Prog Issue 93의 목차

Where does Rush’s Hemispheres sit in their impressive canon of work for you? I know for a fact that it is both Steven Wilson and Les Claypool’s favourite Rush album. And if I remember correctly, Prog readers rated it just behind the twin behemoths of 2112 and Moving Pictures as the band’s greatest work. Whatever your thoughts, it stands as a bastion of creativity at a time when musical values were being questioned and re-evaluated. Upon its release in October 1978, punk had already burnt itself out, the strains of new wave were starting to sound distinctly old wave and the NWOBHM was about to blow in, carrying Rush as one of its prominent bands. Hemispheres itself, as Geddy Lee himself says, felt like the end of an era. It…

“It’s amazing to work with these people.” Thomas Giles (aka Tommy Rogers) has teamed up with bandmates Dan Briggs (bass) and Blake Richardson (drums) on Don’t Touch The Outside, out now through Sumerian. The album is his most emblematic yet, and also includes appearances from guitarist Wes Hauch (Alluvial) and vocalists Kristoffer Rygg (Ulver), Einar Solberg (Leprous), and Carley Coma (Candiria). “Kristoffer was on my bucket list,” says Giles, acknowledging the creative role that Ulver’s visionary played on the album. “Because his voice is so deep and distinguishable, our voices work well together. He sent me a lot of ideas that ended up being in Milan.” Giles also tells Prog that the 70s soul-influenced lead track Milan is one of his favourite solo songs that he’s written. Giles brought in…

STYLOPHONE BEATBOX The original Stylophone, launched by Dubreq in the late 1960s, became a much-loved instrument despite its limitations (you could only play one note at a time) and its inadequacies (it sounded like an insect). It’s been used by everyone from Bowie to Little Boots, and a few years back a reconstituted Dubreq relaunched it. This pocket drum machine is its little brother, incorporating a bass synth, electronic drums and human beatbox sounds. You prod the pads with the stylus, creating a lopsided but rather charming noise – just like the original. www.dubreq.com SPIRIT PRO Slowly but surely, headphones with wires are being replaced by their Bluetooth counterparts. These beasts caught my eye because of the big deal the firm make about them being sweat resistant. They’re evidently pitching…

“I only started to love cooking a few years ago – my husband’s a great cook and after one of my particularly failed attempts (‘Well, thankfully salmon’s a very forgiving fish’) he showed me some tips about flavour which gave me more confidence. We live in the country and often have a bonfire in the evening, and an episode of [Netflix show] Chef’s Table inspired me to try fire roasting. It’s lovely for having friends over: Jarrod [Gosling, Cobalt Chapel partner] and our live band are visiting soon, and will be my guinea pigs for a fish and vegetarian/vegan version. Once the food’s cooking you can relax around the bonfire – though if you’re fond of floaty nylon dresses like me, be careful not to set yourself alight!” Ingredients (serves…

Sweet, eh? The acknowledged masters of 70s bubblegum pop rock. And yet here they are in Prog. Surely a mistake, right? Absolutely not. Because on their sixth album, the band were shifting into musical areas which had perhaps been off limits to them before. Not that the four had ever been prepared to stand still. They had long taken leaps into a more powerful, aggressive rock style on album tracks, something at odds with their charting singles. Now, in what would prove to be the final release from the classic line-up, Sweet went even further. They brought in psychedelic twists and daubs of progression to augment the melodic nature of the music. It meant that Level Headed was an ambitious project, one that stretched the four-piece’s talents in a way…

As any socio-economics expert can tell you, when a group expands there are bound to be problems. Any group that gets too large becomes hard to manage and it’s human nature to want to branch off into smaller tribes. Another problem with large, established groups is the need to reassure new members that they are welcome and as much a part of the ecosystem as anyone else. Now that progressive music has entered its second renaissance with an explosion of fresh talent flooding the airwaves with exciting sounds and fascinating compositions, this has naturally led to an influx of fresh-faced fans eager to join in the conversation both on and offline. While there have been some absolutely fascinating discussions, there is one question that has raised its ugly head time…

THE PINEAPPLE THIEF Tightly Unwound (2008) The album that kicked off the Kscope revolution, and one that would help shape the sound of things to come: artful, intelligent post-progressive rock that looked forwards rather than back. ENGINEERS Three Fact Fader (2009) The second album from arguably the most overlooked band in the Kscope family, Three Fact Fader sits somewhere between indie rock, dream pop and the epic soundscapes of Sigur Rós. Even on a label where no one sounds like no one else, this really sounds like nothing else. ANATHEMA We’re Here Because We’re Here (2010) The Liverpool band hadn’t put out an album of new material in seven years when Kscope signed them. The Floydian We’re Here Because We’re Here was the perfect comeback and the start of their…

After an extended break away from music, Twelfth Night bassist and songwriter Clive Mitten has returned as The C:Live Collective and released The Age Of Insanity. Mainly comprised of instrumental suite The Fifth Estate (a full vocal version is due out early next year), the album also features radical reinterpretations of Fact And Fiction classics We Are Sane and This City. Mitten explains: “The Fifth Estate deals with the world as we know it today, with social media controlling people’s thinking, populist parties coming to the fore, the myth of nostalgia, and the manipulation of power. We foresaw in We Are Sane what I’m writing about now. Originally we were going to use it as an overture, but that sounded pretentious, so I made it ‘Part One’! It’s looking into…

Included in the high-pedigree ranks of Dutch/Brit five-piece Dilemma are former Darwin’s Radio frontman/Frost* guitarist Dec Burke and Kayak/Neal Morse drummer Collin Leijenaar. The band’s sumptuous new platter Random Acts Of Liberation (Butler Records/Music On Vinyl) is steeped in modern prog textures and totally packed with hooks, moods and melodies. Twelve-minuter The Inner Darkness hits numerous prog G-spots, Prodigal Son touches on Steven Wilson/John Mitchell territory, and on the likes of the metallic Pseudocomaphobia Burke and Paul Crezee’s guitars frequently succeed in boggling the mind. Keiron Phelan’s work with littlebow saw him classified as unclassifiable, and post-rockers State River Widening won the singer a certain cult following. On his likeably diverse and acerbic solo album Peace Signs (Gare Du Nord), he leads his collective through a crafted, slightly psych set…

The audience tonight have shown up as much to witness sludge metal co-headliners High On Fire as they have to see Enslaved, and it’s only natural to wonder why the hell Prog are here. But the Norwegians aren’t the traditional black metallers they once were, and over the course of nearly three decades their sound has slowly evolved, to the point where the band who made 1994’s brutal Vikingligr Veldi are almost unrecognisable from the one that produced last year’s densely atmospheric E. The music is no less violent, but is it more melodic, and less one-dimensional. Live, they’re a real force. The dynamic chasm between the growled vocals of frontman Grutle Kjellson and the clean singing style of new keyboard player Håkon Vinje – who wasn’t born when the…

There’s no denying that ELO are pop, but they are pop fuelled by firecracking pizazz: it’s forward-thinking, multicoloured, imaginative symphonic pomp, and tonight the music is augmented by a flurry of synths, stings and singers, and accompanied by a glittering light show and vivid visuals. Even the grumpiest music snob would struggle not to boogie when witnessing Jeff Lynne’s ELO live. The setlist on the first night of a two-day showcase at London’s 02 Arena is a consistent bang-pow of hit after hit, and hearing them all in succession is an incredible reminder of what a colossal songwriting talent Jeff Lynne is. It also shows just how much his kaleidoscopic mega anthems like Evil Woman, accompanied by a sultry crimson light show, and Livin’ Thing, set to psychedelic, flowery visuals,…

“There’s no denying it: PSB are fun. Intelligent, innovative and atmospheric, yes, but also emotive and exciting.” If Public Service Broadcasting have sometimes suggested an air of fusty academia, all history lessons and libraries, tonight’s the night they shake that off. Reaching a career pinnacle by selling out the Royal Albert Hall, they fill it with colour, physicality and even a dash of showbiz. By the time the brass section in gold sequinned jackets are gyrating downstage with two extras in astronaut suits, exhorting the audience to dance, there’s no denying it: PSB are fun. Intelligent, innovative and atmospheric, yes, but also emotive and exciting. They’re the little band that got big fast, but they’re using the G-force to their advantage. With tracks that marry krautrock-electronica instrumentals to astutely judged…

“This is really Polish weather,” says Riverside frontman Mariusz Duda, but the rain hammering the capital hasn’t dampened attendance at the Electric Ballroom, which is packed to capacity tonight. “I hope you like the new Riverside, because this is a new chapter for us,” says Duda. It’s heartening to find the band on such sterling form, given the sudden passing of guitarist Piotr Grudzi´nski two years ago. The set draws deeply from their latest album, Wasteland, completely skips 2016’s Eye Of The Soundscape’s brief detour into electronica and ambient music, and dips selectively into the vaults. They open with Acid Rain and Vale Of Tears and it’s a pleasure to find a band playing at a volume that doesn’t leave the audience with their brains leaking out of their ears.…

The end of 2017 came with the news that Karnataka would be taking an indefinite hiatus. More recently, drummer Jimmy Pallagrosi revealed that he would be returning to the stage with a brand new band ZIO and a forthcoming album. That ex-The Enid singer Joe Payne and former Karnataka bandmate Hayley Griffiths join him on his crusade is a welcome remedy to a world without Karnataka. On a quiet Sunday night, the venue houses ZIO in the shady back room beyond the sparkly gastro setting. It’s not packed, but it’s early days for ZIO, who released their first single X-Ray only days earlier. The band appear: Pallagrosi at the drum kit along with Franck Carducci keyboard player Olivier Castan, New Device bassist Liz Hayes and guitarist Marc Fascia. The first…

Send your letters to us at: Prog, Future Publishing, 4th Floor, The Emerson Building, 4-8 Emerson Street, London, SE1 9DU, or email prog@futurenet.com. We regret that we cannot reply to phone calls. For more comment and prog news and views, find us on facebook.com under Prog. THE TIMES THEY ARE A-CHANGIN’ Those of us of a certain age will remember clearly experiencing the raw excitement, originality and sheer quality of the music of the 60s. The eager anticipation of a new single or album by any one of a number of amazing artists, all of whom delivered the goods regularly and without fail, was almost unbearable. Two of my favourites in those halcyon days were, no surprises, The Beatles and Eric Clapton: both of whom were unquestionably ‘progressive’ (using the…

“He was so polite that I couldn’t be rude and call him a twat.” I was stood on the platform of the wonderful North Norfolk Railway in Holt when a well-dressed gentleman approached me. He asked politely, “Do you still own the Flying Scotsman? Wonderful engine…” I smiled back politely and replied, “Sorry to disappoint you, but you’re confusing me with the songwriter and producer Pete Waterman. I’ve met him; he’s an amazing man and a train fanatic. I love trains as well, but could never afford anything like the Flying Scotsman.” “Isn’t that amazing that you should have the same name as him! Did you ever consider buying something smaller like a tank engine, Mr Waterman?” “Actually, I’m Mr Wakeman”. “As in Pete Wakeman-Waterman?” He was so polite that…

“The first time that I put Relayer on, I thought it was at the wrong speed!” “If you grew up in the 70s you were steeped in prog anyway,” begins Joel Morris. “We both love Jeff Wayne’s The War Of The Worlds, which was the first cassette of music that I owned.” Jason Hazeley: “I love it so much I’ve got the multidisc coffee table version. I’d loved to have been at the meeting where Jeff announced a multi-record concept album based on a Victorian sci-fi novel with the best session guys in town and an orchestra and someone said, ‘That sounds like a reasonable commercial prospect.’” Joel: “People who said Rick Wakeman’s Journey To The Centre Of The Earth was ‘prog nonsense’ would have this. It’s not seen as…

This superbly curated set of previously unavailable in-concert material from Michael Gibbs And The Gary Burton Quartet Festival 69 (Turtle) documents a stomping 49-year-old show from Belfast over two discs. A third album features solely the Gibbs band in Lancaster featuring luminaries such as Jack Bruce and John Marshall amid the cream of late 60s British jazz. One of the great vibraphone players, Burton’s chiming harmonies dart across Gibbs’ arrangements with a luminous intensity. Tightly structured, jazz and rock mix it up on these uninhibited performances. Danish guitarist Jakob Bro’s Bay Of Rainbows (ECM) occupies a resplendently shimmering meditative space in which the light from Bro’s radiant, dappled arpeggios play over cavernous pools of bass and trickling cymbals courtesy of Thomas Morgan and Joey Baron. This trio’s capacity to quietly build…

“Set two offers far more on the nostalgia front, even if the old is always lent a newer twist.” It’s worth noting that, during its 108 years in existence and despite the venue’s reputation for Royal-approved variety, the London Palladium has seen its share of rock royalty tread the boards. Beatlemania took a hold in the early 60s, Johnny Cash recorded an unreleased live album there, Marvin Gaye recorded one that did get released, and onetime owner Val Parnell almost managed to persuade Elvis Presley to perform what would have been his only ever live shows outside of the United States. More recently, rock, and specifically prog, has further upped the ante after decades of theatrical fare, with Yes, Dream Theater, Steve Hackett and Hawkwind all playing the Palladium in…

After two weeks of performing their ambitious double album, Legends Of The Shires, in full, you might be forgiven for assuming that Threshold will be slowing down tonight. But the Brits are at peak level and the shires are in full bloom for the final show of this European tour. However, the same can’t be said of their fans. Their only UK date has already been downgraded from the Islington Assembly Hall, and the Dome is scarcely half full. But if the British prog metallers are disappointed by the dwindling numbers, they’re not letting it show. From the opening notes of The Shire (Part 1) to the final throes of their encore, Threshold don’t let anyone down. They’re clearly having fun on stage too, especially guitarist Karl Groom and bassist…

Follow us on twitter.com/progmagazineUK MATTHEW WRIGHT @Matthew_ Wright Think I’m having a religious experience… @HawkwindHQ CRAIG BLUNDELL @craigblundell #Tokyo #Japan it’s been very special, next up it’s #Brisbane #Australia on Wednesday #stevenwilson RICK WAKEMAN @GrumpyOldRick The Victoria Theatre in Halifax is one of the most beautiful theatres I have ever played in. Lovely people too. Hope I can play there again some time in the future. MARJANA SEMKINA @marjanasemkina Twitter, I got my visa ❤ we won. BRUCE SOORD @bsoord Thief! #pineapplethief #guitarthief…

Hugh McDowell, former cellist with ELO and Wizzard, died on November 6 after a long illness. He was 65. McDowell, whose first professional musical performance took place when he was 11, joined ELO aged 19 in time to take part in their first live shows. He briefly followed Roy Wood to Wizzard but returned to Jeff Lynne’s group and was part of what’s regarded as ELO’s classic line-up. He was dismissed in 1980 when Lynne decided to abandon string instruments. He went on to teach music, took part in Bev Bevan’s ELO Part II, and also appeared on Asia’s 2008 album Phoenix. Fellow ELO cellist Melvyn Gale said, “We met in our mid-teens and were close until 1980. He was a beautiful free spirit, had such a natural gift as…

Anathema have been confirmed as headliners for the Prog In The Park Stage at next year’s Ramblin’ Man Fair. They played at the inaugural event in 2015. “It was still daylight when we came on,” recalls Daniel Cavanagh. “For me, though, it’s always better when it’s getting dark and you use your own lighting.” It’ll be the first time Anathema have headlined any major UK festival stage. Says Cavanagh, “I can’t think of a better place to do it. Nice location, good facilities and great people. It’s too early to say what we’ll do in our set. But even if we’ve finished our new album by then, we won’t play any of it at Ramblin’ Man, as no one will know the material!” Riverside and Pain Of Salvation have also…

John Greaves, a one-time member of Henry Cow, releases the album Life Size through Manticore on November 30. It’s a mixture of new and old material, including spoken word pieces. Says Greaves, “I was asked to do this album by [Manticore’s artistic director] Max Marchini. It was originally for his Dark Companion label, but then he took over the reactivated Manticore, so it was switched.” According to the musician, the album was developed over two years. “I had complete freedom to do what I liked at my own pace. So I could do things as they occurred to me. I’ve been lucky enough to have input from some great musical guests, like King Crimson’s Jakko Jakszyk on guitar, cellist Vincent Courtois and Zeena Parkins on the harp. The whole project…

“The turning point for me as a teenager was discovering Syd Barrett and Pink Floyd.” IF A PICTURE can paint a thousand words, sometimes it feels like a passage of music can do much more. Dutch singer-songwriter Jacco Gardner increasingly felt that way when he decided to leave his new, third album vocal-free. “I noticed the instrumental records I was listening to seemed to be giving me more intimate experiences than hearing someone singing something,” the 30-year-old tells Prog over a Skype call from Lisbon, where he’s now based after many years of touring. “You don’t immediately think of the person singing when you hear the music or visualise their face, so your imagination is free to roam.” On that basis, he created Somnium, a set of cinematic, highly atmospheric…

Official Progressive Albums Chart Find out more at www.officialcharts.com WIN! SIGNED GEDDY LEE’S BIG BEAUTIFUL BOOK OF BASS! Rush vocalist and bassist Geddy Lee will release a book showcasing his collection of bass guitars and the stories behind them later this year. Geddy Lee’s Big Beautiful Book Of Bass will be published on December 4 via Harper Collins and will also see the Rush star explore the history of the instrument and features contributions from vintage expert Terry Foster and his Rush bandmate and guitarist Alex Lifeson. The 400-page book will also include interviews with artists including John Paul Jones, Adam Clayton, Robert Trujillo, Bill Wyman, Les Claypool and Bob Daisley, and we have one signed copy to give away. The synopsis of the book reads: “From Rush frontman Geddy…

“David Gilmour called asking me to come to the studio…” Out of the spotlight since XTC broke up in 2006, Colin Moulding found himself back in (music) business at the end of 2017 alongside former bandmate and drummer Terry Chambers in a new configuration called TC&I. So far, they’ve released a four-track EP, Great Aspirations, and have just done a handful of live shows in their hometown of Swindon. With Great Aspirations out now on limited 10-inch vinyl – and a mighty 40 years since XTC released their debut album White Music – it was time for a catch-up with the celebrated bassist. What’s TC&I all about? Is it a nod to the film Withnail & I? [Laughs] I suppose the name is with Withnail in mind. Lovely film, isn’t…

It’s only towards the end of Prog’s chat with Brian Devoil – drummer, manager and keeper of the flame for neoprog heroes Twelfth Night – that he drops the proverbial bombshell: for the first time in 25 years, the band are back in the recording studio. He won’t be drawn on the details, other than to suggest the possibility of new material alongside recordings of old songs, but he does mention a tantalising, though at the time top secret, project that relates to this news. By now, the cat is out of the bag. On Armistice Day (November 11), 100 years on from the end of World War I, Twelfth Night released a new recording of their anti-war epic Sequences. “We’d never released a studio version of the track, something…

“She sampled Tubular Bells and got Andrew Eldritch (Sisters Of Mercy) to sing backing vocals, so maybe she’s on the very, very outer limits…” Steve Hawkins “I think her ex-husband has more of a claim than she does.” David Meadows “She was in the German chant band Gregorian? Her sister is still a member. That sounds pretty prog to me.” Wedgepiece “Her singing in Phantom Of The Opera is the gold standard that all female vocals for that genre should be measured against. True prog fans who haven’t listened to that musical should check it out.” Tim Boucher “She’s currently been working with Yoshiki from X Japan so that should improve her credentials. Don’t think she’s into the visual Kei makeup, though.” Phil Hopwood “Goddess.” Heather Findlay “What are you…

As co-founder of Can, alongside Holger Czukay, Michael Karoli and Jaki Liebezeit, Irmin Schmidt left an indelible imprint on the musical landscape of the late 60s and 70s. The German collective, formed in Cologne in 1968, drew from elements of rock, jazz, ethnic funk, classical music and minimalism to create a new kind of language, governed by an intuitive sense of exploration. The band’s keyboardist and (later on) occasional singer, Schmidt remained with Can through to their initial split in 1979, a run that included such peerless classics as Tago Mago, Ege Bamyasi and Future Days. “Everybody had ideas,” he recalls of their unique chemistry. “The music had so many different styles because we all contributed everything we knew.” Schmidt happened to know a lot. Born in Berlin in 1937,…

The biggest news in the post-rock and math rock scene at the moment isn’t a record, a gig, or a festival. Sadly, it’s the news that Dan Wild-Beesley, the guitarist of ‘turbo prog’ two-piece Cleft, has passed away after an extended fight against cancer. Following a fundraising effort from the whole of the scene, nearly £100,000 was raised, and with his current band GUG he played his final show at ArcTanGent this year. As part of this fundraising effort, a live recording of Cleft’s gig at the now-defunct Stag And Hounds in Bristol from their farewell tour was released (cleft.bandcamp.com), and it’s a fitting tribute to his power as a guitar player. If you want to hear something you genuinely don’t hear every day, then check out Jo Quail’s upcoming…

With the recent release of the hypnotically heavy Vector, London sextet Haken further distinguish themselves as one of the most fertile, go-getting and unique bands in modern prog. Their most abrasive LP in years, Vector packs the kind of flamboyant intricacy and catchiness that demands faithful live reproductions. Thankfully, that’s precisely what’s delivered here. Co-headlining with Norwegian avantgarde heavy proggers Leprous, alongside support from Boston baroque rock troupe Bent Knee, Haken unveil top-tier skill amid a highly engaging and welcoming concert. Bent Knee hold marvellous creativity, expert musicianship and jovial humility from start to finish. The true treat of their set tonight is the succession of unreleased new material. The melancholic funk of Hold Me In is colourful and gripping, while the dreamy yet gothic splendour of Egg Replacer showcases…

“The sense of celebration that flows from the stage is heartfelt and infectious.” There’s a moment, midway through tonight’s rather epic, three-hour celebration of Pendragon’s 40-year career, where both the sense of fun and the sense of occasion really take hold. Nick Barrett, tonight a jocular master of ceremonies, is passing comment on a series of historical photos of the band that are appearing on a screen behind him. “Oh no,” he declares, as a photo of him, resplendent in waistcoat and top hat, pops up and a rammed-to-the-rafters 229 hoots with laughter. It may be far cry from the surf-dad persona he now wears, but Prog wagers that for many here – this writer included – this was very much our introduction to Nick Barrett and Pendragon (December 28,…

There’s long been a strong connection between iconic horror movie directors and composers of progressively slanted music. The collaborations of Dario Argento and Goblin, and of Lucio Fulci and Fabio Frizzi, immediately come to mind. But John Carpenter is unique in this regard, because he fulfils both creative roles. Not only is he one of the most acclaimed horror auteurs of all time, but he is also an accomplished musician, responsible for many of the soundtracks that are so crucial to his films. Tonight, he shows off his skills behind the keyboards, and it is a triumph. If he had wanted to, Carpenter could certainly have carved out a successful career in music alone. He and his impressive band – including son and longtime soundtrack partner Cody, plus lead guitarist…

Bursting onto stage with a rousing Prologue as the lights spin and the crowd chant along like Viking warriors, Coheed And Cambria have momentum on their side from the opening seconds. The Roundhouse is a big venue, and like Marillion’s trip to the Royal Albert Hall last year, this feels like a moment. An arrival. And as the band bounce and judder gleefully through Here We Are Juggernaut, Devil In Jersey City, The Crowing, Blood Red Summer and the rest, it’s obvious the audience are just as committed to the journey. Along with The Cure’s Robert Smith, frontman Claudio Sanchez maintains one of the mostly defiantly recognisable silhouettes in rock’n’roll, but even that magnificent mane can get in the way, and by the time Ten Speed (Of God’s Blood And…

Progtoberfest has become one of the mainstays among prog festivals in America, annually showcasing upwards of 30 artists over the course of a weekend, and this year provides a good mixture of up-and-comers playing alongside prog legends. The Nick D’Virgilio Project get things off to a top notch start, with D’Virgilio (Big Big Train) showcasing his world-class drumming while mixing in covers of Jeff Beck, Genesis and Rush along with the band’s new solo material, which they hope to record soon. Neal Morse plays a mellow solo acoustic set that features songs from his new album Life & Times, which has much more of a folky vibe than a prog one. A legendary violinist then graces the stage, namely Jerry Goodman of Mahavishnu Orchestra fame. Goodman is part of Dinosaur…

Instrumental quartet and tonight’s openers And So I Watch You From Afar have journeyed from Northern Ireland to the land Down Under for the very first time. Attempting to classify their sound is a pointless exercise, but if we were to try, it is Celtic-influenced punk rock and folk, placed in a progressive post-rock instrumental setting and delivered with a boyish charm and quirky swagger. Sounds odd and like it shouldn’t work, perhaps, but somehow it just does, and their live set is all manner of fun. While this band exist very much in the instrumental arena, there are some vocals, in the form of rousing three-way chants. They appear completely out of the blue and when they do, they lift the roof off the venue. ASIWYFA are given a…

The last time that Caligula’s Horse graced British stages in the summer of 2017, it was a mixed affair. Their twoshow mini-tour saw the Australian melody makers first play to a sparse Southampton crowd, with only 30 people showing up. Then the next night, they sold out Camden’s Black Heart and performed for a throng of die-hard fans. Tonight marks the band’s return to the UK and, before they even grace the stage, things seem far more promising. The sold-out Boston Music Room is already packed as support act Circles appear. The Melbourne quartet deliver 45 minutes of hammering prog metal: the high-flying, classic rock melodies of frontman Ben Rechter juxtapose the band’s musicianship, as they indulge in polyrhythm after twisted polyrhythm and invoke comparisons to TesseracT or even Meshuggah.…

Ever since his origins as the young driving force of black metal titans Emperor, Ihsahn has been a musician who keeps his live excursions to a minimum. Even in 2018, it took the legendary Norwegian six months to embark on the tour supporting his latest solo album, Ámr – which only consists of one, fortnight-long European trek. Furthermore, his recent Emperor Anthems To The Welkin At Dusk anniversary shows have reserved themselves solely for summer festival slots. Thus, the anticipation in Paris’ legendary La Machine du Moulin Rouge tonight is tangible. The excitement is only amplified by the exhilarating Ne Obliviscaris. The Australians add so many progressive and unique flairs to the metal genre that they quickly soar to success. Through such lengthy tracks as Devour Me, Colossus, the key…