ProgBlog

By ProgBlog, Jun 23 2020 09:27PM


The ProgBlog Diary

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


Like in April’s diary, all May 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. However, the UK government, wisely or otherwise allowed ‘non-essential’ shops to open from Monday 15th June and at the end of that week I donned a bespoke face mask and took the short tram journey to Beckenham’s Wanted Records. The list of purchases therefore spans May and half of June and reflects that I am not only trying to kick start the local economy but also attempting to do my bit to preserve small, grass-roots venues (see https://joquail.bandcamp.com/album/the-parodos-cairn): Il Velo del Riflessi (vinyl) - Quel che disse il Tuono; Music of Our Times (CD) – Gary Husband & Markus Reuter; Cambrium–Music for Protozoa (CD) – Stephen Parsick; From Within (v) – Anekdoten; Gravity (v) – Anekdoten; The Rome Pro(g)ject I (v) - The Rome Pro(g)ject; ~ (download) – Iamthemorning; The Experience (v) – Laviàntica; Clessidra (CD) – Laviàntica; Il Paese del Tramonto (CD) - Unreal City; The Parodos Cairn (d) - Jo Quail; The Lights in the Aisle Will Guide You (v) – Hooffoot; Zopp (CD) – Zopp; Until They Feel the Sun (CD) – Moon Letters; The ReconstruKction of Light (v) – King Crimson; Instructions for Angels (v) – David Bedford; Stationary Traveller (v) – Camel; Sunbirds (v) – Sunbirds; USA 40th anniversary edition, v) – King Crimson



Coming up

There’s still no date for the UK entertainment industry to reopen but Italy is ready. The 2020 Porto Antico Prog Fest, featuring progressivo Italiano legends Balletto di Bronzo, supported by local Genoa bands Il Segno del Comando and Jus Primae Noctis, will take place on Saturday 11th July from 7pm at the Piazza delle Feste, Genoa








By ProgBlog, Jun 15 2020 09:03PM

Even though much of the world has been in lockdown to reduce the spread of the Covid-19 pandemic, many musicians have been working away on new material and over the last few weeks ProgBlog has been inundated with requests for reviewing/featuring a wide range of prog-related singles and EPs, from pop-prog to protest song to symphonic metal to punk-progressive metal, all submitted for viewing with a video. It’s a testament to the unifying power of music that groups have been able to write, record and distribute material through such turbulent times – Manchester’s New Luna managed to play a session in New York before catching one of the last flights back to the UK before global passenger air travel ground to a halt. Here are the singles I’ve been listening to and watching:



Fughu (Argentina) Right from the Bone (from the album Lost Connection)



Fughu play aggressive metal tempered with prog flourishes and a punk attitude. Their story began when guitarist Ariel Bellizio met drummer Alejandro Lopez at school in Buenos Aires in 1999, before recruiting Marcelo Malmerica (keyboards), Juan Manuel Lopez (bass) and opera singer Santiago Burgi. Armed with influences as varied as Megadeath, Deep Purple, Kiss, ELP, Van der Graaf Generator, King Crimson and tango composer Astor Piazzolla, the group took on the name Fughu. In March 2008, Fughu were selected by Mike Portnoy to be Dream Theater’s opening act at the 9000 capacity Luna Park Stadium. The following year they self-produced their well-received first album Absence, and followed that with the simultaneous release of conceptual pieces Human – The Tales and Human – The Facts in May 2013. Both works received glowing reviews and opened the door to overseas tours, including European dates in Germany, Poland, Hungary, Romania, Serbia and Austria during 2015.

Santiago Burgi left the band and returned to opera in 2016, replaced by Renzo Favaro. The new-look formation began touring Argentina in 2018 when they were honoured to be the opening act for Premiata Forneria Marconi in their home city, fine tuning what they regard as their most defiant work, 2019’s Lost Connection


https://youtu.be/XpEEY0Ne9Ew



Silver Nightmares (Italy) The Wandering Angel (from the EP The Wandering Angel)


Silver Nightmares was formed in Palermo in 2018 by bassist Gabriele Esposito, drummer Alessio Maddaloni and keyboardist Gabriele Taormina, going through several configurations until arriving at its current line-up with Mimmo Garofalo (guitars) before setting about writing and orchestrating the musical material that would make up their debut EP The Wandering Angel (2020). For recording, the quartet was augmented by Simone Bonomo and Michele Vitrano (vocals), Giulio Maddaloni (flute), Tody Nuzzo (guitars) and Davide Severino (trumpet). Their pool of influences ranges through progressive rock, AOR, heavy metal and classical music with acts such as Asia, Genesis, Savatage, Trans-Siberian Orchestra, Styx, Kansas, Toto, Iron Maiden, Jethro Tull, Foreigner, Dream Theater, Opeth, Ghost, Marillion, Anathema, Katatonia and Judas Priest.

The five-track EP is a concept piece concerning the loss of human spirituality. A wandering angel, from the distant star of life, falls from heaven and gradually becomes ever more contaminated by the corruption on earth. The story is illustrated by the fate of the natural world, heroes of the past and shrewd present day characters


https://youtu.be/omV0T8kaBoo



New Luna (UK) Prunus



Affirming their reputation with a series of intense sold-out shows across Manchester last year, New Luna spent their final days before lockdown in New York for The New Colossus Festival and performed a head-turning Paste Magazine live session just hours before catching one of the final flights out of New York. Their sound has been described as ‘dream-pop reimagined for the Mancunian drizzle’ (Clash Magazine), a unique blend of post-punk and dream-pop that has earned them nods from the likes of Piccadilly Records and BBC Introducing. Tipped by Paste as one of the need-to-know Manchester artists, the band have performed at multiple major festivals and opened for softcore psyche band Childcare and alt-rockers Happyness, Kagoule, and October Drift.

Though it’s really not the sort of thing normally considered to be in the ProgBlog remit, it does blend a number of styles and I found myself quite enjoying it. Post-punk vies with guitar-driven dream-pop as the most dominant sound but mixed in with all this is a dose of psychedelia and the whole thing is held together with solid rhythm and intelligent, imaginative drumming – the interview at Paste suggests there are hip-hop references and Stewart Copeland is cited as an inspiration. The twin guitars work well together whichever style dominates, and there’s an admirable degree of variation


https://youtu.be/teRLVPZ93Y0



Moon Letters (USA) The Red Knight and On the Shoreline (from the album Until They Feel the Sun)



More about Moon Letters can be found on the ProgBlog DISCovery page http://progblog.co.uk/discovery-17-moon-letters/4594741702


youtu.be/ysohUexhhPo

youtu.be/I8iZMCFaSSI



Konarucchi (New Zealand) They Follow (from the forthcoming EP Stuck in Daydreams)



They Follow is a track inspired by alternative / progressive rock, influenced by bands such as Muse, Porcupine Tree, and The Pineapple Thief. The song is about someone reaching out for help because their bad thoughts and feelings are getting overwhelming, and they don't know what's wrong or how they can fix it. It's the second single off the debut EP Stuck in Daydreams, released at the end of May.

Konarucchi, who mostly performs solo acoustic or with his alt pop-rock band Pale Lady, is a multi-genre solo artist from the small town of Wainuiomata in New Zealand. He likes to experiment with many different styles of music, without focusing on how they will fit together, because he believes that cohesion in music comes from the artist rather than the genre. This idea has a clear influence in the music he creates, and is strongly apparent in Stuck in Daydreams. The EP has many different influences, ranging from jazz to rock to alternative to electronic to metal, which work harmoniously together to create an amalgamation of this raw emotional silliness (his words) he calls an EP. The material is a step-up from his normal work, employing a backing band of honed musicians in order to play the full versions of the songs from this EP


https://youtu.be/YxlPeqqDxH0



Kitten Pyramid (UK) Doughnuts



Experimental UK pop-proggers and The Guardian newspaper darlings Kitten Pyramid have just released a new song Doughnuts, the first track to be taken from upcoming album Koozy!, due out next year.

Seven years on from their acclaimed self-released debut Uh-Oh! and five since the ambitious High Five Scuba Dive EP, Burton-on-Trent singer-songwriter Scott Milligan, aka Kitten Pyramid, presents the new track Doughnuts, a reflective hymn to the importance of real people, ordinary lives and the march of time, carefully coordinated to coincide with National Doughnut Day. Milligan describes Doughnuts as embracing the beauty in repetition and of the mundane, saying 'it’s about the chirpy train of death rhythmically chuffing and clunking away behind us, getting louder as we get older.' Employing a Milligan family-and-friends choir, it begins with soft chanting before the introduction of a simple piano melody, subtle steam-engine percussion and A Day In The Life drums, building to a brass and strings-laden climax as Milligan details items of routine and domestic humdrum.

Superficially lightweight but really rather deep, Doughnuts and its accompanying video (filmed during the current lockdown) is subtle prog dressed in readily-digestible pop clothes


https://youtu.be/6gcsbUE7qgw



The Dowling Poole (UK) Deep Breath



The Deep Breath single doesn’t appear on The Dowling Poole's recently released third album See You See Me but was produced during lockdown and sums up the upheavals we are all enduring. Willie Dowling and Jon Poole have no qualms about penning political songs, and though they write catchy pop tunes the subject matter is treated with prog-seriousness.

Dowling suggests it tends to be those to the right of centre who advocate the hypothesis that music and politics is an unholy mix, in an attempt to protect the status quo. Explaining that almost everything that touches our lives is political by definition, he says any serious songwriter will be saying something in their songs about the recent immense events and the way that they touch their lives: 'Music is a powerful way of connecting people, and since the 1960s, established power worldwide [has been] aware of this and is keen to ignore, mock or condemn any critique of power made in song form.'

It’s pleasing that The Dowling Poole is free to speak up about what they believe in and highlight the injustices that surround them. In keeping with these ideals, the video for Deep Breath features footage contributed by fans of the band from around the world who have documented their recent experiences of protest and lockdown


https://youtu.be/ommwIdGKm20



Quantum (Sweden) The Next Breath of Air (EP)



Quantum is Anton Ericsson, Oscar Lundin, Marcus Lundberg and Samuel Walfridssona, a progressive rock band from Stockholm influenced by music ranging from classic-era prog like Genesis or King Crimson, to extreme metal bands like Mastodon and jazz fusion in the vein of The Mahavishnu Orchestra. Quantum’s music is packed with aggressive dynamic shifts and memorable melodies; music that can shimmer one moment only to explode the next. The material dips into jazz ballad and bursts of metal; it combines with expanded forms from European art music, exhibits flashes of math rock and blends intricate harmonies, all the while maintaining a focus on groove and melody, creating a sound that is quite something else


https://youtu.be/7FADB8XKhHI



The Tragic Company (Spain) Rotten


The Tragic Company hail from southern Spain and recently released a seven-minute long prog-single in the style of Tool, Porcupine Tree or Dream Theater called Rotten, which is to be featured on their forthcoming studio album Paradox (Wild Punk Records.) Guitarist/vocalist and band leader Juanma Medina has shaped their style into a mixture of the best alternative, post-grunge and stoner rock with a prog touch, citing Pearl Jam, Soundgarden and Porcupine Tree as influencing their sound. The other band members are Mariano Alcobendas (lead guitar and backing vocals); Alan Voreaux (bass and backing vocals); and Jose Luis Fernández (drums). They have gigged hard to build a solid reputation on the Spanish underground scene over the past few years, with well-crafted songs in English, and put out two studio albums and a live unplugged album


https://youtu.be/0c3jW64hbRs



Seth Angerer (Austria) Not Here to F*ck Spiders



Seth Angerer explains that the title of his latest single Not Here to F*ck Spiders is an Australian phrase which means ‘not here to fuck around’. He regards it as his best produced piece, an anthem decrying hypocrisy, which like his other material is self-written, recorded and produced.

His early EPs were in a prog metal/djent style, influenced by bands like Meshuggah and Haken, but his first long-form opus was 2018’s symphonic album Shinka (Japanese: evolution) in four movements; expansive, dramatic and cinematic music that could have acted as the soundtrack for the creation of the solar system. Not Here to F*ck Spiders is a move away from the symphonic, back firmly into prog metal territory where in addition to his own voice, guest vocalist Pipi Gogerl (Ancient Fragments/Question of Eternity) lends a hand


https://youtu.be/LekQuPQyyT4












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, Apr 1 2020 08:51PM

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



ProgBlog's March acquisitions
ProgBlog's March acquisitions

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


The recent past


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


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


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

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

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

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


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

Covid-19 gig cancellation chaos


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


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




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

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


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


Available now or soon


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


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


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


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



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









By ProgBlog, 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.


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