Prog Issue 106 (March 2020)

A F A R E W E L L T O T H E K I N G











































“He lived his life his way,

never afraid to be himself”


Prog’s greatest
drummer – celebrated

































SOFT MACHINE
OLIVER WAKEMAN



MARIANA SEMKINA
DISTRICT 97


GODSTICKS
65DAYSOFSTATIC


EXPLORING

BIRDSONG
MARKO HIETALA





















PROG 106



Contents





ISSUE 106 04.02.20













IF IT’S IN THERE IT’S ON HERE



FIN COSTELLO/GETTY IMAGES





































































“He will be

remembered
as being one

of the most
innovative
drummers

in the prog
world.”








Neil Peart p 34





Our tribute to the late Rush drummer, who has died at the age of 67.

FEATURES






REGULARS Tips For 2020 _______ Pg50
The Prog team bring you the bands

they’ve got their eye on for 2020.
BLOODY WELL WRITE pg 10
Missives, musings and tweets from Planet Prog.
A Formal Horse_____ Pg54

Prog Readers’ Poll winners tell us about
THE INTRO
their full-length debut.
pg 12
Katatonia bring us up to speed with their new album,
and there’s news from Magenta, Nektar, Lazuli,
Mariana Semkina ___ Pg 56
Novena, Anubis and more.
The iamthemorning singer makes her
first ever solo album.


RECORD COLLECTION pg 30
Most of you will know actress Caroline Catz from the District 97__________ Pg 60
hit TV show Doc Martin, but did you know her record The US proggers continue their upward
collection harbours intriguing prog secrets?
trajectory with Screens.


Q&A pg 32 Soft Machine ______ Pg 64

Former Porcupine Tree bassist Colin Edwin talks Bassist Roy Babbington looks back over
about his new solo album and gets asked the age-old almost 50 years’ involvement with the
‘Have we seen the last of Porcupine Tree?’ question.
Canterbury stalwarts.




Nicolas Godin_______ Pg 68
THE PROG INTERVIEWpg 94
Oliver Wakeman muses over a career that’s seen him One half of Air discusses his new concept
work with Yes, Clive Nolan, Gordon Giltrap, Rodney album about the music of buildings.
Matthews and more.


Exploring Birdsong__ Pg 72
The enigmatic prog trio discuss their new
THE MUSICAL BOX pg 100
Mariana Semkina’s debut solo album takes top billing
this issue and there are reviews from Pendragon, record deal and brand new EP.
Nektar, Godsticks, Martin Barre, Karnivool, The
Groundhogs, Brian Davidson, Tame Impala, Psychotic 65daysofstatic______ Pg 76
Waltz, Toundra and more. The post-rockers toy with musical
algorithms on Replicr, 2019.

TAKE A BOW

pg 120
Marko Hietala______ Pg 80
We’ve seen Devin Townsend progging up the Nightwish’s bass player and co-vocalist
Roundhouse, plus live reviews of The Flower Kings
in London, Flying Colors, Steeleye Span’s 50th discusses his ‘hard prog’ solo album.
anniversary show, Heather Findlay, The Utopia
Strong and more. Godsticks__________ Pg 84
Darran Charles talks about perfectionism


MY PROG pg 130 and the band’s latest, Inescapable.

Solo artist John Holden’s prog world revolves around
a lot of Yes, a bit of ABBA, Liverpool FC and The Moon Duo__________ Pg 88
Sound Of Music! The trippy prog duo get disco fever on

The Stars Are The Light!



The Far Meadow____ Pg 92
The new prog quintet chat about their

journey from fusion to symphonic prog.





“Neil Peart will always

be a mentor and a


hero to me and his

influence on me


as a drummer for

the past 40 years is


absolutely impossible


to measure.”

Mike Portnoy





















































































FIN COSTELLO/REDFERNS/GETTY IMAGES














progmagazine.com 7

Ed’s Letter

























t’s not the ideal way to start your first issue of the year,
but alas, we say goodbye to one of the greatest – if not

THE greatest – drummer the prog world has ever seen: MAR
Neil Peart. Sadly, Neil succumbed to glioblastoma on NEXT ISSUE
IJanuary 7, and although he retired from Rush, the band he 5
was solely linked with during his life, in 2015, I’m sure I was
among many fans who hoped that one day we might see the great O N SALE
man and his two long-standing bandmates and friends back
onstage together in some way. Now, of course, that will never be.
Like many of you, I was stunned by the news. I don’t mind
admitting that on Saturday morning I put on my old vinyl copy
of Fly By Night, Neil’s introduction to the world in Rush, and

welled up. I was fortunate enough to see Rush play live many
times, and thanks to my involvement with music magazines over
the past 30 years, have some small interaction with the band on
the odd occasion. They remain one of the most unique and
dignified of acts, a fact that comes across in the way they’ve
continued to go about their business for more than 40 years.
Nothing magnifies that point better than the fact that no news
broke of Neil’s passing for at least three days – quite astonishing
in this digital age of rolling news, but wholly in keeping with
this private man who largely shunned the limelight, despite
being a member of one of the music world’s most successful acts.
“He lived his life his way, never afraid to be himself, encouraging
others to be themselves too,” is how one-time Boston DJ Donna

Halper, who helped break Rush in the US in the mid-70s,
described Peart. A better summation you’re unlikely to find.
So this issue we pay tribute to the late, great Neil Peart. We’ve
called upon our writers who best understood Neil, his music and
his lyrics, to honour this greatest of musicians and men. I hope
you feel we’ve done him proud.
To Neil Peart. R.I.P.











Jerry Ewing - Editor
You can subscribe
to Prog at www.
myfavouritemagazines.
co.uk/PROG. See page
118 for further details.

FREE A FAREWELL TO THE KING
11-TRACK
NEW PROG
MUSIC
FIND
“He lived his life his way,
never afraid to be himself”
Prog’s greatest
drummer – celebrated US progmagazine.com
ONLINE
OLIVER WAKEMAN
SOFT MACHINE
MARIANA SEMKINA
DISTRICT 97 AT
GODSTICKS
65DAYSOFSTATIC
EXPLORING
BIRDSONG
MARKO HIETALA Get your daily fix of prog
news and features at
www.progmagazine.com



Letters














Send your letters to us at: Prog, Future Publishing, 1-10 Praed Mews, Paddington, London, W2 1QY, or email [email protected].
We regret that we cannot reply to phone calls. For more comment and prog news and views, find us on facebook.com under Prog.



READERS’ QUESTION TIME?
The thud of Prog hitting the doormat is
always a happy sound! Issue 105, with
articles on Floyd, Flower Kings etc, and
a review of Trail Of The Dead’s new
album (wish the review had been longer),
has already been greedily devoured.
I really enjoyed the feature on Jethro Tull-tastic:
Tull’s superb 40th anniversary edition Prog 105!
of Stormwatch. The article was very
interesting and informative. But I was
hoping Ian Anderson would be asked
if the excellent 40th anniversary series
was going to continue and whether
Tull’s A would get the same treatment
this year? (Hopefully with Steven
Wilson’s input again.) Alas, the question
wasn’t raised.
This got me thinking about an
interesting feature that other magazines
have had, and may still do for all I know.
They invited readers to put questions to
their favourite artists for future editions
of the magazine. This would often result
in some really interesting/bizarre/cheeky
questions being put forward.
I’m a very content subscriber of Prog
and well aware of the high standard of
knowledgeable journalism contained
in the publication. But I thought that
perhaps your readers posing questions
to their favourites could be a new feature
for 2020? PRESS/JETHRO TULL ARCHIVE
Mark Holmes Ian Anderson: watching


RICK AROUND THE us, watching him.
CHRISTMAS TREE!
This year I had Rick Wakeman in my night to Yessongs. My aim for upcoming with a slightly raised surface and an extra
Christmas tree! This ornament was Christmases is to make the same with few bucks in price. Big whoop!
made by my brother in the early 80s, Tony Kaye, Patrick Moraz, Geoff Downes Paul Webb
when I was a teenager listening day and and Igor Khoroshev!
Philippe Claerhout, France THE GREAT TICKET SWINDLE
It was an amazing night at St David’s
NOT-SO-DELUXE Hall, Cardiff, seeing Steve Hackett on
Jeff Lynne, hmm. His latest outing, Out the latest Genesis Revisited tour doing
Of Nowhere, I felt suffered like the last Selling England By The Pound and Spectral
one, and was generally very flat with none Mornings. Steve and the band in top form,
of the life of the full ELO offerings. I feel the new drummer Craig Blundell was
that is all too often the case when one brilliant with a fabulous drum solo and
man does it all, but my main grouch is meeting Mr Hackett made the evening
the so-called ‘deluxe edition’ of his latest special for my wife and I. So it was great
album. Usually a deluxe issue has an extra to read next year’s tour announced
track or two, or if you’re Steve Hackett, already. I got ready for the pre-sale to
Not-so-silent night:
a festive Rick Wakeman a DVD of the concert, but not our Jeff. get the best seats, but unfortunately it
angel for the tree. His idea of deluxe is a cardboard case wasn’t to be!





JOHN PETRUCCI MS AMY BIRKS CRAIG BLUNDELL
@JPetrucci @Amy_l_Birks @craigblundell
Spent yesterday mourning the loss of one When Amy met Amelie… well at New Year’s Resolution #6: Block
TWEET of the greatest drummers of all time… Truly least that’s what I’m calling her anyone that calls their instrument
TALK heartbroken. There has been no greater anyway. Love her! Can’t wait or a stage an ‘office’. It’s not big,
to find the perfect place for
it’s not clever and it’s not an office
influence on me as a musician than Rush and
Follow us on twitter.com/ no greater inspiration as a lyricist than Neil AMY BIRKS this beauty
progmagazineUK Peart. What a tremendous loss


10 progmagazine.com

eil Peart, what thrown his way.
Na sad loss. He managed to
So many heroes write about his
have gone recently, tragic experiences
like Chris Squire, and loss in such Future PLC, 1-10 Praed Mews, Paddington, London,
W2 1QY
LETTER Keith Emerson a poignant fashion twitter.com/ProgMagazineUK
Email [email protected]
and Bowie.
in the book he
You can also find us on facebook.com under Prog
Rush have been wrote as he took Editorial
a consistently off around the US Editor Jerry Ewing
Deputy Editor Natasha Scharf
excellent band, but to find answers Art Editor Russell Fairbrother
from the period and to heal. Production Editor Vanessa Thorpe
News Editor Matt Mills
of 2112 to Signals, His legacy? That Reviews Editor Jo Kendall
Online News Editor Scott Munro
they released a body of work that is there are people yet to be born who are Content Director Scott Rowley
simply staggering. going to simply marvel at this amazing Contributors
Jeremy Allen (JA), Olivier Zoltar Badin (OZB), Joe Banks (JB),
Neil didn’t just keep time: his style drummer, writer and humble person. The Mike Barnes (MB), Chris Cope (CC), Isere Lloyd-Davis (ILD),
Malcolm Dome (MD), Daryl Easlea (DE), Briony Edwards (BE),
of drumming, like Keith Moon’s, was silver lining to this dark cloud is that the Claudia Elliott (CE), Dave Everley (DEV), Ian Fortnam (IF), Pete
Fowler (PF), Polly Glass (PG), Eleanor Goodman (EG), Rob
like a lead instrument. That is before hugely talented threesome in Rush have Hughes (RH), Will Ireland (WI), Emma Johnston (EJ), Dom
Lawson (DL), Fraser Lewry (FL), Dannii Lievers (DIL), Dave
you add on the thrilling concepts and left a body of work that will be enjoyed for Ling (DML), Alex Lynham (AL), Gary Mackenzie (GMM), Rachel
Mann (RM), Rhodri Marsden (RHM), Clay Marshall (CM), Julian
writing he brought to the band. He so long by so many. Marszalek (JM)), Giulia Mascheroni (GMA), Emily MacNevin
(EM), Chris McGarel (CMG), Matt Mills (MM), Grant Moon (GRM),
seemed a lovely guy that had tragedy Mark Holmes Ben Myers (BM), Kris Needs (KN), Kevin Nixon (KNI), Matt Parker
(MP), Alison Reijman (AR), Chris Roberts (CR), Paul Sexton (PS),
Johnny Sharp (JS), Nick Shilton (NS), Sid Smith (SS), Joseph
This issue’s star letter wins a goodie bag from The Merch Desk at www.themerchdesk.com. Stannard (JSS), Rick Wakeman (RW), Phil Weller (POW), David
West (DW), Philip Wilding (PW), Lois Wilson (LW), Rich Wilson
(RW), Holly Wright (HW)
Cover image
Fin Costello/Redferns/Getty Images
set-up with well-positioned speakers. Advertising
These mixes bring out so much hidden Media packs are available on request
detail and are very immersive if done Commercial Director Clare Dove
[email protected]
properly. A Night At The Opera, Jeff Advertising Manager Kate Colgan

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Wayne’s Musical Version Of The War Of Account Director Olly Papierowski
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The Worlds, The Dark Side Of The Moon, Account Director Helen Hughes
anything by Steven Wilson and of course [email protected]
Jakko are amazing! Some I find too International Licensing
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Yes, I am getting old. Yes, my hearing Circulation
Production
Now, I remember in years gone by Backseat symphony: is knackered. But I can still tell the Head of Production Mark Constance
Production Project Manager Clare Scott
when one contacted the venue direct Hackett fans don’t difference between a well-recorded and Advertising Production Manager Joanne Crosby
(and I still do) to get the best seats, always get the best produced CD, and a rubbish CD made Digital Editions Controller Jason Hudson
Production Manager Keely Miller
view in the house.
but now I’m only offered seats right at to sound good for a phone or car stereo. Management
the back! How can this be? I looked on Recently I have purchased quite a few Managing Director Aaron Asadi
Brand Director - Music Stuart Williams
Ticketmaster: yes, they have the bulk CDs, one being the Sky box set – after Commercial Finance Director Dan Jotcham
Head of Art & Design Brad Merrett
of the tickets including the best ones, being reminded about them by some Printed by William Gibbons & Sons Ltd
but not content that the ticket prices cassette tapes I found in the loft, and my Distributed by Marketforce, 5 Churchill Place, Canary
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are higher, they also have a £3.38 service Nakamichi tape deck. The recordings Tel: 0203 787 9060
charge per standard ticket and £3.45 I have were taken from vinyl all those ISSN 2045-2260
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admin fee and only £1.50 postage, and cassette. They still sound pretty good. magazine was sourced and produced from sustainable
managed forests, conforming to strict environmental
you get the tickets within a day or two. So imagine how disappointed I was and socioeconomic standards. The manufacturing paper
ȅǣǼǼ ƏȇƳ ȵȸǣȇɎƺȸ ǝȒǼƳ ǔɖǼǼ I³! ƏȇƳ ¨0I! ƬƺȸɎǣˡƬƏɎǣȒȇ
Unlike Ticketmaster, who hold on to when I ordered Sky’s The Studio Albums and accreditation.
tickets until a few days before the event. 1979-1987 and found how badly they All contents © 2020 Future Publishing Limited or published
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but after talking direct to the box office Flat, soulless, boring with no emotion. ȇɖȅƫƺȸ א׎׎זזזד٣ ǣɀ ȸƺǕǣɀɎƺȸƺƳ ǣȇ 0ȇǕǼƏȇƳ ƏȇƳ áƏǼƺɀِ «ƺǕǣɀɎƺȸƺƳ ȒǔˡƬƺي ªɖƏɵ
House, The Ambury, Bath BA1 1UA. All information contained in this publication
it seems it’s the promoter’s wishes that I also bought Alan Parsons’ The Secret is for information only and is, as far as we are aware, correct at the time of going
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Ticketmaster have the bulk of the tickets. and that’s the same: flat and boring, but such information. You are advised to contact manufacturers and retailers directly
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in any format published worldwide and on associated websites, social media
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FLOOR JANSEN MIKE PORTNOY CLIVE NOLAN
@FloorJansen_ @MikePortnoy @operafanatica
Happy New Year everyone! I actually had an extra Betamax player Dear Caamora, Arena and Pendragon...
2020 will be an exciting year for and sent it to Gail Zappa (RIP) about 10 I can’t come to work today due
@NightwishBand & me! Hope to see years ago because the @zappa vault no to the fact the kittens ate my
you all soon! #HappyNewYear #2020 longer had a working player! And yes, glasses :) #thatwillcostme #kittens Future plc is a public Chief executive Zillah Byng-Thorne
#newalbum #worldtour I still have my LaserDisc player and my #comeswiththeterritory company quoted on Non-executive chairman Richard Huntingford
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the London Stock
entire collection Exchange (symbol: FUTR)
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progmagazine.com 11

KATATONIA RETURN FROM THE


GRAVE WITH CITY BURIALS


The resurrected prog nihilists reflect on Stockholm and their past with their first LP in four years.



Dark prog denizens Katatonia will release project] Bloodbath thing; I also became a dad Juggling his career and the demands of looking
their 11th album, City Burials, this April via again, and all that stuff takes up a lot of time. after a baby, the Swede sounds genuinely relieved
Peaceville Records. Recorded during 2019, the LP Having a break really showed us that Katatonia is to have been able to work at his own pace.
follows the first official cessation of activities in a very crucial part of our lives and we need to “As a vocalist, it’s all about the vibe and the
the band’s three-decade history: a one-year break move forward with it.” feeling, and, if you’re in a very expensive studio,
that vocalist and co-founder Jonas Renkse Recorded at three different studios, with vocals maybe you don’t get the vibe, or you start getting
believes has rejuvenated them. captured at Renkse’s home studio, City Burials is it when the sound engineer wants to go home.
“We’d been doing the band for such a long the first album Katatonia have made since That’s a lot of pressure when the clock’s ticking
time we thought we might all focus on recruiting second guitarist Roger Öjersson in and money’s being spent. So I got the right
something else for a while, and see if we still 2016. “It was really nice to have a full band with equipment and decided to do it myself, work
have the drive and the hunger to two guitar players again,” Renske when I felt inspired.”
do Katatonia,” he tells Prog. notes, “and also having his Despite their renewed
“As it turned out, we all expertise in the studio, because perspective and collective
missed it very much. he’s a really good guitar player. enthusiasm for moving forward,
This isn’t Everything sounds great on this Katatonia have not veered away
a comeback, album. The vibe was relaxed from their trademark moodiness
because we only and we ended up with top “Katatonia is and melancholy. Famously
had a break for performances from everyone.” a crucial part of reluctant to explain his lyrics,
a year! But it’s good to Renkse is very enthusiastic our lives and we Renkse does note that the songs
recharge. Me and Anders about his decision to record the need to move on City Burials are all linked by a
[Nyström, guitarist] did the [death metal side- vocals for City Burials at home. forward.” hazy but heartfelt common theme.



12 progmagazine.com

Prog
news
updated progmagazine.com
daily
online!

This month, Intro NEIL PEART PASSES
Memories, all alone in the was compiled by
moonlight… Katatonia get Mike Barnes AWAY AT 67
their Cats on. Perhaps. Malcolm Dome
Jerry Ewing Prog bids a sad farewell to one of
Martin Kielty
Dom Lawson drumming’s kings.
Rhodri Marsden
Matt Mills
Grant Moon The Professor: soul brother
Natasha Scharf to Geddy and Alex.
Jonathan Selzer
Johnny Sharp
Nick Shilton
Rick Wakeman
Phil Weller
PRESS/ RUSH/ ANDREW MACNAUGHTAN













Rush drummer Neil Peart died on January 7, aged 67, after
an unannounced three-year battle with brain cancer.
He’d brought the Canadian trio’s career to an end in 2015
when he retired, citing damage caused by years of his “athletic”
approach to playing, and his desire to spend time with his family.
Reports suggest he was diagnosed with gliobastoma in mid-2016.
Rush bowed out after a career-spanning 35-date tour.
“Honestly, people don’t realise the sacrifice you make as
a touring musician,” Peart told sister mag Classic Rock in 2017.
“Being away when children are growing up and when your
partner needs you around, it’s wrenching. Your family and
friends, their lives continue and you’re not part of them.”
Their last studio album, Clockwork Angels, was their 19th and
released in 2012. Peart had appeared on all but Rush’s 1974 self-
titled debut LP, and helped the band notch up 24 gold records
and 14 platinum.
Peart authored seven non-fiction travelogue books, notably
2002’s Ghost Rider: Travels On The Healing Road, where he
documented his motorcycle trip as he tried to get over the death
of his first wife and daughter. He also co-wrote two books based
on the theme of Clockwork Angels. He appeared in five drumming
DVDs and produced several tributes to his hero, Buddy Rich.
Announcing his death, bandmates Alex Lifeson and Geddy Lee
described Peart as their “soul brother” and asked for memorial
donations to cancer charities. Turn to page 34 for the start of our
tribute to him this issue. MK


ANUBIS GO SHORT BUT
“It’s about memories. Anders and I have lived
in Stockholm our whole lives, so we know parts SWEET WITH NEW LP
of it really well. Once I was walking through PRESS/ESTER SEGARRA
where I used to live when I was a kid, and I Aussie sextet’s sixth is created specifically for vinyl.
started thinking that I had so many memories
from certain streets, or even certain houses, in Anubis will release their sixth album, Homeless, on March 10. It marks
this particular part of town, and I thought that their first record written specifically for the double-sided LP medium.
everything that’s a memory now is something “It was important for us to approach this album differently,” explains bassist/
that’s buried. So the album is a tribute to the vocalist Robert James Moulding. “We wanted to take on the vinyl format, so have
things that you’ve lost.” 20 minutes, flip, 20 minutes, and really let that idea shape the record.
From their loss to our gain: Katatonia will hit “The concept meant trying to find how an idea could work within a smaller
the road to support City Burials later this year, timeframe,” he continues. “We wanted to distil our sound and get it to its essence.”
and Renkse admits that he still harbours grand Lyrically, Homeless represents Moulding’s reflection on a complicated modern
ambitions for his enduring band. “I’m very world, touching upon mankind’s fascination PRESS
excited to present this record to the world; I’m with environmental issues, populism politics
really looking forward to feeling the energy of the and beyond, making for an emotional nine-
new songs when we play live. I think we’re ready track whirlwind.
to move up a little bit on the ladder this time. “We all feel there’s a social homelessness for
This album has a lot of potential, so I just hope a lot of people these days,” Moulding concludes,
people get a chance to hear it.” “so we wanted to ask: ‘What is home these
For more, see www.katatonia.com. DL days and how do we get there?’”
See www.anubismusic.com for info. POW Anubis: two socially conscious
sides to their latest sonic story.

INTRO





















INTRO

extras






Novena, with
PRESS
Jennings, centre.
Rob Reed: travelling
PRESS NOVENA REACH THE
light again!
FIRST
MAGENTA “RETURN EUROBLAST ELEVENTH HOUR
BANDS
TO PROG” SAYS REED REVEALED! Featuring Haken’s Ross Jennings, the prog

Master Of Illusion kicks off his busy 2020. The German metallers count down to their debut LP.
progressive metal
Magenta’s new studio album is set for release in April festival Euroblast London prog project Novena will release debut album
this year on Tigermoth Records. Provisionally titled The has announced its Eleventh Hour on March 6 via Frontiers Music.
Masters Of Illusion, it follows up from 2017’s We Are Legend, first wave of bands The band is the brainchild of composer, musician and theatrical
with band leader Robert Reed calling it a return to the group’s for 2020. Five names director Harrison White, and features both Slice The Cake’s Gareth
prog rock roots. “I really struggled with the last album,” Reed have been confirmed Mason and Haken’s Ross Jennings as singers. “I take care of clean
says. “I had no appetite to make another Magenta record, for this year’s vocals,” Jennings tells Prog, “and Gareth has one of the best
so I made something with more electronics and loops; event, including the screaming voices in the UK underground scene, so he handles that
mathematic Swedes and the spoken-word parts.”
something harder. For this new one, I’ve gone back to the
The sextet is completed by guitarist Dan Thornton and drummer
Dirty Loops. Also
beginnings of the band and what I love about progressive appearing will be Cameron Spence (both formerly of No Sin Evades His Gaze), and
rock: longer songs, great melodies, 12-string guitars, bass
Australian guitar bassist Moat Lowe. In 2012, Lowe and White were in Bleeding Oaf,
pedals, Mellotrons, Moog solos. Traditional prog is a still virtuoso Plini. The who supported Haken at legendary venue The Borderline. “We hit it
a little shunned these days, but I love it. We’re doing this event, now entering off and our paths kept crossing,” says Jennings. “Later they reached
without worrying about pastiche or being twee.” its 16th iteration, out to me to guest on their music. I was apprehensive at first, but
Described by Reed as a “positive, uplifting record”, The will be held at the drawn to how eclectic the ideas were.”
Masters Of Illusion will feature six tracks, with lyrics written Essigfabrik venue Preceded by single Disconnected, Eleventh Hour is a heavy yet
by his brother Steve, all of which draw on the private lives of in Cologne on diverse record, themed around the last hour of a character’s life.
classic horror movie actors such as Christopher Lee, Vincent October 1-3. “Harrison’s a very intelligent guy and a fabulous musician,” says
Price, Peter Cushing, Lon Chaney and Bela Lugosi. Jennings. “He’s still the main songwriter but this one was more
“Growing up, we were both massive fans of Hammer collaborative. I had more involvement in the melodies and lyrics
Horror and the Universal films of the 50s,” says Reed. this time. Novena are flying the flag for the more progressive
“These actors are my heroes but they all had private lives, mentality. It’s about taking things to the next level.”
and we’ve written songs around things you maybe didn’t Haken will be touring with Devin Townsend in March, but
know about them. They put on a public front, like everyone Novena do plan to play live shows supporting Eleventh Hour.
does these days on Facebook, and that’s the illusion.” Find out more at www.facebook.com/novenabanduk. GRM
Magenta are Reed, singer Christina Booth and guitarist
Chris Fry, with regular bassist Dan Nelson and drummer Jiffy EX-HAWKWIND DRUMMER
Griffiths completing the line-up. Guesting on the album are
uillean pipes maestro Troy Donockley, John Mitchell (Lonely MARTIN GRIFFIN PASSES
Robot) and, on sax, Peter Jones (Tiger Moth Tales). Last year,
Magenta celebrated their 20th anniversary with an extended “A fine officer and a gentleman” say Hawklords .
Angels And Damned live show at Arlington Arts Centre in
Newbury, and will play there again on May 30. Martin Griffin, the former Hawkwind and Hawklords drummer, died on
Reed himself has a busy 2020 in store. This month January 6 after a short illness. He was 69.
(February), ChimpanA – his long-running duo with Welsh Griffin joined the Hawklords in 1978, recruited by Bob Calvert along with bassist
singer Steve Balsamo – release a cover Harvey Bainbridge, the pair coming from Devon band Ark. He was on the 1978
of Peter Gabriel’s Here Comes The Flood; album 25 Years On, and was also in the band for their UK tour
new album The Empathy Machine is later that year. He left the Hawklords before their North Farewell to
due in March. Maschine guitarist American tour to concentrate on his studio in Cornwall, Martin Griffin.
Luke Machin and Peter Jones join him where he worked with a young ABC and Elvis Costello, and
on Cyan II’s For King And Country, played with Richard Strange from the Doctors Of Madness.
“We’re doing a complete revamp of his 1993 album He also founded a successful sponsorship company.
this without as Cyan, and he’ll close the year with In 1981, Griffin was recruited by Hawkwind. He played on
worrying a new Sanctuary release, The Ringmaster the Sonic Attack album that same year, followed by Church
about pastiche – Part 1. It’s expected in September, Of Hawkwind and Choose Your Masques, both released in
or being with Part 2 due in November. GRM 1982. He left the following year.
twee.” In the past decade, Griffin has made guest appearances
Visit www.magenta.bandcamp.com. at various Hawklords shows. MD
PRESS
14 progmagazine.com



INTRO






LAZULI MAP A

FAN-TASTIC VOYAGE


Dramatic experimentalists’ new album is
a love letter to their followers.





INTRO

extras







Nektar: sculpting
PRESS something new, at last.


NEKTAR CONTACT
BRAINTICKET
FIGUREHEAD THE OTHER SIDE
DIES
Joel The cosmic masters are back with their
Lazuli: lost in music,
but with superfan Vandroogenbroeck first LP in almost seven years.
PRESS
Dieter as a guide. has passed away
at the age of 81. Nektar have released their new, 66-minute studio album
French prog rockers Lazuli will release their ninth The experimental The Other Side through Esoteric Antenna. The legendary
album, Le Fantastique Envoi De Dieter Bohm (The Belgian musician is progressive rockers, now based in the US, reformed in 2019 on
Fantastic Flight Of Dieter Bohm), on February 14. The LP best known as the their 50th anniversary; they’re a completely different group from
celebrates their fans, telling a fictional story inspired by one driving force and sole the one that recorded Megalomania as New Nektar in 2018.
constant member of Bass guitarist and vocalist Derek ‘Mo’ Moore, drummer Ron
of the band’s real-life followers, who travels all around Europe
to see them play. Initially, they were worried that said fan krautrock legends Howden, and lyricist Mick Brockett from the original line-up have
– the titular Dieter Bohm – might suffer a heart attack when Brainticket. Their been joined by Ryche Chlanda, a group member in 1978 (guitar,
music, especially the vocals), Kendall Scott (keyboards) and Randy Dembo (bass,
they told him about their idea. 1971 debut album
“We gave Dieter all the information slowly because he Cottonwoodhill, has 12-string). For The Other Side, they worked for six months in the
seems very emotional,” guitarist Domi Leonetti remembers. become renowned basement of Moore’s New Jersey home on unreleased song ideas
from the late 70s, rearranging, writing new sections and adding
“It still seems incredible to him. I think he’ll be emotional for its unyieldingly new lyrics. “It has a 70s feel but it sounds fresh,” Moore says of
when he has the record in his hands and when we play the psychedelic sound, this latest material.
songs in concert.” as well as its wide- The album deals with themes of transcendence and the
The follow-up to 2018’s Saison 8 tells of a song that comes reaching influence in afterlife, the centrepiece being the 18-minute title track. And in
to life on a desert island, then makes its way across the world the progressive, acid a tribute to founder member Roye Albrighton, who died in 2016,
to find an audience. In doing so, the album explores Lazuli’s and space The Devil’s Door features his guitar introduction taken from
experience of people connecting with their music. rock genres. a 1974 live recording.
“Each of our fans is a Dieter Bohm,” Leonetti says. Nektar are currently on largely sold-out tour in the US, and
“Through him, we want to pay tribute to each of them. there are plans to visit Asia and Europe later this year. “We are
Every fan is beautiful – there are supermodels in our thrilled,” Moore enthuses. “There was a little apprehension at
audience, but I’m talking about interior beauty!” first because no one had heard the album and they didn’t know
Writing for Le Fantastique Envoi De Dieter Bohm began after how we were going to be, but this band is really, really good.”
the band noticed Bohm’s near-constant presence at their For more information, see www.nektarsmusic.com. MB
shows, then spoke to him and discovered their work had
helped him through a difficult time in his life. The album’s
development came during an “obsessive” six-month period. THE BARDIC DEPTHS DIVE DEEP
“The most difficult thing was to channel our energies,”
Leonetti says. “We wanted to remain intuitive. Paradoxically, The Dave Bandana-led rockers are turning to literature’s
it takes a long time to switch off your brain and let your past greats for inspiration.
heart speak.” He adds, “As a kind of concept album, we were
often lost, mixing up the tracks, the melodies. We played The Bardic Depths release their self-titled debut album through Gravity
different songs at the same time, believing we were all playing Dreams on March 20. The project was put together by vocalist and composer
the same one. Only after a few [run-throughs] would we say, Dave Bandana, with lyrics from Bradley Birzer.
‘What the fuck?!’” “Brad and I met through an online magazine,” explains Bandana. “He suggested
Lazuli return to the UK for five shows, we do a conceptual album about friendship and how it can get us through anything.
starting on March 14, and Leonetti says In particular, it’s about the friendship between JRR Tolkien and CS Lewis.”
they’re looking forward to bringing the Numerous musicians have contributed, including Peter Jones (saxophone),
new music to life. “We never make an Gareth Cole (guitar), Tim Gehrt (drums) and Robin Armstrong (guitar, keyboards,
album thinking that it must please, but bass). The last named, who owns the Gravity Dreams label, also
once it’s finished, we hope that it will,” mixed the album.
“It takes a long he adds. “I met them all through the Big Big Train Facebook page,” he
time to switch As for the band’s future, he explains, says. “I asked people if they’d contribute, and was amazed when
off your brain “We never make plans. It’s the best way they agreed. That’s also how I got the record deal.”
and let your to take advantage of the present.” MK From The Bardic Depths, you should expect an experience
heart speak.” packed with jazz-tinged delights. Find out more at

Find out more at www.lazuli-music.com. www.gravitydream.co.uk. MD

Deep thinker
16 progmagazine.com
PRESS
Dave Bandana.



INTRO








FAD GADGETS


Rhodri Marsden on three

of the latest must-have
gizmos currently putting

the prog in progress.


IT’S VALENTINE’S DAY!
ARTIPHON ORBA
This puck-sized device is described by Rick looks at the mayhem an anonymous Valentine’s card can cause.
the manufacturer as “a musical
instrument designed for your hands”.
Which most musical instruments Valentine’s Day changes a lot as the years a boy in my class called Edward – who had also
are, of course, but this one pass, and, as a happily married man, the sent her one claiming to be from me.
does have some unique days when I sent cards anonymously are long The ensuing few months were quite difficult,
qualities. You can tap out gone. I remember when I wrote my first to say the least. Edward, on the other hand, really
notes and chords on Valentine’s card, way back in the 1950s, at the enjoyed his year. That was until the following
the top of it, you can age of 10. That year, a lot of the other Valentine’s Day, when I did the same
bump and shake it for boys in my class were boasting that thing to him. He was even less
percussion sounds, and you they had received at least one. So, amused than I was, though, because
can spin and tilt it to get various not wanting to feel unloved or his card came with undying love
other effects. And, rather generously, it’s outdone, I spent my pocket money from a lad called Rupert. That was
all designed to ensure musical-sounding to send myself three. All of them had “My wife is the last of the hoax cards.
results – unlike the noise that’s made suitable inscriptions inside, which going to get six I was 16 when I got my first
when someone picks up, say, a viola for I had secretly composed. These Valentine’s Day actual Valentine’s card. I was
the first time. All this and more in included the usual proclamations, convinced it came from my
a plastic block the size of half an orange. of: “You don’t know who I am, but I cards this year!” girlfriend at the time, Jane, but she
www.artiphon.com know who you are”, and “I see you in always claimed it wasn’t from her.
my dreams every day.” What an So that one will always remain
REFLECT ETERNAL auspicious start to my love life. a mystery – although Rupert did smile at me
We live in a world of portable electronic In 1960 I went to senior school, but I still a lot in morning assembly.
devices, so recharging them all can be had to wait quite a few years to actually receive When I was 20, I married for the first time, so
a rather onerous task. a Valentine’s card of a genuine nature. Or so that was the end of the Valentine’s Day japes.
Recognising this, JBL I thought. It was signed, and appeared to come I still send numerous cards to my wife each year,
have produced from a rather large girl called Anne who was in which come from both myself and our various
a prototype of the same year as me. I say ‘rather large’, as I would pets. With our menagerie of rescue cats and dogs,
some solar- be accused of being sexist and fattist if I used the my wife is going to get six cards this year. Who
powered word ‘enormous’ which, to be fair, still wouldn’t said romance is dead?
headphones have done her justice. As for my old schoolmates, I’ve heard
that, if you’re Eventually, it turned out that the card in a rumour that Anne lost tons of weight and
exposed to question hadn’t come from Anne at all, but from married Rupert.
two-and-a-half
hours of sunlight
each day, will run indefinitely. For those
who live in cloudy climes, the ’phones
can also charge from artificial light, or via
USB (which kind of negates the point of
the things, but hey) in a couple of hours.
www.reflect.jbl.com


POLY D
As a keyboard player, I’m wholly envious
of Uli Behringer’s childhood. Apparently
his dad was a scientist, who built
a massive organ in the family home in
Switzerland to help teach young Uli
about electronic
music. As an adult,
Uli has gone on to
make a name for
himself and his
company by
selling cut-price musical
gizmos. And this one is a beauty:
a cute, retro-looking emulation of a Moog
synth, with added bells and whistles (not
literally). If you’d given this to me as
KEVIN FEBRUARY
a 10-year-old, I’d have wept tears of joy.
www.behringer.com



18 progmagazine.com

Limelight
SUNS OF THE TUNDRA





Ex-Peach crew deal in 7/8 and get the thumbs up from Al Murray.




AN ENIGMATIC FORCE for heavy and progressive good, Moog to piano. We even played back all the ambient tracks
Suns Of The Tundra could well be the UK prog scene’s best- for that album at loud volume in a 15th-century abbey.”
kept secret. Originally formed as Peach in 1991, they’re perhaps Where Bones Of Brave Ships was sprawling and intricate,
best known for providing Tool with a new bassist, when Justin Murmuration paints Suns Of The Tundra as a band with an
Chancellor jumped ship to join the Californian legends back intuitive grasp of rhythm and groove – the songs reveal
in 1995. Nearly three decades later, co-founder and frontman a more stripped down and succinct approach to the band’s
Simon Oakes (also a member of The Osiris Club) is happy to skewed post-metal barrage.
admit the impact of that early meeting of minds. After “We’re enormously proud of this record. It’s another
all, if you must emulate someone, it might as well be style evolution, particularly in the wide range of
one of the most revered bands on the planet. PROG FILE different rhythms Andy [Prestidge, drummer] is
“The Venn Diagram for Peach began as shoegaze playing, from stately 7/8 uber-prog beats, through to
overlapping with Seattle,” he notes. “It then became metronomic trance beats and into really heavy stuff
more Tool-influenced after we played shows in LA with double-pedal kicks.”
in 1992 and hung out with them a lot. One time they If dazzling progressive endeavours aren’t enough
played their whole set to just the four of us awestruck to pique your interest, maybe a comedy angle
kids in Danny’s [Carey, Tool drummer] loft!” will work? Suns Of The Tundra are long-time
Those who have wisely followed Suns Of The LINE-UP acquaintances of Al Murray, friend of Prog, noted
Tundra’s slow progress since Oakes restarted his band Andy Marlow (bass, comedian and drumming enthusiast. Murray joined “Tool played
under the new name in 2002 will know that their keyboards), Mark the SOTT line-up at Download Festival in 2015 as their whole
Moloney (guitar),
sound has evolved far beyond those initial alt-rock Simon Oakes (vocals, second drummer. Perhaps even more surprisingly, set to just
explorations. New album Murmuration is their most guitars, keyboards), it was the expanding of the band’s line-up that has the four of us
distinctive and adventurous record to date, as the Andrew Prestidge eventually given these lads their next great idea. awestruck
(drums, synths)
Londoners’ embrace psychedelic vibes with great “When we played a [SOTT side-project] Geyser kids in Danny
SOUNDS LIKE
enthusiasm. The new record was partly inspired by the Hypnotic, unpredictable set at Download, we included a version of Peach’s Carey’s loft!”
experience of recording its predecessor; an elaborate progressive metal You Lied, which Tool also covered, so it’s fairly
soundtrack piece called Bones Of Brave Ships (2015), with a brooding, well-known,” Oakes states. “Christopher Lee had
written to accompany South, a silent movie about psychedelic soul died the night before so we included some of our
Ernest Shackleton’s trans-Antarctic expeditions. Murmuration is out now favourite samples from The Wicker Man. We had
CURRENT RELEASE
“Writing a film soundtrack was a big breakthrough in via Bad Elephant Music such a blast performing with two drummers that we
sound for us because so much of it was instrumental,” WEBSITE want to write some new material written explicitly
says Oakes. “We experimented a lot more with post- www.sunsofthetundra. around two kits. So that’s the big plan for this year.
rock ambience and bringing in more keyboards, from co.uk We already have one 18-minute track!” DL





Suns Of The Tundra:
Tooled up.

















































progmagazine.com 19

INTRO








MY PROG HERO

Inspiring the wider music world…


PRESS/LASSE HOILE



YOUR PROG CHEF:
MATAN SHMUELY
(ORPHANED LAND)

On the menu: Aqua Fragile
(aka Israeli Tuna Salad)



“I was born and raised in Israel, and everything in my family
was always centred around food. We used to travel the
country a lot, and we planned everything around food. I would
always hear: ‘We’ll go to that place after breakfast,’ or: ‘We’ll visit
the other place right before lunch,’ and so on.
“Both my grandmothers and my mother are masters in the
kitchen; they always used to cook for all the family. So, I used to
just sit and eat. All An Icon’s icon: Steven Wilson
my girlfriends would inspires Eric Jarrin (inset).
complain about it –
I never cooked! But, PRESS
when I started touring ERIC JARRIN
with Orphaned Land,
we’d find ourselves Despised Icon and Heaven’s Cry’s guitarist cannot erase
in situations where the impact Steven Wilson’s music has had on his life.
there’s no food, not
even basic stuff “I first got into prog when I was where the music goes crazy and
for breakfast. So about 13 or 14. A friend’s older Guthrie Govan shreds, but Perfect Life
someone had to go brother had a collection of Rush vinyl is one of my top three tracks. It’s
out, buy food and and I had a big revelation when I heard really emotional. That’s what I like
prepare it. I was the that. I then moved on to other prog about the album: it takes you to so
youngest back then bands, but I didn’t discover Steven many different places and, although
and my bandmates Wilson until he released The Raven the concept is dark and depressing,
loved what I started That Refused To Sing. Wow, what an there’s always this little spark of hope.
getting for them; album! Around that time, he was on “I never got into Porcupine Tree at
I even opened a fake tour in North America and played my the time, but now I’m really digging
restaurant for them! hometown of Montreal, so I got the Deadwing. Another reason I look up
It was nothing fancy chance to see him live. It was my first to Steven is because of the remixes
– just enough for us experience of quadraphonic sound and he’s done for bands such as Gentle
it was amazing. Now every time he Giant and King Crimson. He respects
to survive on tour.
“Later on, I met my comes to Montreal, I buy tickets. where they’re coming from but also
wife, who grabbed me “To me, prog isn’t about musical brings another level of appreciation.
Matan, plus final dish. prowess or being able to shred He’s a great musician, songwriter
Fin-tastic. by the balls and forced a keyboard solo simultaneously and producer, and he helped Opeth
me to cook! She
with a guitar solo – it’s the way the evolve sound-wise to where they are
always tells me the songwriting is done, the right now.
truth. If it tastes good, or doesn’t, she’ll say so. So I started out just layers and the subtleties. “You can hear Steven’s
making breakfast for my band and now it’s much more serious.” Steven surpasses that influence on the new
definition: he’s not afraid Despised Icon album,
Ingredients (serves 1) to experiment and is so Purgatory. The opening
5 tomatoes, 1 cucumber, ½ avocado, six olives, 16 rocket leaves, ahead of his time. track [Dernier Souffle] has
100g sweetcorn, 1 carrot, ¼ onion, ¼ tbsp vinegar, ¾ tbsp olive “The production on “I never got acoustic guitars, bass and
oil, pinch salt, 100g tuna, ½ lemon, seven walnuts (crushed). Raven was a little more into EBow, and that’s come as
Sauce: 140g (¼ cup) tahini, 60ml (¼ cup) water, 1 clove garlic traditional, so I was Porcupine a direct result of listening
(chopped), pinch of salt, ½ lemon. surprised when I first Tree at the to his music over the last
heard Hand.Cannot.Erase., time, but now few years.” NRS
Preparation but now it’s my favourite I’m really
Wash the vegetables and remove the top of the carrot. Dice the album of his. It still has digging Purgatory is out now
those 70s elements, via Nuclear Blast, see
veg into very small pieces and put it all in a bowl. Squeeze the Deadwing!”
juice of the lemon onto the veg, then add the vinegar, olive oil and especially on Ancestral, www.despisedicon.com.
walnuts. Discard the lemon. Mix everything in the bowl by hand.
To make the sauce, finely chop the garlic into very small pieces,
add the rest of the ingredients and mix well. To make the sauce Electronic prog upstarts KOJ Nightwish will release the
(right) will release their debut
double album Human. :II: Nature.
more liquid, add water; to make it less liquid, add more tahini. PROG album, Home, through Long via Nuclear Blast on April 10. The
“Now everything is ready to eat! It goes great with some Branch this coming spring. second disc of the Finnish band’s
ninth studio recording contains
The German trio – comprised
fresh handmade orange juice. Be’te’avon! That’s Hebrew for IN of a married couple and two one single piece of music divided
into eight movements. Tuomas
brothers – specialise in
BRIEF eclectic yet concise songs with Holopainen and co will play two
‘Bon Appétit’!” MM
shows in the UK in December.
a dark, emotive edge.
20 progmagazine.com



INTRO







ALL AROUND THE WORLD


Our far-out trip to far-flung prog


Gadonna (far left) and
Bonetto (second left), with
their enigmatic Stömb-mates.



















SHUDDER TO THINK


GET YOUR GOAT
(DISCHORD, 1992)
PRESS

The Washington DC hardcore punk scene of the late 80s
and early 90s isn’t the first place you’d look for progressive STÖMB
leaps into the musical unknown. However, in the midst of the
famed Dischord Records roster – the label co-owned by Fugazi Guitarist Tom Bonetto and drummer Tom Gadonna
founder Ian MacKaye – the skittish anxiety that underscored many introduce the conceptual metallic French quartet.
of the bands at that time was starting to produce fascinating,
mutant strains. Yet, even by those standards, Shudder To Think As the end of 2019 drew ever intense metal song governed by its
were an anomaly. nearer and an entirely new heavy grooves, Towards Deliverance is
Their 1990 debut album, Ten-Spot was still driven by that decade loomed, France’s eclectic a quieter track that revels in electronic
element of restlessness, but it shifted into dreamier and more quartet Stömb marked the occasion music conventions. The Threshold
abstract territories, not least thanks to the mercurial vocals of by releasing the single Ephemeral. possesses the frantic, polyrhythmic
frontman Craig Wedren. His background in improv theatre shone It was the first sample the world energy of Tool at their fastest,
through in the free rein he gave himself, roaming around the heard of Stömb’s new, and second, juxtaposing Dimension Zero’s slower
banks of bustling guitars as if beamed in from another, more album, From Nihil – an entirely pace and more technical guitarwork.
fluid dimension. instrumental record focusing on the “This album was meant to be as
If Ten-Spot was the band still trying to find their feet (or learn cyclical, inescapable nature of time. organic as possible,” says Gadonna.
how to fully detach them from terra firma), the following year’s Life leads to death, creation leads to “The idea was to put more emphasis
follow-up, Funeral At The Movies, was more expansive and destruction and, indeed, one new year on the progressive [and] atmospheric.
dynamic. Its opening lines: ‘Am I really second best/To the one inevitably gives way to the next. We wanted to get the best we could
who’s on your chest?’, laid out reverie-immersed ground that “That’s what’s so different about from the ambience of post-rock and
this album,” says Stömb’s guitarist, also get the tightness, power and
Shudder To Think spent the rest of the album liberating
themselves from, as they unpicked post-hardcore tropes to find Tom Bonetto. “We try to bring a deep strength of metal.”
reservoirs of emotion beneath. concept and people can just listen to Their first full-length album
it like it’s a bunch of regular songs, or in nearly five years, From Nihil
In 1992, they released, arguably, their magnum opus, Get they can dig deeper for the subtext.” commences Stömb’s 2020 on firm
Your Goat, an album that emphasised the band’s hyper-evolution.
Drummer Tom Gadonna footing. It hopefully sets the stage for
It laid down a challenge that, ultimately, was paid back with an elaborates: “We want people to a year of dramatic live shows, where
exponential degree of awe, open-ended adventure and sheer, imagine their own singer for this the band’s use of visual projections
giddy glee at the places music can take you when it fully abandons band. We want them to go: ‘Oh, the and avant-garde animations make
its generic perch. lyrics to this song could be this!’” them an enrapturing affair.
From opener Love Catastrophe on, songs didn’t have central However you choose to “Because we don’t have
hooks or focal points – they had constellations of them. Rather spend your time with From a frontman, we needed
than capturing your attention, they deflected it, lost in a sense of Nihil – whether you dive something onstage to
wonder that always felt transitional. At the heart of it once again giddily into the time- keep people’s attention,”
was Wedren’s voice. His androgynous glissandos and vibratos orientated imagery Gadonna smiles. “It’s
weren’t a knowing deconstruction of gender, but pre-gender. and concept, or your “People can an expansion of the
They were so liberated, petulant and imploring, so innocently indulgence simply stops listen for music, visually.” MM
aware of their sexuality, that they became boundless. at the music – you’re regular songs,
The Hair Pillow chased itself back and forth, with Wedren’s guaranteed 70 minutes of or dig deeper From Nihil is out now.
progressive, eclectic might. for the See www.facebook.com/
mad-dash falsetto embroidering a pattern of thought that
constantly transgressed itself like it was the most natural thing in While Ephemeral is an subtext.” Stombofficial.
the world. That was, before it resolved itself into a carelessly
erotic array of ‘Oooh’s. Progressive grunge ZIO have commenced their
The closing, part-acapella Funny was a delirious dissipation to newcomers Gargoyl European tour in support of
the far ends of dream logic. By that point, Get Your Goat hadn’t PROG (right) have signed to imminent debut album Flower
put Shudder To Think on the 90s musical map – it had redrawn PRESS/SAMANTHA_CARCASOLE IN Season Of Mist, with their Torania. The vibrant troupe
will perform in France, Italy,
debut album expected this
the topography altogether. year. The full-length will follow the Netherlands and the UK,
wrapping up with a headliner
their EP, Asomatous, which
JONATHAN SELZER BRIEF was released independently at London’s Under the Bridge
on November 13.
last February.
22 progmagazine.com

Limelight




















Set sail for the Isle Of Ailynn
with Tom Meikle.


































MAPPE OF




Fancy rich visuals blended with mythical stories in a stunning prog-folk concept?




FAR BE IT for Prog to judge an album by its cover, but when “My older brother and his friends were always listening to
we received The Isle Of Ailynn, the second album from Dream Theater and Opeth, and they’ve stayed with me all the
Canadian alt-folk artist Mappe Of, aka Tom Meikle, we were way since – firstly as a guitarist, but then I realised there was
pretty optimistic. A beautifully illustrated sleeve featuring also a lot of lyrical depth you could tap into. Those bands led
an opulently dressed father and daughter gazing out from me to Genesis and Yes and, in the past five years, I’ve really
a veranda to a bay of water and a distant island on the horizon. got into the 70s era of prog. Trespass is one of my favourite
The sticker on the sleeve, meanwhile, reads: “the sophomore records, and Gentle Giant too. I could go on…”
album built on fictional landscapes full of strange flora Meikle acknowledges the influence of gory metal-
and fauna, mysterious phenomena and mythological PROG FILE style language in striking lines such as: ‘I was born
beings”. Sold, and we weren’t disappointed. in magma, bleeding from the eyes’ on Volcae, but
The Isle Of Ailynn is an album where a vivid visual there’s just as much of a debt to Tolkien and
concept, a narrative thread and some similarly mythology in incantations as he sings on Ailynn,
evocative music have evolved together from the start. in a falsetto somewhere between Bon Iver and Jeff
“I had this list of song titles before I had a note of Buckley: ‘I’ve crossed ancestral plains, I’ve seen the
music down,” Meikle explains, “which was equal parts pearly gates, seeking the ends of the Earth.’
daunting and also reassuring, because I knew the LINE-UP While trying to drink all this in – the songs are
aesthetic and environmental identity of all the voices Tom Meikle (vocals, written from different viewpoints including “I’ve really got
and sounds. Then it was about writing music that guitars, bass, piano, a cartographer’s quest, a missionary questioning his into 70s prog.
organ, synths,
fitted that fictional physical space.” Marxophone, faith in the face of godlike creatures, and the Trespass is one
That much it certainly does, as a beautifully bucolic- percussion, protagonist’s daughter’s dissent against her father of my favourite
sounding dreamscape seeps out of the speakers, programming) – we have the help of 10 specially commissioned records.”
reminiscent of early Genesis’ most delicate, folk- SOUNDS LIKE artworks that accompany the album. The work of
inflected moments as well as Bon Iver’s fragile rustic The quiet parts of Canadian illustrator Quinn Henderson, they evoke
Genesis’ The Fountain
vignettes, connected by a narrative full of mythical, Of Salmacis or White the classic era of prog sleeve art.
mystical visions of a lush green land where lost souls Mountain covered by “I told Quinn a few of my artistic inspirations,”
can find solace. Bon Iver after having says Meikle. “Japanese woodblock art was a huge one
too much to drink
“It was a way for me to push my compositional last night and some golden age illustrators, particularly Kay
limits from a songwriting standpoint,” says Meikle, Nielsen, a Danish illustrator I fell in love with. I sent
CURRENT RELEASE
who debuted the Mappe Of project with 2017’s more The Isle Of Ailynn is out him some of that stuff and told him about the
sparsely arranged A Northern Star, A Perfect Stone, but now on Paper Bag landscapes I had in my head, and he just nailed it.”
who actually grew up listening to progressive metal, WEBSITE So it’s fair to say with The Isle Of Ailynn, what you
and still draws influence from it. www.mappeof.com see is what you get. Dive in. JS



progmagazine.com 23

HAVE A CIGAR


Saluting the scene’s supporting crew




HOW WILL PROG Lulu Davis: the friendly
face of successful
management and PR.
THRIVE IN THE 2020S?
Can music from our scene flourish in
future? A Prog writer investigates.



Over the last decade, bands both old and new have seen the
industry change dramatically. In 10 years, Spotify has gone
from 500,000 to 113 million paid subscribers and streaming now
dominates the way we listen to and consume music. Physical
album sales are dropping in turn, with revenue from online
sources doing little to fill that void (Spotify streams are currently
worth approximately 0.0035p each). Vinyl sales are increasing,
but pressing them is often too expensive, so what can prog do to
thrive in this decade? And how can the next generation flourish?
Ultimately, an artist must have an understanding of who their
audience is to better engage with them. Young death metallers
Godeater have found success through the vegan-friendly, climate-
change-combatting messages of their songs, so could prog be INCENDIA MUSIC
more socially aware, too? Or should it provide escapism?
Social media will continue its vital role in maintaining a band’s Founding her management and PR company aged just 19,
connection with their fans. It’s a tactic prog/pop trio Exploring Lulu Davis connects small bands with big opportunities.
Birdsong have smartly employed, drip-feeding digital singles over
the past two years, focusing on quality over quantity. In an age Growing up, Lulu Davis heard all hours, stuffing envelopes with CDs
where people want everything yesterday, the young band left fans a lot of prog. “My dad would and T-shirts, but with Voyager now
desperate for more. Now they enter the new decade with a record play Pink Floyd, Rush, Genesis,” she signed to Season Of Mist, those days
deal, an acclaimed debut EP and an audience at their feet. recalls, “but also Slipknot, Linkin are behind her.
However, while focused single releases are effective in getting Park and Nirvana. I remember finding “All these bands bring their own
heard, streaming has eliminated product viability; that’s why Ozric Tentacles weird but I gained an flavours, sounds and influences to the
Birdsong are relying on their EP to build on their early success. appreciation for it as I got older.” table,” she says. “That’s what prog’s all
Bandcamp is a great service that promotes repeat listeners of Those origins have held her in good about! Our main goal in 2011 was to
an album to “open thy wallet and thy heart”. It provides bands stead. Now based in Brighton, Davis push unsigned and independent acts,
with a free-to-use merch-selling platform, allowing fans the world founded Incendia Music in 2011 when to get them as many opportunities as
over to put money directly into their hands. Patreon is also she was just 19, finishing her degree in possible to develop their careers. We
becoming increasingly popular. The subscription-based service Music And Entertainment Industry still do this, but on a global scale.”
sees “patrons” receive early access to content, alongside exclusives Management at the University Of Davis’ team expanded last year,
that build a more intimate connection with an artist’s fans. Hertfordshire. Today, Incendia offers thanks in part to Incendia winning
management and publicity services the support of the Music Managers
Live shows will remain pivotal in prog, but aren’t always
lucrative. Money from gigs often trickles through several hands – to independent and established acts Forum, an industry body set up to
venues, promoters, etc – before reaching the opening act, so acts across the rock spectrum, working nurture viable, sustainable companies
on notable campaigns for Therapy?, like hers.
must stock a merch desk. T-shirts often have the biggest profit Kim Seviour, Earthside and Daniel “A lot of decisions are made on
margins and help get a brand seen. Also, bands would be wise
Tompkins’ extra-TesseracT project, statistics alone now, and that annoys
to buy a card reader to cater for all payment methods. White Moth Black Butterfly. Currently me. A band might have lots of likes
Another stumbling block is the sheer amount of music out on the roster are Coldbones, Major on their social media, but that doesn’t
there, although streaming services are helping to direct users Parkinson and Voyager. She has always translate to ticket or album
towards bands they’ll enjoy through algorithms that tailor managed the latter for five years, sales. There’s a correlation, but it’s
recommendations. Appearing on playlists can be as valuable as during which time they’ve been not as black and white as it seems.”
radioplay used to be, so it’s important that an act utilises services nominated as International In a business driven
such as DistroKid to publish music on all streaming platforms. Band at the Prog awards by streaming stats,
But for prog to truly thrive, fans must make a conscious effort and played the Euroblast Facebook followers
to support new bands by putting their money where their heart is. and Space Rocks festivals. and algorithms, Davis’
PHIL WELLER Their latest album, Colours approach seems
Got an opinion on the matter that you’d like to share? Please In The Sun, topped the “Lots of likes refreshingly human. GRM
email us at: [email protected]. Opinions expressed in this Australian Independent on social
column aren’t necessarily those of the magazine. Charts late last year. Once, media doesn’t To find out more, visit
Davis would be up until always mean www.incendiamusic.co.uk.
ticket sales.”



Haunt The Woods have Eclectic solo artist Myrkur UK Tech-Fest has announced Sydney instrumentalists
announced their debut (left) has announced her its first wave of acts, including We Lost The Sea have
album, Opaque, will be third album, Folkesange, Uneven Structure, Artificial announced their first
released on February 28. will be released on March Language, Form Subtract, European tour in nearly
The Cornish quartet’s 20 via Relapse. Although Godsticks and Wings Denied. three years. The jaunt will
13-track disc fuses prog renowned for fusing metal The four-day festival runs include two UK shows:
rhythms with folk and pop with Scandinavian folk, from July 2-6 at Newark Sheffield Corporation on
inspired by Fleetwood Mac, Myrkur’s new LP will focus Showground Nottingham. May 16 and June 7 at
Bon Iver and Pink Floyd. more on acoustic sounds. See www.uktechfest.com. London’s Portals Festival.

24 progmagazine.com

CELEBRATING THE VERY BEST OF




PROG MAGAZINE






Inside this second volume, you’ll fi nd the stories behind such landmark albums as
Pink Floyd’s Wish You Were Here and Mike Oldfi eld’s Tubular Bells, in-depth interviews

with Ian Anderson, King Crimson, Opeth and more, plus the 100 greatest prog anthems.
































































ON SALE




NOW

































Ordering is easy. Go online at:




www.myfavouritemagazines.co.uk
Or get it from selected supermarkets & newsagents

What got us all
US, THEM & YOU grooving this month…



  PINK FLOYD ART

BOOK SIGNED BY
GERALD SCARFE





The prog top 30 albums


December 2019 Compiled by


1 JEFF LYNE’S ELO From Out Of Nowhere (RCA)

2 PINK FLOYD The Later Years – 1987-2019 (RHINO)
3 TOOL Fear Inoculum (MUSIC FOR NATIONS)

4 FRANK ZAPPA Hot Rats (ZAPPA/UMC)
5 OPETH In Cauda Venenum (MODERBLOGAT/NUCLEAR BLAST)

6 MARILLION With Friends From The Orchestra (EARMUSIC)
7 WITHIN TEMPTATION Resist (SPINEFARM)

8 BRIAN ENO Apollo – Atmospheres And Soundtracks (UMC)
9 HAWKWIND All Aboard The Skylark (CHERRY RED)

10 STEVE HACKETT Genesis Revisited Band & Orchestra Live (INSIDEOUT)
11 KING CRIMSON In The Court Of The Crimson King (PANEGYRIC)

12 JETHRO TULL Stormwatch (RHINO)
13 SWANS Leaving Meaning (MUTE)
14 MIKE + THE MECHANICS Out Of The Blue (BMG)

15 DEVIN TOWNSEND Empath (INSIDEOUT)
16 KATE BUSH The Other Sides (RHINO)
ast issue, we explored the inside story behind Pink Floyd’s The Wall. In this
17 DREAM THEATER Distance Over Time (INSIDEOUT)
Lissue, we’re giving you the chance to win a signed copy of Gerald Scarfe’s
18 PETER GABRIEL Flotsam And Jetsam (REAL WORLD) definitive book about the multi-media extravaganza.
One lucky recipient will receive a copy of the lavishly illustrated The Making Of Pink
19 NO-MAN Love You To Bits (NO-MAN)
Floyd The Wall, which expands on the story behind the iconic album art, breathtaking
20 ALCEST Spiritual Instinct (NUCLEAR BLAST) stage show and cult film. In the book, Scarfe shares his experiences of working with

21 MOON DUO Stars Are The Light (SACRED BONES) Pink Floyd, the good times and the bad, and includes many drawings, photographs
and designs never previously published. There are also contributions from members
22 MARILLION Afraid Of Sunlight (RHINO) of Pink Floyd, film director Alan Parker and a foreword by Roger Waters. This fully

23 BE BOP DELUXE Modern Music (CHERRY RED/ESOTERIC) authorised publication is a must-have for fans.
For your chance to win this amazing prize, visit www.bitly.com/Scarfe_book and
24 STEVE HACKETT At The Edge Of Light (INSIDE OUT) answer the following question:

25 FLYING COLORS Third Degree (MASCOT/MUSIC THEORIES)
26 PERIPHERY IV – Hail Stan (CENTURY MEDIA) Who played the role of Pink in the movie version of The Wall?
1) Bob Dylan
27 YES Fly From Here – Return Trip (YES/CHERRY RED)
2) Bob Geldof
28 LEPROUS Pitfalls (INSIDEOUT)
3) Bob Hoskins
29 STEELEYE SPAN Estd 1969 (PARK)
For more information on Gerald Scarfe, visit www.geraldscarfe.com.
30 SUNN O))) Life Metal (SOUTHERN LORD)
TERMS AND CONDITIONS: This competition will be open from February 4, 2020-March 5, 2020. By entering
the competition you agree to our competition rules (available at www.futureplc.com/competition-rules).
The winner will be selected at random from all correct entries received by the closing date. No employees of
Find out more at www.officialcharts.com Future Publishing or any of its group companies or the employees of any entity which has been involved with
the administration of this competition or any member of their households may enter this competition.
Now our turn…

The Editor The Art Guy The Deputy Ed The Musician The Writer The Reader
Jerry Ewing Russell Fairbrother Natasha Scharf Pete Trewavas Matt Mills Bob Hodds















RUSH MARKUS REUTER RUSH LONELY ROBOT ANATHEMA RUSH
A Farewell To Kings Truce Permanent Waves Under Stars Judgement Hemispheres
MERCURY MOONJUNE RECORDS MERCURY INSIDEOUT MUSIC FOR NATIONS MERCURY

26 progmagazine.com

Limelight
PERIHELION





Dynamic Hungarian four-piece with a taste for mind-altering melodies.




ONE OF 2019’S most wildly psychedelic records, Agg was One day I was trying to play that tune and I messed up really
intended to be a bewildering trip. Hungarian quartet badly, and that was Erdo! There isn’t another song that was
Perihelion’s latest album is a thunderous barrage of born like that in our history. We tried to keep that song as
shimmering, post-everything art rock; it’s the work of old primitive as possible, because we wanted to be able to convey
souls battling against the heaving tides of time. our message as clearly and as effectively as we can.”
“The term ‘Agg’ is especially used for very old people, If Hungary has yet to establish itself as a major force in the
people who are so old that they’re the oldest people on Earth,” European prog scene, Perihelion’s latest creation could hardly
says vocalist and guitarist Gyula Vasvári. “That idea, of those be a more glowing advert for their nation’s as-yet-untapped
elders, is the core of the whole album. It has roots in the sonic charms. Agg will likely lead to a surge of demand for the
feeling that many of us have: that feeling that you are band’s uniquely head-spinning cacophony, but until
too old for everything that is happening around you.” then Vasvári is happy to focus on what really matters.
Formed in 2012 from the ashes of Neokhrome, PROG FILE “Touring is difficult and getting harder by the
Perihelion showed tons of promise over the course of year,” he notes. “We just did a European tour and it
their first three albums, but as Vasvári explains, Agg was pretty tough, but we enjoyed the hell out of it.
reveals a rejuvenated band hitting the strongest form of We have great friendship in the band and that’s “This is the
their story so far. An immersive, 36-minute journey always been one of our core rules: to behave like first album
through gloomy soundscapes, skull-rattling krautrock human beings with each other. In many cases and where we’ve
rhythms and the irresistible, mind-altering whoosh of many bands, that’s a big problem!” really achieved
space rock, it has the urgency and freshness of a debut. LINE-UP With their latest album out now, Perihelion are our dreams.
“This is the first album where we’ve really achieved Balázs Hubicska still to discover whether their idiosyncratic sound What you
(guitars), Barna
our dreams. We recorded and mixed everything Katonka (drums), will propel them to glory. But just as their music hear is exactly
ourselves. What you hear on the album, the vocals Gyula Vasvári (vocals, leaves no stone unturned in its quest to blow your
guitar), Tamás what we
aside, was all captured completely live in our rehearsal Várkoly (bass) mind, so Vasvári’s future plans look certain to be sound like.”
space, so what you hear on the album is exactly what all-encompassing and driven by laudable passion.
SOUNDS LIKE
we sound like. There were no artificial additives!” Mind-expanding, “Ultimately, you have to respond to the changes in
Among many moments of spine-tingle dynamism, windswept post-metal, the music industry and make your move accordingly,”
Agg reaches an emotional peak during Erdo, by far the with added space he concludes. “Next year, for instance, we plan to
most accessible and succinct song Perihelion have rock whoosh write a new song, to release as a standalone single.
conjured to date. With its soaring melody and pulsing, Agg is available now Following the same blueprint from year to year
CURRENT RELEASE
post-punk gait, you might even call it catchy. from Bandcamp doesn’t work anymore. Our main objective is always
“It’s minimalist, for sure,” chuckles Vasvári. “I had to be able to fulfil our creative desires – we want to
WEBSITE Once you hear Agg
a tune in my mind and I wanted to use it for the record, www.perihelion-official. maintain our integrity and nothing else matters. you’ll be Hungary for
but in the end I dropped it because it wasn’t up to par. bandcamp.com We’re crazy about creating new stuff! [Laughs]” DL more from Perihelion.

























































progmagazine.com 27

Limelight

LIFE IN DIGITAL





London and Kent-based duo merge prog and 80s electronic sounds.



IT WAS THE wonders of Facebook that led to the formation and 90s prog and see what we could come up with. We
of Life In Digital, when ex-Blue Shift singer Robin Schell heard wanted some Mellotron and Hammond but also an 80s drum
some material that Glass Hammer collaborator John Beagley sound. And then we threw in some modernish electronic stuff
had posted, liked it and invited Beagley to listen to some of his production-wise.”
own material. The musical admiration proved mutual, with While Beagley has cited a variety of bands as influences,
Beagley particularly struck by Schell’s voice. Signs To The Far Side pays the most obvious homage to Trevor
“It’s funny, because I’ve had comparisons in the past to Jon Rabin-era Yes. “One of my favourite Yes albums is Talk,”
Anderson,” Beagley says, “but I can’t sing as high as he reveals, “and we tried to get some of those big
him. And I thought: ‘My God, Robin sounds more like PROG FILE Yes-style vocals.”
Jon Anderson than I do!’” Signs To The Far Side was performed entirely by
Having written a song earmarked for a female singer, Beagley and Schell, and the duo had intended to
Beagley road-tested Schell. The duo were sufficiently co-write the entire album. However, collaborating
pleased with the result that they cemented their over the internet proved to be frustrating, and as
partnership by independently releasing their 2017 a result Beagley wrote the Karma suite, with Schell
“I thought: debut album 2951 Seconds Of Sound. While sales were contributing to the album’s four shorter songs. “But
‘My God, in no danger of troubling the charts, positive reactions LINE-UP we both had a say in the sound, instrumentation and
Robin sounds gave the duo confidence to persist with Life In Digital Robin Schell (lead arrangements, so the album is more co-written than
more like Jon and pursue a proggier direction. vocals, keys, sound the previous one.”
design, programming),
Anderson than Their second album, Signs To The Far Side, captured John Beagley (vocals, Outside Life In Digital Beagley has previously
I do!’” the attention of Magenta keyboard player and White keys, sound design, played a single album-launch show as part of ESP
Knight boss Robert Reed, resulting in Life In Digital programming) alongside Mark Brzezicki, David Cross, David
signing to the label. “I almost got signed to ZTT when SOUNDS LIKE Jackson and Mickey Simmonds, and that has given
I was about 24. After all these years it was nice that As if Yes were pursuing him a taste for putting Life In Digital on stage.
their Rabin-era direction
a label actually wanted us,” Beagley laughs. in 2020 “ESP was a fantastic experience and a huge boost,”
He and Schell are big prog fans as well as having he says. “I was Mister Nobody on stage with some of
CURRENT RELEASE
other influences. “We love melodic, progressive rock Signs To The Far Side is my heroes from when I was at school. We want to
music such as Genesis, Yes and Pink Floyd, but we out now via White Knight see the reaction to Signs To The Far Side, and then if
John Beagley and Robin also love The Buggles and more electronic stuff. On there’s demand it’s a case of trying to find some
WEBSITE
Schell: the Signs point www.life-in-digital.co.uk
to a bright future. this album we tried to combine our love of 70s, 80s good musicians willing to join the fold.” NS































































28 progmagazine.com



INTRO








with the evolution of that artist. I’m not judgemental about the
music they make, I want to hear all of it in all its diversity.
In the late 80s in Manchester I heard some Sandy Denny and
got interested in folk and country music. I’d already been listening
to psychedelia, so hearing acid folk and bands such as Trees and
The Incredible String Band crossing over was yet another path to
follow. Pentangle were a revelation; hearing Basket Of Light, I once
again thought: ‘Now this is the most exciting thing I’ve ever heard.’
Around this time I was in a band, Monoland. We were a trio, very
much a jazz/acid folk crossover, influenced by bands like Dando
Shaft. I got very interested in jazz – Pharaoh Saunders, Albert
Ayler and Sun Ra. That was a great period. I’d left RADA, moved
to London and was a professional actress, doing eight shows a week
in the West End with Six Degrees Of Separation and then Shopping
And Fucking, and playing in my band. Saturday would be my busiest
day: two shows, then cycle up to The Falcon in Camden to do
CAROLINE CATZ a gig. This went on for about three years. I loved it. I was doing
everything I wanted. Then I started working in TV, working away
from London, so we recorded one album and split up.
Since I first heard it, I’ve always been interested in krautrock.
Armed with a Dansette record player at an early Soul Jazz’s Deutsche Elektronische Musik series introduced me to
age, the Doc Martin and DCI Banks actress and music so many brilliant smaller bands, such as Gila, and I love these

documentary maker quickly found an obsession with compilations so much I have them on CD and vinyl. Can’s The Lost
Tapes was a revelation, and I’ve seen Faust a few times – once
digging for “odd stuff”, and falling for Delia Derbyshire. during the Edinburgh Festival when they were wielding chainsaws
and angle grinders, which made for a terrifying, amazing
Words: Jo Kendall Portrait: Will Ireland experience. And then there’s Kraftwerk. I saw them at the Tate
Modern in 2013. I queued for hours for tickets, and it was worth
every minute of frostbite. I really love the Ralf And Florian album.
I’d had the first Soft Machine album and really liked it, but I got
“ t’s quite a diverse selection of stuff that I like, I just more into Canterbury scene stuff when the five Kevin Ayers
don’t know how it all fits together. When I was
about seven or eight, at the back of my cupboard albums came out in a CD box set [The Original Album Series in
I found this Dansette [points to old vinyl record 2014]. I was driving to Cornwall [for Doc Martin] and I listened it
player in the room]. It was my mum’s, and on top of all on the journey. I couldn’t believe what I was hearing, every
it was a stack of records that had been played to album was so beautiful. He’s experimenting all the time, so clever
death: Buddy Holly, Dusty Springfield, every Beatles lyrically and musically. There’s a very unique world that he
album, loads of singles. I had no one to show me conjures up.
what to do, but I plugged it in and got it going, and it I love soundtracks and library music. This is where Delia
was this big discovery that set me off on a path of Derbyshire comes in. The Doctor Who theme was just a fraction of
being obsessed by music and digging for treasure. what she could do. It’s beautiful and powerful and it’s affected all
I starte
I d to get pocket money, and I remember of us in ways that we don’t know. She moonlighted as Li De La
visiting Peter Swales’ record shop in Altrincham and feeling like Russe for the KPM library release Electrosonic with [Radiophonic
the smallest person in the shop, quite intimidated, but I also felt Workshop colleague] Brian Hodgson. I made a short film about
like I knew about records because I had this little collection. The Delia [The Myths And The Legendary Tapes] that was in the London
first thing that caught my eye there was David Bowie’s The Rise Film Festival in 2019 – an entry point into a bigger project,
And Fall Of Ziggy Stardust… I thought: ‘This is probably going to be a forthcoming feature-length. It wasn’t until I went through Delia’s
the best thing I will ever have heard.’ I couldn’t buy it immediately, archive in Manchester and heard the things that haven’t come out,
I had to save up pocket money and birthday money, and I kept such as her inventions for radio, that I realised what a visionary she
going back and checking it was still in the shop… I even tried was. It’s fascinating how she could create a huge piece from one
hiding it, pathetic. Eventually I got it and that was the start of a big single note, using pitch and adding samples and musique concrète.
love affair with him. Eventually she and Brian met David Vorhaus, and it led to forming
All music was exciting then, with the Top 40 on the radio and White Noise and the record An Electric Storm. That album is like
Top Of The Pops on TV. I got into heavy rock and metal through theatre, and horror. You put it on and you can’t stop listening, but
seeing the TV ad for the K-Tel compilation Axe Attack. I was it’s terrifying. I can’t listen to it late at night.
obsessed with that because I wanted to know more, like: ‘What are I’m fascinated by Delia and the music that she made, and the
those sounds?’ I got it for Christmas, and that opened the door to myths surrounding her. There’s a narrative that’s projected on to
the most incredible music of Sabbath, Motörhead… and that set me her that’s a tragic soap-opera version, and it pisses me off in the
off listening to Hawkwind. I love a compilation. It went with my way that women are represented in music. She’s much more
mind-set of taping stuff from the telly, the Top 40, John Peel… complex and interesting. What was it that really made us hide
We were all making our own mixtapes at the time. behind the sofa? Collectively, what did she tap into? She felt sound
I started to feel my music choices were a bit odd when people very deeply. Things that influenced and haunted her came out.
at school didn’t get what I was into. I liked pop, but My latest obsession is The She Trinity, the first British [with an
I also liked digging around for old, odd stuff. ex-pat Canadian on drums] all-female prog act influenced by bands
I didn’t have anyone to share the digging around like Deep Purple. I heard them on the radio, on Stuart Maconie’s
with so I felt like I had two lives. I went for record Freak Zone, a long time ago. I’ve been looking for years for the track
covers and visuals. At 11 I saw a picture of Nico, Climb That Tree, and I’ve finally got it on vinyl coming in the post.
Lou Reed and Andy Warhol in a magazine and A fun little fact is that the bass player was an actress too – Pauline
“What really I thought: ‘Wow, who are these people?’. So Moran, who played Miss Lemon in Agatha Christie’s Poirot. There’s
made us hide I bought a cassette of The Velvet Underground & always so much more to dig for.”
behind the sofa? Nico. It was the next-best thing I’d ever heard. My
What did Delia obsession with Nico never went, either; it’s about Caroline is writing and directing a feature-length film about Delia
tap into?” artists doing interesting work and a fascination Derbyshire, to be released later in the year through Anti Worlds.



30 progmagazine.com

progmagazine.com 31

INTRO








Japanese metal band Defiled released an album of the same
name on the same day as yours.
It’s an amazing coincidence. I love the fact that there’s this bit of
synchronicity going on with that, because we couldn’t be further
apart musically. But maybe there’s something in the underlying
feeling that things are getting worse. It’s coming across on the
other side of the world to a bunch of Japanese death metallers, so
I think that’s great.

Does collaborating with a range of musicians keep things
fresh for you?
Yeah, totally. I love to be surprised in terms of listening back to
something and you’re thinking: “Well, I didn’t know I could do
that.” That sort of feeling for me is what makes the collaboration
successful. I’ve been in contexts recently where I can’t even
imagine the result that we’ve ended up with. It’s been quite
satisfying to get a good result, musically speaking, with very little
COLIN EDWIN that I would never have thought of myself. Progression and being
discussion, and actually realising that I’ve come up with something
progressive for me is about achieving a surprising result.


Back with his entrancing third solo album, the bass Which of your projects are you most proud of?
maestro talks about how to keep things fresh – and I’m very proud of the work I’ve just done with Inna Kovtun from
the chances of Porcupine Tree ever reuniting. Ukraine. I’ve done a collaborative album with my partner Jon
Durant from America from Burnt Belief. We’ve made a few
records, mainly as this kind of guitar-based instrumental-ambient
Words: Chris Cope Portrait: A Peck music, with a tinge of jazz, and we had worked as well with Inna,
who’s a folk singer. So it’s a really unlikely combination, but I’m
really, really happy with the result. I think we’ve got something
really unique, and that’s something I couldn’t have ever imagined.
hile Porcupine Tree ground I think that’s probably the most unique thing – either that or
to a halt around 10 years Metallic Taste Of Blood, which is a personal fave as well.
ago, bassist Colin Edwin’s
cogs have kept on Is there one musical desire that you haven’t quite tapped into
whirring. Since then the yet, something that’s still on your to-do list?
London-based musician I play a lot of double bass, a lot of upright bass, and I don’t really do
has catapulted himself into enough of it, so I’d like to do something a lot more acoustic. But,
an array of prog-certified you know, I haven’t really had the right context to do it in. I’ve
projects and collaborations, done bits and pieces of acoustic stuff, but that’s sort of my
from rockier forays with thinking for the future, for sure. Something very stripped back
Metallic Taste Of Blood and very acoustic and just kind of real.
and O
W .R.k. to Twinscapes
and a recent record with Ukrainian folk singer Inna Kovtun. There’s been a lot of clamour, especially on social media, for
Edwin’s newest musical offering is his latest solo album, Infinite Porcupine Tree to reunite. Are you tired of hearing that?
Regress, a collaboration with vocalist and lyricist Robert RJ Peck It’s no surprise to me. I mean, people are still interested in the
which, as well as hypnotic music cap-doffing to ambient electronica band, which is great. People are still playing the music and new
among other sounds, tackles themes such as alienation and people are still discovering it. So that’s all good, you know. People
technological distraction. will come to a gig that I’m doing that’s completely different, and
they’ll come up to me afterwards and talk about Porcupine Tree.
How would you describe the style of Infinite Regress? I’m always happy to hear that. So no, I don’t get tired of it. People
I like to think of it as nocturnal ambiance. It’s got a very nighttime, love to talk about what they love, enough to pass that on, so that’s
nocturnal sort of atmosphere to it – which is no mistake. Most of cool with me.
it was actually done probably in the middle of the night. I work in
my basement studio, and I quite like working in the dead of night There have been a number of Porcupine Tree reissues in
when there’s absolutely no distractions and it’s quite quiet. When recent years. Is the legacy of the band being preserved well
everyone’s asleep it’s like you’re tuned to a frequency no one else enough as it is?
can reach, in some ways; it’s very still and very quiet. And a lot of There’s a lot of stuff out there for people to enjoy with Porcupine
that atmosphere permeates a lot of the music. Tree, so does it matter if there’s anything new or not? We did what
we did, and it still stands up. We haven’t done anything for 10
Would you say the music is more ‘progressive’ years [the band’s last tour was in 2010 to promote the release of
than ‘prog’? The Incident], and I always thought people would forget within
Yeah. Well, I try not to get involved in labels, a year or two that the band had ever existed. But it’s been the
because that’s not really my job. But I mean, for opposite, so that’s great. It’s great to have been part of something
me, the term ‘prog’ is always going to be that’s had that effect. That’s quite rare.
“When associated with this sort of 70s era, so obviously
everyone’s the record I’ve made is less of that. At the same If a call came in tomorrow asking if you would get back
asleep it’s like time, the spirit of progressive music is about doing together for a one-off show, would you say yes?
you’re tuned to something new or trying to reach things that It’s not going to happen. We’re not going to get a phone call to
a frequency haven’t been done before, or just to be out of the go and headline Hollywood Bowl or something.
no one else ordinary in some sense. That’s always been quite
can reach.” important to me – to do something that’s unique Infinite Regress is out now on Hard World. See www.colinedwin.co.uk
to me that I haven’t done before. for more information.



32 progmagazine.com

Colin Edwin has
branched out since
climbing down from
Porcupine Tree.



























































































































progmagazine.com 33

“I stop at a diner or at a gas


station, I have wonderful


encounters with people at


rest areas at the side of the


road… these moments that


are just person to person.


Those are the moments,

that is how I live best.”



Neil Peart


























































































34 progmagazine.com

Suddenly You








Were


































Nobody knew Rush quite like Prog writer Philip Wilding. In the wake
of drummer Neil Peart’s sad death from brain cancer he shares
his memories about what made the man so very special.



Words: Philip Wilding Image: Richard Sibbald/Rush Archives


here are no other vehicles out on this highway, the I was at those last few concerts with the band, watching their
light fading from the sky as a motorbike pulls into penultimate show at the Irvine Meadows Ampitheatre in
view, a lone rider casting a long shadow, there briefly Orange County, California from the side of the stage. Not
in focus and then gone, heading to the horizon, only to enjoy the frantic air drumming and faces pulled by
g
o
i
T ng nowhere and headed anywhere. the startled onlookers in the first few rows, but to watch Neil
“He’d gone,” Geddy Lee told me years later, years after Neil up close, to try and fathom what exactly he was doing.
Peart had lost his 19-year old daughter Selena in a single-car It was impossible, though. His reddening face was almost
accident as she drove to her university in Toronto. That had impassive, his signature hat perched on his head – how it
been in the August of 1997; five months later his common stayed on in that maelstrom is still a mystery for the ages
law wife of 23 years, Jackie Taylor, was diagnosed with – but his arms and legs were doing impossible and strange
terminal cancer. After her death, Neil told Rush to consider things. Each fill was a recognisable moment of wonder and
him retired and took to the road. I, along with every other human being in that open-air arena,
“We didn’t know where Neil was,” said Geddy. “He was paused to get the air drum fill on The Temples of Syrinx just
just out there somewhere and then very occasionally we’d right. There was something joyous and gloriously unhinged
get these coded postcards that we knew were from him, and about 16,000 strangers all caught up on the hook of that
that he was alright.” thundering drum fill rattling across the toms. I’m pretty sure
Neil finally came back to the band to make Vapor Trails and we all thought we were in time too.
tour again in an era of Rush that Lee calls his very favourite. It was that tour, and one I wish more people could have
Perhaps even more remarkably, the man who practised his seen, where the setlist was played out in reverse chronology,
drums for hours every single day of the year apart from starting with songs from Clockwork Angels and ending with
Christmas Day, hadn’t even touched his kit in all the time Working Man, the stage stripped back to resemble a high
he’d been away. As the band were putting themselves back school hall, some hours later. Given that the band had to
together, guitarist Alex Lifeson would stay late after Geddy work backwards through their catalogue, Neil had two
had left for the day. “And me and Neil would just jam separate kits around him, his latest set up front and then,
together, get his chops back up, stay late and play.” as the set progressed (or regressed depending on your
Neil joined Rush in 1974 after the departure of original viewpoint), the drums would switch around to reveal one
drummer John Rutsey. “I remember him pulling up and of Neil’s older kits from another tour and another time.
unloading his gear and we thought he was kind of goofy The older kit was harder to play and less comfortable and
looking,” said Lee. “And we thought we were pretty cool cats! less conducive to the setup Neil had grown used to, but he
But he started playing and Al and I just sort of caught each – and this was very Neil – insisted on soldiering on with
other’s eye. He was astounding, he blew us away. After he the older kit for half the set as it brought authenticity to the
left this other guy turned up and he was setting up with his music. That’s how those songs had been played live before
sheet music and I felt kind of bad for him because after Neil’s and they would be again.
audition he had absolutely no chance.” But I’m getting away from myself; my head is filled with
Neil walked away from Rush in August 2015, as he began images and memories of him. Drinking 12-year-old Macallan
to doubt his ability to play to the demanding high standards with him at the mixes of Clockwork Angels; him showing off
he set himself. He had another daughter now and a new wife, his beautiful silver Aston Martin (as driven by James Bond in
and he, more than most, must have realised how time is Goldfinger), one of many; standing at the Canadian consulate
fleeting and we need to hold on to what we love when we can. with him in Los Angeles; Neil laughing with the actor Jack

progmagazine.com 35

Black as they stood out by the pool. Jack looking quizzically tomato red and gasps helplessly as Alex keeps the zingers
up at Neil. “I mean,” he said, “this is officially Canadian coming until poor Neil is practically on the floor begging
ground, but we’re in LA, so, technically, right now, are we him to stop. He laughed well, head back, his looming frame
in Canada or not?” shaking with that self-same laugh.
But that’s not what I’m trying to tell you. I’m trying to tell I made him laugh once – heard and saw that happy
you that, as I stood side of the stage and watched him rattle exultation – and in a moment where I was trying to do
around that impossible drumkit, I could see no weakness in anything but make him laugh. Rush were playing the NEC
his playing. Rush didn’t feel like some fading power, a band in Birmingham. It was 2007, their Snakes & Arrows tour. Pegi
that needed to be stopped before the real lustre was gone, Cecconi, a long-time friend and associate of the band, and
but Neil felt that something was missing in his game, and I travelled up from London to see them play. For some reason
like his playing of a vintage kit that didn’t quite suit his on that tour Geddy had foregone any usual sort of backline
needs anymore, he understood that stopping was the right and had settled on a row of chicken rotisserie machines.
thing to do. During the set a roadie would be sent onstage to baste
I was standing on the roof of the London West Hollywood Geddy’s chickens, which sounds far filthier than it was.
Hotel in LA, under the blazing Californian sky, people in the It came as a complete surprise to me when I was forced
pool splashing around behind me, the snaking traffic pulling onstage in a pinny and chef’s hat – it was that or something
away towards the horizon. I was waiting for the last show that looked like a rubber chicken so I opted for the hat.
and hoping against hope that Neil would somehow change Armed with a basting bowl and brush, I was pushed up the
his mind (I wasn’t the only one – Ged clung to the same surprisingly steep stairs to the stage.
forlorn hope for a few months afterwards) and that night’s To compound my fear and confusion, Rush had just broken
performance at The Forum in Inglewood would see a shift into The Spirit Of Radio, a single I remember buying as
in how the band worked – fewer shows, more one-off live a teenager one Saturday morning back home in Wales. So,
events – and not the end of the road. I fell into conversation no pressure then, all of this manifesting itself in my frontal
with someone who worked with the band: at the end of each lobe, as Alex pealed out that extraordinary riff out into
tour, Neil’s drums, not the ones he kept at home in California the dark and cavernous NEC hall. The stage was huge, like
a football field covered with amps and drums. To my right
and just off stage, Pegi could be heard laughing out loud from
the shadows, screaming my name in a way that I’d like to
think was done with at least some affection.
I basted Ged’s chickens with due diligence, opening up
the smokey glass rotisserie doors, adjusting the heating
knob and moving along the stage. It was only then and out
of the corner of my eye, that I caught sight of the furious,
pumping machine that is Neil Peart up close. His legs were
like pistons, arms a familiar blur, his face stony with
concentration, he looked like a steam train that was locked
in place. And then, just as I reached the last rotisserie,
RICHARD SIBBALD/RUSH ARCHIVES exclaimed: ‘Phil!’ His metre didn’t shift, not a fill missed,
he turned his head towards me, burst out laughing and

but there, just for a moment, in that swirling darkness

The final bow at The punctuated by pulsing stage lights, he grinned and looked
at me like he’d just caught me stealing apples in his yard.
Forum in Inglewood. It was a moment of such beauty and stillness that it still
makes me pause now. To be there then, in that moment,
and gave merry hell to almost every single day, but his happy to have stood briefly in his light, but the memory
touring drums, would go back into storage in, as I recall, of that laughing face, his dizzying skill now gone forever,
Nashville. This one last time, he’d asked that they went makes my heart break over and over.
home with him. I wasn’t even sure of validity of the story, Absurd now to think that his energy is stilled and gone
it sounded apocryphal, too neat somehow, but there in the forever. I’m furious at the universe for taking him away
glare of the Hollywood sky it hit me hard. I felt winded: this from us, that something called glioblastoma (an aggressive
was the last Rush show for now and for ever. form of brain cancer), should have diminished all that power
That thought was compounded that night. For the first and eventually his light. His warm and generous energy
and last time, at the end of the show (one of the most snuffed out, his intangible skills finally stilled. I’ll leave you
complete and spectacular shows I have ever seen the with this: we were talking once, Neil and I, for some long-
band play) and with the sound of a frantic Working Man forgotten interview. And as was often the way, the subject
still ringing in our ears, Neil stepped down from his drum of his wanderlust and unique way of touring – transporting
riser and crossed to the front of the stage to embrace a very himself to the show on his motorbike and meeting the band
surprised-looking Geddy Lee and Alex Lifeson. The three at the venue – came up.
embracing as the lights came up, he was saying goodbye to “I love what the bike gives me,” he said. “The injection
us then, the room felt it, his arm raised in salute to the 17,500 of life, freedom, engagement with the world, and it’s
audience, each of us willing him not to leave us, not to leave still something that I love: the anonymity I have on the
Rush, but there was the impish grin and he was gone to the motorcycle. I stop at a diner or at a gas station, I have
shadows and to another life. wonderful encounters with people at rest areas at the side
That grin. He laughed a lot – more than you might think of the road… these moments that are just person to person.
from his stony countenance or that drilled concentration Those are the moments, that is how I live best.”
when he rolled around his drums. He was very close to the And that’s how I like to think of him, still out there
South Park creators, Trey Parker and Matt Stone, both of somewhere. A moment of grace in another person’s day, NEIL ZLOZOWER/ATLASICONS.COM
whom were at that final LA show. You only have to check out thumbing through a batch of postcards in a corner store,
the extended cut of the brilliant Beyond The Lighted Stage to wondering which one to send out into the world next, to
watch him almost lose consciousness with glee as he turns let us all know he’s okay.



36 progmagazine.com

“I love what the bike gives me.

The injection of life, freedom,


engagement with the world,

and it’s still something that

I love: the anonymity I have


on the motorcycle.”

Neil Peart









































































































progmagazine.com 37

Hail The



























“Rush constructed who I am,” says Chris McGarel. It was Neil Peart’s beautifully
crafted words that inspired the Prog writer to eventually study for a master’s degree

in English Literature. Here, he explores the lyrics of one of prog’s finest poets and
selects some of the most evocative.


Words: Chris McGarel Image: Fin Costello/Getty Images




eil Peart’s place in the pantheon of rock
greats was secured by his innovative
drumming but no less awe-inspiring was
his proficiency as a lyricist. A voracious
e
d
N urer of the written word, his
o
v
knowledge spanned from the classical era through
the literary canon to non-fiction that embraced every
subject under the sun, and beyond.
Here are just 10 of his best lyrics.
Anthem

FLY BY NIGHT (1975)
Beneath, Between And Behind was the first lyric to fall from
Peart’s pen but it was Anthem that the world would hear first.
The lead track from Fly By Night announced a new a musicality that few lyricists can muster – the sound is
Rush with a thunderous call to arms. Inspired by as important as the semantics. Its lines are littered with
Ayn Rand’s novella of the same name, Anthem is alliteration: ‘phantom fears’, ‘kindness that can kill’, ‘victim of
a hymn to individualism (‘Live for yourself/There’s venomous fate’, ‘planet of playthings’. Words were Peart’s
no one else more worth living for’) and opened a seam playthings and he was having fun with this one.
that would be mined to its depths on the epic 2112,
causing controversy and prompting Peart later to Limelight
distance himself from Rand’s philosophy. As an opening MOVING PICTURES (1981)
salvo, Anthem hit its target. One of Rush’s most recognisable songs thanks to Alex
Lifeson’s classic riff, Limelight is a half-cautionary,
The Trees half-celebratory warning from the front lines of

HEMISPHERES (1978) celebrity, reflecting as much on our desire for fame
This pastoral parable of oaks and maples would also as on Peart’s own unease living in the camera’s eye.
court controversy. A childlike, Tolkien-esque tale of ‘All the world’s indeed a stage’ riffs on Shakespeare
anthropomorphism takes a sinister turn as the and on the title of Rush’s 1976 live album. As with
trees of the forest are kept equal ‘by hatchet, Hamlet, appearance and reality are set in opposition
axe and saw’. The genius of The Trees lies in its (‘Those who wish to seem/Those who wish to be’) in
literary simplicity, masking its political allegory a catchy chorus that belies the complexity of the
in the plain language of fable. Its perceived philosophical question within. Yes, Rush could rock while
anti-Communist message (‘So the maples formed referencing Bertrand Russell and Elizabethan drama.
a union/And demanded equal rights’) would prompt
some to lazily dub the band “crypto-fascist”, a label Rush Subdivisions
struggled to shrug off for some years. SIGNALS (1982)
Urban planning is an unlikely basis for a rock song but Neil
Freewill Peart forges an anthem for disaffected youth. The
PERMANENT WAVES (1980) chorus: ‘Conform or be cast out’ has chimed with
The theme of individualism would resurface in 1980 with millions around the world. If 1981’s radio hit Tom
Freewill. Again the lyrics work on multiple levels, alluding Sawyer caricatured the aloof swagger of a teenage
both to self-determination and agnosticism: ‘You can choose rocker, then Subdivisions captures the stereotypical
a ready guide/In some celestial voice/If you choose not to decide/ Rush fan: the misfit or the class nerd, unsure of
You still have made a choice.’ The drummer articulates themselves and of their place in the world as

38 progmagazine.com

Neil Peart, nose in a book,
with Geddy Lee, at
Southampton’s Gaumont,
May 13, 1979.



































































viewed from labyrinthine and sterile suburban sprawl. Mission
Peart’s deliberate overuse of rhyme captures that mundanity HOLD YOUR FIRE (1987)
and frustration: ‘Any escape might help to smooth/The An insight into Peart’s creative process, his striving
unattractive truth/But the suburbs have no charms to soothe/ for perfectionism. He describes experiencing art and
The restless dreams of youth.’ longing for the ability to conceive those paintings
or music or architecture: ‘I wish I had that instinct/
Between The Wheels I wish I had that drive.’ As in Limelight he warns

GRACE UNDER PRESSURE (1984) about the ‘exotic and strange’ life of the creative individual:
Grace Under Pressure contains some of Peart’s best writing. Its ‘We each pay a fabulous price/For our visions of paradise.’
eight songs capture the 80s zeitgeist of Cold War paranoia,
holocaust (both nuclear and actual), societal fear and Dreamline
the loss of individual identity through technology. ROLL THE BONES (1991)
The summation of these concerns is Between The Wanderlust is a recurring theme, as evidenced by Peart’s many
Wheels, a song even more relevant now in the age of travelogues. In Dreamline he observes: ‘We’re only at home when
rolling news saturation (‘Soaking up the cathode rays’; we’re on the run.’ The song is a metaphor for searching for
‘Bright images flashing by/Like windshields towards a something better. Better food? Better beer? Perhaps,
fly.’) Economic depression and dystopian future are but also the better self. Dreamline speaks of physical
juxtaposed against the American Dream: ‘We can fall from journeys as well as the roads we travel as people,
rockets’ red glare/Down to “Brother, can you spare?”/Another war of dream realisations, escaping the suburban maze,
– another wasteland/And another lost generation.’ or the banality of ‘Middletown’, or hitting the trail
like a ghost rider. ‘We’re only immortal for a limited
Territories time’ is a witticism worthy of Wilde or Twain.

POWER WINDOWS (1985)
The dangers of nationalism are tackled in Territories, another The Garden
song that seems more relevant today than in 1985. ‘Better the CLOCKWORK ANGELS (2012)
pride that resides/In a citizen of the world/Than the pride that Clockwork Angels is Rush’s only concept album. It’s a sci-fi
divides/When a colourful rag is unfurled’, Peart writes, railing steampunk story but it’s difficult not to read its final track as
against the tribal ‘drunken and passionate pride’ whipped up autobiographical. ‘The arrow flies while you breathe/The hours
by populist leaders. Why invade other lands? he asks, when tick away/The cells tick away’ are the words of someone facing
you’ll inevitably be complaining about the home comforts their mortality and looking back on their life: ‘The treasure of
you left behind: ‘Better people – better food – and better beer.’ a life is a measure of love and respect.’ Neil Peart earned ours.

progmagazine.com 39

A Neil Peart might be known for his lyrical wordplay,
t the tender age of 22, I encountered for the first
time a human being who smoked faster than me.
but not for opening up to the interviewer. However,
He also played drums faster than me, and by
back in 1988 he proved himself to be a receptive and
all accounts better than me, and everyone else.
In Modern Drummer Magazine’s influential yearly
poll, he won ‘Best Rock Drummer’ in 1980, 1981, 1982, 1983, amiable host. In an article originally published in the
very first issue of Prog, Tim Ponting recalls a meeting of
1984 and 1985, and then in 1986 they invented the ‘Honor
Roll’ to make him ineligible for the annual award and ensure two smoke-shrouded minds.
he didn’t win it every year until 2112.
As a young journalist on Rhythm Magazine, to me Neil Words: Tim Ponting Image: Fin Costello/Getty Images
Peart was God. I met him in person once only, in a cavernous
room at the Mayfair hotel on a damp Friday in April 1988,
the morning after Rush’s first gig at Wembley Arena since
the New World Tour of ’83.
A nervous PR seemed slightly taken aback at my dishevelled
state (I had failed dismally to sleep on a friend’s floor in
Streatham after the gig) as Neil shook my hand and then lit
a cigarette, a procedure he repeated every four and a half
minutes for the next hour and a half. He smoked for Canada.
I remember I mumbled something about enjoying the
concert while setting up the tape.
“Last night was a good one, you don’t always feel good
about it afterwards. But last night was… comfortable.” Puff.
Draw. Pause. I fumbled with the cassette. “All of us were
comfortable and relaxed.” The aforementioned PR frowned
as trembling, I lit my own cigarette, a poncey St Moritz


“A lot of the early bands

I was in played R&B.


Around Toronto,

‘blue-eyed soul’ was the


most popular music.”

Neil Peart



with a gold band. We proceeded to puff together like a
Commonwealth all-star synchronised chain-smoking team.
“We go home from here and start sifting through the
performances, looking for a live collection,” he explained.
“The nature of it we’re not quite sure yet: it depends on what
we find when we start listening back. It’s something that
can encompass three tours and thus could form quite
a nice anthology. We also filmed two of the shows up in
Birmingham, and I know the second of those two we also
recorded a really good performance – perhaps something
will come out of that.”
The original feature,
as seen in the very
first issue of Prog.




































40 progmagazine.com

Making








Memories






















































































































progmagazine.com 41

It did. More than “Signals strikes people as a weak it was a turning
half of 1989’s A Show point for the band
Of Hands’ live set album. It was weak only in the sense where all their
was taken from influences collided.
that one concert that it was exploratory. Explorations In the awkward
in Birmingham, silence, the PR
including Neil’s have to be schizophrenic.” interrupted to
first drum solo to warn of a clearly
be allocated its own Neil Peart far more important
track: The Rhythm impending
Method, a clattering tour of his musical influences. interview as my cigarette sent a smoke stack into dead space,
I dropped what I thought was an insightful bomb to like some Native American warning of inbound pillagers.
kick-start the interview. That Rush were a bunch of funk Peart dismissed her from the room and leaned towards
musicians stuck inside a progressive rock band. me conspiratorially.
“The ‘progressive rock’ genre. Yes.” Peart curled his “Your intuition is very accurate, and like you say it’s
fingers in quotation marks, clearly irritated. I let out an a minority viewpoint, because Signals strikes most people
involuntary bit of wee and lit another cigarette as the other as a weak album. It was weak only in the sense that it was
lay smouldering in the ashtray. exploratory and a lot of times our explorations naturally
“A lot of the early bands I was in played R&B music. At have to be a little schizophrenic. Stylistically, we tried for
that particular time, around Toronto in general, ‘blue-eyed the first time to truly juxtapose things that were seemingly
soul’ was the most popular music, so all these white bands unmatchable, like Digital Man, where we took ska, hard rock
were playing the music of James Brown and Wilson Pickett. and electropop – and the song remains patchy. It also took
Do you want a cigarette? Oh, you’ve got two already.” us into explorations of each other as musicians and forced
We talked about other us into difference roles. The whole album certainly does lack
influences. His musical cohesiveness but it didn’t lack sincerity.
journey may have “Each song eventually led us to something else. Countdown
started in funk bands, – I’m not totally satisfied with what it ended up being,
but the young Peart but it took us to a song like Manhattan Project, it taught
made a beeline for us how to write a documentary track. We had grown out
Britain in 1970 in of science fiction, so we dealt with science fact. We were
search of something finally able to present a factual thing within an emotional
more. I asked him rock framework.”
why he didn’t stay. As time passed, Peart grew increasingly enthusiastic and
A long pause. excited. He talked about how close the band had become
Draw. “It was after so long playing together – “With Geddy, there’s
humbling. Because something truly telepathic between us” – and the elemental
I had the common intensity of the Rush live experience: “You can’t go onstage
syndrome, ‘big fish with barriers. You have to be wide open up there and very
in a small pond’. vulnerable. I’ve never been comfortable with the idea of
I was living in a small pacing yourself. It’s ten-tenths from the first beat. You can
city, I was in the only aim to be as good as the recorded performance, which
prominent band, of course is perfection. It’s unattainable in one sense but it
was the prominent deserves to be chased.
drummer, and I don’t “But occasionally I can ‘get into the channel’, and my
think I was egotistical awareness expands to the other guys, then beyond the stage
as such but I had an to the audience, and I may catch a face in passing… your
TIM PONTING of how good I was, in senses are so sharp, almost like a low grade fever where
over-inflated sense
everything’s a little bit brighter, a little bit louder and a little
A treasured postcard from The Prof. a naïve way. Coming bit sharper.
here and doing the “But then again, if the three of us are having the kind of
audition circuit, especially at that time at the turn of the relaxed show we had last night, we can joke with each other,
70s when ‘progressive’ music was starting to become we have little lines that we can mouth to each other and
respectable… I went home tremendously humbled, obviously. laugh. The audience doesn’t need to know what we’re
I thought: ‘I’m nothing and nobody and I’ll never get laughing about but they sense it. The same as at the end of
anywhere.’ My time in London was much more important to the show, when we throw all the discipline away and during
me as a person, a character, to be thrown out into the world the encore we gradually melt down and by the end of it it’s
for the first time to learn the harsh realities.” just a lark! The audience senses the release of tension and
While in the UK, Peart got more into King Crimson and they sense the invitation, they’re invited to relax with us
Michael Giles. “It was the turning point, because prior to now, it’s fun time.”
that, I’d only been attracted to the excited, emotional side Peart had got into his stride. Words tumbled out faster
of playing, like Keith Moon. He was like the Jackson Pollock and faster. The ashtray piled high with butts, he punctuated
of drumming, where you’d just throw the paint at the each new subject with fresh smoke as discussion darted
canvas! That undisciplined style was the only kind of music chaotically around subjects.
that excited me up to that point. Michael combined the “I have no equanimity with mechanical and electronic
technical discipline with an emotional, physical abandon things,” he explained after we discussed his use of cutting-
that taught me you could go for both. You could take the edge electronics on stage. “It’s like Woody Allen said: ‘He’s at
jazz ethos of technique and the wild abandon of rock and two with nature.’ I’m at two with mechanics and electronics.”
make them co-exist.” On the other hand, Peart was clearly very comfortable
Of course, Peart returned to Canada with a newfound in his creative world, a world he discussed with almost
sense of purpose, a realisation he had to practise – a lot – academic fervour. We talk about his visit to the Van Gogh
and the rest has become Rush history. I told him I was an museum in Amsterdam, about Picasso and creative
outcast among Rush fans, because I loved Signals, and felt simplicty. “It seems to me that someone always thinks

42 progmagazine.com

Musical differences, settled
the old-fashioned way.






































































FIN COSTELLO/GETTY IMAGES











there’s an easy way. There isn’t. To get to the simple, you Peart sighed. “I grow to despair sometimes. All it took was
have to go through the complex. But to get to the sublime, for them to wait two years for us to get it together, and put
you must first experience the ridiculous.” out a few albums that would drift along until we found our
The intensity of the conversation was almost unsettling. voice. And that kind of investment needs to be made in any
I recall suggesting that perhaps musicians took themselves artist.” He smacks his lips. “It’s hard to make them see that.”
too seriously, and we ended up talking about Frank Zappa The doorbell rings repeatedly, the PR having given up
and the integrity of his strange mixture of humour and hovering in favour of direct action. The interview is over.
music, simplicity and complexity. As a codicil, I had to send Peart a package of magazines
“He’s so admirable. He was such a good example. In the shortly afterwards. With it, I enclosed a brief note explaining
early days when we were arguing with our record company, how kind he had been to spend so much time talking to me,
about why we didn’t need a hit single, and why we didn’t and inviting him to escape the pressures of being the world’s
need to compromise, and why we just needed to tour and best drummer by coming and staying at our gaff, a grubby
‘blah blah blah’, going through all that bullshit, we had very house I shared with another penniless journo and a goth. I’m
few people to quote, and very few other examples to say, not sure really what I thought he’d make of the invitation or
‘Look, it can be done.’ But when you had people like Zappa, why I invited him. Maybe I had some Danny Baker-esque
and like Pink Floyd, we could say: ‘Look, they had long, dream of sitting on Hampstead Heath lacing daisies into each
successful careers, just because of their freedom from these other’s hair, discussing philosophy or paradiddles, or both.
kinds of constraints.’ But it doesn’t matter, and still our own In the event, I had a nice postcard from Neil politely saying
example to our own record company, it’s not taught them I’d done a nice job of the interview. Hey, so Neil Peart never
a thing, you know…” crashed at my house, but it was the next best thing.

progmagazine.com 43

Force He was influenced by Ginger Baker and
John Bonham, but Neil Peart’s playing
style expanded with his impressive
drumkit. A visionary and inspiration to

many, Peart has had a significant impact
on the drumming world over the last

five decades. Drummer and Prog writer
Gary Mackenzie explores his legacy and
unearths 10 highlights from his career

behind the kit.


Words: Gary Mackenzie
Image: Fin Costello/Getty Images

ew live rock shows saw open displays of air
drumming quite like a Rush concert. And the
reason was the high regard in which Rush
drummer Neil Peart was held by the band’s
g
e
i
F ons of fans. Almost as soon as he joined
l
the group, Peart made an impact. The colourful,
lyrical impact of 1975’s Fly By Night matched the awe
in which fans delighted in his drumming prowess. It was an
awe and admiration that would last for the ensuing 46 years,
and which still shows no signs of abating. I mean, we all
know what to do at two minutes and 35 seconds into Tom
Sawyer, right?

By-Tor And The Snow Dog
FLY BY NIGHT (1975)
Alongside album opener Anthem, By-tor And The Snow Dog
announced Neil Peart’s arrival in the most audacious and
adventurous manner possible – he’s all over the first four
minutes of this tune, throwing out bewildering fill after
bewildering fill as if his life depended on it, and matching
guitar and bass unison figures note for note. His playing
often feels like it’s about to crash and burn while never quite
doing so. It’s vital, energetic work from a clearly gifted young Jacob’s Ladder
player who has unwittingly just set himself and his new PERMANENT WAVES (1980)
bandmates on the path to becoming rock legends. Other tracks on Permanent Waves undoubtedly deserve
attention: The Spirit Of Radio, obviously, but Freewill and
Xanadu Natural Science also contain some terrific stuff. Prog

A FAREWELL TO KINGS (1977) has chosen Jacob’s Ladder for its slightly darker,
Deliberate efforts to extend the band’s musical horizons and quasi-classical elements, and because it’s metrically
sound palette on A Farewell To Kings gave licence to Peart quite tortuous. Sections in alternating 5/4 and 6/4
to break out an assortment of traps, toys and time, then the same time signatures but played by
instruments. Xanadu sees him utilising tubular Peart and Lifeson over Lee’s 4/4 vocal/keys part,
bells, temple blocks, wind chimes, glockenspiel and a bit of 4/4 then alternating 6/8 and 7/8 bars, a few
cowbells, alongside his already expansive drumkit bars of 3/4 and even a solitary bar of 13/8 near the end make
in a gloriously epic interpretation of Coleridge’s this an exercise in concentration. Add in a bit of timpani and
poem Kubla Khan. He navigates the sections in tubular bells for a clever and rather classy drum part.
7/8 with confidence and dynamism, throwing in
some truly inventive and punchy fills, and yet maintains Tom Sawyer
a studied sensitivity to everything else going on around him. MOVING PICTURES (1981)
A landmark performance for both the band and Peart. We could have picked numerous tracks from Moving Pictures,
such is the sheer quality and range of superlative drumming,
La Villa Strangiato but we’ve settled for just two. Tom Sawyer is a swaggering,
HEMISPHERES (1978) gut-punch of a tune, propelled masterfully by Peart as he
Where to start with this nine-minute opus? How about the builds craftily through the verses before hitting you with big
beguiling intro that just grows and grows? Or perhaps the main themes. When Lee and Lifeson hit the sections in 7/8
sublime journey in 7/8 through the A Lerxst In Wonderland an inspired Peart shifts into playing what are essentially two
section with Peart building intensity from a rhythmic bars of 7/16 to every one bar of theirs. And then there are
whisper to a dizzying percussive roar? Maybe the referencing those awesome drum fills – bombastic, thunderous and quite
of Raymond Scott’s 1937 tune Powerhouse, (used in brilliant. Was ‘air-drumming’ a thing before Tom Sawyer?
innumerable Warner Bros cartoons)? What about those
little jazz breakdowns? The stupendous fills? The turning- YYZ
on-a-dime shifts in feel between different sections? The MOVING PICTURES (1981)
quirkiness and clear embrace of its own absurdity? This is Taking the rhythm for its opening 5/4 theme from the Morse
a drum part so demanding that even Peart gave up trying code for Toronto Pearson International’s three-letter airport
to record the whole thing in one go! location identifier, Grammy-nominated instrumental YYZ

44 progmagazine.com

You can’t touch this:
The Professor at work.



































































packs some serious heft, dumbfounding stop/start action, O Baterista
intricate interplay between the band and marvellous trading RUSH IN RIO (2003)
bass and drum solo moments. Delivering more in just over It’s simply unthinkable that any celebration of Peart’s playing
four minutes than many bands manage on entire albums, could ignore his semi-legendary drum solos. Prog has chosen
Peart is absolutely in the driving seat here. this version, recorded right at the end of the Vapor
Trails tour in 2002. Peart delves into every nook of
Territories his vast acoustic and electronic set-up, (including
POWER WINDOWS (1985) the obligatory cowbells), plays curious little ditties
No chaotic flurries around the kit or brain-melting odd-time on marimba-synth, improvises against a repeated
signatures or furious, up-tempo pummelling. So what is foot pattern in 3/4, cleverly throws in snippets
Territories doing here? This is Peart building a part of past solos and rounds it all off with a joyous
which, while hardly flamboyant, is quite involved play-along section to Count Basie’s One O’clock Jump as
and far from easy to play with any consistency. recorded by the Buddy Rich Band. Decades of his personal
It avoids the standard rock hi-hat/snare/bass drum drumming evolution distilled into nine minutes and greeted
approach, opting instead for a handful of repeated with true love from one of the largest audiences the band
patterns utilising toms, snare, cowbells and ever played to.
a smattering of electronics. Peart plays for the
song, explores possibilities and refuses to churn out what The Garden
many might have expected of him. It’s a terrific drum part CLOCKWORK ANGELS (2012)
and those 80s synth hits are undeniably magnificent. The closing track from Rush’s final studio album places
under the spotlight a largely overlooked aspect of
Dreamline Peart’s playing. While much of Clockwork Angels
ROLL THE BONES (1991) harks back to earlier, rockier, guitar-weighted
This is an example of Peart picking up the prevailing band compositions and boasts possibly the heaviest
ethos going into the 90s of being more direct and playing drum sound ever featured on a Rush album, The
lean and mean. There are some terrific fills during this Garden demonstrates Peart’s musical intelligence.
song, especially towards the end, but the drum part’s main No drums at all for the first couple of minutes and
purpose is to provide focus and motion. His playing suggests when they enter they’re not particularly outlandish. The
an underlying frantic urge to move onward, to boldly go, craft here is knowing when and how to support the song, and
to not get stuck, to exist in the now and to leave baggage the gradual build in intensity from the guitar solo through to
behind. Being the rhythmic engine here, he captures the the tune’s denouement is masterful. The fact that the rather
sense both of the song lyric and the themes of the Roll The beautiful lyric resonates so deeply now is just an added
Bones album as a whole perfectly. reason to give it a listen.

progmagazine.com 45

“He will be


remembered as

being one of the


most innovative

drummers in

the prog world.


He made it

a better place


for all of us.”

Carl Palmer


































































































46 progmagazine.com

TheEnigma








Of








Neil Peart













When Neil Peart’s death was announced online, the response from fans and
musicians alike was phenomenal. Here was a hugely talented artist who was
defined by the art he created. Prog looks at some of the emotional tributes

to The Professor from the world of prog and beyond.


Words: Martin Kielty Additional research: Malcolm Dome
Portrait: Neil Zlozower/Atlasicons



he fact that Neil Peart’s of literature in common – in fact,
death came as such a shock I lent him my copy of Shakespeare’s
to so many people, even King Lear, which had special meaning
though he’d been severely ill for both of us.”
f
o
T r some time, is perhaps the Halper, now a professor herself, said
best tribute shown to him. He she knew from early on that Peart
commanded such respect that, despite would always keep himself to himself.
such a tragic situation, no one wanted “Neil was always a very private person,
to breach the privacy that had always and I did not expect that we would
been so important to him. keep in touch with any regularity.
Even Geddy Lee and Alex Lifeson In fact, as time passed, we only saw
said very little in their only official statement, noting that: each other now and then, usually when I went backstage at
“our friend, soul brother and band mate of over 45 years, a Rush concert. And because he never liked doing the endless
Neil, has lost his incredibly brave three-and-a-half year meet and greet events where bandmembers shook hands
battle with brain cancer (glioblastoma).” with fans, I ended up seeing Geddy and Alex much more
Peart’s creative output than I did Neil. But whenever
deserved respect, of course, Nice tie, sir. I saw them, I always made sure
and will continue to do so, but Peart chilling they sent Neil my love.”
the reason why the “Professor” backstage, 1980. Family was important to
commanded so much personal him – both before and after
appreciation was hinted at the tragic events of 1997,
among the hundreds of when he lost both his daughter
tributes paid to him in the and wife within 10 months
days after his passing. of each other, leading him
In a blog post entitled This to consider giving up music
Wasn’t Supposed To Happen, altogether. Halper recalled
DJ Donna Halper, who helped him telling her that the
secure Rush’s first US record message he’d learned from
deal, remembered Peart as reading King Lear was: “It’s
a man who’d been clear about not enough to say you love
who he was from the moment someone; you have to show
they met in 1974. “Naturally, it.” He said he’d regretted not
because Neil was the ‘new being there for his daughter
guy,’ he wanted to meet me Selena because of Rush’s
– not because I was in any touring commitments; and
way influential, but because when he’d married again
I already had established and new daughter Olivia was
a relationship with Alex and
born, he’d determined to be
FIN COSTELLO/GETTY IMAGES Geddy, and he wanted to there for her.
“It was a promise he kept,”
know more about me. He
Halper wrote. “I was not
came to my apartment and
surprised when Neil decided
we talked for several hours.
As it turned out, we had a love
to retire. I knew he had
progmagazine.com 47

tendonitis. I knew he was in more pain than he let on. And We’re gonna need a bigger van: Neil
while fans were, of course, disappointed, being a ‘retired Peart at the Public Auditorium in
Cleveland, Ohio on December 17, 1977.
drummer’ gave him the chance to spend more time with his
wife and daughter. I kept in contact with him through his
closest friend Craig, and I was so glad to hear he was content
and enjoying his life.”
Friends were also important to him, even if he was
cautious about how many he kept close. Fellow drummer
Mike Portnoy recalled Peart as a “gracious host” whenever
they met, saying he was “always inviting me to come to
soundcheck and spend some time before the show whenever
Rush was passing through. Always sending complimentary
copies of his new books, or holiday emails with pictures of
he and his young daughter Olivia.”
Portnoy continued: “I have so many memories through
the years, but probably the most special was the last time
I saw him. I took my son Max to see Rush on their farewell
tour.” Peart had “let Max play his drums, gave him a pair of
sticks and an autographed snare drum head and opened up
his dressing room to us for the evening. The point is, if you
were his guest you were family.”
He added: “Neil Peart will always be a mentor and a hero
to me and his influence on me as a drummer for the past
40 years is absolutely impossible to measure.”
Todd Sucherman of Styx recalled a similar warm
welcome, even though he only met Peart once, when they
were both recording in the same studio complex in 2009.
“We shook hands and chatted, I congratulated him on his
new young daughter, and as I remember, he was the one
that was asking me all the questions. He wanted to know
about working with Brian Wilson. We brought up many
mutual friends.” Sucherman added: “He was incredibly
warm, personable, curious, and felt we could have kept the
conversation going had it not been for 30 people waiting
to get to work.”
Carl Palmer reported a similar experience, saying he’d only
met Peart once but found him to be “a great drummer and
a gentleman.” He noted: “He will be remembered as being
one of the most innovative drummers in the prog world.
He made it a better place for all of us.”
Primus leader Les Claypool revealed another side of a man
he described as “a pensive, sharp-witted intellect whom
I looked up to and admired greatly,” recounting the pleasure
of having “played with him, laughed with him and rode
with him at excessive speeds in one of his many exotic
vehicles.” Peart shared his passion for motorcycling alone
for thousands of miles, during Rush tours and beyond
them, in his books and blogs. He’d travelled 55,000 miles
in the aftermath of losing his first family, in the process
of rediscovering himself.
Claypool described Peart as a “genius,” adding: “As and to a lot of people my age, this dude contributed to the
a musician he was unparalleled, blasting open huge doors soundtrack of their youth.”
into the realms of new percussive stratospheres. As a lyricist, Ray Alder of Fates Warning said: “He was in my opinion
he was like the Ray Bradbury of rock penning rhymes that the best drummer in the world and he changed the way
evoke imagery both cerebral and tactile.” people thought about drumming with every incredible
While the vast majority of the people whose lives he album he made. Also, he created the world’s greatest air
touched never had the opportunity to see such personality drummers.” Dan Briggs of Between The Buried And Me
traits for themselves, they were still affected by them argued that Peart had “pushed boundaries and made myself
through his work. That sense of being a voyager and observer and music in general better because of it.”
(he liked the idea of being a “ghost rider”) contributed to the Fellow Canadians The Tea Party said Peart had “played
ideas he expressed through Rush’s percussion and lyrics. such a pivotal role in all we were, are, and will become”
Longtime producer Terry Brown said: “I have so many fond and Gong vocalist Kavus Tobari said he’d “cemented my
memories of good times spent listening to him compose love of drums and drummers.” The Flaming Lips’ Steven
some of the greatest percussive moments on record and Drozd offered gratitude for how he’d “created a whole new
working with his lyrics, which he took so much care to write world for a lot of us.” Sons Of Apollo’s Billy Sheehan wrote:
for us all to cherish.” “What a brilliant and wonderful man. He left his mark on
Yes paid tribute by saying: “Neil Peart was one of the the world, music, drumming and so much more.” Dream
most innovative and exciting drummers and lyricists in the Theater’s tribute read: “We are deeply saddened to hear
history of music.” They described him as “an inspiration to of the loss of one of the world’s greatest artists, lyricists
millions and a true gentleman.” and drummers of all time. To say that Neil and the music
Lonely Robot, Frost* and Kino musician John Mitchell he was a part of was an influence on Dream Theater is
noted: “I know how much Rush mean to a lot of people, a gross understatement.”

48 progmagazine.com

“He lived his life his way, never

afraid to be himself, encouraging

others to be themselves too.”


Donna Halper

































































FIN COSTELLO/GETTY IMAGES










Echolyn’s Brett Kull recalled the moment, when in 1979, Former DJ Halper discussed Peart’s generosity in terms
he first heard Rush’s Hemispheres. “I felt as if I was being of financial aid, separately from spirit, noting that: “when he
initiated into some sort of sci-fi, intellectual, secret sect,” gave (which he often did), he never wanted to call attention
he said. “I’ll never forget that day. It was the beginning of to himself.” In their brief statement Rush suggested that
a soundtrack that forged my teenage exuberance. I always fans might want to show the same kindness, asking them
think of the countless hours playing along to Neil Peart’s to “choose a cancer research group or charity of their choice
drumming in my bedroom; learning those changes and and make a donation in Neil Peart’s name.”
trying to be tight with the band. I also loved that Neil “Neil was an honourable, ethical human being,” Halper
brought a certain amount of literature savviness to the continued. “Despite being one of the music industry’s greatest
band. I liked that he wrote about different situations and drummers, he was never arrogant. He treated drumming and
concepts than the normal humdrum you hear in most songs. songwriting, as artforms, and he elevated both. He loved being
He was fearless.” a musician, and his lyrics resonated with so many fans. He
Tributes also came from names as varied as Marillion, lived his life his way, never afraid to be himself, encouraging
Jeff Scott Soto, Umphrey’s McGee, Steve Hackett and many others to be themselves too. He left a large body of incredible
others. Even Canadian prime minister Justin Trudeau spoke music, that will live on. And he left years of wonderful
up, saying: “We’ve lost a legend. But his influence and legacy memories that his millions of fans will never forget. To think
will live on forever in the hearts of music lovers in Canada of a world without Neil in it breaks my heart. But I consider
and around the world.” myself fortunate to have known him. May he rest in peace.”
And while Peart would almost certainly have shied away While most of us would have loved to know as much of
from the number of artists expressing gratitude for his the artist as we did of the art, everything Peart wanted us to
influence, he might also have repeated one of his guiding know about him was delivered in a painstaking, measured
philosophies: “What is a master but a master student?” manner. In many ways he was the art he created.

progmagazine.com 49

16


























bands to PRESS/SAMUEL CONNOR CLARKE






watch






this year










As each year ends, each new one promises
new musical delights in terms of bands
and solo artists to look out for over the

coming 12 months, from both established
names and new kids on the prog block.
Here, Prog’s writers each present their

personal tip for the year ahead.







GURANFOE
This Norwich-based quartet first
appeared on my radar when their
track, Night’s First Light, appeared
on the cover CD for Prog 104. The
jaunty Canterbury-esque frivolity
immediately piqued my interest,
bringing to mind the playfulness
and dexterity of Syd Arthur. Already
signed to Norwegian prog experts
Apollon Records, their debut album,
Sum Of Erda, appeared towards the
end of last year. The skittish interplay
of guitarists James Burns and Ollie
Snell is an absolute delight, layered
over the bedrock of rhythm section
Robin Breeze (bass and Hammond)
and Joe Burns (drums). The addition
of flute, clarinet, recorder, violin and
vibraphone from additional musicians
adds to the bucolic charm. Will the
lack of vocals on their epic workouts
hamper their progress? On current
showing, I think not.
Listen to: Night’s First Light, taken
from Sum Of Erda (Apollon)
Website: www.guranfoe.
bandcamp.com Top: Guranfoe.
JERRY EWING Right: AA Williams. PRESS

50 progmagazine.com