ProgBlog

By ProgBlog, Jun 15 2020 09:03PM

Even though much of the world has been in lockdown to reduce the spread of the Covid-19 pandemic, many musicians have been working away on new material and over the last few weeks ProgBlog has been inundated with requests for reviewing/featuring a wide range of prog-related singles and EPs, from pop-prog to protest song to symphonic metal to punk-progressive metal, all submitted for viewing with a video. It’s a testament to the unifying power of music that groups have been able to write, record and distribute material through such turbulent times – Manchester’s New Luna managed to play a session in New York before catching one of the last flights back to the UK before global passenger air travel ground to a halt. Here are the singles I’ve been listening to and watching:



Fughu (Argentina) Right from the Bone (from the album Lost Connection)



Fughu play aggressive metal tempered with prog flourishes and a punk attitude. Their story began when guitarist Ariel Bellizio met drummer Alejandro Lopez at school in Buenos Aires in 1999, before recruiting Marcelo Malmerica (keyboards), Juan Manuel Lopez (bass) and opera singer Santiago Burgi. Armed with influences as varied as Megadeath, Deep Purple, Kiss, ELP, Van der Graaf Generator, King Crimson and tango composer Astor Piazzolla, the group took on the name Fughu. In March 2008, Fughu were selected by Mike Portnoy to be Dream Theater’s opening act at the 9000 capacity Luna Park Stadium. The following year they self-produced their well-received first album Absence, and followed that with the simultaneous release of conceptual pieces Human – The Tales and Human – The Facts in May 2013. Both works received glowing reviews and opened the door to overseas tours, including European dates in Germany, Poland, Hungary, Romania, Serbia and Austria during 2015.

Santiago Burgi left the band and returned to opera in 2016, replaced by Renzo Favaro. The new-look formation began touring Argentina in 2018 when they were honoured to be the opening act for Premiata Forneria Marconi in their home city, fine tuning what they regard as their most defiant work, 2019’s Lost Connection


https://youtu.be/XpEEY0Ne9Ew



Silver Nightmares (Italy) The Wandering Angel (from the EP The Wandering Angel)


Silver Nightmares was formed in Palermo in 2018 by bassist Gabriele Esposito, drummer Alessio Maddaloni and keyboardist Gabriele Taormina, going through several configurations until arriving at its current line-up with Mimmo Garofalo (guitars) before setting about writing and orchestrating the musical material that would make up their debut EP The Wandering Angel (2020). For recording, the quartet was augmented by Simone Bonomo and Michele Vitrano (vocals), Giulio Maddaloni (flute), Tody Nuzzo (guitars) and Davide Severino (trumpet). Their pool of influences ranges through progressive rock, AOR, heavy metal and classical music with acts such as Asia, Genesis, Savatage, Trans-Siberian Orchestra, Styx, Kansas, Toto, Iron Maiden, Jethro Tull, Foreigner, Dream Theater, Opeth, Ghost, Marillion, Anathema, Katatonia and Judas Priest.

The five-track EP is a concept piece concerning the loss of human spirituality. A wandering angel, from the distant star of life, falls from heaven and gradually becomes ever more contaminated by the corruption on earth. The story is illustrated by the fate of the natural world, heroes of the past and shrewd present day characters


https://youtu.be/omV0T8kaBoo



New Luna (UK) Prunus



Affirming their reputation with a series of intense sold-out shows across Manchester last year, New Luna spent their final days before lockdown in New York for The New Colossus Festival and performed a head-turning Paste Magazine live session just hours before catching one of the final flights out of New York. Their sound has been described as ‘dream-pop reimagined for the Mancunian drizzle’ (Clash Magazine), a unique blend of post-punk and dream-pop that has earned them nods from the likes of Piccadilly Records and BBC Introducing. Tipped by Paste as one of the need-to-know Manchester artists, the band have performed at multiple major festivals and opened for softcore psyche band Childcare and alt-rockers Happyness, Kagoule, and October Drift.

Though it’s really not the sort of thing normally considered to be in the ProgBlog remit, it does blend a number of styles and I found myself quite enjoying it. Post-punk vies with guitar-driven dream-pop as the most dominant sound but mixed in with all this is a dose of psychedelia and the whole thing is held together with solid rhythm and intelligent, imaginative drumming – the interview at Paste suggests there are hip-hop references and Stewart Copeland is cited as an inspiration. The twin guitars work well together whichever style dominates, and there’s an admirable degree of variation


https://youtu.be/teRLVPZ93Y0



Moon Letters (USA) The Red Knight and On the Shoreline (from the album Until They Feel the Sun)



More about Moon Letters can be found on the ProgBlog DISCovery page http://progblog.co.uk/discovery-17-moon-letters/4594741702


youtu.be/ysohUexhhPo

youtu.be/I8iZMCFaSSI



Konarucchi (New Zealand) They Follow (from the forthcoming EP Stuck in Daydreams)



They Follow is a track inspired by alternative / progressive rock, influenced by bands such as Muse, Porcupine Tree, and The Pineapple Thief. The song is about someone reaching out for help because their bad thoughts and feelings are getting overwhelming, and they don't know what's wrong or how they can fix it. It's the second single off the debut EP Stuck in Daydreams, released at the end of May.

Konarucchi, who mostly performs solo acoustic or with his alt pop-rock band Pale Lady, is a multi-genre solo artist from the small town of Wainuiomata in New Zealand. He likes to experiment with many different styles of music, without focusing on how they will fit together, because he believes that cohesion in music comes from the artist rather than the genre. This idea has a clear influence in the music he creates, and is strongly apparent in Stuck in Daydreams. The EP has many different influences, ranging from jazz to rock to alternative to electronic to metal, which work harmoniously together to create an amalgamation of this raw emotional silliness (his words) he calls an EP. The material is a step-up from his normal work, employing a backing band of honed musicians in order to play the full versions of the songs from this EP


https://youtu.be/YxlPeqqDxH0



Kitten Pyramid (UK) Doughnuts



Experimental UK pop-proggers and The Guardian newspaper darlings Kitten Pyramid have just released a new song Doughnuts, the first track to be taken from upcoming album Koozy!, due out next year.

Seven years on from their acclaimed self-released debut Uh-Oh! and five since the ambitious High Five Scuba Dive EP, Burton-on-Trent singer-songwriter Scott Milligan, aka Kitten Pyramid, presents the new track Doughnuts, a reflective hymn to the importance of real people, ordinary lives and the march of time, carefully coordinated to coincide with National Doughnut Day. Milligan describes Doughnuts as embracing the beauty in repetition and of the mundane, saying 'it’s about the chirpy train of death rhythmically chuffing and clunking away behind us, getting louder as we get older.' Employing a Milligan family-and-friends choir, it begins with soft chanting before the introduction of a simple piano melody, subtle steam-engine percussion and A Day In The Life drums, building to a brass and strings-laden climax as Milligan details items of routine and domestic humdrum.

Superficially lightweight but really rather deep, Doughnuts and its accompanying video (filmed during the current lockdown) is subtle prog dressed in readily-digestible pop clothes


https://youtu.be/6gcsbUE7qgw



The Dowling Poole (UK) Deep Breath



The Deep Breath single doesn’t appear on The Dowling Poole's recently released third album See You See Me but was produced during lockdown and sums up the upheavals we are all enduring. Willie Dowling and Jon Poole have no qualms about penning political songs, and though they write catchy pop tunes the subject matter is treated with prog-seriousness.

Dowling suggests it tends to be those to the right of centre who advocate the hypothesis that music and politics is an unholy mix, in an attempt to protect the status quo. Explaining that almost everything that touches our lives is political by definition, he says any serious songwriter will be saying something in their songs about the recent immense events and the way that they touch their lives: 'Music is a powerful way of connecting people, and since the 1960s, established power worldwide [has been] aware of this and is keen to ignore, mock or condemn any critique of power made in song form.'

It’s pleasing that The Dowling Poole is free to speak up about what they believe in and highlight the injustices that surround them. In keeping with these ideals, the video for Deep Breath features footage contributed by fans of the band from around the world who have documented their recent experiences of protest and lockdown


https://youtu.be/ommwIdGKm20



Quantum (Sweden) The Next Breath of Air (EP)



Quantum is Anton Ericsson, Oscar Lundin, Marcus Lundberg and Samuel Walfridssona, a progressive rock band from Stockholm influenced by music ranging from classic-era prog like Genesis or King Crimson, to extreme metal bands like Mastodon and jazz fusion in the vein of The Mahavishnu Orchestra. Quantum’s music is packed with aggressive dynamic shifts and memorable melodies; music that can shimmer one moment only to explode the next. The material dips into jazz ballad and bursts of metal; it combines with expanded forms from European art music, exhibits flashes of math rock and blends intricate harmonies, all the while maintaining a focus on groove and melody, creating a sound that is quite something else


https://youtu.be/7FADB8XKhHI



The Tragic Company (Spain) Rotten


The Tragic Company hail from southern Spain and recently released a seven-minute long prog-single in the style of Tool, Porcupine Tree or Dream Theater called Rotten, which is to be featured on their forthcoming studio album Paradox (Wild Punk Records.) Guitarist/vocalist and band leader Juanma Medina has shaped their style into a mixture of the best alternative, post-grunge and stoner rock with a prog touch, citing Pearl Jam, Soundgarden and Porcupine Tree as influencing their sound. The other band members are Mariano Alcobendas (lead guitar and backing vocals); Alan Voreaux (bass and backing vocals); and Jose Luis Fernández (drums). They have gigged hard to build a solid reputation on the Spanish underground scene over the past few years, with well-crafted songs in English, and put out two studio albums and a live unplugged album


https://youtu.be/0c3jW64hbRs



Seth Angerer (Austria) Not Here to F*ck Spiders



Seth Angerer explains that the title of his latest single Not Here to F*ck Spiders is an Australian phrase which means ‘not here to fuck around’. He regards it as his best produced piece, an anthem decrying hypocrisy, which like his other material is self-written, recorded and produced.

His early EPs were in a prog metal/djent style, influenced by bands like Meshuggah and Haken, but his first long-form opus was 2018’s symphonic album Shinka (Japanese: evolution) in four movements; expansive, dramatic and cinematic music that could have acted as the soundtrack for the creation of the solar system. Not Here to F*ck Spiders is a move away from the symphonic, back firmly into prog metal territory where in addition to his own voice, guest vocalist Pipi Gogerl (Ancient Fragments/Question of Eternity) lends a hand


https://youtu.be/LekQuPQyyT4












By ProgBlog, Jun 12 2016 09:24PM

I remember the UK joining the EEC in 1973 better than I remember the last time the UK took place in a European referendum on the 5th June 1975. During an Art lesson at the time we joined the Common Market, we were given the task of illustrating the event and though my family quite happily discussed issues that laid the foundation for my own political awakening, I don’t recall how they voted in the 1975 plebiscite.

The first half of 1975 was relatively quiet for releases from major progressive rock acts. In April Camel released Music Inspired by the Snow Goose and Hatfield and the North released The Rotter’s Club the previous month but it wasn’t until late summer into autumn that the floodgates opened and Caravan finally managed to get an album in the charts with Cunning Stunts; Gentle Giant released the accessible Free Hand; Quiet Sun put out the phenomenal, off-beat Mainstream; Pink Floyd returned from hiatus with Wish You Were Here; Jethro Tull released the under-rated Minstrel in the Gallery; Steve Hackett embarked on his first solo venture, albeit with help from a number of his band mates, Voyage of the Acolyte; Van der Graaf Generator mark II announced their reformation with Godbluff; Chris Squire became the first of the Yes alumni to release a solo album during their break from band duties with Fish out of Water; and Vangelis, who had sparked our interest because of headlines linking him with Yes after the departure of Rick Wakeman in 1974, put out Heaven and Hell. Focus rounded off the year with Mother Focus, a departure from the symphonic prog of Hamburger Concerto, veering into pop and funk territory, considered by many to be disappointingly sub-standard.


With the exception of Wish You Were Here and Fish out of Water, I didn’t buy any of the albums listed above at the time of their release due to a combination of lack of funds and a lack of willingness to take a punt when I’d only heard excerpts on the radio. I’ve yet to commit to a copy of Cunning Stunts. When I did buy an LP it was catching up with a release from earlier in the progressive rock timeline, including the compilation Yesterdays which really counts as the first Yes retrospective, no doubt issued (in February 1975) to maintain interest in the group as they all took time off to explore solo ventures. I thought it was a decent way of acquiring some of their early material, plus a muscular, prog version of Simon and Garfunkel’s America, for half the price of the first two studio albums. Another two albums that I did buy when they first came out were Rubycon by Tangerine Dream and Rick Wakeman’s Myths and Legends of King Arthur and the Knights of the Round Table, from March and April 1975 respectively. I hadn’t bought Journey to the Centre of the Earth, having been put off by the vocals but I thought the singing on Arthur was better and Wakeman’s song writing had improved, though not to the standard of the musical vignettes on the entirely instrumental The Six Wives of Henry VIII. Also, as much as I approved of Jules Verne’s proto-science fiction, I was much more familiar with Arthurian legends. Rubycon continued on from where Phaedra had left off and at the time I was very much in favour of keyboard-drenched sojourns into outer and inner space and the amorphous washes from Tangerine Dream, coupled with the sequencer pulses weaving and morphing in and out of the synthesizer, organ and Mellotron drones chimed with my interest in sonic exploration.


Whereas I’d heard of bands like Amon Düül, Kraftwerk and, thanks to the marketing gurus at Virgin Records selling The Faust Tapes for 49p, Faust, of all the German bands I only really liked Tangerine Dream; that was until late summer when Triumvirat released Spartacus and, after hearing March to the Eternal City on Alan Freeman's radio show, I went out and bought the album. Whereas most of the album is stylistically analogous to Emerson, Lake and Palmer’s Karn Evil 9, March to the Eternal City hints of ELP but is obviously Triumvirat. This is the best track on the album thanks to the lyrics which sound as though they could be telling some future tale, “they carry missile and spear”, like a storyline from the comic strip The Trigan Empire; the other words are a bit schoolboy-ish and naive.

It was early in 1975 was when I discovered Premiata Forneria Marcon (PFM) when friend Bill Burford bought Chocolate Kings and live cut Cook, and a Europe-wide take on the progressive rock super-genre began to reveal itself with other musicians and bands joining the movement, one that still seemed very much rooted in the original ideals. This time of progressive rock coincided with the death of Franco in Spain and the beginning of the transition to democracy and Greece only emerged from a military junta the previous year, 1974.


Fast forward to 2016 and Europe seems to be doing its best to tear itself apart. Southern states have been most badly affected by austerity and though it’s been easy for those in power to deflect the blame from the banks that caused the financial crisis in 2008, it has resulted in an abandonment of belief in the political system. Those on the Right blame immigration for their economic outlook while those on the Left decry inflexible centrists for imposing austerity on their countries. So far, the far Right have been kept from power but the frightening prospect of Golden Dawn in Greece, a violent party that took third place in elections in 2015 or France’s Marine Le Pen or, even more recently, of Norbert Hofer from the Freedom Party who was narrowly defeated by the socialist Alexander Van der Bellen in this year’s Austrian Presidential election, being elected to run their country is a serious cause for concern because their insular point of view and populist nationalism is a breeding ground for hatred and violence and threatens genuine democracy through clamping down on freedom of speech. Our very own UKIP operates under the guise of respectability but a series of interventions by party officials shows how nasty they really are, trading on fear, lies and the politics of hatred. Wars in Africa and the Middle East have created a massive migrant crisis as refugees risk their lives in the flight from their own countries towards what they believe to be the safety of the West, landing in Italy and Greece, creating perfect conditions for the rise of anti-immigrant sympathies.

It seems to me that the UK referendum on our membership of the EU, a political gamble by David Cameron that was always destined to fail, has been reduced to the level of a playground brawl with each side calling each other names and, despite those who wish to remain talking up doom scenarios and those who wish to leave having no idea of how the country will fare outside of the EU, this has become a referendum on immigration. Those in favour of leaving imagine they are going to take control of our borders. Could they remind themselves how many Syrian refugees the UK has taken in? That was 1,602 at the end of March this year. What an amazing response to a humanitarian crisis! According to Nigel Farage, controlling immigration is restricting the movement of Europeans into the UK complaining of the stress placed upon housing, jobs and the NHS but allowing an undisclosed number of Commonwealth citizens to come to the UK. It’s hard to believe he can get away with such hypocrisy but the 24 hour media cover concentrates on ‘blue on blue’ attacks and making up non-stories about Jeremy Corbyn.

It would be nice if someone broadcast the message that it’s not immigrants who put strain on public services, but ideological austerity and the deliberate dogmatic shrinking of the State. No one has said there’s not enough room in the country. There aren’t enough hospital beds, teachers and affordable houses or public transport because this government, and those before, have pursued policies of enriching the few and penalising those on low and middle incomes, welcoming foreign investment in luxury developments but leaving flats empty, under-occupied and pushing house prices beyond the means of a major proportion of the population, slashing the salaries of healthcare workers and teachers through public-sector pay freezes and pension changes and forcing low paid private sector employees into zero hour contracts. Please don’t think that education, health, housing, jobs and transport would be better if we leave the EU – those advocating leave are equally responsible for the state of the country with their private healthcare directorships and money secreted away in tax havens.

Progressive rock espoused the benefits of external influences and embraced the nascent green movement. I’m not suggesting that there’s nothing wrong with the EU but the UK will not be able to face up to global challenges like climate change on its own. This means the abandonment of austerity and offering more, better targeted training and rejecting xenophobia. Let’s do it with help from our EU partners.





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