ProgBlog

By ProgBlog, Sep 30 2020 10:01PM

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


13 – September 2020


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


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

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



Reviews II



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



The recent past


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




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

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




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



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



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


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



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

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

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


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

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


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


Coming up


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











By ProgBlog, 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, Mar 9 2020 10:23PM

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


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


Jo Quail postcard
Jo Quail postcard

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


The recent past


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


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

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


BMS poster, Politeama Genovese
BMS poster, Politeama Genovese

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


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




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

Big Big Train and The Passengers Club


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

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

By ProgBlog, Dec 20 2019 09:43PM

I’d just gone to buy myself a beer during a break between bands at the 2017 Porto Antico Prog Fest in Genoa when Alessandro Bosca, the bassist from Melting Clock who had just completed their set, also arrived at the drink stand. I introduced myself and told him how much I’d enjoyed their performance, indicating that I’d be writing a review article of the Prog Fest for the blog and Alessandro asked me if I’d like to hear some studio-quality demos of their songs. He passed on my details to Stefano Amadei, acting manager and one of the band’s two guitarists, who sent me files for four tracks, describing them as ‘something we recorded in only two days to present ourselves to venues’. I’d been impressed by their live appearance (their live debut) but the demos L'occhio dello Sciacallo, Antares, Sono Luce and Strade Affollate, all aired at the gig, were beautifully produced and allowed me to fully appreciate their song-craft and playing, even replicating the tingling sensation provoked by Emanuela Vedana’s vocals on Antares. Listening to the download, I was reminded of mid 70's Renaissance: melodic, symphonic and well constructed, though Melting Clock were more complex and had an audible Mediterranean influence. When I told Stefano he was flattered, but said they had only recently discovered Renaissance when some of their friends had made the same connection.


Melting Clock, Porto Antico Prog Fest 2017
Melting Clock, Porto Antico Prog Fest 2017

The origins of Melting Clock can be traced back to the Department of Physics at the University of Genoa in 2001. Stefano explained to me that the original objectives of a small group of friends was to have fun making music, describing the attempts of the fledgling group to play covers from the bands they loved but ‘were so bad that we were off beat on the various section of the songs’. This prompted Alessandro to apply the Italian slang ‘ci sciogliamo il tempo’ (‘we are melting our time’), meaning that they were forgetting or loosing the rhythmand beat, while sparking the connection with the melting clocks in Salvador Dali's 1931 masterpiece The Persistence of Memory that some have suggested was inspired by Einstein's theory of General Relativity. According to Stefano they adopted the moniker Melting Clock as a private joke: a comment on their musical skills and a pretentious link to the nerdy background (Stefano’s description) of the line up at the time.


Four of the original line-up remain: brothers Sandro and Stefano Amadei (keyboards and voice, and guitars respectively); Alessandro Bosca (bass); and Francesco Fiorito (drums), while the current sextet is completed by Simone Caffè (guitars) and Emanuela Vedana (vocals). It surprised me that their coherent, largely symphonic style should result from a wide range of influences because Francesco and Stefano are metal-heads, Simone is a David Gilmour fan, and Sandro listens to Scandinavian jazz, though he has played with Daedalus, a Genoese prog-metal band alongside Fabio Gremo of Il Tempio delle Clessidre, and was a huge fan of Jordan Rudess, lending Rudess his Kurzweil K2600 when the Dream Theater keyboard player was on holiday in Italy and agreed to perform for the Italian Dreamers. The influence of contemporary acts like Porcupine Tree, Riverside, Opeth and Ayreon that the band say have shaped the direction of their sound is tempered by a critical understanding of the cultural significance of the music that came out of Italy in the 70s along with an appreciation of classic UK progressive rock; accompanying them to a gig reveals the depth of their knowledge of Italian prog, and each time I’ve seen them play, they’ve included a classic-prog cover in the set.


Melting Clock at La Claque, Genoa 11/11/2017
Melting Clock at La Claque, Genoa 11/11/2017

It would be fair to say that Genoa, or more broadly Liguria, played a key role in the rise of rock progressivo italiano and in my opinion, Melting Clock have the ability to take on the role of RPI standard-bearers for the entire country. Rubbing shoulders with the city’s original prog musicians and the bands that have more recently come to prominence, Stefano says that the members of Melting Clock are dismissive of any boundary imposed through generational differences. An indication that their music has the potential for broad appeal is the decision of Black Widow Records to allow the band to produce a limited 2LP edition, in purple vinyl, of the debut album. Black Widow co-owner Massimo Gasperini may have thought long and hard about the vinyl release when the band had enough material for three sides of an LP but a cover medley of King Crimson tracks 21st Century Schizoid Man, In the Court of the Crimson King and Starless, first aired to great response during a gig at Genoa’s L’Angelo Azzurro club in March 2019, would provide the material for side four. That performance had been rearranged and I missed the show, not arriving in Genoa until the following week, when I was treated to a band rehearsal where they ran through the entire set from the performance and, warned of a surprise inclusion to the set list, was absolutely blown away by the medley Alla Corte del Re Cremisi, artfully segued together and enhanced by violin from Hanako Tsushima.



Melting Clock rehearsal 21/3/2019
Melting Clock rehearsal 21/3/2019

When I met up with the whole band at the 2018 Porto Antico Prog Fest, we had a lengthy discussion about the merits of singing in their native tongue, unanimously agreeing that it was preferable for a rock progressivo Italiano outfit to sing in Italian. It was clear that they also understood overcoming the language barrier was likely to make their music accessible to the wider public and were considering, at least on one of the formats for their forthcoming debut, to include a bonus track of original music with lyrics translated and sung in English to expand their appeal or perhaps, like veteran local group and Black Widow Records stable mate Il Cerchio d’Oro on their 2008 album Il Viaggio di Colombo, include English translations of the Italian lyrics; what we get in both CD and vinyl editions of Destinazioni is a full English translation of the song words by Emanuela and Stefano providing an interpretation for non-Italian speakers. The Italian singing is expressive and poetic and at times almost operatic; the translations reveal an impressionistic flair that reminds me of Peter Sinfield’s best work – much of it for PFM.

I was also asked my opinion of the proposed album artwork which had divided opinion amongst the members. Initially thinking that the cover, painted by their friend Matteo Anselmo, didn’t accurately reflect the genre, I began to change my opinion because the depiction of the young woman at the bus stop waiting for a boat links the music, especially Antares and title track Destinazioni to Genoa; Stefano later confessed how he feels connected to the sea at a performance of Höstsonaten’s The Rime of the Ancient Mariner, an admission that caused me no surprise as he’d grown up on the Ligurian coast and something I could empathise with, having spent my formative years in a shipbuilding town in the north west of England.


Destinazioni
Destinazioni

Not only has the material has matured since the original demo and the original live performances, the compositions are thematically linked by the representation of different aspects of a journey. Though the music is largely credited to Simone and Sandro, with a good proportion of the lyrics provided by Emanuela, the process of structuring each piece is dependent on rhythmic arrangement by Francesco and Alessandro and colour and mood supplied by Stefano. Having originally begun recording the album in November 2018, the time spent in Studio MAIA under the direction of Andrea Torretta was used wisely, settling on the most satisfying arrangements that capture the drama of each individual story. Stefano explained that he wasn’t interested in music that he found unchallenging, describing their style as being characterised by evocative and engaging sounds which belie the compositional complexity, drawing in the listener, which reflects how I felt when I first heard them in 2017.


Album opener Caleidoscopio was an excellent choice as a first single because it’s archetypal, condensing Melting Clock into a shade less than eight and a half minutes. It’s incredibly well-structured, built up from short phrases emphasised with distorted guitar yet despite its intricacy, the multiple instrumental layers are all clear and distinct and floating above is Emanuela’s gorgeous vocal melody. There are tempo and metrical changes and a fast organ solo but generally the lyrics express reflection, representing an inner journey.

I always look forward to meeting up with the band because we share an appreciation for many of the same things and conversation inevitably turns to music, books, and politics. Banalmente is a political song, played in a recognisable Melting Clock idiom attacking those who don’t question, preferring not to know or hold any responsibility for any atrocity carried out on the orders of others, along the lines of John Stuart Mill’s ‘Bad men need nothing more to compass their ends, than that good men should look on and do nothing.’ The references to ‘sand covered in blood where corpses are lying in the sun’ followed by ‘digging our trench to defend the high season party’ bring to mind the fate of refugees who have risked their lives crossing the Mediterranean and landed on Italian territory, a journey of desperation and hope that sadly too often ends in tragedy. There’s poignancy in Sandro’s particularly effective baritone during this piece.

Like a number of rock progressivo bands celebrating their Mediterranean roots before them, Melting Clock employ Middle Eastern scales and rhythm patterns on a couple of sections of Vetro which enhance the feeling of imprisonment and suffocation spelled out by the lyrics inspired by Yevgeny Zamyatin’s dystopian classic We. A song of different moods, the brief cinematic opening is followed by bright acoustic guitar which gives way to the eastern Mediterranean flavour and the start of the vocals. During the singing, which has a story-telling quality, Emanuela holds the melody while the instrumental backing is largely rhythmical (guest percussion is provided by Fabrizio Salvini) though there’s quite a lot going on with guitar and keyboards adding splashes of colour in the background. Following the last verse there’s a bright synthesizer line before a reprise of the acoustic guitar and eastern theme which precedes a piano flourish ending. I was present when this was first aired at a gig – it was one of the last compositions written for the album - where Sandro said he had been concerned about both the technical requirements of performing the piece (the verse is in 19/16 time) and its reception. I can report that not only did the music flow well but that it was really appreciated by the audience.

Strade Affollate was brought to the band by Simone. The acoustic guitar takes something of a lead but it’s obviously gone through the Melting Clock arranging machine. The understated piano that enters during the second verse and the Hammond-like organ arising during the middle eight enhance the melody as the layers build up, with restrained distorted guitar appearing in the third verse. This is a song of hope after the confinement of Vetro and partly because of its message and partly from the way it’s structured, it’s probably the most accessible track on the album, capable of bridging into more mainstream genres.


Melting Clock set list, L'Angelo Azzurro 9/3/2018
Melting Clock set list, L'Angelo Azzurro 9/3/2018




L’Occhio dello Sciacallo is another political song written by Sandro. Lasting less than three minutes and translating as The Jackal’s Eye it’s a short exhortation decrying corporate culture. The abrasive guitar introduction actually gives away to a pleasant melody where Emanuela and Sandro sing call-and response vocals. The drudgery is represented by drumming on the lower kit (though Francesco does use a limited amount of cymbal) and there’s an excellently executed cello solo provided by Stefano Cabrera.

The band is particularly proud of Antares, the first song they wrote for Melting Clock. It also happens to be a personal favourite of mine because it’s structured like a classic early Camel song, with amazing melodies and contrapuntal keyboard and guitar lines. This is another track that links to Genoa and the sea, so it’s not surprising that it begins with sea sound effects. Another composition that relies on building upon short phrases (c.f. Lunar Sea by Camel), it’s enhanced by Mellotron-like washes and contrapuntal synthesizer lines and some excellent twin lead guitar work, plus flute played by Fabrizio Salvini and cello played by Stefano Cabrera. Sandro shares some of the vocal duties but its Emanuela’s wordless vocals leading up to the dramatic denouement that steal the show, generating the physical signs of frisson, the pilomotor reflex and goosebumps.

Sono Luce has a lengthy instrumental introduction, arranged differently from the first time I heard it. This was the song where Alessandro’s playing first caught my attention, prompting me to seriously consider buying myself a 5-string bass. Even though there’s a Gilmour inspired guitar solo (it was written by Simone) the overall sound is less classic prog and more neo-prog with a delicacy to the piano and brightness to the guitars, giving a feeling of hope. The title (Made of Light) and lyrics are suggestive of a journey towards enlightenment but they still reference the sea and the shore.


The title track is something of a departure from the other melodic-symphonic tracks and it’s cleverly presaged by the short late-Floydian or early Marillion instrumental Quello che Rimane… It’s here that we get a better feel for individual influences in what is a notch or two up on the challenging stakes, both for the performers and the listener on the longest track on the album. Destinazioni is substantially heavier than anything else the band has done and begins with a nod to King Crimson and Dream Theater prog-metal while managing to stay adventurous throughout. Less reliant on stand-out melodies, it involves a lot of changes of style without breaks or segues, from fast and heavy to stately, from reflective to angular and aggressive, providing a metaphor for the cyclical nature of time. It conforms more to a classic prog template with accurate patches of analogue keyboards sitting well with the updated sound, exemplified by another fast organ run from Sandro but perhaps best illustrated with a few bars of guitar and keyboards that sound like Gabriel-era Genesis which appear toward the conclusion of the song, the most obvious incorporation of a classic prog influence.

Massimo Gasperini sanctioned the release of the double vinyl format with the medley Alla Corte del Re Cremisi taking up side four. These are pretty faithful recreations of the original King Crimson material, down to the Wetton bass trills on Starless and the role of David Cross covered brilliantly by Hanako on 21st Century Schizoid Man. Massimo has overseen some of the brightest names in contemporary Italian prog and hints at great things for Melting Clock, telling me that he enjoys seeing the band’s excitement about their own music. I also think they have a bright future, provided what is really a quite stunning debut gets attention beyond Genoa and Croydon.

What began as a chance encounter in 2017 has turned into a good friendship. I’ll be watching Melting Clock’s future journey very closely.


Destinazioni by Melting Clock, my album of 2019, is available from Black Widow Records BWR 224





By ProgBlog, Apr 10 2019 09:29PM

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


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

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


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


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

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


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

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

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


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


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

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


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

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


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

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


Jord by Jordsjø
Jord by Jordsjø

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




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