ProgBlog

By ProgBlog, Sep 30 2020 10:01PM

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


13 – September 2020


The last ProgBlog Diary was back in June, when there was some hope of countries around the world opening up again to international travel and allowing live music. Unfortunately the opening of schools and universities in the UK has coincided with a new surge in cases and much of the live entertainment industry remains closed, with no sign of being able to restart and no real signs of support for those employed in the sector from the government. The two rays of hope are that some international travel is possible, and musicians have found ways to continue to write, record and produce music


Recent additions include the delayed new ‘70s keyboard prog’ album from Rick Wakeman pre-ordered from Music Glue which turned out to be well worth the wait, and the delayed reissue of Finnish bassist/multi-instrumentalist Pekka Pohjola’s second solo album ordered through Burning Shed, but they were predominantly sourced from a trip to the local second-hand store Wanted Records in Beckenham, some birthday gifts, and two trips to Genoa:

The Red Planet (vinyl) – Rick Wakeman; Water Bearer (V) – Sally Oldfield; Verità Nacoste (V) - Le Orme; Intorno alla mia Cattiva Educazione (V) – Alusa Fallax; ΠOΑ (V) – Blocco Mentale; Campo di Marte (V) – Campo di Marte; Warmed Space Blue (V) – Ingranaggi della Valle; Preludio, Tema Variazioni e Canzona Colonna Sonora del film Milano Calibro 9 (V) – Osanna; Istinto (CD) – Jus Primae Noctis; Metamorphosis (download) – Zopp; Birdy OST (V) – Peter Gabriel; Direct to Disc (V) – FM; L (V) – Steve Hillage; Phenomena (CD) – ESP Project; A Day at the Beach (V) – Airbag; GoGo Penguin (CD) – GoGo Penguin; A Genesis in My Bed (book) – Steve Hackett; Tracks and Traces reissue (CD) – Harmonia & Eno '76; Harakka Bialoipokku (V) – Pekka Pohjola; Akasha (V) – Akasha; Fiori di Metallo (V) - I Califfi; Hypnagogia (V) Khadavra; Destinazioni (V, test pressing) – Melting Clock; Clowns (V) – Nuova Idea; Autumn Shades (CD) – Giorgio Fico Piazza; Castles, Wings, Stories and Dreams (V) – Paolo Siani; A Piedi Nudi sull’ Arcobaleno (CD) – Sintonia Distorta; Alienatura (V) – Il Tempio delle Clessidre; L’Uovo di Colombo (V) – L’Uovo di Colombo; S.E.I. (V) – La Maschera di Cera; Selling England by the Pound & Spectral Mornings Live at Hammersmith (V) – Steve Hackett



Reviews II



ProgBlog reviews have now spilled over on to a new page, Reviews 2, which can be accessed from the Reviews tab. In addition to new reviews, there are edited blog posts that now appear as standalone items, some of which may also have been posted on the Progarchives.com site under my agnenrecords profile, and the scope has been widened to include book reviews and edited versions of other reviews written for sites such as Amazon, also under the agnenrecords name.



The recent past


Gig review - 2020 Porto Antico Prog Fest, Piazza delle Feste, Genova 11/7/20




Though the UK has not yet opened up the music festival sector, and may not be able to with the current rise in Covid-19 infections, outdoor gigs have recommenced in Italy. Fortunately, the ‘air corridor’ between Britain and Italy opened up just in time for the 2020 Porto Antico progfest, and ProgBlog was able to catch a flight from London Stansted to Genoa and stay in the well-prepared NH Genova Centro hotel. The concert, a full evening of progressivo italiano, featured the legendary Balletto di Bronzo supported by local Genovese bands Il Segno del Comando and Jus Primae Noctis.

If the measures in place to minimise the spread of Covid-19 were impressive, temperature checks, social distancing enabled by reducing the venue’s capacity by 50%, compulsory face masks, and multiple hand gel stations, then the music was even more impressive. Though I’m not at all sure about naming a band after the supposed legal right of a medieval lord to have sex with subordinate women on their wedding night, Jus Primae Noctis played sophisticated layered symphonic prog, taken from their just-released CD Istinto. Unfortunately, for the last couple of years of the progfest the sound has been suboptimal for the support acts, and some of the complexity of the music was lost, but they’re certainly a band to listen out for.




There are links between Jus Primae Noctis and second act on the bill Il Segno del Commando, but given the tight-knit nature of Genoa’s prog community that’s not really much of a surprise. Diego Banchero, founder of Il Segno del Comando, played bass on much of Istinto, and Beppi Menozzi, the driving force behind Jus Primae Noctis, has played keyboards for Il Segno del Comando since their 2018 album L’Incanto dello Zero. The set was something of a ‘best of’, and was well played and really enjoyable. I recognised some of the songs having seen them at the beginning of February supporting Banco del Mutuo Soccorso and having bought a couple of their albums. Banchero uses a number of guest musicians on his albums so it wasn’t too much of a surprise to be introduced to guest vocalist Sophya Baccini, but I’d not heard of Silvia Agnoloni, their other guest vocalist. Il Segno del Comando play well constructed music which falls somewhere between dark prog and symphonic prog and is really enjoyable.



Balletto di Bronzo were incredible. Keyboard player Gianni Leone had reformed the band as a trio with Riccardo Spilli on drums and Ivano Salvatori on bass and they performed some pieces from their forthcoming album along with a run-though of the entire 1972 classic Ys. Leone is a born showman whose playing style and singing are highly theatrical – his voice is still as good as it was when Ys was released – and the music itself, both the old and the new, was full of bombast, one of the reasons Ys was so highly praised and the reason I’ll buy the new album when it comes out.



Thanks and congratulations for putting together an amazing evening go to Massimo Gasperini and Pino Pintabona.


Gig review – Melting Clock, Abracadabra Festival, Villa Serra, Comago (GE) 13/9/20



This Black Widow Records rock festival, linked with an occult/magic/new age fair (giving it the name ‘Abracadabra’) and held in the English garden grounds of Villa Serra on the northern outskirts of Genoa, marked 30 years of Black Widow – an indisputable success story launching the careers of some of the best-known names in the current crop of Italian prog bands and curating or re-launching some of the names from the original RPI scene. The link with the fair is totally in keeping with the dark prog connections of Black Widow, named after the early heavy-prog UK band which caused something of an outrage with ‘satanic’ lyrics on their debut album Sacrifice from 1970.

I went along on a prog date with my wife, only my second prog date in over 32 years, primarily to see Melting Clock, who were third on the bill. We could hear the strains of heavy rock covers from Small Band as we approached the villa, and sat with a packed lunch next to the lake while The Ikan Method plied their just released Blue Sun, which I thought sounded like early IQ and worth further investigation.

Melting Clock’s hour-long set missed out some of the songs from last year’s debut Destinazioni, with the band opting to open with their 16-minute long King Crimson medley Alla Corte del Re Cremisi which makes up side 4 of the vinyl edition of the album; I don’t imagine there are many better calling cards than a faithful reproduction of classic Crimson (the Italians have an affinity for early prog – the festival headline act Empty Spaces was a Pink Floyd tribute band.)


Caleidoscopio represents the essence of Melting Clock in eight and a half minutes, delightfully constructed from layers of guitars and keyboard phrases with Emanuela Vedana’s pitch-perfect vocal melody floating above, and the remainder of the set, culminating in the epic title track from the album, was an exercise in melodic, symphonic progressivo italiano capped by a dynamic piece of music where individual influences combined to create a highly imaginative modern prog masterpiece filled with twists and turns – heavy, melodic, tricky, angular, aggressive and stately.

The performance was excellent, even impressing my wife who thought Antares was their best song, but it wasn’t entirely perfect. I’d been warned beforehand that there was no sound check, though they had faith in the mixing engineer supervising the sound and they’d brought along their friend Andrea Torretta, the studio MAIA sound engineer who, it turns out, was required to help out with running repairs on keyboard player Sandro Amadei’s patch selector foot pedal, and the overall sound was in fact reasonably balanced; from where we were sitting Alessandro Bosca’s bass was rather high in the mix and the two guitars of Simone Caffè and Stefano Amadei were a little under-mixed. Sandro also had problems with his earpiece monitor but, on the far left of the stage he wasn’t in direct sunlight like the rest of the band. Simone described himself as ‘Melting Simone’ when I spoke to him after their performance and Stefano complained of his arm sticking to his hot guitar. It was around 34oC. There was an obvious monitor difficulty right at the start of their set when drummer Francesco Fiorito couldn’t hear himself and the opening number was stopped after a few bars before the problem was resolved and the medley restarted, and there was an unnoticeable glitch during Destinazioni when Francesco played a drum break earlier than he should have because of his monitor problems. The rest of the band didn’t miss a beat and I’m sure no one in the crowd noticed. Sandro later confided that any mistake-induced panic of their early gigs had effectively been eradicated but, errors or not, it was another exceptionally enjoyable concert in a really lovely setting.


I’d already had an extensive conversation with Massimo and Pino from Black Widow when I popped into the shop to but an album or 10 on the day we arrived in Genoa, but the festival provided the opportunity to speak to a number of other Italian friends: all the members of Melting Clock, obviously; Mauro Serpe (Panther & C.); impresario Marina Montobbio; and Diego Banchero (Il Segno del Comando.) I hope that next time we meet up there’ll be no more concerns about Covid-19.


Coming up


Lifesigns new album to be ready by the end of the year











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 [email protected] 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, Mar 27 2020 05:40PM

Everyday normal service has been increasingly abnormal since at least 2016 and probably since 2008. The UK’s EU referendum result might have seemed like a bolt from the blue but the shockwaves from the global financial meltdown, especially the austerity measures introduced by the new government in 2010 where the wrong demographic was punished for the shortcomings of capitalism, presaged the conditions necessary for the descent into irrationality and self-harm. The decline really began long before the 21st century when the influence of large corporations, becoming multinationals during a period of rapid globalisation that showed no signs of aversion to the exploitation of the mineral wealth or workforce of developing countries, embarked on schemes to protect their own value at the expense of the general population, democracy and the natural environment.

The power and behaviour of vested interests has eroded the mechanisms of world governments to the extent that we’re unable to respond appropriately to the current coronavirus crisis. Poor animal husbandry and unregulated exotic live meat markets facilitated the rise of a novel zoonosis; early reports of a new viral respiratory disease in China were suppressed and medical staff branded enemies of the State; the near-universal use of smartphones, implicated in a pandemic for the first time, acted as an ideal vector for spreading Covid-19; the connectivity of people, a benefit of globalisation, allowed the virus to spread as tourism and business continued as normal; vehicle and industrial pollutants responsible for inflammation of the respiratory tract exacerbated the severity of the disease; and in the UK, where 10 years of deliberate underfunding and deconstruction of the NHS has left staff shortages in every department, we are saddled with a Prime Minister unwilling to restrict the freedom of movement of its citizens, a PM whose initial policy acknowledged that Covid-19 would kill off the elderly as the rest of the population gained herd-immunity. However, it’s important to point out that no single country is to blame for the rise and spread of Covid-19, it’s a failure of regulation and standards.


BBC News coronavirus update 26/3/20
BBC News coronavirus update 26/3/20

I have to admit that when the disease first appeared in China, I was sceptical of its severity and perhaps foolhardily, I was skiing in Sauze d’Oulx, an hour away from Torino, while a number of provinces in neighbouring Lombardy were under lockdown. Coronavirus is common and anyone with only mild symptoms caused by Covid-19 will have a degree of immunity to the new strain because they’ve been previously exposed to other coronavirus. The rapid global spread and the mounting death toll in Italy, the epicentre outside of Wuhan, exposed a worldwide lack of preparation for a new pandemic, and that’s what changed my mind.

Though banning concerts, viewings at the cinema, spectator sports and other forms of human congregation will save some lives the cost, quite justifiably, is a restriction on our normal behaviour. What’s unacceptable is that any shutdown should result in a loss of income for workers and while some countries have agreed packages that will ensure no individual suffers from hardship during the crisis, the UK government has only just begun to address the very real concerns of millions of self-employed, those on zero hour contracts, anyone that doesn’t fall under the key worker banner, and those in rented accommodation but there’s no money available until June and it’s impossible to access the site for the derisory Universal Credit. Many musicians fall into this category, as do others working in the industry such as road crew and studio technicians.


Musicians' Union appeal
Musicians' Union appeal

Within the first ten days of a coronavirus impact survey of its 32000 members by the Musicians’ Union, it was estimated that musicians in the UK have already lost over £20m in earnings. Over 4000 responded to the survey with 90% saying their income had already been affected by social distancing rules, the closure of live venues and school closures, because many musicians make at least part of their income through teaching. The union announced that a new hardship fund would be set up to pay grants of £200 to out-of-work musicians to provide a small amount of relief to its members, adding that the government needed to provide urgent clarity on what wider support would be available, and called on the record industry to also play its part.


Eamonn Forde's 9 ways you can help your favourite band
Eamonn Forde's 9 ways you can help your favourite band

The first response I saw to the disruption to the livelihoods of musicians was an online article by Eamonn Forde (from Classic Rock) on the Louder website, 9 ways you can help your favourite band which neatly sets out the rationale behind some very supportive actions you can take to help secure the future of music. I attended 46 gigs between 2018 and 2019, some of which featured bands from prog’s premier league but many more were smaller or less successful acts. I tend to buy a tour programme when I go to see one of the really big groups but I’m more inclined to visit the merchandise stand for music, on vinyl if possible (recent purchases include The Lighthouse by Iamthemorning, and No Fear of Looking Down by Jadis, for instance) but I’m not unhappy to indulge in a CD or DVD (The Lifesigns debut album and Live in London - Under the Bridge, More Than Meets the Eye by Jadis, Cellar Noise’s second album Nautilus, the first three Hats Off Gentlemen it’s Adequate releases Invisible, When the Kill Code Fails, and Broken but Still Standing, Metamorphosis by Hamnesia.) I prefer to buy music direct from the artists and if it’s not available at gigs or there are no upcoming shows, the band’s own website invariably includes merchandise or redirects you an appropriate site like CD Baby. I got my (vinyl) copy of Exegi Monumentum Aere Perennius by The Rome Pro(g)ject direct from Vicenzo Ricca’s The Rome Pro(g)ject site, and got The Water Road on CD and an LP version of The Clockwork Universe by Thieves’ Kitchen from The Merch Desk via the band’s homepage. If you like a band, it’s sensible to sign up to their notifications. You’ll get advanced notice of upcoming performances (when they eventually resume) and of forthcoming releases. While there is often no problem obtaining tickets for some of the gigs I attend – I’ve been in an audience of about 10, the other nine being musician friends of the band for one concert in the rather splendid Teatro Altrove in Genova where I thought it was such a culturally significant event I’d have to pre-book my ticket to ensure my place


Event 16, Teatro Altrove, Genova
Event 16, Teatro Altrove, Genova

If you sign up to a band's mailing list you’re less likely to miss out on a special edition or limited release. A 2019 Facebook post, shortly after I’d discovered the Norwegian proggers, alerted me to the impending release of Jordsjø’s Nattfiolen; my red vinyl copy is from a limited run of 200; the first LP pressing of Sky Over Giza by La Morte Viene dallo Spazio which I’d seen advertised on their Facebook page (they caught my attention because they were on the same bill as Melting Clock at a gig in Genova which I was unable to attend) was a run of 500 copies divided into ten different colours representing different planets, selling for €17 plus p+p. I chose ‘Earth’.


Sky Over Giza on vinyl
Sky Over Giza on vinyl

Links from a group’s own website frequently redirect you to their Bandcamp store. I’ve been banging the drum for Bandcamp for some time now, but it has taken on greater significance since cities have come under lockdown and record stores, not considered to be an essential service by governments, are currently closed. It’s the artists themselves who post your album when you buy something via Bandcamp, and the price quoted is a minimum suggested price, leaving you free to decide whether you’re willing to pay more. There’s also the opportunity to leave a message for the artist – a nice bit of connectivity that fits in with the prog ethos – that is often acknowledged by the musicians by including a hand-written ’thank you’; it’s like having a 24/7 merchandise desk at your fingertips (T-shirts and bundles of items are available.) It’s probably lazy, but I give Bandcamp gift vouchers at Christmas to encourage the recipients to seek out new music and support artists. It’s possible to listen to a full album without buying it, but I don’t think trying something out is abusing the system. I’ll always buy a copy on a physical medium if I like the material and there’s one available but I do buy downloads if there’s not.


Thank You note from Raphael Weinroth Browne
Thank You note from Raphael Weinroth Browne

I was please that I ticked most of the boxes from the article but was quite surprised by one suggestion – Get political: campaign for better deals for acts, something that really appeals to me. I’m well-versed in fighting against seemingly insurmountable odds through my former union work and the music business doesn’t have such a great history when it comes to looking after artists. Forde’s piece goes on to suggest that those who use streaming services should buy physical copies of the music they like because streaming revenues are tiny, providing a stark example of the iniquitous behaviour of faceless and bland record companies. You should also remember that Spotify or whichever other service you’re using is charging you to harvest your personal preferences for its data-crunching algorithms, nudging your choices.

The other personal omission from Forde’s list was that I haven’t yet subscribed to a crowd-funding campaign, but that’s because I have not yet come across an appropriate project to subscribe to. I really like the idea – I’ve put money into Crystal Palace FC to ensure the club’s continued existence during their periods in administration, because I believe the club provides an important community role – and would willingly help out an artist that I liked if they ticked all the appropriate social and political buttons.


Listening to and writing about music forms a major part of my life and though it’s not what puts bread on my table, I’m concerned about the people who provide me with this pleasure and who, like many of the self-employed, have only been left with promises. Investing in the music that we love now, through Bandcamp or otherwise directly with the artists, not only provides a revenue stream but also sends the message that once we’re through these unprecedented times, we’ll support them in the future.


Covid-19 should be taken seriously - for its effects on health and the way it turns everyday life upside down.


By ProgBlog, Mar 9 2020 10:23PM

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


Latest additions to the ProgBlog collection, primarily garnered from three sources (Black Widow Records, Genoa; Burning Shed; and via the artists themselves through Bandcamp: Collegium Musicum (CD) - Collegium Musicum; Görlitz (CD) – Pulsar; Il Segno del Comando (CD) - Il Segno del Comando; Waterloo Lily (Vinyl) – Caravan; Principe di un Giorno (V) – Celeste; III or Viaggio negli Arcipelaghi del Tempo (V) - Delirium; Maxophone (V) – Maxophone; Il Paese dei Balocchi (V) - Il Paese dei Balocchi; Il Volto Verdi (V) – Il Segno del Comando; Ile de Fièvre (V) – Shylock; Music for Airports (V) – Brian Eno; Live at Coventry Cathedral (CD) – Travis & Fripp; Present from Nancy (V) – Supersister; Worlds Within (CD) – Raphael Weinroth-Browne; Depth of Field (V) – Kaprekar’s Constant; Exsolve (V) – Jo Quail


Jo Quail postcard
Jo Quail postcard

Jo Quail postcard (back)
Jo Quail postcard (back)


The recent past


Live report: Banco del Mutuo Soccorso + Il Segno del Comando, Politeama Genovese, February 5th


Banco del Mutuo Soccorso have been touring 2019’s Transiberiana around major cities in Italy and after reading that there were plans for co-founder Gianni Nocenzi to perform alongside his brother Vittorio Nocenzi at the Genoa concert on 5th February – after leaving Banco in 1985 he has only made very rare appearances with the band – I thought that I’d sign-up for what was billed as an extraordinary, unforgettable event. I was also seduced by the support act, Genovese dark prog band Il Segno del Comando which I’d wanted to see for some time

I saw Banco in Brescia in January 2018 but didn’t manage to catch the full set, having left early to ensure I could get a taxi back to my hotel. This proved to be no problem in Genoa because the concert was being held at the Politeama Genovese, a 1000 seat theatre next door to the hotel where I always stay when I’m in Genoa. This in turn proved to be a bonus, as the band and manager Lorella Brambilla were staying at the same Hotel – I spoke to drummer Fabio Moresco immediately after I’d checked-in when I held the lift for him (he commented on my just-purchased copy of Prog Italia) and later met Lorella and Vittorio Nocenzi as I was returning from a pilgrimage to Black Widow Records. The friendliness and kindness of Italian musicians never ceases to amaze me


BMS poster, Politeama Genovese
BMS poster, Politeama Genovese

The more formal setting of the concert meant it started on time, with a short but enjoyable set from Il Segno del Comando. I wasn’t familiar with their music, having only acquired their first, self titled album and Il Volto Verdi on that trip, but I had been intrigued by the description provided by Black Widow Records’ Massimo Gasperini as ‘dark, like Van der Graaf Generator.’ The band is named after the successful 1971 giallo television series and novel of the same name by Giuseppe D'Agata, the one constant in a line-up that has changed beyond recognition since Il Segno del Comando formed in 1995 is bassist Diego Banchero, who has impressive connections within the Genoa music scene. The current personnel remain unchanged since 2018’s L'Incanto Dello Zero. Joining Banchero were Davide Bruzzi (guitars, keyboards); Fernando Cherchi (drums); Roberto Lucanato (guitars); Beppi Menozzi (keyboards); and Riccardo Morello (vocals)


46 years since their self-titled debut Banco del Mutuo Soccorso, the BMS set mixed 70’s classics with highlights from 2019’s Transiberiana. Last year’s offering marked the first new album for 25 years, the last studio album 13 being released in 1994, and Vittorio Nocenzi made a conscious effort to produce something that captured the original Banco spirit, albeit with an updated sound and clean production. Along with Nocenzi (piano, keyboards and voice) who has been guiding Banco since it was founded were Filippo Marcheggiani (lead guitar), Nicola Di Gia (rhythm guitar), Marco Capozi (bass), Fabio Moresco (ex-Metamorfosi, drums), and Tony D'Alessio (lead vocal.) Unfortunately Gianni Nocenzi did not appear but that didn’t detract from the spectacle or quality of the evening’s music. I thought they were going to begin with Transiberiana opener Stelle Sulla Terra but that proved to be a tease, as the opening bars transformed into Metamorfosi then subsequently taking us through more of the eponymous debut LP, selections from Darwin!, Io Sono Nato Librero and Transiberiana. The music wasn’t the only entertainment – Nocenzi also tells a good story, affecting a cod-Genoese accent and attitude which had my (Genoese) friends laughing out loud, getting political (my sort of politics), and then disparaging the quality and content of the Sanremo music festivals. Each song was performed with consummate skill, the early pieces varying from the album versions due to the different conformations of the band over 40+ years and D’Alessio, who has a fine voice, not even considering the fruitless task of sounding like Francesco di Giacomo. Banco are right up there with the cream of progressive rock, not just progressivo italiano. At times you can hear hints of ELP in the organ and piano but they are so much more than an ELP-school group. More rocking than many of their original Italian contemporaries their social commentary was spot on in the 70s and remains so today. If you’ve not heard any Banco del Mutuo Soccorso you need to buy some of their albums; if you’ve not seen them play live, you should make every endeavour to do so. Is anyone up for hosting Banco in the UK?




Banco del Mutuo Soccorso, Genoa 5/2/20
Banco del Mutuo Soccorso, Genoa 5/2/20

Big Big Train and The Passengers Club


The Passengers Club, a new forum for Big Big Train fans was launched on February 14th.

Membership of the Passengers Club gives listeners a chance to get behind the scenes in the world of Big Big Train. Club members will be able to hear early demos from the writing and recording stages of their studio releases and demos of songs that got lost along the way, including some tracks from an abandoned concept album that they were working on a few years ago. There will be films of the band backstage, recording in the studio, and during rehearsals and soundchecks. There will also be exclusive photo galleries, blog posts, Facebook Q & As, and other good things. Membership costs £30 for one year, or £50 for two years and full details of how to sign up, what is on offer, and the reasons for starting the Passengers Club can be found at https://thepassengersclub.com

By ProgBlog, Feb 1 2020 12:28AM

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


Latest additions to the ProgBlog collection: A Song for All Seasons (Vinyl) – Renaissance; Prélude au Sommeil (V) – Jean-Jacques Perrey; Until All the Ghosts Have Gone (V) - Anekdoten; Sky Over Giza (V) – La Morte Viene Dallo Spazio; Crossover (CD) by David Cross and Peter Banks; Tarquahet (download) – TEAR (Reuter & Wingfield); I Can See Your House From Here (V) - Camel; Camembert Electrique (V) - Gong; Platinum (V) – Mike Oldfield; Variations (V) – Andrew Lloyd Webber; Spiral (V) – Vangelis; Thrak (V) – King Crimson



Prélude au Sommeil is the debut recording from Jean-Jacques Perrey (released 1958.) The two side-long tracks feature George Jenny's 'Ondioline', an early electronic instrument, resulting in dreamy soundscapes that are hymnal, sometimes fun, and occasionally reminiscent of Vernon Elliott's music for Smallfilms productions. It's a remarkable piece of work pre-dating the minimalism of Philip Glass and Terry Riley and influencing the ambient works of Brian Eno. The blurb attached to the shrinkwrap tells an interesting tale about the music being used to calm patients in psychiatric hospitals but casts doubt on its veracity!



The recent past


Crossover (David Cross and Peter Banks, released 17/1/20)

Crossover is the latest release from David Cross in collaboration with former Yes guitarist Peter Banks.

Recorded in 2010, three years before the death of Banks, the violin-guitar improvisations that form the basis of the album have been enhanced by collaboration with Yes and King Crimson alumni and co-produced by Tony Lowe (who also added bass, keyboards and string parts.) It's a rewarding listening experience and an excellent addition to any prog collection


Worlds Within by Raphael Weinroth-Browne released 24/1/20

Raphael Weinroth-Browne is a cellist and composer from Canada (The Visit, Musk Ox, Kamancello) who has just released Worlds Within, a single 40-minute entirely instrumental composition broken up into 10 movements that flow in a continuous sequence, where all the sounds were created on cello with amplification and effects pedals. The music combines sounds reminiscent of contemporary classical minimalism, metal, post-rock, and electronic music, but doesn't fit squarely into any of these categories. The music gradually branches out and recreating itself in different forms, and Weinroth-Browne has referred to it as the soundtrack to a life cycle, beginning from an unending ether (Unending I), emerging into innocence and wonder (From Within), growing into self-awareness (From Above) followed by chaos and upheaval (Tumult), making peace with what is (Fade [Afterglow]), and returning to the infinite (Unending II). The unendings were composed to feel timeless and to reflect the passing of time from the perspective of nature wheras the inner sections to have a fast-paced momentum, embodying human subjectivity and impatience.


Listen to From Within here: https://www.youtube.com/watch?v=5xE3qm74rSg



Coming up


Shipwrecked by Zac (to be released 1/2/20)

For those who like the post-rock wavelengths of the prog spectrum, there's a short but interesting new single Shipwrecked that reminds me of Howard Shore's score for David Cronenberg's film adaptation of Crash by JG Ballard: sparse, evocative and atmospheric

Listen to it here www.distrokid.com/hyperfollow/zac6/shipwrecked


Banco del Mutuo Soccorso + Il Segno del Comando, Politeama Genovese, February 5th



Banco del Mutuo Soccorso are touring their 2019 album Transiberiana around major cities in Italy. They play Genoa on 5th February.

This is an extraordinary event which promises to be unforgettable for all fans: on this occasion co-founder Gianni Nocenzi will perform on stage together with the band led by Vittorio Nocenzi - after leaving Banco in 1985 he has only made very rare appearances with Banco.

Along with Vittorio Nocenzi (piano, keyboards and voice) who has been guiding Banco since its inception are Filippo Marcheggiani (electric guitar), Nicola Di Gia (rhythm guitar), Marco Capozi (bass), Fabio Moresco (ex-Metamorfosi, drums), and Tony D'Alessio (lead vocal)

Transiberiana marks Banco's first new album 25 years after the last studio album 13, released in 1994, and 46 years since their self-titled debut Banco del Mutuo Soccorso.

Banco will be supported by Genovese prog band Il Segno del Comando


Complete the Connection by Altostratus (to be released 7/2/20)

Newcastle based instrumental prog metal band Altostratus are due to release their debut album Complete the Connection on 7th Feb with a launch gig at Head of Steam, Newcastle on 5th Feb. Their music will appeal to fans of PERIPHERY, TESSERACT, SPASTIC INK and GORDIAN KNOT








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