ProgBlog

By ProgBlog, May 8 2018 10:01PM

Until last month, I’d never been to see a Tangerine Dream performance; the closest I’d ever come to witnessing the TD sound was seeing ‘Berlin school’ devotees Node at the Royal College of Music in 2015 (a performance that is just about to be released on CD), and I was also present at the rather intimate premiere of the Edgar Froese/Tangerine Dream film Revolution in Sound, part of the Doc ‘n’ Roll Festival, screened at the Barbican Centre last November.


My appreciation of Tangerine Dream spans back to being introduced to Phaedra (1974) by school friend Alan Lee and I bought 1975’s Rubycon shortly after its release based on the promise of its predecessor. I can’t remember where I first heard Ricochet which was largely recorded at a gig in Croydon’s Fairfield Halls on 23rd October 1975 but I remember not being over-impressed with the next studio release Stratosfear (1976), which I thought made too many concessions towards mainstream rock, including the use of harmonica. I imagine it was becoming ever more difficult to maintain originality and find new things to write in the idiom they’d created but I also think the change in use of the sequencer from pulsed rhythmic intervention to near-rigid substitute electronic drumming had the overall effect of making the group more industry-friendly. I sold my copy of Rubycon some time before I left school in 1978 but regretted it, believing that it remains one of the ultimate albums to listen to in the dark through headphones. I bought a compilation CD From Dawn ‘til Dusk 1973 - 1988 in the early 90s, a CD of Phaedra in 2005 and replaced my Rubycon on CD in 2009 and finally replaced both Phaedra and Rubycon CDs with original vinyl last year; over the last couple of years I’ve bought a second-hand vinyl copy of Ricochet, plus Stratosfear and soundtrack Sorcerer (1977) on CD and I inherited CDs to plug the gap from Encore (1977) to Hyperborea (1983) from friend Neil Jellis as he replaced his original CDs with remasters.



Their brand of electronica was swiftly accepted by the fans of British progressive rock, like myself, who were exposed to the band when Richard Branson signed them to Virgin Records. Though not virtuoso, the application of electronic keyboard-based instrumentation to the thinking of minimalist composers like György Ligeti put them at the forefront of a radical musical movement, with atmospheres created by sonic washes, sequencer pulses and haunting Mellotron, mapping both outer- and inner space.

My favourite line-up is the classic Froese-Franke-Baumann trio, responsible for the early-mid 70’s classics, and who performed in some unusual places for a rock band, like the cathedrals at Reims in France, Liverpool and Coventry. The latter two are modern architectural masterpieces but Reims Cathedral (Notre Dame de Reims) is an 81m high gothic building dating from 1211, lacking in facilities for a crowd of rock fans whose behaviour would lead to TD being banned from ever playing in a Catholic church again. The idea to perform electronic meditations in these sacred places, whether or not you hold religious beliefs, was a stroke of genius because as a layperson with an appreciation of architecture, I find this thoughtful, sometimes reflective and often searching music is somehow very fitting for the space.


The journey from Brescia to the gig at the Union Chapel, Islington, was dictated by the easyJet flight schedule from Verona to Gatwick which fortunately ran on time. There were no disasters at Gatwick’s railway station, or East Croydon or Victoria and I arrived at the venue to join the end of what was one of the biggest queues I’ve seen for a long time (that being for Steven Wilson at The Troxy in March 2015). This queue also contained Neil, who happened to be holding my ticket, and who fortuitously called me before he’d reached the entrance and disappeared inside. The one slight drawback with this rush was the rather stark temperature difference between Italy and the UK; it had been 26oC when I boarded my flight but the evening temperature in London was 14oC. I was wearing a T shirt and had no jacket.


The performances at the Union Chapel invited comparisons with the Reims show, and Bianca Froese-Acquaye suggested, as she introduced the evening’s proceedings, that Edgar would have approved of the setting. I get the feeling that many of the fans did, too, certainly on the night I attended, Monday 23rd April. Froese-Acquaye had been present at the screening of the documentary at the Barbican, where she read an extract about meeting Jimi Hendrix from her husband’s autobiography, Tangerine Dream: Force Majeure which had been published a couple of months before, and held a Q&A session following the film. She had obviously been given instructions that the group should carry on following Edgar’s ‘change of cosmic address’ and the trio with the responsibility for the musical legacy, Thorsten Quaeschning, Ulrich Schnauss and Hoshiko Yamane, proved well qualified to do so, building on the critical acclaim of Quantum Gate (2017). I was a little concerned about the way Edgar Froese was addressed by his widow as she dedicated the performance to ‘our master’; this may have been accidental miscommunication but it did come across as though we were being initiated into some form of cult, with Quaeschning named as Froese’s ‘chosen successor’.



The set list seems to have been comprised mostly from 80’s material, plus a couple of tracks from Quantum Gate: It is Time to Leave When Everyone is Dancing and Roll the Seven Twice, compositions I really wasn’t familiar with but thoroughly enjoyed because it sounded as though each piece had the right balance of instrumentation despite the reliance on midi-triggers and programming; during the mid 80s Froese reworked some of their tracks and added new layers of keyboard, guitar and rhythm, a move regarded by many as detracting from the stark elegance of the originals. One of the songs in the first set reminded me of Phaedra and I wonder if it was part of the 2005 reworking of that album, which featured Quaeschning, especially as a little research suggests that the selection includes more recent, post-Froese reworkings. The second set was more reminiscent of 70’s TD; not only did they play Stratosfear but they also performed an extended improvisation, a Session in TD parlance, like one of the improvised pieces that made up their seminal live albums.



I had thought that the enigmatic Yamane was responsible for very little of the soundscape, as there were lengthy sections where her violin was held by her side, but I’m reliably informed she was responsible for triggering and controlling effects using Ableton Push. There were a few moments where the electronic drums became a little cheesy but the sequencer-driven beats, a trademark of the Berlin School acts, were always imaginative. Some of the projections appeared a little dated, too, though most seemed apt, fitting in with the music and making it difficult to work out whether to watch the band or to watch the lights play over the neo-gothic interior of the chapel. On balance I was probably more impressed with the second set; especially the improvised piece which shifted in unpredictable ways and where the involvement of the whole trio was much more evident.



The whole event was really enjoyable, from the setting to the playing to the music itself. It didn’t matter that my preferred era of the band was one where there was less reliance on continuous sequences and the evolution of the tracks seemed more organic and free-form; I love Froese’s Mellotron work, rating both Aqua (1974) and Epsilon in Malaysian Pale (1975) as Mellotron classics but their adoption and employment of digital technology can’t be faulted, creating multiple layers of sound of uncertain origin that weaved and flowed over the crowd seated on the chapel’s pews. Like Froese before him, Quaeschning picked up a guitar during a couple of pieces but I wasn’t able to attribute a particular sound to the instrument; perhaps everything will become clear when the DVD is released because the entire performance was filmed.



...It was well worth the dash from Brescia to Islington.








By ProgBlog, Apr 30 2018 09:34PM

The gig marathon did pause, temporarily, for the annual week-long skiing holiday. This year’s resort was Sölden in Austria and, after the relative success of the self-organised trip to Chamonix in January, plus a wealth of experience planning prog-themed visits to Italy, flights, public transport transfers and accommodation were all booked individually and independently of tour operators. This meant that we could avoid the early Saturday morning chaos at Gatwick by choosing a Tuesday lunchtime flight, though a planned gig on the day of return, Tuesday 17th April, meant there was going to be something of a rush when we’d arrived back in the UK.

Despite some poor visibility when it snowed on the days we were on the mountains, we did ski every day and the conditions when the sun did come out were near perfect; carving down almost empty runs in fresh powder. I’d been to the resort before, in 2007 but the amount of investment that had been poured into the area made it almost unrecognisable. Not only could I not work out where the hotel I’d stayed at had been (if it still existed) but the Gaislachkogl lift, which I may have used once during my last stay, became the prime station for getting up anywhere in the ski area. Anyone familiar with the James Bond film SPECTRE would recognise the resort because the mountaintop clinic where Bond meets the female lead, Dr Swann (played by Léa Seydoux) is the ice Q restaurant on the summit of Gaislachkogl at 3048m, a beautifully designed building that fits perfectly within its high mountain environment and which serves really fine cuisine. We ate there, twice.


the ice Q restaurant, Gaislachkogl
the ice Q restaurant, Gaislachkogl

Our B&B may have been a little way from the centre of Sölden but it did have a bus stop right outside, where journeys during daylight hours were free with a lift pass and hourly buses wound down the valley to Ötztal station, so this is where the trek to the ESP 2.0 gig on 17th April at the Half Moon, Putney began. I’d ordered a copy of their forthcoming release 22 Layers of Sunlight from their Bandcamp page and fortunately for me Cheryl Stringall, the owner and managing director of their record label Sunn Creative, recognised my name from previous correspondence and asked if I’d like a pre-release copy. This meant I was able to hear the whole album a couple of times and parts of it a few more times to acquaint myself with the music before the show.


The calm is over: Pitze bus stop, Sölden...
The calm is over: Pitze bus stop, Sölden...

The Half Moon, Putney
The Half Moon, Putney

I am a big fan of the original Tony Lowe – Mark Brzezicki ESP collaboration and after the launch of the debut album Invisible Din (2016) I pronounced that I wanted to hear more from them. A year and a half later 22 Layers of Sunlight is the product of a more settled outfit, with Lowe and Brzezicki being joined by Peter Coyle (ex-Lotus Eaters) on vocals plus bassist Pete Clark and keyboard player Richard Smith; ESP Invisible Din was more of a collective which though showcasing the talents of a variety of guest musicians including David Cross and David Jackson (whose collaboration CD Another Day arrived on my doormat the same day as 22 Layers) and vocalist John Beagley, would have been a nightmare to organise as a touring entity.





Coyle brought the concept with him, an original, cautionary tale of global tech-monopolies and AI that has increasing relevance in modern society. It was good to hear the instrumental layers are all still there, with the opening track God of Denial and its subsection The Code shifting seamlessly from angular post-rock guitar riffs to a couple of bars of lead synthesizer that wouldn’t be out of place on a proggy Steven Wilson album and then to orchestrated soundscape, all neatly tied together by Coyle’s clever lyrics. Algorithm contains some post-Hackett Genesis-like drumming and a dual vocal passage that strongly reminds me of Sigur Rós, then the title track has a cinematic orchestrated movement that gives way to a quality prog workout before reprising the chorus and main melody, though overlain with some gorgeous guitar soloing. Ride through Reality allows the players to let rip, it’s an instrumental with a little vocalising, partly jazzy but equally reminiscent of Lamb Lies Down-era Genesis instrumental blows, brief but not short on quality. Smiling Forever is another post-rock composition, laden with Mellotron string patches before it also goes full-Floyd with beautiful, tasteful slowburn guitar and after a vocal reprise blends into the laid-back Don’t Let Go section of the longest track on the CD Butterfly Suite with flute Mellotron patches. Traveling Light is the excellent instrumental part of this track, harking back to the sounds and complex rhythms of Genesis circa 1973 with some great synthesizer and organ work and more tasteful guitar, which eventually resolves into a very Hackett-like, disturbing riff before Sensual Earth continues with similar sounding themes, alternating analogue synthesizer lines and expressive guitar.

Gunshot Lips is a more modern-sounding track, its urgency dissolving into trance grooves before the driving beat resurfaces, though it retains the multiple layers of the more cinematic and prog pieces. Introducing the song at the Half Moon, Coyle confessed he didn’t know why it was called ‘Gunshot Lips’. Final track Ballad of Broken Hearts is an orchestrated, melodic piece with a deceptively pop-y structure overlain with harmonic splashes of guitar and lead synth. It’s quite optimistic sounding until about three quarters of the way through to the end when it slows and becomes more proggy and reflective as Coyle sings ‘is this all I can hope for?

You can tell it’s an ESP album – there are certain similarities in quality of voice between Coyle and his Invisible Din predecessor Beagley – with the same degree of originality and a greater feeling of consistency on 22 Layers, though there are probably more excursions away from the undeniably symphonic prog feel of Invisible Din. It’s certainly a worthy sophomore effort, expertly crafted with excellent writing and musicianship, impeccable production and once again, beautiful presentation. I made it to the live performance with time to spare; the Half Moon is fairly convenient for me and it’s a great venue. The set consisted of material from both albums, expertly handled by the quintet and this was warmly appreciated by the crowd. I think of ESP Invisible Din as a Lowe/Brzezicki band but that evening Coyle played the part of front man and the 2.0 group appeared to be more democratically organised. It was a thoroughly enjoyable gig.


I may have made it from Sölden to the Half Moon but there wasn’t a great deal of time before it all started again, roughly 52 hours between getting back from Putney and setting off on the next leg of the gig marathon to Brescia, thematically connected to ESP through David Cross who has been touring as a guest musician with legendary progressivo Italiano band Le Orme. Previously acquainted with the small, beautiful city after staying there to see Banco del Mutuo Soccorso play in January, one of the first reminders of why I had come this time was plastered over a wall on our way to the hotel.



First stop of the afternoon was the Tostato coffee shop (although we’d already had coffee at Verona station) and then it was on to the record stores; Music Box and its sister store Brescia Dischi were closed but we wandered away from the centre to Kandinski, an excellent shop selling new and second-hand vinyl and CDs where I was allowed to browse through the selection ordered in for Record Store Day, being held the following day. I couldn’t really justify getting the special edition The Piper at the Gates of Dawn so I chose three albums from the Italian prog and International prog re-pressings racks: Il Tempio della Gioia by Quella Vecchia Locanda; ...per un Mondo di Cristallo by Raccomandata Ricevuta di Ritorno; and Visitation by Pekka Pohjola. It was nice to chat about music and about being in Brescia specifically for music, and about the meaning of Record Store Day. As I left I was presented with a CD released in 2016 on Kandinsky Records, Double Rod Pendulum by Ant Mill which I was warned wasn’t prog but on subsequent listening have discovered is highly original guitar-driven rock which at times crosses into psyche. It’s not really my thing being relatively heavy and more blues-rock based than anything else in my collection, but it’s still melodic, with vocals all in English. It was recorded live in the studio and you can detect a raw edge, but the production, typified by the snare drum sound on Tale #11 [Lullaby for E] is really good.



The evening’s entertainment was Le Orme and David Cross at Dis-Play, a temporary venue set up in the Brixia Forum the city’s exhibition space, a 10 minute taxi ride from our hotel. This was me ticking off another classic 70’s progressivo Italiano band, though the current line-up includes just one original member, drummer Michi Dei Rossi. Keyboard player Michele Bon has been with the band since Tony Pagliuca left in 1992, so the most recent recruit is bassist/guitarist/vocalist Alessio Trapella who joined in February 2017. I was totally blown away by the musicianship – the performance seemed to have been comprised almost entirely of early material that I’m familiar with and the band had found a superb replacement for Aldo Tagliapietra in Trapella (I’d seen Tagliapietra performing the whole of Felona e Sorona in Genoa in 2014 which was quite special). The inclusion of David Cross on the tour was perfect; Le Orme are no strangers to guest musicians - Peter Hammill wrote English lyrics for Felona and Sorona and David Jackson has performed with both Tony Pagliuca and Aldo Tagliapietra - and the violin seems like such a natural fit with the Venetian-formed band. Dei Rossi (with the help of Cristiano Roversi) released an album of Orme material arranged for orchestra ClassicOrme last year and in 1979 the classic line-up released Florian (after Caffè Florian in Piazza San Marco), an album recorded using only traditional (non-rock) instruments augmented with violin, an exercise in modern classical music with a progressive touch. Cross featured heavily during the gig and in return the ensemble played a version of Exiles, based more on Cross’ interpretation from his album of the same name than the original Larks’ Tongues version, but it was good to see the acknowledgement of the King Crimson influence on Italian prog. I thought there was an interesting comparison between the role of Dei Rossi, the drummer and only original member, with that of PFM’s Franz di Cioccio. Though Dei Rossi didn’t sing he spent quite a lot of the time between and sometimes during songs in front of his kit not only acting as spokesperson, but also directing the audience and the band. There was a humorous moment where he pointed out that he still had a lot of hair and the majority of the males in the audience had very little.



Apart from some technical problems with Michele Bon’s monitor and earpiece right at the beginning of the set, which required the removal of his jacket and held up the start of the show, it was a flawless performance by a group of exceptionally gifted musicians. Best of all, I managed to got to see the whole performance because I’d worked out how to order a taxi late in the evening, when the taxi hailing smartphone app no longer worked. My merchandise stand foray resulted in a limited edition copy of Elementi (2001) on vinyl but Chiemi Cross had moved off elsewhere for a moment so I couldn’t say hello and I’d just taken delivery of my Cross and Jackson CD at home.



The following day, Saturday, we headed off to nearby Cremona, a UNESCO World Heritage site listed in 2012 for the intangible heritage of violin making; to mark Record Store Day the main thoroughfare was lined with stalls selling vinyl and CDs. I got into conversation with a couple of stall holders and bought Florian for €15 and Per un Amico for €40, though I was being encouraged to buy an original Italian copy of Chocolate Kings complete with poster (my copy of Chocolate Kings is the Manticore release with the stars and stripes covered chocolate bar which on that particular stall had a higher mark up than the Italian version.)




We flew back to the UK on a late afternoon departure from Verona, and whereas I’d had time to get dinner before going to see ESP 2.0 when I came back from Austria, this time I headed straight from Verona (26oC) to the Union Chapel, Islington (14oC) for the first of two Tangerine Dream shows...












By ProgBlog, Apr 24 2018 08:36PM

i) 50 years of Yes (25/3/18)


Less than 48 hours on from standing in front of the stage for some intricate, symphonic progressivo Italiano (plus UK guests Joe Payne and Heather Findlay) at a modest club in Milan to a venue that I had previously associated with some awful UK TV entertainment, taking my seat for the Sunday Yes50 date at London’s Palladium Theatre was something of a revelation.



I’d booked the tickets for myself and three family/friends only a couple of weeks before the gig and was relieved to find four seats together in the Royal Circle. Labyrinthine below the auditorium, choosing a sufficiently short merchandise queue or, for gentlemen of a certain age, a WC without a lengthy wait wasn’t easy; the theatre had hosted a Fan Convention earlier in the day and had even set up some exhibition space for Roger Dean artwork where the man himself was signing pieces for a trail of fans.



The sight lines to the stage were really good, though I should have expected that from a premier London theatre, and I was very pleasantly surprised by the vibe of the place considering that before this concert I couldn’t have ever imagined I’d have wanted to step inside its doors.

The opening remarks, delivered by special guest and ‘only original member available’ Bill Bruford, were a reminder that Yes had begun making music in 1968 and in the intervening years, despite the personnel changes, continued to produce incredible, inspirational music. One of the reasons I felt I had to attend this tour was the promise of sides one and four of Tales from Topographic Oceans so I thought it appropriate that the introductory music was a few bars from The Firebird Suite, as I strongly associate Tales with Stravinsky. It’s always been my favoured introduction, more so than Britten’s Young Person’s Guide to the Orchestra or the theme from Close Encounters of the Third Kind.



The first set included material spanning from Time and a Word (an excellent version of Sweet Dreams) up to Tormato (Onward, the tribute to Chris Squire), what I’d consider a ‘fan’s favourite’ choice, and the second set was comprised of The Revealing Science of God, the Leaves of Green section of The Ancients and Ritual. Up to this point, back surgery had prevented Alan White from spending too long sitting on a drum stool and his role had been dutifully carried out by the excellent Jay Schellen, with a style more reminiscent of Bruford. White entered the fray for the percussion movement on Ritual while Schellen descended from the drum rostrum to help out with percussion, staying for the three-part encore of Tempus Fugit (with vocals by another special guest, Trevor Horn), Roundabout, and Starship Trooper.


The sound in the theatre was exceptionally good and well balanced. I liked the fact that as a celebration of 50 years of Yes it was kind of a ‘best of’ performance, plus a hint of the idea of the ‘album series’ of concerts and the inclusion of two and a half sides of Tales. I don’t believe Tales divides the fan base anymore and however difficult it was for audiences to take in around the time of the album’s release in 1973, with insufficient time to assimilate the complexity and scale of the piece as a whole, the shift from 70s boundary-pushing compositions to the slick AOR of the 90125 line-up caused a greater rift.


A few of my friends have commented on how the dynamic has changed within the group since the death of Chris Squire (Trevor Horn humorously hinted at this when he came on to sing Tempus Fugit). Having been in Yes since 1970 Steve Howe is the de facto leader although Alan White has been involved in the group for a longer period of time; Howe was responsible for most of the cues and retains an amazing energy although I’m not sure if he struggled a little on some of the more demanding guitar parts, which would be totally excusable considering the complexity of Yes music. Jon Davison does an admirable, if unenviable job of performing lines originally sung by Jon Anderson and Billy Sherwood is without any doubt the best stand-in for Squire the band could have chosen, in playing, in mannerisms and in presence. The one minor disappointment was Geoff Downes’ soloing; the bulk of his keyboard work was fine but the runs and arpeggios lacked fluidity and even, during certain passages, seemed to lag behind time.

It’s difficult to imagine quite where the band will go from here. Detractors will suggest that continuing without any original band members is just a tribute band, though the Yes family tree shows the pedigree of the players still on stage. I can’t say if they’re capable of producing any new, classic Yes material but without a return to the ideals of the early 70s and a willingness to re-embrace challenging, symphonic long-form compositions, I doubt that they will. Still, 50 years in the business of making and playing Yes music isn’t bad; I’m pleased I went.



ii) New king of pop - Steven Wilson 27/3/18


Another 48 hours later and I’d made my way to the Royal Albert Hall for the first of three nights of Steven Wilson. My good friend Neil had organised tickets back in May 2017, a couple of days after Wilson had begun to put out videos of his new music but before I’d got a hint of the direction the music from the forthcoming album was taking. Thinking back now, Pariah, one of the first tracks I heard, forms a kind of a sonic link between Hand.Cannot.Erase and To the Bone and I don’t think it’s a bad song; it just doesn’t challenge me. At the end of June 2017 he released the video for Permanating and I wasn’t impressed.

On the walk up to the Albert Hall doors I was still optimistic that the set would include sufficient Raven and Hand material to provide a worthwhile evening of entertainment, having seen him play on a number of occasions before and apart from the show I attended at the RAH in September 2015, where I was unfamiliar with a fair proportion of the material, I’ve enjoyed his performances. However, the shift from the full-on prog of Raven to the post-rock blend of electronica, industrial with a decent dose of prog on Hand should have indicated, especially when backed-up by Wilson’s own words regarding his influences, together with his immutable right as an artist to make whatever music he wants, that the music on To the Bone and subsequently the tour of that album, was not going to be wall-to-wall progressive rock.


The show started on a promising note with another clever though slightly disturbing video, announced by a rather stern voice as if narrating a public service broadcast, based on the themes of the current album, but I couldn't really engage. Ninet Tayeb was introduced for Pariah but even her excellent voice didn’t really do anything for me; I did enjoy Home Invasion which segued into Regret #9 which I thought were the highlights of the evening. It’s possible that the behaviour of a pair of loudmouths behind me, talking for the entire first set and a couple in front, behaving as though they were very, very drunk throughout the whole show, affected my ability to enjoy the music but in the second set, just before the rendition of Permanating, Wilson delivered a speech about making the music he wanted to, including an unbridled, joyous pop song and hoped that the tattooed and bearded gents in their Opeth T-shirts would stand up and submit to the euphoria and maybe dance a few steps. To be fair to a large portion of the audience they did get on their feet but I, bearded but not being interested in either Opeth or tattoos, remained seated, unmoved by what is indisputably a potentially infectious pop structure.

For much of the rest of the gig I found the sound a bit blurred and indistinguishable; it wasn’t that it was over-loud but it was quite heavy and it wasn’t until the third encore of The Raven that Refused to Sing that my gloom lifted a little.

I can’t fault the musicianship or the presentation and I certainly can’t criticise a Wilson for changing the form of music he writes. That the songs played on that Tuesday night weren’t to my satisfaction is no one’s fault but a matter of personal taste and I’m not going to burn the CDs that I own because I didn’t like this show. I’m simply not going to commit to buying a ticket for the tour of his next album until I’ve heard the next album.

Maybe gig fatigue is setting in...










By ProgBlog, Mar 12 2018 10:28PM

The small group of family and friends that share my interest in prog can all trace their appreciation of the genre to the golden age. I grew up with almost all of them and most are regular gig companions but I was still blown away by their response when asked to submit their nine ‘life changing’ albums. Some just provided me with a list, one a list with bullet points and the remainder of the submissions were roughly along the same lines as my selection last week, including explanatory notes. My guidelines were deliberately woolly but included the following points: to list the nine albums that had the most significant impact on their lives, or were at least associated with significant events in their lives; to provide a short summary of their choice should they wish to do so; and to compile their choices before I revealed my own list, published the blog last week.

These are their 9 albums:



The albums are arranged in chronological order of their release. Thick as a Brick I didn't discover until about 1975 but is the best Tull, saw IA perform it in Newcastle a few years ago along with TAAB2. Close to the Edge is the best Yes and any prog album and one of my earliest discoveries. The Dark Side of the Moon still sets the bar and was another of my early favourites. Refugee is still Patrick Moraz's finest work along with Relayer. The Lamb Lies Down on Broadway is another early find and remains brilliant. Red runs close with In the Court of... as the best Crimson album but I chose it as it features Bill B. I got Harbour of Tears last year on holiday in Krakow and is as good as any Camel album. Dust and Dreams and Rajaz both from the 90s are also up there with their best work. AD 2010 I got on holiday in Sienna which was a great holiday made even better by this find and I have been seeking out other recent post-2000 PFM albums which are really good. Rattle that Lock is DG's best solo effort and compares favourably with any Floyd. I was very tempted to include a Water's Edge album for personal reasons but probably not prog enough! Number 10 would have been Aerie Faerie Nonsense by The Enid.

_______________________________


Days of Future Passed

A linked piece (concept) with varied writers and instrumentalists contributing to a fine album supported by a full orchestra, it was one the first pieces of progressive music I heard. Having grown up in a house where classical music was enjoyed by my dad, it was as if ' pop ' music was going somewhere and albums were works in themselves.

Argus

Loved the music, harmonizing guitars, lyrics and extended progressive middle sections. Although Wishbone Ash have a rocky sound at times, it had sustenance in its tracks and delivered open lengthy pieces.

Music Inspired by The Snow Goose

Had read the book and someone lent me the album. Hooked and to this day I enjoy it as much as ever. The sounds and progression! A great work.

Tubular Bells

One man's concept album or was it? But life was never the same after hearing this and subsequent albums were certainly more fluid and impressionistic. It was different!

Nursery Cryme

Ahh, Genesis. Perhaps the one band I committed to wholly. This really was 'fantastic' music, story-telling, picturesque, album after album but it started for me with Nursery Cryme in the mid 70s.

Tales from Topographic Oceans

Of all the YES albums, I came to this first! Fascinated by the other worldliness of its sounds, by the album sleeve and its escapist, visionary nature. You travel with the music.

Brain Salad Surgery

I had a friend who had Pictures at an Exhibition (I knew the classical work) and had enjoyed it, then this. Big, brash, funny and a moment of sublime love (or so it seemed to a teenage girl). Played my dad Jerusalem over a cup of tea. Even my sister (not her usual stuff) played it ...well, some of it. You had to be in the mood to go through all the three movements of Karn Evil 9 but it anchors me to a time and place.

Meddle

I'd had an amazing first listen to Dark Side of the Moon; lights out, candles lit, a group of us listening in an attic bedroom but it was Meddle that I returned to in 1975 as a soundscape when revising for my O Levels. Experimental, varied influence, perhaps no real concept but some tremendous pieces. A favourite to this day.

The Condensed 21st century Guide to King Crimson 1969-2003

Essential inclusion for me and with thanks to [ProgBlog]. I had heard In the Court of the Crimson King at parties (the lads in a room wowing at whatever) but it is, criminally, only in relatively recent times that I've immersed myself in KC as a unit and this collection is stunning. This may has enhanced my prog listening. Am still on that journey.

________________________________


The albums represent: 1st single purchased; 1st album purchased; 1st prog album I heard; 1st gig attended; 1st album heard at Uni; 1st CD purchased; 1st double album purchased; favourite prog album; favourite prog track; favourite album cover; favourite album; favourite non-prog album; album with the most versions in my collection (vinyl, half-speed remastered vinyl, hi-res 24 bit download, CD, picture disc CD); album I play the most often (but not necessarily my favourite)

________________________________



Pink Floyd – The Dark Side of the Moon

The very first album I bought, second hand from Paul Thompson for £3.50 in 1980, mint condition with the posters and stickers. What a way to start your music listening career! The first album being prog-related set a tone for the music I got into in the immediate years following, and a lifetime of listening beyond that.

Jethro Tull – Repeat the Best of Jethro Tull Vol.2

A 14th birthday present from [ProgBlog] and Bill Burford. Having struggled a little at first with the Songs from the Wood album this pulled me in hook, line and sinker. Several years of Tull obsession followed. A very good compilation from the classic Tull prog years.

Martin Stephenson & The Daintees – Gladsome Humour & Blue

“Who?” you may ask. A former carpet fitter from Washington, Tyne & Wear, that’s who. Rather like Dark Side, an album written by a man with immense maturity for his tender years. Heart melting stuff bought second hand at the record shop in the Newcastle University student union. Martin’s almost a shaman character, who shunned the majors for a simple life doing music his way, which he still does to this day from the Highlands of Scotland.

Johnny Cash – American III Solitary Man

Early 2000s, I’d heard Folsom Prison and thought it was quite quirky, so bought this on the hop for a fiver at Fopp. The (on the face of it) bizarre collaboration of hip hop producer Rick Rubin and Johnny Cash produced heavily stylised recordings that turned ok originals into probably the most dramatic music I’ve ever heard.

Various Artists – The Best of Blue Note Vol.1

Introduced me to the world of Blue Note, and very heavily influenced the next ten years of listening and purchasing. Included the Donald Byrd version of Cristo Redentor, a beautifully pure trumpet tune with eerie backing “woos” (not words as such) from a gospel choir. A song which will be played at my funeral. Included other future faves like Horace Silver and Art Blakey.

Genesis – Live

Bought this for a pound off John Carrott, when he was selling his albums. Played to death then replaced on CD. Played very frequently to this day, and I keep hoping they’’ issue an expanded version one day. Five songs, all great, but side 2 with The Musical Box and The Knife is surely one of the greatest sides of music ever issued.

Gil Scott-Heron – The Revolution Will Not Be Televised

A 1974 compilation bought at Hitsville in Newcastle. Poetry meets jazz meets funk meets politics meets human rights. A pioneer of rap from the late 60s, but with really strong messages, from the very raw at the start to really sophisticated pieces near the end.

Various Artists – First Time I Met The Blues

I’d started seeing some live roots music, then picked up this Chess compilation, which led me to Howlin’ Wolf, Muddy Waters and Chicago blues that had come from the fields originally, very raw black music, the punk of its day.

Various Artists – Blue Brazil

A Blue Note compilation of very melodic Brazilian jazzy numbers, laced with fantastic rhythms and beautiful voices. Strange because none of the music had been released on Blue Note originally. Set off another investigation into rhythmic music from other countries that picked up some things I already liked including funk rhythms and jazz, Afro-centric music, and pulled at my own South American heritage (albeit much more interesting music than the native stuff from Chile and most of South America).

I know these compilations are cheating a bit, but they’re random purchases that opened doors.

________________________________


A Nice Pair – Pink Floyd.

This release of the first two Floyd albums was my real initiation into music that was to become ‘mine’. Although I had heard my brother playing albums in his bedroom in the early 1970’s it wasn’t until I was played A Saucerful of Secrets in a music lesson at school that I began discovering music outside the charts. I will forever be thankful to that teacher, Mr Peter Nurse.

Evening Star – Fripp & Eno.

I first heard this when visiting my brothers flat. The music had an otherworldly quality that resonated with me and indeed still does.

Tubular Bells – Mike Oldfield.

This is an album I remember hearing my brother play and it became one of the first albums I bought, the first was actually Hergest Ridge also by Oldfield. However, if I hadn’t heard this album as much as I did I’d never have bought Hergest Ridge. It’s not my favourite Oldfield album, that remains Ommadawn, but without it, a love of instrumental music may never have been forged.

Journey to the Centre of the Earth – Rick Wakeman

This one album sparked my love of electronic keyboards and synthesisers. I was introduced to it by a friend called Richard Key who used to give me lifts when we went to fishing matches. One day on our return he invited me in to hear this album and I was hooked. Much was to follow from that day.

Close to the Edge – Yes

Having discovered Mr Wakeman it didn’t take long to discover Yes. This remains the quintessential progressive rock album to me and the best that Yes released. Other individual Yes songs may have come close, The Revealing Science of God, Gates of Delirium, Awaken, Starship Trooper and Heart of the Sunrise immediately spring to mind but this album had it all in just three songs.

The Dark Side of the Moon – Pink Floyd

This is another album that isn’t my favourite from the band, that would be Wish You Were Here, but when I first got the album, bought as a Xmas present on cassette, I played it to death. I’ve since had the album on vinyl and CD (4 times) and I never tire of it.

Phaedra – Tangerine Dream

I believe I first heard this album in the ‘Tracks’ record shop in Royston where I grew up. The guys in the shop were beginning to suggest albums to me knowing my interest in electronic keyboard based music and the decision to purchase was immediate when I heard the sequencer kick in. This has been a really important album for me and gets played at least once a month even now. It may not be as technically proficient as subsequent albums but it retains a distinct charm all of its own.

Oxygene – Jean Michel Jarre

This was another of those albums that just had to be bought once I’d heard the single from the album, Oxygene IV. This was really accessible electronic music which couldn’t be said so easily of Tangerine Dream. I’ve followed Jarre’s career ever since. He’s released some real duds in the last 40 years but Oxygene is an electronic music classic and is another of those albums that I still get real enjoyment out of listening to.

Deadwing – Porcupine Tree

This was my introduction to both Porcupine Tree and Steven Wilson who has since become a very important musical personality in my listening. Strangely, I only started to find out about the group when I discovered that Robert Fripp would be the support artist on the second UK leg of the Deadwing tour. As I wanted to see Fripp performing his soundscapes live I thought I’d find out more about the group he was supporting. I’d be a lot richer now if I hadn’t bothered but I’m so glad I did. I now have nearly every album that Steven Wilson has released either with Porcupine Tree, as a solo artist, with Blackfield, Bass Communion or No-Man. Tickets for four gigs on the upcoming UK tour might give an indication of how important his music is to me

________________________________



Yes - Close to the Edge

Yes - Relayer

King Crimson - Larks' Tongues in Aspic

King Crimson - Starless and Bible Black

ELP - Trilogy

Miles Davis - Kind of Blue

Miles Davis - Star People

Camel - Music Inspired by The Snow Goose

Focus - Best of Focus

________________________________



Probably think of some album I'd rather include but can't check record collection. All oldies, number 1 has remained so since age 14, the others might move about a bit

1) Close to the Edge

2) Larks' Tongues in Aspic

3) Fragile

4) Tales from Topographic Oceans

5) Starless and Bible Black

6) Nice

7) The Dark Side of the Moon

8) Pictures at an Exhibition

9) The Lamb Lies Down on Broadway

_______________________________

The group of respondents, including me, have an age range of 47 – 61; the mean age is 56 and the median age is 58. Six of the group spent their formative years in a relatively close-knit community, separated by only a very few houses and three of the six are closely related; one is from the Birmingham area, one from a small town in Hertfordshire and one from Leeds. More importantly, the musical tastes of this cohort don’t appear to have changed during the intervening years. With the exception of one respondent, all were teenagers at a time when progressive rock was a recognised and commercially successful genre, though competition from other musical styles was fairly restricted to outright pop (appealing to the predominantly pre-pubescent), blues-based rock, glam-rock and soul; my household was filled with a wide spectrum of jazz and at least one household featured a range of classical music. The oft-observed gender imbalance of prog fandom is evident here, with only one of the eight being female.


What comes across that respondents were discovering music which has informed their choice; most have stuck with the music of their teens but there is an element of tastes branching out. The influence of older siblings and friends is also clear, so that both Close to the Edge and The Dark Side of the Moon albums feature heavily but different examples of works by ELP, Genesis, King Crimson, Pink Floyd and Yes, five of the leading exponents of prog, are scattered throughout the lists, potentially indicating personal preference for one of a band’s albums over another. The degree of homogeneity between respondents is further demonstrated by Camel, Focus, Jethro Tull, Mike Oldfield, PFM and Tangerine Dream all appearing in more than one list.

There’s also an indication that some of the choices aren’t the favourite albums by a band, though they still appear in the list. My personal choice wouldn’t all be in my favourite nine albums as I prefer Hamburger Concerto to Focus 3, Refugee’s self-titled LP from 1974 would be in my top five and however good Starless and Bible Black may be, I like In the Court of the Crimson King, Larks’ Tongues in Aspic, Red and USA even more. I looked upon each choice as a gateway to further discovery so that I couldn’t include Refugee or Snow Goose or any Genesis.


Thanks to everyone I asked for their nine albums for their illuminating replies – you know who you are.










By ProgBlog, Jan 23 2018 04:44PM

The limited edition CDs are being hand-numbered and I’m eagerly anticipating the postman bringing me my vinyl copy, gatefold sleeve and all, of debut album The Swan Song by Servants of Science, the Brighton-based crossover prog collective. I was invited to listen to a download of the music shortly after its digital release in early December last year and was suitably impressed by the whole project, from the cinematic opener Another Day which reminded me of dreamy 70s French prog masters Pulsar, to the epic Burning in the Cold which closes the album. Musically, the compositions most obviously reference Pink Floyd and Roger Waters’ solo material but there’s also more than a hint of arty 80s synthesizer pop bands, something which should appeal to anyone who likes Steven Wilson’s To the Bone. Lyrically, if you scratch the surface you find a layer of meaning apart from the obvious ‘destruction of the earth’, and perhaps this is also Floyd-related; an examination of mental health issues.


With an intelligent social media campaign to back up an amazing product, they've gained a lot of radio play across Europe and North America over the last month and generated a good deal of interest surrounding the release of the album. In the first ever ProgBlog interview, to coincide with the release of the physical editions I set Stuart Avis, the prime mover of the group, some questions about the new album, influences and about survival in the music business. To my gratitude, he’s provided some in-depth and insightful answers; I hope you find them interesting too.


The Swan Song by Servants of Science
The Swan Song by Servants of Science

Servants of Science play at The Prince Albert in Brighton on 21st April 2018

For details of live appearances see https://www.facebook.com/servantsofscience/



ProgBlog: Who are your favourite bands, who is your biggest musical influence and why?


Stuart Avis: I've always been drawn to bands that are sonically interesting, people that make albums that can still surprise you with something that you hadn't noticed before on the umpteenth listen. Bands like Pink Floyd, The Flaming Lips and Grandaddy are masters of the art, it's all in the details. Many of us know a record like Dark Side of the Moon inside out but, when you give it a listen on a pair of speakers or headphones that you've not used before you can never be 100% certain of what you're going to hear, that's pretty amazing. Growing up in the 80's I became a big fan of the pop music at the time as most pre-teens do, but the band that really stood out for me was Depeche Mode, they were at the forefront of sampling and crafted their own sounds. This was when sampling was extremely limited and not the quick fix lazy exercise it can often be today, you couldn't just lift a chunk of a song back then, you had just a few seconds to work with and use your initiative. They'd spend hours doing field recordings then effectively create new instruments with fragments of those recordings in a sampler. You'd hear sounds on a Depeche Mode record that had never been used before musically. I guess they were my way in to a lot of the music I would get into later, including prog due to them being one of the key pioneers of the 12" extended version, lapping up those 7 or 8 minute epic versions was a good primer for long form music outside of a typical song structure. My first musical love was Sparks, a band that have a lot more prog tendencies than people may realise. They're still my favourite band to this day, no one can pen a skewed pop song like Ron Mael, and their relentless drive to redefine what pop music can consist of always yields fascinating results.


PB: Brighton has a fantastic vibe and there’s some excellent countryside around with settlement going back to Neolithic times. Your debut album The Swan Song is about an astronaut witnessing the end of the world from space and the cover depicts The Joker pub at the bifurcation of Preston Road and Beaconsfield Road (the A23); what prompted that concept and do you draw any inspiration from the surrounding area?


SA: Oh absolutely! We're quite spoilt down here, where I live I can travel 5 minutes in one direction and be on the beach, or 5 minutes in the opposite direction and be in the countryside. Two roads that run parallel to each other can have completely different vibes, there's no end of inspiration. The idea for the cover came to me on the train home after recording the vocals for the album up in Nottingham last year. "The Swan Song" has two story lines running in tandem, the surface one with the astronaut witnessing the end of the world, but the album is also littered with references to a possible mental health condition such as schizophrenia, so, depending on how the listener wishes to interpret these clues this may all just be in someone's head as they're experiencing an episode of sorts. The image of the astronaut holding one of those "The end of the world is nigh" boards in a normal everyday setting seemed to capture both stories in one photo. The location became one of necessity. The story takes place in the summer, as set up with the radio samples and the "summer rain" references in the opening track "Another Day", but there was a delay with the spacesuit so we couldn't do the photoshoot until the end of November. The location was the last high street left in Brighton that didn't have Christmas decorations everywhere, this turned out to be quite fortuitous though as we ended up with a better shot than what I originally had in mind. The traffic lights all being on red was a nice bonus too, a signal to stop, they're very fitting with the themes in the album.



PB: Brighton has some great record stores and a variety of musical instrument suppliers. Do you shop locally for music and musical equipment?


SA: Far more than I should! Record shops are my Achilles heel, although I've tried to curtail my spending a bit over the last year, partly because I have a huge pile of records I still haven't played, and partly because I've been so involved with "The Swan Song". There are constantly gems to be found down here, Brighton's record shops can be a tad pricey compared to say, Nottingham, but once you get to know the owners, a little haggling helps things along. I own a studio called Black Bunker so I'm often having a wander around miscellaneous shops keeping an eye out for equipment bargains too and of course things that can benefit the band as well. It's worryingly easy to pop along the road for a packet of crisps and come back with a guitar amp.


PB: What was the last prog album you bought?


SA: That was FEAR by Marillion, to my eternal shame I arrived late to the party for this one and only got around to hearing it last November, my jaw hit the floor! I'm a massive fan of the Fish-era but never fully gelled with the Steve Hogarth material, when they hit the spot though they're amazing and everything on FEAR is amazing and then some! I lost track of them for one reason or another after Marbles but this has prompted me to fill in the gaps over the last decade or so since then, and I'm finding more treats that are making me kick myself for missing them first time around. Steve Rothery is as close as anyone can get to David Gilmour for feel, tone and sheer beauty of playing but still retains his own individuality without ever cloning, they're a super-talented bunch.


PB: Where is the best place to see a gig in Brighton and where is best to eat/drink beforehand?


SA: I guess my regular haunt for local bands is The Prince Albert, I'm very fond of the place. I've a good relationship with the venue and staff there, have known some of them since I was a kid and even played in bands with a few over the years so it's like a night out with mates even if I go alone. They do excellent food there too so you can kill two birds with one stone. We'll be playing there on April 21st with The Filthy Tongues, a band I've admired for nigh on 30 years in their original incarnation as Goodbye Mr MacKenzie and then Angelfish. The albatross that's forever circling over them is being the band that Shirley Manson was poached from for Garbage, but they're a fantastic band in their own right.


PB: Some of your own ideas have been worked on on-line and releases like Anderson-Stolt’s The Invention of Knowledge show technology has made long-distance collaboration no barrier to producing adventurous music. Would you like to collaborate with any other artist(s) and for what reasons?


SA: The internet is amazing for this; it's opened up a whole new world of possibilities. Many years ago I co-ordinated a couple of Pink Floyd tribute CD sets for a website called Neptune Pink Floyd. Pre-Facebook, Twitter etc internet forums were hugely popular, the NPF one was one of the biggest, if not the biggest, of Floyd ones. Many of the various forum members contributed songs either solo or recorded with their own bands, but one of the aims was to try and get the forum members to collaborate on covers wherever possible regardless of where they were in the world. I played keys on a version of Atom Heart Mother which also included a guitarist in Australia and a bass player in Ireland. The project may also be considered one version of the genesis of Servants of Science. Our vocalist Neil Beards submitted to me a couple of cover versions under the moniker The Amber Herd for the project. After we put out the CDs I organised a live Floyd tribute event in Brighton which lasted 10 hours inviting as many of the CD participants to perform as possible. Neil wanted to take part in the event so he put a band together to bring The Amber Herd to life which is still going strong to this day. On the day of the gig, I found myself in a bit of a jam when it became clear that neither of the people I was collaborating with could sing our opening number, "Welcome To The Machine", so Neil graciously stepped up to the plate, did a fantastic job and from there on a friendship was born and now, 12 years later, Servants of Science. Internet collaborations are such a wonderful opportunity for people; I guess the biggest success commercially of this ilk so far may well be the FFS project between Franz Ferdinand and Sparks. They wrote the whole album by sending files back and forth across continents via e-mail. Sparks are a band I'd love to collaborate with, that would be a childhood fantasy, but I'm happy to collaborate with anyone. I believe everyone has a musical ability, even if they don't believe it themselves, often those are the most rewarding and surprising ones. Obviously any of the members of Floyd would be a dream collaboration too. I pass David Gilmour's house almost every day on the way to the studio, once the physical copies of the album arrive I'll be popping one through his letterbox, nothing ventured as they say.


PB: You’re self-releasing a limited edition CD and a heavyweight vinyl edition of The Swan Song. What do you think of the state of the music business today and what challenges as an indie artist do you feel you have?


SA: It's making a steady return to health. After it fell on its arse with Napster, which no one seemed to know how to deal with, a lot of record labels turned into headless chickens then died and we lost a lot of record stores in the fall-out as sales dwindled, but, things are certainly on the up again. We'll never see a return to the kind of sales that ran from the 60s through to the 90s, the landscape has changed too much for that, but it's in a good place, even cassettes are making a return. The worst aspect now is probably the need for instant gratification, both from the labels and the consumer. It's not exactly new but fewer risks are being taken now and investment in bands and allowing them to grow is a much rarer occurrence today. Fortunately there are still a number of small maverick labels out there taking risks and their number appears to be growing, we're seeing a return to the punk DIY ethos thanks to the internet. Ironically, something that once nearly crippled the music industry is now serving as its saviour. I think the challenges have always been the same, trying to stand out in a crowd and offer something fresh and get that noticed, the main difference now is how you navigate the obstacles, social media is proving a great vehicle for that.


PB: What importance would you ascribe to social media for getting noticed and providing support for your projects?


SA: It's been a massive help for us. The opportunities the various social media platforms provide for artists to be heard is incredible, we're having this conversation now thanks to its virtues but, as these opportunities are, and quite rightly so, available to everyone, artists have become a needle in a different haystack. However, I do believe the pros far outweigh the cons if you're willing to put the time and effort in. We've been getting played a lot in Canada and the U.S. as well as a number of European territories within a month of putting our music out into the world. This is something we could have only dreamt about prior to the social media boom; it's put music in the hands of the artist and given them a chance to take control of their path. It's tough and the competition is fierce, but that's a healthy thing, it'll pay off if you work hard at it.


PB: What is your opinion on streaming?


SA: As a way of discovering new music and being heard by people that might not normally get to hear you it's invaluable. Streaming technology has opened a lot of doors with radio and video and generated new audiences, it's certainly expanded our reach immeasurably, the downside is it has also majorly contributed to the growing disposable nature of music for many too. It has had a massive effect on sales but in turn it has also generated sales for us which we wouldn't have received without streaming. I'm a traditionalist and prefer the physical format, which fortunately is experiencing something of a renaissance at the moment, and long may it last, but streaming is here to stay so I guess we have to adapt to it and focus on its benefits.


PB: What advice would you give for people thinking of getting into the business?


SA: Keep on keeping on, expect a lot of knock backs but remain positive and believe that each "no" is one step closer to the next "yes". Utilise the internet, it's full of opportunity, look up bands in a similar vein to yourselves, find radio stations, press and promoters that are following them and get in contact and build a database of the contacts too.


PB: Can you give us an idea of what Servants of Science has planned for the future?


SA: We'll be performing live and promoting "The Swan Song" for the foreseeable future. We're developing the live show at the moment which will feature the album in full and it's coming along spectacularly. We've got a great 6 piece band together that features many of the musicians that appear on the album, but rather than playing various instruments each, like we did on the record, we have dedicated roles for the live shows. I'll be sticking to just keyboards, Neil Beards is playing acoustic guitar and providing lead vocals, Andy Bay is playing bass, Helena Deluca is reprising her vocal role and adding some extra harmonies as well as playing rhythm guitar, Adam McKee is in his spiritual home behind the drum kit and Ian Brocken, who recently joined us, will be handling all the lead guitar parts and, if I may say so myself, it's all sounding fantastic! We're currently shooting footage for our backdrop film projections which we're also going to be putting out as a film of the album. On top of that we'll also be incorporating lighting into the shows too, and anything else we can get our hands on. The astronaut may even be joining us on our journey. After that we'll be embracing the challenge of the difficult second album…




Servants of Science
Servants of Science


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I was lucky enough to get to see two gigs in Italy last summer while the UK live music industry was halted and unsupported by the government, and the subsequent year-long gap between going to see bands play live has been frustrating - but necessary.

The first weekend in September marked the return of live prog in England, and ProgBlog was there...

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