The Progdressive Music Festival in SF
Pedro Sena
the few hangups here and there, which most in the audience did not know
about. Collectivelly, this show was superb and deserved to have a larger
audience, if not a little more to show for its strengths.
Starting with the usual hassles, like a bad company that could not
figure out its own sound system, these things aside, we got a chance to see
some of the premier acts in the progressive music scene, all together under
one roof.
Opening with BONDAGE FRUIT that turned an agonizing moment for them into
a triumphant set of angst displayed through a tightly knit band, that was in
no mood to fool around, but to blow out an audience, their rather difficult
music for an audience to appreciate came through in flying colors.
Considering that they barely had time to finish their sound check, they
played like it was no problem at all, and displayed a professionalism that
was not apparent in a couple of better known names, when it comes to
displaying their work. This band gets a B+.
The PAR LINDH PROJECT followed, and they appeared ready. However, while
I felt they put on a fine show, I did find it sad that many musicians that
are "classically" trained, can never get out of the shadows of their
"masters" and to become their own person. The band had a fine effort,
however, seemed to under use, the fine talents of Magdalena Hadberg,
relegated to occasion vocals, and a smathering of violin. One would have
hoped for more. But a strong guitar, bass and drummer carried this band
through nicely, and made it a pleasant listen. It's difficult not to compare
Par Lindh himself with previous keyboard players, since the style is already
beaten up pretty badly, but one kept wondering where was the long blond
hair, or where were the keyboard antics really going to start. I would have
enjoyed a show where the keyboards might have been a "part" of the band, not
the other way around. Still, as far as a show goes, their presence was
strong and enjoyable.
BRAND X followed into the stage. One wonders if there was more music
than soul in what they did, or otherwise. I believe the audience would have
enjoyed more "soul" into what they did. Perhaps it has become too clinical,
and not as good as it once was, when moody music displayed a very talented
band. But in fine form, was John Goodsall, as usual, even if it appeared
that the rest of the musicians with him were not only younger, but far less
capable than himself. One might have called this the "John Goodsall Project"
and it may have been a better setup and band. But as far as the BRAND X that
we have known in the past, this was far below their abilities that we have
seen and enjoyed. However, for lack of feeling, the band did put on a fine
set, and was getting stronger as the night progressed.
Closing the Opening night, was THE GONG GLOBAL FAMILY, this time with
two new members, the drummer Chris (sorry, I did not write his last name
down) who had played with Soul2Soul. Considering that much of this must have
been new to him, he did a fine job, though most will miss the power and
finesse that Pierre Moerlin had offered. Chris should add it in no time and
give us a new touch to the band, which, as these various members pop in and
out, makes clear that it needs. Replacing Steffi, was Mark Hewins, who
brought along a guitar to play many of the keyboard parts. And while not
quite a great replacement, it did add a lot of play to the show, courtesy of
Mark's infectious stage present and constant playfullness, which adds a nice
touch to the band. Perhaps, in the future, this band will be able to add a
keyboard player and free this guitarist, and Steffi to play the heck of all
the solos, which Daevid made sure they stood out. Unffortunately, Daevid can
not play both parts at the same time. As is usual, the strengths in these
shows were Daevid, Gilli, Didier and Mike. They did not disappoint. Daevid,
despite not feeling well, still went on as if nothing had happened and tore
up an audience with some new outfits, and went on to display the acting
talent that he has, that one would love to see more of. Sadly, their
performance was marred by serious monitoring problems, and none of the
band's musicians could hear themselves well enough to be able to expand on
what they were doing. This particular hassle had been the major problem all
night long, not to mention a bad microphone for Gilli that often gave new
meaning to the word feedback.
The second day, was the one for surprises. Many stated, sadly, that some
of it was not prog, and did not fit. The unfairness to this statement,
ignored two of the stronger performances in the whole weekend. From LA, came
LANA LANE and THE ROCKET SCIENTISTS, and they proceeded to display what a
good band can do with their music, and not be pretentious. A fiery, accurate
and well designed show, that basically features two bands in one (Lana makes
up the 2nd band), it displayed a magnificent keyboard player that never went
over board in his work, to sound pretentious or overly crafty. Erik
Nordlander, stuck to the music and the work of the band, and proceeded to
place down a solid show, one that many might suggest had a bit of the LA
metal scene in it, but this reviewer says, so what? Can no music of any kind
be "progressive"?. It was a magnificent pleasure watching a band tear up the
stage with energy and aplomb and yet not get the reception they deserved.
perhaps a few more listens will acllimate many progressive fans, of this
fine band, and its well mannered and beautifully united. Lana added her
vocals, and never took away from the band's ability to add to what she was
singing about. Worth your spend. Some felt that this was a 2nd rate
progressive band, but I say that few people have the courage to be
themselves when the chips are down, and this band scored like few others
would ever have the heart to do. The steadiness of the bass, and guitars in
this band, who never appeared to be soloing for soloing's sakes, made their
work stand out. A+
If Lana was not enough, one was not prepared for BUCKETHEAD. it split
the audience more than most bands, but it was clear that this man knows what
he is playing and what he is doing. Using a projection screen as his
"keyboard", he added his licks to a few Japanese destruction films of old.
It gives a new meaning to the word "soundtrack" and really displays what a
guitar can do for sound, that is rarely done in film these days, or in rock
music, that often comes down to beat and rhythm, not feeling, or a visual
line of sound. Buckethead's set was a trip of visualness, and to me, even if
there had not been any visuals, it would have been easy to follow the
soundtrack. Some of the progressive minded audience failed to see the man's
ability, and was convinced that this man was auditioning for the next Ozzy's
or Primus' bands. Rather unfair. This man's ability, ranks high and deserves
a better mention. While it was a one man show, one would have loved to see
this man be able to turn things around with a band, and be able to be his
own theater. Still a strong showing, and a well deserved one, even if his
own home town folks did not give him the applause, or credit that he
deserves. B+
Following the two strong sets, came the band that many wanted to see.
PORCUPINE TREE. Beset with a bad keyboard that had taken a spill, they put
on a fine show, displaying a new meaning to the word "professional". Richard
Barbieri spent over 6 hours adding the sounds to a synthesizer so he could
play the songs without his beloved Prophet 5 keyboard, while a wizard tried
hard to revive a keyboard gone bad, looking for the nearest Radio Shack, on
a Sunday Afternoon. Not easy to do. But while a roadie and manager spoke
horribly of the show, both audience and this reviewer agreed that this band
showed that they deserve every bit of respect and praise that they get. I
did not know the band and had not heard it before. Even missing a keyboard,
the sound was marvelous and the attention to the detail and quality of the
music and their show was magnificent, and worthy of praise. Most bands would
fold under pressure like this, but a man who knows what he is doing was not
about to quit, and he didn't. If you ask me, this band did not miss a
keyboard. It just figured out how to add another one, although the "purist"
in Mr. Barbieri is still alive. Fabullous effort and show for the band. They
get an A+. The manager and roadie get an F, for bitching.
Closing the night, is probably the least known secret in the music
business. That MAGMA, is the power house that it always has been. And they
got a standing ovation that had Christian Vander in tears. Oh, what a
beautiful show they put on, and brought along the thing that this reviewer
feared could be the part of their music that might suffer the most. The
vocals. Guess what. They shined and then some. And one must not forget the
strength and talent of the bass player Philippe Bussonnet, that brought it
all together. We could hardly hear the guitar, sadly enough, but no matter.
The powerful show came off beautifully, and this band tore up a stage and
audience in strength and desire that one could hardly expect or hope for.
There are few bands that can energize as much as this one does, and seeing
them, as if they were in their very prime, was such a treat, that it would
be a shame if anyone else even considers missing their next show. Forget
comparisons, forget the opinions, just go see one of the most energetic and
beautiful shows ever done in any arena of music. The superb mention goes to
Stella Vander, Isabelle Feuillebois and Antoine Paganotti's mastery of the
work they are presenting. By comparison to the other bands, this was
classical music at its best, no matter its rock or jazz elements. One should
try to do this with an orchestra, so that we could really blow up an
audience. One of the most important concerts that this reviewer has ever
seen, and the award for the best band this concert series has ever brought
along. AA++, if there is such a thing.
On a side note, a certain Georgio Gomelski came around and was in awe of
the total commitment that Sean Aheard has placed in the Progressive Music
Festivals, and how he has been able to bring these things to come about. It
was a nice touch, that this man who has brought us so much of the most
advanced, and experimental music available in the past 30 years, that he be
given a spot light. One can only hope that he will add to the strength of
these Progressive shows and help bring about to an American audience the
value of this music and the many proponents of it. Adding him to the concert
venue, with his savvy, should add to the ability to increase audiences and
allow for a few more of these Progressive things to take place in other
parts of the country. Some of us are helping accomplish this.
And one must not forget a couple of bands that played in the front of
the house. MUSHROOM did great, although some of us thought that the
saxophone was much too over bearing, and not as trippy. But of surprise, and
total far-outness, was AZIGZA, which also backed up Gilli Smyth, for a
poetry minded show. personally, I hope this band is on the stage next year,
not on the front of the house. Their music is a mix of trippy stuff and
various Eastern musics, and the combination is well done, and worthy of
mention. Apparently, they will record with Gilli later in the summer, and
one can already see that the combination is magnetic and far out, and
deserves attention. This is poetry and music.
All in all, the show was excellent, and alive. One would have liked for
things to be better organized in the sound department, that messed up things
both nights, and such a lack of professionalism, pretty much marks the
attempts to market this kind of music. A general lack of respect and desire
to bring this stuff across was not displayed properly, and the value of the
music and the bands was lessened to a degree, placing an effort on the
shoulders of all bands. In many ways, most bands thrive on this, but in the
long run this kind of energy is sadly wasted. One can only hope for a more
professional sound people and crew, and that their efforts show the bands
for what they are, not what they are not, or can never be.
Pedro.
prog...@mindspring.com
> All in all, the show was excellent, and alive. One would have liked for
>things to be better organized in the sound department, that messed up things
>both nights, and such a lack of professionalism, pretty much marks the
>attempts to market this kind of music. A general lack of respect and desire
>to bring this stuff across was not displayed properly, and the value of the
>music and the bands was lessened to a degree, placing an effort on the
>shoulders of all bands. In many ways, most bands thrive on this, but in the
>long run this kind of energy is sadly wasted. One can only hope for a more
>professional sound people and crew, and that their efforts show the bands
>for what they are, not what they are not, or can never be.
I can certainly sympathize with the ailments of a bad sound company!
ProgDay '96 suffered from such...Those who attended will surely recall
all the difficulties we had with Galadriel, which were not helped by
the sound crew at all.
In '97 I fully expected the worst when Eb pulled in with all the
equipment and started talking to me about beach music
festivals...little would I have known he'd be one hell of a soundguy!
He added his magic touch in '98 (with a few debit points for not
giving Cast an encore), and I've already requested him for '99!
Peter <prog...@mindspring.com>
Michael Clare
prog...@mindspring.com wrote:
> "Pedro Sena" <sha...@pacifier.com> wrote:
> > All in all, the show was excellent, and alive. One would have liked for
> >things to be better organized in the sound department, that messed up things
> >both nights, and such a lack of professionalism, pretty much marks the
> >attempts to market this kind of music. A general lack of respect and desire
> >to bring this stuff across was not displayed properly, and the value of the
> >music and the bands was lessened to a degree, placing an effort on the
> >shoulders of all bands. In many ways, most bands thrive on this, but in the
> >long run this kind of energy is sadly wasted. One can only hope for a more
> >professional sound people and crew, and that their efforts show the bands
> >for what they are, not what they are not, or can never be.
>
Pedro-
Keep in mind that both Gong and Magma had thier own mixologists (David Id and
Venux Delux respectively) ---most of the problens from the bands point of view
were with the stage monitor system and mix --- I have been reading the
discussions here as to sound problems --- keep in mind also that the sound
changed depending on where you were in the room ---- I had the freedom to wander
at least around the edges and had to readjust my position to concentrate on
certain sounds or find a spot where the blend seemed correct---- such is the
nature of room ambiance and electric instruments,
michael
who would love to go to mexico but hasn't made any plans or even thought about
it until now.
Lance A. Michel
First of all I want to thank Pedro for a wonderfully articulated,
insightful and generous review....Thanks mate!
Now, I am offering a copy of any tape on my trade-list to anyone
who can Tell me the 6-degree of seperation between that monster master
of a guitarist BucketHead & Senor Divided Alien......? First to guess
correctly wins..........Good luck to all.........L8R
Peas......Lance
--
Lance A. Michel:
-There are as many shades to reality
as there are windows unto the soul-
Nick Medford
<nab...@sirius.com> writes
>Howdy Folks,
>
> First of all I want to thank Pedro for a wonderfully articulated,
>insightful and generous review....Thanks mate!
> Now, I am offering a copy of any tape on my trade-list to anyone
>who can Tell me the 6-degree of seperation between that monster master
>of a guitarist BucketHead & Senor Divided Alien......? First to guess
>correctly wins..........Good luck to all.........L8R
>
>Peas......Lance
Well, I think I know, but it's not 6 degrees of separation, more like 1.
They've both worked and recorded with Bill Laswell...Buckethead on a
number of projects including Death Cube K and Praxis, and Daevid Allen
on his New York Gong project.
--
Nick Medford
Lance A. Michel
correctly.........and (drumroll please)......Of course the correct
answer would be: Artist Extraordinaire Bill Laswell.
Thanks to everyone for playin' and stay tooned for furthur trivia
to come......G'Night...........Sir Lance
Michael Eisenberg
Hey all,
First order of business, I would like to thank everyone for supporting
the last several shows at Martyrs'. I don't know about anyone else, but
I'm still floating on air after seeing Bon, Spocks Beard, Magma and
Porcupine Tree. I suppose I can go to my grave now after that quartet
of shows but wait...there's still more!! What about Thinking Plague,
what about Happy Family...what about UNIVERS ZERO!!! Well, stay tuned.
While these may just be a glimmer in the back of my mind, you never
know, and some might be a stronger reality then you would think.
The next show (and hopefully many others) will be at Schubas Tavern.
Located at 3159 North Southport Avenue in Chicago, Schubas is a
beautiful brick and masonry neo-gothic building straight out of the
Victorian age. I think it's a fantastic space, especially conducive for
carrying on this progressive/new music series. Advance tickets are
available for the shows on their web page at
http://schubas.com/info.html which should make alot of people
happy...nothing easier then ordering on-line. Tickets can be picked up
at the door before show time. The phone number is (773) 525-2508.
AUGUST 25, 8 PM: TRIBE OF CRO
Tribe of Cro, an Anglo-Belgian cooperative are a five piece of two
guitars, bass, drums and keys/effects. Playing mainly instrumental
music, TOC are perhaps the missing link between Ozric Tentacles and
Hawkwind. This is space rock of the highest order spiced up with
totally mangled and distorted voices and conversations, dubby rhythm
parts, cosmic bagpipes, glissando guitar glides, strange noises and
echoes of Krautrock electronics and ambient soundscapes. Judging from
their latest album "Hydroculture", the players are clearly comfortable
communicating amongst themselves during long extended jams.
This band is definitely at the forefront of the reviving Space/jam Rock
Movement that is regaining old and new fans alike with the advent of
such festivals as "Strange Daze" and the healthy underground scene in
Europe. Guaranteed to thrill anyone familiar with inner space trance
rock and festival psychedelia as well as the more progressive amongst
you.
Please note the new time for this show that shouldn't cramp anyone's
style who has to get up for work (like me) the next day. The show will
be over before 10pm.
Once again, thanks for supporting the series, and please feel free to
e-mail me with any questions or comments. If you know anyone who would
like to be put on the notification list, let me know as well. While
these are all VERY tentative, some of the possible shows (in addition to
those I mentioned in the first paragraph) are Morte Macabre, Samla
Mammas Mana, Project Lo and Wayne Horvits' Zony Mash.
Cya at Schubas
Michael Eisenberg
--
Outré Music
Music Beyond Boundaries