate and elected governor of Minnesota in 1999, deciding not to stand for re-election in 2003; current POTUS Donald Trump has no previous political experience but he has featured in the reality TV business.

The Running Man also serves as a vehicle for the acting talents (!) of Mick Fleetwood (Fleetwood Mac) and Dweezil Zappa, who happens to be playing 50 Years of Frank in the UK over the next month. Stephen King’s novel was written three years before Margaret Atwood’s The Handmaid’s Tale and the two books share that near-future (our present) dystopian world-view.



The Running Man and Mick Fleetwood and Dweezil Zappa
The Running Man and Mick Fleetwood and Dweezil Zappa

We live in worrying times. The very recent planned detonation of a hydrogen bomb, ten times more powerful than the previous device tested and allegedly capable of deployment by one of their ICBMs which have also been tested with alarming frequency in recent weeks in response to joint military manoeuvres by the South Koreans and the US, represents a disturbing testosterone-fuelled escalation towards a potential devastating conflict between the Democratic People’s Republic of Korea and almost all of the rest of the world. Whereas I personally wasn’t worried by the Cold War stand-off between the US and its allies and the Communist Bloc, even though my youth was spent living in a potential target for Soviet missiles and I moved to London, an obvious target, just before the Thatcher-Reagan years; a period when bullish rhetoric was backed by American-controlled cruise missiles sited on UK soil and of Reagan’s proposed Strategic Defense [sic] Initiative. However, the behaviour of Trump on the one hand and Kim Jong-un on the other, two megalomaniacs who simply refuse to back down, is an increasing cause for concern.

According to the Bulletin of the Atomic Scientists, the Doomsday Clock is currently set at two and a half minutes to midnight, indicating that the probability of global catastrophe is very high, the highest it has been since 1953 when the US decided to pursue the development of the Hydrogen bomb. Throughout 2016 and 2015, the clock stood at three minutes to the hour, the closest to midnight since the early 1980s; this year the danger is even greater. My lack of concern during the 80s was partly due to my belief that the USSR economy, ploughing ever more resources into the military-industrial complex and away from the staples needed by the ordinary people was unsustainable, though there was always the possibility of initiating a strike by accident. I attended CND rallies and laughed at the ridiculous Civil Defence plans for a nuclear attack on the UK, its forced public dissemination five months after it had been ‘officially’ released in January 1980 following an investigation by the (pre-Murdoch) Times newspaper. In March 1984 David Gilmour released his second solo album About Face which included the jaunty and ironic Cruise, featuring innumerable puns about atomic warfare and fading out with a cod reggae groove. My current anxiety is fuelled by the actions of a paranoid dictator in North Korea who ignores the basic rights and requirements of his people and a clueless, populist, not-particularly-successful-businessman-turned-TV-personality who wouldn’t know diplomacy if he had to shake it by the hand.



Dave Gilmour, Hammersmith Odeon 30.04.84
Dave Gilmour, Hammersmith Odeon 30.04.84

If there is going to be a future despite Trump’s best endeavours to scupper it through either total war or climate change denial, what is prog going to look like? In 2017 we have the benefit of being able to look back at almost 50 years of prog, but is reflecting on the changes in both the music itself and the industry since Sgt Pepper’s, The Piper at the Gates of Dawn and Days of Future Passed any help in imagining future-prog?

I propose that we define prog rock along temporal lines to provide an indication of general stylistic attributes. If we restrict the term ‘progressive rock’ to music produced between 1969 (the year of In the Court of the Crimson King) and 1978, which equates to the so-called ‘golden era’, there were a couple of years beforehand where blues-based rock and psychedelia began to push at the boundaries of conventional popular music which we could call proto-progressive, append neo-prog (early-mid 80s) which combined progressive rock traits with an almost punk attitude, and further append the early 90s prog revival which has gone from strength to strength and flourishes today; to avoid any arguments over semantics and how ‘progressive’ implies continuous development, these four ages, plus future-prog should be scrutinised under the overarching umbrella of ‘prog’.


It’s quite remarkable that prog should be as strong as it currently appears. If the original proto-prog and progressive rock success was down to the baby boomer generation, it’s not unreasonable to suggest that our children are maintaining the continued interest. However, this is not necessarily always the case. My son may recognise classic progressive rock and buy me prog but I couldn’t get him to learn an instrument or get serious about the genre! At least part of the driver for prog was a series of technological advances from the 60s onwards and innovators like Robert Moog who took these ideas and turned them to practical, musical uses, though there have been some duds. I’ve never been happy with the sound of the string synthesizer, seen as a reliable alternative to the unwieldy Mellotron, but which had an equally short life cycle. The Elka Rhapsody was produced in Italy between 1975 and 1980 and became something of a favourite, despite what I’d describe as a thin sound; even my band used one in 1979-80, before our keyboard player John Carrott bought himself a Juno 6 and the band dissolved. Perhaps the biggest offender was the Solina String Ensemble before the Prophet 5 and Yamaha DX7 polyphonic synthesizers came along to make the string synth redundant. Fortunately, after a number of hiccoughs Mellotron are going strong and it’s virtually impossible to go to a prog gig in Italy without seeing a Mellotron on stage. However, there are two mellotron companies: Mellotron run by Markus Resch in Sweden who own the brand name and produce the Mk 6 and digital M4000D model, and Streetly Electronics, the original UK manufacturers of the Mellotron who produce the M4000. The accurate digital reproduction of 70s analogue sounds is a feature of much of the current keyboard-based prog and while appearing retrograde, it’s the culmination of technological advancement to achieve the widest range of sounds without compromising portability. This refinement is hardly a major leap forwards compared to the pace of change within the recording side of the business. Digital recording and file sharing have facilitated a near revolution in record production, so that The Invention of Knowledge (2016) was made over a two-year period without Jon Anderson and Roine Stolt meeting up, apart from for a Los Angeles photo shoot; Anderson sent his vocals from the US to Stolt in Sweden, where the instruments were recorded with other musicians.


Anderson-Stolt - The Invention of Knowledge (2016)
Anderson-Stolt - The Invention of Knowledge (2016)

This lack of a geographical centre of the movement is associated with the prog revival and it’s a very good thing. Progressive rock wouldn’t have emerged without the political and social changes experienced by the UK in the 60s, quickly exported to our continental European neighbours who had both similar and their own unique conditions for developing the genre. Some of the original proto-prog and progressive rock philosophy remains and has been applied to some of the woes of the modern world: Steven Wilson’s latest release To the Bone (2017) covers topics like the divisiveness of President Trump and his notion that truth isn’t always the truth, the everyday lives of refugees, terrorists and religious fundamentalists; Roger Waters also wades into current affairs and Trump on Is This the Life We Really Want? in a continuation of a thread running from Animals (1977).


Roger Waters - Is this the life we really want (2017)
Roger Waters - Is this the life we really want (2017)

But what of the future? Is the recycling of classic progressive rock sounds and the return of vinyl a step into tomorrow? Is the cause helped by the remnants of original acts touring their old material? I suspect that the genre is time-limited and we’re currently approaching the twilight of a second ‘golden age’ though through recorded media it has the chance to live on.

There’s nothing wrong with playing the greatest hits from your back catalogue because that’s what bands of all eras and all genres have done; if the creative spark has gone then continue to please audiences with old favourites and let newcomers, the next generation of prog rockers, reinterpret the idiom in whatever way they can. Prog has used a myriad of diverse influences to create wonderful, amazing, challenging music and whether good or bad, there will be plenty of unimagined future legends to inspire the prog musician.



Photograph: Scott Olson/Getty Images
Photograph: Scott Olson/Getty Images








By ProgBlog, Dec 4 2016 11:47PM

Ten years ago I was sitting in an MBA tutor group, discussing the pharmaceutical industry and I casually announced my belief that the NHS should prescribe any drug which had a proven beneficial effect whatever the cost and that the production of medicines needed to be brought under state control; 30 years before that during a General Studies class, I made an observation on equality which provoked the teacher to ask if I was a Marxist. My world view is based on the advantages of co-operation rather than the destructive forces of competition and I favour hope over selfishness and greed. These are sympathetic aspects that I coincidentally detect in symphonic progressive rock but I don’t necessarily think they make me a follower of Marxist doctrine.




In the last 6 months my philosophy has been battered by some devastating political developments, most notably the decision by a small majority of the British voting public to leave the European Union and, on the other side of the Atlantic, the election of Donald Trump as US President (the EU Referendum was discussed in the post http://progblog.co.uk/the-blogs/4583484660/Referendum/10768128). As I write, counting of votes in the re-run Austrian Presidential election has just begun and there are a couple of hours to go before polls close in Italy, where voters have to decide between the political establishment and rising populist forces in a referendum called by Prime Minister Matteo Renzi; the political landscape of Europe may yet take another turn for the worse.

I don’t intend to criticise anyone for voting the opposite way to me but I’m deeply unhappy about our descent into a post-truth world, where both obvious lies and unsubstantiated opinion are presented as ‘facts’ which gain the gloss of validity when they are transmitted over and over again by traditional media, whether or not owned by vested interests, and the more insidious new media which is controlled by only a handful of giant corporations. Sometimes it seems the louder you shout, whatever rubbish you’re spouting but especially if you’re tapping into a source of insecurity, the more adherents you get. There is an obvious disconnect between elected members and the public they ostensibly represent, where in the UK becoming an MP relies more on impressing the party establishment than it does with understanding the concerns of constituents within the community. This is disturbing because communities which existed at the peak of UK manufacturing in the 70s were decimated by the policies of the Thatcher-run Conservative government in the early 80s and whatever new industry has appeared, such as the assembly of Japanese cars in the north-east, it has not compensated for the loss of the original manufacturing base. The reduction in output of physical product was originally partially met by the expanding service sector, best illustrated by organisations based away from high-cost areas in low-rent call centres, but the cost-savings of this model weren’t enough for many high street names who outsourced the work to the Indian sub-continent, creating a customer services debacle; most of these companies have now brought back their call centres to the UK. Even worse, our ability to provide apprenticeships for practical skills was allowed to wither, demonstrated by the defects present in the recently built submarines carrying our nuclear deterrent....

The world has moved on following the 2008 global financial crash but the same vested interests continue to pull the strings. Our current government boasts of record employment figures while failing to accept the consequences of the ‘gig economy’: unskilled work; low pay; underemployment; lack of job security; a failure to invest for retirement. These effects have been exacerbated by a commitment to austerity but resistance has been poor because of the reduced power of the unions and the voting public has swallowed the misdirection of the government and the press. The lexicon has changed where ‘welfare’, the state safety net for those unable to work, has become ‘benefits’ and instead of seeking out the millions owed by corporate tax avoidance, we want to punish the far smaller number of ‘benefit cheats’. Our appetite for buzz phrases like ‘workers and shirkers’ or ‘skivers and strivers’ plays into the hands of anyone who wants to divide the country. Politicians and the media know that in times of crisis it’s handy to have someone to blame, whether it’s immigrants or the disabled, just as long as it’s not them or any of their coterie running banks and big business; we’ve become lazy, falling for a catchphrase and victimising groups who most deserve our support.



There are a number of terms in music with positive connotations. Harmony describes different voices getting along together; the voices in counterpoint are harmonically interdependent but independent in rhythm and contour; even dissonance can be resolved. As a musical form, progressive rock explores and utilises these techniques in an effort to bridge the so-called high culture of classical music with the popular culture of rock, rejoicing in and incorporating other diverse influences. Prog rock emerged on the back of hope for a better future and was realised through innovative technical developments, indicating a close relationship between ideals and novel thinking. Many of the ideas expounded in the science fiction books I read as a youth are now reality but the concomitant idealism has been ground into the dust. So when did this positive vision dissipate and why? Almost all commentators agree that Yes were an affirmative musical force and when they began really hitting the big time in America during the Close to the Edge tour, Jon Anderson would introduce And You And I as a ‘protest song’ and encourage the audience to think about the importance of the message. Did any of that generation go on and vote Trump or were they the ones who have taught their children and grandchildren to value the environment and peaceful coexistence? Analysis of the demographic of the electorate in the UK plebiscite and the US Presidential election may be complex but I think whichever way Britons and Americans cast their ballot, it was influenced by voices which spoke to self-interest rather than an appeal for what was best for everyone.

You can call me naive or call me a Marxist but I still believe that music can influence people and prog in particular is an affirmative force. I call for all those who attended Yes gigs in the 1970s to spread the message of protest.


Post Script

I’ve just read that the far-right Norbert Hofer has conceded defeat in the Austrian Presidential election. There’s still hope for humanity!





By ProgBlog, May 1 2016 08:47PM

Though Get ‘em out by Friday (from Foxtrot by Genesis, 1972) was a piece of social commentary directed at unscrupulous private landlords in the UK during the 60s and 70s, it has once again become relevant as a majority of the population in their 20s and 30s are becoming priced out of the housing market, making them the so-called ‘generation rent’. It’s been estimated that almost 60% of those under 40 years old will be privately renting by 2025 so it’s hardly surprising that the London Mayoral election next week is being billed as a referendum on housing. All the candidates are claiming they understand the requirement to build new homes, coming up with a wide range of different reasons for the shortage, and all promising action to address the problem which was identified by a recent YouGov poll as the most important political concern for people in the capital.


Genesis used the real-life Peter Rachman as the inspiration for the scoundrel of the piece, the man who used a technique euphemistically known as ‘winkling’ to remove tenants from properties, a combination of threats and inducements then filling the properties with new tenants paying a higher rent. This gives us the Foxtrot character Mark Hall, also known as The Winkler (c.f. the lyrics: “The Winkler called again, he came here this morning with four hundred pounds and a photograph of the place he has found...” and later “sadly since last time we spoke we’ve had to raise the rent again, just a bit.”) The modern villains are Dame Shirley Porter and Margaret Thatcher and their successors who have eroded the supply of public housing stock by forcing councils to sell off properties to long-standing tenants at reduced cost without replacing homes in the pool. The Housing and Planning Bill 2015-2016 has just had its third reading in the House of Lords and will go before MPs on the 3rd May to consider amendments proposed by the Upper House before becoming an Act of Parliament. In a nutshell, the Bill concerns housing, estate agents, rent charges, planning and compulsory purchase and has been slated for its unfairness, resulting in a string of defeats in the second chamber inflicted by peers on both benches who succeeded in wringing out a number of important concessions, including stopping the proposed ending of lifetime tenancies in social housing.

The Conservatives also planned to extend the Thatcher policy of ‘right to buy’ to tenants in accommodation provided by housing associations in an outrageous attack on the provision of all forms of social housing, a mistake which caused righteous fury and further highlighted the crisis in provision of all forms of affordable homes. If selling off municipal housing without replacing it was intended to be the pinnacle of the union between the individual and free market principles, it ended up as one of the most glaring examples of market failure in post-war history, a misplaced ideology that was designed to boost the number of homeowners who, armed with their shares from public utility and building society sell-offs, would become life-long Tory voters. In reality, ownership of shares by individuals in British companies slumped from a pre-Thatcher 40% to about 12% in 2014 which reveals the implosion of the vision of a share-owning democracy. The requirement of the newly privatised industries to compete in the free market, without the government subsidies loathed by the free-market economists, had a devastating effect on the UK manufacturing base and revenue from the North Sea oil industry had to be diverted from the exchequer to redundancy settlements and social security payouts.

In 1979 a third of all homes were rented from the state but this proportion has halved. 71% of households were owner-occupiers at its peak in 2003 but this has declined to around 65%, and 18% of households rent from the private sector. Witnessing my son attempt to find a suitable place to live has been a bit of an eye-opener. He has a good job in central London and after a long search found a place to rent in a shared house in Bethnal Green, his experience illustrating the competition for decent accommodation. Though country-wide, the housing crisis is most acute in London where the developments seem to be designed to attract foreign investment and the government exacerbates the problem by embracing buy-to-let landlords. I have a problem with both these policies because they aren’t helping those in need of housing and also fuel an unsustainable economy; this is the same dogma that created the global financial meltdown in 2008 and for some unfathomable reason the majority of westerners continue to believe in this failed economic model.

I was fairly late getting into Genesis and Get ‘em out by Friday was one of the first tracks I heard, on Genesis Live (1973). For a long time I preferred the versions on Live to their studio counterparts, a tribute to the excellent playing at Leicester and Manchester and a well balanced recording. On reflection, there’s a much harder edge to the tracks on Foxtrot compare to their earlier material. They stick to writing about mythical characters on Get ‘em out but set the story in the present and (at the time) the near future of 2012, in addition carrying on with the multi-voice narrative that first appeared on Nursery Cryme (1971) that lends a ‘play for the day’ vibe. The obvious social commentary is a new thread which was continued on the subsequent album Selling England by the Pound (1973) which also includes mini-plays, a tradition that is revisited on Robbery, Assault and Battery from A Trick of the Tail (1976) and All in a Mouse’s Night from Wind and Wuthering (1976); apart from highlighting the evils of ruthless landlords there’s also a dig at corporate culture, Styx Enterprises and United Blacksprings International, out for a quick profit at the expense of tenants, and even the honours system that has rewarded corrupt business people. I like Gabriel’s use of the Styx imagery, the border to the Underworld.

Paul Whitehead depicts a concrete building on the gatefold sleeve that could be Harlow New Town’s Market Square though when talking about the cover painting he has said that the ‘Holiday Inn-style hotel’ was his way of illustrating to the band that they needed to get used to staying in anonymous places like that as he felt they were just about to become famous. The first phase of the Harlow New Town development was called Mark Hall North; Gabriel’s protagonist The Winkler is called Mark Hall. I’d like to think that Gabriel hadn’t succumbed to the tired old trope that New Towns were ‘concrete jungles’ and symbols of dystopian futures. When the lyrics were penned in 1972, Harlow Town had expanded from a population of 4500 to over 78000 and the proposed limit of 60000 was increased to 90000 in 1966 without any increase in the designated development area. Early residents of the New Towns tended to be very appreciative of the facilities in their new homes (“a block of flats with central heating...”) and Harlow Town was designed to create communities, with ‘neighbourhood centres’ including an array of shops, a pub, a library, schools, a church and a small industrial area. It may be that Gabriel’s vision of the future, with the Orwellian-sounding Genetic Control, was inspired by the apparent accelerated rise in population and modernist architect Sir Frederick Gibberd’s ten-storey 'the Lawn' (built 1951), a building often referred to as the first tower block in Britain (“...did you recognise your block across the square, over there?”)


Market Square, Harlow New Town (photo by Andrea Klettner, used with permission)
Market Square, Harlow New Town (photo by Andrea Klettner, used with permission)


The Lawn, Harlow New Town (photo by Daryl Page, used with permission)
The Lawn, Harlow New Town (photo by Daryl Page, used with permission)

As a result of the chronic housing shortage, home ownership is out of reach for many and 9m people now rent. If, as predicted by one report, half of the UK population is going to be renting privately in a generation and almost a third of private rented properties in England don't meet the government's own standard for decent homes, it’s quite evident that our rental market is broken. The spectre of Peter Rachman still haunts the private rental market. Statistics provided by housing charity Shelter show that 136,485 renters in England are at the mercy of rogue landlords. These are landlords who apply cardboard to broken windows instead of replacing the glass and don’t care that water is pouring through a light fitting in your child’s bedroom, content to pocket the rent while their tenants live in danger and squalor.

For critics who think progressive rock is no longer relevant, listen to Get ‘em out by Friday and think again.








By ProgBlog, Aug 23 2015 09:38PM

August in the south eastern corner of the UK has been quite poor in terms of weather this year, with unseasonal downpours following a series of Atlantic depressions that have tracked across the country. This weekend we experienced a ‘Spanish plume’, a condition that arises from a large southwards dip in the high altitude jet stream that developed to the west of Europe that in turn encouraged a deep southerly wind flow that pushed hot and humid air from Portugal and Spain north and north-east into northern Europe, including to us the UK. Temperatures at Selhurst Park for Crystal Palace vs. Aston Villa peaked at over 30oC prompting the first water breaks in a Premier League fixture. With a cold front from the Atlantic over the north of the UK and unstable, hot air pushing up from the south or south west, there was the potential for heavy thunderstorms where the two weather systems met; strong winds associated with the jet stream help organise thunderstorms and play a part in their severity. This latest forecast came with a degree of uncertainty, something that’s become increasingly prevalent in our televised weather bulletins where over the last couple of weeks the prediction for the next day has inevitably proved to be inaccurate.

It seems that the British like talking about the weather. It serves as a common topic when individuals are thrust into a situation where it’s uncomfortable not to talk. It helps that UK weather so changeable and unpredictable, part of the beauty of living in a temperate marine climate; it also gives us the right to moan. As a youth in the North West I became used to rain. The relief rainfall that was a major feature of the western Lake District didn’t really affect Barrow very much but moisture-laden air from the Atlantic had a habit of dampening our plans one way or another. I was very much at home when I stayed in Seattle for a week in 2002 where there were a number of dedicated, accurate weather channels on the TV.

Weather may seem a bit prosaic as a topic for prog but weather and the British go together like tea and crumpets. After a childhood in Barrow I feel as though I’ve got fifty words for rain... In fact, the water cycle and our understanding of the principles of weather processes, such as drought, flood or monsoon, is very much the stuff of prog. Furthermore, the ability of humankind to distort weather patterns through extracting and burning hydrocarbons and the detrimental effect of pumping CO2 and other greenhouse gasses into the atmosphere is something that the adherents of the counterculture warned us about; the origins of the progressive rock movement had strong links to environmental groups. So it comes as a bit of a surprise that there’s no definitive album about the physical geography of weather or its myriad facets, just a straightforward interpretation.

Jethro Tull’s Stormwatch (1979) may come closest to revisiting the old hippie theme of global environmental disaster and a form of gloom pervades the entire album. Largely referred to as the third and final part of the Tull folk-rock phase, when I listened to the album recently I didn’t think there was much folk to detect; there’s a reference to pre-Christian themes (on Dun Ringill) which might fit the tag but it’s more an association of convenience, marking the last of the stable Tull line-ups. Stormwatch uses the concept of a storm as both metaphor and as literal description, picking up from a theme in the title track of Heavy Horses (1978) where Ian Anderson predicts that the magnificent beasts will be required once more when the oil has run out; North Sea Oil recognises the commodity as a quick fix for the economy and one that wasn’t going to last. Dark Ages and Something’s on the Move hint at energy shortages and long, cold winters and subsequent rioting while Flying Dutchman bemoans our inability as a nation to accept immigrants. In a recent Prog magazine interview, Anderson admitted to being politically left of centre; Stormwatch was released in September 1979 at the tail end of the first era of progressive rock; the political and social landscape was changing with the election of Margaret Thatcher as Prime Minister four months earlier as she commenced the dismantlement of the state and used burgeoning oil revenues to fuel her rewards for the selfish (North Sea oil had come on stream in 1975.) The dark mood of the album was no doubt partly down to the illness of bassist John Glascock who died two months after its release, having only played on three of the tracks. Though the (David Palmer) penned track Elegy was written for Palmer’s father, at the time the only section remaining of the Anderson/Palmer/Barre ballet The Water’s Edge, I felt it also served as a tribute to Glascock.

Camel’s Rain Dances (1977) isn’t weather-related. The short, melodic instrumental title track that closes the album doesn’t call to mind rain but merely reprises the beautiful, melodic opener, First Light and could be called anything because the album doesn’t have any cohesive concept; at least the title track from Gryphon’s Raindance (1975) which begins and ends with the sounds of rain and thunder has a keyboard backing under the main melody line that is reminiscent of flowing water and the album’s cover depicts the effects of playing the record.

The strong Red Rain from Peter Gabriel’s So (1986) is supposed to have been inspired by a terrifying dream. Some ascribe the imagery to acid rainfall (Gabriel is well known for his environmental concerns, appearing at the People's Climate March in London last September) but it seems to me to be about the nightmare of genocide; a number of African nations were in the throes of civil war in the early – mid 80s including Sudan, Democratic Republic of the Congo and Ethiopia. Rain is represented on this track by hi-hat, played by ex-Curved Air drummer Stewart Copeland. More up-to-date, Anathema’s prog metal-lite Weather Systems (2012) is full of nice melodic touches and contains some interesting sonic experimentation and passages that remind me of Porcupine Tree but despite its title, the album only uses weather as a metaphor for events during a life.

I think some band should attempt a concept album based on the science of meteorology, whether it’s a series of interpretations of particular examples (think Wakeman’s Six Wives of Henry VIII.) Fabio Zuffanti’s Hostsonaten project covers some of this ground on the excellent symphonic prog Winterthrough (2008) with tracks called Snowstorm and Rainsuite but I still believe classic British prog bands missed out on an easy topic with a captive audience.



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