ProgBlog

By ProgBlog, Dec 20 2019 09:43PM

I’d just gone to buy myself a beer during a break between bands at the 2017 Porto Antico Prog Fest in Genoa when Alessandro Bosca, the bassist from Melting Clock who had just completed their set, also arrived at the drink stand. I introduced myself and told him how much I’d enjoyed their performance, indicating that I’d be writing a review article of the Prog Fest for the blog and Alessandro asked me if I’d like to hear some studio-quality demos of their songs. He passed on my details to Stefano Amadei, acting manager and one of the band’s two guitarists, who sent me files for four tracks, describing them as ‘something we recorded in only two days to present ourselves to venues’. I’d been impressed by their live appearance (their live debut) but the demos L'occhio dello Sciacallo, Antares, Sono Luce and Strade Affollate, all aired at the gig, were beautifully produced and allowed me to fully appreciate their song-craft and playing, even replicating the tingling sensation provoked by Emanuela Vedana’s vocals on Antares. Listening to the download, I was reminded of mid 70's Renaissance: melodic, symphonic and well constructed, though Melting Clock were more complex and had an audible Mediterranean influence. When I told Stefano he was flattered, but said they had only recently discovered Renaissance when some of their friends had made the same connection.


Melting Clock, Porto Antico Prog Fest 2017
Melting Clock, Porto Antico Prog Fest 2017

The origins of Melting Clock can be traced back to the Department of Physics at the University of Genoa in 2001. Stefano explained to me that the original objectives of a small group of friends was to have fun making music, describing the attempts of the fledgling group to play covers from the bands they loved but ‘were so bad that we were off beat on the various section of the songs’. This prompted Alessandro to apply the Italian slang ‘ci sciogliamo il tempo’ (‘we are melting our time’), meaning that they were forgetting or loosing the rhythmand beat, while sparking the connection with the melting clocks in Salvador Dali's 1931 masterpiece The Persistence of Memory that some have suggested was inspired by Einstein's theory of General Relativity. According to Stefano they adopted the moniker Melting Clock as a private joke: a comment on their musical skills and a pretentious link to the nerdy background (Stefano’s description) of the line up at the time.


Four of the original line-up remain: brothers Sandro and Stefano Amadei (keyboards and voice, and guitars respectively); Alessandro Bosca (bass); and Francesco Fiorito (drums), while the current sextet is completed by Simone Caffè (guitars) and Emanuela Vedana (vocals). It surprised me that their coherent, largely symphonic style should result from a wide range of influences because Francesco and Stefano are metal-heads, Simone is a David Gilmour fan, and Sandro listens to Scandinavian jazz, though he has played with Daedalus, a Genoese prog-metal band alongside Fabio Gremo of Il Tempio delle Clessidre, and was a huge fan of Jordan Rudess, lending Rudess his Kurzweil K2600 when the Dream Theater keyboard player was on holiday in Italy and agreed to perform for the Italian Dreamers. The influence of contemporary acts like Porcupine Tree, Riverside, Opeth and Ayreon that the band say have shaped the direction of their sound is tempered by a critical understanding of the cultural significance of the music that came out of Italy in the 70s along with an appreciation of classic UK progressive rock; accompanying them to a gig reveals the depth of their knowledge of Italian prog, and each time I’ve seen them play, they’ve included a classic-prog cover in the set.


Melting Clock at La Claque, Genoa 11/11/2017
Melting Clock at La Claque, Genoa 11/11/2017

It would be fair to say that Genoa, or more broadly Liguria, played a key role in the rise of rock progressivo italiano and in my opinion, Melting Clock have the ability to take on the role of RPI standard-bearers for the entire country. Rubbing shoulders with the city’s original prog musicians and the bands that have more recently come to prominence, Stefano says that the members of Melting Clock are dismissive of any boundary imposed through generational differences. An indication that their music has the potential for broad appeal is the decision of Black Widow Records to allow the band to produce a limited 2LP edition, in purple vinyl, of the debut album. Black Widow co-owner Massimo Gasperini may have thought long and hard about the vinyl release when the band had enough material for three sides of an LP but a cover medley of King Crimson tracks 21st Century Schizoid Man, In the Court of the Crimson King and Starless, first aired to great response during a gig at Genoa’s L’Angelo Azzurro club in March 2019, would provide the material for side four. That performance had been rearranged and I missed the show, not arriving in Genoa until the following week, when I was treated to a band rehearsal where they ran through the entire set from the performance and, warned of a surprise inclusion to the set list, was absolutely blown away by the medley Alla Corte del Re Cremisi, artfully segued together and enhanced by violin from Hanako Tsushima.



Melting Clock rehearsal 21/3/2019
Melting Clock rehearsal 21/3/2019

When I met up with the whole band at the 2018 Porto Antico Prog Fest, we had a lengthy discussion about the merits of singing in their native tongue, unanimously agreeing that it was preferable for a rock progressivo Italiano outfit to sing in Italian. It was clear that they also understood overcoming the language barrier was likely to make their music accessible to the wider public and were considering, at least on one of the formats for their forthcoming debut, to include a bonus track of original music with lyrics translated and sung in English to expand their appeal or perhaps, like veteran local group and Black Widow Records stable mate Il Cerchio d’Oro on their 2008 album Il Viaggio di Colombo, include English translations of the Italian lyrics; what we get in both CD and vinyl editions of Destinazioni is a full English translation of the song words by Emanuela and Stefano providing an interpretation for non-Italian speakers. The Italian singing is expressive and poetic and at times almost operatic; the translations reveal an impressionistic flair that reminds me of Peter Sinfield’s best work – much of it for PFM.

I was also asked my opinion of the proposed album artwork which had divided opinion amongst the members. Initially thinking that the cover, painted by their friend Matteo Anselmo, didn’t accurately reflect the genre, I began to change my opinion because the depiction of the young woman at the bus stop waiting for a boat links the music, especially Antares and title track Destinazioni to Genoa; Stefano later confessed how he feels connected to the sea at a performance of Höstsonaten’s The Rime of the Ancient Mariner, an admission that caused me no surprise as he’d grown up on the Ligurian coast and something I could empathise with, having spent my formative years in a shipbuilding town in the north west of England.


Destinazioni
Destinazioni

Not only has the material has matured since the original demo and the original live performances, the compositions are thematically linked by the representation of different aspects of a journey. Though the music is largely credited to Simone and Sandro, with a good proportion of the lyrics provided by Emanuela, the process of structuring each piece is dependent on rhythmic arrangement by Francesco and Alessandro and colour and mood supplied by Stefano. Having originally begun recording the album in November 2018, the time spent in Studio MAIA under the direction of Andrea Torretta was used wisely, settling on the most satisfying arrangements that capture the drama of each individual story. Stefano explained that he wasn’t interested in music that he found unchallenging, describing their style as being characterised by evocative and engaging sounds which belie the compositional complexity, drawing in the listener, which reflects how I felt when I first heard them in 2017.


Album opener Caleidoscopio was an excellent choice as a first single because it’s archetypal, condensing Melting Clock into a shade less than eight and a half minutes. It’s incredibly well-structured, built up from short phrases emphasised with distorted guitar yet despite its intricacy, the multiple instrumental layers are all clear and distinct and floating above is Emanuela’s gorgeous vocal melody. There are tempo and metrical changes and a fast organ solo but generally the lyrics express reflection, representing an inner journey.

I always look forward to meeting up with the band because we share an appreciation for many of the same things and conversation inevitably turns to music, books, and politics. Banalmente is a political song, played in a recognisable Melting Clock idiom attacking those who don’t question, preferring not to know or hold any responsibility for any atrocity carried out on the orders of others, along the lines of John Stuart Mill’s ‘Bad men need nothing more to compass their ends, than that good men should look on and do nothing.’ The references to ‘sand covered in blood where corpses are lying in the sun’ followed by ‘digging our trench to defend the high season party’ bring to mind the fate of refugees who have risked their lives crossing the Mediterranean and landed on Italian territory, a journey of desperation and hope that sadly too often ends in tragedy. There’s poignancy in Sandro’s particularly effective baritone during this piece.

Like a number of rock progressivo bands celebrating their Mediterranean roots before them, Melting Clock employ Middle Eastern scales and rhythm patterns on a couple of sections of Vetro which enhance the feeling of imprisonment and suffocation spelled out by the lyrics inspired by Yevgeny Zamyatin’s dystopian classic We. A song of different moods, the brief cinematic opening is followed by bright acoustic guitar which gives way to the eastern Mediterranean flavour and the start of the vocals. During the singing, which has a story-telling quality, Emanuela holds the melody while the instrumental backing is largely rhythmical (guest percussion is provided by Fabrizio Salvini) though there’s quite a lot going on with guitar and keyboards adding splashes of colour in the background. Following the last verse there’s a bright synthesizer line before a reprise of the acoustic guitar and eastern theme which precedes a piano flourish ending. I was present when this was first aired at a gig – it was one of the last compositions written for the album - where Sandro said he had been concerned about both the technical requirements of performing the piece (the verse is in 19/16 time) and its reception. I can report that not only did the music flow well but that it was really appreciated by the audience.

Strade Affollate was brought to the band by Simone. The acoustic guitar takes something of a lead but it’s obviously gone through the Melting Clock arranging machine. The understated piano that enters during the second verse and the Hammond-like organ arising during the middle eight enhance the melody as the layers build up, with restrained distorted guitar appearing in the third verse. This is a song of hope after the confinement of Vetro and partly because of its message and partly from the way it’s structured, it’s probably the most accessible track on the album, capable of bridging into more mainstream genres.


Melting Clock set list, L'Angelo Azzurro 9/3/2018
Melting Clock set list, L'Angelo Azzurro 9/3/2018




L’Occhio dello Sciacallo is another political song written by Sandro. Lasting less than three minutes and translating as The Jackal’s Eye it’s a short exhortation decrying corporate culture. The abrasive guitar introduction actually gives away to a pleasant melody where Emanuela and Sandro sing call-and response vocals. The drudgery is represented by drumming on the lower kit (though Francesco does use a limited amount of cymbal) and there’s an excellently executed cello solo provided by Stefano Cabrera.

The band is particularly proud of Antares, the first song they wrote for Melting Clock. It also happens to be a personal favourite of mine because it’s structured like a classic early Camel song, with amazing melodies and contrapuntal keyboard and guitar lines. This is another track that links to Genoa and the sea, so it’s not surprising that it begins with sea sound effects. Another composition that relies on building upon short phrases (c.f. Lunar Sea by Camel), it’s enhanced by Mellotron-like washes and contrapuntal synthesizer lines and some excellent twin lead guitar work, plus flute played by Fabrizio Salvini and cello played by Stefano Cabrera. Sandro shares some of the vocal duties but its Emanuela’s wordless vocals leading up to the dramatic denouement that steal the show, generating the physical signs of frisson, the pilomotor reflex and goosebumps.

Sono Luce has a lengthy instrumental introduction, arranged differently from the first time I heard it. This was the song where Alessandro’s playing first caught my attention, prompting me to seriously consider buying myself a 5-string bass. Even though there’s a Gilmour inspired guitar solo (it was written by Simone) the overall sound is less classic prog and more neo-prog with a delicacy to the piano and brightness to the guitars, giving a feeling of hope. The title (Made of Light) and lyrics are suggestive of a journey towards enlightenment but they still reference the sea and the shore.


The title track is something of a departure from the other melodic-symphonic tracks and it’s cleverly presaged by the short late-Floydian or early Marillion instrumental Quello che Rimane… It’s here that we get a better feel for individual influences in what is a notch or two up on the challenging stakes, both for the performers and the listener on the longest track on the album. Destinazioni is substantially heavier than anything else the band has done and begins with a nod to King Crimson and Dream Theater prog-metal while managing to stay adventurous throughout. Less reliant on stand-out melodies, it involves a lot of changes of style without breaks or segues, from fast and heavy to stately, from reflective to angular and aggressive, providing a metaphor for the cyclical nature of time. It conforms more to a classic prog template with accurate patches of analogue keyboards sitting well with the updated sound, exemplified by another fast organ run from Sandro but perhaps best illustrated with a few bars of guitar and keyboards that sound like Gabriel-era Genesis which appear toward the conclusion of the song, the most obvious incorporation of a classic prog influence.

Massimo Gasperini sanctioned the release of the double vinyl format with the medley Alla Corte del Re Cremisi taking up side four. These are pretty faithful recreations of the original King Crimson material, down to the Wetton bass trills on Starless and the role of David Cross covered brilliantly by Hanako on 21st Century Schizoid Man. Massimo has overseen some of the brightest names in contemporary Italian prog and hints at great things for Melting Clock, telling me that he enjoys seeing the band’s excitement about their own music. I also think they have a bright future, provided what is really a quite stunning debut gets attention beyond Genoa and Croydon.

What began as a chance encounter in 2017 has turned into a good friendship. I’ll be watching Melting Clock’s future journey very closely.


Destinazioni by Melting Clock, my album of 2019, is available from Black Widow Records BWR 224





By ProgBlog, Mar 19 2018 08:38PM

At the beginning of 2018 the proprietors of Genova bar and music venue L’Angelo Azzurro posted a message on their Facebook page that suggested that after almost nine years of putting on concerts they were very likely to have to close down for good because they had insufficient funds to cover their rent and were facing eviction. The energy, dedication and passion they’d put into the club really could not be questioned and the local musicians I’ve spoken to were seriously concerned about the loss of a venue that had been very supportive of the Genova progressive rock community; limiting the potential exposure of bands of whatever genre would have undoubtedly had an impact on a number of up-and-coming local bands.



Owners Danilo Lombardo and Katya Daffinoti launched an appeal for €6000 through the issue of shares and within the first three days had managed to collect over a third of that sum, prompting them to acknowledge that the club was more than simply their business, it belonged to family, friends, musicians and music fans within the community as ‘a shelter and a reference point.’ They received many certificates of esteem which indicated that their commitment over the past few years had obviously left good memories with the musicians who came to play and those in the audience who came to watch. By the end of January they were very close to reaching the total and held open meetings to discuss future plans and suggestions for improvement. I arrived at the club, still going strong and with more performances announced, on Friday 9th March.

I’d gone along to support Melting Clock, playing their third gig and premiering some new material that has been written for their forthcoming album and the event, part of a series organised by local impresario Marina Montobbio called ‘Lady Prog Nights’ was made even more attractive by the second act of the evening who already have two high calibre symphonic prog albums under their belt, Panther & C.



L’Angelo Azzurro is relatively quick, cheap and easy to access by public transport in the evening, costing just €1.60 for a ticket from Genoa’s main station (Piazza Principe) to the suburban stop Genova Borzoli, from where it’s a 10 minute downhill walk to the club. Unfortunately, Google maps drops a pin by a roundabout in what appears to be the middle of nowhere so it took me a little while to work out where the venue really was and how to get there, descending the hill beyond the roundabout then almost doubling back on myself through a 1930s industrial estate; a trip reminiscent of getting to the Progressivamente 25 festival at the Jailbreak Live Club in Rome last October or BMS at Circolo Colony in Brescia in January. I’d had to join the Circolo Colony club in addition to getting a BMS ticket; for this Lady Prog night entry to the gig was a one-off payment of €10 which included membership of the club. It was really good to meet up with friends from previous trips to the city and it was patently obvious how much the club meant to this community; the place was full and buzzing with anticipation.



I was seated behind a table occupied by members of Panther & C. along with their friends and family and was told by flautist/vocalist Mauro Serpe that he’d be joining Melting Clock on stage, for what I assumed was one of the surprises Melting Clock had hinted of. The event began with a short introductory speech by Montobbio about the club and the special brand of Genovese symphonic prog we were about to be treated to, but there was a delay before the band could start because there were problems with Simone Caffè’s acoustic guitar lead which took the house sound engineer a little while to rectify.

Once the guitar lead was fixed, the set commenced with the short instrumental Quello che Rimane, a track very much in keeping with the melodic symphonic prog style that characterises the band. Material that they’ve played on the previous occasions I’ve seen them followed: L’occhio dello sciacallo; Banalmente (first played at La Claque last November); Caleidoscopio; Strade Affollate; each song revealing nuances I’d not previously detected as the musicians had become more confident in their performance. I’ve previously compared them to Renaissance and while Emanuela Vedana’s voice matches Annie Haslam’s beautiful vocals, there’s something more adventurous about the music of Melting Clock, something in the layered sounds of the twin guitars of Caffè and Stefano Amadei that add an extra degree of complexity. If I was detecting new subtleties in the songs I’d heard before, I wasn’t prepared for the latest composition to be played live for the first time, Vetro. This song involved sudden stops and changes and reminded me of the early classic Italian prog bands, taking their lead from UK prog, most notably King Crimson. Stefano and Sandro Amadei both suggested that they’d been a little nervous of tackling something of that difficulty for the first time in front of an audience but I thought it sounded remarkably tight and contrasted nicely with the flowing tunes I associate with the band. The technical challenge faced by the musicians, not least drummer Francesco Fiorito and bassist Alessandro Bosca, will have tested the audience in a different way. I actively seek out music that could be difficult to listen to and though this wasn’t in any way extreme and would still be classified as symphonic prog, I can’t believe that it didn’t make a few people sit up and marvel at the writing and execution of the piece; the applause at the end of the song suggested that the crowd really appreciated an excellent piece of music.



We were back on familiar territory for the next two songs, my favourite Antares and the evocative Sono Luce before Panther & C.’s Serpe joined them for their final number, by tradition a cover version of a prog classic. In acknowledgement of Marina Montobbio’s fantastic efforts getting the series of concerts off the ground, they played a song that originally featured Steve Hackett, one of her all-time favourite musicians, Firth of Fifth, with flute provided by Serpe.

Apart from the glitch at the beginning of the set, the sound was mostly good. The mixing desk was at the side of the stage so the engineer had to walk out in front of the band to judge how well he’d balanced the instruments and it took him a couple of trips to get Vedana’s vocals to a suitable level in the mix. Being a bit of a fan of keyboards, I wouldn’t have complained if they’d been a little clearer when the band was in full flight.



The Panther & C. performance was as good and professional as you’d expect. I’m relatively familiar with their music having bought both of their CDs when I last saw them at the Porto Antico Prog Fest, so I’m beginning to pick out more subtleties in their music, too. The set was a mixture of material from both of their albums (my personal favourite was ...e Continua ad Essere which segued into Giusto Equilibrio) but whereas you expect them to play high quality symphonic prog, the theatrics of Serpe also play an important role and that’s not something I’d particularly noticed before or something that comes across on CD. In a previous review I’d incorrectly ascribed opening song La Leggenda di Arenberg to the famous cycle race through the Arenberg forest but, aided by the CD booklet I now understand it’s about the Flemish king Helmut, and how he battled bravely despite being outnumbered by another army with around 100000 cavalrymen. Legend tells of the reappearance of Helmut and his foes for one night every year, disappearing as the sun rises.

This has caused me to reappraise the band. The musicianship is of a very high standard (Serpe on flute and vocals; Alessandro La Corte on keyboards; Riccardo Mazzarini on guitars; Giorgio Boleto on bass; and Falco Fedele on drums) and the compositions are well-crafted and the lyrics poetic. They certainly tell a very good story through both music and words; add in the use of masks and it’s clear that they’ve derived some inspiration from early Genesis.



Montobbio and her husband very kindly gave me a lift back to my hotel at 2.30 am – public transport had shut down by the time the gig ended – but in the intervening period while the two groups packed up their equipment, I was introduced to some other members of the Italian Riviera prog scene: Bruno Cassan who is based in Nice and is responsible for, amongst other things, Prog’Sud in Pennes-Mirabeau, France (Panther & C. played there in 2017); and Il Tempio delle Clessidre bassist Fabio Gremo (who had come along with ITDC guitarist Giulio Canepa to support his good friends from Melting Clock.) The sense of community can’t be understated, and it would be a terrible loss if L’Angelo Azzurro was forced to close. Every time I visit the city, I’m awed by the friendliness of everyone involved in the prog scene in Genova: the support from the staff at Black Widow Records, the work and enthusiasm of Montobbio, and a world of welcoming musicians. I’ll be back











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.









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