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100 Articles

PROG PRESENTS… Discovering

Over 20 years ago, Napalm’s story of success began in the Austrian town of Eisenerz. What started out as a one-person operation in a cramped living room has become one of the biggest record labels of the independent rock and metal scene. Today, the Napalm Records Handels GmbH headquarters and centre of operations remain located in Eisenerz, Austria, and the label has additional offices in New York and Berlin. In the beginning, Napalm Records focused mainly on black metal releases, but they didn’t stop there. Never shying away from unexplored paths of innovative musical styles and genres, the label cultivated and supported artists that would later become known as legendary pioneers and originators of the pagan and folk metal scenes, and remain an unparalleled source for the discovery of such artists…

PROG PRESENTS… Discovering

Hello, and welcome to the new issue of Prog magazine. My word, what stories Bill Bruford has to tell. Unique in the world of progressive music in that he’s performed with three of the so-called ‘Big Six’: Yes, King Crimson and Genesis. Throw in the likes of National Health, UK, Gong, ABWH and then his various solo endeavours, and it’s clear to see that Bruford is a man whose impact on a wide variety of prog, fusion and jazz is largely unmatched by any other musician. And it appears he did so largely with candid good grace. Sid Smith interviewed the drummer for this month’s excellent cover feature, which you can read on p32. Sadly, this issue, we say goodbye to another visionary artist. Klaus Schulze died in April and Jeremy…

PROG PRESENTS… Discovering

Over 20 years ago, Napalm’s story of success began in the Austrian town of Eisenerz. What started out as a one-person operation in a cramped living room has become one of the biggest record labels of the independent rock and metal scene. Today, the Napalm Records Handels GmbH headquarters and centre of operations remain located in Eisenerz, Austria, and the label has additional offices in New York and Berlin. In the beginning, Napalm Records focused mainly on black metal releases, but they didn’t stop there. Never shying away from unexplored paths of innovative musical styles and genres, the label cultivated and supported artists that would later become known as legendary pioneers and originators of the pagan and folk metal scenes, and remain an unparalleled source for the discovery of such…

PROG PRESENTS… Discovering

Bloody well write

AN EXCELLENT PROGNOSIS! Just returned from Eindhoven for the Prognosis Festival, and I had to make it known how good I thought it was! As I discussed with Jerry Ewing after the Wheel show, they were just fantastic – should have been on the main stage. And as for The Ocean, whoever did the sound for them deserves a knighthood, just brilliant. Scarlet Stories overcame some minor tuning issues to play a stormer, and Cellar Darling sounded way better than when I first saw them some years ago, and they were great then! Good to see new guys like Cobra The Impaler alongside seasoned veterans like Focus. And obviously, the sheer quality you’d expect from the likes of Enslaved, Leprous and Katatonia. If I could write I would offer up a review…

Bloody well write

Hello, and welcome to the new issue of Prog magazine. My word, what stories Bill Bruford has to tell. Unique in the world of progressive music in that he’s performed with three of the so-called ‘Big Six’: Yes, King Crimson and Genesis. Throw in the likes of National Health, UK, Gong, ABWH and then his various solo endeavours, and it’s clear to see that Bruford is a man whose impact on a wide variety of prog, fusion and jazz is largely unmatched by any other musician. And it appears he did so largely with candid good grace. Sid Smith interviewed the drummer for this month’s excellent cover feature, which you can read on p32. Sadly, this issue, we say goodbye to another visionary artist. Klaus Schulze died in April and…

Bloody well write

AN EXCELLENT PROGNOSIS! Just returned from Eindhoven for the Prognosis Festival, and I had to make it known how good I thought it was! As I discussed with Jerry Ewing after the Wheel show, they were just fantastic – should have been on the main stage. And as for The Ocean, whoever did the sound for them deserves a knighthood, just brilliant. Scarlet Stories overcame some minor tuning issues to play a stormer, and Cellar Darling sounded way better than when I first saw them some years ago, and they were great then! Good to see new guys like Cobra The Impaler alongside seasoned veterans like Focus. And obviously, the sheer quality you’d expect from the likes of Enslaved, Leprous and Katatonia. If I could write I would offer up…

Bloody well write

BIG BIG TRAIN GET BACK ON TRACK

Big Big Train have recruited a new singer, will play live in September, and plan to make a new album next year. Italian vocalist and multi-instrumentalist Alberto Bravin will assume lead vocal duties for the band on their UK and European dates in September, and will also contribute to the material for the next record. With Common Ground becoming their second UK Top 40 album, in 2021 Big Big Train seemed to be on course for further success, but their future was cast into serious doubt in the aftermath of the tragic death of their highly respected vocalist, David Longdon, in November last year. “Initially it seemed almost inconceivable to think about carrying on,” the band’s co-founder and bassist Gregory Spawton tells Prog. “And obviously the band really wasn’t my primary concern at…

BIG BIG TRAIN GET BACK ON TRACK

THE FIERCE AND THE DEAD GET VOCAL!

UK post-rockers The Fierce And The Dead have offered up the first taste of their new album, News From The Invisible World, which will be released later in 2022. Their new single Wonderful was debuted on the Prog website on May 6, accompanied by its stylish lyric video produced by the band and designer Mark Buckingham. Featuring guest saxophone from Terry Edwards (Spiritualized, Faust, PJ Harvey), it’s the inaugural release on the band’s own label, Spencer Park Music, and their first music to feature vocals, supplied by their bass player, Kev Feazey. “We were very keen to make sure the vocals were part of the band,” Feazey tells Prog, “like another instrument, another layer. We put them through guitar pedals so they’re effected in a way that makes them fit in. It’s…

THE FIERCE AND THE DEAD GET VOCAL!

TRAIL OF DEAD GET PROGGY ON QUADROPHONIC NEW LP

Texan alt-rockers …And You Will Know Us By The Trail Of Dead have hinted that their 11th album may be their proggiest yet. XI: Bleed Here Now will be released on July 15 via InsideOut on various physical and digitalformats, and linchpin Conrad Keely says it was inspired by some big-name artists. “Just like how albums we love by Peter Gabriel, Kate Bush, Rush and Pink Floyd were done,” Keely says, “we wanted to find a spot to write in a relaxed setting and not feel stressed for time.” Channelling more analogue times, Trail Of Dead recorded in a“large, old-style Texas barn” big enough to house two drum kits, three guitar stations and a wall of keyboards. “A big feature on the album,” Keely reveals, “is the classic rock sound of a…

TRAIL OF DEAD GET PROGGY ON QUADROPHONIC NEW LP

BIG BIG TRAIN GET BACK ON TRACK

Big Big Train have recruited a new singer, will play live in September, and plan to make a new album next year. Italian vocalist and multi-instrumentalist Alberto Bravin will assume lead vocal duties for the band on their UK and European dates in September, and will also contribute to the material for the next record. With Common Ground becoming their second UK Top 40 album, in 2021 Big Big Train seemed to be on course for further success, but their future was cast into serious doubt in the aftermath of the tragic death of their highly respected vocalist, David Longdon, in November last year. “Initially it seemed almost inconceivable to think about carrying on,” the band’s co-founder and bassist Gregory Spawton tells Prog. “And obviously the band really wasn’t my…

BIG BIG TRAIN GET BACK ON TRACK

CRIPPLED BLACK PHOENIX TAKE WING

International experimental rock collective Crippled Black Phoenix will release their 12th full-length album, Banefyre, on September 9 via Season Of Mist. The record arrives two years after its predecessor Ellengæst, and marks the debut of three new band members: guitarist and co-vocalist Joel Segerstedt, keys and trumpet player Helen Stanley, and additional guitarist Andy Taylor. “I like how Joel has come in and spoken for himself,” says band founder and multi-instrumentalist Justin Greaves. “He’s in the band for the right reasons. I see him the same way as Belinda [Kordic, the group’s long-serving vocalist and percussionist]. She took an interest in the whole artistic thing behind Crippled Black Phoenix, like the vocals, lyrics, artwork and aesthetic. It’s the same with Joel.” The band recorded Banefyre’s instrumental parts at Chapel Studios in South Thoresby,…

CRIPPLED BLACK PHOENIX TAKE WING

THE FIERCE AND THE DEAD GET VOCAL!

UK post-rockers The Fierce And The Dead have offered up the first taste of their new album, News From The Invisible World, which will be released later in 2022. Their new single Wonderful was debuted on the Prog website on May 6, accompanied by its stylish lyric video produced by the band and designer Mark Buckingham. Featuring guest saxophone from Terry Edwards (Spiritualized, Faust, PJ Harvey), it’s the inaugural release on the band’s own label, Spencer Park Music, and their first music to feature vocals, supplied by their bass player, Kev Feazey. “We were very keen to make sure the vocals were part of the band,” Feazey tells Prog, “like another instrument, another layer. We put them through guitar pedals so they’re effected in a way that makes them fit…

THE FIERCE AND THE DEAD GET VOCAL!

LONG DISTANCE CALLING GO WILD!

Instrumental post-rock quartet Long Distance Calling have taken inspiration from endangered species and the “erosion of nature” on their upcoming eighth album, Eraser. The record’s set for release on August 26 via earMUSIC, and bassist Jan Hoffman describes it as the group’s “most diverse” album yet. “There’s almost nothing at all electronic on this album compared to the last one,” he explains. “This time, regarding the theme, we tried to be as natural as possible. There’s not a single sample, which is really rare nowadays. But at the same time it sounds modern and state of the art.” Each of the nine songs is dedicated to an endangered species, with the album’s closing title track a take on mankind. The idea came to drummer Janosch Rathmer, after watching a documentary about the…

LONG DISTANCE CALLING GO WILD!

TRAIL OF DEAD GET PROGGY ON QUADROPHONIC NEW LP

Texan alt-rockers …And You Will Know Us By The Trail Of Dead have hinted that their 11th album may be their proggiest yet. XI: Bleed Here Now will be released on July 15 via InsideOut on various physical and digitalformats, and linchpin Conrad Keely says it was inspired by some big-name artists. “Just like how albums we love by Peter Gabriel, Kate Bush, Rush and Pink Floyd were done,” Keely says, “we wanted to find a spot to write in a relaxed setting and not feel stressed for time.” Channelling more analogue times, Trail Of Dead recorded in a“large, old-style Texas barn” big enough to house two drum kits, three guitar stations and a wall of keyboards. “A big feature on the album,” Keely reveals, “is the classic rock sound…

TRAIL OF DEAD GET PROGGY ON QUADROPHONIC NEW LP

HATS OFF GENTLEMEN PLAY THEIR CONFIDENCE TRICK

UK duo Hats Off Gentlemen It’s Adequate will release their sixth album, The Confidence Trick, on July 29 through their own label, Glass Castle Recordings. The follow-up to 2020’s well-received Nostalgia For Infinity has its thematic roots in singer Malcolm Galloway’s former career as a neuropathologist. “I became very interested in how people make mistakes in diagnosis,” he tells Prog. “A big, common problem in medicine – and life – is overconfidence, excessive certainty. Another is that we assume confident people are competent. Sometimes that leads to medical problems, but it can also lead to war and atrocities.” Galloway’s joined once again by bandmate Mark Gatland and flautist Kathryn Thomas, with one notable piece, Refugee, inspired by Galloway’s grandmother’s extraordinary story of hiding from Nazi persecution through World War Two. The band will…

HATS OFF GENTLEMEN PLAY THEIR CONFIDENCE TRICK

CRIPPLED BLACK PHOENIX TAKE WING

International experimental rock collective Crippled Black Phoenix will release their 12th full-length album, Banefyre, on September 9 via Season Of Mist. The record arrives two years after its predecessor Ellengæst, and marks the debut of three new band members: guitarist and co-vocalist Joel Segerstedt, keys and trumpet player Helen Stanley, and additional guitarist Andy Taylor. “I like how Joel has come in and spoken for himself,” says band founder and multi-instrumentalist Justin Greaves. “He’s in the band for the right reasons. I see him the same way as Belinda [Kordic, the group’s long-serving vocalist and percussionist]. She took an interest in the whole artistic thing behind Crippled Black Phoenix, like the vocals, lyrics, artwork and aesthetic. It’s the same with Joel.” The band recorded Banefyre’s instrumental parts at Chapel Studios…

CRIPPLED BLACK PHOENIX TAKE WING

HELLFIRE – BLACK MIDI ARE BACK!

Melding indie, prog, fusion and math rock, London musicians Black Midi will release their third album Hellfire via Rough Trade on July 15. Frontman Geordie Greep admits that it is a typically“complex” album from the band, but adds that it’s also“more theatrical, open and silly”. “There’s no reason why you can’t have the fun, Harry Hill stuff in with the Wagner and Stravinsky stuff,” he says, referencing wacky UK comedian Hill and two of music’s most serious minds. “We wanted to take all the things we’ve enjoyed and experienced and try and make something that’s actually representative of what we enjoy as a whole.” Featuring 10 new tracks, the new album builds on the songwriting process of 2021’s Cavalcade. Greep says they’ve streamlined their method, with Hellfire written over only a couple…

HELLFIRE – BLACK MIDI ARE BACK!

LONG DISTANCE CALLING GO WILD!

Instrumental post-rock quartet Long Distance Calling have taken inspiration from endangered species and the “erosion of nature” on their upcoming eighth album, Eraser. The record’s set for release on August 26 via earMUSIC, and bassist Jan Hoffman describes it as the group’s “most diverse” album yet. “There’s almost nothing at all electronic on this album compared to the last one,” he explains. “This time, regarding the theme, we tried to be as natural as possible. There’s not a single sample, which is really rare nowadays. But at the same time it sounds modern and state of the art.” Each of the nine songs is dedicated to an endangered species, with the album’s closing title track a take on mankind. The idea came to drummer Janosch Rathmer, after watching a documentary about…

LONG DISTANCE CALLING GO WILD!

HATS OFF GENTLEMEN PLAY THEIR CONFIDENCE TRICK

UK duo Hats Off Gentlemen It’s Adequate will release their sixth album, The Confidence Trick, on July 29 through their own label, Glass Castle Recordings. The follow-up to 2020’s well-received Nostalgia For Infinity has its thematic roots in singer Malcolm Galloway’s former career as a neuropathologist. “I became very interested in how people make mistakes in diagnosis,” he tells Prog. “A big, common problem in medicine – and life – is overconfidence, excessive certainty. Another is that we assume confident people are competent. Sometimes that leads to medical problems, but it can also lead to war and atrocities.” Galloway’s joined once again by bandmate Mark Gatland and flautist Kathryn Thomas, with one notable piece, Refugee, inspired by Galloway’s grandmother’s extraordinary story of hiding from Nazi persecution through World War Two.…

HATS OFF GENTLEMEN PLAY THEIR CONFIDENCE TRICK

VLMV BACK TO SING WITH ABANDON

Ambient post-rock duo VLMV have announced their third album, Sing With Abandon, for an August 19 release via Nice Weather For Airstrikes. It will mark the Londoners’ first new music since 2018’s Stranded, Not Lost, which earned them a nomination in the Limelight category at that year’s Prog Awards. “This album has been a long process for us after delays with session musicians and studio restrictions,” says VLMV’s songwriter and producer Pete Lambrou. “We ended up going back and forth, writing and rewriting, taking a step back and coming at it from different angles.” The band describe the music on the album as “ambitious yet concise […] the result of years of collaboration, experimentation and crafting”. Lambrou adds: “It’s not a quick overnight record. It’s taken time and I think that’s reflected…

VLMV BACK TO SING WITH ABANDON

ROBERT FRIPP EARLY SOLO ALBUMS SET FOR REISSUE

Hot on the heels of his recent Exposures box set, King Crimson mastermind Robert Fripp has announced reissues of two more solo LPs. Newly remastered editions of 1980’s God Save The Queen/Under Heavy Manners and 1981’s Let The Power Fall will be released on July 1 via Panegyric. Remastering was handled by longtime Fripp and King Crimson engineer David Singleton, with the intention of bringing better clarity to the guitarist’s pioneering ‘Frippertronics’ soundscapes, which are showcased on both records. Both titles will be available on 200-gram vinyl and CD. The CD version of God Save The Queen features two additional tracks: the 1985-issued God Save The King, and previously unreleased Music On Hold, which was discovered during the archive work for Exposures. The Let The Power Fall CD includes three extra tracks…

ROBERT FRIPP EARLY SOLO ALBUMS SET FOR REISSUE

HELLFIRE – BLACK MIDI ARE BACK!

Melding indie, prog, fusion and math rock, London musicians Black Midi will release their third album Hellfire via Rough Trade on July 15. Frontman Geordie Greep admits that it is a typically“complex” album from the band, but adds that it’s also“more theatrical, open and silly”. “There’s no reason why you can’t have the fun, Harry Hill stuff in with the Wagner and Stravinsky stuff,” he says, referencing wacky UK comedian Hill and two of music’s most serious minds. “We wanted to take all the things we’ve enjoyed and experienced and try and make something that’s actually representative of what we enjoy as a whole.” Featuring 10 new tracks, the new album builds on the songwriting process of 2021’s Cavalcade. Greep says they’ve streamlined their method, with Hellfire written over only…

HELLFIRE – BLACK MIDI ARE BACK!

VLMV BACK TO SING WITH ABANDON

Ambient post-rock duo VLMV have announced their third album, Sing With Abandon, for an August 19 release via Nice Weather For Airstrikes. It will mark the Londoners’ first new music since 2018’s Stranded, Not Lost, which earned them a nomination in the Limelight category at that year’s Prog Awards. “This album has been a long process for us after delays with session musicians and studio restrictions,” says VLMV’s songwriter and producer Pete Lambrou. “We ended up going back and forth, writing and rewriting, taking a step back and coming at it from different angles.” The band describe the music on the album as “ambitious yet concise […] the result of years of collaboration, experimentation and crafting”. Lambrou adds: “It’s not a quick overnight record. It’s taken time and I think that’s…

VLMV BACK TO SING WITH ABANDON

DYSON ZONE When vacuum cleaner manufacturer Dyson announced the world’s first airpurifying headphones, many people took a look at the date of the news (April 1) and assumed it was a prank; Dyson were forced to clarify that it wasn’t. Intended to solve both air pollution and noise pollution, the Zone promises “a plume of fresh air without touching your face, using high-performance filters and two miniaturised air pumps”. Many of us who remember pointing and laughing at anyone in a Sinclair C5 in 1985 will be wondering if Zone wearers will be subject to similar ridicule. The huge price tag is yet to be confirmed. www.dyson.com CASEIC Guitar cases are annoying things. They’re big, they’re bulky, and they serve little purpose when not on the move other than taking up excessive storage space.…

“I got into metal through all the metal gods people know, and prog-wise Dream Theater was the first and biggest influence. John Petrucci’s the reason Trivium started using seven-string guitars. Our albums The Crusade [2006] and Shogun [2008] were very prog moments for us, and we’ve had that in us ever since. I’vealways really appreciatedversatile instrumentalism. “I’d been a big fan of [Ihshan’s band] Emperor all my life and I first connected with him in 2011, through a mutual friend. I visited him at home in Norway, we talked about life and creativity and became close friends. I told him then I was going to make a black metal album under an alias, and when he released Eremita the year after it blew my mind. It was black metal but it…

ROBERT FRIPP EARLY SOLO ALBUMS SET FOR REISSUE

Hot on the heels of his recent Exposures box set, King Crimson mastermind Robert Fripp has announced reissues of two more solo LPs. Newly remastered editions of 1980’s God Save The Queen/Under Heavy Manners and 1981’s Let The Power Fall will be released on July 1 via Panegyric. Remastering was handled by longtime Fripp and King Crimson engineer David Singleton, with the intention of bringing better clarity to the guitarist’s pioneering ‘Frippertronics’ soundscapes, which are showcased on both records. Both titles will be available on 200-gram vinyl and CD. The CD version of God Save The Queen features two additional tracks: the 1985-issued God Save The King, and previously unreleased Music On Hold, which was discovered during the archive work for Exposures. The Let The Power Fall CD includes three…

ROBERT FRIPP EARLY SOLO ALBUMS SET FOR REISSUE

DAN AVIDAN MIGHT have had the weirdest career of any prog musician in history. The New Jersey-born 43-year-old began his journey cycling through a host of East Coast rock bands, before finding his niche in comedy synthpop duo Ninja Sex Party. In the 13 years since, he’s adopted the stage persona of Danny Sexbang: a sex-obsessed Jewish superhero flanked by keyboardist and serial killer Ninja Brian. The band’s viral success was amplified when Avidan joined the YouTube comedy channel Game Grumps in 2013, which now boasts more than five million subscribers. His niche is in the humorous and the ridiculous yet, talking to him, it’s swiftly apparent that he’s driven to be taken seriously as a musician. “The first time I really connected with the Game Grumps fanbase was when I…

DYSON ZONE When vacuum cleaner manufacturer Dyson announced the world’s first airpurifying headphones, many people took a look at the date of the news (April 1) and assumed it was a prank; Dyson were forced to clarify that it wasn’t. Intended to solve both air pollution and noise pollution, the Zone promises “a plume of fresh air without touching your face, using high-performance filters and two miniaturised air pumps”. Many of us who remember pointing and laughing at anyone in a Sinclair C5 in 1985 will be wondering if Zone wearers will be subject to similar ridicule. The huge price tag is yet to be confirmed. www.dyson.com CASEIC Guitar cases are annoying things. They’re big, they’re bulky, and they serve little purpose when not on the move other than taking…

“BUT SERIOUSLY, WHICH ONE IS PINK?”

In April Pink Floyd released their first new song in 28 years. Hey Hey, Rise Up was created to support the Ukraine Humanitarian Relief Fund, and features vocals from Andriy Khlyvnyuk, singer/songwriter from Ukrainian band Boombox. This sign of solidarity from Floyd was a wonderful gesture, but the only true Floydians who appear on the track are David Gilmour and Nick Mason. The rest of the players are certainly fine musicians, but they are not what I would consider Pink Floyd members. Sure, ever since Mr Gilmour took over the band in 1987, there have been a host of guest musicians playing on Floyd recordings and backing the band in concert. But do two out of four members a band make? Taking a cue from one of their own lyrics, I come…

“BUT SERIOUSLY, WHICH ONE IS PINK?”

“I got into metal through all the metal gods people know, and prog-wise Dream Theater was the first and biggest influence. John Petrucci’s the reason Trivium started using seven-string guitars. Our albums The Crusade [2006] and Shogun [2008] were very prog moments for us, and we’ve had that in us ever since. I’vealways really appreciatedversatile instrumentalism. “I’d been a big fan of [Ihshan’s band] Emperor all my life and I first connected with him in 2011, through a mutual friend. I visited him at home in Norway, we talked about life and creativity and became close friends. I told him then I was going to make a black metal album under an alias, and when he released Eremita the year after it blew my mind. It was black metal but…

Oksana Linde has had a unique musical career and, at the age of 81 has just released her debut album, the evocative solo synthesiser collection Aquatic And Other Worlds (1983-89). As a child in Venezuela she loved music, and was a self-taught pianist. After graduating in Chemistry from the Central University in Caracas she got a job in a laboratory, and fell ill from working with toxic substances, which caused her terrible headaches, memory loss and insomnia. These effects weren’t understood back in 1981, and she was asked to leave. Linde turned to making visual art. She also bought a Polymoog, a TEAC reel-to-reel and some effects units, and began making music in her home studio, inspired by classical composers, Tangerine Dream, Jean-Michel Jarre, Brian Eno, and a veritable who’s-who of 70s…

DAN AVIDAN MIGHT have had the weirdest career of any prog musician in history. The New Jersey-born 43-year-old began his journey cycling through a host of East Coast rock bands, before finding his niche in comedy synthpop duo Ninja Sex Party. In the 13 years since, he’s adopted the stage persona of Danny Sexbang: a sex-obsessed Jewish superhero flanked by keyboardist and serial killer Ninja Brian. The band’s viral success was amplified when Avidan joined the YouTube comedy channel Game Grumps in 2013, which now boasts more than five million subscribers. His niche is in the humorous and the ridiculous yet, talking to him, it’s swiftly apparent that he’s driven to be taken seriously as a musician. “The first time I really connected with the Game Grumps fanbase was when…

“BUT SERIOUSLY, WHICH ONE IS PINK?”

In April Pink Floyd released their first new song in 28 years. Hey Hey, Rise Up was created to support the Ukraine Humanitarian Relief Fund, and features vocals from Andriy Khlyvnyuk, singer/songwriter from Ukrainian band Boombox. This sign of solidarity from Floyd was a wonderful gesture, but the only true Floydians who appear on the track are David Gilmour and Nick Mason. The rest of the players are certainly fine musicians, but they are not what I would consider Pink Floyd members. Sure, ever since Mr Gilmour took over the band in 1987, there have been a host of guest musicians playing on Floyd recordings and backing the band in concert. But do two out of four members a band make? Taking a cue from one of their own lyrics,…

“BUT SERIOUSLY, WHICH ONE IS PINK?”

“IT’S ABOUT MOTION,” says Playgrounded’s deepthinking synth player, Orestis Zafeiriou of the band’s approach to songwriting. “Our centre is hardly ever a riff,” adds guitarist Michael Kotsirakis, “it’s a sound design structure or a loop that always moves the song forwards. That approach comes from our electronic influences. For me the important part of electronic music is the sense of being lost in a space; so it was a question of: how we do we mix this with the music we grew up with?” New record The Death Of Death is their most defined yet, painstakingly crafted to bestow the best of both genres and transport the listener to a distant world. Arriving there, however, was an exhaustive journey. It started with a friendship, after Zafeiriou asked fellow university student Kotsirakis what…

What got us all grooving this month… Last month’s cover stars Rush return for this issue’s bumper competition prize. To celebrate the 40th anniversary reissue of Moving Pictures, we’ve got our hands on one of the new super-deluxe box sets. One lucky reader will receive this fully-loaded prize comprising five vinyl LPs, three CDs and a Blu-ray audio disc containing a new 5.1 surround sound mix, giving them the chance to hear the Canadian band’s hit album as never before. The package also includes a CD recording of their previously unreleased March 1981 concert in Toronto, an illustrated hardcover book (exclusive to the set), a pair of Neil Peart-branded drumsticks, etched plectrums and even a miniature red Barchetta. It’s a must-have for the Rush fan who has almost everything. To be in with a…

Oksana Linde has had a unique musical career and, at the age of 81 has just released her debut album, the evocative solo synthesiser collection Aquatic And Other Worlds (1983-89). As a child in Venezuela she loved music, and was a self-taught pianist. After graduating in Chemistry from the Central University in Caracas she got a job in a laboratory, and fell ill from working with toxic substances, which caused her terrible headaches, memory loss and insomnia. These effects weren’t understood back in 1981, and she was asked to leave. Linde turned to making visual art. She also bought a Polymoog, a TEAC reel-to-reel and some effects units, and began making music in her home studio, inspired by classical composers, Tangerine Dream, Jean-Michel Jarre, Brian Eno, and a veritable who’s-who of…

CHILDREN OF THE SÜN

SWEDISH RETRO ROCKERS Children Of The Sün are back with their soulful second album. Tracing the journey through life, Roots captures a sense of personal transformation and reflection as the band’s guitarist and composer, Jacob Hellenrud, explains: “From the beginning, we wanted to write around the title, Roots. It was the first song we wrote for the album and we knew it was going to be the title track. Our Flowers album was about love and peace, but Roots is more about growing up together and finding love in darkness. It was fun to write the songs and I’m really proud of the result.” The album’s 13 tracks build a carefree and reflective atmosphere that reflects the band’s chemistry. As the guitarist reveals, their creative process is driven by flashes of inspiration:…

CHILDREN OF THE SÜN

“IT’S ABOUT MOTION,” says Playgrounded’s deepthinking synth player, Orestis Zafeiriou of the band’s approach to songwriting. “Our centre is hardly ever a riff,” adds guitarist Michael Kotsirakis, “it’s a sound design structure or a loop that always moves the song forwards. That approach comes from our electronic influences. For me the important part of electronic music is the sense of being lost in a space; so it was a question of: how we do we mix this with the music we grew up with?” New record The Death Of Death is their most defined yet, painstakingly crafted to bestow the best of both genres and transport the listener to a distant world. Arriving there, however, was an exhaustive journey. It started with a friendship, after Zafeiriou asked fellow university student…

“WE HAD COMMON friends and were both looking for people with the same taste in music to jam with,” admits drummer Kasper Eriksson, when asked about Hällas’ formation in 2011. “Vocalist Tommy Alexandersson and his friend, the first guitarist of Hällas, found me at a local bar and we formed somewhat of a bluesy power trio, playing music closer to early Black Sabbath and Atomic Rooster. “We had a lot of fun, but then I moved to a different town and things were on hold for a while, until I met [guitarists] Alexander and Marcus who joined the band. We started to write enough songs to record an EP and decided to enter TreasureSound Studio in Jönköping [in southern Sweden] and that’s where we met Nicklas; he added enough keyboards for…

What got us all grooving this month… Last month’s cover stars Rush return for this issue’s bumper competition prize. To celebrate the 40th anniversary reissue of Moving Pictures, we’ve got our hands on one of the new super-deluxe box sets. One lucky reader will receive this fully-loaded prize comprising five vinyl LPs, three CDs and a Blu-ray audio disc containing a new 5.1 surround sound mix, giving them the chance to hear the Canadian band’s hit album as never before. The package also includes a CD recording of their previously unreleased March 1981 concert in Toronto, an illustrated hardcover book (exclusive to the set), a pair of Neil Peart-branded drumsticks, etched plectrums and even a miniature red Barchetta. It’s a must-have for the Rush fan who has almost everything. To…

CHILDREN OF THE SÜN

SWEDISH RETRO ROCKERS Children Of The Sün are back with their soulful second album. Tracing the journey through life, Roots captures a sense of personal transformation and reflection as the band’s guitarist and composer, Jacob Hellenrud, explains: “From the beginning, we wanted to write around the title, Roots. It was the first song we wrote for the album and we knew it was going to be the title track. Our Flowers album was about love and peace, but Roots is more about growing up together and finding love in darkness. It was fun to write the songs and I’m really proud of the result.” The album’s 13 tracks build a carefree and reflective atmosphere that reflects the band’s chemistry. As the guitarist reveals, their creative process is driven by flashes…

CHILDREN OF THE SÜN

DAVE GREENSLADE

Dave Greenslade grew up with classical music and was an early fan of jazz and R&B keyboard styles. When he was 15 he first played with drummer Jon Hiseman and bass guitarist Tony Reeves at Eltham Park Methodist Church Hall. He went on to play with Chris Farlowe & The Thunderbirds and Geno Washington, and the three friends reconvened when Colosseum formed in 1968: “a jazz rock outfit; one of the first in Europe,” Greenslade says. He went on to put together the twin keyboard prog quartet Greenslade, which ran from 1972 to 1976. He returned to Colosseum in 1994, where he remained until 2015, three years before Hiseman’s death. Greenslade also recorded a number of solo records including instrumental concept albums The Pentateuch Of The Cosmogony in 1979 and From…

DAVE GREENSLADE

IN MEMORY OF KLAUS SCHULZE

Klaus Schulze, the wunderkind of the ‘Berlin School’ of electronic music, died on April 26, 2022, just three months shy of his 75th birthday. The German multi-instrumentalist was in the process of readying Deus Arrakis, the 47th album released under his own name. Although Schulze had been suffering with ill-health for some time, the suddenness of his passing still came as a surprise to those closest to him. He’s survived by his wife and two sons. The flamboyant showman of the 1970s had become more private and reclusive in the 21st century, but Schulze was nevertheless open in interviews about the fact he had a regular dialysis regime that he had to contend with, stopping him from getting out and about, and he curtailed face-to-face interviews in favour of the internet.…

IN MEMORY OF KLAUS SCHULZE

“WE HAD COMMON friends and were both looking for people with the same taste in music to jam with,” admits drummer Kasper Eriksson, when asked about Hällas’ formation in 2011. “Vocalist Tommy Alexandersson and his friend, the first guitarist of Hällas, found me at a local bar and we formed somewhat of a bluesy power trio, playing music closer to early Black Sabbath and Atomic Rooster. “We had a lot of fun, but then I moved to a different town and things were on hold for a while, until I met [guitarists] Alexander and Marcus who joined the band. We started to write enough songs to record an EP and decided to enter TreasureSound Studio in Jönköping [in southern Sweden] and that’s where we met Nicklas; he added enough keyboards for…

Klaus Schulze Remembered

JEAN-MICHEL JARRE “So long Klaus! One of the great figures of electronic music. We won’t forget you.” HARALD GROSSKOPF “Sad news. Klaus Schulze, my dear colleague and spiritual mentor in the art of electronic music passed away peacefully last night.” TEETH OF THE SEA “Petition to make a gold statue out of this waxwork of Klaus Schulze (formerly in Tokyo’s Tower Wax Museum) starts here.” DORIAN COPE “Woke to the news of Klaus Schulze. He was an absolute icon in this household. RIP Cosmic Maestro.” ROBIN RIMBAUD “Time to bid farewell to the truly pioneering German electronic musician Klaus Schulze (1947-2022), whose epic works that can now be seen as the foundation for ambient music. Timewind (1975) remains a plaintive and melancholic gem that will stay with me forever!” MOOG SYNTHESISERS “A pioneer of electronic sound, Klaus Schulze and his contributions…

DAVE GREENSLADE

Dave Greenslade grew up with classical music and was an early fan of jazz and R&B keyboard styles. When he was 15 he first played with drummer Jon Hiseman and bass guitarist Tony Reeves at Eltham Park Methodist Church Hall. He went on to play with Chris Farlowe & The Thunderbirds and Geno Washington, and the three friends reconvened when Colosseum formed in 1968: “a jazz rock outfit; one of the first in Europe,” Greenslade says. He went on to put together the twin keyboard prog quartet Greenslade, which ran from 1972 to 1976. He returned to Colosseum in 1994, where he remained until 2015, three years before Hiseman’s death. Greenslade also recorded a number of solo records including instrumental concept albums The Pentateuch Of The Cosmogony in 1979 and…

DAVE GREENSLADE

THE DOCTOR WILL SEE YOU NOW…

When Bill Bruford settles down in front of his computer to talk to Prog, he is, of course, precisely on time. He’s sat in his home office in Surrey and his Zoom backdrop displays an undulating range of rugged fells speckled with grass and scree, nestling under a blue sky. Attired in a smartly pressed country check shirt and a practical-looking gilet, he looks very much like a doctor about to undertake a consultation with a nervous patient. It’s worryingly easy to imagine this genial 72-year-old, who was inducted into the Rock & Rock Hall Of Fame in 2017, leaning forward and starting the conversation with a polite but firm, “Now, what seems to be the trouble?” “I like to upset things though not all the time. But there will be…

THE DOCTOR WILL SEE YOU NOW…

IN MEMORY OF KLAUS SCHULZE

Klaus Schulze, the wunderkind of the ‘Berlin School’ of electronic music, died on April 26, 2022, just three months shy of his 75th birthday. The German multi-instrumentalist was in the process of readying Deus Arrakis, the 47th album released under his own name. Although Schulze had been suffering with ill-health for some time, the suddenness of his passing still came as a surprise to those closest to him. He’s survived by his wife and two sons. The flamboyant showman of the 1970s had become more private and reclusive in the 21st century, but Schulze was nevertheless open in interviews about the fact he had a regular dialysis regime that he had to contend with, stopping him from getting out and about, and he curtailed face-to-face interviews in favour of the…

IN MEMORY OF KLAUS SCHULZE

Enjoying The Journey

“Pretty much right before Genesis in 1976, I met keyboard player Dave Stewart. A lovely guy and I thought if I ever formed a band, I’d really like to go with this guy, so I put down a marker as it were, because I didn’t form Bruford until about another year. Bassist Mont Campbell was an extraordinary person too. They were playing a kind of instrumental rock music with two keyboard players including Alan Gowen. It was unusual for its time. It’s written music that’s not classical, but written, modern music, if you like, and I thought that was great. I found it quite difficult to play because I’m not a very fluent reader but at times it was very good. I thoroughly enjoyed it.”…

Klaus Schulze Remembered

JEAN-MICHEL JARRE “So long Klaus! One of the great figures of electronic music. We won’t forget you.” HARALD GROSSKOPF “Sad news. Klaus Schulze, my dear colleague and spiritual mentor in the art of electronic music passed away peacefully last night.” TEETH OF THE SEA “Petition to make a gold statue out of this waxwork of Klaus Schulze (formerly in Tokyo’s Tower Wax Museum) starts here.” DORIAN COPE “Woke to the news of Klaus Schulze. He was an absolute icon in this household. RIP Cosmic Maestro.” ROBIN RIMBAUD “Time to bid farewell to the truly pioneering German electronic musician Klaus Schulze (1947-2022), whose epic works that can now be seen as the foundation for ambient music. Timewind (1975) remains a plaintive and melancholic gem that will stay with me forever!” MOOG…

THE DOCTOR WILL SEE YOU NOW…

When Bill Bruford settles down in front of his computer to talk to Prog, he is, of course, precisely on time. He’s sat in his home office in Surrey and his Zoom backdrop displays an undulating range of rugged fells speckled with grass and scree, nestling under a blue sky. Attired in a smartly pressed country check shirt and a practical-looking gilet, he looks very much like a doctor about to undertake a consultation with a nervous patient. It’s worryingly easy to imagine this genial 72-year-old, who was inducted into the Rock & Rock Hall Of Fame in 2017, leaning forward and starting the conversation with a polite but firm, “Now, what seems to be the trouble?” “I like to upset things though not all the time. But there will…

THE DOCTOR WILL SEE YOU NOW…

Perfect Symmetry

“I was playing with The Moody Blues and living in the Pitch Hill area of the Surrey Hills next door to Eric Clapton’s house at the time. I bumped into Bill at the local post office by chance one day as he lived nearby. We hadn’t played together since working on Chris Squire’s Fish Out Of Water. This was in 1983 and the Moodies tour that year had been postponed so I invited Bill to come over and do some playing. We immediately gelled and as we played, the idea of us working live and recording an album grew. “One of the first things we played in my house was a riff I had in my head that I had presented to The Moody Blues when we were doing Long Distance…

Perfect Symmetry

Enjoying The Journey

“Pretty much right before Genesis in 1976, I met keyboard player Dave Stewart. A lovely guy and I thought if I ever formed a band, I’d really like to go with this guy, so I put down a marker as it were, because I didn’t form Bruford until about another year. Bassist Mont Campbell was an extraordinary person too. They were playing a kind of instrumental rock music with two keyboard players including Alan Gowen. It was unusual for its time. It’s written music that’s not classical, but written, modern music, if you like, and I thought that was great. I found it quite difficult to play because I’m not a very fluent reader but at times it was very good. I thoroughly enjoyed it.”…

Following The Music

“It was John Wetton who gave me the push from UK, but I was happy to be pushed. The first UK album was fantastic with Allan Holdsworth on it. It was Eddie Jobson who thought that Allan should play the same solo every night like the one that was on the record. This is incomprehensible to me, but there we go. Another strange inconsistency about how people view the musical path, the musical art, what they think the listener wants to hear. Always fatal, I think, trying to judge what it is the listener wants to hear. So I’m happier instinctively if I can provide something that I can live with myself, and then I have every possibility of thinking that you might like it as well. If you don’t,…

Following The Music

I Know What I Like (In Your Ex-drummer)

“I remember at Phil Collins’ wedding in 1975 I met Jon Anderson for the first time and he said to me, ‘Why don’t you make Phil the singer and get in another instrumentalist so that the drums are covered?’ And that’s exactly what we did. I don’t suppose Jon would have had any idea that the instrumentalist he suggested we get would have come so close to home for him in the shape of Bill. “I remember Bill showing up on the first day of rehearsal and joining in with one of our very simple tunes, either Squonk or I Know What I Like, and I thought he was going to turn around and say, ‘Oh, that’s far too easy. Have you got anything more complicated?’ [Laughs] But he seemed only…

Perfect Symmetry

“I was playing with The Moody Blues and living in the Pitch Hill area of the Surrey Hills next door to Eric Clapton’s house at the time. I bumped into Bill at the local post office by chance one day as he lived nearby. We hadn’t played together since working on Chris Squire’s Fish Out Of Water. This was in 1983 and the Moodies tour that year had been postponed so I invited Bill to come over and do some playing. We immediately gelled and as we played, the idea of us working live and recording an album grew. “One of the first things we played in my house was a riff I had in my head that I had presented to The Moody Blues when we were doing Long Distance…

Perfect Symmetry

Breaking The Rule

“I was not a good session musician. I didn’t understand, really, the rules of the road for this, that it’s about making it comfortable for the people whose music it is. I, being an arrogant little shit, am the sort of guy who wants to go in there and change things. Now, I’ve not been invited along to change things. I’ve been invited along to reproduce them as they are. And I totally understand that and it’s totally reasonable. And so I’ve pretty much apologised ever since for what I call being badly behaved and they were eternally nice to me. I couldn’t understand it. If I’d been them I would’ve got rid of it me, I think I was a bit of a loose cannon on deck [laughs]. Sometimes…

Breaking The Rule

Following The Music

“It was John Wetton who gave me the push from UK, but I was happy to be pushed. The first UK album was fantastic with Allan Holdsworth on it. It was Eddie Jobson who thought that Allan should play the same solo every night like the one that was on the record. This is incomprehensible to me, but there we go. Another strange inconsistency about how people view the musical path, the musical art, what they think the listener wants to hear. Always fatal, I think, trying to judge what it is the listener wants to hear. So I’m happier instinctively if I can provide something that I can live with myself, and then I have every possibility of thinking that you might like it as well. If you don’t,…

Following The Music

I Know What I Like (In Your Ex-drummer)

“I remember at Phil Collins’ wedding in 1975 I met Jon Anderson for the first time and he said to me, ‘Why don’t you make Phil the singer and get in another instrumentalist so that the drums are covered?’ And that’s exactly what we did. I don’t suppose Jon would have had any idea that the instrumentalist he suggested we get would have come so close to home for him in the shape of Bill. “I remember Bill showing up on the first day of rehearsal and joining in with one of our very simple tunes, either Squonk or I Know What I Like, and I thought he was going to turn around and say, ‘Oh, that’s far too easy. Have you got anything more complicated?’ [Laughs] But he seemed only…

FAR ABOVE THE CLOUDS

“Pink Floyd did fine without Roger Waters, and when Brian Wilson stayed in the studio The Beach Boys were still out touring.”Jon Courtney To borrow from Sly Stone, Pure Reason Revolution’s fifth LP wants to take you higher. Above Cirrus, in fact, cirrus being the kind of cloud that forms at considerable altitude. Made during lockdown after Covid rules nixed the band’s tour for their lauded 2020 comeback Eupnea, the follow-up album hungers for escape. Alive with sinewy riffs, Floydian tics and breathtaking passages of almost choral prog, it’s also a dark meditation on the fear and personal challenges wrought by the pandemic, and other radical changes in our world. “Making it was cathartic, certainly,” says singer-guitarist Jon Courtney. “A lot of the writing on Above Cirrus concerns relationships; how we can…

FAR ABOVE THE CLOUDS

Breaking The Rule

“I was not a good session musician. I didn’t understand, really, the rules of the road for this, that it’s about making it comfortable for the people whose music it is. I, being an arrogant little shit, am the sort of guy who wants to go in there and change things. Now, I’ve not been invited along to change things. I’ve been invited along to reproduce them as they are. And I totally understand that and it’s totally reasonable. And so I’ve pretty much apologised ever since for what I call being badly behaved and they were eternally nice to me. I couldn’t understand it. If I’d been them I would’ve got rid of it me, I think I was a bit of a loose cannon on deck [laughs]. Sometimes the…

Breaking The Rule

Heat Of The Moment

“Asia led the way. We didn’t see ourselves as rivals to Yes for two reasons: firstly they had disbanded, and secondly because we didn’t damn well want to be like Yes.”Steve Howe The game-changing, self-titled debut album from a brand-new group named Asia was released on March 8, 1982. Though the band responsible was a fresh entity, its four members could not have been any more familiar. Guitarist Steve Howe and keyboard player Geoff Downes both came from Yes (before that, Downes had been one half of the chart-topping pop duo The Buggles). Carl Palmer boasted a lengthy resume that included The Crazy World Of Arthur Brown, Atomic Rooster and, most recently, Emerson, Lake & Palmer. Last but by no means least, on bass and vocals was John Wetton, formerly of…

Heat Of The Moment

Aside from pure talent, musical success also depends on luck and timing. For Dream Theater vocalist James LaBrie, that sliding doors moment occurred in Glasgow airport following the culmination of Dream Theater’s 2020 tour. Wandering through the terminal prior to his flight home to Toronto, he fortuitously encountered Paul Logue, of melodic metallers Eden’s Curse, with whom he’d worked with some nine years earlier. Sharing a coffee and with the world on the brink of lockdown, the pair agreed to consider a potential project and, within four weeks, were exchanging ideas. “Paul is an extremely talented guy,” enthuses LaBrie. “In 2011 he asked me to guest on a song called No Holy Man on one of their albums. At the time, I really didn’t know Eden’s Curse or Paul, but I…

FAR ABOVE THE CLOUDS

“Pink Floyd did fine without Roger Waters, and when Brian Wilson stayed in the studio The Beach Boys were still out touring.”Jon Courtney To borrow from Sly Stone, Pure Reason Revolution’s fifth LP wants to take you higher. Above Cirrus, in fact, cirrus being the kind of cloud that forms at considerable altitude. Made during lockdown after Covid rules nixed the band’s tour for their lauded 2020 comeback Eupnea, the follow-up album hungers for escape. Alive with sinewy riffs, Floydian tics and breathtaking passages of almost choral prog, it’s also a dark meditation on the fear and personal challenges wrought by the pandemic, and other radical changes in our world. “Making it was cathartic, certainly,” says singer-guitarist Jon Courtney. “A lot of the writing on Above Cirrus concerns relationships; how…

FAR ABOVE THE CLOUDS

Heat Of The Moment

“Asia led the way. We didn’t see ourselves as rivals to Yes for two reasons: firstly they had disbanded, and secondly because we didn’t damn well want to be like Yes.”Steve Howe The game-changing, self-titled debut album from a brand-new group named Asia was released on March 8, 1982. Though the band responsible was a fresh entity, its four members could not have been any more familiar. Guitarist Steve Howe and keyboard player Geoff Downes both came from Yes (before that, Downes had been one half of the chart-topping pop duo The Buggles). Carl Palmer boasted a lengthy resume that included The Crazy World Of Arthur Brown, Atomic Rooster and, most recently, Emerson, Lake & Palmer. Last but by no means least, on bass and vocals was John Wetton, formerly…

Heat Of The Moment

Lines In The Sand

With Dream Theater continuing to tour the globe in support of their A View From The Top Of The World album, the band have honed their setlist to a selective number of songs. It’s an approach that’s led to some online criticism from fans who relished rotating setlists and the unexpected live covering of band’s other albums. “You know, there’s a real balance there,” he smiles. “In the old days, Mike Portnoy would slip a piece of paper under my door the night before a gig that would say, ‘Oh tomorrow, we’re going to play all 25 minutes of A Change of Seasons. That was really tough. You’d walk onstage and you would hope that you’d figured out the song. There’s something about that which is cool and the fans loved…

Lines In The Sand

Aside from pure talent, musical success also depends on luck and timing. For Dream Theater vocalist James LaBrie, that sliding doors moment occurred in Glasgow airport following the culmination of Dream Theater’s 2020 tour. Wandering through the terminal prior to his flight home to Toronto, he fortuitously encountered Paul Logue, of melodic metallers Eden’s Curse, with whom he’d worked with some nine years earlier. Sharing a coffee and with the world on the brink of lockdown, the pair agreed to consider a potential project and, within four weeks, were exchanging ideas. “Paul is an extremely talented guy,” enthuses LaBrie. “In 2011 he asked me to guest on a song called No Holy Man on one of their albums. At the time, I really didn’t know Eden’s Curse or Paul, but…

Bringing The Power Back!

Evergrey’s Tom S Englund needs help from our old friend the internet when Prog talks up his band’s prolificacy, which has resulted in three studio albums in as many years. “I think it should be… three albums in five years? I don’t know…” he replies, somewhat muddled, before investigating further on his computer. “Oh, and we released a live album this year [Before The Aftermath (Live In Gothenburg)] – I forgot about that. [There was a studio album] in 2019, 2021 [and now 2022]… yeah, you’re right. Wow, that’s insane.” It’s fair to say the Swedish progressive metal band have certainly not been twiddling thumbs in recent years. Vocalist and guitarist Englund is speaking ahead of the release of their latest album, A Heartless Portrait (The Orphean Testament), their 13th since forming in…

Bringing The Power Back!

Lines In The Sand

With Dream Theater continuing to tour the globe in support of their A View From The Top Of The World album, the band have honed their setlist to a selective number of songs. It’s an approach that’s led to some online criticism from fans who relished rotating setlists and the unexpected live covering of band’s other albums. “You know, there’s a real balance there,” he smiles. “In the old days, Mike Portnoy would slip a piece of paper under my door the night before a gig that would say, ‘Oh tomorrow, we’re going to play all 25 minutes of A Change of Seasons. That was really tough. You’d walk onstage and you would hope that you’d figured out the song. There’s something about that which is cool and the fans…

Lines In The Sand

“This has been really expensive for us,” explains Ross Jennings, best known as frontman of Haken, but here in Eindhoven with up-and-coming prog metallers Novena, and as a solo artist in his own right. Prog has just run into Jennings and some Novena bandmates in the corridor that runs from the bar to the smaller hall within De Effenaar, the venue that houses Prognosis Festival, and as excited as they are to be here, the impact of Brexit on British touring bands is all too evident. “We weren’t able to bring any merch over,” sighs Jennings. “And what with carnets and everything else you now need to be a band abroad it’s costing a fortune.” These solemn sentiments are echoed by The Fierce And The Dead’s Matt Stevens, who joins Prog…

Charting The Singular

“One of the identifying aspects of prog music is that you have the opportunity to develop within a long-form structure, and that interests me greatly.”“The night cleaves, revealing shape beyond the road’s unboundaried form, While restless winds of craft and lore coil in transient song, The korax dives the triple seas and hunts the silence of unbroken thought. Inside the gyre time waits with slow stone flame. Draw close to me.” Well established as prog’s (and indeed Prog’s) favourite cellist, Jo Quail has been producing extraordinary music that gleefully defies categorisation for a number of years now. Both as a perpetually ingenious solo artist and as a textural counterpoint to everyone from neofolk icons Wardruna and Japanese post-rock legends MONO to Swedish death metallers At The Gates, she’s steadily built a…

Charting The Singular

Bringing The Power Back!

Evergrey’s Tom S Englund needs help from our old friend the internet when Prog talks up his band’s prolificacy, which has resulted in three studio albums in as many years. “I think it should be… three albums in five years? I don’t know…” he replies, somewhat muddled, before investigating further on his computer. “Oh, and we released a live album this year [Before The Aftermath (Live In Gothenburg)] – I forgot about that. [There was a studio album] in 2019, 2021 [and now 2022]… yeah, you’re right. Wow, that’s insane.” It’s fair to say the Swedish progressive metal band have certainly not been twiddling thumbs in recent years. Vocalist and guitarist Englund is speaking ahead of the release of their latest album, A Heartless Portrait (The Orphean Testament), their 13th…

Bringing The Power Back!

“This has been really expensive for us,” explains Ross Jennings, best known as frontman of Haken, but here in Eindhoven with up-and-coming prog metallers Novena, and as a solo artist in his own right. Prog has just run into Jennings and some Novena bandmates in the corridor that runs from the bar to the smaller hall within De Effenaar, the venue that houses Prognosis Festival, and as excited as they are to be here, the impact of Brexit on British touring bands is all too evident. “We weren’t able to bring any merch over,” sighs Jennings. “And what with carnets and everything else you now need to be a band abroad it’s costing a fortune.” These solemn sentiments are echoed by The Fierce And The Dead’s Matt Stevens, who joins…

An elegant melancholy pervades even if it takes a long time to reach the ears of Everything To Everyone, the fourth solo album from Bjørn Riis, as the guitarist once again spreads his musical wings outside of Norwegian prog mainstays Airbag. Drawing inspiration from Dante’s Inferno and exploring questions around how we present ourselves to the world in the title track or face temptation in The Siren, it’s an album that could have been born on a lonely, windswept hillside under a grey Scandinavian winter sky. But that’s not quite the case. “I think a lot of people have this image of us Norwegians sitting in a cabin on some mountaintop and it’s raining and dark, but most of the stuff I write is done back and forth to work on…

Ready To Deploy?

“We’ve slowly been working on new material,” says Riis about Airbag’s progress on the follow-up to 2020’s A Day At The Beach. “I can definitely see us doing an album, it’s hard to tell when but the process has started and it’s sounding very good so far. But it usually takes a lot of time. With my solo stuff I only answer to myself, but now there’s three [of us].” Airbag will hit the road to support the release next year, something they never had the chance to do for A Day At The Beach. “It’s been very frustrating not being able to tour that album and now it seems already old for us, so I’d very much like to do those songs live but now we’re looking forward to the…

Charting The Singular

“One of the identifying aspects of prog music is that you have the opportunity to develop within a long-form structure, and that interests me greatly.” “The night cleaves, revealing shape beyond the road’s unboundaried form, While restless winds of craft and lore coil in transient song, The korax dives the triple seas and hunts the silence of unbroken thought. Inside the gyre time waits with slow stone flame. Draw close to me.” Well established as prog’s (and indeed Prog’s) favourite cellist, Jo Quail has been producing extraordinary music that gleefully defies categorisation for a number of years now. Both as a perpetually ingenious solo artist and as a textural counterpoint to everyone from neofolk icons Wardruna and Japanese post-rock legends MONO to Swedish death metallers At The Gates, she’s steadily…

Charting The Singular

In March 2018, Claudia Brücken and Susanne Freytag reunited at The Garage in Islington, where they performed Propaganda’s 1985 classic, A Secret Wish, in its entirety. It was a move as welcome as it was unexpected. The response, across both sell-out nights, was overwhelming. And inspiring. So much so, in fact, that Brücken and Freytag decided to throw themselves into a new project. Together with producer Stephen Lipson, who oversaw A Secret Wish back in the day, they’ve now reconvened as xPropaganda, a full 35 years since the band’s initial split. “When Susanne and I finally managed to pull off the gig in 2018, it was just so tremendously enjoyable,” explains Brücken. “But we quickly realised that we needed more music for our live shows. To begin with, we were thinking…

An elegant melancholy pervades even if it takes a long time to reach the ears of Everything To Everyone, the fourth solo album from Bjørn Riis, as the guitarist once again spreads his musical wings outside of Norwegian prog mainstays Airbag. Drawing inspiration from Dante’s Inferno and exploring questions around how we present ourselves to the world in the title track or face temptation in The Siren, it’s an album that could have been born on a lonely, windswept hillside under a grey Scandinavian winter sky. But that’s not quite the case. “I think a lot of people have this image of us Norwegians sitting in a cabin on some mountaintop and it’s raining and dark, but most of the stuff I write is done back and forth to work…

Ready To Deploy?

“We’ve slowly been working on new material,” says Riis about Airbag’s progress on the follow-up to 2020’s A Day At The Beach. “I can definitely see us doing an album, it’s hard to tell when but the process has started and it’s sounding very good so far. But it usually takes a lot of time. With my solo stuff I only answer to myself, but now there’s three [of us].” Airbag will hit the road to support the release next year, something they never had the chance to do for A Day At The Beach. “It’s been very frustrating not being able to tour that album and now it seems already old for us, so I’d very much like to do those songs live but now we’re looking forward to…

ONE WAY. OR ANOTHER.

“I think that bands should be allowed to use anything where expression can take them to different places that maybe no one has gone before. That, to me, is progressive.”John Brown On their first album in four years, Monuments’ blend of prog metal seamlessly fuses bruising brutality, soaring vocal hooks and a mosaic of time signatures. New vocalist Andy Cizek marks his arrival in scintillating style, his razor-sharp hooks and seismic range a perfect fit for the band. With the addition of co-producer Mick Gordon, whose iconic soundtracks to the Doom video games have made him a lauded name in metal circles, adding immense depth and detail to the mix, In Stasis represents a band reaching new heights. Yet, despite their accomplishments, Browne admits that there will be those who find…

ONE WAY. OR ANOTHER.

THE PROG INTERVIEW

JEAN-LUC PONTY Having performed since he was a small child, violinist Jean-Luc Ponty has enjoyed a remarkably diverse career. After winning the coveted first prize when he graduated from the internationally respected Paris Conservatory in 1960, it seemed he was destined for a life on the concert platform. However, the 18-year-old Ponty found himself following a different muse and by 1964 he’d released his debut album as a jazz violinist, his first step on a path that would see him wander far. In the mid-60s he established an alliance with the German record label MPS. From there he found himself in North America in 1969 meeting Frank Zappa, performing a cameo appearance on Zappa’s Hot Rats and, in 1970, releasing the album, King Kong: Jean-Luc Ponty Plays The Music Of Frank Zappa. Blessed…

THE PROG INTERVIEW

In March 2018, Claudia Brücken and Susanne Freytag reunited at The Garage in Islington, where they performed Propaganda’s 1985 classic, A Secret Wish, in its entirety. It was a move as welcome as it was unexpected. The response, across both sell-out nights, was overwhelming. And inspiring. So much so, in fact, that Brücken and Freytag decided to throw themselves into a new project. Together with producer Stephen Lipson, who oversaw A Secret Wish back in the day, they’ve now reconvened as xPropaganda, a full 35 years since the band’s initial split. “When Susanne and I finally managed to pull off the gig in 2018, it was just so tremendously enjoyable,” explains Brücken. “But we quickly realised that we needed more music for our live shows. To begin with, we were…

ONE WAY. OR ANOTHER.

“I think that bands should be allowed to use anything where expression can take them to different places that maybe no one has gone before. That, to me, is progressive.”John Brown On their first album in four years, Monuments’ blend of prog metal seamlessly fuses bruising brutality, soaring vocal hooks and a mosaic of time signatures. New vocalist Andy Cizek marks his arrival in scintillating style, his razor-sharp hooks and seismic range a perfect fit for the band. With the addition of co-producer Mick Gordon, whose iconic soundtracks to the Doom video games have made him a lauded name in metal circles, adding immense depth and detail to the mix, In Stasis represents a band reaching new heights. Yet, despite their accomplishments, Browne admits that there will be those who…

ONE WAY. OR ANOTHER.

In a parallel universe, Steven Wilson’s tour for his UK Top 5 album The Future Bites went ahead as planned and his fruitful solo career continued as per the script, which didn’t feature a new Porcupine Tree album. That band ostensibly shut shop in 2010 after touring their 10th album The Incident. But it turns out that Wilson, arch synth texturalist Richard Barbieri and drummer Gavin Harrison (but notably not original bassist Colin Edwin) had been quietly chipping away at new music in the intervening years. When the pandemic struck and the script changed, there was a window to finally finish Porcupine Tree’s 11th studio record. With three such bright, seeking artists involved, Closure/Continuation was never going to be a retread of Deadwing or In Absentia. The musical DNA behind those…

Gold standard art-pop. It took a long time for the two members of No-Man (established 1986) to receive widespread recognition. Steven Wilson, of course, has become an art-rock household name in the past decade for his much-loved mixes for the prog hierarchy, a series of scintillating albums and now his frequently touching autobiography. “It’s a career high point, full of invention, scope and ambition.” The time must surely be right for former bandmate/current podcast co-host Tim Bowness to bask in similar mainstream admiration. Supported by a rhythm section consisting of bassist Nick Beggs and drummer Richard Jupp (the latter in his first major appearance since leaving Elbow), the richly detailed Butterfly Mind is another perceptive instalment in Bowness’ lengthy solo career. Although Bowness’ voice – pure and clear – is front and centre throughout,…

THE PROG INTERVIEW

JEAN-LUC PONTY Having performed since he was a small child, violinist Jean-Luc Ponty has enjoyed a remarkably diverse career. After winning the coveted first prize when he graduated from the internationally respected Paris Conservatory in 1960, it seemed he was destined for a life on the concert platform. However, the 18-year-old Ponty found himself following a different muse and by 1964 he’d released his debut album as a jazz violinist, his first step on a path that would see him wander far. In the mid-60s he established an alliance with the German record label MPS. From there he found himself in North America in 1969 meeting Frank Zappa, performing a cameo appearance on Zappa’s Hot Rats and, in 1970, releasing the album, King Kong: Jean-Luc Ponty Plays The Music Of…

THE PROG INTERVIEW

Made in Japan, with help from Greg Lake. Asia in Asia. What could possibly go wrong? On paper quite a lot, actually. The acrimonious departure of frontman John Wetton saw 11th hour stand-in Greg Lake use a teleprompter onstage as an aide-mémoire, while the Budokan show’s live broadcast to MTV USA via satellite meant the heat was most certainly on. This deluxe box set, with a 40-page book, testifies to Asia’s fortitude and adaptability. Reunited with his ELP bandmate Carl Palmer, Lake is predictably solid, while Steve Howe and Geoff Downes seem energised by Lake’s arrival. With MTV’s Mark Goodman compering and the Japanese fans going uncharacteristically apeshit when Palmer’s drum solo segues into Heat Of The Moment, Asia In Asia is a reminder of an era when prog’s poppier exploits rose…

In a parallel universe, Steven Wilson’s tour for his UK Top 5 album The Future Bites went ahead as planned and his fruitful solo career continued as per the script, which didn’t feature a new Porcupine Tree album. That band ostensibly shut shop in 2010 after touring their 10th album The Incident. But it turns out that Wilson, arch synth texturalist Richard Barbieri and drummer Gavin Harrison (but notably not original bassist Colin Edwin) had been quietly chipping away at new music in the intervening years. When the pandemic struck and the script changed, there was a window to finally finish Porcupine Tree’s 11th studio record. With three such bright, seeking artists involved, Closure/Continuation was never going to be a retread of Deadwing or In Absentia. The musical DNA behind…

THE BARDIC DEPTHS

Melodic, intelligent and convincing concept album from beefed-up collective. The Bardic Depths, led by writer and multi instrument a list Dave Bandana and conceptualist and lyricist Brad Birzer, came together through the Big Big Train Facebook community. Their self-titled 2020 debut was based on the literary friendship between JRR Tolkien and CS Lewis against the backdrop of World War II. Three of the guests from that album – guitarist Gareth Cole, vocalist/sax player Peter Jones and drummer Tim Gehrt – have since joined Bandana Co-produced by Cosmograf’s Robin Armstrong, Promises Of Hope finds the band developing their blend and multilayered rock, of wraith-like soundscapes conceptually exploring the horror of suicide and the possibility of redemption. Employing a palette that ranges from whistles and fiddles to the church organ it all unfolds leisurely.…

THE BARDIC DEPTHS

Gold standard art-pop. It took a long time for the two members of No-Man (established 1986) to receive widespread recognition. Steven Wilson, of course, has become an art-rock household name in the past decade for his much-loved mixes for the prog hierarchy, a series of scintillating albums and now his frequently touching autobiography. “It’s a career high point, full of invention, scope and ambition.” The time must surely be right for former bandmate/current podcast co-host Tim Bowness to bask in similar mainstream admiration. Supported by a rhythm section consisting of bassist Nick Beggs and drummer Richard Jupp (the latter in his first major appearance since leaving Elbow), the richly detailed Butterfly Mind is another perceptive instalment in Bowness’ lengthy solo career. Although Bowness’ voice – pure and clear – is…

Second set full of elegantly rustic odes. The follow-up to 2020’s All That I Am & All That I Was upholds Ms Amy Birks’ penchant for lusciously classical timbres and poignant lyrics. Layered vocals, marching drums, and remorseful piano chords collide to make introductory piece In Our Souls a radiant adaptation of Charlotte Bronte’s poem of the same name. Sister Emily’s work is given a sparser and lighter treatment via A Death Scene, whereas their sibling Anne’s The Dream is transformed into a slightly quirkier singer-songwriter composition punctuated by ethereal chants, woodwind and percussion. Birks’ original lyrical material is equally gorgeous. Folk narrative Elsa’s nuanced instrumentation is a highlight, as are the symphonic and progressive pop elegies Brothers and The Woman In White. Goodnight For Now incorporates acoustic strums and strings for…

Made in Japan, with help from Greg Lake. Asia in Asia. What could possibly go wrong? On paper quite a lot, actually. The acrimonious departure of frontman John Wetton saw 11th hour stand-in Greg Lake use a teleprompter onstage as an aide-mémoire, while the Budokan show’s live broadcast to MTV USA via satellite meant the heat was most certainly on. This deluxe box set, with a 40-page book, testifies to Asia’s fortitude and adaptability. Reunited with his ELP bandmate Carl Palmer, Lake is predictably solid, while Steve Howe and Geoff Downes seem energised by Lake’s arrival. With MTV’s Mark Goodman compering and the Japanese fans going uncharacteristically apeshit when Palmer’s drum solo segues into Heat Of The Moment, Asia In Asia is a reminder of an era when prog’s poppier…

THE BARDIC DEPTHS

Melodic, intelligent and convincing concept album from beefed-up collective. The Bardic Depths, led by writer and multi instrument a list Dave Bandana and conceptualist and lyricist Brad Birzer, came together through the Big Big Train Facebook community. Their self-titled 2020 debut was based on the literary friendship between JRR Tolkien and CS Lewis against the backdrop of World War II. Three of the guests from that album – guitarist Gareth Cole, vocalist/sax player Peter Jones and drummer Tim Gehrt – have since joined Bandana Co-produced by Cosmograf’s Robin Armstrong, Promises Of Hope finds the band developing their blend and multilayered rock, of wraith-like soundscapes conceptually exploring the horror of suicide and the possibility of redemption. Employing a palette that ranges from whistles and fiddles to the church organ it all…

THE BARDIC DEPTHS

A symphony of voices on theatrical debut. Musical theatre meets symphonic metal in the debut release from British singer Archie Caine. The record tells the story of an unhappy wee lad called Tommy whose desire to escape his loveless home brings him into contact with an angel. Caine is joined by Arena’s Damian Wilson as the Narrator and Dianne van Giersbergen as the Angel, while Adrian Benegas, of Paraguan symphonic metal band TRAGUL, plays keys. Musically, Caine and his co-writers, Bo Wilde and Holly Nichol, have an ear for poppy melodies that come to the fore in the upbeat Faster and Losing The Game, while the propensity for bombast and the melodrama of the story recall Jim Steinman. Van Giersbergen hits the loftiest of high notes in Meeting The Angel and Eden,…

Second set full of elegantly rustic odes. The follow-up to 2020’s All That I Am & All That I Was upholds Ms Amy Birks’ penchant for lusciously classical timbres and poignant lyrics. Layered vocals, marching drums, and remorseful piano chords collide to make introductory piece In Our Souls a radiant adaptation of Charlotte Bronte’s poem of the same name. Sister Emily’s work is given a sparser and lighter treatment via A Death Scene, whereas their sibling Anne’s The Dream is transformed into a slightly quirkier singer-songwriter composition punctuated by ethereal chants, woodwind and percussion. Birks’ original lyrical material is equally gorgeous. Folk narrative Elsa’s nuanced instrumentation is a highlight, as are the symphonic and progressive pop elegies Brothers and The Woman In White. Goodnight For Now incorporates acoustic strums and…

JOHN CARPENTER, CODY CARPENTER AND DANIEL DAVIES

Horror master continues to burn. Now that John Carpenter has effectively given up making films, music seems to be taking up more and more of his life. Last year saw the third volume in his Lost Themes series, in conjunction with son Cody and godson Daniel Davies, alongside the score for Halloween Kills, the latest in the ongoing slasher franchise. The trio have wasted no time in getting back to it, shaping the soundtrack to a new film version of Stephen King’s pyrokinetic sci-fi horror Firestarter. Carpenter’s signature moves are in evidence here: jarring synth lines, recurring motifs, sudden spasms of ruptured noise, a pervading sense of imminent peril. It carries echoes of previous scores, particularly Halloween, Escape From New York and Assault On Precinct 13. But Firestarter feels like a full…

JOHN CARPENTER, CODY CARPENTER AND DANIEL DAVIES

A symphony of voices on theatrical debut. Musical theatre meets symphonic metal in the debut release from British singer Archie Caine. The record tells the story of an unhappy wee lad called Tommy whose desire to escape his loveless home brings him into contact with an angel. Caine is joined by Arena’s Damian Wilson as the Narrator and Dianne van Giersbergen as the Angel, while Adrian Benegas, of Paraguan symphonic metal band TRAGUL, plays keys. Musically, Caine and his co-writers, Bo Wilde and Holly Nichol, have an ear for poppy melodies that come to the fore in the upbeat Faster and Losing The Game, while the propensity for bombast and the melodrama of the story recall Jim Steinman. Van Giersbergen hits the loftiest of high notes in Meeting The Angel…

CHILDREN OF THE SÜN

Soulful prog-blues-rock that turns sadness into hope. Beneath Children Of The Sün’s bright, blues and folk-peppered psych rock is a lyrical darkness that talks of toxic relationships and conjuring the strength to escape them. It makes the Swedes’ follow-up to 2019’s Flowers a deep, often poignant album. Atop a sonic template that stirs together elements of The Doors, Janis Joplin and Joni Mitchell, vocalist Josefina Berglund Ekholm’s emotionwrangled voice is its own stirring force and she has a killer instinct for when to put her foot on the gas and when to hold back. Opener Reflection gradually transforms sombre, defeated refrains into the sound of defiance by their soaring crescendos. Elsewhere, Ekholm’s voice slaloms around the understated folk-blues of the title track The Soul and Eden are respectively iced with rasping, soulful…

CHILDREN OF THE SÜN

80th birthday celebration from the progressive 60s’ last great voice. It seems incredible that 54 years have passed since Arthur Brown’s painted face loomed on the nation’s TV sets proclaiming, ‘I am the God of Hellfire!’ as he launched into Fire, his first (and only) chart-topping hit. Perhaps more incredible is that Brown’s multi-octave voice, wild imagination and rebellious spirit is barely dimmed by age on this album recorded with multi-instrumentalist collaborator Rik Patten to be released on Arthur’s 80th birthday in June. “It opens the door to the final phase of his inspirational career.” Before prog there was progressive rock; a genre-trouncing touchstone here along with Brown’s blues roots, innate psychedelia and electronically garnished links that have laced his work since the Crazy World and notably enhanced the concepts charging his groundbreaking…

JOHN CARPENTER, CODY CARPENTER AND DANIEL DAVIES

Horror master continues to burn. Now that John Carpenter has effectively given up making films, music seems to be taking up more and more of his life. Last year saw the third volume in his Lost Themes series, in conjunction with son Cody and godson Daniel Davies, alongside the score for Halloween Kills, the latest in the ongoing slasher franchise. The trio have wasted no time in getting back to it, shaping the soundtrack to a new film version of Stephen King’s pyrokinetic sci-fi horror Firestarter. Carpenter’s signature moves are in evidence here: jarring synth lines, recurring motifs, sudden spasms of ruptured noise, a pervading sense of imminent peril. It carries echoes of previous scores, particularly Halloween, Escape From New York and Assault On Precinct 13. But Firestarter feels like…

JOHN CARPENTER, CODY CARPENTER AND DANIEL DAVIES

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