ProgBlog

By ProgBlog, May 5 2020 09:26PM

A list of recent past, present and future happenings in the prog world


Recent additions


All April additions to the ProgBlog collection were ordered online using Bandcamp and Burning Shed because of the continuing lockdown and the classification of (physical) record shops as non-essential; my pre-order of Jon Kirkman’s latest book, Tales from Photographic Oceans Giants Under the Sun, pre-ordered at the end of last year also arrived to brighten up a weekend.

I’ve attempted to keep the economy ticking over but it’s another short list thanks to the constraints imposed to reduce the spread of Covid-19: Oughtibridge (Download) – [‘ramp]; The Equatorial Stars (Vinyl) – Fripp & Eno; Todmorden 513 (CD) – Markus Reuter; Tales from Photographic Oceans (Book) – Jon Kirkman; No Sleep ‘til Wilmersdorf (CD) – [‘ramp]; Frammenti Notturni (V) – Unreal City; Nostalgia for Infinity (CD) – Hats Off Gentlemen It’s Adequate; Debris (CD) – [‘ramp]


The recent past


Book review: Tales from Photographic Oceans Giants Under the Sun - Jon Kirkman



Jon Kirkman's limited edition Tales From Photographic Oceans Giants Under the Sun was published in April, a photodocumentary of Yes live performances from 1969 - 2019 using previously unseen images primarily supplied by fans, many of which are of professional quality. There’s an introductory piece ‘The Camera on the Cover’ by Tony Howard, a former Southampton denizen who now lives in Canada; it’s his Olympus OM10 on the cover, used for photos of solo shows by Jon Anderson and Rick Wakeman in 1980 and of Yes during the Drama tour that feature in the book. He relates how he had to hide his camera at the venue and how it was taken away from him part way through that Drama show, which chimes with my experience of attempting to take my Olympus OM2N into a Yes gig, having it removed at the bag search before the show then returned to me afterwards (I can only think that this was the 90125 tour at Wembley because I managed to get surreptitious photos of Peter Hammill and Camel at around that time.)

Broadcaster, author, journalist and Cruise to the Edge co-host Kirkman got into Yes music in 1972 through And You and I from Close to the Edge being shown on the UK's staple rock music TV programme The Old Grey Whistle Test, then hearing debut album Yes via the son of a friend of his mother, and being a Liverpudlian, connecting with the cover of The Beatles Every Little Thing. He’s since built up a close working relationship and friendships with the band, interviewing 16 of the 18 members for his books Yes - Time and a Word: The Yes Interviews (2013) and its updated version Dialogue (2017) making him ideally suited to curate such a project. It’s therefore not surprising he first photo is of Peter Banks in 1969, in black and white, captured in mid air holding a blonde Telecaster above his head. It’s striking not only because it’s a well-composed image but because it’s not the white Rickenbacker everyone associates with Banks during his time in Yes.

Each group of photos is accompanied by the show’s set list and a photo of the ticket stub, and given the difficulties of clandestine photography in theatres during the pre-digital era, it’s not surprising that there’s better coverage of the band from this millennium.

This book isn’t for everyone. For a start it’s a limited print run of 300, which makes it quite expensive, but for the hard-core fan it’s a really good addition to the library of Yes biographies, despite the paucity of words. And though there’s not going to be a second print run, there is a possibly of a second edition because of the overwhelming number of photos submitted. I’ll be signing up for that, too.


Details of how to order Jon Kirkman’s Tales From Photographic Oceans Giants Under the Sun can be found on his website: https://jonkirkman.co.uk/product/tales-from-photographic-oceans/



More Covid-19 cancellation chaos


Stewart / Gaskin Kings Place Concert Rescheduled

Dave Stewart and Barbara Gaskin have announced that their forthcoming performance at Kings Place, London has been put back a year to Saturday July 31st 2021 when it’s hoped that some semblance of normal life has returned. Everyone who bought a ticket for August 1st 2020 will be able to use their e-ticket for the rescheduled date at no extra cost: if you haven't done so already, please print it and keep it safe till next summer. Alternatively, you can get a full refund by emailing support@burningshed.com with the subject line 'Stewart/Gaskin ticket refund'. There will be an announcement when tickets for the rescheduled concert go on sale, but Stewart and Gaskin are assuring those who already have an e-ticket will have their seat guaranteed


Yes - The Album Series European Tour 2020





It’s just been announced that Yes have postponed the European and UK legs of the 2020 tour and are working on confirmed dates for the rescheduled shows. The Royal Albert Hall (where I’ve booked tickets) is due to provide updated information on its website on May 31st. According to the Yes (official) Facebook page, all tickets bought for this year’s performances will be valid for the new shows


Rick Wakeman – The Red Planet



If the YouTube clips are anything to go by, Rick Wakeman’s The Red Planet, originally intended for release on April 3rd along with special launch events, will be well worth waiting for. It’s been held up by manufacturing and logistical issues caused by the Covid-19 pandemic and the latest update suggests it’s going to be closer to June when we can finally get our hands on what sounds like the proggiest project Wakeman has been responsible for since debut solo album The Six Wives of Henry VIII (the last notification from Music Glue gives the date as May 22nd.)


By ProgBlog, Apr 1 2020 08:51PM

A list of recent past, present and future happenings in the prog world



ProgBlog's March acquisitions
ProgBlog's March acquisitions

March additions to the ProgBlog collection, a short list due to constraints imposed to reduce the spread of Covid-19: Garofano Rosso (Vinyl) – Banco del Mutuo Soccorso; Broadcasting from Europa 1 (bootleg) (V) – Pink Floyd; Beaubourg (V) - Vangelis; Star’s End (V) – David Bedford; Casino (V) – Al Dimeola; The Universal Play (V) – Gandalf; Time & Tide (V) – Greenslade; No Smoke Without Fire (V) – Wishbone Ash; Worlds Within (V) – Raphael Weinroth-Browne; The Stone House (Download) – Wingfield Reuter Stavi Sirkis; 20180311 Sono Centrum, Brno (D) – Stick Men; Kopfmensche – Markus Reuter (D); From A Page/In the Present (Live from Lyon) (V+CD) – Yes; Angel’s Egg (V) – Gong; Frozen Radios (D) – [‘ramp]


The recent past


Live report: Lifesigns, The Half Moon, Putney, March 11th


I’m a recent convert to Lifesigns, having re-appraised my original opinion from 2013 or 2014 and really enjoyed their performance at Trading Boundaries last summer. With a few more listens under my belt, I thought the Half Moon gig was better and I put this down to greater familiarity with their material. As much as I liked Trading Boundaries as a venue, I’m not convinced that a post-prandial concert setting is the most conducive for a good atmosphere – those of us who didn’t eat had to stand where we could while waiting staff moved in and out; at the Half Moon there wasn’t too much to-and-froing between the bar and where I was standing. In fact my chosen position afforded an excellent view of three quarters of the band, with only Frosty Beedle obscured behind his drum kit.


Lifesigns at the Half Moon, Putney 11-03-2020
Lifesigns at the Half Moon, Putney 11-03-2020

What was more obvious to me this time was the band’s dual persona: the exceptionally proggy bits (Jon Poole’s excellent bass work at times reminded me of Chris Squire’s approach, and apart from being a very good keyboard player, John Young revealed an exceptionally discerning taste in music on My Prog Five hosted by The Prog Report on YouTube); and the more pop-centric songs like Imagine. That Lifesigns can do pop shouldn’t come as any surprise given the pedigree of the musicians but Imagine, where the Lifesigns trademark vocal harmonies combine with an uplifting melody, could quite easily become a hit single if the right DJs heard it. I played the Imagine video to my wife, who is not a fan of prog, knowing that she’d like it. When I first heard it last year there were sections that reminded me of The Beatles; the first band that comes to mind now is Take That! I don’t mean to put-off diehard prog fans, because they’re a really great live act and most of the music occupies classic prog territory, even when they combine extended workouts with more accessible sections, like on At the End of the World. There was more than one moment during the gig that I was reminded of Yes’ stretched-out sections, not least because of Dave Bainbridge who at times employs a style not unlike Steve Howe. I’m really impressed by Bainbridge, who also plays gorgeous fluid guitar that calls to mind Allan Holdsworth.

This short UK tour included more material from the upcoming album than last year, with Gregarious a recent addition to the set, though favourites from the first album and Cardington were featured. Young has suggested that it’s getting more and more difficult to choose which songs to play, but I’m pleased that that Lighthouse, Cardington and N got an airing.

Considering that concern was growing over the spread of the novel coronavirus Covid-19, the gig was well attended and was very well received by all present


Lifesigns, Half Moon Putney 11-03-2020
Lifesigns, Half Moon Putney 11-03-2020

Covid-19 gig cancellation chaos


The North American leg of the Big Big Train 2020 tour has been cancelled, but the European dates for July are currently still scheduled


HRH Prog 9, scheduled for mid-March but postponed, has now been combined with HRH Prog 10 and rescheduled for October 17th and 18th at the Shepherds Bush Empire, London and the O2 Academy, Sheffield. Tickets and accommodation bookings have been transferred so those who had booked for the March event don’t have to do anything




Van der Graaf Generator have postponed their 2020 European tour. The London show is now scheduled to take place on November 19th. Details can be found here:

http://www.vandergraafgenerator.co.uk/#gigs


The Watch have postponed gigs on their A Prog Journey 1970/1976 tour. They were due to play in the UK in early April, including a show at Trading Boundaries on the 11th. Live music at Trading Boundaries has been suspended until at least the end of May


Available now or soon


Remastered (Download) by Astroligator, versions with and without lyrics (prog metal) – available now via Spotify


Fifth Dimension by Scarlet Moon (prog metal) will be available everywhere(!) from 3/4/20 – see http://scarletmoonmusic.com/ for details


Dante’s Inferno (EP) by Flight of Eden (prog metal) – available 9/4/20 via Bandcamp


All My Yesterdays (book) by Steve Howe will be published on 16th April and is available to pre-order from Burning Shed



Nostalgia for Infinity (CD) by Hats Off Gentlemen it’s Adequate (prog/alt-rock) – available 6/5/20 via Bandcamp









By ProgBlog, Jul 13 2019 03:41PM


Prog 100
Prog 100

2019 marks 10 years of Prog magazine and as I write this, the 100th edition has been landing on the doormats of subscribers. A cricketing analogy seems appropriate for progressive rock while we’re waiting for the final of the Cricket World Cup, the long-form strategy of 5-day Test matches coming closest of any sport to embody the ethos of prog; the innings looked to be over as Team Rock, publishers of Prog, Metal Hammer and Classic Rock were plunged into administration in December 2016 only to be declared not out, saved by original owners Future Publishing in early January 2017 who bought the titles for a reputed £800,000 (having sold them for £10.2m to Team Rock in 2013.) The most heart-warming part of this story was that British metal band Orange Goblin raised over £70,000 through a Just Giving page for staff who were made redundant, put out of work without any severance pay just before Christmas; an illustration of the importance of the magazines to the musicians and the fans.


BBC Four - Prog Rock Britannia: An Observation in Three Movements
BBC Four - Prog Rock Britannia: An Observation in Three Movements

Though it had never left my radar, prog as a genre resurfaced in the mainstream media in January 2009 with the BBC Four series Prog Rock Britannia: An Observation in Three Movements following a series of false starts, one of which was the Virgin/EMI 3CD ‘The Best Prog Album in the World... Ever’, somewhat cynically released in time for Fathers’ Day in 2003. Not too long after the initial airing of that BBC Four series the first edition of Classic Rock Presents Prog hit the newsstands, intended at the planning stage as a quarterly publication but quickly becoming bimonthly due to its instant success. I can’t remember from which newsagent I bought my copy of that first issue but I assumed it was a one-off until I came across issue 2 (June 2009) Prog’s Avant Garde Old and New in Real Groovy records in Christchurch, NZ while on holiday in August 2009; my collection is devoid of the third and fourth editions, and also number 16, the issue published immediately before I set up a subscription.

In what could be seen as confirmation that prog was once more acceptable to discuss outside of dungeons or shady pub back-rooms, Alexis Petridis penned an article for The Guardian newspaper in July 2010, the week before the re-formed ELP headlined the High Voltage festival in London’s Victoria Park that reported on, with some surprise, the resurgence of prog https://www.theguardian.com/music/2010/jul/22/prog-rock-genesis-rush-mostly-autumn

Petridis interviewed Prog magazine editor Jerry Ewing and revealed a healthy circulation of 22,000 copies per issue which at the time was half the circulation for the long-established NME.


Go back to go forward - Alexis Petridis in The Guardian
Go back to go forward - Alexis Petridis in The Guardian

Serendipitously, Ewing had chosen exactly the right time to launch the magazine; the third wave of prog that began in the mid 90s, itself a testament to the quality of the music, was going from strength to strength and exerting ever greater influence, and a vinyl revival had begun a couple of years before. Progressive rock may not have been truly fashionable but was nevertheless massively successful in the 70s, shipping millions of vinyl albums, where part of the pleasure of the prog experience was absorbing the images, lyrics and technical information on the gatefold sleeve. I believe that more than any other the genre, the vinyl LP is associated with progressive rock. A measure of this success is that some bands were effectively exiled from the UK by the government’s tax regime; when Labour took power in 1974 the top rate of income tax was increased from 75% to 83% and the surcharge on investment tax took the top rate on investment income up to 98%, rates that applied to 750,000 people with incomes over £20,000 per year, including the best-selling prog bands like Yes, ELP and Jethro Tull.

Prog 01
Prog 01

It was obvious that there was no way that a periodical dedicated to progressive rock could last long by only reporting on the music produced between 1969 and 1978, or even by appending on the era of neo-prog. I don’t read every article and I’m sometimes disappointed that what I consider an important event isn’t picked up by the editorial team, prompting me to fire off a disgruntled letter (or two.) I’m still of the opinion that there’s insufficient coverage of classic rock progressivo Italiano, although new material from PFM in 2017 and Banco del Mutuo Soccorso this year addresses this to some extent, but I was sure that 2013’s Le Porte del Domani by La Maschera di Cera, a conceptual follow-up to the acknowledged classic of Progressivo Italiano, Felona e Sorona by Le Orme surely deserved a mention, especially as La Maschera di Cera, like Le Orme before them, issued an English-language version of the album. However, the magazine manages to meet the requirements of unreconstructed 70s prog-philes whilst still managing to preserve a place in the competitive periodicals market by representing a spectrum that takes in progressive-minded metal, electronica, folk, jazz and ambient and though stable mate Classic Rock magazine might contain some content overlap of less-niche prog-associated acts like Pink Floyd, there are so many bands that they miss entirely, because they are neither the next big thing nor filling stadia. I’ve recently witnessed a tendency for general music journalism to reference progressive traits, in Muse for example, as handy epithets to confer a description that a group doesn’t simply follow the ordinary; this creates a space apart from conventional publications for a magazine devoted to prog.



Letter to Prog, May 2013
Letter to Prog, May 2013

With 100 editions in ten years, the frequency of Prog nicely balances new and freshly reappraised copy, with novel material provided by a cohort of younger musicians who can reflect on the music played by their parents and fusing this with other music that has been around for less time. This brings a new perspective to the genre, one of the reasons, I believe, that prog rock found a new respectability in the 90s and the secret of the third wave’s longevity. I’ve previously griped about prog metal but it is unlikely that there would have been a third wave if there had been no assimilation of a progressive ethos into metal. Catalysed by a shared heritage that cherished technical ability, prog metal began to arise in different parts of the world, most notably Scandinavia and the USA. This renewed interest in (or alternatively, a reduction in hostility towards) prog allowed the resurrection of King Crimson, who still felt the need to test the water by releasing the VROOOM EP in 1994. The double trio incarnation of Crimson revisited some of the ideas abruptly curtailed in 1974, complex and heavy, aligning themselves with prevailing trends and even touring with Tool in 2001.


There will always be debates about what constitutes prog rock, which nicely plays into the success of Prog magazine, tapping into any genre that cross-pollinates with prog. The Bloody Well Write letters page may contain missives from unreconstructed 70’s progressive rock fans declaring they will no longer subscribe to the publication but there are far more letters pointing out what a good job the Prog team are doing. That the magazine is now 10 years and 100 editions old is testament to their efforts. I’m happy to subscribe to Prog; Without it I’d have been too reluctant to give Anglo-Finnish Wigwam a chance and I’d never have discovered the excellent Zappa-like Supersister (from the Netherlands) or the amazing Yak who have no guitarist but sound like Steve Hackett.

I’m looking forward to the next 100 editions in the next 10 years.


Postscript

Though electronic media has played a part in the demise of the printed word, the best strategy seems to be balancing both forms of medium. I read Armando Gallo’s early Genesis biography I Know What I Like on a Samsung tablet and found it deeply unsatisfying but I am aware that one of the secrets to commercial success is to mix formats. So hats off to Prog magazine getting the balance right and keeping going, seemingly from strength to strength in a fiercely competitive environment.

I was both amused and surprised to see free copies of the NME available outside Whitechapel station when I started to work in the East End in 2015. Sporting an image of Taylor Swift, with a prominent yellow bubble appearing like a peeling sticker announcing MUSIC FILM STYLE, I realised that like other freebies handed out at transport hubs the print edition of the NME had become nothing more than a listings magazine, finally succumbing to what I always thought was their unspoken ethos that style was more important than the music. The print edition of the NME closed down in 2018.

Paul Stump's words could not have been wiser: the music’s all that matters


Credit: Jordan Hughes/NME
Credit: Jordan Hughes/NME

Post-postscript

For my part, I have learned to accept prog metal as a valid and valued sub-genre



Prog metal - Prog 12 December 2010
Prog metal - Prog 12 December 2010







By ProgBlog, Apr 10 2019 09:29PM

As the rest of the world watches, the UK plays out a real-time tragicomedy that the actors know is going to cause severe damage to services and the economy but, like the slow-mo approach to the cliff edge, seem incapable of taking appropriate action to avert the impending disaster. I flew to Bologna on the day of the UK’s scheduled departure from the EU (I had tickets to see Ian Anderson on the Jethro Tull 50th Anniversary tour) and fellow passengers laughed at our choice of dates and the confusion we’d have encountered if parliament had approved the Prime Minister’s deal. I was in Genoa the previous weekend where, over dinner with Italian friends, I was asked what on earth we, the UK, were doing. Brexit makes watching televised parliamentary business like watching an episode of The Office; excruciating but compulsive viewing.


Jethro Tull 50th Anniversary Tour, Bologna 30.03.19
Jethro Tull 50th Anniversary Tour, Bologna 30.03.19

Exiting the European Union is an act of wanton self-harm regardless of whatever anyone says about ‘respecting the will of the people’ or ‘give us what we voted for’ but unfortunately the genie has been released from the bottle and conflicting desires following the 52:48 split have used up our wishes to poison debate with hatred and accusations of treachery, fuelled by the personal ambitions of a few die-hards and financed by shadowy figures running insidious Facebook advertising campaigns. As it stands, Theresa May has at last extended an invitation to Jeremy Corbyn to work out some compromise on getting the European Union (Withdrawal) Act 2018 passed, having had her preferred deal, what she regards as the only deal, rejected by the House of Commons three times; we’ve also had a series of indicative votes, seeking out a consensus for a resolution, none of which has commanded any majority in the House. Judging from reports of the current state of affairs it seems that she’s asking Labour to compromise and not shifting her own red lines.


I voted to remain in the 2016 referendum but if we are forced out of the EU, any deal must protect workers’ rights; the environment; the Good Friday Agreement; the rights of UK citizens living within the EU and EU citizens in the UK; food and manufacturing standards; and businesses importing and exporting between the UK and the EU; in other words a soft-Brexit with some form of customs union. One potential model has been coined ‘Norway plus’. Norway, along with Liechtenstein and Iceland, are members of the European Free Trade Association (EFTA) and the European Economic Area (EEA). Norway plus, which was proposed towards the end of 2018, would consist of membership of EFTA and membership of the EEA, combined with a separate customs union with the EU to create a trade relationship similar to that between the EU and its member states today. The one potential drawback cited by critics is that the UK would have to abide by EU regulations without any political representation in the EU's bodies, though it encompasses an idealised wish list for a soft Brexit.


I’ve always been intrigued by Norway, from Scandinavian mythology to physical geography lessons during my schooldays in the early 70s. Unlike the UK, who did exactly the opposite with money from North Sea Oil extraction, the Norwegian government created two sovereign wealth funds. One of these was for reinvesting surplus revenue back into global stocks, shares and assets and the other, the smaller Government Pension Fund Norway, invested in Norwegian and some Scandinavian businesses, acting like a national insurance scheme. Norway featured heavily in the second of my Interrail travels, where 10 days were spent exploring the country from Oslo up to Narvik, well inside the Arctic Circle and the farthest north I’ve ever travelled, 68o28’ N.

This trip coincided with campaigning for the 1983 Norwegian local elections, so university friend and fellow traveller Nick Hodgetts and I hung around with the Norsk Arbeiderparti (who had a band on stage singing about social democracy) and the Greens on our first afternoon in Oslo. I really enjoyed Norway; the people, the landscape, the towns and cities, picking redcurrants for a free night and breakfast at Åndalsnes Youth Hostel, and though the trains were frequently crowded, the travel was enjoyable, too. The journey up to Narvik was by bus, having unsuccessfully attempted to hitch a ride from Fauske. The road trip was just over 5 hours long, hugging the coastline and crossing two fjords by ferry. I described it as ‘cosmic’ in my diary, driving along quiet, unlit roads, climbing out of valleys and descending towards the head of a fjord with the mountains darker than the night sky. Just after midnight on the walk from Narvik bus station to the railway station, a casual glance towards the firmament revealed a constantly changing green shadow, fading, growing, shifting and finally dissipating; the aurora borealis clearly visible above the glow of the city lights.


Early morning mist over Bergen, August 1983
Early morning mist over Bergen, August 1983

We managed to see a number of free live music performances and though one of the last concerts I attended in the UK before setting off on my northern Europe trip was Pendragon, Solstice and The Enid at the Ace, Brixton on May 11th, an indication that neo-prog had truly arrived (partially thanks to being embraced by Kerrang!) it was striking that throughout the country the predominant musical style and associated fashion was heavy metal, though it was almost impossible not to hear Mike Oldfield’s Moonlit Shadow or Irene Cara’s Flashdance being played on the radio (or some cassette player.)

Whereas I’d started listening to Sweden’s Bo Hansson in the mid 70s and began buying Finnish prog in the mid 00s, I hadn’t actually paid any attention to music from Norway. A couple of years after my Norwegian trip, a-ha became the country’s top musical export with uplifting pop, though the trio themselves were irked that music critics couldn’t see beneath the shiny surface of their songs where the application of classical theory and a rich harmonic language made them mini-symphonic masterpieces straight out of the book of prog. Also around that time, the Norwegian love-affair with heavy metal evolved into Norwegian black metal, a sub-genre that peaked in popularity in the early 90s and was considered to rival Swedish death metal. I remain unconvinced that Sweden’s Opeth should fall under the prog banner despite prog flourishes amongst what I still hear as death metal and I that have been and am equally dismissive of black metal groups from Norway that have adopted prog stylistic leanings. However, when the third wave of progressive rock surfaced in Sweden and the USA in the early 90s, if it wasn’t quite metal with prog sensibilities it could certainly be classed as material close to the sound of Red-era Crimson; heavy prog but not prog metal.


My first taste of Norwegian prog was a set from Arabs in Aspic at the 2017 Porto Antico Prog Fest in Genoa. Not knowing what to expect, I was nevertheless impressed with their brand of prog which though biased towards the heavy end of the spectrum, contained sufficient melody, variation and surprises to suit someone more accustomed to symphonic prog. They sang and communicated to the almost exclusively Italian crowd in excellent English, reminding us that we were united by progressive rock. They also formed the backing band for the Saturday headliner, space-rock legend Nik Turner.


Arabs in Aspic, Porto Antico Prog Fest, Genoa, July 2017
Arabs in Aspic, Porto Antico Prog Fest, Genoa, July 2017

When I first bought Jerry Lucky’s The Progressive Rock Files I used to take it around Europe as a reference when I went into record stores until it became worn and fragile. This was also the source of my first interest in Anekdoten and Änglagård, expanding my knowledge of Swedish prog. The book was eventually replaced with Lucky’s The Progressive Rock Handbook, a more complete and up-to-date volume with a set of different album sleeves presented in full colour. One of those depicted was Wobbler’s debut Hinterland (2005) which, I’m ashamed to say, I paid absolutely no attention to.


Jerry Lucky - The Progressive Rock Handbook
Jerry Lucky - The Progressive Rock Handbook

I’m pretty sure I saw adverts for Rites at Dawn around the time of its release in 2011 but it was From Silence to Somewhere (2017) that finally hooked me. One of the people I follow on Twitter had raved about it when she got her copy but at the time I didn’t follow up the recommendation. Some time early in 2018 I’d been browsing on Bandcamp and somehow ended up on the Karisma Records page which linked to the band, where I ended up listening to it, was blown away by it and bought a copy on vinyl. Hinterland (on vinyl) and Rites at Dawn (CD) followed and since then I’ve bought Hinterland and From Silence to Somewhere as presents for my brothers. I’ve also just ordered a remastered CD of Afterglow (2009) as a present to myself. The music sounds like early 70s symphonic prog, largely thanks to a keyboard set-up that would not have been unfamiliar to Rick Wakeman while recording Fragile, and trebly Rickenbacker bass. It’s a full sound, well structured, expertly played and nicely produced. Wobbler certainly aren’t afraid to stretch themselves with lengthy compositions, all of which could attract the criticism that they’re merely regurgitating music from 45 years ago rather than progressing, but the band started out playing music that they liked without worrying about where they would be pigeonholed. I like it, too. I like it very much.


The Wobbler collection (as of April 2019)
The Wobbler collection (as of April 2019)

It was while I was selecting a CD of Hinterland for my brother that I came across Jordsjø, another band allied to Karisma Records and after checking the reviews, bought Jord. There are some similarities with Wobbler but in the main they play prog with a large dose of Scandinavian folk. It reminds of the An Invitation EP by Amber Foil, not only in the palette, but the feel of the music which evokes unidentifiable forces dwelling in some dark forest. I’m a big fan of the flute on the album which adds to the folk feeling but the last track is something very different, though equally good – an electronica outing that could easily have been composed by Tangerine Dream in the mid 70s.


Jord by Jordsjø
Jord by Jordsjø

So if the UK is to leave the EU, and the leaders of EU countries are discussing this as I type, I’m going with Norway...




By ProgBlog, Feb 4 2019 10:27PM

Whether by conscious choice or directed drift, the latter part of 2018 saw me adopt what the media are calling ‘flexitarianism’. My son had started out on this road towards the end of last year but quickly shifted to a full vegan diet and when he’s invited to dinner, I prepare vegan food for the whole family.


Not yet prepared to give up meat entirely, this casual vegetarianism is an attempt to reduce my carbon footprint by taking a more environmentally sustainable approach to what I eat by consuming less meat. For someone who shuns almost all fast food (I eat supermarket pizza, occasionally go to pizza restaurants, I might have takeaway fish and chips once every couple of months or buy-in an Indian takeaway perhaps twice a year) and is entirely happy in the kitchen, it’s not as onerous as many might imagine. If statistics are to be believed, 26% of Millennials are either vegan or vegetarian and supermarkets, eager to maintain market share, have been quick to produce suitable ranges of ready-to-cook vegan dishes; the fad has also been matched by the availability of varied recipes. I mostly cook from scratch which means it’s fortunate that the Co-op, our nearest supermarket, is one of the better outlets for identifying vegan produce but it’s equally handy that Coughlans, our local bakery chain, has an extensive range of vegan cakes. My first visit to Coughlans with the specific aim of buying an appropriate treat for my son involved an almost conspiratorial approach from another customer, a young woman who asked me if I was vegan like her and her young son; I fear she was a little disappointed with my truthful response that I hadn’t increased the number of vegans in Addiscombe. Rather than go the full extreme, I attempt to eat a balanced diet and if my comparative zoology lectures taught me anything when I was a student, we have the ideal dentition for an omnivorous diet, although I admire anyone who chooses to go vegan for ethical reasons. The recent family skiing holiday to Bardonecchia showed how well veganism has spread; I needn’t have feared that we weren’t going to find suitable foodstuffs to cook on the two hotplates and small oven that served as our apartment kitchenette – Carrefour (which has a supermarket near-monopoly in the resort) carried a wide range of alternatives, including one awarded a ‘product of the year’, for our vegan skier.




The best known examples of prog vegetarians are Yes. It’s well documented that in the early 70s all the members of the band bar Rick Wakeman, along with many of their road crew, stopped eating meat, initially influenced by producer Eddie Offord who was already into health foods. This chimes with the cosmic image of Jon Anderson, the man primarily responsible for the band’s mystically-themed lyrics and concepts which include recurring motifs of environmentalism, pacifism and pantheism. Anderson let his vegetarianism slip, though in a 2006 interview with Howard Stern he spoke of maintaining a healthy diet. In fact it was Steve Howe who was the first of the band to stop eating meat and continues to maintain this stance; In the January 1992 edition of Vegetarian Times he related that the group was in New York during the 1972 Fragile tour when he ordered his last chicken dinner but was unable to eat it.



I’m not sure what the musical equivalent of flexitarianism is, but over the last couple of weeks I’ve allowed myself to be exposed to genres other than symphonic prog and progressivo Italiano, from a Philip Glass CD received as a Christmas present to the protest folk-psyche of Twilight Fields who invited me to listen to their forthcoming release Songs from the Age of Ruin which featured in a recent ProgBlog DISCovery post (their track Prologue: The Ruined City is included on the covermount CD of Prog 95). The lesson is clear, although it’s unlikely to have any environmental impact: it’s good to listen to a wide spectrum of musical genres.




Compared to last year, live prog has not yet featured heavily in my schedule for 2019 but the two events I have attended were not run-of-the-mill gigs. A last-minute decision to see London-based electronica musician Amané Suganami (who performs under the stage name Amane) at Camden Assembly for an event tagged as ‘the spirit of Brian Eno’ was my first ever prog date and the first time I’d gone to a gig with my wife since Chris Rea at Wembley Arena in December 1988! Strictly sticking to Eno’s ambient music with interpretations of Ambient 1: Music for Airports, Ambient 2: The Plateaux of Mirror (with Harold Budd); Ambient 3: Day of Radiance (Laraaji, produced by Eno) and Apollo: Atmospheres & Soundtracks, of which I only recognised An Ending (Ascent) from the latter, this was an enjoyable, well-attended event with a distinctly un-prog demographic, spoiled only by the suggested start time of 7pm – doors were at 7.30 and the performance began at 8pm.



The second event wasn’t really a gig and it wasn’t strictly live; it was Steve Hackett’s At the Edge of Light album preview held at the Everyman cinema in Crystal Palace, a run-through of the record in 5.1 surround sound four days before the official release, organised by Prog Magazine and Inside Out records. I ‘won’ tickets by sending Prog a selfie, holding a copy of Prog 94 with Steve Hackett on the cover, taken in my dining room (photos of the magazine taken in newsagents were disallowed!) I’d been to two King Crimson playbacks in the mid-late 90s for the releases of the Epitaph box set and The Night Watch CDs, both unmissable because they were relatively small gatherings of like-minded fans and featured the assembly of the musicians responsible for the performances but which also included fascinating side events: the offering of home-made cakes (I baked a date and walnut loaf); a Mellotron display; and John Wetton performing a solo acoustic version of Book of Saturday. An even more exclusive gathering, the At the Edge of Light playback was a chance to hear the latest Steve Hackett release before the general public and had the distinct advantage of being held on my doorstep, a short 410 bus journey from home.



When I lived in Crystal Palace/Upper Norwood the former Rialto Cinema, opened in 1928, was being used as a bingo hall. The cinema had shown its last film in 1968 and Gala Bingo, in a restructuring exercise following diminishing profits and questionable financial viability partly blamed on the 2007 ban on smoking in enclosed public spaces, closed the premises sometime around 2009. It was bought by Kingsway International Christian Centre but they failed to gain planning permission for change of use to an evangelical church partly because the development would result in the loss of an important leisure venue, deemed to be "harmful to the social, cultural and economic characteristics of the area." Repurposing as a church also incurred opposition from an active local group, founded in 2010, who campaigned to return the prominent Art Deco building to its original function and so, with the building listed as an asset of social value (ASV) ensuring KICC had no prospect of planning approval, they decided to sell up in 2017.

The building has been lovingly restored and given a new lease of life by Everyman, with the original main auditorium divided up to form four screens. Screen 4, the venue for the playback, seats 75 on plush two-seater sofas and provided a warm, intimate setting for the event. I had wondered why Hackett and the record label had chosen Everyman Crystal Palace but Steve Hackett’s live film Wuthering Nights: Live in Birmingham was given a screening at Everyman King’s Cross on 15th Jan 2018, prior to its official release eleven days later; Marillion’s 2017 Royal Albert Hall concert film was screened at Everyman cinemas around the country in March 2018 prior to the release of the DVD/Blu-ray for home consumption; and Steven Wilson held a pre-release screening of Home Invasion at Everyman King’s Cross last October. There’s a rumour that someone high up in the Everyman organisation is partial to prog...


It’s unclear how many ordinary punters were present, not industry insiders from Inside Out music or Prog magazine or members of the Hackett family (Steve’s wife, Jo; brother and collaborator John; their mother; aunt Betty) but regardless of status we were all treated to a signed card from Steve and some Green & Black’s chocolate. Prog magazine editor Jerry Ewing commenced proceedings with a short introduction, declaring At the Edge of Light the best offering from Hackett for 20 years; he handed over the mic to Hackett who thanked quite a few people present and said a little bit about the music and the guest musicians, and then we settled down to listen.


Having already watched three available YouTube videos and being fully aware of Hackett’s diverse styles through building up a comprehensive library of his recorded output, I wasn’t surprised by any of the material. It’s a natural successor to Night Siren though with a more cohesive sound despite the eclectic mix and, as Ewing suggested, probably his best album for many years. The fact that it’s not all-out prog is one of the album’s strengths, the eclecticism providing an almost commercial level of accessibility but without being ‘commercial’. My least favourite track was Underground Railroad although I do love the story of the inspiration behind the song. It was written following a visit to Wilmington, Delaware, where he found out about the network that helped slaves escape in pre-Civil War America, spearheaded by people like Harriet Tubman; it’s just that I’m not a great fan of the Blues or, however well it’s played, harmonica.

I thought that there were a number of highlights; from the brief opening tune Fallen Walls and Pedestals with its archetypal guitar sound to the prog mini-epic Those Golden Wings to the three numbers forming a kind of suite closing the album, Descent which channels Holst or King Crimson, Conflict, and Peace but the overall quality of song writing on the album is really high, including the infectious prog-pop of The Hungry Years! At times I was reminded of Cured-era Hackett which I think has a distinct overall sound. On completion of the album presentation he remained in the auditorium and chatted to the attendees, graciously posing for selfies with fans.



More than just the music, I admire Hackett’s viewpoint, expressed in both Prog 94 and in his explanation for the album’s title. He described the thread linking the songs as different interpretations of the contrast between light and dark, expressed at its most basic on Beasts in Our Time as good versus evil, but also the more mystical interplay of dark and light magically combining in cultures such as that which provides the heartbeat of India (Shadow and Flame). In summary, Hackett takes a hopeful stance: “In these dangerous times, deep shadows feel even sharper than usual and we find ourselves standing at the edge of light. Ultimately, this album embraces the need for all musical forms and cultures to connect and celebrate the wonder of unity in this divided world."


I think it’s time for us all to go culturally flexitarian.









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