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The last of the May events in the ProgBlog gig marathon was a celebration of Italy... ...in Islington!

By ProgBlog, May 8 2018 10:01PM

Until last month, I’d never been to see a Tangerine Dream performance; the closest I’d ever come to witnessing the TD sound was seeing ‘Berlin school’ devotees Node at the Royal College of Music in 2015 (a performance that is just about to be released on CD), and I was also present at the rather intimate premiere of the Edgar Froese/Tangerine Dream film Revolution in Sound, part of the Doc ‘n’ Roll Festival, screened at the Barbican Centre last November.


My appreciation of Tangerine Dream spans back to being introduced to Phaedra (1974) by school friend Alan Lee and I bought 1975’s Rubycon shortly after its release based on the promise of its predecessor. I can’t remember where I first heard Ricochet which was largely recorded at a gig in Croydon’s Fairfield Halls on 23rd October 1975 but I remember not being over-impressed with the next studio release Stratosfear (1976), which I thought made too many concessions towards mainstream rock, including the use of harmonica. I imagine it was becoming ever more difficult to maintain originality and find new things to write in the idiom they’d created but I also think the change in use of the sequencer from pulsed rhythmic intervention to near-rigid substitute electronic drumming had the overall effect of making the group more industry-friendly. I sold my copy of Rubycon some time before I left school in 1978 but regretted it, believing that it remains one of the ultimate albums to listen to in the dark through headphones. I bought a compilation CD From Dawn ‘til Dusk 1973 - 1988 in the early 90s, a CD of Phaedra in 2005 and replaced my Rubycon on CD in 2009 and finally replaced both Phaedra and Rubycon CDs with original vinyl last year; over the last couple of years I’ve bought a second-hand vinyl copy of Ricochet, plus Stratosfear and soundtrack Sorcerer (1977) on CD and I inherited CDs to plug the gap from Encore (1977) to Hyperborea (1983) from friend Neil Jellis as he replaced his original CDs with remasters.



Their brand of electronica was swiftly accepted by the fans of British progressive rock, like myself, who were exposed to the band when Richard Branson signed them to Virgin Records. Though not virtuoso, the application of electronic keyboard-based instrumentation to the thinking of minimalist composers like György Ligeti put them at the forefront of a radical musical movement, with atmospheres created by sonic washes, sequencer pulses and haunting Mellotron, mapping both outer- and inner space.

My favourite line-up is the classic Froese-Franke-Baumann trio, responsible for the early-mid 70’s classics, and who performed in some unusual places for a rock band, like the cathedrals at Reims in France, Liverpool and Coventry. The latter two are modern architectural masterpieces but Reims Cathedral (Notre Dame de Reims) is an 81m high gothic building dating from 1211, lacking in facilities for a crowd of rock fans whose behaviour would lead to TD being banned from ever playing in a Catholic church again. The idea to perform electronic meditations in these sacred places, whether or not you hold religious beliefs, was a stroke of genius because as a layperson with an appreciation of architecture, I find this thoughtful, sometimes reflective and often searching music is somehow very fitting for the space.


The journey from Brescia to the gig at the Union Chapel, Islington, was dictated by the easyJet flight schedule from Verona to Gatwick which fortunately ran on time. There were no disasters at Gatwick’s railway station, or East Croydon or Victoria and I arrived at the venue to join the end of what was one of the biggest queues I’ve seen for a long time (that being for Steven Wilson at The Troxy in March 2015). This queue also contained Neil, who happened to be holding my ticket, and who fortuitously called me before he’d reached the entrance and disappeared inside. The one slight drawback with this rush was the rather stark temperature difference between Italy and the UK; it had been 26oC when I boarded my flight but the evening temperature in London was 14oC. I was wearing a T shirt and had no jacket.


The performances at the Union Chapel invited comparisons with the Reims show, and Bianca Froese-Acquaye suggested, as she introduced the evening’s proceedings, that Edgar would have approved of the setting. I get the feeling that many of the fans did, too, certainly on the night I attended, Monday 23rd April. Froese-Acquaye had been present at the screening of the documentary at the Barbican, where she read an extract about meeting Jimi Hendrix from her husband’s autobiography, Tangerine Dream: Force Majeure which had been published a couple of months before, and held a Q&A session following the film. She had obviously been given instructions that the group should carry on following Edgar’s ‘change of cosmic address’ and the trio with the responsibility for the musical legacy, Thorsten Quaeschning, Ulrich Schnauss and Hoshiko Yamane, proved well qualified to do so, building on the critical acclaim of Quantum Gate (2017). I was a little concerned about the way Edgar Froese was addressed by his widow as she dedicated the performance to ‘our master’; this may have been accidental miscommunication but it did come across as though we were being initiated into some form of cult, with Quaeschning named as Froese’s ‘chosen successor’.



The set list seems to have been comprised mostly from 80’s material, plus a couple of tracks from Quantum Gate: It is Time to Leave When Everyone is Dancing and Roll the Seven Twice, compositions I really wasn’t familiar with but thoroughly enjoyed because it sounded as though each piece had the right balance of instrumentation despite the reliance on midi-triggers and programming; during the mid 80s Froese reworked some of their tracks and added new layers of keyboard, guitar and rhythm, a move regarded by many as detracting from the stark elegance of the originals. One of the songs in the first set reminded me of Phaedra and I wonder if it was part of the 2005 reworking of that album, which featured Quaeschning, especially as a little research suggests that the selection includes more recent, post-Froese reworkings. The second set was more reminiscent of 70’s TD; not only did they play Stratosfear but they also performed an extended improvisation, a Session in TD parlance, like one of the improvised pieces that made up their seminal live albums.



I had thought that the enigmatic Yamane was responsible for very little of the soundscape, as there were lengthy sections where her violin was held by her side, but I’m reliably informed she was responsible for triggering and controlling effects using Ableton Push. There were a few moments where the electronic drums became a little cheesy but the sequencer-driven beats, a trademark of the Berlin School acts, were always imaginative. Some of the projections appeared a little dated, too, though most seemed apt, fitting in with the music and making it difficult to work out whether to watch the band or to watch the lights play over the neo-gothic interior of the chapel. On balance I was probably more impressed with the second set; especially the improvised piece which shifted in unpredictable ways and where the involvement of the whole trio was much more evident.



The whole event was really enjoyable, from the setting to the playing to the music itself. It didn’t matter that my preferred era of the band was one where there was less reliance on continuous sequences and the evolution of the tracks seemed more organic and free-form; I love Froese’s Mellotron work, rating both Aqua (1974) and Epsilon in Malaysian Pale (1975) as Mellotron classics but their adoption and employment of digital technology can’t be faulted, creating multiple layers of sound of uncertain origin that weaved and flowed over the crowd seated on the chapel’s pews. Like Froese before him, Quaeschning picked up a guitar during a couple of pieces but I wasn’t able to attribute a particular sound to the instrument; perhaps everything will become clear when the DVD is released because the entire performance was filmed.



...It was well worth the dash from Brescia to Islington.








By ProgBlog, Jan 2 2018 08:32PM

New Years Eve, 2017

It’s 7pm and I’ve just started the blog. I plan to go to bed early because I’m on call and I’m hoping that revellers don’t accidentally contribute to the strain on hospital A&E departments. Not a fan of this night, any year, because of the way it’s been hyped up by advertisers and the drinks industry and how it seems to have become accepted that on this particular occasion it’s OK to get totally wasted, my best new year was spent stargazing on the summit of a small drumlin on the Furness peninsula to mark the transition from the 1970s to the 80s.


Night sky over Furness
Night sky over Furness

TV has been awful this week. The BBC 24 hour news channel has been filling the gaps between genuine pieces of news with reviews of the year for Sport, Film, Deaths, Royals and so on, shown with a frequency that positively numbs so that it becomes difficult to work out which day of the week it is. Having gone to see Crystal Palace play today I can confirm that the football schedule doesn’t help with this feeling of dislocation; lucrative broadcasting deals mean that Premier League teams and their fans are at the mercy of TV executives so that this year, what used to be traditional Boxing Day fixture took place over three days and the New Year’s Day fixture is also due to be spread over three days. Throw in odd kick off times (Palace played at noon) and it’s also messing around with my circadian rhythm.


A couple of days ago we had the announcement of who appeared in the New Year’s Honours list. This is something of a end-of-year ritual and despite a promise to end cronyism, a concession wrung out by a public increasingly disillusioned with the way politics works, we end up with a knighthood for Tory kingmaker Graham Brady and another for ex-deputy PM Nick Clegg, whose lust for power facilitated 7 years of austerity, massive student debt and the impending destruction of the NHS. This ‘recognition’, though a little better than the obvious returning of a favour to Lynton Crosby in the list last year, reinforces the notion that politics is played by an elite for people within their own, tiny bubble and with little or no connection to everyday life. This is obviously not the case for all MPs but there are a number of parliamentarians (and, at a local level, councillors) who use their power and influence to manipulate policy so that it benefits themselves or their families; those with directorships of private health companies or the landlords of multiple properties, for instance. If there’s one burning issue of the times it must be inequality, whether that’s a lack of access to decent housing, decent social services and healthcare provision or decent jobs but, to the shame of us all, the gap between the haves and have nots is getting wider.


PM David Cameron and Deputy PM Nick Clegg (Getty Images)
PM David Cameron and Deputy PM Nick Clegg (Getty Images)

I find it obnoxious that the lies told during the Brexit debate have put the country in a position which exaggerates inequality; resentment at a lack of investment in former industrial regions, backed up with the spurious mantra that we’d ‘take back control’ was channelled into stoking anti-immigration sentiment and the subsequent devaluation of Sterling means that the increased cost of goods disproportionally affects the less well-off whereas the concomitant rise in share value benefits the already wealthy. It’s incredible that we can boast about the return of blue and gold passports (during the increased time in queues at customs, perhaps) swapped for seamless, invisible borders for exports and imports, and continue an archaic honours scheme which celebrates the achievements of some of the most inappropriate individuals. As for football, today’s Palace performance might have convinced me that it’s ok to get another season ticket for next year; the lack of application from players on silly wages at the beginning of the season felt like they didn’t care about the fans who pay to see them play, their earnings outstripping that of the average punter by some unholy figure.



Crystal Palace vs. Manchester City 31/12/17
Crystal Palace vs. Manchester City 31/12/17

I’m a bit torn by the awarding of any kind of prize where intangibles are weighed up by panels because everyone has innate bias; likes and dislikes. One of the rituals I used to go through as a youth in the mid-70s was to check the Melody Maker, NME and Sounds annual polls to see how the artists that I favoured fared. Some of the results ran counter to both my tastes and to reason, such as Gilbert O’Sullivan reaching no.2 in the Male Singer category and no.4 in the Keyboards category of the 1972 MM Readers’ Poll and I was somewhat bemused by some of the musicians ranked in ‘Miscellaneous Instrument’ because it didn’t tell you which particular instrument it was referring to for each artist and they could easily have been covered by one of the other categories.


The concept has been taken up by Prog magazine which, apart from holding an awards ceremony includes an annual 20 Top Albums of the Year feature where the results are culled from the preferences of the journalists themselves. Additionally, we were invited to vote in their annual reader’s poll, mimicking the format of the classic music papers during the 70s, with the results due out in the next edition. I’ve moved on a little since the 70s and though I don’t mind a list that is supplemented with a bit of information, the Top 20 Albums of 2017 as chosen by the writers at Prog magazine isn’t really my thing. However, I submitted some obscure choices for the Readers’ Poll so I will take a look at the published results.



New Year’s Day, 2018

After listening to one of my Christmas presents, the excellent Three Piece Suite retrospective by Gentle Giant, the first complete recording I’ve listened to for nearly a week due to work, football and family commitments, I thought I’d share some of ProgBlog’s category winners, based on material released in 2017 and the concerts I attended, material unlikely to get much of a mention in Prog...


Playing Three Piece Suite by Gentle Giant
Playing Three Piece Suite by Gentle Giant

(I got called out and got home a little before midnight)

Back to the blog. Tuesday 2nd January


Album of the year: An Invitation by Amber Foil

Strictly an EP, this is the creation of João Filipe, and it’s a wonderful, all-round and well balanced item. The music takes you back to classic 70s prog, blending very modern concerns with a kind of Grimm’s fairy tale. The quirkiness of the music is reflected in the CD packaging which also contains a ‘blueprint for a house’. It’s unique. Get yourself a copy.


Commended: Alight by Cellar Noise


Bassist: John Wetton

Wetton died in January 2017, the third original progressive rock bassist to pass away in the last couple of years. Whereas there are undoubtedly a large number of amazing technical players who were represented on record or I saw play live during 2017, the accolade has to go to Wetton for the unbelievably wide range of material he’s left for us, including some of the most inventive lines expressed during his time with the 1972 – 1974 incarnation of King Crimson. A great loss to the prog community.


John Wetton circa. Caught in the Crossfire
John Wetton circa. Caught in the Crossfire

Drummer: Franz di Cioccio

The only original member of PFM remaining in the band, di Cioccio now spends as much time behind a microphone acting as front man as he does behind his kit, but along with long-term associate bassist Patrick Djivas he’s steered the ship through periods of not-so-good music to produce their best album of original material for a very long time. Emotional Tattoos may not quite hit the heights of L’Isola di Niente and Photos of Ghosts (I think it lacks sufficient contrast) but the songs are strong and the playing assured. Di Cioccio’s boundless energy, with either sticks or mic stand in his hands, is something to behold.


Guitarist: Allan Holdsworth

Holdsworth is another progressive rock legend who died last year, though in reality he was probably more of a jazz guitarist whose fluid lines graced releases by Tempest, Soft Machine, Gong, Bruford and UK. Highly regarded by other guitarists, his style was idiosyncratic. He’s another fine musician who is sadly missed.


Keyboard player

There are actually too many excellent prog keyboard players to choose from. Of course it’s great to see Rick Wakeman performing classic Yes again with ARW but I’ve also been most impressed with up-and-coming talent from Italy like Niccolò Gallani from Cellar Noise and Sandro Amadei from Melting Clock.


Miscellaneous instrument: Mel Collins, King Crimson (flute, saxophones)

I’ve always considered this a category for non-conventional rock instrumentation, rather than picking a particular type of keyboard like Moog, Mellotron or synthesizer but it was fine when Mike Oldfield used to pick up the prize for playing everything. My preference for a prog-associated instrument not covered by bass, drums, guitar or keyboards is the flute, followed by violin; I was very impressed with Lucio Fabbri when I saw him with PFM and his playing on Emotional Tattoos is real quality but I’m going to plump for Mel Collins for his woodwind. Crimson may not have played the UK in 2017 but the set-list for the US gigs, released on vinyl and CD last year, highlights the formidable talents of Collins.


Vocalist: Emanuela Vedana, Melting Clock

I’m one of a fairly small number of people to have seen the two gigs by Melting Clock but I don’t imagine it will be too long before they reach a much wider audience when they release an album later this year. Their brand of symphonic progressivo Italiano would undoubtedly appeal to all fans of the genre, but two obvious reference points are Renaissance and neo-prog. The songs are highly melodic and well-crafted with multiple layers, utilising twin guitars and keyboards to set the tone for Emanuela’s strong, operatic vocals. Simply stunning.



Live act

Choosing a favourite live act is too difficult, so I’m not going to make a decision. I’ve managed to get to see quite a number of Italian bands from the 70s, including PFM at the fourth attempt, and seeing Wakeman, Jon Anderson and Trevor Rabin performing Yes music together was quite special, but it’s the surprises like Cellar Noise and Melting Clock, both of which included accurate early Genesis tributes in their sets, which make it impossible to decide on an outright winner.


Cellar Noise at the Legend Club, Milan
Cellar Noise at the Legend Club, Milan

Venue: Porto Antico, Genova

Choosing a favourite venue is equally hard. The acoustics inside neo-rationalist Teatro Carlo Felice in Genova are brilliant, but the architecture and the internal decor are terrible; the Royal Festival Hall is a great looking building, also with amazing acoustics but I was disappointed with the Dweezil Zappa set. I loved the intimacy of Genova’s La Claque whereas Rome’s Jailbreak Club was a bit too crowded over the weekend of the Progressivamente festival. Brighton Dome is a beautiful performance space though it can be a bit of a drag getting back from Brighton by car or public transport at the end of a gig.

A fantastic setting, good sound and a great line-up made the Porto Antico Prog Fest very special and it was only a 10 minute walk back to my hotel.









By ProgBlog, Nov 16 2017 10:26PM

Last weekend marked another milestone in the history of progressive rock. June 1967 saw the release of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, which was certainly not progressive rock but which revealed a whole new world of possibilities. In Abbey Road Studios at the same time were Pink Floyd, also pushing boundaries, releasing The Piper at the Gates of Dawn three months later in August, not only stamping an indelible English whimsy on popular music but also staking out sonic territory in outer space. Procol Harum had released the JS Bach-themed single A Whiter Shade of Pale in May and followed-up their surreal musing with a self-titled debut album in September, offering mature and quite original R&B.



On November 11th the Moody Blues released Days of Future Passed. If Sgt Pepper’s wasn’t progressive rock, it was definitely the beginning of art-rock and the first concept package, utilising the notion of a song cycle and highlighting the importance of the lyrics by printing them on the sleeve; Piper wasn’t prog either but it marked the birth of UK psychedelic rock; Days of Future Passed wasn’t prog, but there is a reasonable argument to suggest it was the first proto-progressive album.

The Beatles have to take credit for a number of things, perhaps most importantly being a pop group who wrote their own songs, demonstrating an (at the time) unprecedented creative control which would become the norm for rock acts as the music industry began to change. The Beatles, along with George Martin, were responsible for pushing recording studio technology along, beginning with Revolver in 1966, an album which features George Harrison playing sitar on the track Love You To, extending the sounds available to pop music and also opening up western music to Eastern philosophy. Prior to this, most bands in the UK were relying on a rock vocabulary imported almost wholesale from the US and the Moody Blues were no exception. The replacement of Denny Laine and Clint Warwick with Justin Hayward and John Lodge on guitar and bass respectively introduced a folk influence to the group and as more time passed since they’d had success with their cover version of Bessie Banks’ Go Now with no sign of a follow-up hit, they decided to decamp to Belgium and write their own material, better suited to ‘lower-middle class English boys’, and move away from their R&B live set. Their new sound was defined by their use of Mellotron; keyboard player Mike Pinder had experience of the instrument from when he worked at Streetly Electronics in his native West Midlands, and sourced one from the local Dunlop Social Club at a bargain price because no one at the club could play it!

The story of how the album came to be made is well known; the band was in debt to Decca and, following a promising but unsuccessful self-penned single Fly Me High, was offered the chance to record an orchestra and rock version of Antonín Dvořák’s 9th Symphony From the New World for release on their Deram imprint for innovative new music, to promote their novel stereo recording technique, the Deramic Sound System, which gave improved channel separation. Once in the recording studio, the band persuaded producer Tony Clarke and orchestral arranger Peter Knight to drop Dvořák and record the song cycle which had become a staple at their gigs. Days of Future Passed (a title provided by the record company) was the result.

It’s likely that I first heard the album in 1973 as my sister was a big Moodies fan and we had a number of Moody Blues LPs appended to my dad’s jazz albums and an ever-growing collection of progressive rock. I liked some aspects of their music, In the Beginning from On the Threshold of a Dream for instance, but I thought there was a qualitative difference between what I was listening to (Yes, The Nice, ELP, Pink Floyd) and the Moodies, so consequently consigned them to a prog footnote and only in the past few years since I’ve been thinking more about the genre have I given them the reappraisal they deserve.

I don’t think the Moody Blues have ever been a progressive rock band but the idea of proto-prog is important. Orchestration in pop music may have already been commonplace but Days of Future Passed was the first attempt to bridge the pop and classical worlds. It’s ironic that The Nice used the 4th Movement of Dvořák’s 9th Symphony to extend their rendition of the Bernstein/Sondheim America; Keith Emerson was one of the prime movers for fusing classical music with jazz and rock and, with Ars Longa Vita Brevis appearing a year later in 1968, producing one of the most satisfactory early classical-rock hybrids on the side-long title suite. It’s been reported that Peter Knight, to his great credit, was keen to score the music for Days of Future Passed because at the time there really weren’t many voices from the classical world willing to rub shoulders with purveyors of popular music. Knight’s additions are quite in keeping with the pop of the Moodies but that’s one of the problems I have with side 1 of the album; I don’t think it’s aged at all well. The score lacks depth and drama and reminds me of music for some lightweight British movie from that time or even before; the saccharine strings and woodwind trills which open the record are hackneyed, though there’s a brief respite when each track theme is previewed. I do like the idea of Graeme Edge’s poetry on The Day Begins (Morning Glory and, at the end of side 2 Late Lament/Resolvement) and however much this influenced my attempts at teenage poetry, I can quite understand how it attracted accusations of pretentiousness. Dawn is a Feeling isn’t a bad song but the 2/4 sections ruin Another Morning and the orchestral introduction to Peak Hour. When Peak Hour gets going it actually rocks and the harmony work, a key component of the Moody Blues sound, reminds me of The Beatles. There’s more soloing on this track, easily the best part of the first side and this too adds to the impression that the piece is locked inside the mid 60s.

Side two is a different matter with better writing and more variation in each song, and more Mellotron. I’m not so sure about the bridge, but I like Forever Afternoon (Tuesday?) with its Mellotron line that surely inspired Barclay James Harvest, and I think it conforms to a classic Justin Hayward blueprint, even presaging Forever Autumn. The Sunset taps into the trend for Eastern music and Twilight Time is rather psychedelic, and could easily have been influenced by Pink Floyd. The stylistic variation continues with Nights in White Satin which is quite different from anything else on the album. It may be familiarity but I think it is a well-structured piece and deserves its reputation as an undisputed classic.


The orchestration doesn’t really supplement the songs but links them, acting to reinforce the themes and that’s why I don’t believe it succeeds in what it set out to do as described on the sleeve notes “...where it becomes one with the world of the classics.” The writing on side one lacks maturity, hardly breaking away from the pop of the time but side two, and the overall theme of ‘a day’ from sunrise to after sunset, would set a trend for other conceptual works. Opinion amongst Decca executives has been reported as ‘mixed’ when the record was completed but they released the album anyway, in the hope that it would recoup some of the financial investment in the project.

The rest is history; progressive rock as a genre wouldn't be the same without it.





By ProgBlog, Sep 4 2017 10:23PM

I’ve just watched the 1987 Arnold Schwarzenegger sci-fi/adventure film The Running Man which, when it begins, is set in 2017, jumping to 2019 after Ben Richards (Schwarzenegger’s character) is framed, and imprisoned for a mass murder of innocent civilians. Based on a Stephen King novel published under the pseudonym of Richard Bachman (with the Bachman borrowed from Canadian rockers Bachman Turner Overdrive) the 2017 of the future hints at the 2017 of today: “By 2017 the world economy has collapsed. Food, natural resources and oil are in short supply. A Police State, divided into paramilitary zones, rules with an iron hand. Television is controlled by the State and a sadistic game show called ‘The Running Man’ has become the most popular program in history. All art, music and communications are censored. No dissent is tolerated and yet a small resistance movement has managed to survive underground” but it’s the plot relating to editing video footage, the use of ‘fake news’ to manipulate the masses, along with the quest for ratings, which most resemble our present. It’s quite incredible that two actors from the film, Schwarzenegger himself and professional wrestler Jesse Ventura (who plays Captain Freedom) would make the shift from entertainer to politician: Schwarzenegger was the Republican governor of California for two terms from 2003 and Ventura was the Reform Party candidate and elected governor of Minnesota in 1999, deciding not to stand for re-election in 2003; current POTUS Donald Trump has no previous political experience but he has featured in the reality TV business.

The Running Man also serves as a vehicle for the acting talents (!) of Mick Fleetwood (Fleetwood Mac) and Dweezil Zappa, who happens to be playing 50 Years of Frank in the UK over the next month. Stephen King’s novel was written three years before Margaret Atwood’s The Handmaid’s Tale and the two books share that near-future (our present) dystopian world-view.



The Running Man and Mick Fleetwood and Dweezil Zappa
The Running Man and Mick Fleetwood and Dweezil Zappa

We live in worrying times. The very recent planned detonation of a hydrogen bomb, ten times more powerful than the previous device tested and allegedly capable of deployment by one of their ICBMs which have also been tested with alarming frequency in recent weeks in response to joint military manoeuvres by the South Koreans and the US, represents a disturbing testosterone-fuelled escalation towards a potential devastating conflict between the Democratic People’s Republic of Korea and almost all of the rest of the world. Whereas I personally wasn’t worried by the Cold War stand-off between the US and its allies and the Communist Bloc, even though my youth was spent living in a potential target for Soviet missiles and I moved to London, an obvious target, just before the Thatcher-Reagan years; a period when bullish rhetoric was backed by American-controlled cruise missiles sited on UK soil and of Reagan’s proposed Strategic Defense [sic] Initiative. However, the behaviour of Trump on the one hand and Kim Jong-un on the other, two megalomaniacs who simply refuse to back down, is an increasing cause for concern.

According to the Bulletin of the Atomic Scientists, the Doomsday Clock is currently set at two and a half minutes to midnight, indicating that the probability of global catastrophe is very high, the highest it has been since 1953 when the US decided to pursue the development of the Hydrogen bomb. Throughout 2016 and 2015, the clock stood at three minutes to the hour, the closest to midnight since the early 1980s; this year the danger is even greater. My lack of concern during the 80s was partly due to my belief that the USSR economy, ploughing ever more resources into the military-industrial complex and away from the staples needed by the ordinary people was unsustainable, though there was always the possibility of initiating a strike by accident. I attended CND rallies and laughed at the ridiculous Civil Defence plans for a nuclear attack on the UK, its forced public dissemination five months after it had been ‘officially’ released in January 1980 following an investigation by the (pre-Murdoch) Times newspaper. In March 1984 David Gilmour released his second solo album About Face which included the jaunty and ironic Cruise, featuring innumerable puns about atomic warfare and fading out with a cod reggae groove. My current anxiety is fuelled by the actions of a paranoid dictator in North Korea who ignores the basic rights and requirements of his people and a clueless, populist, not-particularly-successful-businessman-turned-TV-personality who wouldn’t know diplomacy if he had to shake it by the hand.



Dave Gilmour, Hammersmith Odeon 30.04.84
Dave Gilmour, Hammersmith Odeon 30.04.84

If there is going to be a future despite Trump’s best endeavours to scupper it through either total war or climate change denial, what is prog going to look like? In 2017 we have the benefit of being able to look back at almost 50 years of prog, but is reflecting on the changes in both the music itself and the industry since Sgt Pepper’s, The Piper at the Gates of Dawn and Days of Future Passed any help in imagining future-prog?

I propose that we define prog rock along temporal lines to provide an indication of general stylistic attributes. If we restrict the term ‘progressive rock’ to music produced between 1969 (the year of In the Court of the Crimson King) and 1978, which equates to the so-called ‘golden era’, there were a couple of years beforehand where blues-based rock and psychedelia began to push at the boundaries of conventional popular music which we could call proto-progressive, append neo-prog (early-mid 80s) which combined progressive rock traits with an almost punk attitude, and further append the early 90s prog revival which has gone from strength to strength and flourishes today; to avoid any arguments over semantics and how ‘progressive’ implies continuous development, these four ages, plus future-prog should be scrutinised under the overarching umbrella of ‘prog’.


It’s quite remarkable that prog should be as strong as it currently appears. If the original proto-prog and progressive rock success was down to the baby boomer generation, it’s not unreasonable to suggest that our children are maintaining the continued interest. However, this is not necessarily always the case. My son may recognise classic progressive rock and buy me prog but I couldn’t get him to learn an instrument or get serious about the genre! At least part of the driver for prog was a series of technological advances from the 60s onwards and innovators like Robert Moog who took these ideas and turned them to practical, musical uses, though there have been some duds. I’ve never been happy with the sound of the string synthesizer, seen as a reliable alternative to the unwieldy Mellotron, but which had an equally short life cycle. The Elka Rhapsody was produced in Italy between 1975 and 1980 and became something of a favourite, despite what I’d describe as a thin sound; even my band used one in 1979-80, before our keyboard player John Carrott bought himself a Juno 6 and the band dissolved. Perhaps the biggest offender was the Solina String Ensemble before the Prophet 5 and Yamaha DX7 polyphonic synthesizers came along to make the string synth redundant. Fortunately, after a number of hiccoughs Mellotron are going strong and it’s virtually impossible to go to a prog gig in Italy without seeing a Mellotron on stage. However, there are two mellotron companies: Mellotron run by Markus Resch in Sweden who own the brand name and produce the Mk 6 and digital M4000D model, and Streetly Electronics, the original UK manufacturers of the Mellotron who produce the M4000. The accurate digital reproduction of 70s analogue sounds is a feature of much of the current keyboard-based prog and while appearing retrograde, it’s the culmination of technological advancement to achieve the widest range of sounds without compromising portability. This refinement is hardly a major leap forwards compared to the pace of change within the recording side of the business. Digital recording and file sharing have facilitated a near revolution in record production, so that The Invention of Knowledge (2016) was made over a two-year period without Jon Anderson and Roine Stolt meeting up, apart from for a Los Angeles photo shoot; Anderson sent his vocals from the US to Stolt in Sweden, where the instruments were recorded with other musicians.


Anderson-Stolt - The Invention of Knowledge (2016)
Anderson-Stolt - The Invention of Knowledge (2016)

This lack of a geographical centre of the movement is associated with the prog revival and it’s a very good thing. Progressive rock wouldn’t have emerged without the political and social changes experienced by the UK in the 60s, quickly exported to our continental European neighbours who had both similar and their own unique conditions for developing the genre. Some of the original proto-prog and progressive rock philosophy remains and has been applied to some of the woes of the modern world: Steven Wilson’s latest release To the Bone (2017) covers topics like the divisiveness of President Trump and his notion that truth isn’t always the truth, the everyday lives of refugees, terrorists and religious fundamentalists; Roger Waters also wades into current affairs and Trump on Is This the Life We Really Want? in a continuation of a thread running from Animals (1977).


Roger Waters - Is this the life we really want (2017)
Roger Waters - Is this the life we really want (2017)

But what of the future? Is the recycling of classic progressive rock sounds and the return of vinyl a step into tomorrow? Is the cause helped by the remnants of original acts touring their old material? I suspect that the genre is time-limited and we’re currently approaching the twilight of a second ‘golden age’ though through recorded media it has the chance to live on.

There’s nothing wrong with playing the greatest hits from your back catalogue because that’s what bands of all eras and all genres have done; if the creative spark has gone then continue to please audiences with old favourites and let newcomers, the next generation of prog rockers, reinterpret the idiom in whatever way they can. Prog has used a myriad of diverse influences to create wonderful, amazing, challenging music and whether good or bad, there will be plenty of unimagined future legends to inspire the prog musician.



Photograph: Scott Olson/Getty Images
Photograph: Scott Olson/Getty Images








By ProgBlog, Jul 5 2017 07:55PM



The 2017 Porto Antico Prog Festival is being held in Genoa next week (Friday 14th – Sunday 16th July) and as I’m going along, I thought I’d take a look at some of the bands who are performing. Panther & C. play early in the evening on Saturday. I saw them at the Fiera Internazionale della Musica in 2014 and thought they were a confident ensemble playing an impressive melodic symphonic progressive rock, somewhere between the classic Italian style and subsequent incarnations of prog.



Yet another band from the new centre of progressivo Italiano, Panther & C. formed in 2003 but didn’t release their debut album L’Epoca di un Altro (Another Time) until 2015. The entire recording clocks in at less than 38 minutes which may be the ideal length for a vinyl LP but, considering they had other material that was already in a polished format in 2011 and the album only came out on CD and digital formats, it’s somewhat unusual for the times. That’s not to take anything away from the group who play beautifully constructed progressivo Italiano and tend to mix 10 minute+ compositions with shorter pieces. This first release boasts two epics; the opener Conto alla Rovescia (Countdown) and the closing La Leggenda di Arenberg (The Legend of Arenberg.) The latter, if my interpretation of the song is correct, relates to the cobbled track, once used by miners but now an integral part of the infamous Paris-Roubaix classic one-day cycle race, as it runs through the Arenberg Forest in northern France. It’s predominantly instrumental but the vocals possess an expressive, theatrical touch. I detect hints of Locanda delle Fate, especially the interactions between piano and flute and if there’s any reference to the UK prog scene, I’d suggest they were influenced by Lamb Lies Down-era Genesis. The line-up for the first album was comprised of Riccardo Mazzarini on guitar; Mauro Serpe on flute and vocals; Alessandro La Corte on Keyboards; Giorgio Boleto on bass; and Roberto Sanna on drums.





It’s appropriate that they’re once more playing on home turf because they recently released their sophomore effort Il Giusto Equilibrio (The Right Balance) (Black Widow BWRDIST 668), an album which is not yet available in the UK. Sanna has been replaced by Folco Fedele on drums but this doesn’t appear to have changed the sound in any way. This album, like the first, features five tracks mixing short pieces with three longer ones so that the running time is extended to 47 minutes; once more suitable for vinyl. Unlike the first album, Il Giusto Equilibrio has a loose theme linking the five songs, how mankind attempts to reconcile the human condition, finding the right balance between the competing essentials of existence.

Opener …e continua ad essere… (...and Continues to Be...) is firmly in classic territory, commencing with a baroque harpsichord figure before being joined by wildly racing vocals and guitar which in turn subside to calm section which has some haunting Camel-like flute drifting on to the end of the track; short, but perfectly formed. The second (title) track Giusto Equilibrio contrasts the beauty of nature and the dark side of nature, like the lion killing the gazelle. This is the first of the extended pieces and is mostly in the classical style. There’s a particular moment where the piano and organ work together in a style similar to that developed by Banco del Mutuo Soccorso and the changes in style and tempo reinforce this feeling. The track ends with a quite wonderful expansive guitar solo. Oric is the other short track, about the ‘hopes of positive feelings in the transition from one life to another’ neatly distilled into a gentle ballad with mellow picked guitar chords, Mellotron strings and choir and some Genesis-like flute. It works because it provides a dramatic contrast to the other, more full-on prog. Having said that, the second of the three lengthy tracks Fuga dal Lago (Escape to the Lake) begins in a similar fashion. This instrumental has been around since at least 2011 and relates to the need to escape from the stresses of everyday life. There are some amazing melodies weaving their way through this piece, from early Crimson flute passages to some immediate post Gabriel-era Genesis guitar and keyboard lines. The earliest versions of the piece could have fallen into the new-age category and though snatches of programmed keyboard sections remain, it’s now largely shaken off that feel but sounds like neo-prog rather than 70s prog. The last song, the 13’40 L’Occhio del Gabbiano (The Seagull’s Eye) commences with the same mellow picked chords of Oric but builds nicely. It describes a gull who witnesses the attack on the Twin Towers in New York on September 11th 2001, comparing the majesty of natural flight with the murderous intent of the hijackers. The vocals express a remarkable sadness but it’s predominantly instrumental with some great guitar and synthesizer melodies (think Misplaced Childhood and post-Hackett Genesis for sounds), all expertly held together with a dextrous, inventive rhythm section.




The album artwork probably won’t suit all tastes. Whereas L’Epoca di un Altro is illustrated by stand-up cardboard figures of the band in a manner not dissimilar to the figures depicted on the cover of Vital by Van der Graaf, Il Giusto Equilibrio has hands ripping through a leather hide. Fortunately, there’s a hint of revealing something interesting or intriguing behind the ripped covering.

Look beyond the sleeve – the music inside is well worth a listen.


See you in Genoa!






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