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, Feb 8 2015 06:37PM

There’s a column in Prog magazine called Locus Focus, written by rock gazetteer David Roberts (author of Rock Atlas) which has the by-line “puts prog on the map”. The notion of highlighting a geographical location associated with some musical iconography appeals to me. I appreciate that a rock atlas is able to transcend the artificial boundaries of genre (think of The Smiths and Salford Lads Club or David Bowie as Ziggy Stardust at 23 Heddon Street, London W1) but the idea seems somehow related to prog for reasons possibly associated with my early academic path and an insatiable appetite for poring over maps.

Yes Tor is an obvious choice for a prog-related geolocation but there are some more obscure sites that equally fit the bill. I’m sure I remember a section in Roger Dean’s Views where he was describing the inspiration for the watery world depicted inside the gatefold of Close to the Edge that included a photo of a small mountain tarn. I seem to recall that he was describing this tarn as being on the top of a mountain ridge and, for whatever reason, I associated this with the picturesque and entirely unexpected tarns on Haystacks in the western Lake District fells; sadly, I’m no longer able to refer to my copy of Views, bought on its publication in 1975, because over the next few years I removed pages to adorn my bedroom walls.

The formation of these tarns, the so-called summit tarn, Innominate Tarn and Blackbeck Tarn is a feature of the Buttermere-Ennerdale watershed as it passes the rocky protuberance of Great Round How and is restricted to a narrow ridge, craggy and precipitous on the Buttermere side. Alfred Wainwright has drawn a picture of the summit tarn, which doesn’t have a name, in his Western Fells (book seven of his Pictorial Guide to the Lakeland Fells) that looks very much as I remember it from a long time ago; the problem of having made a career in London is that I don’t get to do very much Lakeland fell walking anymore. It’s rather paradoxical that the second highest of these natural water features goes under the name of Innominate Tarn and of the three, this is the most magical with an indented rocky shore and a line of tiny islets. If Haystacks didn’t inspire Dean’s Close to the Edge cover, it appears as though it may have informed the cover of Steve Howe’s first solo album Beginnings with the rocky ‘islands’ protruding from the water.

The first time I noticed the Locus Focus column one album immediately sprung to mind: Mike Oldfield’s Hergest Ridge. Hergest Ridge is an elongated hill running from Kington in Herefordshire to Gladestry in Powys in a roughly NE – SW orientation, traversing the border between England and Wales. The summit of the hill is on the English side and stands 426m above sea level, rising 158m above the surrounding landscape; the Offa’s Dyke long distance footpath runs along the ridge. Following the success of Tubular Bells, Oldfield retreated to The Beacon, his house on Bradnor Hill, near Kington. The area obviously inspired him; not only was his sophomore effort titled Hergest Ridge but his third album Ommadawn, recorded at The Beacon, is appended by the short song On Horseback and contains the lyric “If you feel a little glum / To Hergest Ridge you should come”.

My copy of Hergest Ridge dates from 1975 and was bought for me for some ridiculous price; either 75p or 99p by friend Bill Burford who had seen cheap copies in WH Smith in Blackpool or somewhere like that. By the mid-late 70s I’d kind of grown out of Tubular Bells and sold my copy to the sister of classmate Eamonn Quinn. I wasn’t a great fan of side two and, at the time, didn’t appreciate the value of keeping hold of vinyl or the importance and longevity of the piece. It’s strange that I kept my Hergest Ridge but I’m pleased that I did because when I listened to it recently I thought it was a lush, symphonic piece. I’ve still got my original Ommadawn and I invested in Tubular Bells and Tubular Bells II on CD. Based on a review by my brother Richard, I bought a cheap copy of Crises on CD when I was in Padova at the end of last year but I still think that Oldfield’s best album is Hergest Ridge, specifically the original mix; the 2010 edit is unbalanced to my ears as some of the sounds that contribute to the pastoral sweep are sullied by encroaching instruments brought out higher in the mix.

Whereas Tubular Bells owes a debt to the minimalists and Ommadawn, with its pipes and African drums, seems to have fully embraced world music influences, Hergest Ridge occupies more than just a place in the sonic continuum. In some respects it’s a ‘son of’ Tubular Bells and in some respects it preludes the Celtic vibe that is evident on its successor but the thematic development of Hergest Ridge is much more rewarding and continues over the two sides of the album; Tubular Bells is an album of two distinct parts, with side two coming across as a rather hurried composition and as a consequence is far less satisfying. Whole Earth band mate and composer David Bedford lent Oldfield a copy of Delius’ tone poem Brigg Fair before the recording of his first album and though Tubular Bells doesn’t really conform to the romantic symphonic style, Hergest Ridge comes much closer. Oldfield utilised the talents of Bedford to conduct a string section and choir and though it’s not evident how much Bedford was responsible for the orchestration, I can’t believe he didn’t have some influence and input. The album also features guest oboe players Lindsay Cooper and June Whiting plus trumpet from Ted Hobart. This extra instrumentation adds a distinct symphonic flavour that fits together far more seamlessly than the vertical arrangements of its predecessor and though no piece of romantic music lasts anywhere near 40 minutes, Hergest Ridge mimics the rhapsodic structure with pastoral themes, variation and development that characterise Sibelius and Vaughan Williams.

Perhaps as a result of Oldfield’s retreat from the public eye, some critics have suggested that Hergest Ridge encapsulates the mid 70s middle-class hippie vibe; the macrobiotic lifestyle, real ale and flowery names for the children, something cartoonist Posy Simmons loved to lampoon. I think that he’s crafted an album that demonstrates his care and passion for music; it may not be as groundbreaking as Tubular Bells but it’s been carefully assembled and perfectly reflects the majesty of wild, open countryside. Not bad for 75p!



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