Indice dei contenuti per Issue 117 in Prog

Italian progressive jazz quartet Möbius Strip have announce details of their upcoming second album, entitled Time Lag, which arrives four years after their self-titled debut. “We think we’ve created an album which, even though it’s quite diverse, has a strong sense of unity,” keyboardist Lorenzo Cellupica says. The four-piece were invited to support Soft Machine at Progtoberfest in Chicago in 2018 and the keyboardist believes that, on the back of that experience, this new record represents their growing confidence and ambition. “We wanted to expand the sound and the colours of the songs, compared to our debut,” Cellupica says. “We’ve added new instruments including trumpets, trombones and a four-voice choir. We’ve found new ways of expressing our jazz influences in combination with prog rock, classical, funk and Latin elements. We…

The overall winner of a year-long photography challenge is a dramatic picture of vocalist Damian Wilson performing with Arjen Lucassen. Louder readers voted for Bert Treep’s image, making him the Affinity Photo New Rock Photographer 2020. He captured the moment in his native Netherlands in 2019. “The show was almost over and I was about to put my camera in the bag, when suddenly Damian Wilson jumped off the stage and started crowdsurfing,” he says. Along with publication in Prog and our sister magazines Classic Rock and Metal Hammer, he wins an iPad Pro 11, Apple Pencil, Affinity Photo for iPad and the chance to go on assignment for Louder. Affinity’s John Atkin says: “The judges were blown away by the quality of images submitted to the different categories. Let’s…

Multi-instrumentalist Anna Hardy hadn’t encountered prog music until she’d already joined a prog band – an unusual situation, perhaps, but one that illustrates how difficult it can be to discover the genre in her native Japan. The nation’s audiences are renowned for the way in which they connect with artists from overseas; but with so many calls on their attention, some music they might love is inevitably going to pass them by. So it was for Hardy, who’d begun playing piano at the age of three and soon took up violin and later flute as well. “At high school I started working as the chapel organist,” she says, offering a hint of her talents. “My family and friends hadn’t been interested in prog so I hadn’t listened to any –…

“If someone misses the old Steven Wilson from Porcupine Tree, you can only get that now on Blackfield, as he’s moved on to the electro thing.” There are times in every musician’s career where they take a shot at breaking through into the mainstream. Blackfield’s music – a harmonious combination of the potent talents of Steven Wilson and Aviv Geffen – has always teetered on the cusp of commercial acceptance. With the latest album For The Music having the benefit of major label backing, an articulate sound and keen production, there’s a very real chance that Blackfield could finally transcend the confines of the progressive pop genre box and drop into the consciousness of your Average Joe. And it’s something that Geffen is acutely aware of. “Parlophone came to me…

From the front window of his Reykjavík home, Georg Hólm can see a beautiful mountain, just a 15-minute drive away. “There are a lot of desolate, colourful places in Iceland,” he says, “but drive through the landscape and two minutes later you’ll be in lush, soft green colours. Everything here seems like it’s made up of colours and ice.” Iceland holds a singular place in the world’s cultural imagination. From its geography to its language, its myths to its music, this beautiful and desolate country feels familiar yet strangely alien, and remote almost to the point of aloofness. Sigur Rós couldn’t really have come from anywhere else. Hólm’s English is excellent. He gives considered answers in soft yet decisive tones, and when Prog broaches the subject of how the band’s…

Edited by Dave Everley prog.reviews@futurenet.com The Art Of Losing KSCOPE Intense, insistent and often inspired, the second album from The Anchoress shows her, on its cover, literally devouring pages and pages of books. Inside, it’s generously strewn with epigrammatic quotes, from F Scott Fitzgerald (“Nothing any good isn’t hard”) to Fernando Pessoa (“I have wanted, like sounds, to live by things and not be theirs”) to Joan Didion (“There comes a point at which we must relinquish the dead, let them go, keep them dead”). As you may have gleaned, this isn’t a glib, throwaway party pop record. Yet anybody can try to grab depth by association. Happily – and ultimately there is a hint of happiness despite the album’s arm-wrestles with angst – The Art Of Losing is rich…

Superior concept album revelling in a distant past. When in 1981 Soft Cell were doing their new wave thing and Geoff Downes had formed Asia with Yes bandmate Steve Howe, the two seemed musically poles apart. Who would have imagined that, one day, Marc Almond would be the catalyst for this fine prog album, made by Downes with Almond’s collaborator Chris Braide? As Braide – a super-talented musician and writer – was left high and dry by the pandemic, Almond suggested that he hook up with Downes again to make an album together to lift the malaise. And, with its rich evocation of times past, attention to detail and infectious melodies, Halcyon Hymns certainly travels some way to do that. “It feels like a great lost double LP from 1974,…

Ghost Tapes #10 NAPALM RECORDS Irish instrumental crew still opening horizons. Sometimes it’s easy to forget just how long any band have been releasing music. God Is An Astronaut are a case in point. Incredibly, this is their 10th album in a career that now spans nearly two decades. The post-rockers have always sounded fresh by keeping on their toes. Because, while their style has consistently been permeated with a trademark density, it has never followed complacent paths. The same is obvious here. Ghost Tapes #10 offers some familiar guidelines, such as the way Torsten Kinsella and Jamie Dean’s intense guitar soundscapes intermingle and fuse, on top of which the pair layer intricate piano motifs, designed to complement this raw fluency. But the band also develop these patterns in excitingly…

Playing House KARISMA Big-hearted Norwegian eight-piece with a more-is-more mentality. It says a lot about the mercurial creativity that drives Meer’s music that the Norwegian band began as a duo. These days, they are eight in number, with violin, viola and an assortment of other eccentric embellishments all adding to a rich ensemble sound. In truth, the songs on Playing House may well have begun as delicate, simple things, such is the immediacy and vitality of the melodies that unfurl from these songs like flowers in bloom. But rather than overegg the pudding, Meer’s all-hands-on-deck approach turns some wonderfully memorable songs into sublime mini symphonies, with dazzling musical detail, generous helpings of bluster and a gift for the kind of dynamics that make attentive listeners spit their tea across the…

Plastic Fantastic ESOTERIC Superior collection of Be-Bop’s last word. The sheer volume of material that Be-Bop Deluxe amassed in such a short space of time often seems difficult to assimilate. They were the ultimate square peg in the round hole of the 70s: too glam to be prog, too prog to be punk, they shapeshifted. They could have been Queen, they could have been Roxy Music; they could have been huge. For those who were there, leader Bill Nelson’s bony hand was on the tiller of futurism as much as Bowie’s. “It demonstrates just how far ahead of the curve they were.” Nelson, by now, was tiring of being a ‘guitar hero’ and wanted to disband Be-Bop Deluxe after 1976’s Modern Music, feeling they had run their course. Thankfully, management…

Where’s home? Bromley in south London for the last 14 years, but I’m from Swansea and like to be near the sea when I can. Earliest prog memory? Nine years old, me and my older sister Fiona sitting on the living room floor blasting out The Dark Side Of The Moon, Tubular Bells, Close To The Edge and Selling England By The Pound on the family’s Pye Black Box hi-fi – my mum still has it! First prog album you bought? A Trick Of The Tail by Genesis in 1976, on vinyl. And the last? Roger Waters’ Us + Them, on digital just a few weeks ago. First prog gig? Fiona sneaked me into the Brangwyn Hall, Swansea, in 1977 to see The Enid. I didn’t have a ticket! I…

Prog news updated daily online! progmagazine.com More than two decades after their last studio album, instrumental powerhouse Liquid Tension Experiment are poised to release their long-awaited third record, LTE3, on March 26 via InsideOut. “[There was] a 22-year gap where not a day went by where somebody didn’t message me and say, ‘When is the next LTE? I really want the next LTE!’” says keyboardist Jordan Rudess. Prospects for new material from Rudess, Mike Portnoy, John Petrucci and Tony Levin were widely assumed to have been scuppered after Portnoy’s split from Dream Theater in 2010. But Rudess says he never gave up hope, and there was steady chatter among the four about getting back together. “Mike and I kept communication through all this time, even when things were a little…

Richard Barbieri releases his fourth full solo album, Under A Spell, via Kscope on February 26. It’s a very different beast to the work he’d imagined as the follow-up to 2017’s acclaimed Planets + Persona. “I was going to travel around Europe, work in different studios, have large ensembles playing – it was going to be, let’s say, a social thing,” he says. “And of course what happened was the very opposite!” Instead, the record was written and recorded at home, “with all this strangeness going on outside.” Everything conspired, he adds, to produce “these strange dreams and imagery, which became my template for the work.” Having moved out of London last year, Barbieri found that the off-kilter surrealism of our current times was alleviated by walks in woods and…

Between The Buried And Me have confirmed that their forthcoming album will be their longest yet. The as-yetuntitled release, slated for arrival later this year, will be the follow-up to 2018’s twin LPs Automata I and II and their 10th full-length studio title overall. “We need to prove to the world that we’re still here and we’re still writing as well – or even better – than we ever have,” says vocalist and keyboardist Tommy Rogers. The album follows a year of writing, with Rogers admitting that the pandemic afforded the band more time to focus on the creative process. “We actually had way more material for this album than we ended up using.” He adds: “We tapped into some of our earlier influences as well as doing things we’ve…

“I’m not trying to upset people.” Steven Wilson is sat in the spacious lounge of his recently acquired north London home. One of his dogs, Bowie, jumps excitedly around his lap, as Wilson ponders a question concerning fan expectations. In the modern age of the immediacy of the internet, with everyone able to have their say in a public fashion, it’s something that now stares all artists directly in the face. Wilson perhaps more than most. “I understand, in a way, that you walk through a door into a musician’s world and that’s what you fall in love with and that’s what you would always have, in some ways, the most affection for, the first time you discovered an artist,” he says. “And even then, you’re constantly waiting to recapture…

When Wardruna first announced their fifth album, Kvitravn, readers could have been forgiven for wondering if the Norse spiritualists were signalling a love of prog’s deepest cuts. Released seemingly aeons ago in a cusp-of-pandemic February last year – three and half months before Kvitravn was originally slated for release – the video for the track Grá, complete with wolf prowling around frontman Einar Selvik, triggered a sense of familiarity for anyone with an abiding love of krautrock. The song itself was built on a heartbeat-ratcheting, tribal groove, beaten out on hide drum and bones. It was arrestingly stark yet reached a point of rapt intensity as Lindy Fay Hella’s unfettered, ululating chant ignited around Selvik’s sonorous incantation, but the song’s rolling, traction pull matched, with remarkable precision, Can’s tom-tom-driven Smoke…

The year was 2004 and Jem Godfrey was enjoying significant commercial success writing for pop acts including Atomic Kitten and Holly Valance. But while a string of hit singles had proved lucrative he felt stifled creatively. He approached Arena/Kino’s John Mitchell and the idea for a new progressive project called Frost* was born. Released in 2006, Frost*’s debut, Milliontown, was a groundbreaking album. From opening instrumental romp Hyperventilate via the thrilling Black Light Machine to the extraordinary 26-minute tour de force of the closing title track, this was prog as never heard before. Indeed, given Godfrey’s abhorrence of repeating himself, it’s prog as never heard since either. Frost*’s musical career has since encompassed two further studio albums, 2008’s knowingly titled Experiments In Mass Appeal and 2016’s Falling Satellites. Remixed and…

“The record, lyrically, has to do with a friend of mine. He survived living through being sex trafficked in Australia and it’s something I didn’t realise even existed here.” In June 2019, Teramaze were celebrating the release of their seventh studio album, Are We Soldiers. Little could the progressive metal quartet have anticipated that, as they raised a toast to the record, just 16 months later they’d be repeating the process in slightly more surreal circumstances. But if 2020 taught us anything, it’s that nothing could be predicted. “This album [I Wonder] poured out of us,” recalls the Melbourne band’s guitar-slinging founder member, Dean Wells, with an air of disbelief. “We only started writing it in March or April, but we can’t leave our homes here so what else were…

We Persuade Ourselves We Are Immortal FSOLDIGITAL.COM Peter Hammill leads from front on FSOL offshoot. Often eschewing the traditional PR circus, The Amorphous Androgynous very much play things by their own rules. So this collaboration with Van der Graaf Generator frontman Peter Hammill may have been something of a soft release, it didn’t take long for the prog grapevine to click into gear, alerting fans that this was maybe something worth listening to. And boy, is We Persuade Ourselves We Are Immortal worth listening to. “Boy, is We Persuade Ourselves … worth listening to.” For those not in the know, The Amorphous Androgynous are the proggy/psych arm of ambient dance outfit The Future Sound Of London, who had a hit with Papua New Guinea in 1991. The band’s prog credentials…

The Darkest Skies Are The Brightest INSIDEOUT Dutch singer weaves beauty from personal turmoil. For a singer whose voice is so distinctive and recognisable, Anneke van Giersbergen remains one of the great chameleons of the progressive world. In 2017, the former The Gathering singer was dishing out the heaviness with her prog metal band VUUR, which was followed by two albums that saw her singing with classical orchestras, 2018’s Symphonized and 2020’s Let The Light In. “An intimate soundscape provides a canvas for her lyrics.” With The Darkest Skies Are The Brightest, she undertakes another metamorphosis, turning away from both orchestras and metal, and moving closer to the gentle vibe of her 2009 Agua de Annique release, Pure Air. There are no electric instruments here at all; instead the sound…

Phantom Of The Night RENAISSANCE RECORDS Dabbling with pop music, 70s Dutch proggers go to the dark side. Highly lauded by fans in their native Netherlands, Kayak recorded eight studio albums before their initial split in 1982. Of those, 1979’s Phantom Of The Night remains the band’s best-selling LP. Given a new lease of life courtesy of a fresh remastering, it’s now been released exclusively on pristine, heavyweight vinyl. “A document of a band attempting to access a wider audience.” Although many Kayak hallmarks populate the album, it also acts as a definite contrast between the symphonic and experimental leanings of their previous work. Phantom Of The Night marked a directional shift with the band streamlining their writing and aiming for a more mainstream pop demographic, mirroring Genesis and Gentle…

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Follow us on twitter.com/progmagazineUK DEVIN TOWNSEND @dvntownsend Over the last 6 months, I’ve been working on two ‘scores’ that have become a film, 2 albums, and a graphic novel among other things called The Puzzle. Finally in August, I will be begin recording my next actual ‘album’ for release early 2022. RICK WAKEMAN @GrumpyOldRick I’m making a list… now there’s a surprise… and I’m going for a walk later… if I can find my hat? Diet starts again tonight… looks like 2021 could be more of the same for me! MATT COHEN @MattCohenBass #NowPlaying Cursus 123 430 by Rob Reed. A bloody fantastic album! Electronic music, with feel, melody and a story. Happy days. MARJANA (MARIANA) SEMKINA @marjanasemkina Told a friend the other day I’m working on my workaholism meaning…

Cosmograf’s new album Rattrapante will be released on March 26 – and a follow-up is already in the works, mastermind Robin Armstrong reports. The eighth Cosmograf album to date focuses on people’s interactions with time. It features Kyle Fenton on drums plus a cameo from The Blackheart Orchestra singer Chrissy Mostyn and contributions from voiceover artist Tommy McNally. “It’s five stories, or five aspects of the central theme, and the metaphor really is elapsed time, measurement of time and what we do, how we perceive it,” Armstrong explains. “I really don’t like to make the same album twice, so it’s very much the case that I consciously try to make each one different. In places this album is very proggy. I think it’s probably a more varied album in terms…

Anglo-Finnish proggers Wheel will release their second album Resident Human on March 26 via Odyssey Music. Like so many recent releases, it was pushed back due to the pandemic, but vocalist James Lascelles says the delay was in fact a blessing in disguise. “We were so disappointed to have so many tours cancelled, especially with bands like Meshuggah and Devin Townsend,” he confirms. “But in all honestly, the extra time was enormously beneficial.” It gave the singer space to focus on the album’s lyrics, which hone in on the complexity of the human condition often through last year’s events, such as the aftermath of George Floyd’s death (Movement) and the Covid-19 pandemic (Fugue). Lascelles also found inspiration in the sci-fi novel series Hyperion Cantos by Dan Simmons, which he discovered…

Norwegian folk-proggers Tusmørke will release new album Nordisk Krim on February 26 via Karisma, in which they explore the world of bog bodies – people who were thrown into marshland as a form of sacrifice thousands of years ago. “They’re frozen glimpses of the transition from our world to the realms beyond,” says leader Benedikt ‘Benediktator’ Momrak. “They are fixed in the moment of crossing over the threshold to the gods. The bog was a means of transcending mortality.” Some of the material has existed in various forms since 2000, but Momrak says the new presentations are “darker, more leaning towards heavy metal” than previous works, and also feature experimentation with “tape delay, ring modulators, other analogue effects, field recordings and so on.” He highlights some of the rhythmic patterns,…

Inspiring the wider music world… “I had this couple of stoner buddies at high school, who got me into smoking pot, and they were the ones who were into exploratory music. I didn’t start smoking pot or drinking until I was about 16, so Yes didn’t come into my life until I was about 16! Before that, probably Rush were my first entrance into prog – although I never considered Rush to be prog, more of a hard rock band. “When I first heard the live album Yesshows, that was huge. I often discover bands through live albums for some reason. “The first thing that caught me was Chris Squire’s bass tone, then the parts, which were very advanced. They were clever; the bass really stood out – and Yes…

(BEGGARS BANQUET, 1979) If Prog readers know The Doll at all, it’s probably because of their one hit single, Desire Me, which reached No.28 in the UK charts in January 1979. It may have given the impression the London band were no more than Blondie wannabes but that’s a totally unfair and misguided description. The Doll were formed in late’77 with a line-up of Marion Valentine (vocals, guitar), Adonis Yianni (keyboards), Christos Yianni (bass) and Mario Watts (drums). They were signed to Beggars Banquet, Desire Me was their second single. Valentine and Christos Yianni revamped the line-up with the addition of Jamie West-Oram (lead guitar), Denis Haines (keyboards) and Paul Turner (drums). This was the version of the band who recorded their sole album, Listen To The Silence, put out…

THERE CAN’T BE many bands that end up releasing their debut album before they’ve even played a gig, but that’s exactly what psychedelic Finnish five-piece Polymoon ended up having to do in 2020. If they’d had their way, they would have taken their intoxicatingly organic, synth-swathed brand of mind-altering, impressionistic space rock out to the heads of their homeland on a spring tour but, of course, a pandemic firmly put paid to that idea. Instead they introduced themselves to the world via the studio with September’s LP, Caterpillars Of Creation, before heading out to play a small number of local shows. That seems quite a shame, since at first glance Polymoon are a band with an arresting visual presence. In refreshing contrast to so many acts featured in these pages,…

STARTING WHEN THE members were at school together, pg. lost have enjoyed surprising longevity. Initially the musicians had other projects, as Cult Of Luna bassist Kristian Karlsson explains, “This was a nice jam band, to have a few beers and jam. It was never planned to be the main band, just something fun we had on the side. Slowly all the other bands disappeared, and this was what was left. We didn’t have any rules about how it should sound… we just had fun with it and it slowly evolved.” Although pg. lost now have a decent profile as the result of a decade’s gradual growth, underground success was slow to arrive. “The first time we went to China was a really special thing,” says Karlsson. “It was such a…

Readers might have thought that after talking about Aqualung for half a century, Ian Anderson would be fed up with yet more questions about the album. But that’s not so. “I’m happy to talk about anything,” he says in a calmly positive manner. “Of course, I get asked the same questions over and over again. But it’s no problem, because there are always different ways to answer these. Besides, it’s a compliment that an album recorded so long ago still holds a fascination for many people. And I am grateful for what Aqualung did for Jethro Tull.” Former guitarist Martin Barre is equally enthused. “How can I ever get fed up with talking about this album? Both historically and musically, it was so important for the band. I can listen…

“This album is a love affair turned into music, really. I loved doing it. I love every note on it.” Steve Hackett is full of admiration, and why shouldn’t he be? His new album Under A Mediterranean Sky is an ethereal affair, led by a marriage of exotic nylon guitar and swathes of orchestration. His live work – plugging into his roots as Genesis’ former guitarist – also remains in great demand. Speaking down the phone from his home in Teddington in south-west London, Hackett is content. “It couldn’t be going better,” he replies when asked how his life is right now. Under A Mediterranean Sky is his first acoustic album since 2008’s Tribute and it is, in effect, an ode to the rich music and culture of the titular…

“Neal and I have very American energies, and Roine is a lot more laidback with his Swedish energy, and Pete’s got a very distinctive English energy, so we all go at different paces.”Mike Portnoy “I think it’s a prog fan’s wet dream,” says drummer Mike Portnoy. Seven years after their last album, Kaleidoscope, the prog powerhouse that is Transatlantic have reassembled for their most ambitious release yet. The newest work from Portnoy, Marillion’s Pete Trewavas, Neal Morse and Roine Stolt, The Absolute Universe nearly proved impossible for its creators to control. It defied their attempts to limit its scope and two distinct versions emerged from the crucible of their musical alchemy: a double disc subtitled Forevermore and a single disc, The Breath Of Life. It all began in Fenix Recording…

Pink Floyd at Pompeii. Jean-Michel Jarre at the Giza Plateau. Sigur Rós in an abandoned Icelandic herring factory. Prog has always enjoyed a flair for the dramatic, or at least the downright bizarre, when it comes to live shows. The latest artist to tackle an unexpected venue is singer-songwriter Eivør, who chose to play beneath a tall cliff in a sea-tossed corner of her native Faroe Islands in August 2020. The site in question – Tinghella, a Viking gathering ground from the Middle Ages – is no easy reach. In fact, Eivør had to abseil to the makeshift stage. “I have a friend in the Faroe Islands who’s an adventurer,” she explains. “And she had this idea of me doing a concert at this place, down the cliff. Somehow she…

“We had domestic politics to worry about in Wales in the 80s,” says Jump’s singer and polemicist-in-chief, Bangor-born John Dexter Jones, “with Thatcher and [the Battle of] Orgreave and things like that. I remember predicting, when I was leaving uni in 1984, that, domestically, this would visit us again. But not even I would have anticipated that breakdown of conscience on the world stage.” Prog is in the throes of an animated conversation about populism, Brexit, Trump, the Middle East – the whole geo-political quagmire we’ve all been in for, well, it seems like forever, doesn’t it? And Jump’s current album, Breaking Point, is just steeped in that zeitgeist. “Lots of Jump albums are concept albums,” says Jones, “not in that traditional prog sense, but on this one I wanted…

Arc Of Life FRONTIERS Yes splinter group make an impactful debut. It only takes a little eavesdropping on social media to see that it’s becoming increasingly difficult for some Yes fans, who’ve been waiting patiently for new music from the group, to be enthused by their back catalogue being repackaged on yet another live album. Enter Arc Of Life, whose impressive line-up comprises current Yes men Jon Davison on vocals, Billy Sherwood on bass and vocals and Jay Schellen on drums, with Dave Kerzner on keyboards and guitarist Jimmy Haun, who played on with Yes on Union and with the supergroup Circa. “A fresh-sounding collection high on songcraft.” Inevitably, expectation and the weight of history hangs heavy on their shoulders, so listeners should do them a favour and try to…

Ingrina’s Siste Lys (Medication Time) was recorded in lockdown and is a disorientating and claustrophobic trip worthy of these dreadful times. Blurring the lines between monolithic post-metal and seething, lo-fi shoegaze scree, the French quartet seem driven by a profound sense of urgency, or possibly just a collective desire to deafen people with distorted guitars. Either way, the end results are deeply heavy and strange. Many bizarre things take place near black metal’s extreme outer limits, but Druon Antigon are arguably operating even further out, lacing their vicious but intricate assaults with waves of mindexpanding electronics, fetid ambient churn and detours into suffocating black holes of noise. In its own terrifying, cosmos-threatening way, Desontstijging (Onism Productions) is a striking and immersive introduction to a bold new talent. Few prog metal…