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The ProgBlog gig marathon rolls on, back in the UK 48 hours after the symphonic edition of the Z-Fest for two shows themselves only 48 hours apart: The #Yes50 tour at the London Palladium and the first show of Steven Wilson's three night residency at the Royal Albert Hall.

Could it all be getting a bit too much?

By ProgBlog, Dec 24 2017 12:17AM

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

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


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

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

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


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

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

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


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



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

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


Wanted Music, Beckenham
Wanted Music, Beckenham

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



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











By ProgBlog, May 21 2017 08:21PM

Yes, another trip to Genoa. The weekend had to be carefully planned: on call on the Thursday hastily rearranged; gig on Friday; Crystal Palace playing their last home game of the season with kick off at noon on Sunday...

My wife and I left on the 07.10 flight from Gatwick on Thursday morning and returned on the 13:25 flight on Saturday. It was a bit of a whirlwind stay but rather successful. Susan doesn’t come to the gigs so we spend as much of the remaining time getting around. Ideally we’d have been able to leave on the Sunday but the importance of the football match, with both Palace and opponents Hull involved in a relegation scrap, it was a game I was not prepared to miss.

After checking in at the hotel, the first stop was for coffee in a local bar, Caffé del Sivori before moving on for a bite to eat. We were then able to wander into the historical centre where, among the narrow lanes and small piazza, you can find the second-hand record, CD and book stalls. This was where I bought the 1997 Ulisse and the 2000 Serendipity CDs by PFM, along with Anthony Phillip’s Wise after the Event. The main shopping attraction however, was the small but perfectly formed Black Widow record shop in Via del Campo; specialising in progressive rock, psychedelia, heavy rock, ‘dark’ prog and folk. It turns out that the founders of the shop Massimo Gasperini, Pino Pintabona and Alberto Santamaria, used to come to Beanos in Croydon to buy stock and that the reputation of the store within the prog community is really high; the Prog Archives website published an interview with Massimo in 2010, remarking that he’s a friendly guy and I concur - I’ve had lengthy chats with both Massimo and Alberto on the occasions I’ve visited and can honestly say that their generosity, knowledge and graciousness are boundless. It’s easy to form a connection when you share a passion for the same kind of music, despite my lack of Italian.



You might wonder why such a small shop has such a big influence but part of the reason is because Genoa is at the heart of the current prog scene in Italy, with the emergence of a number of new bands seeped in the traditions of 70s progressivo Italiano, plus a renewed interest in the original bands, some of the most influential of which were based in Genoa (New Trolls, Delirium, Latte e Miele, Nuovo Idea, Garybaldi.) This historic connection must have influenced the foundation of the Centro Studi per il Progressive Italiano (in Genoa’s Pontedecimo district) who aim to create a comprehensive archive of material relating to Italian prog and build a complete database of material, but also study the material at a musicological level. The other part of the explanation is that Black Widow also operates as a record label, promoting new talent and, where possible, reissuing old classics. They play an important role in the live music scene, being instrumental in the Fiera della Musica which had been held in Genoa until the area, with buildings by local architect Renzo Piano, was scheduled for redevelopment. (Susan and I visited an exhibition of competitors for this redevelopment and, rather to my delight, one entrant included the cover of Atom Heart Mother in their presentation.)



Black Widow were putting on a Metal festival that weekend, though I was far more interested in their Prog Festival to be held in the old harbour from 14th – 16th July, featuring local and nearby acts Delirium and Il Cerchio d’Oro, prog from France and Norway and Nik Turner, formerly of Hawkwind, headlining on the Saturday.



I walked away from the shop with a selection of British and Italian prog on vinyl: The first Saint Just album (rereleased by AMS on green vinyl); Inferno by Metamorfosi, Acquiring the Taste by Gentle Giant, Future Legends by Fruupp, plus a second-hand copy of Quark, Strangeness and Charm by Hawkwind.


Daytime on Friday was spent in Alessandria, visiting the UNESCO World Heritage listed Cittadella, the most important hexagonal fort in Europe due the integrity of the site, though our access was restricted because there seemed to be some event being set up. We visited the W Dabliu record store but I didn’t buy anything there, however I did come across the first three editions of Prog Italia, bundled into one, for €12.99 which I had to buy, having spent the last three trips to Italy looking for copies of the magazine.

It’s become increasingly obvious to me that Friday night is the time for prog in this part of the country because the excursion had been organised to see a couple of bands, playing on a Friday, at la Claque; Finisterre and Ancient Veil.



I’d seen Finisterre as recently as the 31st March at the Z Fest in Milan, but I enjoyed this performance more. Maybe it was the theatre itself, with tables organised like a club rather than crowding the stage at Milan’s Legend Club (and where the space on stage was divided by supporting columns), or maybe it was that the recent exposure to the band had made me more aware of the material. Despite coming from Genova and performing around the world, Finisterre hadn’t played in their home city since 2004, so it must have been a rather emotional return. Their set list comprised of material from three of their four albums Finisterre, In Ogni Luogo and La Meccanica Naturale: Tempi Moderni, Anaporaz; La Maleducazione; Macinaaqua, Macinaluna; La Perfezione; Ninive, In Ogni Luogo and Coro Elettrico performed as a mini-suite with Edmondo Romano from Ancient Veil as guest; Ode al Mare; La Fine; Incipit; Phaedra; with chat, announcements and introductions made alternatively by Sefano Marelli and Fabio Zuffanti. The musicianship was sublime and despite the absence of anything from In Limine, my favourite Finisterre album, the set was perfect. If I had to make any complaint, it would be that from where I was seated, fairly close to the front and centre, I couldn’t hear Boris Valle’s keyboards too well but the overall sound was clear.

There was a poignant moment when Zuffanti introduced Davide Laricchia, the original vocalist for the band, to perform Macinaacqua, for which he wrote the words but left before he could appear on the first album. This track encapsulates the experimental approach of the group, interspersing classical motifs into some riff-driven prog, Marelli guitar effects and Agostino Macor electronics. The delivery was over-the-top theatrics along the lines of Alex Harvey, though the melodic denouement hinted at 70s The Enid, coalescing into classic Zuffanti material; Macor even used a xylophone on this piece. Their superb set ended with a medley of prog classics; a little bit of Interstellar Overdrive, 21st Century Schizoid Man and the Hackett-friendly portion of Firth of Fifth.



I first came across Ancient Veil after seeing an article about Eris Pluvia, and received Rings of Earthly Light as a Christmas present in 2012. Released in 1991, six years after the band formed, this is an uplifting piece of neo-prog which at times, thanks to the woodwind and reeds of Edmondo Romano, borders on prog-folk. The upbeat lyrics, all in English, and the calm, warm voice of guitarist Alessandro Serri help to give it an almost New Age feel but there are odd time signatures and sudden changes that would suit the most ardent of prog fans. Eris Pluvia disbanded in 1992 and Ancient Veil was formed by Alessandro Serri, Romano, with Fabio Serri on keyboards and they released one eponymous record in 1995, with music very much in the same vein as Eris Pluvia. Ancient Veil reappeared this year with bassist Massimo Palermo and drummer Marco Fuliano and the CD I am Changing. Remarkably, this presentation of their new album was the band’s first ever live performance and though there were a couple of hitches, technical and human, the audience was understandably forgiving. The material was set out in three blocks, commencing with The Ancient Veil, followed by Rings of Earthly Light and concluding with I am Changing but the material flowed seamlessly. I bought a copy of the CD during the interval between bands so I had not heard any of the new songs; I’d also not been able to lay my hands on a copy of The Ancient Veil but it would not be unfair to say that the composers have a distinctive style. Maybe their most recent material contains a hint of wistfulness? They also introduced a guest from the past, Valeria Caucino, who sang on Eris Pluvia’s Sell My Feelings and also appears on the new album, on the song Chime of the Times. And, just as Romano had accompanied Finisterre on stage, Zuffanti and Marelli returned the favour during In the Rising Mist, making four acoustic guitarists (along with Serri and drummer Fuliano); this summed up the camaraderie of not only the musicians gracing the stage that evening, but the Italian progressive rock community as a whole.



What made the evening special was a combination of great music and a sense of history; the return of Finisterre to Genoa after a considerable absence, and the first gig by a band who have long been praised in prog circles – a remarkable double bill and immensely enjoyable. I’m already preparing for my next trip...
What made the evening special was a combination of great music and a sense of history; the return of Finisterre to Genoa after a considerable absence, and the first gig by a band who have long been praised in prog circles – a remarkable double bill and immensely enjoyable. I’m already preparing for my next trip...

Postscript

Palace beat Hull 4-0 on an afternoon basked in sunlight, securing their tenure in the Premier Leaguue for another season. What a fantastic few days












By ProgBlog, Apr 9 2017 09:47PM

It’s just after 8.30 pm on Friday 31st March and the taxi driver is suggesting that I’ve given him the wrong address. He’s driven me somewhere well outside the centre of Milan (a taxi was much quicker than public transport) and I have to assure him that there really is a gig at the night club he’s just pulled up outside, Milan’s Legend 54.



It’s a slightly strange looking venue from the kerbside, with an array of pop-up food stalls and not much else, though there was music blaring from one stall. The woman at the cash bar stand informed me that tickets for the Z-Fest could be bought ‘inside’ only I had no idea how to get inside. It was obvious I had arrived at the right place because the improvised musical equipment storage rooms, made of the sort of tents that fit onto motor vehicles, contained not just the odd drum kit but also the organiser and bassist with the headline act, Fabio Zuffanti. By the time I’d circumnavigated the building a queue had formed at the entrance: €8 for three bands and three hours of quality music.

Going back a couple of months following an awful day at work in Whitechapel, I arrived home to search the internet for a weekend break. Realistically, I couldn’t have gone away the next weekend, so I calmed down and checked to see if there was anything prog-related coming up in the next few weeks that I could include in a short city break with my wife. Milan, 31st March to 2nd April, coinciding with the Zuffanti-organised Z-Fest and, with cheap flights at good times and a four star hotel with cheap rooms, was something I couldn’t resist.



Jumping forward again to last weekend, we ate an early evening meal overlooking the duomo from the terrace of the Obicà Mozzarella restaurant at the top of the Rinascente before making our way to a guided tour of Leonardo’s The Last Supper (in the former refectory of the convent attached to the Church of Santa Maria delle Grazie) – an exceptionally pleasing attraction made all the better by our knowledgeable and irrepressible local guide. I escorted my wife back to our hotel before getting in the taxi...



When the gig was originally announced, the line-up included Cellar Noise, Christadoro, and Finisterre. The promo video for the 2017 Cellar Noise debut album Alight, an album produced by Zuffanti, was very promising and rather than import a copy, I had already decided to buy the CD (or LP, if available) at the show. The Christadoro album, another 2017 release, featured well-known Italian songs given a progressive rock makeover, not unlike the way Yes treated Simon and Garfunkel’s America. Fabio Zuffanti was involved with the concept and played bass with the band. I’d already bought the album on vinyl before reading the group were on the bill but later Facebook posts suggested they wouldn’t appear and that they had been replaced by experimental jazz-prog quintet Zaal. The Zaal connection with Zuffanti was via keyboard player Agostino Macor, an integral member of Maschera di Cera and other Zuffanti projects, though I’d never heard any music by them, unlike headliners Finisterre, as I own all their studio releases.

The evening conformed to what I’d come to expect from an Italian prog festival; it was running slightly late, there were interviews with luminaries including Stefano Agnini and Mox Christadoro during set changes, and the music was incredible. The club was pretty full and for almost all of the Cellar Noise performance I found myself standing next to drummer Paolo Tixi (Fabio Zuffanti’s Z-Band, Il Tempio delle Clessidre.) Cellar Noise were very, very good. Their live sound is heavier than on record but they played symphonic prog of the highest order, despite a couple of early technical hitches, taking us through their entire debut album and even appending a quotation from Höstsonaten’s Rainsuite to the track Monument, a nice gesture to Zuffanti, before delivering a magnificent encore of The Knife. It’s hardly surprising then, that Niccolò Gallani should come out with some Tony Banks-like synthesizer runs during their original material, or that Alessandro Palmisano should don a mask, and his between-song explanations could have been Peter Gabriel stories, especially as Alight is linked to the back cover story on Genesis Live via the London Underground. The Gabriel flute solo was covered by keyboard, with Palmisano sitting on the stage, miming the action of a flautist. Together with brothers Loris and Eric Bersan (bass and drums respectively) and guitarist Francesco Lovari, based on their excellent first album and the transfer to a live performance, there’s a bright future for this quintet.


Zaal played some challenging music and I suspect that since the original album La lama sottile, described on progarchives.com as a ‘delicately colourful type of progressive-oriented jazz-rock, highly melodic and yet mysterious’.they have become a little more hard-core, featuring some nice electric piano with a hefty dose of electronica. I have an enduring vision of Macor reaching over his Roland to a sequencer, the keyboard player forever moving, never staying still. I was reminded of circa Third Soft Machine with sax provided by Francesco Mascardi and trumpet by Mario Martini (El Trompeta), powered by the driving rhythms of Pietro Martinelli on bass and Andrea Orlando on drums (who would subsequently also play alongside Macor again for the Finisterre set); though at times they played some mesmerising jazzy space-rock grooves. I’ll be checking out their two albums on Mellow Records.



Finisterre have undergone many personnel changes over 25 years, behaving more like a musical collective than a band, although Zuffanti, Stefano Marelli (guitars) and Boris Valle (keyboards) remain core members. Tonight they were joined by Macor (who has a long history with the band) and Orlando, and the music was again heavier than on the albums. Tracks segued into each other so I found it a bit hard to follow but the musical trickery and alchemy between the members was remarkable. During an interview at Prog Résiste in 2014, Zuffanti dismissed his bass guitar skills, suggesting he was the least accomplished musician in his band (the Z-Band.) Up close, his work rate and dexterity reveal he was being too modest; his song-writing and his ability to pick amazing colleagues for his projects was never in any doubt.



The whole evening went very smoothly and it was amazing to witness such prodigious talent squeezed into 3 hours of performance, ranging from classic symphonic Italian prog to radical jazz-prog. I can’t wait to see next year’s line-up.


I got back to my hotel room in the early hours of the next morning, having failed to understand the message on a taxi firm answerphone and making my way across Milan by late-running public transport and a taxi from the Piazza del Duomo, but I didn’t get much sleep because we had to catch the 09:25 train to Como. The purpose of this day out was to assess the suitability of the lakes as a base for a longer family holiday, and Como. Only 47 minutes from Milano Central, seemed like a good place to start.

We were both suitably impressed by the architecture and the scenery but, I was once again amazed by the presence of really good record stores – every town we visit in Italy has somewhere that sells CDs and vinyl. First up was Frigerio Dischi on Via Garibaldi, before we’d seen anything of Como, where I spent some quality time going through the comprehensive Italiano section, picking out two CDs by Alphataurus (Attosecondo and Live in Bloom), a couple by Area (Maledetti and Event ’76, inspired by my attendance at Event ’16 in Genoa last October), Clowns by Nuovo Idea, La Via Della Seta by Le Orme, and PFM’s first album Storia di un Minuto on vinyl.


I could probably have bought more but travelling on Easyjet, with their cabin luggage restrictions, made me a bit wary. After an early lunch, sitting between the duomo and the rationalist Terragni Palace (the latter a modernist masterpiece, unfortunately once used as the Fascist Party headquarters but now the base for the Guardia di Finanza) we walked towards the waterfront and had to stop in Alta Fedità to browse through the vinyl, though Susan wasn’t at all impressed by the cover version of a Dead Kennedys song being played... The shop contained some rarities and some cheap, second-hand records, but there was nothing really which caught my eye, apart from a Support Your Local Record Store T-shirt.



We flew back on the Sunday, but not after a deviation for an architectural masterpiece (Torre Velasca) and a rummage through the extensive CD and vinyl in the branch of Feltrinelli in Galleria Vittorio Emanuele II; I emerged with a copy of Il Rovescio della Medaglia’s English language version of Contaminazione, (Contamination) on vinyl.


The break was successful. Getting away from work had been a high priority, but combined with the opportunity to see some amazing music made it especially worthwhile.

It’s becoming ever more evident to me that the north west of Italy, Genoa and Milan, is the crucible of much of modern progressivo Italiano. My love affair with Italian music, architecture and scenery continues. I’ll be back











By ProgBlog, Feb 12 2017 10:27PM

The acceptance of and concordant renewed interest in progressive rock has allowed the development of a support industry that uses the reach of the internet for marketing. Prog was niche at the beginning of the 90s, subsumed by a massive music industry singularly interested in shareholder return, leaving the artist a small cog in a very big machine. Prog survived by utilising the available technology, aided by fans with a working knowledge of the internet and who were often an integral part of this technological revolution, who helped to set up some of the earliest band websites and fan forums.

I was fortunate to have an academic email account before the roll-out of commercial hosts and dutifully signed up to the amazing Elephant Talk and a somewhat more earnest Gentle Giant forum. The first mention of Notes from the Edge, the Yes-related internet newsletter run by Mike Tiano and Jeff Hunnicutt and YesWorld, the online Yes resource, was in the booklet for Keys to Ascension (1996) but one major development was the beginning of a dedicated progressive rock / art-rock mail order business. Not only had I begun to pick up Voiceprint newsletters at John Wetton gigs, Discpline Global Mobile (DGM) was reinventing the role of the record label with an innovative, ethical business strategy. Utilising the online presence of these sites, I was able to access some fantastic music, both recorded and as exclusive pre-release playbacks in the presence of the artists themselves.


The Epitaph playback
The Epitaph playback

If we leap forward to the present, I have become much less reliant on Amazon and way more enamoured with Burning Shed and Italy’s BTF and I’ve also started to use Bandcamp, the latter having the advantage of providing a download in addition to the physical medium. I know that Amazon provides this service but with Bandcamp you are able, should you wish, communicate directly with the musicians but whether you do or not, there’s a feeling of better connecting with the artists and consequently, as you’re not simply getting a product, a sense of reward. You're also avoiding tax avoiders


Post-Christmas has been a relatively busy period for acquisition of music for me. A trip into Croydon HMV saw me return home with sale-price vinyl copies of Wish You Were Here and Animals (just in time for its 40th anniversary) though if I’d ever imagined a return of the LP, I’d have never traded-in my original copies.



HMV shopping trip
HMV shopping trip

Browsing the progressive rock suggestions on Bandcamp I came across Awake & Dreaming the 2006 release by The Gift and, having seen them perform at the Resonance Festival in 2014 and been suitably impressed by both the music and the message, I thought that was a worthy addition to my collection. A couple of weeks after that I engaged in a Twitter conversation with Lorenzo Gervasi (Lorenzo Vas) who was the keyboards player with Milan-based Lethe. Their only album release, Nymphae (1994) is available as a download from Mellow Records via Bandcamp and proved to be another Italian prog gem. I subscribe to the BTF newsletter and I frequently get seduced into buying some of the old classics I’ve not been able to pick up on my travels around Italy. The most recent of these purchases was Vietato ai minori di 18 anni? The 1973 release from Jumbo which had been on my radar since seeing vocalist/guitarist Alvaro Fella on stage with CAP in Genova in 2014. This album leaves behind the blues influences that remained on DNA (1972) and is a more mature effort including some avant garde styling.


Awake & Dreaming by The Gift
Awake & Dreaming by The Gift

An awful week at work in January made me think about dropping everything and going on a weekend jaunt to Italy but I fought off the initial impulse and decided to plan something more sensible. There are lots of progressive rock-themed events around Italy throughout the year but a Facebook link took me to Fabio Zuffanti’s Z-Fest, which this year is going to be held at the very end of March so I decided to organise the mini-break to include some live progressivo Italiano. Held in Milan, this year’s line-up is Finisterre, Cellar Noise and Christadoro. I’m already well versed in the works of the former and I’d read about the latter, named after drummer Mox Christadoro, a man with over 30 years experience in the Italian music scene (though not all of it in Italian prog!) so I pre-ordered a copy of the album from Zuffanti’s Bandcamp page. Meanwhile, the Burning Shed newsletter proclaimed the availability of a limited–edition 2015 re-master of the first Kaipa album (Kaipa, 1975) on 180g blue vinyl, including a CD of the album with two bonus tracks. Another album I’d been following with interest, I had to order it.


Z Fest 2017
Z Fest 2017

The two albums arrived with a couple of days of each other. First was Christadoro, a project which brought together a bunch of highly proficient musicians from varied backgrounds, united by their love of progressive rock. Joining Christadoro (drums and percussion) and bassist Fabio Zuffanti, who was at least partly responsible for the idea are Pier Panzeri from Biglietto per l’Inferno (guitars), Paul ‘Ske’ Botta who I’d seen with Not a Good Sign on the first day of the Riviera Prog festival in Genova in 2014 (keyboards) and vocalist Andrea ‘Mitzi’ Dal Santo. The core band is augmented with some renowned guests including PFM’s Franco Mussida.

The concept, hinted at in a quotation from Richie Havens printed on the inner sleeve

I really sing songs that move me

I’m not in show business

I’m in the communications business

is a presentation of seven popular Italian songs written by some of the biggest names in Italy during the 70s, given a progressive rock makeover in the same way that Yes performed Simon and Garfunkel’s America. Another track Ricercare nel mare dell’Inequitudine della paura (Searching the sea of anxiety and fear) is a Franco Mussida solo acoustic guitar prelude to L’ombra della luce (The shadow of the light) by Franco Battiato and uses some unexpected musical intervals. This pair of tracks (I couldn’t detect the transition between the two) are my favourites from the album, though I’m impressed with each of the interpretations and how neatly they have been turned prog. There may not be the complexity associated with progressivo Italiano but there’s some great playing; when the needle hit the groove on the first playing I was struck by the excellent-sounding organ of L’operaio Gerolamo and the driving guitar riff. The great organ work continues on Il sosia (The Lookalike) but not until we’ve had a traditional Zuffanti motif, the reading from some text, in this instance the recital of lines from a 1971 TV series Il Segno del Comando followed by a brief jazz-rock workout before getting a little heavy-psyche. The slide guitar and laid-back tempo on L’ultimo spettacolo calls to mind Pink Floyd’s Fat Old Sun and despite an interesting instrumental break in the middle of the song and a more rocking ending, I feel this is the weakest track on the album.

Figli di... is guitar-driven heavy rock but the vocals are clear and good. There’s more dynamic range and a healthy dose of drama in the side 2 opener Lo stambecco ferito which verges on Van der Graaf Generator territory. Solo begins with a cello section provided by Zeno Gabaglio, electric piano features heavily but there’s also some good Mellotron work. Overall it’s a rewarding buy, though not straightforward prog; the band are playing songs that move them...


Christadoro - insive sleeve
Christadoro - insive sleeve

The old purchase is actually a current re-release of old material, Kaipa’s eponymous debut. In my worldwide search for forgotten masterpieces I’d come across the group but finding examples of the early material was somewhat difficult. My initial investigations were before I understood the role of Roine Stolt and before I’d seen The Flower Kings play live – a slightly disappointing performance because the music wasn’t dominated by keyboards, which I’d come to expect; this re-issue of the early Kaipa albums is a masterstroke.

Kaipa might be keyboard-driven but there’s a nice balance with the guitar, think of Camel between their debut and Moonmadness and the result is first-class symphonic progressive rock. I love the Swedish vocals in the same way Italian prog is best sung in Italian; the lead vocals, provided by keyboard player Hans Lundin, are confident and come across as poetic and naturally flowing.

It would be too simplistic to simply class the music as being like Camel or Focus, just because these are bands who play melodic symphonic prog. The major difference between Kaipa and those two bands is the bass of Tomas Eriksson, who uses a Rickenbacker to achieve a punchy, trebly tone. Camel tend not to conform to a style that incorporates church music, whereas Focus and Kaipa include medieval-sounding compositions, a feeling enhanced by the use of harpsichord. It would have been hard for them not to have been influenced by their fellow countryman Bo Hansson, the first Swedish rock star to gain acclaim outside his native land (thanks to Charisma Records) and there are passages which use heavy reverb organ and guitar producing the distant feel that pervades Hansson’s Music Inspired by The Lord of the Rings. The one sound I don’t particularly like is the string synthesizer, though it’s not overused.



Kaipa by Kaipa
Kaipa by Kaipa

One intriguing comparison can be made with Australians Sebastian Hardie, another band fitting that Camel/Focus/Yes symphonic style. There’s a section where a Kaipa melody line (forgive me for not being over-familiar with the tracks on Kaipa) reminds me of Rosanna from Four Moments by Sebastian Hardie; what is interesting is that the Prog Archive reviews for the Australians are overwhelming negative, suggesting their music is too derivative and labelling them ‘cheesy’. Four Moments was released in 1976, a year after Kaipa. One reviewer has also called Kaipa ‘cheesy’ though the majority find the album pleasant but not over-complex, but still worthwhile. I’d go a little further. This is good symphonic progressive rock where the language and the local folk influences make it stand apart from so-called derivative acts which I think tend to be mostly American. It’s another gem, one that surely played a part in the Sweden-centred progressive revival of the 90s.




Two new purchases, two different eras, two enjoyable pieces of music.

By ProgBlog, Jun 14 2015 09:43PM

Two recent family trips, on the face of it quite different, to Milan and Brighton featured common ground: the search for record stores. Regular readers will know this is something of a ProgBlog obsession but planned breaks, of whatever length, require a balanced approach to cater for all the requirements of the members of the party. This means that apart from some shared interests such as architecture and exploring historic and cultural influences, I have to drag family around record shops and, on the flip side, have to suffer antique shops and flea markets and boutiques selling trinkets though flea markets do in fact offer the possibility of finding suitable recorded music, either CDs or, more frequently original vinyl.

From arriving in London with a single Boots vinyl-coated record box in October 1978 I began to accumulate what I considered to be a worthy collection of essential progressive rock.

Though I’ve never lost interest in my records, the ubiquitous nature of the CD format and its less demanding storage requirements meant that I undertook a massive format conversion beginning in the early 90s when prog bands began to resurface with new releases and record companies worked out that they could make easy money from new format re-issues. The last new releases I ever bought as LPs included Pink Floyd’s The Final Cut, 90125 by Yes, Three of a Perfect Pair by King Crimson and probably last of all, A Momentary Lapse of Reason or Big Generator, none of which I would regard as classic prog apart from A Momentary Lapse; the 1981-84 incarnation of Crimson certainly wasn’t straightforward progressive rock. Peter Gabriel’s So was a leaving present from the NBTC in 1986. I did of course continue to buy second-hand vinyl during the genre’s lean years, when Croydon’s 101 Records was actually located at 101 George Street and picking up a somewhat battered Yessongs from a boot fair in Thornton Heath and a copy, even more battered, of Tempest’s eponymous first album from the Crystal Palace Antiques Market which is a warren-like flea market, just off Westow Hill. Much more recently I picked up a pristine copy of Anthony Phillip’s The Geese and the Ghost in a flea market in Lewes.

Stupidly, I also ditched some prized records as I replaced them with seductive bright, shiny compact discs. Out went Bedside Manners are Extra, In the Court of the Crimson King, Larks’ Tongues in Aspic, Starless and Bible Black, Atom Heart Mother, Meddle, Dark Side of the Moon and Wish You Were Here plus some not-so-loved material like England by Amazing Blondel, itself picked up second hand from somewhere. The value wasn’t really in the music itself because I’d invested in other versions, ‘definitive’ or 20th or 30th anniversary editions with extensive additional sleeve notes but without surface noise, it was the (mostly) gatefold sleeve packaging that facilitated a comprehensive sonic and visual experience. The main beneficiary of this clear-out was Beanos of Croydon who I believed would give me a fair price for my well cared for offerings. I find it funny discovering dog-eared copies of In the Court selling for £40 in some of the shops I now frequent.

On reflection, the whole listening experience of CDs was far poorer than listening to a 12 inch piece of vinyl on a record deck: the care taken when removing the LP from the inner jacket; lowering the stylus onto the run-in grooves; sitting in an armchair with legs draped over one of the arms... This behaviour made up the soundtrack of my youth and I afforded it time and effort. When the CD format came along I was in a relationship and had full-time employment so I didn’t have the same amount of time to dedicate to the process of listening to music; on a sociological-political level those two times were also very different and I think the compact disc stands as a symbol of burgeoning consumerism, when time was wasted if it wasn’t being used to generate money.

Finding record stores in other countries, and Milan and Bergamo were no exception, is not always straightforward. Google will provide a list with addresses but the information is not always up-to-date and the restrictive internet provision of some UK mobile service providers means you can’t always use your phone to get you to the door. Last year in Pisa, one of the shops listed had changed its name and was primarily an urban stylist, with records found in a back room behind the main retail space with its shoes, shirts and trousers; in Bergamo a couple of weeks ago, the record store had moved within the previous month and, as it was almost closing time when I turned up at the old address, I had no time to locate the new premises. However, Rossetti records and books wasn’t too difficult to find and I managed to get hold of some obscure progressivo Italiano including the self-titled release by Dedalus (which strays into jazz-rock territory); the experimental Il Giorno Sottile by Fabio Zuffanti project Quadraphonic; and symphonic prog Il Bianco Regno Di Dooah by Consorzio Acqua Potabile. This last example was me sticking to the idea of buying releases by local musicians.

The Lanes in Brighton may be inhabited by local hipsters and tourists but that’s hardly surprising when you find out what’s on offer. In Shoreditch-by-sea the cafés and boutiques are right-on and trendy and full of very nice things to eat or to kit out your Kemptown renovation (Brighton Architectural Reclamation.) There’s an incredible incidence of musical instrument shops; I bought a second-hand vintage style Flange pedal from Brighton Guitars (44 Sydney Street) after trying it out with the help of singer-songwriter (and very helpful sales person) Jack Pout. We chatted a bit about prog (he quite admired Long Distance Runaround) and suggested I listen to the band If.

There are a number of flea markets (I picked up The Steve Howe Album and Imaginary Voyage by Jean-Luc Ponty for £5 each in the North Laine Antique and Flea Market, 5 Upper Gardner Street) and some epic second-hand record stores where I really could have spent more time. Across the Tracks (110 Gloucester Road) has a dedicated prog section and some records I’ve not seen for a long, long time but I just came away with Spyglass Guest by Greenslade. The labyrinthine Wax Factor (24 Trafalgar Street) also sells books and there’s even a diner-style café in a back room. The selection here is immense but its arrangement, though logical, means you have to surf through the mundane to find the gems. I picked up Steve Hillage’s L on CD and Six Pieces by The Enid on vinyl.

The Brighton trip was a semi-retirement day off. Though our house needs a lot of decorating and some renovation, retirement should provide the impetus and finances to get it sorted, to be followed by an upgrade of the hi-fi and, with a bit of luck, more time to listen to vinyl.



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