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Getting out a full edition of a magazine devoted to prog music every month obviously treads a difficult path, remaining relevant whilst retaining the ethos of prog rock. Prog manages this incredibly well, mixing content from all parts and all eras of the genre. ProgBlog reflects on 10 years and 100 editions of Prog magazine

By ProgBlog, Jan 1 2019 05:22PM

2018. A year like no other, with global politics stooping to a new nadir as so-called world leaders lie, cheat and bully their way through life. I’ve always tended towards optimism, which is one of the reasons I have an affinity for progressive rock, but when humanity is fast-approaching the point where man-made climate change is going to have irreversible, accelerated effects on the biosphere and some of the largest economies in the world argue about the wording of a document at the end of the (extended) COP24 Climate Conference in Katowice relating to the implementation of the 2015 Paris agreement, I may have reached my personal tipping point. For the US, Russia, Saudi Arabia and Kuwait, with tacit encouragement from Australia and Brazil, joining forces to prevent the conference fully embracing the Intergovernmental Panel on Climate Change (IPCC) findings that any warming of above 1.5oC of pre-industrial levels would be disastrous for many species seems criminal to me. As forest fires rage across California and Australia and Japan once again break their local temperature records, it’s time surely for anyone with children or grandchildren to think globally and, at the earliest opportunity, use the ballot box to facilitate change.


The Guardian headline 15 December 2018
The Guardian headline 15 December 2018

Change appears to be the kryptonite of anyone with a vested interest. Colonial expansion allowed Europeans to profit from indigenous mineral wealth with little or no trickle-down benefit for locals (usually the opposite); the dirty energy that fuelled the industrial revolution made a small number of people very rich; the sell-off of former Soviet state industries made a smaller number of people super-wealthy; now our fondness for technology has created an even smaller group of unimaginably rich who are responsible for the way we get our information. I’m not going to deny that there’s no philanthropic disbursement of funds but however well-founded donations are, there’s always a return for the sponsor through free advertising and access to political power, and even something as outwardly benign as the Bill and Melinda Gates Foundation has come under scrutiny for purportedly cornering the market on global health issues. Thanks to some stunning work by the International Consortium of Investigative Journalists (ICIJ), it has been revealed that the accumulation of wealth by a limited proportion of the global population, including politicians, is driven by self-interest and that they utilise schemes which although falling within the letter of the law, are actually complex constructs to preserve that wealth and ergo, influence or power. The employment of offshore structures is the equivalent of smoke and mirrors, a device to distract and confuse and ultimately avoid transparency; the influence is exerted to avoid regulation, the same red tape that might have prevented the Bhopal disaster, the Sandoz chemical spill, the Deepwater Horizon explosion, the Fukushima Daiichi nuclear disaster, the Flint, Michigan water crisis and many others. There’s a salutary lesson here: cutting regulations may save you money, but cutting costs may cost lives.


Climate change appears to be rather low on the UK government’s list of priorities, along with rising homelessness and providing appropriate care for the elderly, those with disabilities and the unwell. Currently paralysed in a mess of her own making, bounded by red lines and surrounded by a party disunited over Europe, the Prime Minister continues to rely on DUP MPs to hold the government together even as she decries almost half of the population who voted to remain in the EU as undemocratic for suggesting a second referendum; her pro-Brexit allies from Northern Ireland don’t actually represent the majority ‘remain’ sentiment to be found in the province but she continues to allow them to hold her to ransom. It’s easy for critics of Jeremy Corbyn to lambast him for not holding Theresa May fully to account for her Brexit bungling but there are some equally pressing issues which, if satisfactorily addressed, might persuade those who voted to leave that their voice is being heard and that there was nothing to gain from leaving the EU. If May had taken more of a consensus approach to work out the best solution for the country and not attempted the impossible, the reconciliation of the pro- and anti-Europe wings of the Conservative party, the UK might not be three months away from the worst possible scenario – no deal.


Extrapolating from what I’ve seen in Prog magazine and in tweets posted by the individuals I follow on Twitter, I imagine that the majority of UK prog musicians are in favour of remaining within the EU. The challenge of restriction to movement throughout Europe effectively putting a kibosh on touring the mainland continent for all but the best resourced bands by erecting barriers to seamless touring not seen since the early 1970s, cutting off a previously accessible market. The reciprocal arrangement will undoubtedly deter artists from some of our former EU partners from gigging in the UK. The following argument could be made by not only anyone who has enjoyed the benefits of cheap intracontinental travel but by NHS senior managers, hoteliers and other owners of hospitality, catering or drinks businesses, even farmers requiring a large seasonal workforce; any restriction or barrier to EU citizens working in the UK is going to have an adverse effect on our daily lives, whether that’s longer waiting times in hospitals, no one to staff care homes for our elderly relatives, food shortages and concomitant rising prices, or just finding it harder to enjoy a night out. Doesn’t that make us look grown-up?

The Brexit-fantasy nostalgia even puts my infatuation with 70’s prog in the shade. I resent the barriers being erected that will inconvenience me on my quest to witness the last few classic progressivo Italiano bands I’ve not yet seen, and flourishing my blue UK passport at the end of a slow-moving immigration queue at Genoa’s Cristoforo Colombo airport isn’t actually something I’m going to feel proud about.


2018 did turn out to be good for one thing; the number of concerts I managed to attend (22) was the most I’ve ever managed in a year; I had thought 2017 was busy with 14 (that’s including two days in Genoa for the Porto Antico Prog Fest and five nights in Rome for the Progressivamente festival.) At times it felt as though I was chasing gigs and was certainly flagging by the end of March. Having recommenced semi-retirement towards the end of 2017, it became easier to take extended weekend breaks so on my return from a midweek skiing trip to Chamonix in early January I discovered that Banco del Mutuo Soccorso had a gig in Brescia the following week which, thanks to its proximity to Milan, made travel arrangements relatively easy.


ProgBlog's list of gigs, 2018
ProgBlog's list of gigs, 2018

The true gig marathon began on the 23rd March with my second venture to the Fabio Zuffanti-organised Z-Fest in Milan and ended with my first attendance at a Tangerine Dream performance at the Union Chapel, Islington, on 23rd April. Between those dates I got to see Yes at the Palladium, the first of Steven Wilson’s three nights’ residency at the Royal Albert Hall, had a week skiing in Austria after which I dropped off my gear and immediately headed out to the ESP 22 Layers of Sunlight launch party at the Half Moon, Putney, and flew off to Brescia again, this time for another classic Italian prog band, Le Orme, who were augmented by David Cross on violin. The complexities of getting back the hotel from some of these Italian venues can be something of a logistical nightmare after public transport has shut down for the night. Walking the streets of Genoa after a show poses no threat when the club or theatre is in the heart of the city but the 11km between L’ Angelo Azzurro and the NH Genova Centro, though only a 90 minute walk at most, might not be the best idea at 2am. I am deeply indebted to Marina Montobbio for arranging my lift back from an excellent gig. BMS at Brescia would have been less problematic if I hadn’t followed my wife’s instructions not to use public transport to get back to our hotel. Circolo Colony, the venue for the show, was hidden away on an industrial estate about 20 minutes walk from the light rail terminus to the east of the city. Though the last train was scheduled for 1am, the walk to the station would have involved a section behind the Armco protection from a dual carriageway, so I was told to get a taxi. I had pre-programmed a mobile phone app to get my return cab but despatch phoned me to tell me nothing was available at the time I requested, 00:45am, and the last taxi was at midnight. Apart from missing a chunk of the BMS set, I had to hang around the car park for almost half an hour and had to phone the company to ask where the driver was. When he appeared, it turned out that he was familiar with progressive rock so the journey back to the hotel wasn’t unpleasant. On my return to the city three months later I’d worked out not to bother trying to pre-book a return taxi journey. I made a note of where the taxi dropped me off on the way to the Brixia Forum, returned to that spot at the conclusion of the performance, and called a taxi; mine was the third to arrive. As a result of making the trip for the BMS gig, I was able to explore more of Italy. I really like Brescia with its three record stores (special mention has to go to Kandinski, Via Tartaglia 49c, 25100 Brescia) but it also hosts a UNESCO World Heritage site and the railway provides easy access to other cities including Cremona, and to Lake Garda.


While the variety of live events I attended spanned the inaugural local electronica festival (part three of Palace Electrics was held at Antenna Studios, Crystal Palace and included an interpretation of Steve Reich’s Pendulum Music) to Camel at the Royal Albert Hall and the fabulous Lucca Summer Festival for an outdoor experience of King Crimson, I was also being exposed to a lot more music that I’d describe as being outside my comfort zone. Requests for me to review new music, which came from all parts of the prog spectrum, led to the creation of a new section on the ProgBlog website, DISCovery, which had the aim of exposing new artists to a wider audience. So far it has featured a diverse range of styles including classic Floyd-like soundscape prog, pop-prog, prog with a metal bias, and RIO-inflicted free jazz.

I hope that my contribution to the prog world, however small, inspires someone to go out and explore, whether that’s just the sonic adventure of trying something new or a geographical quest to unearth the inspiration behind the music, where an understanding of physical and cultural artefacts help to piece the world together. 2019 certainly needs everyone to display a little more understanding.


Wishing everyone a peaceful new year.







By ProgBlog, Apr 5 2015 06:53PM

Around the time of the double trio King Crimson incarnation, Jim Knipe and I went off to see Robert Fripp performing soundscapes in the foyer of the Queen Elizabeth Hall on London’s South Bank. This attendance was fairly hastily arranged because of respective work commitments such as on-call and the Saturday 9th March was deemed to be the most suitable of the potential dates on offer, Fripp being in residence at the QEH for four days from the 7th to the 10th including what was due to be a marathon session on Saturday 9th, as part of a series of events billed as ‘Now You See It’. Strangely enough, Crystal Palace were at home to Jim’s team, West Bromwich Albion that afternoon, with Palace running out winners 1-0 and legend Dougie Freedman scoring the sole goal; this predated our arrangement to attend Eagles v Baggies and Baggies v Eagles reciprocal home fixtures by some years, when West Brom and Palace are playing in the same division.

I’m a fan of Fripp’s soundscapes. I’ve got (No Pussyfooting) and Evening Star, which I regard as early, lo-fi examples of guitar and tape loops which marked the beginning of Frippertronics (a term coined by Fripp’s girlfriend at the time, Joanna Walton). Though I don’t own either God Save the Queen/Under Heavy Manners (1980) or Let the Power Fall (1981) I do have the Fripp-produced Sacred Songs by Daryl Hall, recorded in 1977 but not released until 1980 which some believe contains the first examples of proper Frippertronics. I’ve charted their evolution from the original collaborations with Eno, through solo album Exposure (1979) and the 80s incarnation of Crimson to the work with David Sylvian, The First Day and the live album Damage (both 1993), that presaged the double trio King Crimson of the 90s. The calm, dreamy Bringing Down the Light from The First Day was probably the earliest recorded example of Fripp’s modern take on the soundscape; my collection ends with the four track CD EP Pie Jesu (1997) which contains material from A Blessing of Tears and The Gates of Paradise. By this time, technology had become very reliable and instead of twin Revox tape decks and his effect pedal that I’d seen give up the ghost while playing with the League of Gentlemen at the LSE in November 1980, he was now using industry-standard TC2290 dynamic digital delay modules from TC electronics.

The late 70s and early 80s saw Fripp embarking on a number of intimate solo performances in off-beat venues, in the guise of a ‘small, mobile, intelligent unit’. This modus operandi was revisited in the mid-90s with the new technology and resulted in a series of releases that sadly aren’t currently available (though a series of more recent compilations are readily accessible); these shows were sonically and physically disparate from his playing in a group context. In Crimson he migrated out of the front line, remaining in the shadows but he was entirely out of sight when I went to see Peter Gabriel at the Liverpool Empire in April 1977 performing his first solo tour, until his introduction as ‘Dusty Rhodes’ when he appeared to take a bow. As a solo performer, whatever the ambient lighting, he was always in the spotlight and the perceived barriers between Fripp and the audience were rendered insignificant. Fripp was able to trigger loops and delays and leave his ‘stage’ from time-to-time, blurring the lines between the distinction of guitarist and listeners. On http://www.dgmlive.com/rf/index.htm?group=bleeping&bio=true Fripp writes “The Soundscape performances are part of an ongoing series which has the aim of finding ways in which intelligence and music, definition and discovery, courtesy and reciprocation may enter into the act of music for both musician and audience.”

This interaction is one reason why the music shouldn’t be simply classed as ‘ambient’ music. The ambient tag suggests the listener is passive but it is Fripp’s stated aim to seek an interaction which may then shape the course of the event; proactive music making, with Fripp and a guitar able to make a great deal of noise should he decide to do so. These aren’t sampled atmospherics, sounds from nature or even urban background chatter but a controlled, improvised, sonic narrative that may be calming, dramatic, eerie, alarming or even jagged and angular.

The ambient genre had its origins in the 70s and could be described as a musical form with an emphasis on tone, timbral quality and atmosphere rather than a traditional structure or rhythm. To this extent, ambient music ought to have an unobtrusive quality. Early pioneer Brian Eno has said that ambient music should be able to accommodate many levels of listening attention without enforcing one in particular; that it must be as ignorable as it is interesting. This suggests to me that ambient music is passive and so, by applying Fripp’s description of soundscapes, soundscapes are not ambient music.

‘Ambient’ somehow seems mixed up with New Age ideas, or rather there is an association between the two through a construct of the marketing industry. Fripp’s critique of the music business is well documented, largely through copious sleeve notes that have accompanied Fripp-related releases through DGM; the corporate music world relies on consumer trends that are controlled via the medium of marketing.

Soundscapes aren’t electronica, either. This is a sub-genre I associate with sequencer pulses and (predominantly) keyboard washes. Whether intended or not, programmed sequences form the basis of rhythm, and they certainly provide a sense of drive and direction which removes them from the accepted definition of ‘ambient’. Thus Tangerine Dream, synthesizer innovators of the early 70s, are allowed to be described as producing ‘atmospheric’ music but their ephemeral melody lines that interweave with snatched, developing pulsating sequences excludes them from ambientism.

It’s the unknown direction of soundscapes that I find appealing. Some of my own improvised music using a Roland synthesizer falls into calming soundscape territory, though I have a tendency to overdub ‘natural’ sounds, rainfall, wind or waves and use reverse waveforms played over the original recording to produce smooth, soothing compositions. This is very unlike Fripp (and obviously nowhere near as good) with only his guitar and effects, conjuring angels and demons in response to his audience in an intimate, live setting. Each performance is unique and if Fripp has full recordings of his recital from March 9th 1996 (the piano-inflected Sometimes God Hides that appears on The Gates of Paradise released in 1997 was taken from that appearance) I’d very much like him to consider releasing it – the memory of standing sipping bottles of Becks watching the craftsman at work is beginning to fade.



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