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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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1505

No doubt about it: 2012 was a difficult year for most of us. True to the Italian saying about leap years being unlucky, 2012 ran the gamut from weather-related disasters, wars and other acts of random violence to political malfunction and economic near-collapse, sparing almost no part of the world. There was no lack of disruption in my own little world either. In spite of all my good resolutions, the year started with a few weeks of less than stellar physical condition (nothing serious, but enough to grind most of my projects to a halt), and then I was hit by a double-whammy of bureaucracy-related problems that –  while obviously not tragic – caused enough distress to cast a pall over the remaining months.

It is not surprising, therefore, that in 2012 I have been less prolific a reviewer than in previous years, or that the views on this blog have somehow decreased, though not dramatically so. Constant stress can wreak havoc on inspiration, and at times it was hard to come up with a coherent sentence – let alone an 800-word review. However, in spite of the seemingly endless stream of worry and general annoyance, music has remained a source of delight and (as the title of this essay points out) comfort when things got really tough.

The number of progressive rock-related albums released during 2012 was nothing short of staggering. The second decade of the 21st century started indeed with a bang in 2011, and, at least for the time being, the trend does not show any signs of being reversed. Many of those albums were made available for streaming (at least for a limited time) by websites such as Progstreaming, Bandcamp or Soundcloud, allowing the often cash-strapped fans a “test run”. On the other hand, the sheer volume of new releases made it necessary to pick and choose to avoid being overwhelmed. While confirming the vitality of the genre, this also showed one of the downsides of the digital age – the oversaturation of the market, and frequent lack of quality control.

As my readers know, I do not do “top 10/20/50/100” lists, leaving this exercise to people who are interested in arranging their choices according to a more or less strict order of preference. From my perspective, there have been milestone releases, and others that – while perhaps not equally memorable – still deserve a mention. On any account, even more so than in the previous year, 2012 has emphasized the ever-widening gulf between the retro-oriented and the forward-thinking components of the prog audience. Sometimes, while looking at the reviews pages of some of the leading websites of the genre, I have had the impression that (to paraphrase Rudyard Kipling) the twain shall hardly ever meet. In the US, such a split has been detrimental to the festival scene – though the void left by NEARfest’s demise may lead organizers to step out of their typical audience’s comfort zone in order to attract a more diverse crowd.

Though I am most familiar with albums that I have reviewed, or otherwise own, there are others that have left enough of an impression to deserve a mention in this post. As my choices have been mainly informed by personal taste, I will apologize beforehand for any major omissions. While I may consider those albums essential listening, some of my readers will certainly disagree with me, and suggest their own personal picks –and this is exactly how things should be. Indeed, as the French would say, vive la différence!

Although I have built a reputation as a fan of the more “difficult” stuff, one of my favourite albums of the year (and one that is likely to be featured in many top 10 lists) is an album that, in many respects, is not even “prog” in the conventional sense of the word. However, Echolyn’s self-titled eighth studio album – unlike so many true-blue prog releases – is a masterpiece of songwriting, instrumentally tight without any concessions to self-indulgence, and packing a huge emotional punch. Another highly awaited, almost unexpected comeback – 18 years after the band’s previous studio effort – Änglagård’s third studio album, Viljans Öga, reveals a keen, almost avant-garde edge beneath its pastoral surface, well highlighted in their impeccable NEARfest appearance.

2012 was a milestone year for what I like to call the “new frontier” of prog – less focused on epic grandeur and more song-oriented. In the second decade of the 21st century, “progressive rock” and “song” are not antithetic concepts any longer, and going for 5 minutes instead than 15 is not a sign of sell-out. Three albums in particular stand out: 3RDegree’s The Long Division, a perfect combination of great melodies, intelligent lyrics and outstanding musicianship with the added value of George Dobbs’ Stevie Wonder-influenced vocals; the Magna Carta reissue of MoeTar’s 2010 debut From These Small Seeds, a heady blend of catchy hooks, edgier suggestions and Moorea Dickason’s stellar, jazz-inflected voice; and Syd Arthur’s delightful “modern Canterbury” debut, On And On – infused with the spirit of early Soft Machine and Pink Floyd.

As in the previous years, in 2012 the ever-growing instrumental prog scene produced some outstanding albums. Canadian multi-instrumentalist Dean Watson wowed devotees of high-energy jazz-rock with Imposing Elements, the second installment of his one-man project – inspired by the industrial Gothic paintings of Toronto-based artist Ron Eady. In the early months of 2012, French seven-piece Forgas Band Phenomena made a triumphant recording comeback with the exhilaratingly accomplished Acte V. Another two excellent Cuneiform releases, Ergo’s second album If Not Inertia and Janel & Anthony’s lovely debut, Where Is Home, while not immediately approachable, will gradually win over the discerning listener with their deep emotion and lyricism. In a similar vein, A Room for the Night by drummer extraordinaire John Orsi (the mind behind Providence-based collective Knitting By Twilight) provides a veritable aural feast for percussion lovers. On the cusp of prog, jazz and metal, the aptly-titled Brutal Romance marks the thunderous return of ebullient French power trio Mörglbl, led by Christophe Godin’s humour-laden guitar acrobatics. Leonardo Pavkovic’s Moonjune Records specializes in instrumental music of a consistently high standard of quality, and this year’s landmark releases were no exception: Indonesian powerhouses Ligro (Dictionary 2) and Tohpati Bertiga (Riot), Canadian quartet Mahogany Frog’s rivetingly eclectic Senna, and douBt’s towering Mercy, Pity, Peace & Love – all of them true melting pots of rock, jazz, avant-garde and psychedelia. Also very much worthy of exploration, Kotebel’s Concert for Piano and Electric Ensemble revisits and updates the marriage of classical music and progressive rock with a heady dose of traditional Spanish flavour.

The left-field fringe of the progressive rock spectrum was spearheaded by the tireless efforts of dedicated labels such as Cuneiform Records and AltrOck Productions. One of  2012’s musical milestones – the long-awaited sixth studio album by seminal US Avant outfit Thinking Plague, titled Decline and Fall – was released in the very first weeks of the year. Mike Johnson’s monumentally intricate, intensely gloomy reflection on humankind’s impending Doomsday was complemented by a Thinking Plague-related project of a vastly different nature  – the charming, Old-World whimsy of 3 Mice’s Send Me a Postcard, Dave Willey and Elaine Di Falco’s transatlantic collaboration with Swiss multi-instrumentalist Cédric Vuille. By an intriguing coincidence, almost at the tail end of the year came the stunning live album by one of the foremost modern RIO/Avant outfits, Yugen’s Mirrors – recorded at the 2011 edition of the Rock in Opposition festival in Carmaux (France). A special mention is also deserved by Cuneiform’s touching tribute to RIO icon Lars Hollmer, With Floury Hand (sketches), released four years after the artist’s untimely passing.

On the Zeuhl front, founding fathers Magma made their comeback with the short and unusually low-key Félicité Thosz, proving once again Christian Vander’s versatility and seemingly endless reservoir of ideas; while the US produced an astonishing example of Zeuhl inspired by Aztec mythology – multi-national outfit Corima’s second album Quetzalcoatl. Eclectic albums such as Cucamonga’s Alter Huevo, Inner Ear Brigade’s Rainbro (featuring another extremely talented female vocalist, Melody Ferris) and Stabat Akish’s Nebulos – as well as chamber-rock gems such as Subtilior’s Absence Upon a Ground  and AltrOck Chamber Quartet’s Sonata Islands Goes RIO – reinforced AltrOck’s essential role in the discovery of new, exciting talent on the cutting edge of the progressive rock scene. Also worthy of a mention as regards the Avant-Progressive field are the politically-charged Songs From the Empire by Scott Brazieal, one of the founding fathers of the US Avant scene; the exhilarating Sleep Furiously by English outfit Thumpermonkey;  the wacked-out return of cult Finnish band Alamaailman Vasarat, titled Valta; and French quartet Jack Dupon’s energetic double live CD set, Bascule A Vif . The Avant-Progressive scene was also celebrated in the second episode of José Zegarra Holder and Adele Schmidt’s documentary film series dedicated to progressive rock , Romantic Warriors II – About Rock in Opposition.

The year was also noted for hotly anticipated comebacks from high-profile acts:  first of all, Rush, who were also finally inducted in the Rock and Roll Hall of Fame, for the joy of their substantial following. Their Clockwork Angels, while not a life-altering masterpiece, is definitely their strongest effort in almost 20 years. 2012 also saw the release of Ian Anderson’s Thick As a Brick 2, mixed by none other than Steven Wilson (also responsible in 2012 for the 40th Anniversary edition of King Crimson’s seminal Larks’ Tongues in Aspic) – a solid, well-crafted album, though not on a par with the original. While King Crimson seem to have been put on hold indefinitely, Robert Fripp has not been idle, and the elegant Travis/Fripp CD/DVD package Follow offers a complete aural and visual experience – suitably rarefied yet spiked by almost unexpected electric surges – to diehard fans of the legendary guitarist.

On the “modern prog” front, standard-bearers The Mars Volta’s sixth studio album Noctourniquet marks a return to form for the band, as it is their tightest, most cohesive effort in quite a long time. The Tea Club’s third album, Quickly, Quickly, Quickly confirms the status of the New Jersey band (now a trio) as one of the most interesting modern outfits, with a respectful eye towards the golden age of the genre; while Gazpacho’s deeply atmospheric March of Ghosts offers another fine example of English label KScope’s “post-progressive” direction. In a more accessible vein, Canadian/Ukrainian duo Ummagma’s  pair of debut albums, Ummagma and Antigravity,  will appeal to fans of Kate Bush, Dead Can Dance and Cocteau Twins with their ethereal yet uplifting feel.

Though I cannot call myself a fan of progressive metal, the debut albums by female-fronted German band Effloresce (Coma Ghosts) and Israeli outfit Distorted Harmony (Utopia) made enough of an impression to deserve a mention here; while Diablo Swing Orchestra’s Pandora’s Piñata – the band’s most mature effort to date – transcends the boundaries of the genre.  At the very beginning of the year, Steve Brockmann and George Andrade’s opus AIRS: A Rock Opera updates the classic rock opera format while deftly avoiding the cheesiness of other similar efforts, concentrating on a moving tale of guilt and redemption interpreted by an array of considerable vocal and instrumental talent.

The thriving contemporary psychedelic/space rock scene also produced a slew of fine albums that combine modernity and eclecticism with an unmistakable retro touch: among many others, Øresund Space Collective’s mellow West, Space and Love, Earthling Society’s eerie pagan-fest Stations of the Ghost, Colour Haze’s Krautrock-influenced double CD set She Said, Diagonal’s fiery The Second Mechanism, Astra’s highly awaited (though to these ears not as impressive as the others) second album, The Black Chord. Fans of Krautrock, and Can in particular, should also check out Black and Ginger by Churn Milk Joan, one of the many projects by volcanic English multi-instrumentalist Colin Robinson (of Big Block 454 fame); while Australian band Tame Impala’s Lonerism will appeal to those who like psychedelic rock in a song-based format.

As prolific and varied as ever, the Italian progressive rock scene produced a number of remarkable albums ranging from the classic symphonic prog of Höstsonaten’s The Rime of the Ancient Mariner Pt. 1, Alphataurus’ comeback AttosecondO and Locanda delle Fate’s The Missing Fireflies (featuring both older and new material) to more left-field fare such as Nichelodeon’s live album NO, Stereokimono’s Intergalactic Art Café and Daal’s Dodecahedron. Another of Fabio Zuffanti’s many projects besides Höstsonaten, L’Ombra della Sera, presents an appealingly Gothic-tinged, almost completely instrumental homage to the soundtracks of cult Italian TV series of the Seventies. Aldo Tagliapietra’s Nella Pietra e Nel Vento, his first release after his split from Le Orme, a classy, prog-tinged singer-songwriter effort, boasts a splendid cover by Paul Whitehead. The prize of most impressive RPI album of the year, however, goes to Il Bacio della Medusa’s ultra-dramatic historical concept Deus Lo Vult, with side project Ornithos’ eclectic debut La Trasfigurazione a close second.

Of the many “traditional” prog albums released in 2012, one in particular stands out on account of its superb songwriting: Big Big Train’s English Electric Pt 1, an effort of great distinction though not as impressive as its predecessor, 2009’s The Underfall Yard. Autumn Chorus’ debut The Village to the Vale also celebrates the glories of England’s green and pleasant land with a near-perfect marriage of pastoral symphonic prog and haunting post-rock; while Israeli outfit Musica Ficta’s A Child & A Well (originally released in 2006) blends ancient and folk music suggestions with jazz and symphonic prog. Released just three weeks before the end of the year, Shadow Circus’ third album, On a Dark and Stormy Night (their first for 10T Records), based on Madeleine L’Engle’s cult novel A Wrinkle in Time, fuses symphonic prog with classic and hard rock in an exhilarating mixture. On the other hand, Pacific Northwest trio Dissonati’s debut, Reductio Ad Absurdum, gives classic prog modes a makeover with influences from new wave and avant-garde. Highly touted outfit District 97’s sophomore effort, Trouble With Machines, proves that the Chicago band is much more than a nine days’ wonder, showcasing their  tighter songwriting skills, as well as vocalist/frontwoman Leslie Hunt’s undeniable talent and charisma.

With such a huge wealth of releases, it was materially impossible for me to listen to everything I would have wanted to, and my personal circumstances often impaired my enjoyment of music, as well as my concentration. Among the releases of note that I missed in 2012 (though I still hope to be able to hear in 2013), I will mention Beardfish’s The Void, Anathema’s Weather Systems, Dead Can Dance’s comeback Anastasis, Godspeed You! Black Emperor’s Allelujah! Don’t Bend! Ascend! (another comeback, released after a 10-year hiatus), AranisMade in Belgium, The Muffins’ Mother Tongue, Alec K. Redfearn and the EyesoresSister Death, and Motorpsycho’s The Death-Defying Unicorn. All of these albums have been very positively received by the prog community, even if they will not necessarily appeal to everyone.

As was the case with my 2011 retrospective, quite a few highly acclaimed prog albums will be missing from this article. This implies no judgment in terms of intrinsic quality, but is simply determined by personal taste. Albums such as The Flower KingsBanks of Eden, Marillion’s Sounds That Can’t Be Made or IZZ’s Crush of Night (to name but three) –although thoroughly professional and excellent from a musical point of view – failed to set my world on fire. A pure matter of chemistry – as further demonstrated by my lack of enthusiasm for Storm Corrosion’s self-titled album (which reflected my reaction to Steven Wilson’s Grace for Drowning in 2011), or Mike Keneally’s undoubtedly outstanding Wing Beat Fantastic, co-written with Andy Partridge of XTC fame.

2012 was also a great year for live music, with both big names and new talent hitting the road. While we missed some of the former (such as Rush and Peter Gabriel), as well as this year’s edition of RoSfest,  the one-two punch of NEARfest Apocalypse and ProgDay 2012 more than made up for it. Unfortunately, the all-out Seventies bash named FarFest, organized by a veteran of the US prog scene such as Greg Walker, and planned for early October 2012 – was cancelled due to poor ticket sales, reinforcing the impression that the era of larger-scale prog festivals may well be coming to an end (in spite of the announcement of Baja Prog’s return in the spring of 2013). On the other hand, the much less ambitious ProgDay model is likely to become the way forward, as are the smaller, intimate gigs organized by people such as Mike Potter of Orion Studios, the NJ Proghouse “staph”, and our very own DC-SOAR.

With an impressive list of forthcoming releases for every progressive taste, 2013 looks set up to be as great a year as the previous two. In the meantime, we should continue to support the independent music scene in our best capacity – not just by buying albums or writing about them, but also attending gigs and generally maintaining a positive, constructive attitude. I would also like to thank all my friends and readers for their input and encouragement, which has been invaluable especially whenever the pressures of “real life” became too hard to bear. If this piece has seen the light of day, it is because you have made me feel that it was still worth it.

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