All posts for the month July, 2017

Edition 104 of Sounds That Can Be Made is now available as a podcast!


T.Rex – Bang a Gong (Get it On) (from Electric Warrior)
Sweet – Set Me Free (from Sweet Fanny Adams)
Genesis – Dancing With The Moonlight Knight (from Selling England By The Pound_
David Bowie – Suffragette City (from The Rise And Fall Of Ziggy Stardust And The Spiders From Mars)
Queen – The March Of The Black Queen/Funny How Love Is (from Queen II)

Connect 4:
Deep Purple – Might Just Take Your Life (from Burn)
Uriah Heep – The Wizard (from Demons and Wizards)
Wishbone Ash – Everybody Needs A Friend (from Wishbone Four)
Emerson Lake & Palmer – Lucky Man (from Emerson Lake & Palmer)

Nektar – Crying In The Dark/King Of Twilight (from A Tab In The Ocean)
Wings – Band On The Run (from Band On The Run)
Black Sabbath – Children Of The Grave (from Master of Reality)
Barclay James Harvest – Child Of The Universe (from Everyone Is Everybody Else)
Budgie – In The Grip Of A Tyrefitter’s Hand (from Never Turn Your Back On A Friend)
Cozy Powell – Dance With The Devil (from Dance With The Devil)
Blue Öyster Cult – Then Came The Last Days Of May (from Blue Öyster Cult)
Derek & The Dominos – Have You Ever Loved A Woman (from Layla & Other Assorted Love Songs)

Monsters of Progzilla:

Groundhogs – Garden (live)
Family – Burlesque (live)
Wishbone Ash – Throw Down the Sword (live)
Free – Moonshine (live)
Thin Lizzy – The Rocker (live)
Led Zeppelin – Stairway to Heaven (live)

Argent – God Gave Rock’n’Roll To You (from In Deep)

Proving that prog isn't just for dinosaurs!
I’m delighted to announce that the podcast for edition 206 of Live From Progzilla Towers is now available.

In this edition we heard the following music:

  1. Murray Head – One Night In Bangkok (Progzilla Extended Mix)
  2. Roger Waters – It’s A Miracle
  3. Time Collapse – Night To Day
  4. The Damnation Project – Dorian Grey
  5. The Tangent – Doctor Livingstone (I Presume)
  6. Dewa Budjana – Dancing Tears
  7. The Buggles – Clean, Clean
  8. The Buggles – I Am A Camera
  9. Ritual – The Hemulic Voluntary Band
  10. 801 – Que/City Of Light
  11. Wanka – Same Way
  12. Hashshashin – Levitation
  13. Hawkwind – Levitation
  14. Kylver – The Great Race
  15. King Crimson – Lizard
  16. Rammstein – Sonne
  17. Area – La Mela Di Odessa
  18. Bee Gees – Odessa
  19. Steve Vai – For The Love Of God

iTunes/iPod users*: Just search for ‘Progzilla’ or subscribe to:


Edition 93 of Steve Blease’s Heavy Elements is now available as a podcast.


Adrenaline Mob – King of the Ring
Voyager – Momentary Relapse Of Pain
Siluetless – Extraterrestrial Dreams
Myst – A Broken Circle
Pain of Salvation – Reconciliation
Threshold – Lost In Translation

Epic at 11: Redemption – The Fullness of Time (pts. 1 – 4)

Stargazer – The Dream Electric

Album of the Week: Wolverine – The Window Purpose
Towards Loss
My Room

Linkin Park – In The End

This news story was originally published here:

Beamed in from the outer reaches of known space, or Sheffield to be more precise, is the third instalment from Martin Archer’s Kraut/jazz/experimental space rock troupe Orchestra Of The Upper Atmosphere. Theta Three finds the band continuing on from the second instalment to explore the far sonic reaches.

Disc ‘α’ sets off at a languid pace, Orionid establishes a Kosmische jam, and later Sun Ra conducts Massive Attack and Xhol Caravan on a languid groove with orchestral sweeps during Solar Prominences. As this first disc progresses it becomes ever more ethereal and ephemeral, Fictitious Force being a collection of found sounds and eerie voices off being picked up by the deepest space telescope as they flutter by, borne on the solar wind. An Excess Of Protons produces a peculiar white funk with early Floyd touches as it saunters through clouds of swirling asteroid dust. The arrival of a repeated stringed orchestration adds a sense of purpose to the drift as the craft picks up speed.

Perhaps the lower case alpha that titles this disc is indicative of its introspective and highly meditative nature, as this trip is as much a journey into inner space as outer space. More references to prime era Krautrock surface during Anisotropic Shapes which inescapably recalls early Tangerine Dream contemplating the vastness of the universe, alien lifeforms sending messages back and forth along a simple repeated bass guitar motif. The pace picks up with Circularity, and a tail chasing rhythm forms the backdrop for some nicely understated sax work from Martin.

The following two tracks re-establish the unhurried and quieter pattern of before, and surprisingly Synaptic develops into a fully formed song, a cosmic lullaby given form presumably by the beguiling tones of frostlake. The more animated space rock jazz orchestra excursion of Pororoca brings the first CD to a conclusion, and we are already anticipating the final leg of the journey.

[embedded content]

[This video is from a 2014 performance by the band, and the same venue features in the
inside cover art of this album.]

Disc ‘Ω’ sets off on a jazz-symphonic meander with the hypnotic melody of The Price Of Revealing, the trombone of George Murray to the fore. The disc continues with the Gothic timbres of Galleon which uses multi-tracked choral voices to great effect. Although the overall feel of this disc is more direct in delivery than disc α, we return to the disturbances and ripples familiar from that disc with Tangential Force, which by its end has dissolved into wisps of silence.

Sampled voices barking the title of The White Dog Is Your Father lends it an edgy vibe, and Spark Erosion has a curiously Miles flavour to it, and also features a fine arrangement from the small jazz orchestral ensemble, topped off with some sterling synth work. Some great keyboard and electric piano work permeates the unfolding drama of Accelerating Expansion, and the clues to the music held within Inertial Force are given by its title. Album closer Circumzenithal makes stately progress from quiet beginnings, led by Steve Dinsdale’s percussive instruction and Terry Todd’s bass, to ebb and flow between treated voices and synth explorations, ending up on a far flung orbit of choral call and response, only to fade quickly away with the promise of more just out of reach. Bring on θ4!

A sublime meeting of composed sections and improvisation, θ3 continues the progression of Orchestra Of The Upper Atmosphere apace, and showcases a group of musicians who, comfortable in their own skins, can anticipate their colleagues’ next moves with an élan that results in a highly enjoyable excursion to the outer limits and back again. A meeting of jazz rock, space rock, and experimentalism, this is an album that should find approval from fans of all those handy little cookie jars.

Disc α

01. Orionid (12:38)
02. Solar Prominences (5:52)
03. Graced With Secrets (7:59)
04. Fictitious Force (5:52)
05. An Excess Of Protons (7:30)
06. Anisotropic Shapes (10:37)
07. Circularity (6:02)
08. Coriolis Force (5:53)
09. Synaptic (7:39)
10. Pororoca (8:36)

Total Time – 78:58

Disc Ω
01. The Price Of Revealing (7:39)
02. Galleon (5:04)
03. Tangential Force (10:06)
04. The White Dog Is Your Father (6:33)
05. Niobium (6:31)
06. Spark Erosion (8:54)
07. The Dust Of Blue Fire (9:08)
08. Accelerating Expansion (5:12)
09. Inertial Force (6:38)
10. Circumzenithal (11:30)

Total Time – 77:34

Martin Archer – Keyboards, Electronics, Saxophones, Clarinets, Flute, Bass Recorder, Bass Harmonica
Chris Bywater – Keyboards, Electronics, Laptop, Percussion, Voice, Violin
Steve Dinsdale – Electronic Drum Kit, Keyboards
frostlake – Voice, Electronics, Viola
Yvonna Magda – Violin, Electronics
Walt Shaw – Percussion, Electronics, Voice
Terry Todd – Bass Guitar
~ With:
George Murray – Trombone
Paul Schatzberger – Violin
Aby Vulliamy – Viola
Angela Rosenfeld – Cello

Record Label: Discus Music
Catalogue#: Discus 63CD
Year of Release: 2017

Orchestra Of The Upper Atmosphere – Facebook


This news story was originally published here:

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  Quote javajeffQuote  Post ReplyReply Direct Link To This Post Topic: Motorpsycho – The Tower – Sept. 8
    Posted: 6 hours 48 minutes ago at 03:49

The Tower is a double album coming out on Sept. 8th.

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  Quote Tom OzricQuote  Post ReplyReply Direct Link To This Post Posted: 6 hours 8 minutes ago at 04:29

I really can get into this band. I have a few of their vinyls……..waiting for more
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  Quote Man With HatQuote  Post ReplyReply Direct Link To This Post Posted: 13 minutes ago at 10:24

Interesting. As is usually with them, this will be a listen first before buying experience. 

Dig me…But don’t…Bury me
I’m running still, I shall until, one day, I hope that I’ll arrive
Warning: Listening to jazz excessively can cause a laxative effect.

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This news story was originally published here:

Perhaps I should always read sleeve notes and promotional materials that frequently accompany releases. Sometimes I wonder if I’m missing the point of any album because of this. Then I usually conclude that the album should stand up or fall on its own merits as a collection of musical works. The young, less blobby, busy Phil – you probably knew someone like him; unsullied by the ravages of time; the one who delicately placed the sacred vinyl on the platter and then, spreading the gatefold out, soaked up the details like an information sponge – has long since been replaced by an aged facsimile of their younger self, worn down by life and responsibility and with the attention span of a sock. No sleeve notes, no press release and only one previous Anathema release under my belt – the award-winning We’re Here Because We’re Here, that should assure you, dear reader, that you’re not going to get a fan-boy review. It is so much easier to stream digital media to that special room with the commode in it. This is arguably the ultimate musical experience. Uncluttered, with hardly a distraction. That’s how I did the review. Pure music. Mostly.

There’s seven years between my last Anathema album and The Optimist. I don’t know why. Whenever it pops up in one of my random playlists I will never fast forward it. There’s energy and riffs and beauty in droves from this band and yet there’s a quality that almost relegates it to the bottom-of-the-favourites list. I’m sure it deserves better and in fact the more I hear them, the more that last sentence seems easily discreditable. If the album were playing whilst my list was being compiled then I’d have to include that WHBWH album in a list of my favourites. But still it retreats into my sub-conscience when it isn’t playing. For all that, the chance to review another Anathema album was one that I couldn’t pass up! Could The Optimist be an album that has that undefinable quality putting it at the forefront of my consciousness when I’m compiling that aforementioned list? Intentions were high as I began listening.

I have a low threshold for formulaic music aping the styles of bands who I have heard before. You would have to be putting your influences together in an innovative way to land this fish. Paradoxically, there are aspects of music that will always get me going… a groove, a good bass line, a riff, any of which might have some aspect of familiarity that I can latch onto. Anathema do not disappoint me. If they ape anyone then I don’t care. They have the grooves, the riffs and they have employed them to good effect on The Optimist. Like with my last Anathema experience, there isn’t one track on this album that I would fast forward. No filler. There’s nothing much in the way of your traditional hook, but there are riffs, rhythm…

Riff, lather, repeat.

On The Optimist Anathema (or ana.thema if you take their album cover literally) will take a riff and run with it. There’s nothing new in that approach, but then, it isn’t a bad one. Sometimes a song is the riff and a variation of the riff. Now I happen to like that, especially with a good riff. But that isn’t for everyone. I played it to The Boy. His feedback suggested that he was less enamoured of this album because of it. I don’t agree. I could picture myself, as mashed as potato, standing in a dark field with this album pumping loud into the night… or zoning-out to it in a festival amongst other similarly spaced out individuals of no permanent fixed hygiene regimen.

This album has the feel of a movie soundtrack and vocals seem to be used to augment the overall musical experience than as the centre-stage presence of any one performance. At the time of writing they had chosen track 6, Springfield, as the now customary accompanying YouTube video to the album’s release.

[embedded content]

The reason I highlight the track is because I think Anathema chose this deliberately as a microcosm of the entire album, with hints of majesty and songs that ascend from their foundation riffs. The album is garnished with some nice little sound excursions, whispering voices, soothing and reassuring soundbites, the crunch of gravel beneath booted feet, an open question… all of which feel like tiny little connected one act plays that spark intrigue. These attributes gave the additional feel of a concept album or at least, the sounds give that impression. The songs are either simply mutually exclusive tracks with only the performers in common or, maybe, clues to a puzzle that is an underlying narrative, a puzzle that I’d probably be able to solve if only I had read sleeve notes and promotional materials or perhaps, was more au fait with Anathema. This made me want to find out whether I’d just imagined a narrative and so I found this on the Kscope/Burning Shed store site:

“2017’s The Optimist is Anathema’s first album since 2014’s spellbinding Distant Satellites and contains the band’s darkest, most challenging and unexpected material.
“Recorded in Winter 2016 at Attica Studio in Donegal and Castle of Doom Studios in Glasgow with producer Tony Doogan (Mogwai, Belle & Sebastian, Super Furry Animals) at the helm. Doogan’s influence is instantly tangible as for the first time in years Anathema recorded as a live band for an album, capturing an energy normally only present on stage. A technique that should be welcomed by fans aware of the band’s supreme live power – previously captured on the celebrated concert film, Universal…
“Mastered by Frank Arkwright at Abbey Road Studios in London, the 5.1 mix is by Bruce Soord.”

Ooh – Bruce Soord, the main pineapple thief! And this was the band recording warts and all, which I believe always adds a dynamic to the music which is otherwise lost.

Well, that revealed nothing about the narrative, something I am developing a bit of an obsession with, but ultimately it matters not whether there is one. The ambiguity is part of the appeal. This is a clever album – a catalyst for the imagination. I suspect little imaginary mystery is no mystery at all to people who have a familiarity with Anathema’s modus operandi. At first, I admit to being slightly underwhelmed. This feeling stemmed from a lack of immediate excitement in what I was hearing, as any power seemed to derive from the progressive (small ‘P’) building nature of each track rather than in any dynamic quality. This initial assessment was deeply unfair of me. There is still the same mix of power and beauty and energy that I, with admittedly limited experience, associate with Anathema. Whilst the sheer joy and beauty of tracks like Everything from WHBWH is never quite realised there is no shame in this as Anathema set a high bar back then. And once again, crucially, I didn’t fast forward any of the tracks. This album grew and grew on me. This isn’t an album for the attention-span challenged. Anathema’s music, upbeat, yet tinged with melancholy, also made me feel a number of different emotions, not least, inexplicably optimistic and, yes, happy! Not just a clever name, The Optimist bridges the gap for the modern Phil, trapped in the fast-moving modern-World and Old-World Phil, free to indulge in frivolous “time-wasting” activities. Time will tell whether it will stay at the front of my consciousness, so does it stand or fall?

It stands.

Oh, and if you wait there’s a hidden track which I felt adds a quirkiness and homeliness for the listener and (probably) harbours a deeper significance for the band. And a budgie.

01. 32.63N 117.14W (1:18)
02. Leaving It Behind (4:27)
03. Endless Ways (5:49)
04. The Optimist (5:37)
05. San Francisco (4:59)
06. Springfield (5:49)
07. Ghosts (4:17)
08. Can’t Let Go (5:00)
09. Close Your Eyes (3:39)
11. Wildfires (5:40)
12. Back To The Start (11:41)

Total Time – 58:14

Vincent Cavanagh – Vocals, Guitar, Keys
Daniel Cavanagh – Guitar, Keys, Vocals
John Douglas – Acoustic & Electronic Percussion
Lee Douglas – Vocals
Jamie Cavanagh – Bass
Daniel Cardoso – Drums, Keyboards

Record Label: Kscope
Country of Origin: U.K.
Date of Release: 9th June 2017

Anathema – Website | Facebook | Twitter | Spotify | Instagram | YouTube


The Progressive Tracks Show #220 (Waddaya Mean “Winter Is Here”?), originally broadcast on Friday July 21, 2017, is now available to download or listen to any time you desire.

Everything seems to be about Game of Thrones this week… including this podcast show (as far as you know).

The music is guaranteed to be excellent.  Isn’t that enough… or do you need dragons?    ;0)


  • Cloud Becomes Your Hand – “Bridge of Ignorance Returns” from Rest in Fleas on Northern Spy
  • Inner Ear Brigade – “Dark Sleep Fortress” from Dromology on Altrock
  • Sky Architect -“Into Singularity (Part I)” from Nomad on FREIA Music
  • Sky Architect  “Into Singularity (Part II)” from Nomad on FREIA Music
  • Nick Johnston – “Weakened by Winter” from Remarkably Human on Nick Johnston
  • Touch – “Alesha and Others” from Touch on Cherry Red Records
  • Touch – “Seventy Five” from Touch on Cherry Red Records
  • Nick Johnston – “Hypergiant” from Remarkably Human on Nick Johnston
  • Cloud Becomes Your Hand – “Garden of the Ape” from Rest in Fleas on Northern Spy
  • Touch – “Down at Cerce’s Place” from Touch on Cherry Red Records
  • Inner Ear Brigade – “Shaman Coin Toss” from Dromology on Altrock
  • Inner Ear Brigade – “Targa Floria” from Dromology on Altrock

If you have comments (always welcome), or suggestions for show topics/music, feel free to contact me anytime via email:

But first… enjoy the show!

Mike “ProgTracks” Pollack

Audio Player

This news story was originally published here:

From Strawbs homepage, news of a forthcoming album “The Ferryman’s Curse”.  It will be the first album of all new material since 2009.  The title track is supposed to be a sequel to “The Vision of the Lady of the Lake” which appeared on the Dragonfly album from 1970.  It also marked Rick Wakeman’s first appearance in album notes though he had played as session musician for several artists prior to that.

Perhaps buoyed by Rolling Stone’s selection of Hero and Heroine as one of the 50 best prog rock albums of all time, Cousins and company may hearken back to their most prog period of H&H and Ghosts.  “The Broken Hearted Bride” from 2008 came close but was let down by a few average songs towards the end.

It looks like there will be opportunities to help finance the project made available shortly

Edited by kenethlevine – 5 hours 49 minutes ago at 15:18

This news story was originally published here:

Miriodor were formed in 1980 in Quebec City by François Émond and Pascal Goblensky, and had the internet been around back then, would have instantly become part of the Rock In Opposition movement that was striking out on the other side of the Atlantic. As it is they have had a parallel career to the likes of Henry Cow, Stormy Six, Univers Zero, Samla Mammas Manna and Etron Fou Leloublan, and in one form or another have outlasted nearly all those aforementioned bands.

Signal 9 is only their ninth album in all that time, and arrives four years after the rather fine Cobra Fakir, and finds the band a settled quartet with the full-time addition of bassist Nicolas Lassard. This makes for an organic group, and Signal 9 sees some of the hardest edged music this individualistic band have committed to the ether, as the gnarly riffing and synth abuse that percolates through the avant-symphonic Portrait-robot attests. This tune twists and turns through thematically linked sections, eventually hitching a fairground ride before getting back on the RIO train, summing up Miriodor’s penchant for complex yet highly melodic composition and arrangement.

[embedded content]

“Metaphorically, we could say that Miriodor is a planet, with aliens communicating in their mysterious ways with planet Earth”, says Pascal Globensky, and the ninth transmission from the home planet is an engaging fifty minutes of music that marries Miriodor’s journeys into avant chamber rock territory with their ear for melody in a manner that results in an album that while intermittently spiky need not scare the children unduly.

Chapelle luniare begins and ends with pounding rhythms, the beginning almost Faust-like in its insistence, and the trademark melody and counter melody played out on myriad keyboards and guitars makes for an interesting listen. The longer pieces are linked by short impressionistic intervals, Cryogénie being an alien calling card beamed in from another galaxy.

“Playful” is a word often bandied about in the same sentence as Miriodor, and this album does not disappoint in that respect. The music can be completely unpredictable and often ends up in a place you wouldn’t have suspected at the start of any particular tune. Passage secret sums up the band’s approach in its title and contains a hypnotic guitar figure that leads into a space cruiser breakdown somewhere near the asteroid belt, disembodied robotic voices bouncing in and out of the mix, before fading away into the ether, the original theme forgotten along the way.

Labyrinthine and with any number of permutations, Signal 9 is a rewarding listen for those of us who like to get completely lost in the intricacies of music now and again. Highly recommended!

01. Venin (4:33)
02. Peinturé dans le coin (4:34)
03. Transit de nuit à Jakarta (2:00)
04. Portrait-robot (8:47)
05. Déboires à Munich (1:21)
06. Chapelle lunaire (6:52)
07. Cryogénie (1:38)
08. Passage secret (9:58)
09. Gallinule d’Amérique (1:40)
10. Douze petites asperges (2:39)
11. Le ventriloque et le perroquet (8:13)

Total Time – 52:20

Bernard Falasie – Guitars, Keyboards, Turntable
Pascal Globensky – Keyboards, Synths, Piano
Rémi Leclerc – Drums, Percussion, Electronics
Nicolas Lassard – Bass, Double bass, Keyboards

Record Label: Cuneiform Records
Catalogue#: Cuneiform Rune 438
Date of Release: 12th May 2017

Miriodor – Website | Facebook


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Edition 64 of THE PROG MILL first broadcast 23rd July on Progzilla Radio, is now available to stream anytime or download.

Another 2 hours of superb progressive rock old and new. This weeks playlist was:

1 Monarch Trail – Missing (Sand)
2 Zenit – Awaken (The Chandrasekhar Limit)
3 The Emerald Dawn – A Vision Left Unseen (Visions)
4 Lebowski – Mirador (Lebowski plays Lebowski)
5 Ghostly Beard – Close Your Eyes (Infinate EP)
6 Le Mrme – Regina Al Troubadour (Verita Nascoste)
7 Heliopolis – Elegy (City of the Sun)
8 Sproingg – Sugarwax Nailface (Sproingg)
9 Leyenda Mistica – El Flechador Del Cielo
10 Journey – Kohoutek (Journey)
11 Landmarq – Lighthouse (Science of Coincidence)
12 Cheer Accident – Lifetime Guarantee (Putting Off Death)
13 Uriah Heep – The Golden Palace (Sonic Origami)

Sundays 10pm – midnight UK time (2100-2300 UTC) – MAIN BROADCAST
Tuesdays 0400-0600 UK time (0300-0500 UTC or 8-10pm Mon in LA or 11pm-1am in NYC)
Tuesdays 2300-0100 UK time (2200-0000 UTC)

Plus the podcast available from Monday evening each week.

Please keep your proggy music suggestions coming in. Email or message via FB – or twitter @shaunontheair

Back next Sunday with another 2 hours of proggyness!