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Posts Tagged ‘ProgDay 2012’

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TRACKLISTING:
1. Nadir (9:31)
2. Dandelion (4:47)
3. Seth Zeugma (5:48)
4. Dua (5:44)
5. Tiglath (8:28)
6. Più Limpida e Chiara di Ogni Impressione Vissuta (Pt.2) (3:21)

LINEUP:
Cristian Franchi – drums
Giovanni Parmeggiani – Fender Rhodes, Hammond organ, minimoog, acoustic piano
Daniele Piccinini – bass guitar
Marco Marzo Maracas – electric and acoustic guitar

With:
Vladimiro Cantaluppi – violin (3), viola (6)
Marina Scaramagli – cello (6)
Enrico Guerzoni – cello (3)

For my first album review after over four months of silence, what better choice than the new album of one of the most interesting new bands of the past few years – Bologna’s own Accordo dei Contrari, who managed to impress the ProgDay crowd in 2012 in spite of performing at the hottest time of a truly sweltering day? Three years after the highly praised Kublaione of my top albums for 2011 – the young but immensely talented Italian quartet have made their comeback with an album whose title is as minimalistic as its striking artwork (courtesy of drummer Cristian Franchi and Dario D’Alessandro of fellow AltrOckers Homunculus Res). AdC also marks the band’s return to the AltrOck roster, as they their debut, Kinesis (at present unfortunately still out of print), had been released in 2006 by the Milan-based label.

Clocking in at a mere 37 minutes, AdC is highly concentrated, and in many ways different from its predecessor – though there are some unmistakable signs of continuity to be found. According to the English-language liner notes, the album was recorded over a very short period of time, in an almost “live in the studio” situation. While “Dua” and “Seth Zeugma” date back from the time the band was working on Kublai (though they did not find a place on that album), the remaining four tracks were all composed in the intervening years. Although far from unusual, this state of affairs might have resulted in a patchy effort, but fortunately AdC – no matter how chequered its history may be – has turned out to be remarkably cohesive.

Completely instrumental (unlike Kublai, which saw the participation of Canterbury legend Richard Sinclair on one track), and with only two tracks over the 6-minute mark, it leaves very little room for self-indulgence – a danger often lurking in a subgenre like jazz-rock, which thrives on technical proficiency. The four band members weave a tight web of sound, each contributing his own individual imprint, but always keeping an eye an eye to the final result. As a whole, AdC comes across as heavier than its predecessor, with Marco Marzo’s electric guitar playing a leading role and lending a keen edge to keyboardist Giovanni Parmeggiani’s sophisticated writing. This time around, one can definitely hear less Canterbury and more Area in Accordo dei Contrari’s music.

The almost 10-minute “Nadir” opens the album with the ominous, cinematic impact of surging synths, then all the other instruments chime in, foregrounding guitar and drums in a well-paced, jazzy romp that blends energy and melody. The exhilarating contrast between Marzo’s gritty guitar and Parmeggiani’s liquid piano demonstrates the band’s excellent control of quiet-loud dynamics. Marzo’s six strings, offset by discreet Hammond organ, step forward right from the start of the shorter but punchy “Dandelion”, while Daniele Piccinini and Cristian Franchi’s flawless rhythm backbone imparts a choppy, energizing pace to the composition. Introduced by the lovely classical feel of grand piano and strings, “Seth Zeugma” soon veers into hard rock territory, guitar and organ sparring in a fashion reminiscent of classic Deep Purple or Colosseum II.

Piano and drums take firmly the lead in “Dua”, with melodic flurries and a gentle, waltz-like pace at the beginning, then a choppy, stop-start movement that culminates in a driving, insistent coda. In the 8-minute “Tiglath”, the band carefully build up a crescendo from a very sparse, atmospheric opening, with a vaguely Oriental tune followed by some intense, gritty guitar and organ exertions made more interesting by asymmetrical rhythm patterns. The short and sweet “Più Limpida e Chiara di Ogni Impressione Vissuta (Pt.2)” closes the album on a very different note, the somber drone of the cello underpinning lyrical violin and pensive guitar arpeggios.

Enhanced by Udi Koomran’s expert mastering, and produced by AltrOck’s own founder, Marcello Marinone, AdC may be over a bit too soon, but it definitely makes up in quality for what it may lack in running time. The album shows a band at the top of their game, capable of engaging in unbridled jazz-rock workouts as well as laying down understated, classical-tinged melodies. Highly recommended to lovers of instrumental progressive rock, AdC will please the band’s following, while wetting their appetite for Accordo dei Contrari’s next release.

Links:
http://accordodeicontrari.bandcamp.com/album/adc-2014
http://www.accordodeicontrari.com/
http://www.altrock.it

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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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Ephemeral Sun
Theme from Top Gun
Untitled #1
Prism
Harvest Aorta Part I
Untitled #2
Winter Has No Mercy
Harvest Aorta Part II

Shadow Circus
Overture
Daddy’s Gone
Whosit, Whatsit & Witch
Make Way for the Big Show
Tesseract
Uriel
Camazotz
Shadow Circus
Captain Trips
The Long Road
Big Fire
The Seduction of Harold Lauder

As I announced a couple of months ago, the DC Society of Art Rock (DC-SOAR) has organized two shows at the Orion Studios in Baltimore to raise funds for its activity, which hinges on the promotion of progressive music in one of the most densely populated urban areas in the US. The first of the two events, scheduled for November 3, 2012, was to have been a triple bill, featuring New Jersey bands Shadow Circus and 3RDegree, as well as Northern Virginia’s finest, Ephemeral Sun. Unfortunately, 3RDegree had to pull out due to conflicts between their professional and family lives and the inevitable need for rehearsals, but the show went ahead as a double bill.

While the presence of 3RDegree would have made the show an even bigger draw, the two bands treated the audience to excellent performances, which highlighted both the differences and the similarities in their approach. In spite of its fundraising status, the gig was sparsely attended (which is the rule rather than the exception, unless the bill features a foreign band or one of the few domestic acts with a relatively strong following), but the 30-odd people who turned out more than made up with their obvious enthusiasm. Although some technical problems occurred during the soundcheck, the actual performances were characterized by outstanding sound quality (thanks to Mike Potter’s tireless work), which brought out each of the band’s strengths and detailed every instrument’s contribution.

As I pointed out in my review of ProgDay 2012, Ephemeral Sun’s music is more suited to the dark than the light, and the dimly lit setting of the Orion Studios enhanced the rivetingly cinematic quality of their music. After the turmoil of the past years, the band have now found a stability that is clearly reflected in the synergy between the four members, whose individual input is equally essential in the fabric of he sound. The pulsating power of Charles Gore and Jeff Malone’s rhythm section unfolds a rock-solid, yet subtly shifting foundation for Brian O’Neill’s sharp yet elegant guitar exertions and John Battema’s dramatic layers of keyboards. Ephemeral Sun treated the audience to a mix of older material (such as the metal-edged “Winter Has No Mercy” from their debut album Broken Door) and more recent offerings, such as the majestic “Harvest Aorta” suite (split in two halves) from their eponymous second album, and a couple of new compositions still without an official title – as well as a rousing version of Harold Faltermeyer’s iconic theme from Top Gun at the very opening of their set.

The quartet’s collective performance was flawless as usual, their music deploying all of its powerful emotional punch in the small, intimate premises. One of the most striking elements of Saturday night’s show was the band members’ impressive handling of the frequent tempo shifts in their generally lengthy compositions, keeping an eye on internal coherence so that the music flowed effortlessly without ever coming across as patchy. And then, the passage in which Battema let rip on the organ in true Emerson fashion was alone worth the price of admission. All in all, Ephemeral Sun seem to be going from strength to strength, and their new material sounds extremely promising – even if it will be some time before  their new album finally sees the light of day.

With a name inspired by the traveling carnival in Ray Bradbury’s iconic novel Something Wicked This Way Comes, Shadow Circus’ theatrical streak comes as no surprise, and makes good use of frontman David Bobick’s degree in musical theatre. The band’s founders, Bobick and guitarist John Fontana, are also fans of fantasy, science fiction and horror, and this interest is reflected in the subject matter of the majority of their songs. Saturday night’s show offered Shadow Circus the opportunity to showcase some of the material (no less than 7 songs) from their forthcoming third album, On a Dark and Stormy Night, which will be released on 10T Records in early December. Shadow Circus had played at the Orion almost exactly 2 years ago, opening for Italian band  The Watch, though with a different line-up. The band’s new configuration – comprising, besides mainstays Fontana and Bobick, original bassist Matt Masek, keyboardist David Silver and drummer Jason Brower, augmented by backing vocalist Paroo Streich – blazed through new and older material with assurance and flair, displaying chops and heart in equal measure.

Although all of the band members cite progressive rock as their main source of  inspiration, Shadow Circus’s music is also deeply rooted in classic and hard rock, and the influence of the likes of Deep Purple, Uriah Heep and Led Zeppelin is unmistakable. As is the case with Ephemeral Sun, keyboards play a very prominent in Shadow Circus’ sound. With his impassive mien and slight frame, David Silver proved an essential foil for Fontana’s guitar, his love of Keith Emerson evident throughout the set, especially in the fiery Hammond runs that enhanced stunning instrumentals such as “Overture” and “Tesseract”; indeed, the latter may easily be the best thing that the band has ever recorded. he dramatic intensity of the instrumentals was balanced by the catchy quality of the songs featuring David Bobick’s expressive vocal delivery and flamboyant stage presence, with Paroo Streich’s backing vocals providing a pleasing contrast. The rhythm section of Matt Masek and Jason Brower anchored the sound with power and style, the two musicians complementing each other perfectly. Always attentive to the visual aspect of their performance, the band members were all decked in black with a touch of red (a special mention for Bobick’s beard and the large red flower sported by Streich, who also provided a bit of eye candy for the predominantly male audience), and also employed a few stage props to enhance the impact of their music with a quirky theatrical touch thankfully devoid of cheesiness.

By way of a conclusion, I have to admit that I found the not exactly stellar turnout quite depressing, especially on a weekend night. Even if the impact of Hurricane Sandy on the north-eastern corridor cannot be discounted, neither can the well-known apathy of many of those who think supporting progressive rock means getting embroiled in pointless discussions on some Internet forum. While modern technology offers almost any band or solo artist the possibility to record and release their own material with relatively little expense, it has also emphasized the lack of quality control of many such projects. Therefore, live performance has increasing become the benchmark by which to judge a band’s real worth. However, the diminishing opportunities – compounded by the cliquish mentality of a large part of the already fragmented prog audience –will probably to lead to the demise of many a fine outfit, discouraged and frustrated by the lack of support. It is immensely sad to see such gifted musicians grateful for the opportunity to play before a handful of people.

This situation has also impacted my own enthusiasm for writing about music, There is only so much that a reviewer/critic can do to support the scene, when it is the fans themselves who seem to be hell-bent on destroying the motivation of artists who already face considerable struggles in getting their music across in an oversaturated market while dealing with the demands of real life. As much as I like to listen to music at home, nothing beats the experience of a live show, and it will be a sad day when only big (i.e. commercially successful) names will be able to perform on stage.

Links:
http://www.ephemeralsun.com

http://www.shadowcircusmusic.com

http://www.dc-soar.org

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TRACKLISTING:
1. Springsong (12.56)
2. Prism (9.38)
3. Memoirs (4.52)
4. Harvest Aorta (41.55)

LINEUP:
John Battema – keyboards
Charlie Gore – bass
Jeff Malone – drums
Brian O’Neill – guitar

Instrumental four-piece Ephemeral Sun, who are celebrating their tenth anniversary this year, are based in Northern Virginia, in the Washington DC metropolitan area. Formed after the demise of doom/symphonic metal outfit Rain Fell Within, they started out as a female-fronted Gothic/progressive metal band, releasing their debut album, Broken Door, in 2004. Harvest Aorta, their sophomore effort, was released in early 2010 after five years of work and lineup changes that led the remaining band members to choose a completely instrumental direction. Ephemeral Sun have a number of live appearances under their belt, including the 2006 edition of ROSfest and ProgDay 2012.

Often miscategorized as progressive metal, Ephemeral Sun in the second decade of the 21st century are one of those bands that defy the labels so cherished by the prog fandom. The metal component, indeed, is mainly represented by Brian O’Neill’s bouts of sharp, dense riffing, which merge seamlessly with John Battema’s dramatic keyboard textures to create an intensely cinematic atmosphere. While the band’s earlier experience in the symphonic/Gothic metal field occasionally surfaces on Harvest Aorta, the instrumental dimension enhances the expressive potential of the music without the distraction factor sometimes contributed by vocals. The music surges along powerfully, supported by Jeff Malone’s imperious drumming and Charles Gore’s impeccable bottom end – a rhythm section that can display a sense of delicacy when needed, as well as power. The frequent, ambient-like pauses of respite, imbued with the autumnal feel of Battema’s meditative piano, possess a gentle melancholy that would provide a perfect soundtrack for the twilight hour. And, indeed, “soundtrack” seems to be the operative word when referring to Ephemeral Sun’s sound – it is not hard to imagine the music on Harvest Aorta employed as the score for a science fiction movie, or a documentary on space travel.

Almost two-thirds of the album (which clocks in at nearly 70 minutes) is taken up by the title-track, a massive, 42-minute tour-de-force that has made quite a few of those “long songs” lists so popular with staunch prog fans. The first half of Harvest Aorta comprises three shorter numbers, with the gorgeous mood piece of the aptly-titled “Memoirs” – with its crystalline guitar and rippling piano tinged by solemn Mellotron washes – preparing the listener for the album’s pièce de resistance. As unbalanced and pretentious as this may seem, there is a sense of cohesion to Ephemeral Sun’s music that rarely gives the impression of sprawling excess that often mars comparably ambitious endeavours. Most importantly, the music – hovering between vivid flares of emotion and soothing, evocative melody – is always eminently listenable, and even the hard edges are never abrasive. Pink Floyd and their modern-day heirs, Porcupine Tree, are occasionally referenced, as are Genesis and a few other bands, but the album thankfully eschews any overt sense of derivativeness.

Opener “Springsong”, probably the heaviest offering on the album, allows O’Neill to let loose with the riffage when a contrast is needed with Battema’s airy mellotron washes. On the other hand, the astonishingly lovely, clear-voiced guitar solos are reminiscent of David Gilmour’s signature style, and the spacey synth sweeps add a sense of urgency. In a similar fashion, “Prism” juxtaposes the intensity of the guitar riffs and martial drumming with vaguely spooky electronic effects, and a delightful, classical-tinged guitar-piano interlude that showcases the band’s keen sense of melody. After the relatively short breathing space provided by “Memoirs”, the title-track kicks in with dramatic flair, subsuming all of the features already displayed by the previous numbers, and adding some more touches – like an extended atmospheric section that owes a lot to Tangerine Dream, a slightly chaotic guitar jam and a roaring Hammond organ passage in true Deep Purple style. Quite oddly for such a long piece of music, “Harvest Aorta” does not give that cobbled-together impression that is all too common in tracks of that scope; however, it cannot be denied that after a while the listener’s attention starts to wander, and some repetition of themes and styles becomes inevitable.

On any account, even if the title-track might have benefited from some editing, Harvest Aorta is a finely-crafted album by a group of very talented musicians that deserves all the positive feedback earned since its release. What impresses most is their tight synergy as a group, which does not allow for any self-gratifying displays of technical fireworks, but allows the each of the members’s individual skill to contribute to the musical construction. While waiting for Ephemeral Sun to release their third album, a listen (or preferably more than one) to Harvest Aorta is highly recommended, especially to fans of music with a high cinematic quotient.

Links:
http://www.ephemeralsun.com/

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Though the title of this review is not meant to spark a debate on climate change, it is an apt description of the kind of atmosphere that characterized the 18th consecutive edition of ProgDay. If my first time at the festival, back in 2010, had been perfect climate-wise, and the second marred by a rather uncomfortably hot and humid Saturday, this year was record-breaking, and not in a good way. To put it bluntly, the past weekend on the lovely grounds of Storybook Farm felt like being  in Bangkok or Singapore in the middle of the summer, with temperatures in the mid-90s (especially on Saturday), and humidity close to 90%. For a hot-weather hater such as myself, it was a nightmare scenario. After this weekend, I believe I know how chocolate must feel when melted slowly on the stove… The last hurrah of this long, hot summer – quite unexpected after a rather mild August – might have wreaked some serious havoc on the festival, and indeed the unrelenting heat affected many people’s enjoyment of a spectacular weekend of music.

Adverse climatic conditions notwithstanding, ProgDay 2012 was fulfilling in every sense, and even the physical discomfort of trying to find relief from the onslaught of the heat pales in comparison to the wonderful musical offer and overall atmosphere of the 18th edition of the world’s longest-running progressive rock festival. Many of the observations I made in my review of the 2011 edition hold true for this one as well, so I will spare my readers a repeat and try to include some new insights. If last year’s ProgDay had been a success, this one was nearly a triumph, from many different points of view. The musical aspect, of course, is fundamental in any such event, and the festival seems to be going from strength to strength in assembling lineups that manage to capture the best of the contemporary progressive rock scene. However, no event can exist in a vacuum, and the human factor is of paramount importance whenever the arts are concerned.

On Friday morning, the leisurely, four-hour drive from our Northern Virginia home took us down the familiar, tree-lined corridor of Highway 85, a quiet and sparsely frequented route in comparison to the unceasing bustle of the Baltimore/Washington area. For long stretches of the road, no cars could be seen ahead of us, and the feeling of being in the middle of nowhere was somewhat eerie, but also deeply charming in its own way. The last two hours of the drive prepared us for the unique ambiance of the festival, where the attractions of nature and music are magically fused together, and nourished by friendship and the joy of being almost removed from “civilization” and the demands of everyday life.

We reached Durham in the early afternoon, just in time for a satisfying lunch at the BBQ place across the road from the hotel. Then, after some well-deserved rest, it was time for us to meet friends that, while separated from us by geography, are a constant part of our lives thanks to modern technology. Unfortunately, the oppressive heat was getting worse by the hour, and on Saturday morning it was immediately clear that things were going to be anything but pleasant weather-wise. That suffocating blanket of humidity was something I had hardly ever experienced before – and I come from a country where summers can get quite hot. When we got to Storybook Farm, the grass was wet with dew, and a very faint breeze blew from the trees. The high humidity made the surroundings even more beautiful than usual, and the occasional hawks circling overhead added to the almost magical atmosphere. However, as the day progressed, the discomfort caused by the heat was compounded by the misery of feeling sticky and dirty. Beneath the corrugated metal roof of the stage, the heat must have been unbearable, and a large fan had been strategically placed at the back of the stage in an attempt to make things marginally more comfortable for the bands and the crew.

Though they had landed the somewhat awkward opening slot at 10.30 in the morning, the music of Northern Virginia’s finest, Ephemeral Sun, would have made a perfect soundtrack for what T.S. Eliot called “the violet hour”. The young and personable quartet, led by the impossibly fresh-faced John Battema (an outstanding keyboardist and a real gentleman) have transitioned from a Gothic-metal, female-fronted outfit to a much more distinctive, hard to label brand of cinematic, ambient-laden instrumental prog, rich in melody yet laced with heaviness. In some ways, they reminded me of last year’s opening act, Fibonacci Sequence – though the Wisconsin band’s sound is more muscular and not as atmospheric. The band as a whole proved to have an impressive mastery in the build-up of surging waves of sound, driven by the impeccable rhythm section of Charles Gore and Jeff Malone, with Gore’s deep, powerful bass lines occasionally reminiscent of Geezer Butler’s genre-defining style. Guitarist Brian O’Neill’s occasional bouts of razor-sharp riffing injected a healthy dose of remarkably uncheesy heaviness in the fabric of Battema’s lush keyboards – at times unleashed to resemble a modern-day Keith Emerson, at others relying on stately mellotron samples to bolster and lend symphonic fullness to the soaring, Gilmour-tinged lead guitar parts. While at first communication with the audience was kept to a minimum, it did not take long for the band to open up, and for Battema to display some of his endearingly self-deprecating sense of humour. All in all, it was an excellent opening set from a band that has definitely a lot of potential for future greatness.

John Battema of Ephemeral Sun

By the time Montreal-based quartet Karcius got on stage, the heat and humidity were starting to get out of control. Before the start of their set, I had forced myself to eat some of the rather tasty food on offer, then sat down again with my notepad – only to realize that the heat was badly sapping my enjoyment of the music. I had heard a lot of praise about the band, who – in spite of their young age – already have four albums and a number of high-profile live appearances under their belt. Though I had seen them described as jazz-rock, they sounded all over the place, reminding me of those bands  who, like Umphrey’s McGee, straddle the line between the jam scene and progressive rock proper. The jazz-rock matrix was conveyed by the emphasis on the sleek interplay between Sylvain Auclair’s bass and Thomas Brodeur’s drums, but other influences cropped up with regularity. While Auclair’s blues-tinged voice was undoubtedly good, I felt that it did not actually gel with the rest of the sound, and the instrumental parts (such as the excellent opening track) were a much better representation of Karcius’ collective strength. While I usually appreciate eclecticism, there was a sense of lack of cohesion in the way the band handled their diverse sources of inspiration, which ranged from metal (with a couple of frantic passages verging on speed metal) to King Crimson by way of Steely Dan, and a lot of other stuff – including hints of reggae and other ethnic music, as well as evident pop touches conveyed by the vocals. On the other hand, the chemistry between the four musicians was outstanding, with the ease born of a long collaboration and plenty of stage experience. Mingan Sauriol manned the keyboards with aplomb, rounding out the dynamic rhythm section, while guitarist Simon L’Espérance contributed a nice rock edge. The band also catered to the nostalgia-inclined members of the crowd by performing a cover of Pink Floyd’s “Dogs” (perhaps not the best choice, seen the song’s running time and somewhat depressing subject matter) almost at the end of their set.

Simon L’Espérance and Sylvan Auclair of Karcius

After waxing lyrical for months about Kublai, their sophomore release, and raging about their aborted participation to the ill-fated 2011 edition of NEARfest, I had been elated to learn of my fellow Italians Accordo dei Contrari being selected for Progday 2012. Needless to say, theirs was my most anticipated set of the whole festival, and – even if they had the bad luck to perform in the worst slot of such a miserably hot day (though a breeze made things temporarily more bearable in the afternoon, before the blanket of humidity descended again) – the Bologna-based quartet delivered the goods in abundance. The audience was held captive for the best part of their 90-minute set, which comprised a selection of tracks from their two albums, plus two new numbers that will be featured on their third release. With its trademark blend of jazzy, Canterbury-inspired elegance, uniquely Italian melodic flair and sinuous exotic touches, solidly anchored by Cristian Franchi and Daniele Piccinini’s seamless rhythm section and spiced by Marco Marzo’s fluid guitar, the band’s music manages to sound modern even when paying homage to the past. Keyboardist Giovanni Parmeggiani (the band’s main composer and driving force) acquitted himself splendidly in handling unfamiliar gear (kindly provided by Ephemeral Sun’s John Battema, in an admirable example of cooperation between musicians from different backgrounds), and his rich, heady textures were at the heart of  Accordo dei Contrari’s complex yet smoothly flowing sound. Their exhilarating jam with Birdsongs of the Mesozoic’s Ken Field guesting on saxophone was definitely one of the highlights of the whole weekend. Though their music may elicit comparisons with  D.F.A. (especially for those who had witnessed the latter band’s highly acclaimed American performances), Accordo dei Contrari sound even tighter and more focused in their approach. The band members were absolutely elated to be there, and – even if a bit shy at first – won the hearts of the audience with their professional yet warm attitude. On a personal level, it was a real pleasure to meet them at last, and to have the opportunity to speak my native tongue with like-minded people.

Giovanni Parmeggiani of Accordo dei Contrari

When Birdsongs of the Mesozoic – another instrumental quartet, though one with considerable experience and a respectable back catalogue (their first incarnation dates back from the early Eighties) – took to the stage, the breeze had died out, and the majority of the attendees were wilting in their seats. Of all the past weekend’s performances, this was the one most negatively affected by the hostile weather conditions, as people seemed to have no energy left – which obviously did no favours to the Boston ensemble’s beautiful, highly idiosyncratic music. I was feeling so drained that, about half an hour through their set, my attention started to wander  – even though my brain perceived the beauty of the music and desperately wanted to enjoy it. In any case, Birdsongs of the Mesozoic are one of the most genuinely intriguing musical offers I have heard in the past few years. Blending jazz, rock, minimalism and classical music, they have all the hallmarks of a chamber ensemble without using classical instruments, privileging instead Rick Scott’s eerie electronic effects and Erik Lindgren’s stunning piano, whose rippling, liquid sound gently accompanied the slow setting of the sun. Michael Bierylo’s guitar and Ken Field’s woodwinds complemented the keyboard textures with elegance and emotion; while percussion was added rather sparingly by a drum machine and, very occasionally, a floor tom. The hypnotic, often soothing cadence of their sound – intricate but without the knotty, daunting feel of the average RIO/Avant band – had a cinematic yet touchingly intimate quality. When I was still able to concentrate on the music, I mentally compared them to The Muffins, who had headlined my first ProgDay in 2010. Though the Baltimore band have more of a rock flair, with percussion playing a bigger role, the two outfits’ approach is in some ways similar. All in all, Birdsongs of the Mesozoic regaled the audience with some astonishingly beautiful moments, and I would love to listen to them again in more favourable circumstances.

Erik Lindgren and Michael Bierylo of Birdsongs of the Mesozoic

Like other attendees, we had bought tickets for the Dead Can Dance concert in Durham on the same evening. However, we both realized that we were so exhausted that all we wanted was a quiet meal followed by some well-deserved rest. In any case, we were in no shape to enjoy the show, even in the comfort of an air-conditioned theatre. So we headed back to the hotel, had dinner and went to bed, in order to be in properly refreshed for the following day.

On Sunday morning, the temperature was marginally more comfortable than on the previous day, and the cloudy sky promised at least some respite from the sun. The humidity level, however, was still very high, and did not encourage moving around too much. At 10.30, right on schedule, New Hampshire trio Dreadnaught took to the stage, and treated the audience to a set that someone aptly described as “how Yes would sound if they played country music”. Led by Bob Lord’s massive Rickenbacker sound, the trio are one of the best-kept secrets of the US progressive rock scene – in spite of having been around for over 10 years. Clearly comfortable in a live setting, the three members moved around with plenty of energy, and their highly eclectic take on the classic power trio format combined sterling chops with a friendly, relaxed attitude that put the crowd at ease. The American roots of their sound –  country, bluegrass and also a hint of blues – got added spice from some heavier touches (which occasionally put me in mind of Rush’s instrumental output) – somewhat similar to Karcius in approach, though more focused and with better songwriting. Drummer Rick Habib complemented Lord’s powerful yet intricate lines with his dynamic though never overstated drumming, and also supplied occasional lead vocals. As in the case of Karcius, Dreadnaught work best as an instrumental trio, with Justin Walton’s guitar contributing melody and a bit of a sharp edge to the complex patterns laid out by the rhythm section. Such demanding music can easily become a chore for listeners if not supported by an adequately light-hearted attitude, but Dreadnaught looked as if they were thoroughly enjoying themselves, and communicated their visible enthusiasm to the crowd in spite of the draining heat.

Dreadnaught

By the time Doctor Nerve made their appearance on stage, the sky had turned very dark.  Sparse drops of rain began to fall, thunder rumbled overhead, and the sense of relief from the heat mingled with worry. Summer storms in that region are not to be taken lightly, as they can be extremely violent, and being caught by one of them in an open field was a potentially dangerous situation. However, the New York-based ensemble’s pyrotechnic performance managed to drive the clouds away. Led by charismatic guitarist Nick Didkovsky – a consummate frontman with an endearingly spunky attitude and wacky sense of humour –  the veteran eight-piece had been introduced as a brain-melting experience, which was not far from the truth. Definitely the kind of band that is bound to send traditional-minded prog fans running from the exits at high speed, they delivered a set that, while characterized by a high level of energy, also offered moments of exquisite beauty – as in the slow, meditative track dedicated to the memory of Niall Coti-Sears, Paul Sears’ son, killed in Afghanistan at the end of June. Doctor Nerve was also the only band that included a woman in their lineup – keyboardist Kathleen Supove, a classically-trained pianist with a remarkable stage presence in spite of her petite frame. While Didkovsky’s blistering guitar infused a strong metal component in the band’s music, the impressive horn section (featuring Yves Dubois on soprano sax, Ben Herrington on trombone, Rob Henke on trumpet and Michael Lytle on bass clarinet) propelled the sound in a thoroughly exhilarating way, while the rhythm section of Jesse Krakow (bass) and Leo Ciesa (drums) adroitly set the pace, keeping up with the music’s unpredictable shifts. Indeed, in my mind I described Doctor Nerve as “a big band with a solid foundation of metal riffs, mixed with some seriously punk attitude.” Though their music is clearly not everyone’s cup of tea, many of the attendees thought they were one of the undisputed highlights of the festival.

Nick Didkovsky of Doctor Nerve

With a storm threat successfully averted, the heat and humidity had already made their comeback when Consider The Source’s turn on the stage arrived. The three young band members, all dressed in white, loose-fitting clothing that gave a nod to the Eastern component so prominent in their music, were not exactly well-known to most of the crowd, in spite of being very active on the live circuit of the New York/New Jersey region. Like other bands invited to perform at prog festivals for the first time, they were not familiar with the progressive rock scene, as they had previously associated the genre with the symphonic bands of the Seventies and their devoted followers. With four albums under their belt, and extensive touring experience both in the US and abroad, they were obviously very much at home on a stage. Dashing guitarist Gabriel Marin, his blonde mane hidden beneath a quirky cap, sported an obviously custom-made contraption – a fretless double-necked guitar – that allowed him to produce a wide range of sounds. Like many modern instrumental bands, they had a hard, almost metal edge that elicited comparisons with the likes of ProgDay alumni Canvas Solaris and Scale The Summit, though tempered by the warm, organic sound of ethnic percussion. The Indian influence, though less evident than in a quintessential “Indo-prog” band like Shakti, came often to the fore, seamlessly intertwined with fiery fusion and hypnotic space-rock cadences, driven along by bassist John Ferrara and drummer Louis Miller, who tackled elaborate, King Crimson-style polyrhythms with consummate skill. Like a bare-bones Mahavishnu Orchestra (stripped of violin and keyboards) on massive amounts of steroids, modern enough to appeal to the younger, jam-band set, but also with a clear jazz-rock bent – occasionally laced with a funky swagger – that emerged particularly towards the end of their set, Consider The Source took no prisoners, and their blistering performance earned them many new fans.

Gabriel Marin of Consider the Source

We had seen headliners Ilúvatar barely two months ago at the Jammin’ Java, so when their turn came (somewhat late on schedule) we were in a relaxed mood, knowing that their set would be not as demanding than most of the other bands, though definitely every bit as good in terms of quality. The Baltimore quintet were the only band on the lineup to fit the conventional prog mould, though laced with classic and hard rock influences, and solidly song-based – in this respect almost paralleling 2010 Saturday headliners Flash. This was in some ways an even stronger performance than the one witnessed in early July, with lead vocalist Jeff Sirody increasingly at ease in his frontman role. The set opened with longer, more complex compositions, where the influence of Genesis (especially their late Seventies period) was unmistakable, and Jim Rezek’s masterful keyboards got their chance to shine and wow the audience, then moved on to the more streamlined material, in which Sirody’s voice was allowed to rock out. The rhythm section of Dean Morekas (the barefoot bassist) and Chris Mack provided a solid foundation for Rezek and Dennis Mullin’s clear, melodic lead guitar. Unlike other so-called “neo-prog” bands, Ilúvatar avoid sounding cheesy or overtly derivative, and their keen sense of melody makes them eminently listenable, even for those who – like myself – prefer more spice than sugar with their music. With extensive experience as a live outfit (festivals included), Ilúvatar were like a well-oiled machine, and each member gave his best on stage. All in all, it was a very enjoyable performance – which ended when the sun had already disappeared from the horizon and darkness was setting in – and the perfect conclusion to a day characterized by a high intensity quotient.

Dean Morekas and Jim Rezek of Ilúvatar

After helping with the clean-up, we headed back to the hotel to get changed and have some dinner before the customary end-of-festival poolside party. Unfortunately, the weather was not yet done with us, and treated us to a veritable display of pyrotechnics – a fierce heat storm with wild streaks of lightning in the night sky, copious rainfall, and the added excitement of a tornado warning. Needless to say, there was no going near the pool in that weather, but – thanks to the kindness of the staff – the party was held in the hotel lobby, and a great time was had by all.

It was with a touch of sadness that we said goodbye to our friends on Monday morning, before we headed home again. The past weekend was not one that will be easily forgotten, in spite of the weather’s lack of cooperation. Everything else had been perfect, from the music (as usual, enhanced by the pristine sound quality) to the choice of caterers, far superior to the previous years. However, probably the most positive feeling I brought home from the festival was seeing the much-reviled US prog community rally together and decree the edition’s unqualified success, with an almost unprecedented amount of tickets sold, and the presence of some new, younger faces among the audience. The realization that NEARfest is over for good and the FarFest cancellation must have sounded a wake-up call for those who want the scene to thrive, and it was enough to guarantee the festival’s survival for at least another year – and hopefully much longer.

Interestingly, the majority of the bands on this year’s lineup were not easily tagged as “prog” in the conventional sense of the word. On the other hand, their music owed very little to the newfangled (and often soporific) “post-prog” trend spearheaded by Porcupine Tree and their ilk, and offered instead an exciting blend of raw energy, endearing quirkiness and serious chops, liberally spiced with world-music influences. In particular, the power trio format seems to be a perfect fit for the ProgDay stage, as proved by this year’s lineup as well as last year’s, which saw spectacular performances from the likes of Mörglbl, Zevious and Freak Kitchen.

Even more so than the previous editions I had attended, ProgDay 2012 was a celebration of the sheer power and joy of live music. The very atmosphere of the festival, by encouraging bands and audience members to mingle before and after each set (and not just at the hotel bar for the often cliquish “after-parties”), does not foster  the self-centered antics that have occasionally marred higher-profile events. Spending a whole weekend together reinforces the impression of an almost family-like occasion that the larger scale of the other festivals does not allow. And then, even if the open-air setting makes it easy to “tune out”, so to speak, it is also much easier to concentrate by just sitting in your chair and letting the music sink in without the restrictions of a theatre – however comfortable it might be. There is also very little resembling the painstaking dissection of every single note or stage moment that accompanies the bigger festivals. Even if ProgDay may look like a country picnic rather than a “serious” event, the people who attend it year after year are as seriously into the music as those who crowd the hallowed halls of the Zoellner Arts Center.

As usual in my event reviews, the final paragraph is dedicated to all the people who made the festival a success – first of all, chief organizer Michael Bennett and his far-reaching vision, the organizing committee, all the volunteers who worked hard in spite of the punishing heat, the ultra-professional sound and stage crew, and obviously all of the bands. On a personal level, I would also like to thank the collective members of Ephemeral Sun and Accordo dei Contrari, Kathleen Supove of Doctor Nerve, Bob Lord of Dreadnaught, John Ferrara and Louis Miller of Consider The Source, Debi Byrd, Paul and Debbie Sears, “Romantic Warriors” José Zegarra Holder, Adele Schmidt and their daughter Paloma, Mike Potter of Orion Studios, Steve Feigenbaum of Cuneiform Records, Lew Fisher, Jeff and Coralita Wilson, Rick Dashiell, Jon and Andrea Reed, Noel Levan and Laura Dent, fellow Stranglers fan Steve Astley, Chris Lamka, Chris Buckley, John Hagelbarger, Mike Visaggio Missy Ferguson, Connie from Missouri (with whom we had a nice talk about cooking), Judson J. Patterson and his fantastic Italian-style sodas, our dear friends Michael Inman and Djalma Carvalho, and – last but not least – the lovely Helaine Carson Burch, who provided some of her outstanding photos for this review.

Links:
http://www.progday.net

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While other progressive rock festivals have been experiencing problems, or even folded altogether, ProgDay – the world’s longest-running event of this kind –  still soldiers on, and is about to celebrate its 18th anniversary. As usual, the 2012 edition of the “proggers’ picnic” is scheduled to take place on Labor Day Weekend (September 1-2) on the tree-ringed grounds of Storybook Farm, Chapel Hill (North Carolina).

This year’s lineup places a heavy emphasis on homegrown bands, with the whole of the Sunday lineup hailing from the  East Coast of the US  – a bold move indeed, and one  that will afford a unique opportunity for those outfits to showcase their talent  before an appreciative audience in an idyllic setting. The Washington/Baltimore region will be represented by local favourites Ephemeral Sun and Ilúvatar, the lively New York scene by avant-proggers Doctor Nerve and über-eclectic trio Consider The Source, and New England by another couple of label-defying acts, Birdsongs of the Mesozoic (from Boston) and Dreadnaught (from New Hampshire).  Only two non-US acts are scheduled to perform: Italian outfit Accordo dei Contrari, whose 2011 album Kublai garnered the approval of the prog community on both sides of the Atlantic, and Montreal-based quartet Karcius. On the whole, ProgDay’s 2012 sums up all the distinctive features of modern progressive rock, ranging from time-honoured tradition to cutting-edge trends.

Those who are interested in attending will be able to purchase patron passes ($ 140) or ordinary weekend passes ($ 90) in advance from the festival’s website (until August 15). Both kinds of tickets, as well as single-day passes, will also be available at the gate. Detailed information on the event, including music samples, a link to the official hotel and other practical tips, can be found at http://www.progday.net.

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