ProgBlog

Welcome to the ProgBlog

 

Five days of progressive rock, dedicated to musicians and friends who have died since the last event, divided between historic and new bands, symphonic prog and jazz rock, the avant-garde and a tribute to an important story. Along with the desire to share music together, the event is only held thanks to the effort of all those who work for free: artists, organisers, hosts and helpers. The Progressivamente Festival is a display of dedication, comradeship and great music

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, Nov 25 2014 11:57AM

In the late 60s, experimentation and the rejection of the values of the previous generation was fed by musicians, artists and writers in a mini-renaissance where scientific possibilities pointed in two opposing directions: one to the promise of a utopian future based on consumerism; the other to an understanding that the unfettered use of natural resources was going to endanger the planet. Wars on foreign soil were viewed by the counterculture as imperialist manoeuvres and showed that governments were incapable of embracing ‘cultural relativism’, the academic anthropological view that other distinct cultures should not be seen as inferior to those that espoused Western ideals, because moral values can be culturally specific. The US government had begun to control the populace with pledges of the rewards of hard work: a steady job; a bank loan; a car; a house; new appliances, and competition was deemed to be good because in the economic race, the successful would rise to the top and, according the advertising copywriters of The American Dream, anybody could reap the rewards of the system if they worked hard enough, or swindled, lied and cheated enough.

The opposing view was imported from Eastern Europe and Asia. At that time, no one thought that wars would be fought over foreign oil and other natural resources, the raw materials of capitalism; the enemy was ideological. Such was the paranoia of US politicians, even Communism’s less strident sibling Socialism was to be feared and hated. The proponents of the counterculture embraced the principles of true egalitarianism and challenged creeping corporatism in areas such as agriculture and energy, preferring a ‘back to nature’ outlook and the benefits of a mutually supportive society. During this time, science fiction (SF) matured from escapism into a genre that looked both outwards and inwards and became a serious literary tool to criticise imperialistic tendencies (Ursula Le Guin) and one that warned of the consequences of climate change (JG Ballard). Not surprisingly, SF was embraced by the counterculture and, in conjunction with emerging musical technologies and a liberal dose of chemical stimulants, Psychedelia was born and Space Rock followed shortly after.

The extended blues jamming of the Grateful Dead wasn’t really replicated in the UK or Europe. Pink Floyd played extended jams during their live set and, despite the whimsical psychedelia of the Barrett-penned material that made up the majority of The Piper at the Gates of Dawn, the inclusion of Interstellar Overdrive and Astronomy Domine on the album indicated the direction of the Floyd for the next couple of years. The Floyd weren’t virtuoso but they did extend musical form by embracing effects and applying them in unusual ways and it was this experimentation and a penchant for cosmic-sounding titles that made them the premiere space rock act from around 1969; the live album of Ummagumma showcases their particular brand of music. The other main UK space rock outfit was Hawkwind who had a longstanding collaboration with SF author Michael Moorcock. Heavy and riff-based and again, not a virtuoso band and certainly not prog, I found them more amusing than any kind of serious proposition. Having said that, I do have a soft spot for Space Ritual and Quark Strangeness and Charm and I even attempted to see Robert Calvert’s West End stage interpretation of his novel Hype but the show had been closed early, that very same week. I did pluck up the courage to see Hawkwind at the Fairfield Halls in Croydon on 14th November 1999 but they didn’t play much material that I was familiar with and the gig was more techno than rambling space rock.

The Floyd had quite an influence on bands from mainland Europe. France’s Pulsar were dreamy and trippy and admit to being strongly influenced by Pink Floyd; before changing their name from Free Sound to Pulsar and playing self-penned material they used to perform cover versions of Set the Controls, and Careful with that Axe. Half Canterbury and half Space Rock and half French, early Gong created the Pot Head Pixies from the Planet Gong space mythology and their music was defined by trippy grooves, played by some excellent musicians. The arrival of Steve Hillage in the Gong fold in 1972 didn’t change their direction much as he’d just released an album with his band Khan called Space Shanty (1972) that highlights his fluid glissando guitar. His next venture outside of Gong was Fish Rising (1975) which continued where Space Shanty left off and included the classic Solar Musick Suite.

Perhaps more than anything, the influence of Pink Floyd was soaked-up by the fledgling German rock movement. Despite the America-centric music industry labelling all German bands with the derogatory term 'Krautrock', the bands themselves adopted the title. Somewhat like Italian prog having a different flavour depending on where the band originated, there were few similarities between bands from the different German cities and there were often no sonic similarities between bands from the same city. What they did have in common, however, was a rejection of the attitude of the previous generation who remained deeply conservative and refused to contemplate atonement for the acts their leaders had carried out in WW2; the new generation had grown up after the war and wanted to create something new and different and independent of mainstream western rock. Many of the early Krautrock acts were highly politicised: Amon Düül arose from a commune that celebrated a variety of art forms and the music they produced was fairly amateur. Musicians from the band formed Amon Düül II and the qualitative difference between the two acts, which co-existed for a while, was huge. Some would argue that Amon Düül II reneged on the principles of the commune, seeking to make a materialist livelihood playing Floyd-inspired space rock. It’s important to point out that not all Krautrock was spacey and reliant upon common instrumentation; much of it was a startlingly original blend of electronics and industrial sounds, including the use of a cement mixer by Faust.

Eloy played a fairly basic form of symphonic prog that owed a debt to the Floyd and were even signed to the Harvest label. Taking their name from the futuristic race in HG Wells’ The Time Machine, their sound is heavy and organ/guitar drenched. I have a copy of Inside (1973) that I bought second hand in Beanos in 2005; all the vocals are in English and the lyrics lack complexity; there’s a hint of politics in the writing but political content was toned down after their first release. I find Nektar, who were British and based in Hamburg yet still get classed as Krautrock, stylistically similar to Eloy with a basis of heavy rock but stretching out into space rock territory. They’re certainly more rock than prog and the one CD that I own, Remember the Future, is considered to be one of their best works. I’m not at all keen on the almost country rock guitar and vocal harmonies and find it hard to believe that I paid nearly €16 for the album. On the plus side, I did buy it at a good exchange rate when I was in Berlin in 2005.

The other major Floyd-influenced Krautrock band is Tangerine Dream. They began with guitar and drums but fairly rapidly evolved into the classic electronic trio line-up that had a great deal of success with the progressive crowd after signing to Virgin. Their expansion of kosmische musik (electronic drones produced by tape loops or keyboard, originally popularised by Popol Vuh) using sequencers for a form of metronomic backing. Pink Floyd had begun to use the VCS3 for Dark Side of the Moon and TD used sequencers in a not dissimilar fashion, weaving in and out of electronic washes of sound. Phaedra and Rubycon are both classic albums and essential listening. By the time of Stratosfear (1976), guitar had crept back into their instrumentation and original member uses mouth organ. Personally, I don’t think that the harmonica is not a prog instrument!


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