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Posts Tagged ‘Luz de Riada’

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I hope my readers will forgive me if this post is somewhat less detailed than the ones I wrote in the past, as up to the very last moment I was not sure I felt up to writing my usual “Best of the Year” piece. However, I have tried my best to comment on the many highlights of a year that – while utterly dismal in terms of global events – was definitely a bumper year for interesting progressive music.

In my native Italy, leap years are considered unlucky, and 2016 did nothing to dispel this myth, crammed as it was with global turmoil and high-profile deaths. For prog fans, this year will go down in history for the double whammy of Keith Emerson and Greg Lake’s loss, as well as David Bowie’s passing a couple of days after the release of his Blackstar album. On the other and, while many of the protagonists of prog’s heyday have started leaving this planet, the younger generations – though faced with a world increasingly uncaring about music as an art form – have been forging a path ahead for the progressive genre, often displaying the barest of affiliations to the modes of the past. A few of the names that will appear in this post, as well as in many fans’ lists, have received warm accolades in the  “mainstream” press, and are therefore getting exposed to more diverse audiences. In many ways, these artists resemble the original prog generation in their desire to explore and experiment, rather than stick to a tried-and-tested formula as the “retro” acts do.

Even if lately my reviewing activity has been almost non-existent, I have kept in touch with new releases through my regular participation in DPRP’s Something for the Weekend? feature. On the other hand, a lot of highly rated 2016 albums have flown directly under my radar, so anyone who wishes to read further should take the absence of a rather large number of prog fans’ favourites into account – as the title of this post makes it quite clear. As usual, I have not had either the time or the inclination (or both) to listen to many of the albums that are prominently featured in many people’s Top 10 (or 20, or 50…) lists, because the amount of music released during the past 12 months under the increasingly broad “progressive” label was nothing short of staggering. And then, in all honesty, my tastes have been steadily drifting away from the traditional prog still enthusiastically embraced by both artists and fans. While I still have a lot of time for the classics, I am constantly on the lookout for modern music that will redefine the prog label without sounding derivative. In this respect, 2016 was like a 12-month Christmas.

For this edition, I have decided to adopt a similar format to the one used by my esteemed friend and fellow reviewer, Roger Trenwith, on his excellent Astounded by Sound! blog. In this way, I will still avoid the dreaded (though popular) numbered list, and at the same time make it somewhat easier for my readers to pick out albums. Although the order of appearance may partly reflect my own preferences, all the albums briefly described in the following paragraphs are well worth checking out. I have tried to include all those albums that have impressed me during the past 12 months, (many of which have already been recommended by me or my fellow reviewers on Something for the Weekend?) though obviously there are bound to be omissions for which I apologize beforehand. Links to Bandcamp or other streaming services are provided whenever available.

And here we go…

Knifeworld – Bottled Out of Eden (UK) – A real joy from start to finish, as intricate and eclectic as the best vintage prog,  Knifeworld’s third release is yet another winner from prog’s other busiest man, the one and only Kavus Torabi.

North Sea Radio OrchestraDronne (UK)  – Another Cardiacs-related effort, the fourth album by the ensemble led by Craig Fortnam is pure class, brimming with ethereal beauty and sterling performances.

Bent KneeSay So (USA) – The third full-length release from the Boston crew led by charismatic vocalist Courtney Swain boasts interesting songwriting and an almost punky edge, tempered by a sort of  confessional vibe.

Gong Rejoice! I’m Dead! (Multi-national) – Though Daevid Allen may be gone from this earthly plane, he left his beloved creature in the trusty hands of Kavus Torabi (again!), who gives the album a modern edge while paying homage to the band’s decades-long history.

Gösta Berlings SagaSersophane (Sweden) – Released just two weeks before the end of the year, the long-awaited fourth album from the magnificent Swedes (augmented, as usual, by Mattias Olsson) brings 2016 to a close with a bang. 40 minutes of stunningly hypnotic instrumental music by one of the finest bands in the business.

Deus Ex MachinaDevoto (Italy) – Another highly awaited comeback from one of Italy’s most distinctive bands, chock full of energy, melody and outstanding performances – though without any Latin in sight.

YugenDeath by Water (Italy) – The iconic Milan-based ensemble led by guitarist Francesco Zago is back with a dense, austere album that demands a lot from the listener. Modern Avant-Prog at its finest.

ZhongyuZhongyu (USA) –  Seamlessly blending jazz-rock, Avant-Prog, Far Eastern music and improvisation, the debut album by Jon Davis’ Seattle-based quintet (featuring three members of Moraine) is a must-listen for lovers of cutting-edge instrumental prog.

Richard Pinhas & Barry ClevelandMu (Multi-national) – Beautifully atmospheric music performed by a quartet of extremely gifted musicians – guitarists Pinhas and Cleveland plus the extraordinary rhythm section of Michael Manring and Celso Alberti.

Mamma Non PiangereN.3 (Italy) – The triumphant return of the veteran Italian RIO/Avant outfit will put a smile on your face,even if you do not understand the language. Stunning vocal performance from Laura Agostinelli of Garamond.

Jeremy FlowerThe Real Me (USA) – Carla Kihlstedt lends her vocals and violin to this lovely album from a gifted Boston-based musician. Top-class, surprisingly accessible chamber pop.

Finnegan ShanahanThe Two Halves (USA) – A charming, chamber prog-meets-Celtic folk debut for a talented young musician.

The WinstonsThe Winstons (Italy) – Three established indie musicians from Italy pay homage to early Soft Machine inone of the very few unabashedly retro efforts that actually works.

PanzerpappaPestrottedans (Norway) – Avant-Prog that will not scare first-timers away with a distinct new-Canterbury flavour from one of Norway’s most reliable bands

CorimaAmaterasu (USA) – Magma meets punk in the highly anticipated sophomore release of California’s electrifying Zeuhl-ers.

Chromb! – 1000 (France) – The Lyon scene is a real treasure trove of great bands exploring the many facets of the Avant universe – as illustrated by Chromb!’s outstanding third album.

UkandanzAwo (France) – What would happen if you crossed traditional Ethiopian music with RIO/Avant? The answer is Ukandanz –another winner from the seemingly inexhaustible  Lyon scene.

Herd of InstinctManifestation (USA) –  Intense and mysterious, yet pervasively melodic, the Texas band’s third album displays a stronger influence from their Djam Karet mentors than their previous releases.

Emmett ElvinAssault on the Tyranny of Reason (UK) – Proudly eclectic (and unexpectedly fun) effort from the man behind the keyboards of modern prog giants Knifeworld, Guapo and Chrome Hoof.

French TV –  Ambassadors of Health and Clean Living (USA) – Mike Sary’s veteran project’s comeback, recorded with the members of Japanese instrumental band TEE, offers a challenging  blend of RIO/Avant and jazz-rock.

Jack O’ The ClockRepetitions Of The Old City I (USA) – The latest effort from Damon Waitkus’ crew confirms their status as purveyors of unique-sounding chamber rock.

AmpledeedBYOB (USA) – The second album from the Californian band brings more top-notch art rock with plenty of diverse influences

Luz de RiadaCuentos y Fabulas 3 (Mexico) – Ramsés Luna’s collective sounds like almost nothing else, though of course fans of Cabezas de Cera will found a lot to love in this album.

Nicotina Es PrimaveraAnimal Cerámico (Argentina) – From the thriving Argentinian scene, sophisticated yet accessible Avant-Prog from an excellent new band.

Amoeba SplitSecond Split (Spain) – The Canterbury sound gets a 21-st century makeover in this outstanding instrumental album

Half Past FourLand of the Blind (Canada) – The irrepressible Canadians pack more into an EP than many bands in 80 minutes. Quirky, elegant and fun modern prog.

UlverATGCLVLSSCAP (Norway) – The mighty Norwegians’ homage to vintage Krautrock is pristinely beautiful.

a.P.A.t.T.Fun With Music (UK) – Just what the title says. Everything-but-the-kitchen-sink eclecticism rules!

Ill WickerUntamed (Sweden) – Dark, haunting acid-folk inspired by Comus and other Seventies cult bands.

VesperoLique Mekwas (Russia) – Russia’s answer to Ozric Tentacles deploy their whole arsenal of psych/space rock with intriguing world music touches.

PsychoyogiShrine (UK) – Short but sweet 2016 release from one of the UK scene’s hidden treasures – a must for “new Canterbury” fans.

Simon McKechnieFrom My Head to My Feet (UK) –  Another lesson on how to add interest and progressive quotient to the song format from one of the genre’s unsung heroes.

David BowieBlackstar (UK)  – Released just before his unexpected passing, Bowie’s swan song is a riveting testimony to his undimmed creative spirit.

N.y.X.The News (Italy) – Darkly Crimsonian vibes abound in the northern Italian trio’s second album.

Axon/NeuronMetamorphosis (USA) – An eclectic double CD for an excellent female-fronted band in the MoeTar vein.

iNFiNiENLight at the Endless Tunnel (USA) – Third album for another MoeTar-inspired band, with artwork from Tarik Ragab himself.

The Stargazer’s AssistantRemoteness of Light – Mesmerizing, multilayered soundscapes from Guapo drummer David J. Smith.

SternpostStatues Asleep (Sweden) – Ethereal, sophisticated chamber-pop reminiscent of Robert Wyatt.

Yawning ManHistorical Graffiti (USA) – A stunning instrumental “desert rock” album recorded in Argentina from an excellent southern California outfit.

Iron MountainUnum (Ireland) – Post-rock meets folk-metal  in this intriguing instrumental album.

Vaults of ZinKadath (USA) – HP Lovecraft-inspired Avant-Zeuhl-Metal.

Thank You ScientistStranger Heads Prevail (USA) – Energetic prog-pop from New Jersey’s wrecking crew.

The Mercury TreePermutations (USA) – Intricate, guitar-based modern prog from a band in constant development.

EdensongYears in the Garden of Years (USA) – The long-awaited second album from the New Jersey band will not disappoint fans of hard-edged prog.

ShamblemathsShamblemaths (Norway)  – Ambitious debut from another promising Norwegian outfit – eclectic prog at its finest.

Seven ImpaleContrapasso (Norway) – A darker, more intense follow-up to their highly praised debut.

Disen GageSnapshots (Russia) – Eclectic, guitar-based instrumental prog with a playful edge.

Factor Burzaco3.76 (Argentina) – New versions of older material from Argentina’s leading Avant-Prog outfit.

BubuResplandor (Argentina) – A short but highly satisfying comeback from a band that fully deserves its cult status.

GriotGerald (Portugal) – The concept album reinterpreted in modern art-rock terms.

Mothertongue – <em>Unsongs (UK) – Exhilarating, brass-led progressive pop.

AfenginnOpus (Sweden) – Haunting Scandinavian prog-folk.

Violeta de OutonoSpaces (Brazil) – Psych-space meets Canterbury with a South American flavour.

The Observatory – <em>August Is the Cruellest (Singapore) – Moody, melancholy post-rock inspired by T.S. Eliot’s poetry.

MacroscreamMacroscream (Italy) – The second album of this Roman six-piece hovers between tradition and quirkiness.

Il Rumore BiancoAntropocene (Italy) – RPI with an edge for the full-length debut of this band from Verona.

Syndone Eros e Thanatos (Italy)Cinematic RPI with echoes of Van Der Graaf.

Mad FellazII (Italy) – For fans of the jazzier, funkier side of Italian prog.

Alex’s HandKünstler Sch***e (USA) – Another Avant-punk opus from the Seattle crew.

Horse LordsInterventions (USA) – African-inspired polyrhythms and a saxophone that sounds just like a guitar. Oh my!

Za!Loloismo (Spain) – A percussion-driven mix of styles with an almost tribal flair.

GoatRequiem (Sweden) – African rhythms (again!) meet psychedelic rock with interesting results.

Sparkle in GreyBrahim Izdag (Italy) – A celebration of multiculturalism through rock, electronics and a lot more.

Savoldelli/Casarano/BardosciaThe Great Jazz Gig in the Sky (Italy) – One of the most brilliant ideas ever for a tribute album. Jazz and Dark Side of the Moon are a match made in heaven!

Pluck & RailTrigger (USA) – A fine roots/folk album featuring Frogg Café’s Andrew Sussman

TilesPretending 2 Run (USA) – The ambitious return of  the Detroit heavy proggers is a double CD package put together with the utmost care.

Sonus UmbraBeyond the Panopticon (USA) – Heavy yet melodic, atmospheric comeback from the Chicago-based septet led by Luis Nasser.

Mike KershawWhat Lies Beneath (UK) – Melancholy, atmospheric song-based progressive rock

Matthew ParmenterAll Our Yesterdays (USA) –  A collection of classy, deeply emotional songs from Discipline’s mainman.

Fractal MirrorSlow Burn 1 (The Netherlands) – Another laid-back album of song-based modern art rock

iamthemorningLighthouse (Russia) – Ethereal and delicate offering from the highly-regarded Russian duo.

MarbinGoat Man and the House of the Dead (USA) – Eclectic, high-energy fusion from one of the progressive scene’s busiest bands.

Though as a rule I generally mention albums I have heard in their entirety, this year I will make an exception for a handful of interesting albums that – for some reason or another – I have managed to listen to only partially:

Stick MenProg Noir (Multi-national) – Waiting for King Crimson to release some new material, here is a feast for lovers of touch guitars and intricate polyrhythms.

MoulettesPreternatural (UK) – Mythical creatures inspire this slice of  exciting, hyper-eclectic “wonky pop”.

The Sea NymphsOn the Dry Land (UK) – The second of the “lost” albums by Cardiacs’ spin-off trio is elegiac and whimsical.

Bob DrakeArx Pilosa (USA/France) – A collection of bite-sized Avant-Pop songs from one of Thinking Plague’s founders.

Free Salamander ExhibitUndestroyed (USA) – The much-anticipated return of some former members of Sleepytime Gorilla Museum hits all the right buttons.

Three Trapped TigersSilent Earthling (UK) – Hypnotic yet surprisingly melodic take on math-rock.

Although, as I pointed out in the introduction,  in my list there are quite a few of what the average prog fan would consider glaring omissions, I believe that the majority of the music mentioned above has the potential to appeal to anyone but the most hidebound listeners. It might not be “your father’s prog”, but it is definitely worth a try if you want to expand your musical horizons – and support a bunch of highly deserving artists (and the independent labels that keep up the good work in spite of all the setbacks) in the process.

Before I bring this rather lengthy post to a close, I would like to spend a few words on the question of reviews, or lack thereof. As much as I would love to start reviewing again on a regular basis, I do not see myself resuming that activity – which was of great comfort to me in difficult times – on the scale of the earlier years of this decade. In a person’s life there is probably a time for everything, and my career as a reviewer was probably fated to be a short (though intense) one. I will keep this blog alive on behalf of the many bands and artists whom I wrote about in the past few years, and for publishing the occasional piece like this one. However, I believe it is time to pass the torch to other reviewers, who are much more prolific and reliable than I have been since 2013 or so. I will keep up my contributions to Something for the Weekend? as a means of spreading the word about new music, as well as occasionally adding some band to the ProgArchives database. In the meantime, while we wait for the first 2017 releases, I hope my readers will discover at least one new band or solo artist by browsing my suggestions. Happy listening, and a great 2017 to everyone!

 

 

 

 

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 Art-MovedByThePiper-B&W

Though 2016, unlike the past couple of years, has been a relatively positive year for me, I am still suffering from an overload of stress. As a consequence, in the weeks leading to the festival I was not really “feeling” it as I usually do. Coupled with a few minor physical issues, this state of affairs might have resulted in a definitely lower-key ProgDay. However, I am happy to report that, even if I was not at my best, my enjoyment of the festival as a whole did not suffer at all. Things might have been much worse if the weather had been a repeat of 2012, with its killer heat and humidity – something I deeply feared, after two very hot months. However, the weather was the best I have ever experienced in my seven years as a ProgDay attendee – even better than last year. Being able to wear a lightweight jacket on Saturday morning and evening felt almost like a luxury, and even Sunday’s warmer temperature was thoroughly pleasant and comfortable.

The days leading to what has become one of the bright spots of the year for us and a lot of other people were rife with uncertainty because of the whims of Mother Nature, embodied by a pesky hurricane/tropical storm named Hermine. Forums and social media abounded with posts of people following every twist and turn of the weather situation, while the organizers, already on site, were pondering whether to move the first day of the festival to the back-up venue – something that could have proved to be a much bigger headache than the rain. While we had left our Northern Virginia home under a sunny sky, the cloud cover intensified as we drove south, though the rain only made its appearance as we were nearing the hotel. On Friday afternoon, it rained on and off, but never excessively, and everyone was elated when the decision to hold the first day at the farm was announced. ProgDay’s idyllic outdoor setting is one of the festival’s biggest charms, especially for people who come from urban areas and see too much asphalt and concrete in their everyday life.

Entering the lobby of the Comfort Inn and seeing familiar faces after a year or more is always a rewarding experience. This year we were particularly happy to find our friend Michael Inman, back in the fold after a year’s absence. The afternoon was spent reconnecting with friends and acquaintances, as well as a bit of shopping. We left early for dinner at our regular Friday night spot – the excellent Mexican restaurant just down the road – and, after some more after-dinner socializing in the lobby, we headed off to bed.

Saturday morning dawned nice and cool, cloudy but with no rain in sight. Unfortunately, my enjoyment of the first day was impaired by an almost sleepless night, and during the second set I was feeling rather down. Thankfully the cool breeze helped clear my head a bit, though I would be lying if I said that I was able to revert completely to my normal self.

Though Luz De Riada had been scheduled to perform two years ago, some snag intervened to prevent their participation. A project by former Cabezas de Cera member Ramsés Luna with  a revolving cast of gifted musicians from Mexico and other Latin American countries, the band has released a trilogy of albums titled Cuentos y Fábulas. Since everything Ramsés touches seems to turn into gold (as witnessed by Pascal Gutman Trio’s stellar performance at last year’s edition), they were one of the bands I was most interested in seeing. The presence of bassist Luis Nasser (of Sonus Umbra/Might Could fame) was an added bonus, as I had never been able to see him on stage, despite having known him for a few years. My expectations were not disappointed, because Luz De Riada played an outstanding set. Luis’ spirited introductions were entertaining as well as informative, and the music possessed all the qualities I look for in a progressive rock band – mysterious, edgy yet melodic, and full of tantalizing ethnic influences, not to mention very original. Though some echoes of King Crimson surfaced at times (not a bad thing at all in my book), there was no whiff of derivativeness in the band’s performance. They also put up a great show, with Ramsés playing woodwinds and at the same time triggering intriguing MIDI effects, and Luis dominating the scene with his impressive bass playing and charismatic figure. Guitarist Aaron Geller (also a member of acoustic guitar quartet Might Could) and drummer Brandon Cameron were no slouches either, each of them contributing to the tight, heady fabric of the music. Luz De Riada were definitely one of the best openers ever seen at ProgDay, and  a band I hope to see on stage again soon.

The second band on the Saturday menu was a completely unknown quantity to me and to most of the other attendees – rather unusual for a group of people who tend to be knowledgeable about the most obscure acts under the “progressive” umbrella. Jonathan Scales Fourchestra brought to the ever-eclectic ProgDay roster the sound of an instrument not generally associated with “our” genre, the steel pan drums. The talented trio (not a quartet, in spite of the name!) from Asheville – featuring Scales together with bassist Jay White and drummer Chaisaray Schenk – played a set of eclectic jazz-rock driven by the distinctive sound of the steel pans – a mainstay of Caribbean musical genres such as calypso. Like most other idiophones, the steel pans can be rather overpowering, and after a while my attention started to wander a bit – a situation not helped by the fact that I was suffering from lack of proper sleep. However, a lot of people (including my husband) loved them, and I believe they were a great way to expose the ProgDay crowd to something different from the usual progressive rock fare.

As I had committed to helping José and Adele (of Romantic Warriors fame) with interviewing the members of Deus Ex Machina for their upcoming RPI feature, I completely missed Eye’s set. Judging by the music I could hear from the back of the field, where we had retreated to find a quieter spot, I could detect Hawkwind, Deep Purple and Black Sabbath influences – which, as a fan of classic hard rock, made me regret what I was missing, especially after hearing about how keyboardist Lisa Bella Donna had rocked the Hammond organ, one of my favourite rock instruments. What I had heard of the band’s recorded output had left me rather cold, but I suspected (and rightly so) that they would deliver the goods on stage. Most of the people I spoke to when I came back to the field found them hugely entertaining, and thought they were an excellent addition to the festival. Retro-oriented music, when done properly, and with an eye (pardon the pun) to entertainment, is something I can enjoy as much as more modern stuff.

Because of the above-mentioned interview, I had got to know my fellow Italians Deus Ex Machina quite well before they stepped on stage for their long-awaited set – the first on US soil in over 10 years, and 20 years after their first ProgDay. With an excellent new album (Devoto) out, the first after an eight-year hiatus, the Bologna-based six-piece had lost none of the energy and  drive that had made them firm favourites of the US prog audience. Fronted by charismatic vocalist Alberto Piras, the band performed at the top of their game, their flawless proficiency put at the service of the music rather than the other way around. While they would never claim to be the most innovative of bands, their intense yet melodic brand of Mediterranean-flavoured jazz-rock (with an emphasis on the second part of the word) translated seamlessly to the stage, and provided a perfect closer to the day. As a native Italian speaker, I especially appreciated the way Alberto wraps his stunning voice (reminiscent of the late, great Demetrio Stratos, but also very much his own) around the syllables of the often long, complex words he uses in the song lyrics. All the six members interacted with the ease of a long association (made even stronger by the bonds of friendship), without once giving the impression of sacrificing spontaneity on the altar of technical skill. All in all, Deus Ex Machina’s performance was every bit as good as I expected, and ended the day on a very satisfying note. For me it was also a real pleasure to spend time with the band members, speaking my native tongue and exchanging impressions on a wide range of subjects.

After a lovely Japanese-Korean dinner with a group of friends, we retired relatively early, and I was able to enjoy a refreshing night’s sleep, which definitely made the festival’s second day more enjoyable. The weather was as gorgeous as it can be in early September – sunny yet breezy, and blissfully dry. By 10.30, the first band of the day – Philadelphia quartet In the Presence of Wolves – were ready to take to the stage. As usual on Sunday mornings, people were somewhat sleepy, and the organizers had chosen the opening act with that in mind. As with Eye, the music I had heard prior to the festival had not made much of an impression; however, as it is generally the case with young bands, I was expecting them to deliver the goods live – and they did. A couple of songs into their set, everyone on the field was wide awake, some even headbanging and throwing shapes. The band’s boundless energy was a pleasure to watch, and their hard-hitting music had enough sophistication to please those prog fans open-minded enough not to cringe at the very mention of metal. Though they were obviously not used to prog audiences, the members of In the Presence of Wolves were thrilled at the opportunity to perform at ProgDay. To be perfectly honest, I found the vocals a bit of a turn-off at first (in part due to the sound problems that plagued most of the day); however, as a whole I enjoyed  the set, whose high point was a cracking cover of The Mars Volta’s “Goliath”, one of my favourite songs by Omar Rodriguez-Lopez’s crew.

Among the last bands to be announced, Long Island quartet Ad Astra was another band I had not been acquainted with before the festival. Led by guitarist Joe Nardulli, they play a brand of instrumental prog that might be labeled as “symphonic fusion”, based on the interplay between guitar and keyboards. Unfortunately, the sound issues that had started rearing their ugly head during the previous set came into full force while Ad Astra were on stage, especially affecting the keyboards, whose tinny, Eighties-style sound did not do the music any favours. Though the band members’ technical skill could not be faulted, and their enthusiasm at being part of the festival was palpable, Ad Astra’s music was fluid and pleasant but hardly memorable. The compositions blended into each other without a lot of variation, eventually fading into the background, and the band’s rather static stage presence compounded the issue. On the other hand, while I and other friends found it hard to connect with the music, many other attendees seemed to appreciate what they were hearing – which is just how things should be. One of ProgDay’s strengths lies in its eclectic lineups, offering something for everyone. As much as I would love a whole lineup made of cutting-edge bands, a good festival needs variety, and ProgDay has always offered variety in spades.

Together with Deus Ex Machina and, to a certain extent, rising stars Bent Knee, Discipline were ProgDay 2016’s biggest draw, and not only for sentimental reasons. The return of the “house band” of the festival’s first six years accounted for much of this year’s above-average attendance. The only “traditional” prog band on the lineup, Discipline bring to the genre that sense of angst and darkness perfected by Van Der Graaf Generator in prog’s heyday. Though these days Matthew Parmenter sits behind the keyboards, his white face paint and all-black garb his only concessions to theatricality, he lets his measured gestures and facial expressions speak as effectively as his whole body did when he was a full-fledged frontman. At ProgDay he was at the top of his game, at times wielding his voice like a weapon, at others whispering almost soothingly. With a longer than average set that comprised a whopping three epics – the magnificent “Rogue”, as well as “Crutches” and “Canto IV” – they pulled out all the stops. Guitarist Chris Herin (also a member of fellow Detroit outfit Tiles) finally got to put his stamp on the material, especially during the aforementioned “Rogue”, which relies a lot on the interaction between keyboards and guitar. While the new track premiered for the benefit of the ProgDay audience, “Life Imitates Art”, left me somewhat cold, the overall strength of the material, coupled with the band’s flawless performance, made for a deeply satisfying experience, which not even the ever-present sound issues could affect. The set’s emotional punch was intensified by Peter Renfro’s warm-hearted introduction, reminiscing about the festival’s early years, especially that edition of 20 years ago that saw Discipline and Deus Ex Machina share the Storybook Farm stage for the first time.

Hot on the heels of their first European tour, Boston sextet Bent Knee arrived on the ProgDay stage surrounded by high expectations. In the past year or so, they have come from being an unknown quantity to reaping huge amounts of praise, fast becoming one of the modern prog scene’s highest-touted acts. I actually was one of the first people to discover them through their second album, Shiny-Eyed Babies (mentioned in my 2014 year in review article), and was glad to see that I was not wrong about their potential. Having heard of their stellar performance at ROSfest 2016, when I saw them at Orion Studios in May, my expectations were not disappointed, as their show there packed a visceral punch that left my hands aching for some time because of too much enthusiastic clapping. However, their ProgDay set did not connect with me in the same way, even though I am quite sure most of the problem lay with me rather than the band. Not only was I feeling tired at the end of the day, but the sound (again!) did not do the band justice, especially as regards Courtney Swain’s powerful vocals. A Kate Bush for the 21st century, this young lady is possessed of  remarkable pipes, of which she is in full control. Unfortunately, the sound overemphasized her voice’s piercing quality, with rather uncomfortable (occasionally even painful) results. I was also a bit puzzled by their choice of playing most of their songs without pausing to interact with the audience as they had done at Orion – whose intimate setting provided a more suitable frame for their highly individual take on edgy “wonky pop”. That being said, Bent Knee were a big hit with most of the crowd, and deservedly so. The front line of Courtney, violinist Chris Baum, guitarist Ben Levin and bassist Jessica Kion, assisted by Gavin Wallace-Ainsworth’s textural drumming, was a delight to watch – particularly during their blistering rendition of “Way Too Long”, complete with a Pete Townsend-like jump from Levin, rousing chorus and all-round antics not frequently seen in a prog milieu – a fitting climax to an outstanding edition of the festival.

Though the female presence on stage was not as noticeable as in past years, the bands that performed at ProgDay 2016 were remarkable for their ethnic diversity – which unfortunately does not yet extend to the audience. The growing involvement of a younger generation of musicians also bodes well for the future of the progressive scene, even if a lot of the music played at ProgDay does not conform to the standard prog template. In my view, this is one of the festival’s greatest strengths. Over the years, ProgDay has become a showcase for the finest new progressive music, and its bucolic quaintness does not disguise the fact that its musical offer has consistently been top-notch in every sense. Dispensing with the trappings that have proved to be the weakness of other events (which means not having to rely on big-name draws), and having secured the unwavering support of a strong core of attendees, the festival has come out of the shadows, and displayed a staying power few people would have bet on when it first started. I am also glad to say that this year’s attendance was definitely more than satisfactory, so much that I even managed to miss a couple of people in the crowd!

As usual at the end of my review, I would like to thank the organizers, the volunteers and everyone involved in making ProgDay 2016 an unqualified success. The experience is always so intense that, upon getting back home, it feels as if we have been gone for a month instead of a mere three days. Knowing that ProgDay 2017 will happen, and that the first three bands have already been secured (though only one was officially announced) makes the long wait for next year’s Labor Day weekend both harder and easier to bear. It was a wonderful, restorative weekend, and I am happy to have made some new friends during this edition. The definition of “family reunion” that is often applied ProgDay was never more apt. It is also heartening to see a growing number of young participants (such as the very cool Thomas, the son of our dear friend HT Riekels), as well as a strong contingent of  “prog ladies”, immortalized this year in a group photo that should put paid to the tired old cliché that women do not like progressive music. The only negative (besides the lack of bassoons)? That it was over way too soon!

Links:
http://www.progday.net

 

 

 

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