All posts for the month May, 2018

This news story was originally published here:

Coheed & Cambria drop 10 minute epic – Progressive Rock Music Forum

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Edition 148 of Sounds That Can Be Made is now available as a podcast!


The Fierce And The Dead – Verbose (from The Euphoric Masters)
Anubis – Technicolour Afterlife (from Different Stories)
Gazpacho – Emperor Bespoke (from Soyuz)
TumbleTown – Avalon (from Never Too late)
Vennart – Donkey Kong (from Donkey Kong)

Connect 4:
Anthony Phillips – Prelude 84 (from 1984)
David Bowie – Rebel Rebel (from Diamond Dogs)
The Rolling Stones – Time Waits For No One (from It’s Only Rock ‘N’ Roll)
Pink Floyd – Your Possible Pasts (from The Final Cut)

Steven Wilson – Deform to Form a Star (from Grace For Drowning)

Jurassic Prog:
Barclay James Harvest – Child Of The Universe (from Everyone Is Everybody Else)
Ange – Fils de Lumière (from Au-Delà Du Délire)

Heliopolis – Elegy (from City of the Sun)
Circus Maximus – Flames (from Havoc)
IQ – Ten Million Demons (from The Road of Bones)
Drifting Sun – Soldiers (from Twilight)

Monsters of Progzilla:

Cryptex – Dance Of The Strange Folk /Doctor Doctor (live)
Neu! – Hallogallo (live)
Guru Guru – Spacebaby (live)
Amon Düül II – Eye Shaking King (live)
Kraftwerk – The Robots (live)
Can – Verbal Equinox (live)

Scorpions – Can’t Get Enough (from Lovedrive)

This news story was originally published here:

we are planning another CD, a double CD even, or perhaps even a quadruple CD or maybe a series of 4 single albums for our band Bald Angels; what exactly it will be is undetermined yet and will be decided during the recording sessions. it will definitely be a concept album (or a series of connected concept albums) with our most experimental music so far.

the album or albums will describe our religion. it is clear that there will be only 4 very long tracks, each track describing the celebrations on the 4 holidays of our religions, the solstices and equinoxes. it will start with the spring equinox followed by the summer solstice, the fall equinox and the winter solstice.

my sister Bea will guest on all albums and add diverse kinds of flute (she collects different kinds of flutes from all around the world, like her idol Didier Malherbe) and violin, and there will be lots of other guest musicians adding all kinds of unusual instruments.

this is all still very much in the planning state; we came up with the idea only yesterday. the album or albums will come with an extensive booklet describing the rituals we perform on our holidays and lots of other information about our religion, like for example the 13-months calendar we designed for our religion.

more information will follow later when the plans have become more concrete. but there definitely will be some recordings, just what exactly it will be is not quite clear yet

Edition 137 of Steve Blease’s Heavy Elements is now available as a podcast.


Communic – In Silence With My Scars
Stream of Passion – Reborn
Coburg – Forbidden Realms
Yonsample – Februation
Anima Tempo – Primal Symmetry

Live at 11: Conception live at the Hamburg Docks, Germany on 25th September 1993

Roll The Fire (live)
The Promiser (live)
Parallel Minds (live)

Vulture Industries – To Sever the Hand of Corruption
Dante – Birds of Passage (Caught in a Dream)

Album of the Week: Andromeda – Chimera

Going Under
The Cage of Me

Between The Buried And Me – Us and Them

This news story was originally published here:

A band hitherto unknown to me, The Monks of Doom are an intermittently active American collective formed in 1986 as a harder edged spin-off from indie stalwarts Camper van Beethoven, and here they offload their first new material in 25 years with a darkly enticing doomy and psychedelic missive entitled The Brontë Pin that manages “spontaneous forays into the worlds of improvised music, adventurous instrumental work, dystopian paranoia and mind melting psychedelia”, as the PR blurb has it, and with some aplomb too.

Often led by Victor Krummenacher’s percussive bass work, from a guitar one can easily imagine is slung somewhere around knee level, and augmented by swirling guitars and synths, and expressive vocals with just enough American drawl to be alluring, the resulting brobdingnagian stew of initially amorphous Stoogian space rock takes us on a long trip that ends with Americana tinged big sky rock music not a million miles from Camper van Beethoven’s sound, but louder, obviously. Spark one up, baby, this is going to be a fun ride.

A surprise interlude is the acoustic psychedelia of Boar’s Head in the middle of all this rock-a-rollin’, a song that splinters off, spinning around and bleeping, before being glued back together by gravity’s pull.

How much actual improvisation is going down here is moot, as a feisty rocker like 23rd Century Hard Bop can only have been written, but when the end result is this good does it matter that, as is often the case, the PR guff may be a tad wayward? Nay, nay, and thrice nay, say I. More obvious composition follows on the swamp-rocking John The Gun, and on the concluding Americana of Osiris Rising, and by now The Brontë Pin has covered enough bases to go beyond pigeonholing. This is, simply, good and evil rock’n’roll with that effortless loucheness only an American band can achieve. If you dig Nashville’s All Them Witches you cannot fail to cut a rug to this beauty. And there’s a track on here called The Bastards Never Show Themselves – what’s not to like?

I have lately become weary of this reviewing lark, but I have been reminded by my learned colleagues that bringing music with a low to invisible profile, and even bands with a well-known lineage like The Monks of Doom to the attention of the wider great unwashed is but one reason we carry on with what might often seem a nugatory pastime, and this fine record is a case in point.

01. The Brontë Pin Pt. 1 (4:45)
02. The Bastards Never Show Themselves (5:34)
03. Duat! Duat! (5:39)
04. Up From The Cane (2:28)
05. Boar’s Head (5:10)
06. The Brontë Pin Pt. 2 (3:21)
07. 23rd Century Hard Bop (3:44)
08. John The Gun (5:15)
09. The Honorable Death Of The 100 Million (2:11)
10. The Sinking Of The Essex (3:39)
11. The Last Leviathan (Interpolating Rabbit’s Foot) (6:14)
12. Osiris Rising (4:10)

Total Time – 52:00

Victor Krummenacher – Lead & Backing Vocals, Bass, Acoustic & Electric Guitars, Keyboards
Greg Lisher – Electric & Acoustic Guitars, Backing Vocals
Chris Pedersen – Drums, Percussion, Objects
David Immerglück – Lead & Backing Vocals, Electric & Acoustic Guitars, Pedal Steel, Mandolin, Keyboards, Bass, Harmonica

Record Label: Pitch-a-tent Records
Catalogue#: 003
Date of Release: 23rd March 2018

The Monks of Doom – Website

This news story was originally published here:

Progressive Rock masters RIVERSIDE have just signed a new deal with longtime partners InsideOutMusic and are pleased to announce their upcoming seventh studio album “Wasteland” as well as its corresponding first European tour for October/November.

RIVERSIDE checked in with the following words:

“Well, we’re back in the game! We’re happy to tell you that our seventh album will be called “Waste7and” (Wasteland) and will be released at the end of September this year. It will be our first album recorded as a trio.  Our music has become more serious and more mature, so get ready for a manly and emotional album.  “Waste7and” is going to be a really accomplished one. It combines the emotional character of the first two and the production maturity of the latest two releases. If everything goes according to plan (as we’re still recording), the new Riverside album will simply d e s t r o y you 🙂

Also this year we’re going on the “Wasteland 2018 Tour” to promote the new album. Below you will find a list of the cities we’re going to visit in the autumn of 2018. Tickets go on sale this Friday, June 1st. More info soon!“

In regards to the extended co-operation via a new deal between RIVERSIDE and InsideOutMusic, Thomas Waber, label manager/A&R international InsideOutMusic, checked in with the following comment:

“We have been working with Riverside for a long time now and there is a lot of personal history. The InsideOutMusic family would be very different without them, so I am extremely pleased that the family is staying together. We all miss Piotr dearly, but i am looking forward  to  this new chapter. You are still with us, Grudzien!”

Here is a list of the upcoming shows by RIVERSIDE announced so far:

RIVERSIDE – Festivals 2018/2019:
21.06.2018 Konin (Poland) – Progressive Evening
23.06.2018 Valkenburg (The Netherlands) – Midsummer Prog Festival
13.07.2018 St. Goarshausen (Germany) – Night Of The Prog Festival XIII
04.-09.02.2019 Tampa to Key West & Cozumel – Cruise To The Edge

RIVERSIDE – “Wasteland 2018 Tour”:
12.10.2018 Gdansk (Poland) – B90
13.10.2018 Poznan (Poland) – Tama
14.10.2018 Wroclaw (Poland) – A2
16.10.2018 Katowice (Poland) – Miasto Ogrodów
17.10.2018 Lódz (Poland) – Magnetofon
18.10.2018 Torun (Poland) – Od Nowa
20.10.2018 Kraków (Poland) – Studio
21.10.2018 Warszawa (Poland) – Hala Kolo
30.10.2018 Berlin (Germany) – Kesselshaus
31.10.2018 Schorndorf (Germany) – Manufaktur
03.11.2018 Lisbon (Portugal) – LAV       
04.11.2018 Madrid (Spain) – MON LIVE
05.11.2018 Barcelona (Spain) – Salamandra 1
06.11.2018 Lyon (France) – CCO
07.11.2018 Paris (France) – La Machine
09.11.2018 Manchester (UK) – Academy 2
10.11.2018 London (UK) – The Electric Ballroom
11.11.2018 Sint Niklaas (Belgium) – Casino
12.11.2018 Utrecht (The Netherlands) – Tivoli Vredenburg
14.11.2018 Hamburg (Germany) – Markthalle
15.11.2018 Oberhausen (Germany) – Turbinenhalle 2
16.11.2018 Pratteln (Switzerland) – Z-7
17.11.2018 Neunkirchen (Germany) – Gloomaar festival

More dates to follow soon…

RIVERSIDE had previously announced guitarist Maciej Meller to complete the band’s line-up for shows after taking a longer break from any live performances due to the tragic passing of founding member and guitarist Piotr Grudzinski on February 21st, 2016.
Look out for more news on RIVERSIDE in the coming weeks…



This news story was originally published here:

This is an age in which a mendacious, manipulative manchild lunatic has taken over the Asylum whilst elsewhere a blackened, ruined stump of a Tower shamefully overshadows a nation that’s lost its moral compass, amidst the stench and filth of a rising tide of lies and fear…

…so what better time than to release this fascinating and challenging album which casts a questioning and sceptical eye over current proceedings?

The main man behind the C:Live Collective is Clive Mitten from the notable progressive rock band of the 1980s, Twelfth Night. He was induced to come out of musical ‘retirement’ after 30 years as a powerful expression of his anger regarding the abuse and manipulation of the press and social media in modern society, after his wife was unjustly vilified by a U.K. tabloid newspaper. Clive largely wrote the classic Twelfth Night album Fact and Fiction (soon to be re-released in a ‘Definitive’ 3 CD edition), along with vocalist/lyricist Geoff Mann, in 1982. The context of the times of that truly outstanding progressive rock album, laced with biting social satire and commentary at the height of Thatcherism and in the shadow of nuclear annihilation in the Cold War, seem just as timely in these troubled days, therefore it is no surprise that Mitten partly draws from that well of inspiration but, unlike some artists, he does it in a very different and imaginative fashion.

The Age of Insanity is a fascinating debut album from this new band, featuring Fudge Smith (previously of Pendragon) on drums, the multi-talented Mark Spencer (previously of Twelfth Night) on guitar and vocals, and Stephen Bennett on piano and keyboards. C:Live Collective launch in aptly with The Fifth Estate – Part One (The Dictator Speaks), a radically updated version of Twelfth Night’s classic We are Sane. This piece announces the band as a bold, imaginative and truly progressive act – this is a modern, pulsating and intensive take on a classic song with sinister, dramatic and impassioned vocals from Spencer. Mitten atmospherically orchestrates the eerie opening with effective but restrained sound effects, before thundering into a bass driven section with Fudge Smith pounding along as Spencer spits out:

“Excess profit has the clout to spread the message We are Sane! Not Insane!
She reads about a will to power in papers full of lies…
… As words of judgement pour out of the Mouths of those who make their mark.”

This is powerful stuff both musically and lyrically. As someone who has followed Twelfth Night since the very early days I was curious (and a little fearful!) as to what they might do to what is possibly the best song Twelfth Night ever released… but as this savagely re-imagined version brilliantly poured out of the speakers I knew we were in very good hands. After all, Mitten wrote the music and understood what the song meant, and has used his emotions and skills to re-cast the song with added bite and impact. Anyone expecting a tired re-tread or a slight tweaking of the Twelfth Night song is in for a shock… and anyone unfamiliar with the original will hopefully be mesmerised.

The Age of Insanity then moves off in a totally different direction and wisely avoids returning to Fact and Fiction territory again until the finale. Resonating from that album is entirely appropriate and inspired as a jumping off point, but Mitten has moved on in so many ways since those early days in a career which has lain dormant for over 30 years.

The next three instrumental sections of The Fifth Estate meld together various styles including orchestral sounds, trance dance rhythms, jazz inflected sections and rock. C:Live Collective are not trying to resurrect early Twelfth Night, fine as they were in their time, nor take the safe ’70s style route. This is complex music with a mixture of styles – it’s difficult at times to predict in which direction a piece may go. Truly progressive and challenging, and definitely more artistically daring.

As instrumental pieces there is inevitably a cinematic quality, with occasional sound effects suggesting images, and even a reference to the Vera Lynn song The White Cliffs of Dover in Part Two. This allows the listener to let their own imagination run riot over the 30 minutes plus of the three instrumental sections as at times stirring orchestration sweeps over you and Mark Spencer carves a soaring guitar section high over the piece. Mitten’s bass, almost funkily played, drives along the start of Part Three before an organ section eerily resounds, descending into a powerful synth laden piece, powerfully supported by Fudge Smith’s drums. Part Four pulsates with dance beats and rhythms, before a seemingly more optimistic and anthemic section with orchestrated keyboards swirls dramatically over Mitten’s distinctive bass and Smith’s excellent drums. Like sun breaking through the clouds the piece ends with emotive keyboards in a New Dawn. Framed in such an instrumental way, this album is a challenging listen at times and can feel a little like a work in progress. A fully vocal version of the album is due out later this year, and with such an imaginative and diverse instrumental backing it will be fascinating to see how it progresses.

The finale of This City is London takes us back to Twelfth night in more ways than one. It is based on This City from Fact and Fiction with lyrics originally written by Geoff Mann about his home area of Salford and Manchester. C:Live Collective have re-written this with a fresh perspective on London in a post Grenfell world. The images and thoughts evoked by the original version are still all too real, whatever city it is set in. Sadly Geoff Mann died in the ’90s, but aptly his son James Mann sings this new version of his father’s song with great feeling, ably and powerfully supported by Mark Spencer. Once again Mitten steers away from a simple re-tread of the Twelfth Night music and presents the piece with synth driven beats and at times appropriately diverse reggae rhythms. Mitten has also adapted Mann’s original lyrics to reflect more modern but depressingly familiar themes:

“Towers of shining steel, Glimpsed in face-less glass
Neon bars and clubs, All their rich rewards, We are all this city…
And there, on that skyline, Was Jerusalem builded here? We are all this city…

Kids in in food bank lines, Take it back – your city, We are this city, We are all this city…”

In the booklet, interestingly designed by David Read, Clive explains ‘estates of power’. Originally defined as the church, nobility and people, the press and news later became the ‘Fourth estate’. He now describes the abuse of the Internet and the social media as the ‘Fifth estate’, fanning hatred, “the tool of choice for trolls seeking ‘Lebensraum for megalomania’.” It’s difficult to argue against that view when our social media and news is so manipulated and distorted, but maybe as long as there are musicians such as C:Live Collective out there willing to challenge those views in such an artistic and powerful manner there is hope that in an Age of Insanity sometimes sanity can still prevail. This album feels like the start of a journey, as an evolving piece later in the year.

If you have an open mind try this album – support imagination and independent thinking… after all, none of us really want:

All eyes fixed upon the conductor, Baton taps inside the brain…

01. The Fifth Estate – Part One (The Dictator Speaks) (11:50)
– Te Dium
– We are Sane
– Dictator’s Excuse Me
02. The Fifth Estate – Part Two (Instrumental) (11:20)
– Motif-ation
– Like Apple Pie
– Natural Selection
– Mayhem
– A Requiem
– Postscript
03. The Fifth Estate – Part Three (Instrumental) (17:15)
– Aliens
– The Establishment
– Reason
– Descent
– Nibelheim
– The Crucible
– A Lament
– Return to the Stars
04. The Fifth Estate – Part Four (Instrumental) (14:15)
– Fiat Lux
– Revelations
– And I know things
– A Prayer
– An Anthem
– Postscript Reprise
– A New Dawn
05. This City Is London (5:01)

Total Time: 54:41

Clive Mitten – Keyboards, Orchestrations, Basses, Guitars, Programming, Noises & Effects
Mark Spencer – Guitars, Vocals (track 1), Additional Vocals (track 5), Backing Vocals
Fudge Smith – Drums
Stephen Bennett – Piano, Keyboards
James Mann – Vocals (track 5) & Backing Vocals

Record Label: Clive Mitten and Bum Note Records
Country of Origin: U.K.
Date of Release: 1st March 2018

C:Live Collective – Facebook | Bandcamp | Merch Desk

EAST – Rádio Bábel

And So I Watch You From Afar – Set Guitars To Kill

Irrwisch – Think I’m Crazy

Thumpermonkey – Pets

ARCANSIEL – Angel of March

Even – Face The World

Bel Air – Just Right

Minimum Vital – Brazilian Light

For Absent Friends – The Bald, The Fat and the Ugly

Isildur’s Bane – The Pilot

Aasgard – Vulgarity-Land of Slimes

Doyle & The Fourfathers – Pay Attention To Your Public

Edition 107 of THE PROG MILL – first heard on Progzilla Radio on Sunday 27 May. Is now also available for you to listen to anytime or download. Just click on the play button to listen now or download and away you go.

This weeks Proggy Playlist!

1 Wonderland – In Too Deep (Seven Wonders and Four Little Miracles)
2 The Prognosis – Inside Your Head (Still Waters)
3 Muffx – Vengono del Mare (Sconosciuto)
4 Ancient Veil – Night Thoughts (Rings of Earthly – Live)
5 Yuka & Chronoship – Argo – A Dragon that Never Sleeps (Ship)
6 Gazpacho – Emperor Bespoke (Soyuz)
7 The Yatin Srivastava Project – The Unknown (Chaos//Despair)
8 Comus – Song to Comus (First Utterance)
9 A Thousand Years of Light – Baphomet – Live at the Melting Pot
10 Roxy Music – A Song for Europe (Stranded)
11 Yes – It Will Be a Good Day (The Ladder)
12 Echo Us – Aerial (Satre Dance)
13 Nova Cascade – Lo-Fi (Ambient Mix)
14 Mostly Autumn – Changing Lives (Sight of Day)

You can hear THE PROG MILL every week on Progzilla Radio at these times:

Sundays 10pm – Midnight UK (2100UTC) – MAIN BROADCAST
Tuesdays 3-5am UK (0200UTC) For North America (Mon 7pm in LA or 10pm in NYC)
Tuesdays 11pm-1am UK (2200UTC)
Saturdays 6-8pm UK 1700UTC) – Family friendly teatime repeat!

We like you to choose the music for the show. So if you’re hearing any great melodic or symphonic progressive rock, old or new, or even making it yourself, then please let me know., or message via or twitter @shaunontheair

Progressive Tracks Show #263 (SeaProg Festival Preview #5), originally broadcast on Saturday, May 26, 2018, is now available to download or listen to anytime you desire.

What does the week before SeaProg mean?  It means The Progressive Tracks Show will feature FOUR more talented artists!

And this is an eclectic bunch:  One headliner, one surprise return appearance, and two special SeaProg band configurations add up to 90 minutes brimming with  outstanding music and conversation.

The preparation for SeaProg 2018 is nearly complete… so grab your old SeaProg t-shirt from the closet and your favorite beverage from the fridge, sit back, and prepare to be prepared.

Hopefully I’ll see you at SeaProg!


  • Bubblemath – “Be Together” from Such Fine Particles of the Universe on Sounds Reasonable
  • Bubblemath – “Destiny Repeats Itself” from Edit Peptide on Cuneiform Records
  • Cantrip – “Bee Keeper’s Lament (Live)” from Bee Keeper’s Lament – Single on Independent
  • Clearly Beloved – “Bread” from The City I Am Building Is For You – EP on Independent
  • Tiny Orchestral Moments – “Euphoria (pre-mix)” from Euphoria – single on Independent
  • Cantrip – “Shrive” from Shrive – Single on Independent
  • Clearly Beloved – “Mesopotamia” from The City I Am Building Is For You – EP on Independent
  • Bubblemath – “Get a Lawn” from Edit Peptide on Cuneiform Records
  • Tiny Orchestral Moments – “Blockhead” from Silence on Ballistic Music
  • Clearly Beloved – “Bittern” from Bittern – Single on Independent
  • Cantrip – “Krampus” from  Krampus – Single on Independent
  • Bubblemath – “Routine Maintenance” from Edit Peptide on Cuneiform Records

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

P.S.  You can skip looking for these posts each week by subscribing to the podcast below!