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Regarded as a prog metal classic, Dream Theater's Metropolis pt.2: Scenes from a Memory is now 20 years old

ProgBlog reflects on the current state of prog metal

By ProgBlog, Feb 12 2017 10:27PM

The acceptance of and concordant renewed interest in progressive rock has allowed the development of a support industry that uses the reach of the internet for marketing. Prog was niche at the beginning of the 90s, subsumed by a massive music industry singularly interested in shareholder return, leaving the artist a small cog in a very big machine. Prog survived by utilising the available technology, aided by fans with a working knowledge of the internet and who were often an integral part of this technological revolution, who helped to set up some of the earliest band websites and fan forums.

I was fortunate to have an academic email account before the roll-out of commercial hosts and dutifully signed up to the amazing Elephant Talk and a somewhat more earnest Gentle Giant forum. The first mention of Notes from the Edge, the Yes-related internet newsletter run by Mike Tiano and Jeff Hunnicutt and YesWorld, the online Yes resource, was in the booklet for Keys to Ascension (1996) but one major development was the beginning of a dedicated progressive rock / art-rock mail order business. Not only had I begun to pick up Voiceprint newsletters at John Wetton gigs, Discpline Global Mobile (DGM) was reinventing the role of the record label with an innovative, ethical business strategy. Utilising the online presence of these sites, I was able to access some fantastic music, both recorded and as exclusive pre-release playbacks in the presence of the artists themselves.


The Epitaph playback
The Epitaph playback

If we leap forward to the present, I have become much less reliant on Amazon and way more enamoured with Burning Shed and Italy’s BTF and I’ve also started to use Bandcamp, the latter having the advantage of providing a download in addition to the physical medium. I know that Amazon provides this service but with Bandcamp you are able, should you wish, communicate directly with the musicians but whether you do or not, there’s a feeling of better connecting with the artists and consequently, as you’re not simply getting a product, a sense of reward. You're also avoiding tax avoiders


Post-Christmas has been a relatively busy period for acquisition of music for me. A trip into Croydon HMV saw me return home with sale-price vinyl copies of Wish You Were Here and Animals (just in time for its 40th anniversary) though if I’d ever imagined a return of the LP, I’d have never traded-in my original copies.



HMV shopping trip
HMV shopping trip

Browsing the progressive rock suggestions on Bandcamp I came across Awake & Dreaming the 2006 release by The Gift and, having seen them perform at the Resonance Festival in 2014 and been suitably impressed by both the music and the message, I thought that was a worthy addition to my collection. A couple of weeks after that I engaged in a Twitter conversation with Lorenzo Gervasi (Lorenzo Vas) who was the keyboards player with Milan-based Lethe. Their only album release, Nymphae (1994) is available as a download from Mellow Records via Bandcamp and proved to be another Italian prog gem. I subscribe to the BTF newsletter and I frequently get seduced into buying some of the old classics I’ve not been able to pick up on my travels around Italy. The most recent of these purchases was Vietato ai minori di 18 anni? The 1973 release from Jumbo which had been on my radar since seeing vocalist/guitarist Alvaro Fella on stage with CAP in Genova in 2014. This album leaves behind the blues influences that remained on DNA (1972) and is a more mature effort including some avant garde styling.


Awake & Dreaming by The Gift
Awake & Dreaming by The Gift

An awful week at work in January made me think about dropping everything and going on a weekend jaunt to Italy but I fought off the initial impulse and decided to plan something more sensible. There are lots of progressive rock-themed events around Italy throughout the year but a Facebook link took me to Fabio Zuffanti’s Z-Fest, which this year is going to be held at the very end of March so I decided to organise the mini-break to include some live progressivo Italiano. Held in Milan, this year’s line-up is Finisterre, Cellar Noise and Christadoro. I’m already well versed in the works of the former and I’d read about the latter, named after drummer Mox Christadoro, a man with over 30 years experience in the Italian music scene (though not all of it in Italian prog!) so I pre-ordered a copy of the album from Zuffanti’s Bandcamp page. Meanwhile, the Burning Shed newsletter proclaimed the availability of a limited–edition 2015 re-master of the first Kaipa album (Kaipa, 1975) on 180g blue vinyl, including a CD of the album with two bonus tracks. Another album I’d been following with interest, I had to order it.


Z Fest 2017
Z Fest 2017

The two albums arrived with a couple of days of each other. First was Christadoro, a project which brought together a bunch of highly proficient musicians from varied backgrounds, united by their love of progressive rock. Joining Christadoro (drums and percussion) and bassist Fabio Zuffanti, who was at least partly responsible for the idea are Pier Panzeri from Biglietto per l’Inferno (guitars), Paul ‘Ske’ Botta who I’d seen with Not a Good Sign on the first day of the Riviera Prog festival in Genova in 2014 (keyboards) and vocalist Andrea ‘Mitzi’ Dal Santo. The core band is augmented with some renowned guests including PFM’s Franco Mussida.

The concept, hinted at in a quotation from Richie Havens printed on the inner sleeve

I really sing songs that move me

I’m not in show business

I’m in the communications business

is a presentation of seven popular Italian songs written by some of the biggest names in Italy during the 70s, given a progressive rock makeover in the same way that Yes performed Simon and Garfunkel’s America. Another track Ricercare nel mare dell’Inequitudine della paura (Searching the sea of anxiety and fear) is a Franco Mussida solo acoustic guitar prelude to L’ombra della luce (The shadow of the light) by Franco Battiato and uses some unexpected musical intervals. This pair of tracks (I couldn’t detect the transition between the two) are my favourites from the album, though I’m impressed with each of the interpretations and how neatly they have been turned prog. There may not be the complexity associated with progressivo Italiano but there’s some great playing; when the needle hit the groove on the first playing I was struck by the excellent-sounding organ of L’operaio Gerolamo and the driving guitar riff. The great organ work continues on Il sosia (The Lookalike) but not until we’ve had a traditional Zuffanti motif, the reading from some text, in this instance the recital of lines from a 1971 TV series Il Segno del Comando followed by a brief jazz-rock workout before getting a little heavy-psyche. The slide guitar and laid-back tempo on L’ultimo spettacolo calls to mind Pink Floyd’s Fat Old Sun and despite an interesting instrumental break in the middle of the song and a more rocking ending, I feel this is the weakest track on the album.

Figli di... is guitar-driven heavy rock but the vocals are clear and good. There’s more dynamic range and a healthy dose of drama in the side 2 opener Lo stambecco ferito which verges on Van der Graaf Generator territory. Solo begins with a cello section provided by Zeno Gabaglio, electric piano features heavily but there’s also some good Mellotron work. Overall it’s a rewarding buy, though not straightforward prog; the band are playing songs that move them...


Christadoro - insive sleeve
Christadoro - insive sleeve

The old purchase is actually a current re-release of old material, Kaipa’s eponymous debut. In my worldwide search for forgotten masterpieces I’d come across the group but finding examples of the early material was somewhat difficult. My initial investigations were before I understood the role of Roine Stolt and before I’d seen The Flower Kings play live – a slightly disappointing performance because the music wasn’t dominated by keyboards, which I’d come to expect; this re-issue of the early Kaipa albums is a masterstroke.

Kaipa might be keyboard-driven but there’s a nice balance with the guitar, think of Camel between their debut and Moonmadness and the result is first-class symphonic progressive rock. I love the Swedish vocals in the same way Italian prog is best sung in Italian; the lead vocals, provided by keyboard player Hans Lundin, are confident and come across as poetic and naturally flowing.

It would be too simplistic to simply class the music as being like Camel or Focus, just because these are bands who play melodic symphonic prog. The major difference between Kaipa and those two bands is the bass of Tomas Eriksson, who uses a Rickenbacker to achieve a punchy, trebly tone. Camel tend not to conform to a style that incorporates church music, whereas Focus and Kaipa include medieval-sounding compositions, a feeling enhanced by the use of harpsichord. It would have been hard for them not to have been influenced by their fellow countryman Bo Hansson, the first Swedish rock star to gain acclaim outside his native land (thanks to Charisma Records) and there are passages which use heavy reverb organ and guitar producing the distant feel that pervades Hansson’s Music Inspired by The Lord of the Rings. The one sound I don’t particularly like is the string synthesizer, though it’s not overused.



Kaipa by Kaipa
Kaipa by Kaipa

One intriguing comparison can be made with Australians Sebastian Hardie, another band fitting that Camel/Focus/Yes symphonic style. There’s a section where a Kaipa melody line (forgive me for not being over-familiar with the tracks on Kaipa) reminds me of Rosanna from Four Moments by Sebastian Hardie; what is interesting is that the Prog Archive reviews for the Australians are overwhelming negative, suggesting their music is too derivative and labelling them ‘cheesy’. Four Moments was released in 1976, a year after Kaipa. One reviewer has also called Kaipa ‘cheesy’ though the majority find the album pleasant but not over-complex, but still worthwhile. I’d go a little further. This is good symphonic progressive rock where the language and the local folk influences make it stand apart from so-called derivative acts which I think tend to be mostly American. It’s another gem, one that surely played a part in the Sweden-centred progressive revival of the 90s.




Two new purchases, two different eras, two enjoyable pieces of music.

By ProgBlog, Apr 21 2015 07:53PM

It’s indisputable that progressive rock was a genre of grand concepts from the straightforward interpretation of classic novels (Camel’s Music Inspired by The Snow Goose, which celebrates its 40th anniversary this month for example, based on Paul Gallico’s novella); the search for enlightenment (that’s my personal take on Tales from Topographic Oceans); the stresses of everyday life (Dark Side of the Moon); or allegory (The Lamb Lies Down on Broadway.) Though The Gift released Awake and Dreaming in 2006, a project that began in 2003 following the invasion of Iraq by a US-led coalition and which features a multi-part suite concerning the savagery of war, I find it somewhat surprising that during the golden era of prog there wasn’t an entire concept album about the horrors of warfare. I witnessed The Gift perform at the Resonance Festival in Balham last year and was impressed by Mike Morton’s musical depiction of the madness and futility of global conflict – I resigned as a member of the Labour Party because of Iraq.

Folk music was one of the keystones that enabled prog to form but in the UK, it seemed to be folk associated with tradition that informed prog, and this often tended to be dark; it was US folk that evolved into protest music because of both the inequality suffered by large numbers of the country’s own citizens and the prevailing American foreign policy from the 50s onwards. The Peace movement and the counter-culture were directly opposed to the American Dream, its imperialistic tendencies and its consumerism, and the ideals of these dissidents were imported to England when musicians, who acted as agents for change, crossed back and forth across the Atlantic. In this way John Lennon’s Give Peace a Chance became an anthem of the American anti-war movement following the release of the single in 1969 by the Plastic Ono Band.

The Nice used America as a form of protest, getting banned from the Royal Albert Hall in the process, though this wasn’t about combat on foreign soil; they also included the track War and Peace on their first album, The Thoughts of Emerlist Davjack but this had started out as a tune called Silver Meter, played when Emerson was a member of the T-Bones. A live show staple, War and Peace was described by one critic as an ‘instrumental which seems to run like a hell-bound train through war inflicted landscapes.’ I sympathise with that view – the song is fairly raw and features some serious Hammond abuse and Davy O’List guitar histrionics.

When Greg Lake joined up with Keith Emerson in ELP, he brought with him some of the hippy ideals of Peter Sinfield. Though In The Court of the Crimson King isn’t an anti-war album, it comes across as anti-totalitarian and in 21st Century Schizoid Man Sinfield’s lyrics clearly point out the evils of contemporary warfare: “Innocents raped with napalm fire”. Though Lake had left Crimson before 1970’s In the Wake of Poseidon he did provide the vocals for the three-part Peace, the ultimate part of which follows The Devil’s Triangle, an instrumental track based on Gustav Holst’s Mars, the Bringer of War; despite a lack of an explicit condemnation of warfare, the final words on the album are “Peace is the end, like death / Of the war.” One of Lake’s defining contributions to the eponymous first Emerson, Lake & Palmer album was the acoustic ballad Lucky Man that though he claimed was written when he was 12 years old, contains imagery that can only have been forged later in his life, painting a picture not just of the futility of acquiring possessions but also the stupidity of war. There are a number of oblique references to war throughout the early ELP albums; one interpretation of Tarkus is that the animal-machine hybrid represents totalitarianism, crushing culture, spirituality and freedom, and technology that has gone out of control (a subject revisited on Karn Evil 9 from Brain Salad Surgery, where Sinfield had been reunited with Lake to provide lyrical ideas.) According to William Neal, who provided the cover artwork, the name ‘Tarkus’ is an amalgamation of Tartarus (gloomy pits of darkness used for punishing angels that sinned, mentioned in 2 Peter 2:4 from the bible) and carcass, indicated by the album title written in bones on the cover. Consequently, he suggests the title track refers to the "futility of war, a man made mess with symbols of mutated destruction" but I think his explanation has been fitted in retrospect; it may reflect his painting but the music and lyrics can be interpreted in a number of ways.

Jon Anderson reprised John Lennon on I’ve Seen All Good People from The Yes Album (1971.) I’m almost ashamed to admit that it wasn’t until I saw Yes playing live that I picked up the words “All we are saying is give peace a chance” during the Anderson-penned Your Move section, some three years after I’d bought the album. My only excuse is that despite the track being a favourite of most fans, it doesn’t actually move me at all; it’s too simplistic, especially the All Good People part. I even prefer A Venture where the bass line is far from conventional. The Yes Album does in fact contain one of the most explicit anti-war songs in the progressive rock canon: Yours is no Disgrace. Jon Anderson has said that the meaning of the song is recognition that those fighting in the Vietnam war had no choice other than to fight, in effect carrying out the orders of a government with policy based on dogma. As the first track on the album it gains added importance for being the first of the long-form Yes songs.

Yes returned to the theme of war with The Gates of Delirium, the side long track from Relayer (1974). It has been said to have been inspired by Tolstoy’s War and Peace which both Anderson and Patrick Moraz had been reading but Anderson has simplified the concept to a battle scene with a prelude, a charge, a victory tune and a peaceful resolution leading to hope for the future; he has further suggested that it wasn’t an explanation of war or a denunciation which makes the piece more descriptive than protest. I love the aggressive feel of the composition, the crashing scrap metal and the strident guitar and keyboards which give the piece a jazz rock edge.

Maybe I’d been looking for the war concept album in the wrong place. Given the political state of Italy in the early 70s and the alignment of most progressivo Italiano with left-wing ideology, it can come as no surprise that there are a number of anti-war songs in the sub-genre, music that I’ve only recently discovered. The first Banco del Mutuo Soccorso album contains the track R.I.P Requiescant In Pace where the music and words conjure a battlefield scene, aptly summed up by author and prog reviewer Andrea Parentin as a bitter reflection of the inhumanity and uselessness of war and glory. Another feature of Italian prog is the number of bands who only ever produced one album. Tuscany based Campo di Marte took their name from a suburb of Firenze and, according to band leader, composer and guitarist Enrico Rosa that name, Field of Mars, allowed them to write lyrics about the stupidity of wars. Their only, self-titled album features a cover depicting Turkish mercenaries inflicting wounds on themselves to demonstrate their strength; the sleeve notes of the 2006 AMS remastered version inform us that the entire composition was arranged with specific purpose of pointing out ‘the absurdity of war and people’s complete impotence at the mercy of violence’. Another one-album group (another self-titled album, too!) was Alphataurus, with a release from 1973 that relates a disturbing dream of the threat of nuclear war but is balanced by the hope that we don’t have to follow that path and we can start over again. The incredible cover painting, a triple gatefold, appears to include a small homage to William Neal – a stegosaurus on caterpillar tracks.



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