CANTERBURY SCENE

The music is upbeat and melodic with warm and pleasant vocals. Instrumentally it's the guitar and organ leading the way. We get ten tracks worth under 50 minutes. My top three includes the opener "I, Structure" for that warm and beautiful sound that just gets better when the vocals arrive. "Non Specific Highway" again sounds so good instrumentally, this time it's the guitar and organ, but it all gets better when the vocals join in. Lastly "Woodland" the closer rounds out my top three, and it's my least favourite of those three, but still it's a nice way to end the album.

An inconsistent album for sure, and like the debut it comes across as a pleasant, feel good record that I'm sure brought some nostalgia to those who heard these recordings, or saw them live back in the 90's.

Pip admitted that there really wasn't enough quality material for a second compilation until Dave Stewart discovered in his storage until a box full of original reel-to-reel tapes recorded between 1973 and 1975. And they were in good shape as it turned out. Pip realized now that they had more than enough for a second release, and possibly even a third! Pip was at it again this time going through about 40 hours worth of music and culling the good stuff. A long job as it took Pyle about 2 months. When he could he would edit the songs into segued passages making these tracks blend into each other. He did this because when they played they would go from one song to the next without a break. Just like SOFT MACHINE before them.

Sadly, in the liner notes, the band relates "Our dear friend and colleague Pip Pyle died in Paris in the early hours of August 28th 2006. He was our founder member and the driving force of HATFIELD AND THE NORTH... this cd... is dedicated to his memory." They also mention absent friends like Mike Patto, Alan Gowen, Steve Miller, Peter Bardens, Pierre Moerlen, Elton Dean, Pip Pyle, and others who have gone on before. The one surprise for me in the thanks department is the one to Gavin Harrison. We get 21 tracks and under an hour of music this time.

I am so glad they included "Al Clark Presents", that final track. Live from 1975 and just over 2 minutes, we get Al Clark who at the time was Virgin Records Press Secretary, presenting the band with a lot of clever humour and complimentary words. It made me proud. By the way Dave Stewart may have been inspired by Pip's hard work and the results with these two compilation albums, as he would do the same for his previous band EGG, and release an archival album the following year to this, in 2007. He called it "The Metronomical Society" and it is incredible. Better than the two HATFIELD comps in my opinion. And no one writes better liner notes than Dave Stewart. So funny.

For HATFIELD AND THE NORTH fanboys both of these comps are nothing but essential. It shows the band in a different light than on their two studio albums.

In the liner notes they mention that this recording is dedicated to the memory of the irreplaceable John Peel. Of course Peel is thanked in these notes as well, along with Robert Wyatt and others. But I like the thanks to "Alister at the pub in Southall." Almost all of these songs have been re-titled making it fun to find out what the original piece was called. The tracks seemed stripped down really, and more raw. They let their hair down, as opposed to the two studio albums where every note seems to have it's place. Both studio albums could not be more perfect.

This reminds me of how ANGLAGARD sought perfection in the studio, but unlike the HATFIELDS they also sought perfection with their live recordings. The latter was not something that HATFIELD AND THE NORTH strove for. You could say we get a more immature version of the band here on "Hatwise Choice". Yes their hair is down. No Northettes, or incredible guest appearances like on their two studio albums. The sound quality here varies. A few aren't that great but most are very good. A lot of these tracks are quite short as well.

So while this all sounds familiar, it also sounds fresh and different. This is called "Volume 1", and the following year in 2006 they would release "Volume 2", a second compilation album they called "Hattitude". I much prefer the studio albums to these two compilations, but "Hatwise Choice" really is an essential release for Canterbury fans.

With Lys fremtid i mørke, Actionfredag offers their second release, with their radiate signature Swedophile and Canterbury-inspired style, a sound that defies the darker, moodier trends in modern prog. The band boldly crafts a sound that feels open and personal Despite sounding similar to many 70's British prog bands Actionfedag sounds incredibly original. The arrangements have that unique analog warmth, supported by an eclectic ensemble of instruments, including oboe, violin, recorders, and French horn, creating a lush, multi-layered soundscape. The expanded lineup of guest musicians adds depth and color, enhancing each track with new textures and tones that build on the creativity of their debut album.

The album balances sophistication capturing the essence of Actionfredag influences. Each track oscillates between whimsy and introspection, combining nostalgia with innovation to breathe new life into their sound. They draw on the progressive rock foundations with a fresh and new psychedelic edge.

Lys fremtid i mørke is a captivating album from start to finish, reaching creative heights with rhythmic finesse and melodic inventiveness that invite listeners to sink into its sonic world. This is music for refined ears, with passages that recall classical inspirations from Debussy and Satie, while staying true to prog's exploratory spirit. As a follow- up to Turist i eget liv, this album showcases Actionfredag's impressive output.

The record's simplicity and perfectly arranged tracks demonstrate their ability to captivate with an original sound, avoiding pretension or imitation. They simply enjoy making music without trying to fit in, capturing a pure, fun approach to their craft.

The liner notes refer to this music as a fusion of psychedelic, progressive and jazz styles with influences including THE GRATEFUL DEAD, Frank Zappa, SOFT MACHINE and Miles Davis. Really to my ears a perfect blend of the music from the first two SOFT MACHINE albums and THE GRATEFUL DEAD. They loved to jam, and they love humour. I feel this is more jazzy psychedelia than canterbury. The band tapped into that 60's/70's canterbury sound without even knowing of it at the time. Like SYD ARTHUR years later. In the liner notes it says the release date of "Toot" was June 26, 1995. It also refers to their music as some of the sunniest, spaciest songs this side of the Land of Grey and Pink. Golden autumn music for summertime.

I feel like THE GRATEFUL DEAD influence is strongest on "Toot" as they would release one more final album "Bone Idol" in 1999 also on Delerium Records. The cover art of the flying car reminds me of that Australian band BRAINSTORM's "Desert World" record, and that picture on the back cover of them in a flying car. Not a bad album this one, but hit and miss with the final two tracks being my favourites, and that's at least 20 minutes worth of material.

Perhaps the biggest differentiator between this album and the other two currently existing albums with this lineup is the longer songs. The opener, Forever Reoccurring, is a sidelong-sized piece, which I don't believe Gong has done before, at least not in the studio. Forever Reoccurring is very spacey the whole time, some might even accuse it of being overlong/not-proggy-enough. It allows a lot of building and expansion on the sounds and ideas from the start, but I can see the argument that it drags. My favorite part is near the beginning with the "Behind the meaning of another meaning" section, not that it really goes downhill from there, I just kinda wish it came back. The melody changes itself up a few times, there's a lot of fun instruments showing up throughout, but it falls a bit into that trap of psychedelic rock repeating the progression a few too many times. Perhaps parts of it could have used a bit of a trim. That, or add some pothead pixie noises or something? I understand it'd be hard to pull off without Allen, but I am one of the Gong fans who likes that side of the band just as much/perhaps more than the fully psych moments. Again, see my opinion on Acid Motherhood.

As a contrast to the previous song, If Never I'm And Ever You is perhaps too short. Or maybe it's the perfect length since it leaves us wanting more? Either way, what's here is a swell little sax- and keys-led song with a good bit of singing in there too. Like it a lot. My Sawtooth Wake next is back on the longer side of the Gong studio oeuvre. This one starts faster and harder than Forever Reoccurring, and slows down more than that song during a lot of the singing. The sax here really sells the Gong whimsy, perhaps more than anywhere else on the album (I had this thought around 5-5:10 into the song I'd say). The bass is also really good here too. Probably the best song on the album for most progheads here, though the next track is my favorite.

The Elemental is the last song, and the one I listen to the most. It's got a more infectious energy than the other ones, with the lighearted sax and handclaps and catchy tunes. I can handle a bit more normally structured or poppier songs on prog albums as long as they don't sound too sanitized and separate from the more complex ones. I think I Know What I Like (In Your Wardrobe) is similar, I see people say it's not as good but I find it a pleasant little break that's still interesting in its own way. Perhaps more people in this review section would like this song more if it weren't last, I could see it as a good pace break between the two long songs alongside If Never I'm And Ever You. Still, I enjoy this one quite a bit!

I do like this current lineup of Gong a lot. This is my second or third favorite Gong album from after the classic Allen period. It's beat certainly by Acid Motherhood, and I'm also fond of Shamal and Gazeuse! but idk the exact order for those latter two. Kavus Torabi is the singer here, and I think he does well for the music but his voice fits better in his other band Knifeworld. Strangely enough, even though Cardiacs are my favorite band I heard Kavus for the first time with this album before I got into Tim Smith's merry band. I don't recognize the other members from other bands, but I did really enjoy Dave Sturt's bass playing the whole time. I'd also like to formally recognize that Cheb Nettles has the best name in prog. This lineup has been around for the most part since the last album with Allen's involvement, I See You, from 2014, and they have specifically been blessed by Allen to continue to Gong spirit. That makes them Gong enough for me!

...I would like just a bit of pixie shenanigans though...

Quintessenza la la la is probably my favorite song on the album. I listen to this one the most, I love the buildup that continues all the way to the end. I'm also an admitted sucker for "la la la" type stuff, cheesy I know, but this is a prog site so cheesiness shouldn't be frowned upon anyway. The song plays with the la-las quite a bit too, another reviewer said it was poking fun at the concept of music itself in a way. The next song, Il Bello e il Cattivo Tempo ("Good an bad weather") also starts with some repeated harmonizations, not really "la" but in the same vein. This song is a lot poppier than the previous, though still pleasant.

Then comes Viaggio Astrale di una Polpetta, which translates apparently to "Astral Travel of a Meatball." Fun sentiment, the song is certainly bouncy enough to do such a whimsical concept justice. There's some high-pitched vocals in the second half, and the whole song has some fun spacey synths. Then there's Fine del Mondo, which takes a tonal turn in the title ("End of the World"), if not the music itself, which is happy as ever. Perhaps the dour guitar tone is the differentiator. Pentagono, about a (the?) Pentagon, is another jaunty joint, also a tad on the darker side like the previous song.

Parole e Numeri ("Words and Numbers") is a slower one, but still very nice. Qinque Sensi, which I probably don't need to translate, speeds back up. The album has a good balance between more laid back songs and ones that put a little bit more in your face. Fiume Dell'oblio ("River of Oblivion") is a bouncy tune, with some diversions into a more avant territory with discordant warbling underneath downbeat la-las. Then it ends with a trickle and a whistle; another reviewer says the whistler is showering, but I think it may be something else. A strong wee in the garden, perhaps.

Doppi Sensi ("Double Meaning") is the final and longest song. The first half is very jazzy and typical canterbury fun, I don't know the lyrics but I can hear them singing "blah blah" at many points. The second half of the song is a slower ambient piece with some chattering children echoing beneath the synths. A different side of the classic Canterbury scene is explored here, the more spacey Gong side.

This was my favorite album of 2023 on PA's album ranking thread, and I think it still is. It hits all my favorite things, the humor, fun instrumentation, lush and varied synths, and a whole heap of whimsy. I've listened to all of Homunculus Res' albums after this one, and I still think this is my fave of the five.

Actionfredag's debut album, Turist i eget liv (Tourist in Your Own Life), is a fresh and engaging entry in the Norwegian progressive rock scene. Featuring members from well-known bands like Tusmørke and Jordsjø, the album blends progressive rock with Canterbury jazz and folk influences, offering a sound that feels both exploratory and deeply rooted in Scandinavian musical traditions, I can hear Influences from Frank Zappa and Soft Machine as well

The album opens with "Pönk på svenska," a track powered by fuzzed-out guitars and a jazzy electric piano. The shifts in dynamics, from quieter moments to more energetic bursts, make for an exciting opening that captures the listener's attention right away.

"En behagelig durakkord som sier noe om hvordan det er å se uten å bli sett" moves in a different direction, with warm, rounded bass tones and haunting violin melodies. The vocals have a distinctly Scandinavian feel, delivering a dramatic yet restrained performance that complements the subtle instrumental layers.

Throughout the album, the band showcases their versatility. On "Gadgetry cum dystopia," they incorporate woodwinds and layer the vocals with effects, giving the track an ethereal and experimental vibe. The unexpected use of these elements keeps the album intriguing, and the constant movement between moods?from jazzy improvisations to more grounded folk moments?makes each track stand out in its own way.

The final track, "Ensomhet er bare en følelse" (Loneliness is Just a Feeling), closes the album on a contemplative note. With its rolling melody and thoughtful vocals, the song feels like the emotional core of the album, leaving a lasting impression.

Turist i eget liv is an eclectic mix of sounds and styles, It's a very fun album to listen, rewarding repeated listens with its rich layers and shifting textures. For those who like of progressive rock and 70's Avant-garde.

Now, this is how Zopp sounds with a full band. Known for their intricate compositions that blend progressive rock, jazz fusion, and classical music, Zopp brought their studio sound to life on stage. After their last album Dominion, the prog duo of Ryan Stevenson and Andrea Monetta have been touring, mostly across the UK, performing with a full band.

The setlist was tasteful chosen, featuring tracks from their debut self-titled record and Dominion. Ryan Stevenson's collection of analog keyboards?Moog, Mellotron, and Fender Rhodes?added colors to their sound. Zopp's ability to move from atmospheric sections to intense moments stood out.

The improvisational elements and complex rhythms gave the songs new life.The great performances of Andrea Monetta's drumming, Ashley Raynor's bass lines, Richard Lucas's great guitar work, and Rob Milne's outstanding saxophone and flute.

Zopp's performance was filled with emotion, creating a great live experience. The intimate setting of Danfest allowed the band to connect deeply with the audience.