ProgBlog

Welcome to the ProgBlog

 

It was the 70th anniversary of the founding of the NHS last week, with Nye Bevan making possibly the most important contribution to social democracy.

I'm incredibly happy that such an egalitarian institution has lasted so far, but I didn't get caught up in the celebrations...

By ProgBlog, Apr 9 2018 10:38PM

Z-Fest 2018, Legend Club, Milan 23 March



Next stop: Milan. I attended the 2017 Z-Fest and apart from choosing a hotel miles from the club so that the taxi driver was unhappy to let me out of his cab because he wasn’t convinced that there was actually an event being held there and then not being able to communicate with a taxi firm to get me back to the hotel after it had finished, it was a successful venture. 2017 had something of an ‘experimental’ vibe, with the jazzy Zaal (standing in for Christadoro, a Zuffanti co-venture who released an album in February that year) and headliners Finisterre, who of all the Zuffanti projects seem to me the group who best represent boundary-pushing. That show also featured the Zuffanti-produced Cellar Noise, playing through their excellent symphonic prog debut Alight (2017) and wowing the crowd with an excellent rendition of Genesis’ The Knife as an encore. The whole band was present for this year’s Z-Fest, getting ready to embark upon their first concert outside of Europe, in Canada, and they told me the material they were writing for their forthcoming album was going to be a bit heavier than on Alight but still recognisably Cellar Noise. Z-Fest 2018 was dubbed ‘the symphonic edition’ headlined by Höstsonaten, who are without doubt the most symphonic of Zuffanti’s many sidelines and compared by the man himself to The Enid, so it was quite appropriate that former Enid vocalist Joe Payne had been invited to open proceedings, with the other slots allotted to Isproject, a prog/post rock duo augmented by Zuffanti associates, taking their place in the proceedings by virtue of releasing a fine, symphonic concept album The Archinauts (2017) produced by Zuffanti, and to Heather Findlay, the vocalist for Mostly Autumn from 1996 until 2010.



This year my wife and I were based in a different hotel, the NH Milano Machiavelli close to Repubblica, handy for Metro Line 3 to facilitate an effortless trip to Affori Centro for the Legend Club, but after a relatively relaxed flight to Milan Malpensa, we discovered that Trenitalia staff were on strike so we had to catch a coach to Milano Centrale. Not that I minded, because I’m happy to show solidarity with rail workers, but it would have been nice to have known before we got to the airport station ticket hall. Every visit to Italy since Rome last September has included some form of industrial action!
This year my wife and I were based in a different hotel, the NH Milano Machiavelli close to Repubblica, handy for Metro Line 3 to facilitate an effortless trip to Affori Centro for the Legend Club, but after a relatively relaxed flight to Milan Malpensa, we discovered that Trenitalia staff were on strike so we had to catch a coach to Milano Centrale. Not that I minded, because I’m happy to show solidarity with rail workers, but it would have been nice to have known before we got to the airport station ticket hall. Every visit to Italy since Rome last September has included some form of industrial action!

I’d last seen Joe Payne performing with The Enid at HRH 4 in North Wales and before that at the Resonance Festival at the Bedford Arms in Balham. On both occasions it was clear that he had an excellent voice but in my opinion the theatrical presentation came across as West End musical rather than rock, and certainly not progressive rock. I got to the club as the man reinvented as 'That Joe Payne' was finishing his sound check, thanks to a combination of the efficiency of the Milan metro and the performer not realising that the doors had actually opened. Following a short interlude during which the sound engineers played a selection of classic prog, including Siberian Khatru, Easy Money and Free Hand, Payne took to the stage again and explained that he would only be conversing in English and that this was his first ever solo performance, though it wasn’t his first post-Enid show; earlier in March he’d performed at The Picturedome in Northampton with a select backing group.

His performance was relatively brief, consisting of two (long-form) songs he’d contributed to from The Enid’s Invicta (2012) One and the Many and Who Created Me? plus both sides of his new single I need a Change/Moonlit Love. Confiding in the audience that he was a bit rusty and Who Created Me? was the most challenging thing he’d had to play on piano, he also admitted, mid song, that he’d forgotten how the piece went, then courageously continued. I thought he excelled in this format, solo voice and piano and, without the full bombast of his former band to compete with for kitsch, it completely changed my opinion of his singing; that he’s got a great voice is beyond question – he proved that it works in a rock context.


That Joe Payne, Z-Fest 2018, Legend Club, Milano
That Joe Payne, Z-Fest 2018, Legend Club, Milano

Isproject were next up, Ivan Santovito (who had a slight problem with the keyboard patches on his Mac before they got going) and Ilenia Salvemini, who after a couple of tracks as a duo were joined on stage by core members of Höstsonaten: Paolo Tixi; Marcella Arganese; Daniele Sollo; and Martin Grice.

Their inclusion at this symphonic Z-Fest was fully warranted. The music alternates between a post-Waters Floydian sweeping cinematic sound, melodies and instrumentation that recall classic 70s Italian prog, and a few guitar-driven moments that hint of prog-metal. The proggiest moments were the lead synthesizer lines over full band backing where a relative lack of layers evoked the early 70s sound; there was also plenty of delicate piano which contributed to the symphonic feel. Apart from playing the keyboards, Santovito handled a good portion of the vocals, sung in English, while most of the time Salvemini was responsible for providing harmony vocals or singing as a duet. The performance wasn’t quite faultless, with Salvemini occasionally demonstrating an unfortunate lack of stagecraft, generating low-level feedback by exposing her mic, held by her side when she wasn’t singing, to her monitor. This slightly naive behaviour didn’t affect the way I thought about the music and I visited the merchandise stand following their slot and bought a copy of The Archinauts on CD; I’m pleased I did, because Zuffanti’s production is beautifully clear and the symphonic nature of the music shines through.


Isproject: Ilenia Salvemini and Ivan Santovito
Isproject: Ilenia Salvemini and Ivan Santovito

I don’t own any Mostly Autumn or Heather Findlay music other than a live version of Evergreen that featured on the free CD that came with one of the early Prog magazines concentrating on prog-folk. Her time in Mostly Autumn has helped her amass a good following and since leaving them in 2010 she’s fronted her own band, collaborated with some of the biggest names in the prog world (including Ian Anderson and John Wetton) and, in 2016 formed Mantra Vega with Dave Kerzner, pulling in a number of Mostly Autumn alumni, creating what many branded a ‘supergroup’. However, this set was just Findlay accompanying herself singing with acoustic guitar, delving into a rich past of folk/symphonic tunes of which I recognised only one: Evergreen. Her voice on some of the recordings I’ve heard has a frail, ethereal quality, like a Yorkshire Stevie Nicks but live she had a good strong voice that reminded me of Sonja Kristina on some of the more song-based Curved Air material. She also communicated entirely in English and told the crowd that, like Joe Payne, this was her first ever solo gig.


Heather Findlay - her first solo gig!
Heather Findlay - her first solo gig!

I’d just missed out seeing Höstsonaten performing Symphony No.1 Cupid and Psyche in 2016 so I wasn’t going to miss the 2018 Z-Fest; this was the band I’d really come to see and they did not disappoint. I may have originally heard about them in 2007-8 when I first bought Jerry Lucky’s The Progressive Rock Files but my first exposure to their music was at the 2014 Prog Résiste festival where the Z Band performed an array of pieces from a variety of projects including the superb Rainsuite from Winterthrough, a sumptuous example of modern symphonic prog, prompting me to visit their merchandise stand following the performance to buy the CD/DVD of The Rime of the Ancient Mariner Alive in Theatre (2013). It was on a visit to Galleria del Disco, Firenze, in the subway passages underneath the main station later in 2014 that I got my hands on an AMS CD reissue of Winterthrough, and in 2016 I pre-ordered my copy of Symphony N.1 Cupid & Psyche (on pink vinyl) through Bandcamp.



The current Höstsonaten line-up of Zuffanti (bass, acoustic guitar and bass pedals), Luca Scherani (keyboards), Marcella Arganese (electric guitar), Daniele Sollo (bass) and Paolo Tixi (drums) was supplemented for the occasion by Martin Grice on sax and flute, Joanne Roan on flute, Alice Nappi on violin, and Gaetano Galli on oboe, providing a genuine symphonic dimension; Grice was part of the Z Band and Roan has appeared on a number of Höstsonaten records.

Zuffanti’s introduction was interrupted by remedial work on Scherani’s laptop (after Scherani had helped Ivan Santovito at the start of the Isproject set) but this was swiftly resolved and they began with a medley of Season Cycle tracks, Entering the Halls of Winter, The Edge of Summer and Toward the Sea. We were also treated to a large slice of 2016’s Symphony N.1, an album where Zuffanti had written the music but took a step back from much of the playing and allowed the partnership with Scherani, who arranged the piece for orchestra, to shine. I thought the evening couldn’t get any better but they next embarked upon Ancient Mariner in all its dramatic glory. I’d notice Joe Payne move a mic stand to the front of the stage between the Heather Findlay and Höstsonaten sets, so I had a pretty good idea that he’d be joining them for something, and he took on the role of the mariner really well. Sadly I had to leave to catch a bus back to my hotel during Part 3, but there’s a YouTube video https://www.youtube.com/watch?v=61N3h2qCPfk that goes some way to compensating for me missing out on Part 4 which features outstanding vocals from both Payne and Findlay.



Though the crowd was really supportive of all the acts, the club wasn’t full and with tickets at only €10, it’s something of a surprise that Zuffanti persists in hosting the event each year. However he does it, promoting his protégés, revisiting some exquisite music of his own and this year bringing UK artists to Milan, I’m glad he does. This was my second year and, like last year, it was really special. La Maschera di Cera next year?














By ProgBlog, Jan 16 2018 08:52PM

I’m just back from a couple of days skiing in Chamonix, what I hope will turn out to be a warm-up event to a full week somewhere else later in the year. The town itself is very pleasant and though I’ve skied in the area three times before, we’ve always been based a little higher up the valley in Argentière and whereas we’d previously driven down to the resort, this time we flew to Geneva and took a transfer from there. We’d drive through Chamonix at the beginning and end of holidays and to get to some of the ski areas, scattered from just south of the town up to Balme at the head of the valley; we’ve even stopped there to see a screening of the second of the Lord of the Rings films, The Two Towers in English. So for the first time since our inaugural trip in March 2000, I managed to get a feel for the place, somewhere I’d read about in climbing accounts by Don Whillans, Joe Brown and Dougal Haston when I was a youth and somewhere I felt I knew well enough to base one of my O Level English Language exam essays.


Chamonix
Chamonix

I’m pretty sure there has been a lot of change since I read mountaineering books in the mid-70s, a time when young rock climbers used to name routes after prog tracks: The Gates of Delirium grade E4 (6a), described by UK Climbing as ‘magnificent’, Relayer (another E4) and Close to the Edge E3 (5c) are all climbs on Raven Crag, Thirlmere, in the Lake District and there’s also a Gates of Delirium in Yosemite; Genesis are represented by Hairless Heart, a grade E5 (5c) slab climb on Froggatt Edge in Derbyshire first ascended, solo, by John Allen in 1975 but there are others. There’s a thread from 2012, now closed down, on the UK Climbing site which asked why “an unnaturally high proportion of route names reference Pink Floyd, other dubious prog rock, or Tolkien.” The one sensible answer suggested that prog coincided with an explosion of new routes, though I did like the response “What's wrong with Prog rock? Or J.R.R. Tolkien? Many people have been inspired by the writings of Tolkien and the music of Pink Floyd, Genesis, Rush, Led Zeppelin, Yes etc. The fact is that both tend to ramble on a bit, but are ultimately rewarding in the end.” The erection of a new sports hall at my school included a short, under-used climbing wall and along with a couple of others I was allowed to climb during PE lessons. Access to Lake District routes in Coniston and Langdale was facilitated by Honda 550, with me sitting pillion and carrying the gear but I wasn’t nearly as good at climbing as I’d hoped. However, progressive rock and rock climbing seemed intrinsically linked as I flicked through Crags and High magazines listening to Alan Freeman’s Saturday Show on the radio, ticking off another prog-inspired route name.



I imagine there has also been some considerable change since I was last in Chamonix in 2005, even though the journey through Argentière up to La Tour was punctuated with familiar buildings. As someone who fully subscribes to the Italian version of coffee culture and will quite willingly frequent the sort of independent coffee shop that plagues hip areas of London and London commuter towns, I’ve found it difficult but not impossible to locate a decent espresso on my last couple of skiing trips to France. Last year, Val d’Isère had the Arctic Cafe and this year we found La Jonction Coffee, set up by two people who couldn’t find a decent coffee... The name of the cafe refers to the confluence of the Glacier des Bossons and Glacier de Taconnaz above the town at 2589m.
I imagine there has also been some considerable change since I was last in Chamonix in 2005, even though the journey through Argentière up to La Tour was punctuated with familiar buildings. As someone who fully subscribes to the Italian version of coffee culture and will quite willingly frequent the sort of independent coffee shop that plagues hip areas of London and London commuter towns, I’ve found it difficult but not impossible to locate a decent espresso on my last couple of skiing trips to France. Last year, Val d’Isère had the Arctic Cafe and this year we found La Jonction Coffee, set up by two people who couldn’t find a decent coffee... The name of the cafe refers to the confluence of the Glacier des Bossons and Glacier de Taconnaz above the town at 2589m.

I didn’t expect to see any record shops in Val d’Isère but I did think there might have been one in Chamonix, with its population of around 9000, a little less than that of Auray where I bought my first Ange CD Le Cimetière des Arlequins (from 1973.) Unfortunately there weren’t any so apart from listening to Semiramis’ Frazz Live (2017) on my mp3 player, the only music I got to hear was piped from restaurants and on one occasion, a truly awful singer-guitarist at the Irish Coffee bar across the road from our hotel. I don’t have much winter- or snow related music in my collection; I own a copy of Rick Wakeman’s White Rock (1977), the soundtrack to the official film of the 1976 Innsbruck winter Olympics and regard it as a return to form after Journey to the Centre of the Earth and The Myths and Legends of King Arthur and the Knights of the Round Table. My favourite track is Lax’x and my next favourite is the definitive prog track on the album, Ice Run but there are a number of snippets of music used in the film that form a sonic link between the different Olympic disciplines that don’t appear on album tracks, some of which are very Yes-sounding. The album’s instrumentation of keyboards, percussion and choral backing provides an effective, coherent narrative that works well for both audio and cinematic formats, linked by the melodic ‘searching for gold’ keyboard motif. I really like Wakeman’s full use of a range of keyboards and think it’s that which makes the album stand out from its immediate predecessors; there’s a much broader range of tonality, even though there’s no guitar or bass guitar.


Wakeman was an integral part of the band for Fragile (1971), as Yes came close to perfection. Roundabout, with its imagery of mountains that ‘come out of the sky’ from ‘in and around the lake’ could represent somewhere like the Lake District or the Swiss Alps but this doesn’t necessarily suggest winter, unlike the lyrics to the angular, driving and somewhat overlooked South Side of the Sky with its message that natural forces can be brutal. It’s ironic that White Rock was recorded in Wembley but when Wakeman rejoined Yes in late 1976, the band had decamped to Mountain Studios in Montreux, Switzerland to record Going for the One (1977), where Wakeman subsequently recorded 1977’s Criminal Record.

ELP were another band who combined a tax-break with recording in Montreux for parts of Works Volume 1 (1977) and though Fanfare for the Common Man wouldn’t normally fit into a ‘winter’ category, the video for the truncated version released as a single which reached no.2 in the UK charts was filmed in the futuristic Montreal Olympic Stadium (where they were rehearsing for the Works tour in a basement car park) after Greg Lake emerged from rehearsals for a breath of fresh air and was immediately struck by the vision of the snow-covered arena.


Another apt piece of music that I own is Winterthrough (2005) by Höstsonaten, part of a season-themed set of luscious melodic symphonic Italian prog albums. The standout track is Rainsuite which also featured in Fabio Zuffanti’s Z Band set list; it’s made up of a number of linked melodies which I think puts it in the Focus or Camel bracket. Camel had their own winter-related mini-epic Ice from I Can See Your House from Here (1979) which I hummed to myself on the skiing trip as we visited an ice cave carved into the Mer de Glace. Both the ice cave and the track have a stately beauty; witnessing Camel play the track live when they were promoting the album and the experience of being inside a glacier had a similar awe-inspiring effect on me.



The story of Fang in White Mountain, my second favourite Trespass (1970) track after The Knife, is an obvious snow-related story but is One for the Vine from Wind and Wuthering (1976), enough of a winter- or snow and ice themed song to count in my list? One of the songs being played at a restaurant where we stopped for a late morning chocolat chaud certainly doesn’t fit into the list but it did force me to reconsider my opinion of reggae. I’m obviously aware of the significance of Bob Marley who, after the demise of The Wailers in 1974 relocated to England and, with music infused with spirituality, became not only a multi-million selling artist and also came to symbolise Jamaican culture and identity, letting a ray of Caribbean sunshine into the world, but I don’t go out of my way to listen to reggae. What I heard that morning at Les Houches, played at decent volume through Bose speakers seemed like a long single track, divided into subsections rather like prog. A quick Shazam app search revealed that part of the song was Rastafari Leads the Way by Lutan Fyah and I suspect that the music was a Warrior Musick production Think Twice Riddim, featuring a host of different artists with an amazing, positive vibe; a rejection of violence and a call to rethink a way of life which chimed with the ethos of progressive rock. The sun was shining, the snow conditions were perfect and I was skiing some long and some challenging runs with my family, and a little bit of reggae made it even better.



Perfect skiing conditions at Les Houches
Perfect skiing conditions at Les Houches






By ProgBlog, Jan 31 2016 10:18PM

The Steven Wilson gig did not disappoint. It helped that I had a front row seat, pretty much centre stage (courtesy of Neil with his hyper-quick responses when booking opened) and though Craig Blundell was obscured behind his drum kit, this was a view as good as it gets. Being so close to the stage had the slight disadvantage of not getting the best sound balance; the mixing desk was at the back of the stalls so I imagine that was where you’d experience the perfect listening environment. Ian Bond, veteran front-of-house sound man did a pretty good job for the front row, too, because the only difficulties we had with the sound were a rather quiet Adam Holzman Moog and some indistinct bass, though the latter may have been a venue-wide problem because Nick Beggs was making full use of a range of 5 string instruments; needless to say Wilson’s guitar, from his Bad Cat amp and cabinet placed directly in front of us, was crystal clear. It was satisfying that they played the entire Hand.Cannot.Erase, including the short Transience which had been omitted from the UK shows following the album’s release. After the intermission we were treated to a range of other Wilson material from Porcupine Tree to Storm Corrosion (the dark, haunting but brilliant Drag Ropes) plus, as a tribute to the recently departed David Bowie, Space Oddity which was filmed on a series of Go Pro cameras. There was also an outing for half of his new album 41/2, a collection of five songs that didn’t quite make it on to either Raven or H.C.E, not because of a perceived lack of quality, rather that they didn’t quite fit in with the feel of those albums, plus a reworked Don’t Hate Me, originally recorded by Porcupine Tree that appeared on Stupid Dream (1999). Theo Travis supplied flute and saxophone for the original release and his contribution was covered by keyboards and guitar when the piece was played live. The 41/2 version includes Travis plus singer Ninet Tayeb and live, without Travis but with its trippy Floyd-inspired lengthy spaced-out middle section, was one of the highlights of the evening. Tayeb, who was guest vocalist on a number of songs, is such an incredible talent she’s still able to add an extra dimension to the stellar-quality line-up of the Steven Wilson band. It seemed somehow appropriate that she should sing on Don’t Hate Me which utilised eastern scales.



Steven Wilso ticket 27th January 2016
Steven Wilso ticket 27th January 2016

During an interview for The Pedal Show before the Bristol gig a couple of days earlier, Wilson described himself as approaching the sound from a producer’s perspective, hinting that his musical ability wasn’t perhaps in the same class as his band. This could be cited as an example of classic English reserve, for Wilson is an undoubted talent, but I’ve heard this statement before, in the same context, from Italian bassist Fabio Zuffanti. There are quite a number of parallels between Wilson and Zuffanti though apart from in his native Italy, Zuffanti has not really been recognised as a major force in modern progressive rock.

I saw Zuffanti and his Z band when Jim Knipe and I attended the Prog Résiste convention in Soignies in April 2014, showcasing his latest solo effort La Quarta Vittima but also playing songs from a back catalogue of 20 years in the music business; extracts from the Soignies performance are available to view on YouTube (Rainsuite https://www.youtube.com/watch?v=Y6Dlf3HmzAc is a good example.) It was at the post-performance interview, fortunately carried out in English, that someone suggested a parallel with Steven Wilson and Zuffanti, in a self-depreciating manner, suggested that he wasn’t in the same calibre as his band-mates. What he revealed at this interview were his thoughts on his musical projects. He suggested that if Quarta Vittima was going to be compared to Wilson’s The Raven That Refused to Sing (which had been released a few months before, and which Zuffanti obviously felt was the pinnacle of Wilson’s output at that time, Höstsonaten were the equivalent of the Enid, with a very symphonic palette. Though Porcupine Tree was on hiatus at the time, the inference was that PT was the primary vehicle for Wilson’s music, rather like La Maschera di Cera was for Zuffanti.



Though I was aware of other Zuffanti projects, at the beginning of 2014 I only had Maschera di Cera albums and the first Finisterre album (Finisterre, 1995). I’d bought LuxAde (2006) for £6 from Beanos second-hand store in February 2009, without listening to it, based on the instrumentation and the fact it was produced by PFM drummer Franz di Cioccio. I hadn’t appreciated that this was a band revisiting the Orpheus saga (c.f. Focus and Eruption) but it remains one of the best buys I’ve ever made; when I got home and checked my Progressive Rock Files, even before listening to it, it was evident that I had acquired something special. I wasn’t disappointed because the recording is as close as you can get to classic 70s Italian prog; analogue instrumentation including some excellent fuzz bass, symphonic scope and operatic vocals, all executed with consummate skill. I was so impressed I began looking for Maschera di Cera albums on every subsequent trip to Italy but for some reason I couldn’t locate any and finally plumped for a download of their second album Il Grande Labirinto (2003) from Amazon in 2010, describing it in an Amazon review as a Fragile to the Close to the Edge of LuxAde (some of the details turned out to be not quite right!):


“...Il Grande Labirinto is their second album, and with no Italian trip scheduled for a while, I had to indulge in the mp3 download. (When I'm next in Italy I'm going to seek out and buy the CD for myself and two prog-minded brothers.) This release is slightly less musically mature than Lux Ade - kind of like the relationship between Fragile and Close to the Edge - almost perfect but not quite.

The musical territory is classic 70s Italian prog. PFM are an obvious comparison, though La Maschera di Cera are less jazz-influenced. Some of the keyboard trills sound like early Genesis, and there's a Wakeman-sounding synth line or two. My favourite passage is the final section of the 22 minute 37 second long Il Viaggio Nell'oceano Capovolto Parte 2 (Voyager to the Inverted Ocean) that builds up from a haunting gentle woodwind melody that reminds me of Islands-era King Crimson.

Did anyone think prog was dead? Think again, and invest in this great album.”


As soon as I’d heard the band were going to do a companion piece to Felona e Sorona (1973) by Le Orme, entitled Le Porte del Domani (2013) released in both Italian and English versions (The Gates of Tomorrow), I had to buy both mixes; the Italian version was my album of the year.

I hadn’t really formed an opinion about the music of Finisterre other than I liked it and it seemed not quite fully formed. Tracks seemed to be truncated mid-flow which left me feeling slightly dissatisfied. I bought In Limine (1996) when I went to the Riviera Prog Festival in 2014 where Zuffanti, in his home city of Genoa, was wandering around chatting to friends and fans on the first day. The title track of that album was one of the pieces played by the Z band in Soignies. I bought In ogni luogo (1998) and La Meccanica Naturale (2005), both in cardboard gatefold sleeves from Galleria del Disco in Florence later in 2014 and have now come to the conclusion that Finisterre was a band for trying out ideas. Back in Soignies I bought both La Quarta Vittima and Höstsonaten’s live version of The Rime of the Ancient Mariner (2013) from Zuffanti’s merchandise stand and then also from the same shop in Florence, Höstsonaten’s Winterthrough (2005.) It’s true that Höstsonaten are symphonic; the music is layered and melodic and Ancient Mariner, performed with dancers, was a modern opera.

There was no full concert recording of the Z band so late in 2014 Zuffanti and his collaborators recorded the material they’d been playing during their live set, live in the studio, releasing Il Mondo Che Era Mio at the end of the year. My copy was bought early in 2015 and it is a faithful reproduction of the Z band live experience, a mixture of dynamics, strong melodies and classic-sounding instrumentation.

Last year I spent a family long weekend in Milan and came across the excellent Rossetti Records, and amongst my haul I bought Il giorno sottile (2001), by the rather obscure Zuffanti project Quadraphonic. This represents Zuffanti at his most experimental, producing an interesting and challenging album of industrial music and electronica, heavily reliant on loops, which at times is bleak though it does retain the memory of melody.

Zuffanti seems to be at the centre of the vast Genoa prog scene. When Francesca Francesca Zanetta, guitarist with Unreal City, was interviewed after their performance at the Riviera Prog Festival, she thanked Zuffanti for helping the band (he produced their debut album La Crudeltà Di Aprile, 2013) and another band he seems to have helped, who also appeared at the same festival, were Il Tempio delle Clessidre and most recently he’s collaborated with keyboard player Stefano Agnini from La Coscienza di Zeno, a band who played at both Soignies and at the Riviera Prog Festival in 2014. This project, under the title of La Curva di Lesmo, features a cast of the new wave of Italian prog and the music ranges from out and out symphonic prog to some traditional-sounding Italain music, taking in folk and electronica on the way. I bought a heavyweight white vinyl copy to play on my new Rega RP3 and the cover, by legendary artist Guido Crepax, harks back to Nuda (1972) by Garybaldi, in a similar manner to Maschera di Cera using artwork by Lanfranco for Le Porte del Domani, after Le Orme’s cover for Felona e Sorona, an album also released in English with lyrics by Peter Hammill.



Zuffanti shares with Wilson an appreciation for the origins of the genre (including a love of Mellotron) but they also choose to work with a range of other musicians which informs their style, seeking out different avenues for their talents. Wilson is now a global star; I’m just waiting for Zuffanti to get the full recognition he deserves.







By ProgBlog, Aug 23 2015 09:38PM

August in the south eastern corner of the UK has been quite poor in terms of weather this year, with unseasonal downpours following a series of Atlantic depressions that have tracked across the country. This weekend we experienced a ‘Spanish plume’, a condition that arises from a large southwards dip in the high altitude jet stream that developed to the west of Europe that in turn encouraged a deep southerly wind flow that pushed hot and humid air from Portugal and Spain north and north-east into northern Europe, including to us the UK. Temperatures at Selhurst Park for Crystal Palace vs. Aston Villa peaked at over 30oC prompting the first water breaks in a Premier League fixture. With a cold front from the Atlantic over the north of the UK and unstable, hot air pushing up from the south or south west, there was the potential for heavy thunderstorms where the two weather systems met; strong winds associated with the jet stream help organise thunderstorms and play a part in their severity. This latest forecast came with a degree of uncertainty, something that’s become increasingly prevalent in our televised weather bulletins where over the last couple of weeks the prediction for the next day has inevitably proved to be inaccurate.

It seems that the British like talking about the weather. It serves as a common topic when individuals are thrust into a situation where it’s uncomfortable not to talk. It helps that UK weather so changeable and unpredictable, part of the beauty of living in a temperate marine climate; it also gives us the right to moan. As a youth in the North West I became used to rain. The relief rainfall that was a major feature of the western Lake District didn’t really affect Barrow very much but moisture-laden air from the Atlantic had a habit of dampening our plans one way or another. I was very much at home when I stayed in Seattle for a week in 2002 where there were a number of dedicated, accurate weather channels on the TV.

Weather may seem a bit prosaic as a topic for prog but weather and the British go together like tea and crumpets. After a childhood in Barrow I feel as though I’ve got fifty words for rain... In fact, the water cycle and our understanding of the principles of weather processes, such as drought, flood or monsoon, is very much the stuff of prog. Furthermore, the ability of humankind to distort weather patterns through extracting and burning hydrocarbons and the detrimental effect of pumping CO2 and other greenhouse gasses into the atmosphere is something that the adherents of the counterculture warned us about; the origins of the progressive rock movement had strong links to environmental groups. So it comes as a bit of a surprise that there’s no definitive album about the physical geography of weather or its myriad facets, just a straightforward interpretation.

Jethro Tull’s Stormwatch (1979) may come closest to revisiting the old hippie theme of global environmental disaster and a form of gloom pervades the entire album. Largely referred to as the third and final part of the Tull folk-rock phase, when I listened to the album recently I didn’t think there was much folk to detect; there’s a reference to pre-Christian themes (on Dun Ringill) which might fit the tag but it’s more an association of convenience, marking the last of the stable Tull line-ups. Stormwatch uses the concept of a storm as both metaphor and as literal description, picking up from a theme in the title track of Heavy Horses (1978) where Ian Anderson predicts that the magnificent beasts will be required once more when the oil has run out; North Sea Oil recognises the commodity as a quick fix for the economy and one that wasn’t going to last. Dark Ages and Something’s on the Move hint at energy shortages and long, cold winters and subsequent rioting while Flying Dutchman bemoans our inability as a nation to accept immigrants. In a recent Prog magazine interview, Anderson admitted to being politically left of centre; Stormwatch was released in September 1979 at the tail end of the first era of progressive rock; the political and social landscape was changing with the election of Margaret Thatcher as Prime Minister four months earlier as she commenced the dismantlement of the state and used burgeoning oil revenues to fuel her rewards for the selfish (North Sea oil had come on stream in 1975.) The dark mood of the album was no doubt partly down to the illness of bassist John Glascock who died two months after its release, having only played on three of the tracks. Though the (David Palmer) penned track Elegy was written for Palmer’s father, at the time the only section remaining of the Anderson/Palmer/Barre ballet The Water’s Edge, I felt it also served as a tribute to Glascock.

Camel’s Rain Dances (1977) isn’t weather-related. The short, melodic instrumental title track that closes the album doesn’t call to mind rain but merely reprises the beautiful, melodic opener, First Light and could be called anything because the album doesn’t have any cohesive concept; at least the title track from Gryphon’s Raindance (1975) which begins and ends with the sounds of rain and thunder has a keyboard backing under the main melody line that is reminiscent of flowing water and the album’s cover depicts the effects of playing the record.

The strong Red Rain from Peter Gabriel’s So (1986) is supposed to have been inspired by a terrifying dream. Some ascribe the imagery to acid rainfall (Gabriel is well known for his environmental concerns, appearing at the People's Climate March in London last September) but it seems to me to be about the nightmare of genocide; a number of African nations were in the throes of civil war in the early – mid 80s including Sudan, Democratic Republic of the Congo and Ethiopia. Rain is represented on this track by hi-hat, played by ex-Curved Air drummer Stewart Copeland. More up-to-date, Anathema’s prog metal-lite Weather Systems (2012) is full of nice melodic touches and contains some interesting sonic experimentation and passages that remind me of Porcupine Tree but despite its title, the album only uses weather as a metaphor for events during a life.

I think some band should attempt a concept album based on the science of meteorology, whether it’s a series of interpretations of particular examples (think Wakeman’s Six Wives of Henry VIII.) Fabio Zuffanti’s Hostsonaten project covers some of this ground on the excellent symphonic prog Winterthrough (2008) with tracks called Snowstorm and Rainsuite but I still believe classic British prog bands missed out on an easy topic with a captive audience.



By ProgBlog, Mar 22 2015 07:20PM

I've just spent a fantastic week on the slopes around Sauze d'Oulx - the annual family skiing trip - with my son Daryl and brother Richard. One slightly irritating feature of a holiday in a ski resort is the music - you get pop hits from decades ago (Cyndi Lauper's Girls Just Want to Have Fun; The Bangles' Walk Like an Egyptian; Take On Me by A-Ha; Olivia Newton-John singing Take Me Home, Country Roads) or timeless, bland 120bpm Europop that could have been an Ibiza anthem from 1999 or a Val d'Isere hit from 2005. This stream of rubbish is an insult to everyone. Sauze d'Oulx is in Italy, home to some diverse and brilliant prog. My first time skiing was a couple of valleys away from Sauze in Bardonecchia and the live band at the hotel kindly played a PFM song, rather well, when we submitted a request. So how prog is skiing?

The old insult slung at prog is that it's elitist. I don't agree with this sentiment despite the fact that a fair number of both major and minor protagonists have had formal training to a high level; skiing could also be called an elitist sport though this no longer holds true as cheap air fares and package holidays have opened up resorts to all comers. Of course, some resorts are more exclusive than others... Prog and skiing both require technical mastery and rely on equipment that has evolved to enable boundaries to be pushed further and further back, whether that's sonic creativity or shaving fractions of seconds off downhill timings; both disciplines require practice if you wish to advance. An annual skiing holiday of 6 days on-piste is not really sufficient to gain and maintain expertise but when you’re based in Croydon and work full-time in central London it’s the best I can do. It’s taken 16 weeks over 17 years to get me to my level of proficiency, an advanced intermediate. The runs above Sauze were perfect for providing a reasonable challenge, consisting primarily of reds and blacks but long trails, which tend to be the easier blue and green categories, can still provide an enjoyable excursion. I see the thrill of successfully descending a precipitous slope as being comparable to the feeling that’s generated when you’ve mastered a particularly difficult riff or musical phrase, perhaps in an unusual time signature and, in a similar vein, skiing a scenic route through changing scenery is equivalent to an uplifting melody. In truth, I am inspired by mountain landscape and it’s the imagined worlds conjured by symphonic prog music and lyrics that I find so compelling about progressive rock, be it Yes from Fragile, Close to the Edge or Tales from Topographic Oceans or Höstsonaten with Winterthrough; if I can’t be outside in a mountain environment, there’s a suitable substitute indoors listening to prog.

A few years ago Daryl and I were based in Livigno for our week, a resort organised as a series of villages along a high valley, famous for its odd tax free status and home to Birrificio, the highest brewery in Europe where they brew a small rage of excellent beers under the name 1816 Livigno and with the symbol of an Eagle, not unlike the CPFC Eagle. Practically speaking, Livigno has an exceptional snow record with a season that extends beyond almost all other European resorts. Better still, in the lower reaches of the resort we discovered two record stores. There was a smattering of progressivo Italiano on offer but sadly, I already owned this material (Disco Music Livigno, Via Plan, 379, 23030 Livigno).

I’ve managed to get through quite a lot of clothing and equipment in 17 years. We all have our own skis and boots; the potential outlay for ski hire equipment makes it economic sense to buy your own but, more than this, the comfort of fitted boots gives you more confidence and the sport becomes increasingly effortless. There were major technological advances in music that allowed the development of progressive rock and like prog exponents and sonic explorers, ski technology has also progressed and now not only incorporates new materials and, within my time as a participant of the sport, the shape of the skis has also changed, creating the ‘carving turn’.

I used to go to play squash and go to the staff club gym at Guy’s in an attempt to physically prepare for skiing; until last year this had evolved into strictly more frequent games of squash, then they sold off the squash courts for a new development on Borough High Street. I’ve never used a dry ski slope (I remember the matting that would have formed this facility in Crystal Palace Park, which I might have used had it still been there) and getting to a snow dome always seemed too much of an unnecessary trek but, like performing exercises on a musical instrument, getting fit for skiing is important.

There are different varieties of skiing: downhill; slalom; cross country; ski cross; ski touring and then there’s even skiing’s rebellious sibling – snowboarding. If downhill equates to the jazz rock side of prog, a technically proficient, breathtaking sprint to the finishing line and slalom to the intricate twists and turns of Gentle Giant, perhaps cross country skiing is the sweeping panorama of symphonic prog and ski touring the ultimate expression of difficulty and perseverance: Zeuhl. And snowboarding? That’s got to be prog metal!



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