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Is there rivaly between progressive rock bands or is the genre like an extended happy family?

ProgBlog investigates...

By ProgBlog, Oct 16 2016 06:32PM

Ever since Tales from Topographic Oceans was released in 1973, I’ve been entranced by not just the music, but also by the Roger Dean cover artwork. I’ve blogged about Tales before http://progblog.co.uk/the-blogs/4583484660/Tales-of-division-(posted-22-6-14)/8315138 and up until the release of the Anderson/Stolt Invention of Knowledge earlier this year, there hadn’t really been anything of such scope released by anyone else. If we believe the review of the Steven Wilson remixed Tales by Chris Roberts in Prog 70 at the beginning of the month, there appears to be a consensus emerging that regards The Ancient (side 3) as being the weak link. I disagree. I think that Giants Under the Sun is Yes doing Stravinsky, a brilliant interpretation of primal human belief, neatly brought to resolution by the under-rated Howe acoustic guitar in the ‘leaves of green’ section; The Remembering, on the other hand, meanders too much and when Wakeman criticised the album as lacking sufficient material for a double LP, I assumed the ‘filler’ he was referring to was on side 2, as I think the ebb and flow of the Topographic Ocean has a more limited dynamic range.

If the artwork on Fragile, Close to the Edge and Yessongs represent a unified narrative allowing the listener to piece together the story of a doomed planet and the recolonisation of a new home, Tales was a mini-story all on one gatefold sleeve, the juxtaposition of disparate elements selected by the members of the band, carefully placed so that both the front cover on its own and the front and back images together have a symmetry that works visually. Being interested in Stonehenge and Avebury provided a degree of familiarity but the fish swimming through the air added a sense of of mystery which I always associated with the ‘topographic ocean’. There’s an incongruity to the painting but it doesn’t detract from the overall scene. Why, for instance, would you put one of the geoglyphs from the plain at Nazca in front of a Mayan temple? I simply accepted the explanation that these were suggestions from the musicians themselves and marvelled at their exoticism.




The golden era of progressive rock coincided with an increased interest in science fiction, possibly catalysed by the moon landing on July 20th 1969 when it seemed that the future had arrived; Armstrong’s giant leap for mankind heralding a technologically-fuelled optimism. As we expanded the frontiers of our knowledge, probing out into space and preparing for lunar exploration, the imagination of a number of cod-science writers was sent into overdrive. Erich Von Daniken published Chariots of the Gods? In 1968 and within the next few years it had become quite widely read by school friends and associates. Alan White’s wish to have a Nazca geoglyph on the cover of Tales was roughly synchronous with the popularity of Von Daniken’s book and whereas I’d far rather listen to archaeological explanations than some spurious New Age theory involving ancient aliens, I still had a desire to see the markings at Nazca. Von Daniken compares photographs of American space centre launch sites to the constructions on the plains of Nazca but current archaeological evidence suggests the markings had a magical-religious purpose pertaining to water, which was in very scarce supply and they had an astronomical purpose that related to seasonal changes. Over the past 30-odd years I’ve ticked off Stonehenge, Avebury and the Carnac alignments in Brittany and last month I finally got around to visit Peru, taking in Machu Picchu and, equally importantly, a flight over the Nazca lines. Both were unforgettable experiences though sadly the monkey geoglyph, as used in the illustration for Tales, appeared a little indistinct from the air. It’s strange that Dean has painted the monkey as a mirror image, with the tail to the right and the hands to the left; in real life this 110m figure has the coiled tailed to the left and the intricate hands to the right.




The whole Peruvian adventure was amazing. We arrived in Lima 48 hours after Steve Hackett had begun playing with local Genesis tribute band Genetics but there was no way I could have got to see the performance without taking extra days off work (when it had already proved difficult to get the leave I required) because the 15 day tours all began on a Monday, meaning we had a little over 24 hours before getting together as a tour group.




Rather than head off to the old centre of the city, we spent Sunday in Miraflores, where our hotel was located, and the adjacent district of Barranco because these were areas where gentrification was well under way, reflecting the modern Lima of restaurants, cafés and restored architecture. I’d done some homework before setting off, saving a list of the cream of Peruvian progressive rock bands on my phone and, after finding the first decent espresso for three days – I've been told that South America has a thing about Nescafe and it turns out that Madrid, the international hub for direct flights to South America, isn’t well supplied with good coffee either – we came across Phantom Music (Av. Jose Larco 409, Miraflores 18, Peru) which looked a little unpromising at first with a window display comprised of advertising for computer games. Don’t judge a book by the cover; The shop had CDs by Flor de Loto and Frágil and also a CD by Ultimos Incas bearing the legend on its shrink wrap: “El rock progresivo en su más original propuesta peruvana, las raices de una cultura en diálogo soberbio con lo contemporáneo” which roughly translates as “Peruvian progressive rock at its most original, the roots of a culture in superb dialogue with the contemporary.” How could I resist?





I missed out on two of the albums I’d most wanted, Frágil’s first album Avenida Larco (the road on which Phantom was situated) from 1981 and Flor de Loto’s eponymous 2005 debut but, applying the ProgBlog rule that if you saw an album that was on your radar you had to buy it because you might not see it again, I came away with a Frágil compilation, Ultimos Incas' Naturaleza Luminosa (2011); and four CDs by Flor de Loto: Imperio De Cristal (2011); Volver A Nacer (2012); Nuevo Mesias (2014); and the live offering Medusa: En vivo en Buenos Aires (2015).

Frágil, named after the 1971 Yes album, are a highly regarded band that have only managed to release five albums in their career, having undergone numerous personnel changes. The songs on my compilation CD reveal some world-class progressive rock (the earliest material which calls to mind early Genesis) through neo-prog to pop-rock in the style of post-Hackett Genesis. Los Ultimos Incas have been going for over 10 years and play a fusion of traditional Peruvian music and rock, resulting in a prog/world music sound, without keyboards. Some of this is genuine prog-sounding but there are tracks which are slightly less inspiring, more Andean folk and reliant on old influences rather than mixing past and present.

Henri Strik, writing for Netherlands-based Background Magazine has described Flor de Loto as ‘refined progressive rockmixed with elements taken from progmetal and Latin influences’ but they have been described elsewhere as ‘prog-folk.’ Regarded as being the biggest progressive rock act in Peru at the present moment, I find the more recent material leaning towards prog-metal, though they can also handle prog. The ‘folk’ tag comes from the use of flute and their first release displays some Jethro Tull influence.

Of the three bands, I think I prefer Frágil, because their first album is closest to the sort of music that I like and they include more keyboards. Flor de Loto, despite great musicianship, have a tendency to fall back on metal-edged lines that sit a little incongruously with the flute. Los Ultimos Incas come closest to how you’d imagine a Peruvian folk-rock band with their uses of pipes, but there is far more sophistication than your average group of musicians carrying their instruments around from restaurant to restaurant in Aguas Calientes or Puno with their extended versions of El Condor Pasa, and way more authentic than the Andean pipe player in town centres up and down the UK, playing over backing tracks on a Saturday morning...

Peru is an incredible country with amazing scenery. It’s also got an established progressive rock scene to go along with the amazing sites and scenery. Our Quechuan tour guide impressed on us how Peruvians were proud of their mixed gene pool; disparate influences are necessary ingredients for progressive rock.








By ProgBlog, Mar 27 2016 07:52PM

I’ve just been in conversation with Fleur Elliott, one of the organisers of HRH Prog, who required a bit of feedback on last weekend’s festival, during which I tried to be as helpful as possible. The annual HRH Prog festival is held in the Haven holiday park, Hafan y Mor, Pwllheli, in North Wales. I attended this year’s bash (4) with friends Jim Knipe and Mike Chavez, and met up with my brother Richard who had travelled down from Cumbria with the drummer and keyboard player from his prog band Ravenwing, husband and wife team Paul and Rose East. The northern contingent was arriving on the Friday and staying off-site but Jim, Mike and I were accommodated in a freshly refurbished chalet within 50m of the Prog stage. The fittings were all new and the rooms were clean but never having camped in anything quite as permanent as this before (a succession of family camping holidays around Brittany saw us become relative experts at surviving in static mobile homes after a single year of sleeping in not just a tent but a Supertent, that somehow managed to survive an Atlantic storm that sent most other holidaymakers scurrying for local hotels.) The only drawback with the chalet was the nocturnal temperature which dropped close to freezing so that getting up in the morning was moderately uncomfortable; the walls were pretty thin and the windows were only single-glazed and it took some considerable time for the heater to warm up the living space.


Pwllheli is set in beautiful countryside such that the long drive up from Surrey via Stonehenge, Avebury and Bradford on Avon (to pick up Mike) was still enjoyable as we passed through impressive scenery making our way north through the middle of Wales. We arrived at the campsite a little late to take part in the quiz (I think we’d have made a formidable team) and to see Hammerhead and Oktopus (printed as Octopus in the official line-up) but entered the prog arena for Third Quadrant. Originally active in the golden era of neo-prog, the band reformed in 2012 and added to their 80s releases with a 2012 live recording and a series of three albums in 2013, the covers of which display a certain stylistic cohesiveness, with nice photography and a simple, distinctive font. The only song I remember from their set was from the album Deadstar but their sound was indistinct; it was impossible to work out what Clive Mollart on second keyboards was adding and the guitar was too high up in the mix. David Forster’s double neck bass may have been quite intriguing but the group left no lasting musical impression: a kind of space rock with poor vocals. Hawkwind were a space rock band but I’ve never really classed them as progressive rock.


This was the major fault with the festival, a succession of bands that were not really prog. I understand that the genre is wide-ranging and I’ve penned discourses on what is and is not prog, and why. Next on the bill was Arthur Brown and, aside from spawning some musicians that genuinely played a part in the genre, his theatrics never made him prog. We stayed for three songs before calling it a night, unimpressed by the material played by his band and disappointed with his vocals. Perhaps the dancer he featured was meant to take our minds off the music...

Friday began with a trip out to nearby Portmeirion, the Italianate village designed by Clough Williams-Ellis in 1925, eventually completed in 1975 that also featured in the cult 60s TV series The Prisoner. The freshly repainted plasterwork looked amazing in the spring sunshine and it proved to be a very worthwhile excursion, with a walk out onto the sands of Afon Dwyryd estuary in the footsteps of No. 6 and some impromptu conversations with locals. The return journey was broken with a trip to Cob Records in Porthmadog, an independent store that has been running since 1975. Mike had wondered out loud if the shop was still a viable proposition, having bought records from its mail order business in the 80s, and we happened to see it just off the main road out of the town on our way to Portmeirion. I bought vinyl copies of Seconds Out (1977) and Expresso II (1978) and Jim picked up a copy of McDonald and Giles (1971) on CD.


Generally described as ‘math rock’ or ‘post rock’ I’d wanted to see The Fierce and the Dead partly because of their Fripp-like guitar parts and a reputation that got them nominated in the Prog magazine reader’s poll Limelight category in 2013 but also because their first album was If it Carries on Like This We are Moving to Morecambe (2011); Morecambe lying south of Barrow across Morecambe Bay. We missed them, arriving back from our trip too late and we also skipped September Code and Abel Ganz because shopping and dinner took priority over a band that one reviewer had described as sounding like “late 80s Rush”, though I probably should have given the prog folk of Abel Ganz a listen.

We also declined to watch Edgar Broughton. Despite being on the Harvest label, the Edgar Broughton Band were heavy/psychedelic rockers with blues roots; Broughton’s vocals were gritty and well suited to the blues idiom. Richard, Paul and Rose had arrived in time to see this set and reported that he played a prog-free slot on acoustic guitar. We met up with them for Curved Air but when a woman took to the stage with a Gibson SG strung around her neck, it was Rosalie Cunningham with her psychedelic rock band Purson and not Sonja Kristina. Parachuted in at very short notice (the Purson website doesn’t list the gig and Curved Air remained on the official line-up) they played a competent set that bore no resemblance to progressive rock, despite Cunningham at one point introducing a song as being “more proggy” than their other material.

Caravan’s set was punctuated with too many new songs for my taste but at least they played Nine Feet Underground in its entirety. Though Pye Hastings is the only remaining original member, multi-instrumentalist and long-term stalwart Geoffrey Richardson and keyboard player Jan Schelhaas provide enough Canterbury history to get away with retaining the band’s moniker. Sadly, Hastings’ voice is no longer up to the classic material and they seem unwilling to transpose key to accommodate his new range. They remain crowd-pleasers and Golf Girl, played as an encore, featured Richardson performing an entertaining spoon solo.

The main event was the other founding Canterbury scene outfit, Soft Machine. Without any original members but with John Marshall, Roy Babbington and John Etheridge all having served in the band, augmented by Theo Travis who had been part of Soft Machine Legacy, it was as close as I’d ever get to one of the original progressive rock acts. The set was pretty challenging and covered a wide range of the Softs’ back catalogue, including Hugh Hopper’s Facelift (from Third, 1970), Hazard Profile (from Bundles, 1975) and Song of Aeolus (from Softs, 1976), plus some Soft Machine Legacy tracks.

None of this material was straightforward prog either, registering on the jazz side of jazz rock, but it was immensely enjoyable.


Saturday morning was devoted to a visit to Harlech Castle, built by Edward I in the late 13th century and now a World Heritage site (the third of the trip.) Grey and windy, it was hardly the best weather to visit Harlech though the sun began to break through in the early afternoon as we walked along the dune-flanked beach.

Back in Hafan y Mor, we shopped, cooked and ate and got to the main stage in time for The Enid only to be desperately disappointed. Festivals aren’t really the most appropriate occasions to reveal the entire new album and though the fan base is usually very forgiving, I wanted and was expecting some kind of ‘best of’ which is what I’d experienced when I last saw them at Balham’s Resonance Festival in 2014. When I reviewed that particular show I suggested that I might upset some readers with my opinion of Joe Payne but after last weekend my opinion has hardened. There’s still the hint of romantic classical music in their repertoire but the drama created by the music has been replaced with West End musical theatre, a surprising reversal of attitude for a band that in the late 70s never took itself too seriously as they played the Dam Busters March and God Save the Queen, while still producing grand, sweeping cinematic pieces of symphonic prog. The latest material is vocal heavy and though Payne does have a fine voice, the delivery is like Freddie Mercury appearing in Phantom of the Opera. When I returned home I played In the Region of the Summer Stars (1976) to remind myself how good The Enid used to be. This new phase of Enid music has eschewed fairies and Fand and it’s a crying shame.

Focus, on next, and Ian Anderson both played crowd-pleasing sets and both were very enjoyable. It’s clear that Focus don’t take themselves too seriously but Thijs van Leer is fully aware of the value of his back catalogue, delving into the first four albums and including complementary recent tracks, allowing him to plug Focus X (2012.) Ian Anderson’s set was promoted as ‘plays the best of Jethro Tull’ and only included one new song, Fruits of Frankenfield. Anderson’s voice is also not as strong as it once was but the music, and his flute in particular, were spot on.


Focus and Ian Anderson were undoubtedly the highlights of the evening. I survived one song and about four bars of another from the Von Hertzen Brothers before leaving; I got the impression that they weren’t going to play anything that I might class as prog.

On the way home on Sunday we discussed the weekend. It had been enjoyable with some good music, excellent location, countryside and scenery with some world-class attractions to fill the music-free hours, and pretty good accommodation. The organisation appeared a little haphazard; my arrival pack took a considerable time to track down, the non-show of Curved Air remained unexplained and there was no introduction of the acts. Yet somehow the groups seemed to stick close to their schedules. We didn’t visit and band merchandise stands but the vinyl and CDs on sale covered the gamut of rock and included some hard to find music, so someone was doing a decent job of organising, despite their apparent invisibility. Our major problem was that for an alleged prog festival, we didn’t detect a surfeit of prog! Jim pointed out that there are a handful of individuals in a family of art collectors, dealers and art scholars, the Wildensteins, who pronounce on whether or not a painting is genuine or fake. We’ve resolved to set up such a committee to invigilate on what constitutes progressive rock...










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