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Posts Tagged ‘Alex Carpani Band’

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While searching for a suitable title for my customary “year in review” essay, I thought of something that would convey the general mood of my 2014 while emphasizing the role that music had in helping me out of a bout of potentially severe depression. This is how I came out with this title (shared by a song from Rainbow’s iconic Rising album) and the image that goes with it. The first six months of the year were spent in a sort of daze, in which I tried to keep up with listening and reviewing new music, but was increasingly consumed by a job assignment that ultimately got me burned out. Over the summer months I gradually withdrew from social life, and lost most of my interest in music – to the point that, when ProgDay was approaching, I almost decided to bail out and stay home. The low number of posts on my blog bears witness to this sorry state of affairs – which was thankfully brought to an end by a very enjoyable ProgDay experience. Music, as usual, did help me out of a black hole, and so did the friendships I have made over the years thanks to this lifelong passion of mine.

After such an introduction, it will not come as a surprise that many of this year’s highly regarded albums escaped my attention, and even those I did manage to hear did not impress as much as they would have in a different situation. This 2014 overview may therefore contain some glaring omissions, for which I apologize. Keeping track of the staggering number of new releases in the progressive realm is difficult under normal circumstances, and even harder when real life gets in the way.

Although my full-length reviews have become a much rarer item, since February 2014 I have been regularly providing recommendations for an excellent new feature (the brainchild of DPRP longtime collaborator and editor Andy Read) by the name of Something for the Weekend?. Dedicated exclusively to progressive music available for free streaming on invaluable resources such as Progstreaming or Bandcamp, this weekly feature has allowed me to promote the work of many outstanding artists – as well as exploring a lot of exciting new music that might have otherwise flown under the radar. Going back to ProgArchives, the thriving website where I started my career as a reviewer back in 2005 (and also met my husband), after a four-year absence has also been very beneficial in terms of discovering new music and cultivating fulfilling relationships.

The past year saw my personal tastes shift even further away from traditional prog, and wholeheartedly embrace the new incarnations of the genre. While this does not mean I have stopped enjoying classic prog, I recognize that, in the second decade of the 21st century, the genre needs to look forward rather than backward if it is to survive. Speaking of which, having resolutely moved underground is probably the best thing to happen to progressive rock in the past few years. In spite of the many difficulties they face, many progressive artists now produce music to please themselves first and foremost. Without having to obey the constraints of the “market”, artistic creativity can be given free rein, so that we can expect the next few years to be generous with high-quality releases.

My personal “best of 2014” spans different subgenres of prog, with a pronounced emphasis on the eclectic and experimental side of things. Though often labeled as RIO/Avant, my album of the year – Ut Gret’s marvelous Ancestor’s Tale – is the best Canterbury album to be released in a long while (though the band hail from Louisville, Kentucky), and introduced the prog audience to the stunning vocal talents of songstress Cheyenne Mize. Incidentally, another two of my favourite 2014 albums came from bands that have occasionally been associated with the Canterbury sound – though. Like Ut Gret, neither hails from that part of the world. Moraine’s  Groundswell, is their most mature work to date, showcasing the Seattle quintet’s unique brand of ethnic-tinged, contemporary jazz-rock. On the other hand Italian quartet Accordo dei Contrari’s comeback album, AdC , saw them explore heavier territories, though retaining the exquisite sense of melody that distinguishes Giovanni Parmeggiani’s compositional style.

As a whole, 2014 was an uncommonly good year for eclectic releases that avoided the “old wine in new bottles” syndrome. Knifeworld’s sophomore release, The Unraveling, spearheaded this highly individual approach to the creation of progressive rock. Also appearing on Gong’s latest effort, I See You, Knifeworld mainman Kavus Torabi seems poised to replace Steven Wilson as the busiest man in prog, though with a much more genuinely innovative attitude. Torabi’s longtime collaborator and bandmate Emmett Elvin’s Bloody Marvels was true to its title, delivering a series of deeply cinematic, atmospheric pieces mostly performed on acoustic instruments, released on independent British label Bad Elephant Music – which in 2014 distinguished itself as one of the foremost purveyors of interesting progressive fare. Together with Elvin’s album, guitarist Matt Stevens’ Lucid and Trojan Horse’s “pronk” assault World Upside Down proved that the British isles have got more to offer than endless variations on the neo-prog gospel. As for Sound Mirror, the highly touted second album by “new Canterburians” Syd Arthur (their first for the revamped Harvest label), I only managed to get hold of it when I had already started writing this piece: my initial impression is positive, though the album is definitely in a more mainstream vein.

One of the biggest surprises of the year, mentioned as a favourite by many prog fans, came from Norwegian outfit Seven Impale: their furiously sax-driven, full-length debut, City of the Sun, combines echoes of King Crimson and Van Der Graaf Generator with an endearingly zany sense of humour. Fellow Norwegians Major Parkinson’s “cabaret rock” opus Twilight Cinema also drew a lot of rave reviews, as did Swedes Pingvinorkestern’s heady melting pot Push. Spain’s ebullient Cheeto’s Magazine offered more Zappaesque, genre-bending goodness with their debut, Boiling Fowls, while French outfit PoiL’s Brossaklitt went beyond Magma and their offspring, with lyrics in an invented language set to an explosive mixture of punk, jazz and RIO/Avant. From the eastern reaches of Europe, Russian quartet Uphill Work’s third album, Missing Opportunities, struck a fine balance between the traditional song form and eccentric avant-garde.

The sprawling US scene achieved its fair share of cliché-busting releases, such as Atomic Ape’s frenetic debut, Swarm (introducing a revamped lineup of Orange Tulip Conspiracy), or Jack O’The Clock’s mysterious Night Loops, a rather different album from last year’s folksy All My Friends. Bent Knee’s Shiny-Eyed Babies reinterprets art rock in thoroughly modern fashion -occasionally reminiscent of their fellow Bostonians Schooltree, though in a darker, more experimental vein. The Pacific Northwest scene produced the melancholy folk-prog of The Autumn Electric’s Flowers for Ambrosia (featuring Phideaux’s keyboardist Johnny Unicorn) as well as the furious “pronk” of Alex’s Hand’s The Roaches and Badwater Fire Company’s eponymous debut, the elegant eclecticism of The Mercury Tree’s Countenance, and the experimental jazz-rock of Fang Chia’s Where Would You That We Gather?. From New York City came the dirty funk of Tauk’s Collisions and the Zappa-inflected jazz-rock of Trout Cake’s EP Ultrasounds (recommended to fans of Frogg Café). Somewhat more appealing to prog traditionalists, Resistor’s To the Stars blends a lot of diverse influences (think Kansas, Iron Maiden and Jethro Tull jamming together with a very 21st-century attitude) for one of the year’s most intriguing “crossover” offerings, while Dream the Electric Sleep’s powerful second album Heretics treads in grunge/alternative territory. Minneapolis quartet  Galactic Cowboy Orchestra also released a new album, Zombie Mouth, and at the end of August wowed the ProgDay crowd with their sparkling brand of “jazzgrass art-rock”.

Instrumental progressive rock in its many forms continues to be a source of interest and delight. After 2013’s psychedelic opus, The Trip, Djam Karet celebrated their 30th anniversary with the über-laid-back Regenerator 3017, while their label Firepool Records brought to the prog audience’s attention the riveting self-titled debut by Spoke of Shadows, the latest project by Warr guitar wizard Mark Cook (of Herd of Instinct fame) in collaboration with renowned session drummer Bill Bachman. One of the year’s undisputed highlights, however, came once again from the cold climes of Sweden, with Necromonkey’s mesmerizing second album, A Glimpse of Possible Endings – complemented later in the year by a career-defining appearance at ProgDay.

Alongside Moraine’s pristine album, the ever-reliable Moonjune Records provided at least another entry to my personal “best of 2014” list: Belgian songstress Susan Clynes’s delightful debut, Life Is… – a must-listen for fans of Kate Bush and Tori Amos, but also for lovers of contemporary jazz. Keeping up his efforts at promoting the Indonesian progressive jazz-rock scene, Leonardo Pavkovic also brought us the latest opuses from established guitar heroes Tohpati (Tribal Dance) and Dewa Budjana (Surya Namaskar), as well as rising star Tesla Manaf’s self-titled debut, and simakDialog’s Live at Orion (capturing a gig that I was lucky to attend). Another live album, The Third Set, came from Chicago whizz kids Marbin, one of the busiest bands on the planet; while the European scene gave us drummer Xavi Reija’s thunderous Resolution and the majestic modern jazz-rock tour de force of Machine Mass Trio’s Inti.

Milan-based label AltrOck Productions kept its unflagging tradition of delivering high-class material to sophisticated prog listeners looking for distinctive musical experiences: besides the already-mentioned Ut Gret, Accordo dei Contrari and PoiL, the re-release of Geranium by Russian folksy RIO/Avant outfit Vezhlivyi Otkaz, the jazz-rock-meets-space-rock craziness of Wrupk Urei’s Kõik Saab Korda, the almost impenetrable, yet fascinating Avant of Factor Burzaco’s 3, enhanced by Carolina Restuccia’s vertiginous vocals.

Indeed, 2014 was a great year for bands fronted by female vocalists. One of the most anticipated releases of the year was undoubtedly MoeTar’s scintillating Entropy of the Century, a quintessential modern art rock effort showcasing Moorea Dickason’s jaw-dropping vocal skills. Kate Bush fans certainly found a lot to love in Russian duo iamthemorning’s delicate, haunting Belighted. In a similar vein, the debut of Swedish band Nomads of Hope (including two former members of late Seventies band Kultivator), Breaking the Circles for a While, marries folk and medieval music with haunting trip-hop suggestions, while Finnish outfit Aalto’s Ikaro introduces elements of Tuvan throat singing and North Indian raga. Many accolades were also received by Homínido‘s debut Estirpe Litica, another highly eclectic effort featuring some former members of Chilean band La Desoorden.

Plenty of interesting new releases came both from newcomers and seasoned protagonists of the thriving Italian scene: among the many worth mentioning, Fabio Zuffanti’s somberly ambitious La quarta vittima, Alex Carpani Band’s modern symphonic 4 Destinies, FEM’s lush concept Sulla bolla di sapone, Nodo Gordiano’s intricate Nous, Agora’s lovely slice of acoustic jazz-rock Ichinen, Greenwall’s melodic yet whimsical Zappa Zippa Zuppa Zeppa, the space-tinged classic RPI of LogosL’enigma della vita, Tacita Intesa’s dramatic, self-titled debut. On the other hand, Lagartija’s Amore di vinile and Marco Machera’s Dime Novels explored the successful union of prog and singer-songwriter music, while Periplo’s debut, Diario di un malessere passeggero, offered an intriguing slice of stylish chamber rock. Sadly, the Italian prog scene suffered an irreparable loss in February, when legendary Banco vocalist Francesco Di Giacomo was killed in a car crash.

Even if I have grown away from classic symphonic prog, a few 2014 releases brought a breath of fresh air in a subgenre that can often sound stale. Kant Freud Kafka’s No Tengas Miedo brought to mind The Enid’s unique brand of majestic, classical-inspired prog, while Deluge Grander’s powerfully choral Heliotians – printed in only 205 hand-numbered, hand-painted LP copies –distilled the very essence of the modern DIY ethos. Those disappointed with Yes’ recent lackluster recording efforts found a lot of enjoyment in Heliopolis’ bright, feel-good debut, City of the Sun. Australia’s The Merlin Bird’s offered lovely female vocals and pastoral textures in their second album, Chapter and Verse, while Eccentric Orbit went for an all-out, ELP-style keyboard assault in Creation of the Humanoids.

2014 also brought some interesting solo projects, with the brilliant heavy fusion of Dean Watson’s Fantasizer!, the eclectic jazz-rock concept of Superfluous Motor’s Shipwrecked, the hauntingly intimist album by  Bodies Floating Ashore (aka Matt Lebofsky of miRthkon/MoeTar/Secret Chiefs 3 fame), and Simon McKechnie’s brainy, Crimsonian tour de force, Newton’s Alchemy.

Unfortunately, some of this year’s notable releases still remain unheard to this day: for instance, Univers Zéro’s Phosphorescent Dreams (released by an obscure Japanese label, and therefore very hard to find), Gong’s I See You, Secret Chiefs 3’s Ishraqiyun: Perichoresis, KaukasusI, and all of Cuneiform Records’ 2014 output. Other high-profile albums have been discussed in detail by most prog websites, but will not be mentioned here for a number of reasons. I have also refrained from mentioning albums I did not particularly enjoy, because I find negativity ultimately pointless, and also because quite a few fellow music writers have already published comprehensive “year in review” pieces covering many of the albums that have not found a place here.

No “year in review” piece would be complete without a mention of live performances. Even if my personal concert-going activity was very limited in comparison to previous years, 2014 was quite generous in terms of festivals and shows, with the continuing success of ROSfest, the return of Baja Prog (unfortunately suspended for 2015), the second editions of SeaProg and the NJ Proghouse Homecoming Weekend (both confirmed for 2015), ProgDay’s 20th edition, and the Orion Studios‘ marvelous 20th anniversary celebration – as well as the welcome addition of A Day of Prog Art Rock Showcase, organized by the New England Art Rock Society(NewEARS) in the Boston metropolitan area, and Chicago’s two-day Progtoberfest.

My commitment to Something for the Weekend? provided the incentive to explore and actively look for new music to recommend to the feature’s steadily increasing number of readers (50,000 were reached a couple of weeks before the end of the year). What I jokingly call my “collection” of interesting new music bookmarks is also steadily growing. Bandcamp, in particular, is like an underground treasure trove that more and more artists are using to give exposure to their music, embracing a model that rules out any kind of financial gain, but thrives on positive feedback and direct communication with fans. Actively seeking out challenging new music, and making a point of listening to at least one album a day (preferably early in the morning, before I start getting ready to go to work) has become a pleasant routine that has helped me to keep in touch with the scene.

Since many of the albums mentioned in this essay are available for streaming, I hope this lengthy feature will encourage at least some of my readers to click on the hyperlinks and listen to those artists, and perhaps invest a few dollars (or any other currency) to buy a CD or two. As much as I enjoy the classics, I firmly believe that the future of progressive music lies with these people, whose dedication to music often means struggling with less than favourable circumstances, including the lack of support on the part of their intended audience. This essay is dedicated to them, with my most heartfelt thanks for the gift of music and its positive effect on my life.

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Index-MrSax
In many ways, the present review is an unexpected little “miracle”, which only a week ago seemed highly unlikely to happen. Though it will be noticeably shorter and not as detailed as those I wrote for past events, I fervently hope that my readers will not be too disappointed.

When ProgDay started, in the late summer of 1994, no one would have probably thought it would become the world’s longest-running progressive rock festival. As for myself, I was living on the other side of the Atlantic Ocean, and would have never imagined that I would one day move to the United States. Since 2010, however, it has become for me and my husband an appointment that we would not miss for anything in the world. Unfortunately, due to an accumulation of stress (caused by a seemingly endless series of setbacks, professional and otherwise), I was in such poor shape that I doubted the wisdom of attending the festival at all. For almost the whole of 2014’s first eight months I felt as if I was being swallowed by a black hole, slowly losing interest in many of the things that I normally enjoy – music being the chief victim of this state of affairs. I dropped out of the East Coast prog scene completely, shunning concerts and avoiding contact with people. Though I tried to keep up with new releases, most of the music I heard just went over my head, and did not make any lasting impression.

Even if, a mere couple of days before the event, I had regained most of my enthusiasm for it, this year did feel different. For one thing, I felt much less inclined to be a “social butterfly”, and spent a lot of time in my lawn chair, safely sheltered from the sun under the main pavilion, with a book to keep me company and help me concentrate on the music – while my notebook stayed safely tucked in one of the pockets of my tote bag. After a surprisingly mild summer with very pleasant temperatures, Labor Day weekend seemed to concentrate most of the season’s worth of heat and humidity, and being on the field for two days did take its toll, though I was wise enough not to overextend myself, and get enough rest at the end of the day.

To be perfectly honest, my lack of enthusiasm for this year’s festival was not only the product of negative personal circumstances, but was also related to the line-up. Compared to the previous editions I had attended, this was surely the most “conservative” line-up assembled by the organizers, and had become even more so when Mexican outfit Luz de Riada (featuring Ramsés Luna, formerly of the brilliant Cabezas de Cera) were forced to withdraw almost at the very last moment because of a visa-related snag (oh, the joys of the US immigration system!). However, unlike those prog fans I so much like to bash, I know that a band should be seen on stage before being dismissed, and that the apparently unassuming Storybook Farm stage has a way to bring out the best in the artists that tread it. Indeed, I am glad to say that none of the bands invited for 2014 disappointed in that sense, even when their music was not exactly my cup of tea.

On Saturday morning we were once again welcomed by the lush greenery and comforting familiarity of Storybook Farm – a bucolic, relaxed setting that took openers Zombie Frogs, clearly much more used to the unrelenting intensity of metal-based events, by surprise. The youthful (and obviously talented) Boston quintet were more impressive for their stage presence (which included a guitarist with a superb head of reddish-blond dreadlocks) and infectious enthusiasm than for their riff-heavy music, which I found rather hard to get into, and a tad too reminiscent of Dream Theater for comfort. However, they were just what the audience needed to get going at a relatively early hour – and let us not forget that progressive metal (like it or not) remains the best vehicle to introduce the younger generations to the prog scene.

Highly awaited Spanish quintet Kotebel – among the foremost standard-bearers of modern symphonic prog, with enough of an edge to appeal to the notoriously hard to please Avant-Prog set – came on stage next, providing that sharp contrast that is one of the hallmarks of a successful prog festival. Fronted by the engaging father-daughter keyboard duo of Carlos and Adriana Plaza, they performed their latest CD opus, the marvelous Concerto for Piano and Electric Ensemble, holding the audience captive with the sheer beauty and effortless complexity of their music – which completely eschews the pretentiousness all too often associated with classical-inspired prog.

Minnesota’s Galactic Cowboy Orchestra proved to be one of the highlights of the festival for me – in spite of the limitations of occupying the dreaded third slot, when most of the audience are feeling the effects of the increasing heat. A four-piece fronted by the dazzling smile and chops of violinist/vocalist Lisi Wright (whose voice reminded me at times of the incomparable Moorea Dickason of MoeTar), those rightful heirs to Dixie Dregs were probably the most eclectic band on this year’s line-up. Most importantly, they are one of those bands whose music (though already good on CD), truly comes alive on stage, emphasizing the individual members’ skills as well as their flawless ensemble playing.

Though founded by Florentine guitarist/composer Franco Falsini, and part of the original RPI scene of the Seventies, Sensation’s Fix have always been more of an international venture than a genuinely Italian one – and that was also reflected in a sound that evoked historic Krautrock bands such as Ashra Tempel and Agitation Free. Even if perhaps not the best choice as a closing act on a hot and humid day, the Italian-American quartet (again featuring a talented female musician, keyboardist Candace Miller) performed with evident pleasure, the hypnotic, laid-back vibe of the music and Falsini’s riveting guitar tone occasionally bringing to mind Pink Floyd circa Meddle. The band also stayed for the whole of the festival, and seemed to enjoy themselves thoroughly.

Climate-wise, Sunday was very much a repeat of the previous day – tolerable in the morning, much less so as the day progressed. The musical menu started somewhat earlier, as openers Backhand had asked for an extra 15 minutes to play all the material they had put together for the occasion. To me and most of the audience, the Venezuelan outfit were an unknown quantity, though each of its members could boast of an impressive résumé. The songs on the ProgDay website pointed to a prog-flavoured classic rock/AOR outfit, and their performance did not belie that impression – though they sounded immensely better on stage, with Dutch-born keyboardist Adrianus van Woerkom a particular highlight. Vocalist Phil Naro proved a consummate frontman in the Robert Plant/David Coverdale mould, his high tenor sharply bringing to mind the Led Zeppelin singer. Although his trim, lion-maned presence (complete with large belt buckle and mirrored shades) may have been quite at odds with the stereotypical prog canon, there is no denying that it added entertainment value to a context that tends to take itself way too seriously.

With a modern prog legend such as drummer extraordinaire Mattias Olsson at the helm, it is no wonder that Necromonkey were eagerly awaited – especially by those members of the audience who favour the more experimental side of the genre. The presence of two out of four members of the wonderful Gösta Berlings Saga (keyboardist David Lundberg, who is the other official half of Necromonkey, and guitarist Einar Baldursson) created an unmistakable link with the haunting post-rock-meets-Zeuhl sound of the quartet that in 2012 took NEARfest by storm. As good as Necromonkey’s two studio albums are, being performed by a four-piece band (including bassist Kringle Harmonist) took their music to the next level, lending it a well-rounded, quasi-orchestral quality. Though driven by Olsson’s uncannily precise time-keeping and Lundberg’s mellotron and other keyboards, the band’s performance also spotlighted Baldursson’s stunningly beautiful guitar work. For all their very low-key stage presence (quite a contrast with Backhand’s flamboyance), Necromonkey’s set delivered all we were expecting, and more.

In spite of a 15-year-long career and six albums, Travis Larson Band are not exactly a household name in prog circles – very probably because their music is not exactly what most people would call prog. A classic power trio fronted by the tall, lanky Travis Larson, they delivered an energetic, enthusiastic performance that emphasized not only Larson’s dazzling six-string work, but also Jennifer Young’s stunning skills in wielding a bass almost as big as she was, and Dale Moon’s seamless drumming. Unfortunately, by that time the heat and humidity were taking their toll on the audience, and after a while I started finding it hard to concentrate on the music. Thankfully, I will have the opportunity to see the band again in October at the NJ Proghouse Homecoming Weekend, and I am quite sure that an indoor setting might do more justice to their music.

The celebration of a milestone such as a 20th anniversary needed to end with a bang, and I am happy to report that my fellow Italians Alex Carpani Band (featuring legendary ex-VDGG saxophonist David Jackson) provided plenty of fireworks. Again, while their latest album, 4 Destinies, had not made much of an impression on me, in spite of its obvious quality, the live dimension brought the very best out of the Bologna-based quintet. Fronted by the charismatic Joe Sal, whose impressive pipes were honed by his early years as a hard rock singer, the band performed 4 Destinies in its entirety, though alternating their own material with VDGG classics such as Darkness, Killer and Man-Erg. In spite of that, and possibly because of Jackson’s endearing yet unconventional character, ACB’s set avoided the feel of a nostalgia-fest – also because of the remarkable stage craft of each of its members. They sent the crowd into fits of ecstasy by performing PFM’s timeless Impressioni di settembre, followed by an exhilarating version of George Martin’s Theme One. Though the solo spots were a tad overlong, Jackson’s performance alone was worth the price of admission.

As cheesy as it may sound, this 20th edition of ProgDay marked a sort of rebirth for me, after a long period of darkness in which music had become a mere footnote. In the past few years, my tastes have gradually evolved, and I have found myself moving away from a lot of “traditional” prog. On the other hand, though this year’s ProgDay line-up was definitely lighter on the cutting-edge side of things, the overall level of quality was as high as in previous years, offering a nicely balanced mix of subgenres that reflected modern prog’s increasingly diversified nature. And then, the beauty of the setting and the genuinely friendly vibe of the festival have fortunately stayed the same, getting newcomers hooked so that every year there are new additions to the event’s core of loyal supporters.

In any case, in spite of this year’s less than auspicious circumstances, my ProgDay experience was an all-round success, and I want to thank the organizers from the bottom of my heart for their hard work on behalf of non-mainstream music (or, as Travis Larson put it, non-commercial – a better definition to me than the ever-debated “prog” label). As usual, it was wonderful to see friends (that we had not seen for quite a while, and spend quality time with them – which included sampling the delights of local Mexican and Indian restaurants. A special mention goes to HT Riekels and Melissa Palmer, two of the newest converts to the joys of ProgDay, and both also excellent music writers.

This review was written, first and foremost, as a tribute to all the people who made ProgDay’s 20th anniversary such a memorable occasion. I do not yet know whether I will ever go back to writing on a regular basis, as (besides having other priorities) the kind of pace I kept for the past few years is likely to get anyone burned out after a while. However, what truly matters is that the “curse” seems to have been broken, and that I can still appreciate music and feel the inclination to write about it – even if not as much in detail as before. In the meantime, I will continue contributing to the weekly feature Something for the Weekend?, doing my best to spotlight new bands and artists who deserve to be heard. We will see what happens next…

Links:
http://www.progday.net

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