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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, 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, 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, Sep 12 2018 10:01PM

On a recent trip to my local retro-fashion and second-hand vinyl emporium Atomica, I bought a classic piece of 70’s electronica Timewind by Klaus Schulze and also picked up Kate Bush’s Lionheart from 1978. David and Nicky, who own Atomica, are into 60’s psyche and 70’s prog so, while I flicked through record sleeves and In the Court of the Crimson King was playing on a retro record deck, the conversation turned from Kate Bush sophistipop (their term) to the paucity of progressive rock in the 80s.

In common with some other commentators, I believe that the golden age of progressive rock ended in 1978, although that’s not to deny some good progressive rock music was produced afterwards; it’s simply that the industry and the market changed. Writing in a 2014 blog, I addressed what I called the ‘lean years for prog’ and referenced my gig diary; between Fairport Convention at Wimbledon Theatre in January 1985 and the unexpected but very welcome reunion of Anderson, Bruford, Wakeman and Howe who I witnessed at Wembley Area in October 1989, I attended only two gigs: John McLaughlin and Jonas Hellborg at the Fairfield Halls, Croydon in March 1987, and a resurrected Pink Floyd at Wembley Stadium in August 1988. It’s possible that the stunning presentation of the Floyd live show, complete with crash-diving Stuka bomber and evil flying pig reinvented the concert as rock music spectacular but from a personal perspective, it was the music that stood out. Their descent to mainstream rock (albeit with appropriate sentiment) covering parts of Animals, all of The Wall and The Final Cut was thrown into reverse with A Momentary Lapse of Reason which I’ve previously stated was a return to (progressive rock) form. Although I commented on what I was buying in lieu of prog I didn’t cover, and have never really written about, neo-prog.





The demise of progressive rock at the end of the 70s was inextricably linked to free market dogma, the predominant ideology at the time and one that was opposite to the counter-cultural beliefs that had inspired the movement. Punk may have briefly surfaced between 1976-8 as reaction to the perceived excesses of some of the established bands and musicians but it was quickly hijacked by the nascent publicity machinery, a major part of the UK’s replacement for a decimated manufacturing base.

Punk can be seen as a discontinuity (if you’ll forgive the geological pun); progressive rock was the dominant style in the preceding years and new wave would follow. For existing artists, moving away from prog was less a conscious decision and more of a drift towards conformity under pressure from a music business that was changing from an ethos of supporting artistic freedom (that somehow still managed to sell millions of albums) to one of commodity. Examples of record company interference might include the imposition of external producers to capture the immediacy of punk, or simply the insistence that a band produce a hit single or get dropped from the roster.

Punk may also have illustrated the bleakness of ordinary lives but in reaction, this readied the world for a bit of glamour: Fashion and music, the rise of style over substance. Fortunately, some of the next generation of musicians, those born in the late 50s and early 60s who had grown up listening to progressive rock, made a conscious decision to emulate these groups, sometimes injected with an attitude borrowed from punk or the fashion of post-punk. However, before the appearance of these neo-prog acts, King Crimson were making a reappearance as a cross between polyrhythmic progressive rock and new wave sophistipop, thanks to the inclusion of former Talking Head Adrian Belew in the line-up. The Discipline-era King Crimson lasted from 1981 to Sunday 12th July 1984, the morning after the last show of the Three of a Perfect Pair tour, during which time I managed to see them live on two occasions, the first as the pre-King Crimson Discipline.


Asia had also convened in 1981, releasing their eponymous debut album in March 1982. An easy target for critics, they were seen as yesterday’s musicians with nothing new to give but fortunately for the band, millions of ordinary members of the record-buying public disagreed and somehow Asia managed to ride the zeitgeist for a few years. At the time, I was happy to buy Asia without having heard a single bar of the music, simply based on the line-up. The end product was undoubtedly slick but it wasn’t progressive rock and I really wish they’d taken a different approach. Though it wasn’t terribly adventurous, the musicianship still manages to shine through despite this inability to challenge the listener. I also think the lyrical content conforms to the prevailing political climate of the time, where the subject matter is primarily about relationships, love, and sung in the first person. It’s inward-looking, what the world is doing to the singer, putting the individual at the centre. These were the new world values where the politics were far from progressive.


Out of some misplaced sense of loyalty I also bought the second Asia album Alpha when that came out in 1983 and a couple of months later handed over my cash for Yes' 90125. This proved to be a qualitative move away from classic Yes music, incorporating MTV- and radio-friendly tunes from which all traces of analogue keyboard had been eradicated. The shift towards more accessible music affected the existing Yes fan-base more than it did the fans of band members who made up Asia. Asia was a new band with no previously defined sound of its own whereas Yes had considerable history and, despite sometimes seismic personnel changes they had always maintained a particular world-view; 90125 is radically different, with a combination of guitar-heavy material from Trevor Rabin and Trevor Horn’s brash production. It may have become the best–selling Yes album but it divided existing Yes fans, with substantial numbers, like me, who could barely relate to the overtly commercial sound of a compressed sonic palette and what felt like a retrograde step towards generic 80s rock.

Yet hidden beneath the clamour created by the surprise continued success of some big names from the progressive rock genre, there were a few acts with a loyal live following struggling to get the attention of record labels, plying a music very closely related to classic 70’s progressive rock. My dalliance with neo-prog consisted of prevaricating about buying Marillion’s Script for a Jester’s Tear when it was first released in 1983, ‘Marillion’ being a shortened form of the band’s original name, Silmarillion, after the JRR Tolkien history of Middle Earth; buying the Garden Party 7” single (b/w Margaret) because it was cheap; recording a live radio broadcast of the Fugazi tour from Golddiggers in Chippenham in March 1984; buying the 12” single of Kayleigh b/w Lady Nina (extended version) sometime in 1985; and going to see The Enid with a variety of neo-prog support acts including Pendragon and Solstice at the Ace in Brixton on 11th May 1983.






The absence of column inches dedicated to my old favourites meant that I no longer regularly bought anything from the music press and therefore missed out on seeing the two best neo-prog bands, Marillion and IQ. Someone gave me a copy of Marillion in Words and Pictures by Carol Clerk for a birthday in the early 90s and around this time, when seconded to work in Saudi Arabia for a few weeks, I bought an unauthorised Marillion compilation on cassette. I reappraised the lack of Marillion in my collection in 2008 and got Misplaced Childhood on CD, and downloads of Script and Fugazi; having read sufficient good things about IQ and seen Martin Orford play in John Wetton’s band, I also bought a download of The Wake (1985) at the same time, and received the 30th anniversary Tales from the Lush Attic after that was released in 2013; I’ve since bought vinyl versions of Tales from the Lush Attic, The Wake, Script for a Jester’s Tear and bought a download of IQ’s Dark Matter (2004). Also, while looking for Spanish prog on holiday in Barcelona in 2010, I came across a second-hand copy of Pendragon’s Masquerade Overture (1996) in Impacto for €9.95.



Subsequent to my rediscovery of UK neo-prog, a trip to Milan earlier this year turned up a book about Italian prog, Rock Progressivo Italiano 1980-2013 by Massimo Salari (Arcana, 2018) which covers neo-prog and the 90’s progressive revival, quite different from the other progressivo Italiano books that tend to concentrate on music of the late 60s and 70s. My decision to buy Italian vinyl whilst visiting the country means I’ve unwittingly started to collect Italian music from the neo-prog era, the most prized being Ancient Afternoons (1990) by Ezra Winston, voted the best Italian album of the 90s by Prog Italia magazine, followed by Dopo l’Infinito (1988) by Nuovo Era and Heartquake (1988) by Leviathan, which were number 2 and number 7 respectively in Prog Italia’s Italian albums of the 80s – Ezra Winston were first with Myth of the Chrysavides from 1988.





One of the criticisms hurled at Marillion in particular, was that they were just a rehash of early 70’s Genesis. Fish’s predilection for greasepaint and costume changes must have added weight to that argument but it is actually guitarist Steve Rothery who comes across as being most influenced by Genesis with a playing style based on Steve Hackett and Dave Gilmour and Andy Latimer. It’s also well documented how much Gabriel-era Genesis influenced the Italian progressive rock bands but that influence also affects Italian neo-prog, with much of Ancient Afternoons referencing the pastoral charm of Trespass; however, both Heartquake and Dopo l’Infinito have a more modern sound, more akin to UK neo-prog than 70’s classic progressive rock. Perhaps it’s not so surprising that there are a number of different Marillion tribute acts in Italy – I saw Mr Punch perform an accurate recreation of Misplaced Childhood last year at the Porto Antico Prog Fest.




Another Italian band that I follow who came together during this time are Eris Pluvia. They released Rings of Earthly Light in 1991 and later reformed as Ancient Veil; both versions of the group, with Alessandro Serri and Edmondo Romano as core members, play a broader range of styles than Leviathan or Nuovo Era, demonstrated by jazz phrasing along with Serri’s Hackett-like guitar, and some very prog-folk moments thanks to Romano’s use of a full range of wind instruments.


My previous contention that the 80s was largely devoid of interesting music was totally misplaced. 70’s style progressive rock may have disappeared but both the industry and the market had changed when I didn’t. I was dimly aware that something was going on but declined to fully engage, spending my time and money seeking out albums to fill the gaps in my 70’s-centric collection, consequently missing out on a range of bands that I should have embraced. I do now.





By ProgBlog, Jul 5 2017 07:55PM



The 2017 Porto Antico Prog Festival is being held in Genoa next week (Friday 14th – Sunday 16th July) and as I’m going along, I thought I’d take a look at some of the bands who are performing. Panther & C. play early in the evening on Saturday. I saw them at the Fiera Internazionale della Musica in 2014 and thought they were a confident ensemble playing an impressive melodic symphonic progressive rock, somewhere between the classic Italian style and subsequent incarnations of prog.



Yet another band from the new centre of progressivo Italiano, Panther & C. formed in 2003 but didn’t release their debut album L’Epoca di un Altro (Another Time) until 2015. The entire recording clocks in at less than 38 minutes which may be the ideal length for a vinyl LP but, considering they had other material that was already in a polished format in 2011 and the album only came out on CD and digital formats, it’s somewhat unusual for the times. That’s not to take anything away from the group who play beautifully constructed progressivo Italiano and tend to mix 10 minute+ compositions with shorter pieces. This first release boasts two epics; the opener Conto alla Rovescia (Countdown) and the closing La Leggenda di Arenberg (The Legend of Arenberg.) The latter, if my interpretation of the song is correct, relates to the cobbled track, once used by miners but now an integral part of the infamous Paris-Roubaix classic one-day cycle race, as it runs through the Arenberg Forest in northern France. It’s predominantly instrumental but the vocals possess an expressive, theatrical touch. I detect hints of Locanda delle Fate, especially the interactions between piano and flute and if there’s any reference to the UK prog scene, I’d suggest they were influenced by Lamb Lies Down-era Genesis. The line-up for the first album was comprised of Riccardo Mazzarini on guitar; Mauro Serpe on flute and vocals; Alessandro La Corte on Keyboards; Giorgio Boleto on bass; and Roberto Sanna on drums.





It’s appropriate that they’re once more playing on home turf because they recently released their sophomore effort Il Giusto Equilibrio (The Right Balance) (Black Widow BWRDIST 668), an album which is not yet available in the UK. Sanna has been replaced by Folco Fedele on drums but this doesn’t appear to have changed the sound in any way. This album, like the first, features five tracks mixing short pieces with three longer ones so that the running time is extended to 47 minutes; once more suitable for vinyl. Unlike the first album, Il Giusto Equilibrio has a loose theme linking the five songs, how mankind attempts to reconcile the human condition, finding the right balance between the competing essentials of existence.

Opener …e continua ad essere… (...and Continues to Be...) is firmly in classic territory, commencing with a baroque harpsichord figure before being joined by wildly racing vocals and guitar which in turn subside to calm section which has some haunting Camel-like flute drifting on to the end of the track; short, but perfectly formed. The second (title) track Giusto Equilibrio contrasts the beauty of nature and the dark side of nature, like the lion killing the gazelle. This is the first of the extended pieces and is mostly in the classical style. There’s a particular moment where the piano and organ work together in a style similar to that developed by Banco del Mutuo Soccorso and the changes in style and tempo reinforce this feeling. The track ends with a quite wonderful expansive guitar solo. Oric is the other short track, about the ‘hopes of positive feelings in the transition from one life to another’ neatly distilled into a gentle ballad with mellow picked guitar chords, Mellotron strings and choir and some Genesis-like flute. It works because it provides a dramatic contrast to the other, more full-on prog. Having said that, the second of the three lengthy tracks Fuga dal Lago (Escape to the Lake) begins in a similar fashion. This instrumental has been around since at least 2011 and relates to the need to escape from the stresses of everyday life. There are some amazing melodies weaving their way through this piece, from early Crimson flute passages to some immediate post Gabriel-era Genesis guitar and keyboard lines. The earliest versions of the piece could have fallen into the new-age category and though snatches of programmed keyboard sections remain, it’s now largely shaken off that feel but sounds like neo-prog rather than 70s prog. The last song, the 13’40 L’Occhio del Gabbiano (The Seagull’s Eye) commences with the same mellow picked chords of Oric but builds nicely. It describes a gull who witnesses the attack on the Twin Towers in New York on September 11th 2001, comparing the majesty of natural flight with the murderous intent of the hijackers. The vocals express a remarkable sadness but it’s predominantly instrumental with some great guitar and synthesizer melodies (think Misplaced Childhood and post-Hackett Genesis for sounds), all expertly held together with a dextrous, inventive rhythm section.




The album artwork probably won’t suit all tastes. Whereas L’Epoca di un Altro is illustrated by stand-up cardboard figures of the band in a manner not dissimilar to the figures depicted on the cover of Vital by Van der Graaf, Il Giusto Equilibrio has hands ripping through a leather hide. Fortunately, there’s a hint of revealing something interesting or intriguing behind the ripped covering.

Look beyond the sleeve – the music inside is well worth a listen.


See you in Genoa!






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