YES Announces UK Tour The Album Series 2020

YES, one of the most innovative of all prog-rock bands, and true legends of the genre, have announced a 8-date UK tour for May and June of 2020. The Album Series 2020 Tour will feature their 1974 Relayer album in its entirety together with a selection of other classic YES favourites. An extensive European tour will be announced soon.

This tour follows their 2018 highly successful #YES50 Anniversary tour and again features the line-up of Steve Howe (guitars), Alan White (drums), Geoff Downes (keyboards), Billy Sherwood (bass guitar and backing vocals), Jon Davison (vocals) and Jay Schellen (additional drums and percussion).

The show will comprise two sets by the band with full production and a high definition video wall. The first will feature favourite classic tracks from YES’ extensive catalogue. The second will feature
Relayer, the seventh studio album by YES, and one of the band’s most distinctive. Relayer marked a slight change in direction as Patrick Moraz replaced Rick Wakeman on keyboards bringing an edgier, avant-garde feel to the album. This was perfect for the opening track Gates Of Delirium, almost 22minutes in length, with its battle scene featuring the keyboard of Moraz and Steve Howe’s guitar. The battle gives way to the beautiful closing ballad Soon, a prayer for peace and hope.

The album continues with Sound Chaser, a prog-rock-jazz fusion experiment heavily influenced by Moraz’s style and To Be Over, a calm and gentle conclusion to the album, based on a melody by Steve Howe.
Released in late 1974 on Atlantic Records, Relayer continued YES’ success reaching number 4 in the UK album chart and number 5 in the US Billboard chart.

“We are really looking forward to playing ALL of the Relayer album” says Steve Howe. “Having premiered The Gates Of Delirium this year, we continue by expanding our Album Series with all the tracks: The Gates Of Delirium, Sound Chaser and To Be Over.” Howe goes on to say: “During the first half of the evening we’ll be performing a refined selection from Yes’ enormous 50 year + repertoire. See you there!”

Alan White comments: “I always enjoy coming home to England so I’m especially looking forward to Yes’ upcoming “Album Series 2020” tour. “Relayer” I believe, is one of the most creative and interesting musical compilations in the bands repertoire. Challenging and extremely enjoyable to play, I’m happy to be bringing this music back to live stages throughout Europe. I hope all who attend our shows will enjoy these cuts as much as we like performing them for our audiences.”

UK dates are as follows:
Tuesday 26 May Liverpool Philharmonic Hall

Wednesday 27 May Nottingham Royal Concert Hall

Friday 29 May York Barbican

Saturday 30 May Gateshead The Sage

Sunday 31 May Glasgow Royal Concert Hall

Tuesday 2 June Birmingham Symphony Hall

Wednesday 3 June Manchester Bridgewater Hall

Friday 5 June London Royal Albert Hall

Tickets go onsale at 10.00am Friday 11th October and are available from: 24hr Ticket Hotline: 0844 249 2222 bookingsdirect.com Meet & Greet packages available, for info go to yesworld.com Showtime is 8pm.
Roger Dean will attend every show on the UK and European dates, and will have an exhibition of his iconic art, will be available to chat with fans front of house and sign merch, plus will be in the VIP meet and greets.

ABOUT YES
Steve Howe: guitars, backing vocals (1970 – 1981, 1990- 1992, 1995 – present), Alan White: drums, percussion (1972 – present), Geoff Downes: keyboards (1980 – 1981, 2011 – present), Jon Davison: lead vocals, acoustic guitar (2012 – present)Billy Sherwood: guitar, backing vocals ((1994, 1997 – 2000), bass guitar, backing vocals (2015 – present)

Formed in 1968 by Jon Anderson and the late, and much-missed, Chris Squire, YES have been one of the most innovative, influential and best-loved bands in rock music history. Their 1970s albums The Yes Album, Fragile, Close To The Edge, Yessongs (a triple live album set), Tales From Topographic Oceans, Relayer and Going For The One were ground-breaking in musical style and content. Their music also became synonymous with artist Roger Dean whose distinctive YES logo design and artwork adorned the lavish gatefold presentation sleeves of many YES albums.With sales of over 50 million records, the Grammy-award winning YES were inducted into The Rock And Roll Hall Of Fame in 2017 where they performed Roundabout from the album Fragile and the FM radio-friendly Owner Of A Lonely Heart from the 1985 album 90125.

UK www.yesworld.comwww.facebook.com/yesthebandwww.twitter.com/yesofficialwww.youtube.com/user/yesofficialwww.instagram.com/yesofficialsoundcloud.com/yesofficial

The Pretty Things Announce ‘The Final Bow’ deluxe boxset (Featuring David Gilmour & Van Morrison)

The Pretty Things – Credit Judy Totton

British music icons The Pretty Things will release ‘The Final Bow’ via Madfish on 1st November. Celebrating 55 years of the greatest band most people have never heard of, The Final Bow captures The Pretty Things at their riotous, unique & mercurial best.  Recorded across 3 sets of classic tracks featuring special guest appearances from good friends David Gilmour and Van Morrison at Indigo at the 02 in December 2018. The Final Bow will be released as a beautiful and carefully curated deluxe edition and as a 2xLP soundtrack set as well.

Featuring 2 concert film DVDs and 2 live recording CDs, the deluxe edition will also feature a special 10″ of Phil May and Dick Taylor’s track selections and a 52-page hardback book packed with live photography by acclaimed photographer Judy Totton, ‘The Gospel according to Mark St. John’ extensive sleeve notes and Phil & Dick’s individual sleeve notes telling their story as a ground-breaking, ballsy and ambitious band. As Rock and Roll’s greatest nearly men.

Invaluable to the development of British music, The Pretty Things have been a critical success and a huge influence on artists as diverse as David BowieAerosmithThe RamonesBob DylanThe Sex PistolsThe White StripesKasabian, The Lightning Seeds and countless more. A who’s who of music icons site The Pretty Things and their outrageous behaviour, incandescent stage performances and astonishing catalogue of remarkable, ground-breaking recordings as fundamental in the creation of their own work.

Still creating significant music today and with a rich catalogue including top-level albums such as The Pretty Things, S.F. Sorrow & Parachute, they remain a hugely significant artistic and creative force. They are a band to revere with no other first-wave artist but The Rolling Stones outselling their frontline recordings today and probably no artist at all out-performing them live.

This electric performance features all of the youthful and incendiary vigour from their 60s beginnings, showing off a technical prowess by performing tracks from their full range of styles: first wave R’n’B, psychedelic rock, and the blues. Led by founding vocalist and guitarist Phil May & Dick Taylor, the band was driven by their current line-up consisting Frank HollandJack Greenwood & George Woosey and featured returns from original recording band members Skip AllenWally Waller & John Povey. The evening was transformed from unmissable to sensational with the guest performances of Pink Floyd guitarist David Gilmour on classics including “Cries from the Midnight Circus” & “L.S.D.“, and legendary vocalist Van Morrison on blues classic “Baby, Please Don’t Go” & soul standard “You Can’t Judge a Book by its Cover“.

The Final Bow is a startling and essential snapshot of a band who, for over 55 years, have never stopped pushing, growing and honing their craft – a record 5 decades in the making.

Phil May: – The Pretty Things: “After 55 years, saying goodbye to The Pretty Things electric band was a seismic, emotional blow and a genuine life loss, for all the band and our manager.  But, to be forced into it on health grounds, when the band was riding high, creating great new music and touring so successfully, throughout the world, made matters worse. But, life’s a bitch and then you die…

That said, this box set and what it represents, as a lasting tribute to the band I love, the life we have lived, and the way we have lived it, in music and performance, is unparalleled. I know I’m lucky, I, and the band, made it through a 2-hour 45-minute performance, in the best form we could have hoped for and we all feel that we created a performance, worthy of “The Pretty Things” at their best. That we captured it on film and on record, that we had our great, old friends, David Gilmour and Van Morrison alongside us and creating the moment and that, most of all, the o2 was sold out with our friends, old and new, young and old, and the people that we have done it for and who made it possible for us, was the icing on the cake.

This is a great representation of a great night, a wonderful gig, a heart-breaking moment and – a life in rock and roll. We love it, I hope you do, too..”

‘The Final Bow’ can be pre-ordered from Madfish now with the first 500 orders of the deluxe edition receiving a signed Insert by Phil May & Dick Taylor.

AFENGINN – Scandinavia’s leading neo-folk, post-classical voice to release new album

Afenginn, which means “intoxication and strength” in old norse, is Danish composer and musician, Kim Rafael Nyberg, one of the leading neo-folk, post-classical voices in Scandinavia. Having toured all over Europe, Australia and the US and performed at numerous festivals, concert halls and venues, Nyberg’s deeply ambitious, orchestrated compositions are based on his seemingly mercurial creative impulses with a strong DIY underpinning, with each of his previous bodies of work being a clear departure from the last. Obvious comparisons would be Hauschka, Goldmund, Jonny Greenwood and Dustin O’Halloran.

On his new album ‘Klingra’, released 11th October via , Nyberg has crafted a gentle yet fervent post-classical exploration into the temperament of intertwined cycles. Both the music and poetry (in Faroese) are composed by using interlocked cyclical patterns. Like the gears in a clock, the parallel themes intersect at points, creating contracted dissonance or lifting consonance. The overarching experience is deeply contemplative and melancholic, with a light of emancipation always just ahead.

With a sound palette of two pianos, a string quartet (The Danish String Quartet), pedal steel guitar, synth bass and two drummers supporting the haunting vocals of Ólavur Jákupsson (Yann Tiersen), Klingra’s eight tracks flow one into the other, rippling with layers of ostinatos of unequal lengths, leading to a feeling of constantly being driven forward on an obscured path. The listener can be excited by both the mathematical design of the music as well as the raw emotional expression.

Afenginn has picked up numerous accolades back home in his native Denmark including ‘Composer of the Year’ (2014, 2016), ‘Album of the Year’ (2005, 2010, 2016) and ‘Best Live Act’ (2016) at the Danish Music Awards.

Kim Nyberg

“Klingra (circle in Faroese) is one of my more delicate and introspective pieces that leans one degree further into the neo-classical realm. I’ve been working with the theme of circles/cycles to inspire both the way the music is composed and the story within the poetry”, says Nyberg

There’s a norse melancholy and cheerful madness that runs deep through the heart of ‘Klingra’, no more evident than on the opening three compositions. The rhythmic and melodic finesse of ‘Skjálvtin’ (The Impact), makes way for a deeply emotive ‘Litirnir’ (The Colours), before ‘Himnakroppanir’ (Celestial Bodies), is the crest on a wave that’s been building over the last two pieces, as it surges with urgent interlocking patterns, as the tension gradually builds.

Common in Nyberg’s work is the use of minimalistic patterning (akin to the techniques of Philip Glass and Arvo Pärt), which fluctuate between creating a tidal propulsion and a sense of austere fragility. This is consistently contrasted against epic post-rock swells that are both sensual and disbanding.

Available on CD, vinyl and digital formats, the vinyl edition has been utilized as a compositional tool. Two different introductions are pressed into parallel grooves on the record, offering the listener two alternate listening experiences depending on where the needle begins on the circle. The B side ends with a closed loop that musically brings one back to the start of the album.

Track listing:

1.      ‘Skjálvtin’ (The Impact)

2.      ‘Litirnir’ (The Colours)

3.      ‘Himnakropparnir’ (Celestial Bodies)

4.      ‘Ivin T’ (The Doubt)

5.      ‘Vitin’ (The Lighthouse)

6.      ‘Skapanin’ (The Creation)

7.      ‘Tøkkin’ (The Thanking)

8.      ‘Eftirskjálvtin’ (The Aftershock)

https://en-gb.facebook.com/afenginn

EXPLORING BIRDSONG sign to Long Branch Records

New single ‘The River’ released 2nd October

Band’s debut EP expected in Autumn

Rarely are new groups as exciting, talented or unique as EXPLORING BIRDSONG, the piano-led guitarless trio from Liverpool who have announced their signing to German independent label Long Branch Records.

Having recently graduated from Liverpool’s Institute of Performing Arts, the young group have already caught the eyes Prog Magazine, Kerrang! Magazine, Kerrang! Radio and Classic Rock Magazine as well as achieved two Progressive Music Awards nominations in 2019. Having only released two singles at this point, EXPLORING BIRDSONG have been hand-picked to support Sleep Token, toured with proggers Godsticks, caught the attention of Florence and the Machine, and performed at HRH Prog. Unplaceable for the most part, the band bring to mind elements of Steven WilsonKate Bush, RushSleep Token, and Agent Fresco.

The young trio are comprised of drummer Matt Harrison, bassist and keyboardist Jonny Knight (capable of playing both instruments simultaneously), and topped by keyboardist and vocalist Lynsey Ward‘s stunning, otherworldly vocals. 

“We are so excited to be signing with Long Branch Records. We’re extremely proud to be working with a label that is home to some of our favourite bands, and feel our music couldn’t be in better hands.” says Exploring Birdsong drummer Matt Harrison.

Long Branch Records label manager Manuel Schönfeld adds: “Exploring Birdsong are undoubtedly one of the most interesting new bands in the British progressive music scene. We’re super excited about the signing and are looking forward to a successful partnership.” 

Exploring Birdsong’s new single “The River” will be released on October 2nd, 2019 followed by their debut EP release in Autumn 2019.

Watch the band live:

03.10. UK, London – Underworld /w Sleep Token (sold out)
04.10. UK, Manchester – Manchester Academy 3 /w Sleep Token (sold out)

VLMV European Tour Fall 2019

Fresh off the back of a short run of UK shows with Charlie Barnes, VLMV have announced their Autumn / Fall 2019 tour, which sees the band visit some Cities and Countries for the first time. 

VLMV bring their slow build cinematic soundscape alongside an ambient backdrop of flickering lights and glitching visuals to Czechia, Germany, Austria, Slovenia, Slovakia, Hungary, Belgium and The Netherlands this Fall.

As live shows go, VLMV’s is something very unique, atmospheric and intimate. The London duo hardly ever play traditional venues, and vere towards ‘interesting spaces’. Last year they crammed into Prague’s tiny ‘Haenke’ botanical shop and gallery, and this time around they play Pruh – an abandoned limestone quarry in Slovenia.

What’s in a name? In the case of VLMV, many oblique things. Ostensibly a self-proclaimed ‘ambient-ish post-something” duo from the southern reaches of London, VLMV were recently known as ALMA until several cases of mistaken identity with a green-haired Finnish pop princess necessitated a gentlemanly branding rethink.

Formed in 2015 and fronted by songwriter Pete Lambrou, VLMV released their debut mini album via Fierce Panda Records in August 2015, along with ‘Remixes & Reworkings’, a digital overhaul of their esteemed debut album, shortly after, and more recently 2018’s ‘Stranded, Not Lost’.

Joined by fellow Code In The Clouder, Ciaran Morahan, VLMV deploy loop stations, multiple delay pedals, piano and strings to create a slow-moving, high-flying soundscape of luscious gravitas which has been described by The Independent as “Breath-taking in its scope and evoking imagery of the vastness of space…a shimmering soundscape of delicate ethereal beauty.”

Quite fittingly, VLMV take their name from the Atacama Large Millimeter / submillimeter Array – “a really bloody powerful telescope”.

Tour dates 2019

21.09  (A)void Floating Gallery Prague CZE

22.09  A und V Leipzig DEU

24.09  Heppel & Ettlich Munich DEU

25.09  Hole of Fame Dresden DEU

26.09  Werk X-Petersplatz Vienna AUT

27.09  Stadtwerkstatt Linz AUT

28.09  Pruh Zgornja Kungota SVN

29.09  In Between Books Sessions Bratislava SVK

30.09  Secret Show Budapest HUN

01.10    clubCANN Backstage, Stuttgart DEU

02.10   Alter Schlachthof Eupen BEL

03.10   Muziekgieterij Maastricht NLD

“Building atmospheric and quietly epic soundscapes that creep up on you unannounced….like a beam of light through a dark, cold night.” – Lauren Laverne BBC6 Music

This is the perfect record to look up at our immense sky at night and wonder what’s out there” – Music & Riots

http://www.vlmv.co.uk/
https://www.facebook.com/vlmvband

Franck Carducci Band Reveal Artwork and Release Date For ‘The Answer’

The Franck Carducci Band ave announced that their upcoming album “The Answer” will be released on November 28 2019 (for ThanksGiving) on Vinyl & CD
It features some very special guests including Derek Sherinian (Alice Cooper, Dream-Theater, Billy Idol, Black Country Communion, …), Jimmy Pallagrosi(Zio, Karnataka, …) and Fabrice Dutour (Backroads, Dyslesia)

The mixing was done by Christian Morfin and Franck Carducci, and the mastering is now in progress at RealWorld Studios (England)

The artwork (see cover above) was designed by Élisa Mottet, based on a photograph by Émilie Trontin featuring model Charlotte Giraud-Grosso.

Tracklist:

SIDE A:
1. (Love is) The Answer     08:02
2. Slave to Rock ‘n’ Roll     05:42
3. Superstar                        12:30

SIDE B:
4. The After Effect            10:03
5. The Game of Life          04:33
6. Asylum                          11:08

The CD version will have 4 bonus tracks (2 songs + 2 radio cuts)

John Lodge of The Moody Blues, releases B Yond – The Very Best Of on 27th September through BMG Records.

John Lodge, bass guitarist, vocalist, and songwriter for the iconic Rock & Roll Hall Of Fame 2018 inductees, The Moody Blues releases B Yond – The Very Best Of on 27th September through BMG Records.  The album will be available initially as a CD or Digital Audio. A double vinyl gatefold (180g) will be released in November.

You can pre-order the album here:  https://johnlodge.tmstor.es/ 

B Yond features 3 new recordings, 2 new remixes, and other tracks chosen by John as he revisits the very best of his career with the Moody Blues together with his solo work.
For this album Lodge went back into the studio to totally recreate Street Café(Evening) Time to Get Away and Legend of a Mind, with the wonderful musicians of the 10,000 Light Years Band.  The tracks were co-produced by John and Alan Hewitt, and features John on his original Fender Precision Bass which he recorded all of the classic Moody Blues songs on.  He is joined by Hewitt on keyboards, Duffy King on guitars, Billy Ashbaugh on drums and Jason Charboneau on Cello.

The result is a fresh modern feel whilst still retaining the original magic of these songs. Legend of a Mind was particularly important for John to include on this album as it is his tribute to his friend Ray Thomas. The original 24 track recordings of ‘Say You Love Me’ and ‘Summer Breeze, Summer Song’, were also remixed and remastered to create a 2019 feel to these songs that were so much part of John’s first solo ventures.

Lodge states: “With this album I want to share with you my ‘deep cuts’ – songs that I’ve wanted to revisit, and songs which have become an important part of my life. It is this which has taken meback into the studio, to share with you my music and record again with my Fender Precision Bass.I hope you too can join me on this journey… B Yond” 

Full Tracklisting for B Yond – The Very Best Of:
1.  I’m Just A Singer (In A Rock And Roll Band) (Live) 2.  Summer Breeze, Summer Song (2019 Remix) 3.  In My Mind 4.  Street Café (2019) 5.  (Evening) Time To Get Away (2019)6.  Saved By The Music (Live) 7.  Legend Of A Mind (2019) 8.  Say You Love Me (2019 Remix) 9.  Get Me Out Of Here 10. Gemini Dream (Live) 11. Isn’t Life Strange (Live) 12. Ride My See-Saw (Live)

John Wetton Boxset and Book Announced

John Wetton

The John Wetton Estate proudly announces work has commenced on a solo career box set featuring expanded editions of his iconic albums and a lavish hardback book. 12th June 2019 would have been John’s 70th birthday. 

Since John Wetton’s passing in January 2017, his family, friends and management have been working on finding a fitting tribute to such a remarkable man and iconic artist.  The result of this labour of love is a box set entitled “An Extraordinary Life”, dedicatedentirely to John’s solo career.  The project has the full support of John’s wife, Lisa, and his son, Dylan, who are wholly involved with compiling the contents.    

The set will include definitive, remastered editions of each of his six solo albums, with bonus tracks and artwork selected by John towards the end of his lifetime, and in some cases expanded to two discs:

  1. Caught in the Crossfire
  2. Battle Lines
  3. Arkangel
  4. Sinister
  5. Rock of Faith
  6. Raised in Captivity

   An Extraordinary Life will also feature a lavish hardback “coffee table” book written by one of John’s friends, the journalist Nick Shilton.  Nick has interviewed dozens of John’s collaborators, peers and associates, both in and out of the music business, as well as friends from his childhood and through all eras of his career, collecting a multitude of exclusive, poignant and wonderful stories along the way.

This box set – a “must have” for every John Wetton fan – will also feature high resolution video tributes as well as unique bonus material.  The Official John Wetton website will launch a dedicated webpage entitled “An Extraordinary Life” which will become an ever-evolving digital gathering place for the inner circle of John’s fans.  

An Extraordinary Life will be completed during 2019 and initially be exclusively available via Burning Shed ahead of a wider scale retail release. The Burning shed store is now at https://burningshed.com/store/john-wetton

Coinciding with John’s 70th birthday today, Asia begins a 28 date USA tour as special guests of Yes on their Royal Affair Tour, which will premiere tonight in Bethlehem, Pennsylvania.  Carl Palmer’s ELP Legacy and John Lodge from the Moody Blues will also be on the bill.  Asia’s new line-up comprises Carl Palmer, Geoff Downes Billy Sherwood, Ron “Bumblefoot” Thal and a special guest appearance by Steve Howe.  John Wetton’s great friend Roger Dean will have an exhibition at each show, including iconic Asia artwork.

To celebrate John’s birthday, and as a teaser to the box set, we release a never before heard fly-on-the-wall of an early Asia rehearsal, recorded exactly 38 years ago today on June 12, 1981.  Ricky Nelson has lovingly nurtured this Holy Grail recording, and has created a collage slide-show of rare photos through the decades to remind you of John’s genius.  The question arises – what song did this morph into?

Further, Ricky has curated a special video recording of John’s last ever tour singing Asia songs, with the Rock Meets Classic arena tour in March 2015, where John delivers a supreme performance, one of his finest ever versions of “The Smile Has Left Your Eyes”.  This will be a special release today at 12noon UK time from John’s twitter page [see below].

Dylan Wetton says: “This is helping me come to terms with the loss of my Dad, and is opening my eyes to his genius.  It is truly a labour of love”.

Lisa Wetton says: “When you open your box set for the first time, you will know that every person involved with its creation was touched deeply by John Wetton. You will be playing the music that revealed his personal life story, and you will be perpetuating a legacy that was meant to be a shining light for everyone. The physical light may have flickered out on January 31, 2017, but there is an extra radiant star aglow in the firmament today. It is my hope that when you listen, you will still feel the warmth from that light, and hear the Lion roar for generations to come”.

Official Website: www.johnwetton.co.uk

Remembering John Wetton Twitter: https://twitter.com/officialjwetton Remembering John Wetton Facebook:  https://www.facebook.com/groups/1377795682293955/

KING CRIMSON CELEBRATE 50TH ANNIVERSARY with 3 UK SHOWS at the ROYAL ALBERT HALL 18TH, 19TH & 20TH JUNE

King Crimson celebrate their 50th Anniversary this year. As part of these celebrations they will perform a trio of shows at the Royal Albert Hall on 18th, 19th and 20th June and special concerts across three continents, including both festivals and headline shows.

Tickets are available here: https://www.dgmlive.com/tours?liveshow=on
Often acclaimed as one of the best live bands in the world, King Crimson has constantly re-invented itself throughout its 50-year existence. Having reformed in 2014 the current seven-piece line-up features Robert Fripp (guitar), Mel Collins (saxophones & flute), Tony Levin (bass, stick and backing vocals), Jakko Jakszyk (guitar & vocals) and drummers Gavin Harrison, Pat Mastelotto and Jeremy Stacey – who doubles on keyboards.

This very special group of musicians has allowed the band, for the very first time, to access material from throughout King Crimson’s long history. In fact, since 2014, they have played a large number of historic pieces which have never previously been performed live, as well as old favourites, and their own newly written material.

The shows are regularly around three hours long, with a setlist newly written each day by Robert Fripp.
Founding member Robert Fripp who has been a constant throughout the band’s history recently observed the Anniversary with an exclusive one-day event in London which was attended by worldwide media. The event included a presentation by film director, Toby Amies who is currently editing his forthcoming King Crimson documentary Cosmic F*kc which will be released later this year.

The latest in KC’s acclaimed boxed set series: Heaven and Earth – 18CDs, 2DVD-a, 4Blu-Ray – covering King Crimson 1997 – 2008 and including much unreleased audio/video/Hi-res stereo & 5.1 surround audio in the band’s most comprehensive boxed set release to date.

Also released on the same day, drawn from the boxed set:
The ReconstruKction of Light – CD/DVD-a set featuring the 1997 album in original stereo/radically remixed/part rerecorded new stereo & 5.1 Surround sound plus bonus material – all in hi-res audio on the dvd-a
The Power to Believe – CD/DVD-a set featuring the 1003 album in original stereo/expanded mix/& 5.1 Surround sound plus bonus material – all in hi-res audio on the dvd-a.

Completing the availability of all of King Crimson’s studio albums from 1969 – 2003 in hi-res stereo & 5.1 surround sound.
More releases follow later in the year.

HRH Prog 7 at Hafan y Môr Holiday Park in Pwllheli – by James R Turner with input from Progradar

This was my first HRH Prog, and I gleefully loaded up my car with the requisite supplies (Bottled water, Bottled Beer) and entertainment for the journey (the new Sheridan Smith album – it’s rather brilliant btw, the new Robyn CD, the latest Gryphon album and Chas n Dave the EMI years) and set off on the long trek from Bristol to North Wales.

I drove through some wonderfully evocative countryside, (which I saw on the way home, as it got dark for the last two hours of my journey) not to mention the frankly terrifying visions of cars honing past me on blind bends and narrow roads. They have no fear those Welsh drivers.

On arrival I was met by Lord Progradar himself, already priming me for the wallet emptying that was coming by raving about Southern Empire. Having seen the stage times and the final rearranged running order, I was pleased to see that Southern Empire and The Strawbs no longer clashed.

It was pretty much drop the bags off, have a beer at the apartment, and then off to see the music, the first night kicking off on Stage 1.

The venue itself was an actual original holiday camp and it’s been over 20 years since I last stayed in a Haven and, I have to say the accommodation was excellent, and a short (if bracing) walk to the main venue. Both the stages are next door to each other, separated by a pleasant plaza with a Burger King, Chippy, Starbucks and an open air bar.

This made ducking between stages for the sets incredibly easy and meant even if there was a slight overlap, then you didn’t miss much of the bands’ set. Of course, there were several clashes so some bands I was unable to see and apologise if I missed you out. Unfortunately, I couldn’t be everywhere at once.

Joined by fellow prog scribe Leo Trimming and other friendly faces, the relaxed atmosphere (and probably the beer) made for a relaxed and friendly ambience. Of course, there was David and Nicola Robinson and Andy Faulkner offering to relieve us of the burden of heavy cash in our wallets in exchange for shiny discs of happiness (hell, it’s a prog festival – you will go home laden with CD’s. It’s as inevitable as death so don’t fight it).

It was a pretty packed schedule which we were launched into, I won’t say gently as they were anything but, by Maschine who ticked the event off on Thursday night on Stage 1.

My biggest gripe with the festival was that the areas in front of both the stages were seated, which really took away some of the ambience and energy of the audience. Whilst there was plenty of dancing and movement going on further back in the venue, it must have been disconcerting for the bands in full rock mode to look down to a sea of faces all sat down like they were at the theatre.

The audiences were very enthusiastic, and it was a good crowd, but as a punter I do like to stand as close to the stage as I can get for at least a couple of songs, and this vital aspect of a live gig was sadly denied to me in stage 1.

A highly acclaimed act to start the festival, Maschine are full of energy and presence. Formed by Luke Machin (who must be one of the hottest young guitar players on the scene currently) and Dan Mash (Damanek) on Bass.

This young band have really grown into their sound, with the second album ‘Naturalis’ really building on the sound of their debut ‘Rubidium’. This band environment allows Luke the space to stretch himself on stage, however the occasional shredding in the middle of what was a fantastically complex song is one that jars a little bit.

There is no denying that the band is chock full of talent, Elliott Fuller more than holds his own with Luke on guitar, Marie-Eve De Gaultier on keyboards and vocals, centre stage as if she’s keeping the boys under control, and James Stewart anchors the sound with his drumming.

Bringing the material from their two albums to life on stage, Maschine set the bar high for all the other bands that followed and with their energy and power opened HRH in style.

This festival is nothing if not eclectic and Stage 1 did gain the nickname the retro stage, due to the number of classic bands performing there, and there was none more classic than the current incarnation of The Crazy World of Arthur Brown.

Fronted by one of the most distinctive front-men in rock and roll, the band did not disappoint. Arthur, in his full on God of Hell Fire face paint, and celebrating 50 years since the band’s debut album. To commemorate this fact, they played the first half of the record before launching into some newer material.

Arthur, as ever, is the consummate showman and the bands blend of blues and psych was performed by the latest incarnation, including a fantastic female guitar and keyboard pairing. These younger musicians, overseen by musical director Jeavon Beaumont, really put some spark into the music.

It even takes you back to old school psych festivals when, during some of the longer spacier moments, the band building a real groove, a female dancer comes on. The only thing that looks a tad uncomfortable is Arthur (about my Dad’s age) dancing and gyrating around the younger female guitarists, looking like a creepy Uncle in a nightclub.

Other than that, his voice still has all the power that it ever had and with their psych lightshow and deep groove (and a taut band), they put on a great show.

(Picture by Gareth Cole)

Headline act for the night, and band of the night for me was The Martin Barre Band, putting on a barnstorming performance, mixing new material and classic Tull tracks, the band put on brilliant performance. Vocalist Dan Crisp bringing the early style of Ian Anderson to mind, without this being a tribute act style.

Progradar I have to echo Jame’s thoughts on The Martin Barre band, it was a powerful and consummate performance. The tracks from latest release ‘Roads Less Travelled’ were blended perfectly with the classic Tull material and others. Martin’s guitar playing was incredible and Dan Crisp’s vocals perfectly matched.

(Picture by Gareth Cole)

For me, the highlights were the title track from the new album and (This Is) My Driving Song, both fiery, blues infused and powerful tracks. There was an electric energy running throughout the set and it made for a great end to the first day.

Heading back to the apartment for beer and a wind down after a long journey, this was a perfect opening to this three day bender Festival.

Day 2 started at the civilised time of 13:20 over in Stage 1, so there was plenty of time for me to go for a nice walk along the cliff tops, admire the Northern Wales coastline scenery and meander along the beach, before rendezvousing with Martin, who had been for a run.

A full English (or should that be Welsh?) in Porthmadog with Leo, set us up nicely for an afternoon and evening of entertainment. As locations go, a Prog festival in picturesque North Wales is certainly one I would recommend if they ever come back here again, as they are moving to London for next year’s festival.

On Friday I spent a lot of my time over in Stage 1 but before that the first full set of Friday was kicked off by I Am The Manic Whale in Stage 2.

I know Martin is going to go into their set in more detail, but I had spent the whole morning defending my position as a Doctor Who but not a Whovian, and then what did I Am The Manic Whale play? A song about Doctor Who complete with a fully progged out version of the iconic theme tune which brought a smile to my face.

Their set was a great way to start the Friday with and I will be looking forward to seeing them again.

Progradar The first band on a Friday lunchtime have a real task to energise the audience but I Am The Manic Whale soon had a fairly sizeable crowd rocking along to their high tempo, feel good style of progressive rock. With a set list comprising tracks from both of their releases, ‘Everything Beautiful In Time’ and ‘Gathering The Waters’, this unassuming band garnered many new fans with their excellent performance.

Over in Stage 1, Haze, currently celebrating their 40th year in existence put a great show on.

Led by the McMahon brothers, Chris (on bass/keys/vocals) and Paul on guitar and vocals, it was a romp through old and new material covering the bands existence. It’s been 20 years since I saw them and, since then, they released their album ‘The Last Battle’ back in 2013which mixed their sound up. Joined by Paul’s son Danny on drums and Ceri Ashton on vocals and flutes, they put on a fantastic show. Chris has lost none of his energy and stage presence and Paul’s vocals and guitar work was as great as I remember it from the ‘World Turtle’ days.

Danny on the drums adds some real power to the band, and it’s great to see the band carrying on as a family affair. They put on a fantastic set and were one of the bands I’d wanted to reacquaint myself with this weekend, and I am glad I did.

Following Haze were Tir na nOg, one of the legendary Irish folk duos, comprising Sonny Condell and Leo O’Kelly who, after a long hiatus, are now back out there playing a mixture of classic tracks and more contemporary material. Considering they are just an acoustic duo, they managed to hold the audiences attention and, while there were occasional drifts into folk singer cliché, they utilised looping and percussive beats on other tracks to put on a fantastic set that kept the audience entertained.

Progradar Following I Am The Manic Whale on Stage 2 were The Amber Herd, a band I’d never heard of before but one who produced a rather flawless set of folk rock/prog with intelligence and humour. As James has already stated, it’s difficult to catch every band at a festival like this but I’m glad I caught this trio as they were on of my surprise highlights of day 2.

Over on Stage 2 I was able to catch some of Mother Black Caps’ set, they had their ‘team’ out in force the night before passing out fliers and drumming up support, and while I didn’t manage to stay very long, I found I enjoyed their blend of rock and would have liked to have seen a bit more. Unfortunately, with festivals like this, you do find there are clashes.

Back over to the Stage 1 arena I was in time to catch the whole set from Birmingham instrumental trio Axiom, who were last minute replacements, hot footing it down to North Wales from the Midlands, complete with their drummers’ dogs.

This instrumental power trio of Zaid Crowe on guitar, Josh Ainsworth on drums and Stuart Drinkwater on bass were a revelation and one of the star acts of the Friday. Pulling together an impressive musical arsenal, they blend riffs with beats and they sit very nicely in the same area as bands like The Fierce and the Dead and Zombie Picnic.

Clever, progressive instrumental rock that is very easy to get into and enjoy, they also proved they have a sense of humour and don’t take themselves too seriously by playing a track that included some of their favourite riffs, mixing Michael Jackson’s Beat It with some Thin Lizzy and then the Death Star March tune from Star Wars got a great reception, it was fantastic to see a new exciting band like these guys really bringing it to life on Stage 1. I rather suspect that we will be hearing a lot more from this talented trio in the future.

A quick nip back over to Stage 2 enjoy the rest of Final Conflict’s set, a band who I’ve not seen, like Haze in about 20 years, and it was good to see that they are as strong as ever, with their own brand of Floydian-esque rock they know how to put on a show, and the audience seemed attentive.

Following them was a band who were new to me, an act called GU-RU, another musical trio who, with Lee Spreadbury on keys and vocals, Malcolm D’Sa on drums and Naomi Perera on flute and vocals, created quite a unique sound.

The mixture of the drums, the flute and the keys created a fantastically eclectic musical mix going from old school prog to real psych sounds and heading into full on dance music, while Perera’s flute soared throughout. Spreadbury is a bona fide old school prog keyboard player, full of charm and stage presence and plenty of musical chops.

In fact, GU-RU had magnificent stage presence and a sense of how to entertain the audience, and I managed to catch nearly all their set. They were really entertaining with a unique and different sound to some of the other guitar heavy bands. That really captured my attention as I love artists who will mix things up and go down a different road to everyone else.

GU-RU are one of those bands and they really played a fantastic set.

(Editor – We have this strange image because, despite James saying Wishbone Ash are one of his favourite bands, he didn’t manage to provide a picture!)

It was back over to Stage 1 for the founder member of one of my favourite bands. I was chatting to someone about the mammoth Wishbone Ash box that came out earlier in the year, it really is a thing of beauty. I know it was expensive, but I have loved Wishbone Ash for over 20 years and it was a perfect opportunity to get everything all in one place for me, and that’s why I was really looking forward to Martin Turner’s set.

I have seen Martin Turner’s band before, and the Andy Powell version of Wishbone Ash and while I like the fact that these bands are still out there and playing the music, Martin’s band just edges it for me. The reason why is that he plays a lot of the deeper cuts and back catalogue stuff that Andy Powell doesn’t, throwing in a blinding version of Front Page News for instance, Persephone also got an airing as did the title track to the latest studio album, Written in the Stars.

Obviously sets like this are truncated so the band, which is currently touring the Wishbone Ash debut album in its entirety, cut that back and played a few numbers from there and rounded the set off with a blinding trio from ‘Argus’, Warrior, Throw Down the Sword and Blowin’ Free.

Martin was on top form with his between song banter and his bass work is asnifty as ever, the twin guitar work of Danny Wilson and Misha Nikolic replicates the sound of the original band but, as both men are incredibly talented guitarists, they aren’t merely copying. They put their own stamp on the sound and are clearly having fun playing together, while drummer Tim Brown anchors the sound.

This is clearly Martin Turner’s musical vision and he takes both the audience and the band with him as he plays the music he created. It’s no nostalgia fest either as he and his talented band make their own mark on these songs and breathe new life into them.

Headliners on Stage 1 on Friday were Neo-Prog legends Pendragon, celebrating their first 40 years with the tour of the same name.

Nick Barrett’s distinctive guitar and vocal work is, as ever, front and centre, while the core line up of Peter Gee on bass, Clive Nolan on keys and Jan-Vincent Valazco on drums were augmented by Verity White and Zoe Devenish, who help to flesh out the already mighty sound of Pendragon.

These guys have been touring and performing for a very long time, and Nick and Clive are both masters of their respective instruments. Though I have seen Pendragon live more times than I care to remember, this is the first time I’ve seen them with the additional female vocals, and this new dimension to the bands sound really makes a difference.

The auditorium was packed, and it was heartening to see several younger punters here (and by that, I mean people younger than me – at 41, according to Martin I brought the average age down!)

Performing a set covering all the classic Pendragon eras, after all 40 years is a hell of a lot of music to cover, Nick and the gang managed to mix the set up and include tracks like Green and Pleasant Land (with its slightly dubious lyrical content, I am not sure how tongue in cheek it is with some of the sentiments expressed) among others, which kept the crowd entertained.

Having enjoyed another full day of music and discovering new bands to go with my appreciation of some of the more vintage acts, HRH put on a good mix.

Progradar -I had, early evening, shot off to meet up with Sean Timms, Danny Lopresto and Brody Green of Southern Empire:

It was an impromptu interview which, unfortunately, I didn’t record (the official interview will be aired soon) but we talked about all things Empyrean and the music in general over (quite) a few beers. I did manage to get back in time to catch part of a wonderful set from Luna Rossa, their ethereal sound and waif like grace ever ceases to calm my heart rate and Anne-Marie Helder was on top form this night. 

Saturday, we had a lovely trip out to Criccieth Castle with those TPA boys Leo Trimming and David Glaves (there is no competition between the prog review websites, we’re a friendly bunch of guys), just up the coast from Pwllheli, before the music started. The view was stunning and, as the castle is part of the ring of castles in North Wales, it would be rude to not visit whilst we were up there. We then found a pleasant café where we enjoyed our full Welsh breakfast to set us up for the days progging.

Martin was busy doing interviewing things (Ed: it’s called ‘work’ James), so I spent plenty of time at the bar, drinking with Gareth Cole flitting between the two different arenas to see as many sets as I could.

I spoke to Al Winter, frontman for This Winter Machine, this time last year when their debut album, ‘The Man Who Never Was’, had just been released and was getting great reviews. Since then, the band has recorded their second album, and been making waves with their well-received live shows.

This was the first time I had seen them and, having really enjoyed their debut, I was looking forward to their set.

They did not disappoint, Al was on fine form, his vocals really superb, and he worked that stage (& the audience) like he owned it, the new material from the forthcoming album fitted in perfectly with the songs from ‘The Man Who Never Was’, a perfect evolution of the bands sound and approach, and when they finished their hour long set (4 or 5 songs I think, but hey this is Prog) they got a standing ovation (the first opening band, I Am The Manic Whale, also got one on Friday).

The band made a fare few new fans and friends, and I am sure that they sold plenty of CD’s (Al knowing how to push his product by reminding the audience exactly where the merch was). Sometimes opening a festival can be a thankless task, it’s not known as the graveyard slot for nothing, but, like I Am The Manic Whale  before them, This Winter Machine took full opportunity of this to get the day started in style. It followed the tone of the weekend, while the bigger names were on Stage 1, some of the more eclectic and exciting acts were on Stage 2.

There is a delicious irony in me typing that as bar Southern Empire and Gandalf’s Fist, I spent pretty much all Saturday in Stage 1 (& part of it enjoying the company of Gareth Cole, Chris Bembridge & Richard Thresh – splendid chaps, all of them).

I saw some of Goldray’s set, the new band from former Reef guitarist Kenwyn House, with vocals from Leah Rasmussen. This weekend certainly had an interesting mix of classic rock sounds and psych sounds and Goldray were certainly out there.

From their glittery stage presence, to the light show, and the hypnotic musical sound they are at the forefront of the psych revival and about as far from Reefs sound as is possible to get. Leah has a magnetic stage presence, and plenty of star quality whilst the guitar work of Kenwyn was sublime. A complete glittery contrast to the next band on Stage 1, Jump.

Now out of all the bands that play for the CRS and that I have seen, I reckon I have seen Jump nigh on 30 times and they have never played the same set twice.

Fronted by Celtic bard John Dexter Jones, still looking as lithe and nimble as when I first saw him, he is the reminder of the fact that the protest song is still as relevant as it ever was and why musicians must talk about politics and life.

I read a lot of guff online about people saying that musicians shouldn’t talk about politics in their music and they should keep their art separate. Why? Is always my stock answer, they are making their art and it is not up to us to dictate what anyone should sing about. I remember the Jump song Tower of Babel, inspired by someone telling John he shouldn’t swear so much. Politics is everywhere, it dictates house prices, it permeates out every being, everything that happens to us and society is dictated to by politics, so musicians should reflect that in what they do if they are being true to themselves and their art.

He is a passionate, articulate and intelligent frontman who comes from proud Welsh stock and his history is as important as our future. This was evident in this truly impassioned and powerful set, featuring as it did, several songs that still resonate and sadly, despite being written a while ago, are still as relevant as they ever were.

The scathing Moscow Circus (taken from my favourite Jump album ‘Matthew’) and the new poem to music The Station Parade segueing into The Sniper from ‘The Beachcomber’ album, were two personally poignant insights about the First World War in the 100th year since it finished and telling of the folly of war and the story of one of John’s Great Uncles.

However, the highlight and most powerful song of their set, nay the weekend, was their new number Breaking Point, the title taken from ‘that’ EU referendum poster. It is Johns most brutal and impassioned takedown of this whole Brexit clusterfuck and rise of the right, I doubt there was anyone in there who wasn’t moved and understood the message behind the song.

Jump as a band are peerless live and they just get so much better with age, like a fine wine, with the twin guitar sounds of Steve Hayes and Ronnie Rundle trading licks and rolling riffs from one side to the other, whilst Mo on keys adds a lot of texture to the sounds. Andy Barker on drums keeps the beat going while newest member, Mark Pittam on bass, fits in perfectly with the band ethos.

JDJ made a humorous comment from a previous review about him hectoring and haranguing an audience, and you know what, for the quality of the performance and the songs I would happily be hectored and harangued for another few hours thank you very much.

I saw very little of Stage 2 during this period, which upsets me slightly as I had the misfortune to see some of the band that followed Jumps set.

Davy O’List’s The Attack, now Davy has an impressive prog pedigree, and an interesting back story, however I watched about 10 minutes of The Attack, of which at least two were the band stood in silence on the stage after finishing one song and none of them quite knowing what was happening next. At one point it looked like the band were all playing different songs, very little audience interaction and not much entertainment.

Sorry chaps, it wasn’t for me and I think a bit more rehearsal could have gone into this!

Progradar: I got back from interviewing duties just in time to catch German progressive metallers Deafening Opera on Stage 2 and I’m glad I did, their blend of powerful prog metal along with great melodies went down a real storm with the growing crowd. These young musicians were not only technically excellent but played with a lot of verve and a lot of soul. The 80 minute set was a great success and set everybody up for the next act…

I have been a big fan of Aussie melodic proggers Southern Empire for a while. Their first, self-titled, album crept under the radar a bit but the sophomore release of ‘Civilisation’ has seen them rapidly come to a lot of people’s attention.

With the charismatic Danny Lopresto on vocals and guitar, Cam Blokland on lead guitar, Brody Green on drums, Jez Martin on bass and Sean Timms as erstwhile bandleader and keyboardist, the band delivered a flawless set of dynamic, powerful and downright soulful music. Saxophonist James Capatch added a layer of impressive sophistication and Southern Empire proceeded to literally blow the audience away with their incredible storytelling and joyous music.

Opening with Forest Fire from the debut album and then following up with two lengthy tracks, Cries For The Lonely and Crossroads, from ‘Civilisation’, these marvelous entertainers from Adelaide had everybody lost in the moment and in the palm of their hands. Cam and Danny’s guitar interplay was brilliant and added a real fun feel to what was the utter highlight of the weekend for me.

 A live performance that was one of the best I have ever seen and one which I later called a musical epiphany, if you ever get the chance to see these guys live then do not miss it for the world!

Back to James for his take on Southern Empire

Making their HRH debut meanwhile over on Stage 2 was Southern Empire, formed by Aussie keyboard player Sean Timms, recently recovering from a heart attack, the timings were adjusted so they didn’t clash with The Strawbsand boy was I glad about that.Wwith livewire frontman and guitarist Danny Lopresto in fine form, and the formidable musical attack by the rest of the guys, Southern Empire were the band of the weekend for me.

Every festival I have ever been to always has the ‘why the fuck haven’t I heard this before?’ moment, and for me this moment was watching Southern Empire.

They filled the Stage 2 arena, put on an hour and 15 minutes of blinding music and left having won the hearts and minds of the arena. Those people saying ‘You must see Southern Empire’ were right, and much as I loathe to admit it (as it’ll give him a big head) Lord Progradar himself was bang on the money by saying these guys would be band of the weekend.

To think, if they hadn’t adjusted the timings due to pressure from fans wanting to see both Southern Empire and The Strawbs, I’d have missed this show, and I would have been completely gutted.

(Yes, I did leave having bought both Southern Empire albums, and they made excellent companions on the 4 and half hour journey home).

Progradar: Next up on Stage 2 were the wonderful ‘progressive piano trio’ Exploring Birdsong. I’d interviewed this young trio earlier and they came across as very wise heads on young shoulders and their set proved this to be very true. Drummer Matt Harrison, bassist Jonny Knight and pianist/vocalist Lynsey Ward delivered music that was a powerful combination of pop sensibilities and progressive compositions, all topped off by Lynsey’s soulful vocals.

Their recently released track, The Dowpour, is a cut glass piece of songwriting that belies their relatively tender years and was delivered superbly to the rapt audience. These three have a bright future ahead of them if this performance is anything to go by.

Back to my spiritual home for the day, Stage 1, for a set celebrating 50 years of The Strawbs. David Cousins had been unwell recently and so to see him on stage, surrounded by mainstays Dave Lambert on guitar, Chas Cronk on bass, Tony Fernandez on drums and, relative new boy, Dave Bainbridge on keys, they really went to town and played an explosive set.

Having jumped across many genres and styles, The Strawbs complex and intelligent music weaves between folk, rock and softer sounds and , for HRH, they pulled out all the big guns and gave us an eclectic electric set.

Mixing material from new album ‘The Ferryman’s Curse’ (tracks like The Nails from the Hands of Christ fitted the setlist like it had always been there) with an astonishing version of Ghosts, an emotive and powerful New World and a truncated quartet from their ‘Hero and Heroine’ set (Autumn, Hero and Heroine, Out in the Cold and Lay a Little Light on Me), they rounded off a powerfully strong set with the ‘Bursting at the Seams’ favourites The River and Down By The Sea.

This was an intense show of power by The Strawbs and shows how much energy and power the band have, it also shows that, with the newer material and the addition of Dave Bainbridge on keys, even after 50 years, Dave Cousins and the band are relevant, important and still have so much more to say musically.

I am glad the concert was rejigged so these guys and Southern Empire didn’t clash, as both their sets were important parts of this festival jigsaw and I am so glad I got to see an all-electric full band The Strawbs set in their anniversary year.

Following on from The Strawbs, and in one of the contradictory and different pairings that HRH seems to relish was another classic band celebrating their 50th anniversary. The original psychedelic warlords and musical anarchists Hawkwind.

Astonishingly, despite having loved this band since I discovered ‘Warrior On The Edge Of Time’ back at Uni in 1995. This is the first time I have ever seen Hawkwind live and, again, like The Strawbs, Jump, Gandalf’s Fist and Martin Turner, was one of my ‘must see’ bands of the weekend.

My favourite Hawkwind album is Warrior and so it was with great delight that they opened the set with Assault and Battery and The Golden Void, Dave Brock on fine form with guitar and vocals, while the line-up, currently down to a four piece of long serving drummer Richard Chadwick whose been with the band for 20 years (and who my chiropractor used to rent a room from, randomly!), Niall Hone on bass and vocals and newest member Magnus Martin, were, in suitably psychedelic fashion,just mesmerising.

The set included an incredibly extended version of the classic Damnation Alley where the riffs and extended improvisations contained more ideas than some bands have on an album, an arresting and brain melting Sonic Attack and a metronomical version of Born To Go.

We did duck out before the end due to the closing band on Stage 2 getting ready to start, but Hawkwind demonstrated why they are the original, and best, psych band still treading the board, and it’s full testament to the vision and skill of Dave Brock to keep this band on the road, playing these amazing tracks to an audience who clearly idolised everything they did.

(Picture by Gareth Cole)

One of the bands I have wanted to see for aeons, ever since I reviewed the album ‘A Forest of Fey’ back in 2013 for the DPRP, was Gandalf’s Fist, their drummer Stefan Hepe is a fellow naughty pachyderm. The way the band has expanded organically is brilliant, and then they blew everyone else out of the water in 2016 with their triple disc epic ‘The Clockwork Fable’.

Founder members multi-instrumentalist Dean Marsh and lyricist and vocalist Luke Severn have created a band around them with Stefan on drums, Ben Bell (Patchwork Cacophony – whose albums you need in your life) on keys, Christopher Ewen on bass and Keri Farish on vocals, this 6 piece absolutely owned the stage,and they were the perfect band to end the festival.

Making a brave choice to kick off with the unreleased track Leader of Men, from the opening bar they got the whole of the second stage on side. After all, the Fisters have previous having already fisted an HRH to within an inch of its life.

Pulling together a set list covering all bases (and, of course, the merch desk had all their CD’s including ‘The Road to Darkness’ reissue, ‘A Day In The Life Of A Universal Wanderer’, ‘Forest of Fey’ and ‘Clockwork Fable’, which I definitely didn’t buy the lot of to play on my journey home – here’s a tip for free, if you write for a prog website and know beyond doubt that your beloved better half won’t read this review, when smuggling CD’s into the house and hiding how much you spent, the phrase ‘review copies’ is one that you can get a lot of mileage from!)

Of course, the buggers pulled out the epic Eve’s Song from ‘Clockwork Fable’, which brought a tear to my eye, either that or I was sobbing at how much I’d spent but, either way, the powerfully emotive vocals of Keri Farish really brought this to life live and, of course, the band were on fire throughout.

The witty intro to Emerald Eyes (careful with that plagiarism Eugene) hinted at where the inspiration for this song came from and the between song banter between Luke and Dean was hilarious.

Songs from ‘Forest of the Fey’ (do Gandalf’s Fist deliberately try to provoke proggers with these titles?!?) mixed with the wonderful pieces from ‘A Clockwork Fable’ (a bloody marvellous live rendition of The Capture, for instance) show how much passion and energy the band put into their music. Another new song, The Warden, formed an integral part of the set and I cannot wait to hear the album that becomes part of.

From being a studio project to a fully fledged live band is not the easiest journey for some artists but Dean and Luke have chosen the perfect travelling companions. Stefan and Chris on drums and bass provide the perfect anchor points to allow keyboard wizard (in a top hat instead of a cape) Ben to sprinkle his magic all over the songs (seriously, you need to buy his Patchwork Cacophony albums) and Keri is the perfect blend of star vocalist and frontwoman, adding some real heart and soul to her musical performance and looking like this band have been together for ever.

From a competition to find the maddest prog name, to being real contenders for one of the most innovative and exciting prog bands out there, Gandalf’s Fist have had a tremendous few years, this set confirming what we all knew.

They are the future of prog and it was brilliant to see them play to a room full of appreciative fans, who stayed up well past their bedtime, looking at the at the age of them. We were well and truly Fisted, and I wouldn’t have had it any other way.

(Picture by Gareth Cole)

ProgradarI can echo James’ sentiments completely here, Gandalf’s Fist really did deliver a performance worthy of the final headliners on Stage 2. The impressive musicianship was matched by the peerless songs. To be fair, they are a band you either get or you don’t but I’m a big fan of their steam punk fantasy lyrics and ideas and, in Keri Farish, they have a vocalist who can capture an audience and hold them in her spell.

Dean’s sometimes crushing riffs give a visceral quality to the fantastical music and the rest of the band are all superb musicians imbuing the whole set with style and verve. Being the final act there was almost party feel to the performance with the audience thoroughly enjoying every track and giving the band well deserved standing ovation at the end. A wonderful way to close out the weekend.

I am a great believer in the healing power of music, and music, brings us together and unites us under one common cause, if only other things in life were so easy.

The HRH Prog festival crams a lot into the three days on site and I am very sorry to the bands that I couldn’t get to see due to clashes but, in events like this, you’re never going to see everyone, and I am glad I saw the sets I did. While I was most looking forward to seeing Gandalf’s Fist, who did not disappoint in any way shape or form, Southern Empire with their empirical and dominating set, just edged it for me as band of the festival.

The next HRH Prog is down in that there London, whether it will retain the family feel of this one I am not sure but, if the line up is anywhere near as strong as this, then any attendees won’t be disappointed.

People talk about the diminishing returns and lack of punters for small local prog gigs, I do wonder if this model isn’t the future, it might cost a little more, and take out more of your time, but I loved the friendliness, the convenience, and the way of seeing a combination of bands I loved and new bands that I now love, all within a very small dash between two stages.

Hats off to all the folks involved in pulling this together, and a massive thanks for letting me tag along and be a small part of something much, much bigger.

Progradar: HRH Prog 2018 was a huge success for me, excellent bands spread across two excellent stages with all the support network (food, beer, water etc.) very close to hand. The location had a hell of lot to do with the brilliant atmosphere and time will tell if the Shepherds Bush Empire venue will be as accommodating next year.

The highlights were Martin Barre, I Am The Manic Whale, This Winter Machine and Gandalf’s Fist but the star band of the whole weekend were the incredible and magnificent Southern Empire.

Keep your eyes peeled for forthcoming interviews from HRH Prog 2018 with Southern Empire, Exploring Birdsong and Gandalf’s Fist.