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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, May 31 2019 08:50PM

Popping into a local supermarket for essentials on our return from a recent trip to Milan, the sales assistant enquired where we’d been and when informed, asked us if we’d visited ‘the designer shops’. After my first visit to the city for Expo 2015, I was unsure if I liked it, but the time spent there was primarily devoted to the Expo and a day trip out to Bergamo, which I enjoyed (and discovered the delights of the Elav brewery where, amongst their range of music-related beers, was the Progressive Barley Wine – unavailable at the time of our trip.) This time, like then, we avoided designer shops.


Elav Brewery's Progressive Barley Wine
Elav Brewery's Progressive Barley Wine

It was fortunate that we managed to walk around the roof of the magnificent duomo on that first visit, because it has been undergoing restoration work ever since. On each subsequent trip I’ve begun to feel quite at home and got to like the city more and more. The first stop after the airport is Bar Centrale in Milano Centrale station for an espresso, an institution that has attracted poor reviews on Google for the alleged expense and the rudeness of the staff. Don’t these people know that the idea is to grab a quick coffee before you go about your daily business and the baristas are simply serving the hordes of commuters as efficiently as possible? You can’t go wrong if you follow the locals: pay for your drinks (and brioche if you want a bite for breakfast) at the till before standing at the bar; if you choose to sit down the service will be less efficient and more expensive. This is not the best espresso that the city has to offer, though it came close last year when they used Lavazza beans. Unfortunately they’ve changed supplier again and I’m not such a fan of the current roast.

Second stop is La Feltrinelli, which extends over three floors within the station and provides the opportunity to browse some vinyl and to buy the latest edition of Prog Italia. There’s even a dedicated Progressive Italiana CD section, unique to this particular branch of the chain. Only after this ritual can we check in at the hotel.


La Feltrinelli, Milano Centrale
La Feltrinelli, Milano Centrale

We’ve stayed in three different hotels for our visits, all perfectly pleasant although only one is well situated, the NH Machiavelli close to Repubblica Metro station and only 10 minutes walk from Milano Centrale. The UNAHotels Scandinavia was a lastminute.com bargain but the closest Metro stop is Gerusalemme on the M5 line (not fully completed at the time) so an interchange was necessary for each journey. The first prog-related visit was for the 2017 Z-Fest, held at Milan’s Legend Club, a 10 minute walk from Affori Centro, close to the northernmost terminus of the M3 line while our hotel on that occasion was one stop from the northern terminus of the M1 line. I took a taxi to the venue and left before the end of the performance, catching the metro to Duomo at around 1am as the station was closing and I couldn’t get a connection. Fortunately there were taxis around the Duomo piazza to get me back to the hotel. The third trip was just passing through on a journey from Paris to Como by rail. With a few hours between arriving at Centrale and getting a train out to Como, we dropped off our bags at left luggage and killed time by walking to the duomo, by chance (we had no map so I was navigating from memory) passing the NH Machiavelli, which was to become our base for the subsequent two visits for the 2018 Z-Fest and the 2018 FIM Prog Fest; the former easily accessed by metro (and metro replacement bus on the return journey), and the latter within walking distance at the Piazza Città di Lombardia.


It turned out that the NH Machiavelli has another advantage: it’s round the corner from a branch of Libraccio, a chain of shops selling stationery, books and music. The Viale Vittorio Veneto branch is especially good for stocking AMS releases which I normally have to order over the internet from btf.it as AMS, who have a Milan contact address, don’t appear to have a physical shop. Excluding the Vittorio Veneto Libraccio, the Feltrinelli in Centrale and its large sister branch in the Galleria Vittorio Emanuele II, the only dedicated Milan record shop I had ever managed to trawl through up to this latest visit was Rossetti Records and Books (via Cesare da Sesto, 24) a specialist in second-hand music founded in 1981. On the first trip I bought three CDs: Il Giorno Sottile (2001) by the experimental Fabio Zuffanti project Quadraphonic, a bleak, interesting and challenging album of industrial music, loops and electronica that just about retains the memory of melody; the self-titled release by Dedalus (1973) which strays into jazz-rock territory; and symphonic prog Il Bianco Regno Di Dooah (2003) by Consorzio Acqua Potabile (CAP); this time I came away with an original copy of Uomo di Pezza by Le Orme (1972).


Rossetti Records and Books, Milano
Rossetti Records and Books, Milano

The weather in northern Italy over our weekend stay was pretty awful and a threatened strike by Trenitalia staff meant we couldn’t plan any excursions to nearby towns. I have considered attempting an expedition to the Marconi bakery where PFM rehearsed and appropriated their moniker, and Chiari, between Milan and Brescia remains one of the few towns in the region that we’ve yet to explore. The omission of a day trip allowed us to take in more of the attractions within the city itself: the Torre Branca observation tower in Parco Sempione; a slow walk around the Navigli district where some canals still remain; the art deco Villa Necchi Campiglio (Piero Portaluppi, 1932-35) filled with innovative design features; and the Pirelli HangarBicocca, a huge contemporary art space converted from a former locomotive factory. Along with the stops for coffee there was also an attempt to photograph the brutalist Department of Accounting at Bocconi University, but my poor navigation and a degree award ceremony put an end to that adventure; what was more successful was ticking off more of the independent record stores.

King Crimson’s Live at the Marquee, August 10, 1971 was playing in Il Discomane (Alzaia Naviglio Grande, 38) when I went in. Primarily a second-hand vinyl store, there was an interesting rarities section but nothing which grabbed my attention; I may not have bought anything but I’d certainly go back for another browse. A couple of doors down was another branch of Libraccio, split into three separate units, but they didn’t have any vinyl that I could see. Serendeepity (Corso di Porta Ticinese, 100) selling new vinyl was also a very short walk away but the ‘Progressive’ section was tiny. Vinylbrokers (Via Privata Pericle, 4) is in the Precotto district, a 20 minute walk from the Pirelli HangarBicocca and it appeared to be closed when we visited, though it wasn’t closing time. However, just as we were turning to go the owner opened up the shop and let us in. To save time I asked for the progressivo Italiano section but he told me they only sold ‘Americana’ and suggested I visit Metropolis Dischi (Via Carlo Esterle, 29). I’d recommend Vinylbrokers for being helpful and friendly, but don’t go there if you’re only looking for prog.


The real purpose of the Milan trip was to attend the FIM Fiera prog fest, organised by Black Widow Records’ Massimo Gasperini in the role of artistic director. This year the event was billed as ‘Da Vinci’s Spirit’, designed to pay tribute to the Renaissance genius on the 500th anniversary of his death. FIM director Verdiano Vera suggested that progressive rock is a musical genre that more than any other embraces Leonardo’s spirit of experimentation due to its diverse influences, unusual time signatures, tempo changes and variations in amplitude and speed, all of which nurture talent, inspiration, inventiveness and ingenuity.



The four bands appearing, Silver Key, Macchina Pneumatica, Universal Totem Orchestra and FEM provided a broad range of examples of the genre from almost straightforward symphonic prog through to neo-prog, psyche-prog and avant-prog/jazz rock, though one constant was a set of Leonardo drawings projected behind the bands providing a constant visual reminder of the link between his futuristic thinking and prog, a musical form known to push at boundaries.

Silver Key began life as a Marillion cover-band in Milan in 1992 and has undergone a number of personnel changes. Over the past seven years they have produced three albums of original neo-prog, starting with In the Land of Dreams (2012), followed up with 2015’s The Screams Empire where keyboard player Davide Manara was left as the only founding member. Current guitarist Roberto Buchicchio and bassist Ivano Tognetti joined for The Screams Empire, and vocalist Dino Procopio was introduced for the latest album Third, released in April 2019; Procopio also provided the lyrics. The band don’t have a drummer – the album credits ‘Mr Drummer’ with percussive duties but when chatting to Massimo Gasperini after their performance, Manara owned up to programming the drums. Concentrating on material from Third, the music was nicely conceived and well played, incorporating convincing-sounding drum parts, expressive guitar, solid bass, nice ambient moments, and multiple false endings. It was evident that Procopio can sing (the vocals were in English) but unfortunately he was under-mixed during the full-ensemble blows.



Silver Key
Silver Key

One of the main draws was Macchina Pneumatica who released their debut album Riflessi e Maschere on Black Widow Records (BWRDIST 680) earlier this year. It’s primarily riff-based and moderately heavy, so it comes across as being on the psyche end of the prog spectrum. I’m reminded of the dominant, driving bass and penchant for distortion of fellow countrymen MUFFX who inhabit much of the same sonic landscape and who I gave a glowing review last year for L’Ora di Tutti; the difference is MUFFX are instrumental and Macchina Pneumatica use vocals, sung by Raffaele Gigliotti with lyrics inspired by everyday life, moods and relationships. The live performance, like Silver Key before them, was dogged by an imperfect sound, with house sound engineers running on stage to adjust the bass volume. From where I was sitting, right of centre and close to the front, some distance from the mixing desk, Gigliotti’s guitar volume was a bit too low and though Carlo Giustiniani’s bass was fairly dominant, it also cuts through on the CD without adversely affecting the sound balance. I was close to keyboard player Carlo Fiore, so I could fully appreciate his synth, piano and organ work, with accurate analogue-sounding patches to recreate a 70’s vibe. Their songs sound deceptively simple but counting out Vincenzo Vitagliano’s rhythmic patterns they’re anything but straightforward and there’s sufficient variation, including melodic passages and lead synthesizer lines, to hold your attention. They’re a relatively new group, formed as a keyboard trio Atom Age Empire in Milan in 2013, renamed Nudo when guitarist/vocalist Raffaele Gigliotti joined, and finally changed to Macchina Pneumatica during the recording of Riflessi e Maschere. They are currently working on a new album.


Macchina Pneumatica
Macchina Pneumatica

I’m well acquainted with Mathematical Mother, the 2016 album by Universal Totem Orchestra; the music is dense and complex with the intensity and pace of Magma or the Mahavishnu Orchestra, especially the 1974-75 incarnation where Gayle Moran adds vocals. The operatic approach to the vocals, whether female or male chorus evokes the Wagnerian facet of Zeuhl but there’s also the exploratory jazz of Coltrane. They employ an eastern scale on the track Elogio del dubbio, all of which indicates a fearless approach to music making that epitomises prog.

I love the intricacy of the compositions and it can’t be denied that Ana Torres Fraile has a superb voice but in the live setting I felt the lead vocal impinged on the instrumental sections, especially scat vocal in the style of Cleo Laine, and Fraile too seemed to have problems with her amplification. Whereas the guitar of Daniele Valle, Yanik Lorenzo Andreatta’s bass and Fabrizio Mattuzzi’s keyboards were all spot on, the saxophone and drums, played by Fedeli Antonio and UTO G. Golin respectively, occasionally sounded a bit loose but that’s not so surprising when you’re pushing boundaries.


Universal Totem Orchestra
Universal Totem Orchestra

The FEM (Forza Elettromotrice) set seemed rather brief after UTO’s sonic bombardment, but this was the closest to symphonic prog all evening, and I felt it ended too soon. The band (Alessandro Graziano, vocals; Paolo Colombo, guitars; Alberto Citterio, keyboards; Pietro Bertoni, trombone and keyboards; Marco Buzzi, bass; and Emanuele Borsati, drums) were showcasing their 2018 album Mutazione and could have been hampered by an injury to Cittero who had his left arm in a sling, but his playing, along with the rest of the ensemble, was fluent. I felt Bertoni was a little under-used but he was furthest from me and I may not have been able to hear him clearly. What did come across was the way each song had been carefully put together; one of the numbers reminded me of Focus.


FEM
FEM

The one downside of a multi-stage or multi-disciplinary event like the FIM Fiera is that there are occasions when you want to see more than one thing at one particular time; Fabio Gremo, bassist with Il Tempio delle Clessidre, has just released a second solo album and was performing it outside in the piazza while Da Vinci’s Spirit was in full flow in the auditorium Testori. I’m a big fan of Fabio Gremo’s La Mia Voce (2013) which demonstrates his considerable classical guitar skills, but the recital of Don’t be Scared of Trying also included piano accompaniment from Sandro Amadei of Melting Clock, so I was disappointed I didn’t get to see them play. I did get to chat with Sandro and his brother Stefano when they came to take in some of the prog fest, but I didn’t get to speak to Fabio. A major plus is that Da Vinci’s Spirit, and last year’s Prog On, showcased not just incredible music, but the confirmation of a ‘prog family’ that is all-embracing in its approach and one that rejoices in differences. The concept of a prog rock festival as Da Vinci’s Spirit is perfectly apt. Thanks, Massimo Gasperini and Verdiano Vera. See you next year!


Postscript

Even if you’re not into prog, forget Milan and fashion and seek out Milan and Leonardo da Vinci. There’s a waiting list for tickets to view The Last Supper which is in the former refectory of the convent attached to Milan’s Church of Santa Maria delle Grazie, but I managed to arrange tickets for the first of our 2017 trips. If you are planning on going to Milan I’d strongly recommend booking a guided tour; the refectory and Leonardo’s masterpiece form an integral part of the convent architecture which is a UNESCO World Heritage Site. And the prog's not bad, either.


Leonardo's The Last Supper
Leonardo's The Last Supper











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, Jun 26 2018 02:59PM



It doesn’t take much to get me on an aeroplane to Italy, but the promise of a good band is an added incentive. The last trip to Milan for the FIM Fiera Internazionale della Musica was primarily about getting to see Anekdoten, something of a coup for the Black Widow Records-organised Prog On evening, with a support slot from La Fabbrica dell’Assoluto whose excellent 1984: L’Ultimo Uomo d’Europa was added to my record collection earlier this year. I’d also been informed that the third band on the bill, Hollowscene, was another amazing symphonic prog band well worth looking out for.


Originally a duo called Banaau formed in 1990 by guitar player Andrea Massimo and keyboard player Lino Cicala, they recruited drummer Davide Quacquarella and bassist player Dino Pantaleo to perform long-form suites inspired by T.S. Eliot’s The Hollow Men and The Love Story of J Alfred Prufrock and Edgar Allan Poe’s The Conqueror Worm, but didn’t spend any time recording the material. There was a hiatus following the departures of Quacquarella and Pantaleo lasting from the early 90s until 2011 when the pair met again and agreed to continue working on songs written by Massimo during that almost 20 year gap. In 2015 they officially re-emerged as a septet, augmented by Andrea Zani on keyboards, Elton Novara on guitar, Tony Alemanno on bass guitar and bass pedals, Matteo Paparazzo on drums and Demetra Fogazza playing flute and adding vocals, and released a highly-acclaimed 20 minute-long EP The Burial inspired by The Burial of the Dead, the first of five sections of T.S. Eliot’s The Waste Land (1922).


For their first full-length album, Massimo and Cicala changed the band name to Hollowscene and replaced Novara with guitarist Walter Kesten. The new moniker recalls T.S. Eliot’s The Hollow Men but is also a play on the current geological era, the Holocene, and could even allude to the general state of music, a hollow scene. Once again, this features a lengthy concept, a five-part suite Broken Coriolanus and the album also includes a reworked version of The Worm, one of their original compositions, plus a cover version of The Moon is Down, a 1971 Gentle Giant song taken from Acquiring the Taste.


‘Broken Coriolanus’ is another T.S. Eliot reference, appearing in line 215 of The Waste Land:


Only at nightfall, aethereal rumours

Revive for a moment a broken Coriolanus


This itself is a reference to Shakespeare’s tragedy Coriolanus, based on the life of the legendary Roman general Caius Marcius Coriolanus who, following military success against uprisings challenging the government of Rome becomes active in politics. A proud, rude but genuine character whose nature, according to Menenius in the play


...is too noble for the world:

He would not flatter Neptune for his trident,

Or Jove for’s power to thunder. His heart’s his mouth:

What his breast forges, that his tongue must vent


Such a temperament made him unsuited to popular leadership and he is quickly deposed but, being true, he sets about trying to right wrongs in his own way and is forced to choose between his pride and his love for his family, ultimately bringing about his sad death.


Through no fault of theirs, Hollowscene’s performance in Milan was disrupted by a change to the published running order and a shortage of time during the soundcheck. I was expecting them to be the second act to play, following Prowlers, allowing them plenty of time to complete the entire Broken Coriolanus suite but they were actually the first band on stage which meant I missed their first track. What I did hear soon dispelled any disappointment because it was first-class symphonic prog that reminded me alternately of Tony Bank’s keyboard work for Genesis and, perhaps because of the double keyboards, occasional jazz phrasing of the guitar and the flute, National Health circa 1978. When they were rather hastily removed from the stage without completing their full scheduled set, presumably to keep the evening running to time, many of the audience were rather disbelieving; I’d just have to wait to get to hear the album.


I picked up a copy of the CD at the gig and the moment you click play it’s obvious that this is a very fine piece of rock progressivo Italiano. First track Welcome to Rome is simultaneously modern-sounding and a classic progressive rock piece. It begins with a fairly brief sinuous synthesizer and guitar line in an uncompromising time signature and gives way to a military rhythm which is very fitting with the theme, just before the vocals begin over harmonic flute lines. You get the immediate impression that it’s an uplifting (welcoming!) song, aided by fluent synth parts, yet there’s a rhythmical complexity underlying the entire piece. All the singing on the album is in well-delivered English. Massimo has a good voice that suits the story-telling requirements of the music; he’s not over-flashy and confines himself to a fairly narrow range, but he sings with a studied confidence. The group have a full, well-balanced sound, both live and on disc, and it’s clear that Genesis, Steve Hackett and Banks in particular, are a major influence.

A Brave Fellow follows in much the same vein; highly melodic, again with the same clean lead guitar which gives way to some excellent synth. A flute passage gives way to emotive piano and vocals, with constantly changing instrumentation and sounds. When the second set of vocals finish, they’re followed by an eerie synth with a staccato rhythm, replaced by organ that harks back to classic 70’s progressivo Italiano; slightly threatening, building gradually towards the denouement.

Traitor is played with a slightly increased tempo. It’s a predominantly vocal piece punctuated by relatively short but tasteful guitar breaks, the second, soaring, more lengthy than the first. That’s not to say there isn’t a great deal going on underneath the singing; there are busy keyboard parts, some strong melodic flute and the contrast of a short burst of more breathy flute.

Slippery Turns is more sedate than the previous track, beginning with more of the emotive piano and vocals before being joined by flute. It departs from the expected with a passage in Japanese from Atsumori, a classical musical drama by Zeami Motokiyo who lived from around the late 14th century to the mid 15th century, narrated by Takehiro Ueki:


Human life lasts only 50 years, Contrast human life with life of Geten, It is but a very dream and illusion. Once they are given life from god, there is no such thing don't perish


Atsumori was a 16 year-old killed in the battle of Ichi-no-Tani in 1184 who is said to have carried a flute into battle, evidence of his peaceful, courtly nature as well as his youthfulness and naïveté. Eliot is believed to have invoked Coriolanus for The Waste Land as an allusion to death in battle.

The tone on the Japanese-spoken section is solemn but gives way to one of Hollowscene’s trademark guitar breaks. Massimo speaks the last section over another staccato rhythm that reminds me of Watcher of the Skies, without the Mellotron, but with some bright synth.

Rage and Sorrow is a mini-epic and, at a little over 13 minutes, the longest track on the CD. The development of the composition takes in the full range of keyboard sounds you’d associate with prog and there’s a really good balance between vocal and instrumental passages. Fogazza takes on shared lead vocal duties at the beginning of the piece, which I thought were reminiscent of Amanda Parsons singing on National Health; a strong, clear, unaffected voice.

A truly dynamic conclusion to the concept, one of the sections that most transports me is an emotive 12 string guitar accompanied by highly melodic flute akin to the classic Genesis sound on Foxtrot or Selling England by the Pound but throughout the track the twin guitars really work well, with nice angular riffs providing a framework for the vocal melody lines.


The Worm commences with an extended passage of gorgeous early Crimson-like flute, floating above picked guitar chords and keyboard washes which I think represents the best of progressive rock. The keyboard line which is introduced prior to the vocals is closer to neo-prog, perhaps reflecting the era in which the song was originally written, demonstrating that Hollowscene aren’t simply attempting to recreate a 70’s vibe but selecting suitable references to make some outstanding modern symphonic prog. The song undergoes a number of tempo changes, injecting a sense of urgency with the use of triplets and even gets quite dark.

Gentle Giant’s The Moon is Down is relatively sparse, containing brief flashes of texture, with phased clarinet, sax and multi-tracked vocals and a relatively urgent instrumental middle section which could be seen as a template for the GG medieval sound; Hollowscene stamp their own form on the song with different instrumentation, beginning the piece with piano and flute but using fuzzed guitar behind the vocals, adding lead synthesizer to their middle section. It’s a nice nod to one of the classic 70s progressive rock bands.



The band have used the same cover image for the Burial EP and Hollowscene, taken by acknowledged master photographer Ernesto Fantozzi in 1961. The photo appears to be a view towards the Via Biscegli in Milan from the west or south west where the frozen ground fits the imagery of Eliot’s opening lines for The Waste Land. This attention to detail reflects the care in which the album has been put together. It’s altogether a really satisfying and very fine piece of work.


Hollowscene by Hollowscene is available on Black Widow Records BWR207









By ProgBlog, Jun 11 2018 01:43PM



The resurgence of prog in the 90s was in no small part down to two seminal Swedish bands, Änglagård and Anekdoten. Änglagård’s Hybris (1992) was on my wish list for a couple of years before I managed to get hold of a reissued CD in 2014 for a sensible price from a stall at the Prog Résiste festival in Soignies, when up until that point the CD was selling for in excess of £30 on Amazon, but I first bought Anekdoten’s Vemod (1993) as a download in 2010 having read somewhere that the album sounded like King Crimson would have done had they not ‘ceased to exist’ after Red, due to their use of Mellotron; the album title, which roughly translates to ‘melancholy’, is very fitting. Wheel would have fitted very nicely on Red, especially as it includes cornet played by guest musician Pär Ekström.

I managed to see Änglagård on their first ever UK performance at the Resonance Festival later in 2014, something of a coup for the organisers of the event, and was more than impressed, subsequently being given Epilog (1995) and 2014’s Prog på Svenska - Live in Japan as presents. My wife traditionally asks if there’s any music she can get me on her annual New York trip, so on the occasion a month after buying the download, I asked her to look out for a physical copy of Vemod. Unable to locate a copy in a record store-depleted Manhattan, she phoned me from the States to tell me the bad news but that she had seen Anekdoten‘s 2009 2CD compilation Chapters and asked would I like that instead? I said yes. I then added Nucleus (1995) to my wish list and that arrived as a Christmas present in 2011. I’m attracted to the density and darkness of the music, and fully agree with the imagined post-Red King Crimson theory, so when Massimo Gasperini, the owner of Black Widow Records in Genoa contacted me to say he’d signed up Anekdoten to headline his Prog On evening at the FIM Fiera della Musica in Milan, it proved difficult to resist.




My experience of the FIM Fiera was in 2014, one of three times it was held in Genoa, where the line-up of bands for the prog stage over three days was really stellar, indicating the importance of the city for Italian prog. In 2016 and 2017 the Fiera was held in Erba (near Como) due to redevelopment of Genoa’s exhibition site and landed in Milan, at the Piazza città di Lombardia (the largest covered square in Europe) this year, with Prog On and other more formal presentations held in the adjacent Auditorium Testori.



This being a family trip, I’d identified a couple of other nearby cities to visit, to tick off more medieval squares and interesting churches, but the day of our arrival was dedicated to Milan. We wandered off towards the FIM venue via the Porta Nuova development, just to see what was around, immediately coming across the Black Widow Records stand where Massimo pointed out the one drawback with the piazza – June sunlight streaming in through the glass canopy and no shade. He then gave me a preview of the Auditorium Testori where ex-PFM guitarist Franco Mussida was giving a lecture to local schoolchildren, Cos'è davvero la Musica? (What really is music?); education in all aspects of music was a major part of the theme this year and Mussida, born in Milan in 1947, founded the CPM Music Institute in 1984, an organisation that offers 400 different programmes in music from certified instrumental courses to journalism to studio techniques.




It’s impossible to visit Black Widow Records, wherever it pops up, and not buy anything. I couldn’t say no to an LP I’d been interested in since I’d seen it had been re-issued by BTF earlier this year: a vinyl copy of Concerto delle Mente, the only release by Pholas Dactylus from 1973. I also bought re-issued vinyl copies of Museo Rosenbach’s Zarathustra (1973) and the pre-Goblin Cherry Five (1975) by Cherry Five and picked up the just-released Broken Coriolanus by Hollowscene (formerly Banaau) who were on the Prog On bill.

The day of the gig was mostly spent in Pavia, a short train journey away from Milan though I popped into Libraccio, the book and record store next to our hotel to buy Maxophone’s La Fabbrica delle Nuvole from 2017 and a Record Store Day picture disc of Tormato by Yes. We had lunch in Pavia’s Piazza della Vittoria looking out at the Broletto, the 13th Century town hall, then wandered off in search of Matrix Music only to find it had recently moved, to within 50m of where we’d had lunch, right by the cathedral. They were still unpacking and stacking when we visited and, because it’s getting ever more difficult to find progressivo Italiano that I don’t already own, I only bought a copy of King Crimson’s Live in Vienna CD from earlier this year.


Back in Milan, I set out to the FIM Fiera after a bite to eat and headed for the Black Widow stall, correctly believing that I might be able to find a copy of Vemod on vinyl but also buying the recently-released Rings of Earthly... Live CD by Ancient Veil. I couldn’t find anywhere to buy the album on-line but the band is on the Black Widow label and Black Widow were promoters of the two gigs at Genoa’s La Claque where the performances were recorded; my applause features throughout this release because I was present at both of those concerts.

While hanging around Black Widow I was introduced to another Genovese band, Fungus Family, whose music sits somewhere between the prog and psyche camps and relies on improvisation then, just as we were chatting en route to the beer tent, I bumped into Mauro Serpe and Giorgio Boleto, respectively the vocalist/flautist and bassist from Panther & C. Deep in conversation with Fungus Family about their forthcoming album and an unannounced change in running order meant that I missed some of Hollowscene’s set but what I heard was impressive – some nice Tony Banks-like synth runs and some moments of complexity akin to National Health. Prowlers, hailing from nearby Bergamo, have had a stop-start career and have been releasing music since 1994. Their Prog On performance featured songs from last year’s Navigli Riflessi but, apart from their last song which had sections in 7/4, they didn’t really conform to prog and the performance lacked dynamism. This was disappointing when you consider that in the past they recorded versions of Camel’s First Light and ELP’s The Sage for tribute albums. The contrast with La Fabbrica dell’Assoluto, on next, couldn’t have been greater. Plying their brand of heavy, high energy prog tinged with psychedelia and utilising a vast array of keyboard patches, the passion associated with RPI was forcefully clear; apart from drummer Michele Ricciardi they even dressed up in boiler suits to perform, a humorous reference to the band name. Witnessing them play live made me think of Museo Rosenbach, something I’d not really detected while listening to the record 1984: L’Ultimo uomo d’Europa. I spoke to the band at the end of the evening to congratulate them on an excellent set and, like all the other members of Italy’s prog community I’ve met, they were really easy-going and a pleasure to chat to.



Anekdoten have recently expanded to a five piece with the addition of British guitarist Marty Willson-Piper, best known for his work with Australian band The Church, but who was a guest on Anekdoten’s 2015 album Until All the Ghosts are Gone, and his playing adds even more depth to the sound. Communicating largely in English, the audience was reminded that 2018 was the 25th anniversary of Vemod so we were treated to not just a good proportion of the album, but Anna Sofi Dahlberg also played cello, something they’d not used live for some time. Though there’s a progression from foreboding, brooding dark prog to almost Radiohead-like post-rock through the albums, with each subsequent release involving a subtle change, I still prefer Vemod to the others when many commentators see Nucleus as their definitive release as it includes more mature writing than its predecessor, so I was very happy with the set list. The Rickenbacker bass, seemingly something of a staple in Scandinavian bands, provided by Jan Erik Liljeström along with the drumming of Peter Nordins are equally as important as Nicklas Barker’s angular guitar lines played over Dahlberg’s Mellotron (which was under-mixed for the first couple of songs) in defining the band’s sound. I personally prefer Liljeström’s singing to Barker’s because it complements the plaintive lyrics, much like John Wetton on Fallen Angel. Willson-Piper’s guitar provided extra density (if that’s possible) but he also helped out on percussion duties when his guitar was not required, and generally served as a source of energy propelling the ensemble onwards. My favourite moments were The Old Man and the Sea and Karelia but it was an all-round excellent performance; a major triumph for Massimo Gasperini (who was thanked by the band) and well worth the trip to Milan.



I was also very pleasantly surprised to see prog-fixer Marina Montobbio who had made the trip across from Genoa. Slipping easily between Italian, French and English she was involved in highlighting Plongée au coeur du rock progressif italien by Louis de Ny, a French book about Italian prog, and trying to persuade me to attend the 2 Days of Prog + 1 Festival in Veruno in September.

Fortunately it was only a short walk back to the hotel so I managed to get a decent night’s sleep despite an early start the next day: a trip to Bologna. This was mainly for the architecture because the record stores were all closed, and to see if it was worth a longer visit (it is.) Our flight home on Monday was late in the evening, the last flight out of Malpensa which meant we had time to explore some more. Monza was about the right distance away so we spent a full afternoon there. Though quite pleasant, I wouldn’t have recommended anyone making a special trip there if we hadn’t visited Carillon Dischi. A fifteen minute walk away from the centre under humid June skies, Carillon is another of the brilliant record shops that you find in small Italian cities; walls lined with classic rock and prog posters, plenty of vinyl and CDs including some rarities, a good range of memorabilia, plus a friendly, helpful and knowledgeable owner, Massimo. Browsing was restricted by train times, otherwise I’d have listened to some first US tour live King Crimson, I bought Un Biglietto del Tram by Storm Six (1975), something I’ve been after for a few months and an In the Court of the Crimson King T-shirt. I’d return to Milan any time and Monza really isn't out of the way...









By ProgBlog, May 19 2018 08:29PM

If you choose to go to a pub, which will more likely than not be showing some desperately important sporting event and could, theoretically, be showing more than one, you know that the combined volume of the clientele, competing with televised commentary, is going to make casual conversation with your mates somewhat difficult; this is to be expected. Similarly, you don’t go to a football match for serenity or a quiet chat. My team, Crystal Palace are well known for their vociferous supporters and the atmosphere at Selhurst Park is acknowledged as being one of the best in the Premier League; even Palace’s away support is regarded as acting as a twelfth man. Having realistically secured continued top-flight status with a couple of games to spare before the end of the season, our final match of 2017-18 last Sunday, against already relegated West Bromwich Albion was free of nerves for both the fans and the players, so the crowd behaviour was loud and uninhibited. On this occasion too, the Baggies fans were splendid, corrupting a well-known chant to ‘Que sera, sera, whatever will be, will be. We’re going to Shrewsbury...’


Crystal Palace vs West Bromwich Albion 13.05.18
Crystal Palace vs West Bromwich Albion 13.05.18

I had always thought that you go to a gig for the music but it’s becoming increasingly evident that not everyone thinks that way. A comment in the Paper Late column in Prog magazine (Prog 87) nicely illustrated that the matter is getting seriously out-of-hand and, in my experience, it doesn’t matter what form the venue takes whether that’s the Royal Festival Hall, the Royal Albert Hall, the Shepherd’s Bush Empire or some small club on the outskirts of some Italian city.


My first experience of irritating mid-gig conversationalists where I genuinely couldn’t concentrate on the music was at one of London’s hippest venues, the Shepherd’s Bush Empire, where I’d gone to see a double bill of Caravan and Curved Air in October 2011. Part of the problem was that I was in the unreserved seating on the third level where the proprietors had deemed it sensible to install a bar. This meant that there was a steady stream of punters going up to buy drinks joining those who had taken up positions from which to survey the proceedings while enjoying their beers, and to talk loudly. Noise from the bar at the Troxy (Steven Wilson, March 2015) also dented my enthusiasm, making me wish that all venues would restrict sales of drinks to an area outside the auditorium. Even this contingency is not enough to eliminate idle chat; there are a number of bars outside the concert halls at the Royal Festival and Royal Albert Halls, but sitting next to me at the Dweezil Zappa performance (RFH, October 2017) were a couple of Zappa experts who were unable to let the music speak for itself, providing a running commentary and critique and dulling my enjoyment.


The gig fatigue I experienced at the end of March this year, following a weekend in Milan with a late-running event on the Friday and a dash back to London for Yes on the Sunday, culminated in a disappointing show from Steven Wilson at the Royal Albert Hall on the Tuesday. After that Troxy gig, I’m wondering if Wilson attracts loudmouths to his shows, willing to pay a not insubstantial sum for their seats but who don’t seem to be very bothered with the music, the spectacle, or those around them who do want to watch and listen. My companion on that particular occasion, someone I wouldn’t describe as harbouring violent thoughts, did confess that he wanted to punch the guilty pair seated behind us but rationality prevailed and, after a word to one of them during the interval, the second set was largely comment-free. On the other hand, having any number of bars outside the hall does not prohibit concert-goers from becoming inebriated either before or during the performance, irritatingly demonstrated by a couple immediately in front of me at the same Steven Wilson show.


Large venues make money from ticket pricing and inflated food and drink charges; small venues like The Half Moon, Putney tend to have moderate pricing for tickets. ESP 2.0 last month cost a very reasonable £10 in advance (£12 on the door) and charged normal London beer prices; a couple of the clubs I’ve attended in Italy seem to mark-up the cost of a drink so that you’re paying a little more than you would in a local bar without music, though the admission charge for two, three or even four bands is exceptionally good, ranging from €10 - €15.


Most of the more intimate gigs I attend, both at home and in Italy are in pubs or clubs where there is no physical barrier between the bar and the stage and with only the rare exception the audience is content to listen. After the Palace match it was straight up to the Fiddler’s Elbow for a prog night, organised by Malcolm Galloway of Hats Off Gentlemen It’s Adequate, one of three bands on the bill (the others being Servants of Science and The Tirith); fortunately the crowd was only there for the music, because the stage area and the bar were only a few metres apart.



It was my first visit to the Grade II listed venue (the building dates back to 1856), even though it has been putting on gigs since the 1970s. It’s co-owned by Dan Maiden, a musician and promoter, and local businesswoman Nancy Wild who pride themselves on their professional approach, offering a platform for unsigned music and acting as a showcase for up-and-coming talent. It’s fair to say that both Servants of Science (based in Brighton) and Hats Off Gentlemen It’s Adequate are relatively new to the scene; the former released a widely acclaimed album The Swan Song at the end of last year and HOGIA have somehow managed to put out three CDs since they formed: Invisible (2012); When the Kill Code Fails (2015); and Broken but Still Standing (2017). Their 2015 offering won plaudits from Steve Hackett but the writing shifted from post-rock towards prog on Broken, where the first fifteen minutes includes some stunning flute, putting it firmly in the prog category – they also featured on the covermount CD of the latest edition of Prog magazine (Prog 87) with Last Man on the Moon. The Tirith have been around since the very early 70s when they were called Minas Tirith and, after going their separate ways (though keeping in touch), they reformed in 2011 and released Tales from the Tower, which included reworkings of some of their early material, in 2015. Shortly after their reformation, the three-piece (Tim Cox, guitar/keyboards; Dick Cory, bass/vocals and Paul Williams, drums) acted as support for Focus in Leicester but by the time of the CD release, Carl Nightingale had taken over on drums. They played at last year’s HRH Prog VI (where HOGIA also appeared, parachuted in to fill a slot vacated by Touchstone) but I’d seen them previously, at the Resonance Festival in 2014, where I described them as being a bit unadventurous; I’m not sure that it’s possible for a guitar-bass-drums trio to be prog, though Cox did elicit some interesting sounds out of his guitar and occasional keyboard.


On this particular Prog Night Servants of Science were first on stage, playing through The Swan Song in its entirety. The album is based on a few musical ideas from keyboard player/guitarist Stuart Avis which were bounced off and added to by bassist Andy Bay. Avis turned to long-term collaborator Neil Beards (The Amber Herd) to add vocals then, through his studio connections he recruited Helena DeLuca on vocals when a female part was added to the story, drummer Adam McKee and guitarist Ian Brocken. The live recreation was pretty faithful to the album, with the Floydian Another Day and the mini-epic Burning in the Cold which best demonstrate the band’s prog-leanings, bookending the set. They even had time for an encore of Comfortably Numb, wearing their influences on their sleeves. My only complaint would be that with four guitars playing simultaneously the subtlety and sweeping cinematic feel of the record became a bit blunted; even Brocken’s solo during the encore was too low down in the mix, meaning you could barely discern it above the other players; the one instrument that cut through the wall of sound was the bass. However, despite being a bit loud for the venue, I did enjoy the performance and it cements the ensemble as being a group to watch out for.



I didn’t get to see The Tirith play, having a very early start the next day, and I nearly missed Hats Off Gentlemen, being forced away from the pub to find some hot food. When I saw them at the beginning of the year only 40% of HOGIA, that is Malcolm Galloway and Mark Gatland performed, aided by a rhythm machine, a small keyboard and lots of effects which was still quite impressive. This time 60% of the band was present, with Kathryn Thomas providing that amazing flute and backing vocals, though she didn’t stay on stage for the whole set. It’s quite remarkable what the two or three of them can do with loops, effects and a drum machine which put the performance at a level close to that on the recent album; what you don’t get on the CD is the incredible punk-like energy Galloway and especially Gatland project. Opening with the dreamy prog of Vent/Almost Familiar HOGIA are another band who aren’t afraid to semaphore their influences and when it gets towards the end of their slot, Galloway pulls off an excellent Gilmour-like solo on Last Man on the Moon... ...but it’s the flute that I love the most!



Palace won 2-0 and this was followed by a night of prog. Hardly peaceful, but a totally enjoyable Sunday.









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