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2018's Top 10 Albums – Part 2 – James R Turner's Picks
Blimey, as we hurtle towards the season finale of 2018, with 2019 ready and waiting in the wings, it's that time of year for an arbitrary jog through some of the albums that have made my year. Lists being lists these, of course, are totally personal. My Christmas list, for instance, looks nothing like Lord Progradar's (being mostly filled with 5.1 box sets and socks, whilst Lord Progradar probably wants more vinyl and lycra shorts).
There have been plenty of albums that were close to getting into this list and, of course, the top ten could easily become a top twenty or thirty and before you know it I'd have run out of space and, indeed, time. I am also, of course, unable to include any BEM albums in here, as that would be a big old conflict of interest, and we don't want that to colour any perception you may have.
Instead here's my top ten, albums that have resonated withme this year, and albums that have made the commute so much better.
The Pineapple Thief – Dissolution
I have seen these fine chaps, led by the brilliant Bruce Soord, a couple of times here at Bristol, having really got into them with their 'Magnolia' album. For their last album 'Your Wilderness', they were joined by an up and coming drummer, a chap called Gavin Harrison, you might have heard of him?
Luckily he decided to hang around and join the band for 'Dissolution', which, as I said earlier in the year, is the sound of a band reborn and energised and whilst the album has its dark moments and bleak lyrics, musically it is one of the best they have made, and like all the best albums, flows perfectly.
No dipping in and out of tracks here, this is a journey, musically and lyrically and Bruce again has shown why The Pineapple Thief are one of the finest bands out there, and one who you must see live.
The Pineapple Thief – Far Below
http://www.kscopemusic.com/artists/thepineapplethief/
She Makes War – Brace For Impact
Matt Stevens pointed me in the direction of Bristol multi-instrumentalist and performer Laura Kidd, who I've been lucky enough to see perform at Bristol's legendary Harbour fest, as well as at iconic venues like the Louisiana and the Thekla, and she always knows how to put on a show.
This, like her last album 'Direction of Travel' was funded by Laura's fan family on pledge music and is, simply, her finest album yet.
Laura has no big label backing and everything she does is pushing the boundaries of DIY music making for the better. It's a testament to her creativity and focused vision that she inspires so many fans to join heron her musical journey.
From the autobiographical rock of London Bites to the haunting beauty of Then The Quiet Came, Laura as a songwriter, evolves with each album she makes. The opening single, the crunching rock of Devastate Me being a statement of intent, as well as a fantastic album opener.
If you haven't heard She Makes War then I suggest you bookmark this article here, nip off to her Bandcamp page where she still has copies of the 'Brace for Impact' vinyl available, have a listen, and if you like what you hear (and I guarantee you will), you can amend your Christmas list!
She Makes War – Devastate Me
https://shemakeswar.bandcamp.com/album/brace-for-impact
Zombie Picnic – Rise of a New Ideology
There has been some fantastic instrumental music released this year, with Irish post prog band Zombie Picnic being one of the names at the forefront of this ever expanding genre.
From mixing science fiction with dystopia and big meatyriffs and then adding technically adept and quirky art rock stylings, this 4 piece (JimGriffin and Dave Tobin on guitar, Brendan Miller (drums) & Brian Fitzgerald(Bass)) really know how to build intricate and intelligent rock pieces.
From the opening 9 minute Democracy Cannot Survive (oh how prescient that title is) to the closing three minute Anger in Storage (Denial Will Follow), this is intelligent, progressive instrumental rock at it's finest and one that would sit happily in any collection that includes such bands as The Fierce and the Dead.
Zombie Picnic – Anger In Storage
https://zombiepicnic1.bandcamp.com/album/rise-of-a-new-ideology
The Sevateem – The Caves
OK, so this is niche, in fact you could dive deeper and say it's certainly beyond niche but, bear with me. It's a brilliant record and concept.
Named after a tribe in the 1977 Tom Baker Dr Who serial The Face of the Evil, The Sevateem are Christian Erickson and Janey Winterbauer and this album was influenced by the 1984 Peter Davison regeneration story The Caves of Androzani (arguably the highpoint of 1980's Dr Who – but I'll leave that for another place, or another time) and is a fantastic space opera, mixing rock, ballads, electronica and musical tropes that could easily have fallen off the back of a radiophonic workshop.
Taking exquisite care not to breach copyright, this is pitched perfectly with the right balance of nods to our intrepid time travelling hero, big musical numbers, and a fantastic reinterpretation of aclassic story.
Available online from The Sevateem Bandcamp site, all proceeds from this go to the charity Doctors Without Frontiers as well.
From being curious about what it sounded like to getting absorbed in the sheer musical skill and smart song writing and performances on here, this has ended up as one of my albums of the year. I absolutely love it.
The Sevateem – Anywhere in the Universe
https://thesevateem.bandcamp.com/album/the-caves
North Atlantic Oscillation – Grind Show
The latest release from post rock trio North Atlantic Oscillation, sees the band continue to build on their well honed mix of rock and electronica. Opening with the wonderful Low Earth Orbit, this see's more crossover from Sam Healy's Sand project into the NAO sound, which is no bad thing. Healy's vocals are superb and are part of the hypnotic mix.
Stand out tracks for me are the closing trio of Sequoia, Fernweh (a mesmerising 7 minutes of haunting beauty) and the closing Kcenrebbur where, like so much of NAO's work, the music teases and builds.
This is an album that gets better with each listen as you get more and more from the music and it draws you in with it's hypnotic and cyclical sound. There's no band out there sounding like NAO, it's always a delight to get a new album from these guys.
North Atlantic Oscillation – Sirens
https://www.musicglue.com/northatlanticoscillation/
Jet Black Sea – The Overview Effect
Prior to reviewing this album, I had never heard any Jet Black Sea, however I am now an absolute convert, this record has been on constant rotation since I first got it.
Bold, epic and not afraid to push their musical boundaries, this album's title track ebbs and flows, builds and climbs, crossing multiple genres and sounds, from ambient soundscapes to works that would nestle in any record collection alongside No-Man or even Mike Oldfield. I am reminded of Mike's early 90's ambient electronica albums, like 'Songs of Distant Earth', in approach if not in sound.
The two musicians here are immensely talented individuals and they bounce ideas off each other to create a vast, beautiful and all-encompassing sound, one that is the musical equivalent of a big hug.
This is the sort of music that the album format was invented for, big and yet surprisingly intimate, not afraid to push big ideas in a beautiful way. The track builds and builds, with some sublime vocals from O'Shaughnessy, whilst the musicians weave intricate musical webs that pull you in and keep you hooked.
With only three tracks on here to play with, this is asprogressive as anything out there, and is well worth your time and money.
Jet Black Sea – Home (E.D.L)
https://jetblacksea.bandcamp.com/album/the-overview-effect
Talitha Rise – An Abandoned Orchid House
Reviewed elsewhere on this site by the esteemed Lord Progradar, this is one of the warmest and most beautiful albums I have had the pleasure to hear this year. I got the album on a download to review, landing in my inbox with nary a Bing.
I always think that albums of this magnificence when they arrive should come with a bang, like We Are Kin's Pandora a few years ago,which had the same effect.
This new album from someone I'd never heard of, blew me away.
Listening to this album was a revelation and took me back to the mid 90's. As a bit of history, I loved, and still love, music with bags of guitar and filled with testosterone, nowt wrong with that but then I discovered Tori Amos, who opened my ears to a new kind of music.
That feeling runs rife through this amazing album, as Jo-Beth is one of the finest songwriter's I have come across in the last few years, from songs like the wonderful Lifeboat or the nearest we get to a title track, the atmospheric and haunting Orchid House, with its wonderful violin counterpoint to Jo-Beth's vocals, which define the word ethereal.
This is musical beauty operating on another level, and her innate sense of music, and her wonderfully evocative lyrics, on tracks like Hungry Ghost or Bloodfox, are ripe in imagery and the sonic tapestry weaved around her words is a joy to behold.
My stand out track on an album full of beauty is the amazing River which, with its wonderful chorus and driving rhythm, encapsulates the beauty in this album.The lyrical beauty married with the musical accompaniment makes this one of the songs of the years, and Jo-Beth's vocals are the icing on this musical cake.
This one that I keep returning to, time after time, and let me tell you, albums don't get much better than this.
Talitha Rise – Chapel Bell
https://www.talitharise.com/
Regal Worm – Pig Views
I love Jarrod Gosling's work, from his artwork for Tim Bowness, his Cobalt Chapel project, I, Monster and Regal Worm he covers more bases musically and artistically than many other artists can manage. He is a 21stcentury renaissance man and, on 'Pig Views', the third Regal Worm album he's made a masterpiece.
This new addition to the family, with its stunning artwork and availability as a pink double vinyl set, looks very smart indeed, art work, of course, is by the man himself.
Among Jarrod's musical arsenal are items like Mellotrons, Hammond Organs, Rickenbacker basses, Mandolins, Lap steel guitars and many others. This mix of instrumentation, particularly the sax and flute, give this a very English sound, reminiscent of Canterbury scene bands. Throw in Jarrod's love of jazz and psych, and his rock sensibilities, all of this combines to create a unique musical delight.
As a musician Jarrod has always done something different and interesting with every release and this is no different, whilst there are hints of the styles that dominate Cobalt Chapel and I, Monster, Regal Worm is its own different musical entity, one that draws you in with some of the most innovative and eclectic sounds I have heard on record all year.
Regal Worn – Pig Views Trailer
https://regalworm.bandcamp.com/album/pig-views
Southern Empire – Civilisation
This one is getting into a lot of these lists, absolutely no doubt of the fact that Southern Empire have toured the pants off it in the UK, making new friends and winning converts to the cause. Their spellbinding and stage stealing set at HRH Prog in November brought them to my attention, having never heard them before.
This is their second album and starts with the wonderfully progtatstically titled Goliath's Moon, a song I know that polarises opinion. However, having seen them perform it live, with frontman Danny Lopresto in fine form, it's a fab opener to an album filled with wonderful music.
These 4 tracks, yup 4 tracks, are the finest sound of contemporary progressive music lasting over 70 minutes. There's plenty to love about this album from the wonderful epic tracks Cries for the Lonely and Crossroads and the keyboard and vocal work of Sean Timms, who formed this band after Unitopia folded. The guitars of Danny and Cam Blokland work so well together and the sound is fleshed out by the sterling Brody Green on drums and Jez Martin on bass and vocals.
The harmony vocals are a core part of their unique sound and they mix rock, metal and prog into an amazing sound and, in Danny they have an irrepressible and charming frontman.
The guys put on a show and have made a belter of an album and, if it wasn't for seeing them at HRH, this album would probably have completely passed me by. So well done chaps, a late entry into my top ten, but well worth it.
Southern Empire – Goliath's Moon
https://www.gep.co.uk/store/southern-empire-c-1_5/southern-empire-civilisation-p-32.html
Thumpermonkey – Make Me Young, etc.
After a long hiatus, Thumpermonkey released their latest album this year, an epic eclectic album about the upcoming apocalypse.
Now Thumpermonkey cannot be filed under easy listening and that suits me fine, they fit into a nice niche of the musical world where Gong collide with The Cardiacs and Knifeworld (or at least in my head they should do) and create something new out of the explosion.
As a reviewer who gets quite a lot of stuff sent to me from various places to listen to, I would rather receive one album like this than half a dozen generic middle of the road, let's make an album that sounds like 1974 Yes or 1976 Genesis because we're prog and it's what we do (if I want Yes circa '74, I will go put 'Relayer' on).
This stuck out so much this year from the crop of albums by its sheer otherness, it's innate musical skills and of course the fact it's bloody good. Thumpermonkey successfully mix widescreen cinemascope sounds with big riffs, piano sound to die for and an overarching concept that never feels forced or shoehorned into.
Very much like the best films and plays, the narrative drives and unfolds across these 7 tracks, and it is an album that rewards, nay demands, repeat listening (luckily, I've been enjoying it on the commute to work through my headphones, so I am there, immersed in their world and sound).
It is still an exciting and eclectic album, and whilst it's not one you can listen to in the background, it's an album that is (rightfully so) demanding of your time and attention, time and attention well spent.
Thumpermonkey – Veldt
https://thumpermonkey.bandcamp.com/album/make-me-young-etc
All that's left for me to do now is wish you a Happy Christmas, glorious New Year and hope that I've not got this up too late to influence your Christmas lists (mind you, if you get Christmas money – head over to Bandcamp on Xmas day, buy direct from the artists and have excitin music to listen to over the Chrimbo Limbo). I would like to wish all of you loyal Progradar readers a Happy New Year as well, and I will see you on the other side.
Posted on 18th December 2018 18th December 2018 Categories UncategorisedTags An Abandoned Orchid House, Brace For Impact, Bruce Soord, Civilisation, Dissolution, Grind Show, Jet Black Sea, Make Me Young Etc., North Atlantic Oscillation, Pig Views, Regal Worm, Rise of a New Ideology, She Makes War, Southern Empire, Talitha Rise, The Caves, The Overview Effect, The Pineapple Thief, The Sevateem, Thumpermonkey, Zombie PicnicLeave a comment on 2018's Top 10 Albums – Part 2 – James R Turner's Picks
2018's Top Ten Albums – Part 1 – Progradar's Picks
So, it's that time of year where us journos pick our top albums of the year. It's been another stellar year for new releases and there have been some absolutely wonderful albums that have crossed our paths here at Progradar.
Both myself and James R. Turner will give you our selections and we are starting with mine. The first nine can be taken in any order but the final album is my definitive top release of 2018!
Haken – Vector
The prog-metal trend setters returned with their most visceral and intense offering yet. Just over 40 minutes of powerful, bruising music with a definitive melodic edge that saw Ross Jennings at his powerful best as a vocalist.
Not everyone's cup of tea but to most ears, mine included, Haken delivered one of the sonic experiences of the year!
Haken – Puzzle Box
Order the album here: https://haken.lnk.to/Vector
Kingcrow – The Persistence
The masters of Italian prog-metal released their most complete album yet. 10 lovingly crafted compositions of raw, unfiltered emotion that took the band's bass, heavy roots and built on that foundation to deliver a stand out release of maturity and gravitas.
Kingcrow explored and developed their sound to become, as band member Diego Cafolla explains in the band's press release, 'a dark ambient, more modern vibe' that fits beautifully with their existing heavy rock persona.
https://lasersedge.bandcamp.com/album/the-persistence
Riversea – The Tide
The long awaited second album from Riversea, the on/off musical project of my good friends Marc Atkinson and Brendan Eyre.
There's been some good music released this year already and also some utterly outstanding albums and 'The Tide' definitely falls into the latter category. Marc and Brendan have lovingly crafted twelve pieces of music that come together to create a release of beauty and refinement and one that will stay in your heart for a very long time. It's not just music, this is something that is actually life-affirming and I can't give it higher praise than that.
Riversea – Shine
http://riversea-band.com/?page_id=129
Talitha Rise – An Abandoned Orchard House
Following on from the beautiful EP 'Blue', Talitha Rise released her debut full length album 'An Abandoned Orchid House' on June 1st. It is a release full of captivating, wistful songs wound around themes of isolation and abandonment.
In my humble opinion everybody needs music to complete their life, to give you a reason to get up every morning and go out to work and Talitha Rise has delivered one of those perfect moments in time, an album of songs of such rare quality, delivered by the most wonderful voice, that stands out like a ray of light in the darkening world that increasingly surrounds us. My music loving friends it just doesn't get any better than this!
Talitha Rise – The Lake
https://www.talitharise.com/store.html
Lux Terminus – The Courage To Be
Well, what can I say, it really does take something special to get me waxing lyrical about a new release nowadays but 'Courage To Be' is one of those rare albums that excites and inspires from the first listen but that will also have the longevity to keep you listening to it in many months to come. Virtuoso musicianship along with intelligent, involving songwriting, Lux Terminus have surely seen the light of the tunnel with this utterly captivating release.
Lux Terminus – Electrocommunion
https://luxterminus.bandcamp.com/releases
Riverside – Wasteland
One cannot truly appreciate the light unless one has first walked in the dark. We talk of the light at the end of the tunnel, you see this through the dark and it is the ultimate goal, you must, however, travel through the dark to reach the light.
Simply put 'Wasteland' is two things, a triumph of the light over the dark and a fitting tribute to Piotr Grudziński (Riverside's guitarist who died suddenly). A compelling and engrossing musical journey through darkness, grief and loss to emerge into the light. A spiritual catharsis that sees a new chapter in the life of Riverside and puts them back at the forefront where they truly belong.
Riverside – Vale Of Tears
https://burningshed.com/tag/Riverside
Glass Hammer – Chronomonaut
Albums like 'Chronomonaut' are the reason why I love music so much and it has become part of my life. It sees a band I love unafraid to take a relatively new direction, organically progressive if you like. While not completely straying from their roots, Glass Hammer have taken a path less trodden and delivered what is, without a doubt, their best album yet and a fantastic new direction of power, precision and downright soul.
Glass Hammer – Melancholy Holiday
http://glasshammer.com/official-store/
The Tangent – Proxy
'Proxy' is a joyous celebration of music, done in The Tangent'sinimitable style. It's an album that truly bears repeated listens, I'm sure Andy has left little chestnuts and references in there for people to pick up on. What we're hearing is a true progression of the band's sound that, while keeping what has always made them who they are, now resonates even more clearly with the world we live in. Music to make you think and music to lift your soul, what more can you ask for?
The Tangent – A Case Of Misplaced Optimism
https://www.thetangent.org/
Oak – False Memory Archive
I have loved music for many years, it has been with me through the highs and the lows and my life would not be complete without it. My life is now also complete with this incredible album from Oak. Albums like 'False Memory Archive' are the reason that music was created in the first place, they bring peace to your soul and joy and love to your heart and the world is a better place for them. I cannot give any higher praise than that.
Oak – We, the Drowned
https://oakinoslo.bandcamp.com/album/false-memory-archive
And so to what is my number one, favourite album of 2018. I don't think it will come as any surprise to most of you that I have gone with this incredible release…
Truly cementing themseleves as Progressive Rock's Kings of Pomp and Circumstance, Southern Empire returned with their sophomore release. Four songs that are brim full of emotion, joy and pizzazz, all delivered with true Antipodean swagger, verve and joie de vivre.
'Civilisation' was one of the early contenders for album of the year for me, one first listen it was a tremendous release that hit all the right notes and finally saw joy and elation return to the creation of music. It's as close to a must buy as anything else I've heard this year so far. Right, that's it, I'm off for another listen…
The band cemented their place at the top of my list with an incredible live performance as this year's HRH Prog in North Wales, proving that they are even better live than on record. They brought the tracks to life and added another dimension.
Southern Empire are very worthy winners of my album of the year award and are already working on album 3. I, for one, just cannot wait!
So that's my choices, please keep an eye out for James' selection which will be up shortly!
Posted on 12th December 2018 12th December 2018 Categories UncategorisedLeave a comment on 2018's Top Ten Albums – Part 1 – Progradar's Picks
HRH Prog 7 at Hafan y Môr Holiday Park in Pwllheli – by James R Turner with input from Progradar
This was my first HRH Prog, and I gleefully loaded up my car with the requisite supplies (Bottled water, Bottled Beer) and entertainment for the journey (the new Sheridan Smith album – it's rather brilliant btw, the new Robyn CD, the latest Gryphon album and Chas n Dave the EMI years) and set off on the long trek from Bristol to North Wales.
I drove through some wonderfully evocative countryside, (which I saw on the way home, as it got dark for the last two hours of my journey) not to mention the frankly terrifying visions of cars honing past me on blind bends and narrow roads. They have no fear those Welsh drivers.
On arrival I was met by Lord Progradar himself, already priming me for the wallet emptying that was coming by raving about Southern Empire. Having seen the stage times and the final rearranged running order, I was pleased to see that Southern Empire and The Strawbs no longer clashed.
It was pretty much drop the bags off, have a beer at the apartment, and then off to see the music, the first night kicking off on Stage 1.
The venue itself was an actual original holiday camp and it's been over 20 years since I last stayed in a Haven and, I have to say the accommodation was excellent, and a short (if bracing) walk to the main venue. Both the stages are next door to each other, separated by a pleasant plaza with a Burger King, Chippy, Starbucks and an open air bar.
This made ducking between stages for the sets incredibly easy and meant even if there was a slight overlap, then you didn't miss much of the bands' set. Of course, there were several clashes so some bands I was unable to see and apologise if I missed you out. Unfortunately, I couldn't be everywhere at once.
Joined by fellow prog scribe Leo Trimming and other friendly faces, the relaxed atmosphere (and probably the beer) made for a relaxed and friendly ambience. Of course, there was David and Nicola Robinson and Andy Faulkner offering to relieve us of the burden of heavy cash in our wallets in exchange for shiny discs of happiness (hell, it's a prog festival – you will go home laden with CD's. It's as inevitable as death so don't fight it).
It was a pretty packed schedule which we were launched into, I won't say gently as they were anything but, by Maschine who ticked the event off on Thursday night on Stage 1.
My biggest gripe with the festival was that the areas in front of both the stages were seated, which really took away some of the ambience and energy of the audience. Whilst there was plenty of dancing and movement going on further back in the venue, it must have been disconcerting for the bands in full rock mode to look down to a sea of faces all sat down like they were at the theatre.
The audiences were very enthusiastic, and it was a good crowd, but as a punter I do like to stand as close to the stage as I can get for at least a couple of songs, and this vital aspect of a live gig was sadly denied to me in stage 1.
A highly acclaimed act to start the festival, Maschine are full of energy and presence. Formed by Luke Machin (who must be one of the hottest young guitar players on the scene currently) and Dan Mash (Damanek) on Bass.
This young band have really grown into their sound, with the second album 'Naturalis' really building on the sound of their debut 'Rubidium'. This band environment allows Luke the space to stretch himself on stage, however the occasional shredding in the middle of what was a fantastically complex song is one that jars a little bit.
There is no denying that the band is chock full of talent, Elliott Fuller more than holds his own with Luke on guitar, Marie-Eve De Gaultier on keyboards and vocals, centre stage as if she's keeping the boys under control, and James Stewart anchors the sound with his drumming.
Bringing the material from their two albums to life on stage, Maschine set the bar high for all the other bands that followed and with their energy and power opened HRH in style.
This festival is nothing if not eclectic and Stage 1 did gain the nickname the retro stage, due to the number of classic bands performing there, and there was none more classic than the current incarnation of The Crazy World of Arthur Brown.
Fronted by one of the most distinctive front-men in rock and roll, the band did not disappoint. Arthur, in his full on God of Hell Fire face paint, and celebrating 50 years since the band's debut album. To commemorate this fact, they played the first half of the record before launching into some newer material.
Arthur, as ever, is the consummate showman and the bands blend of blues and psych was performed by the latest incarnation, including a fantastic female guitar and keyboard pairing. These younger musicians, overseen by musical director Jeavon Beaumont, really put some spark into the music.
It even takes you back to old school psych festivals when, during some of the longer spacier moments, the band building a real groove, a female dancer comes on. The only thing that looks a tad uncomfortable is Arthur (about my Dad's age) dancing and gyrating around the younger female guitarists, looking like a creepy Uncle in a nightclub.
Other than that, his voice still has all the power that it ever had and with their psych lightshow and deep groove (and a taut band), they put on a great show.
(Picture by Gareth Cole)
Headline act for the night, and band of the night for me was The Martin Barre Band, putting on a barnstorming performance, mixing new material and classic Tull tracks, the band put on brilliant performance. Vocalist Dan Crisp bringing the early style of Ian Anderson to mind, without this being a tribute act style.
Progradar – I have to echo Jame's thoughts on The Martin Barre band, it was a powerful and consummate performance. The tracks from latest release 'Roads Less Travelled' were blended perfectly with the classic Tull material and others. Martin's guitar playing was incredible and Dan Crisp's vocals perfectly matched.
For me, the highlights were the title track from the new album and (This Is) My Driving Song, both fiery, blues infused and powerful tracks. There was an electric energy running throughout the set and it made for a great end to the first day.
Heading back to the apartment for beer and a wind down after a long journey, this was a perfect opening to this three day bender Festival.
Day 2 started at the civilised time of 13:20 over in Stage 1, so there was plenty of time for me to go for a nice walk along the cliff tops, admire the Northern Wales coastline scenery and meander along the beach, before rendezvousing with Martin, who had been for a run.
A full English (or should that be Welsh?) in Porthmadog with Leo, set us up nicely for an afternoon and evening of entertainment. As locations go, a Prog festival in picturesque North Wales is certainly one I would recommend if they ever come back here again, as they are moving to London for next year's festival.
On Friday I spent a lot of my time over in Stage 1 but before that the first full set of Friday was kicked off by I Am The Manic Whale in Stage 2.
I know Martin is going to go into their set in more detail, but I had spent the whole morning defending my position as a Doctor Who but not a Whovian, and then what did I Am The Manic Whale play? A song about Doctor Who complete with a fully progged out version of the iconic theme tune which brought a smile to my face.
Their set was a great way to start the Friday with and I will be looking forward to seeing them again.
Progradar – The first band on a Friday lunchtime have a real task to energise the audience but I Am The Manic Whale soon had a fairly sizeable crowd rocking along to their high tempo, feel good style of progressive rock. With a set list comprising tracks from both of their releases, 'Everything Beautiful In Time' and 'Gathering The Waters', this unassuming band garnered many new fans with their excellent performance.
Over in Stage 1, Haze, currently celebrating their 40th year in existence put a great show on.
Led by the McMahon brothers, Chris (on bass/keys/vocals) and Paul on guitar and vocals, it was a romp through old and new material covering the bands existence. It's been 20 years since I saw them and, since then, they released their album 'The Last Battle' back in 2013which mixed their sound up. Joined by Paul's son Danny on drums and Ceri Ashton on vocals and flutes, they put on a fantastic show. Chris has lost none of his energy and stage presence and Paul's vocals and guitar work was as great as I remember it from the 'World Turtle' days.
Danny on the drums adds some real power to the band, and it's great to see the band carrying on as a family affair. They put on a fantastic set and were one of the bands I'd wanted to reacquaint myself with this weekend, and I am glad I did.
Following Haze were Tir na nOg, one of the legendary Irish folk duos, comprising Sonny Condell and Leo O'Kelly who, after a long hiatus, are now back out there playing a mixture of classic tracks and more contemporary material. Considering they are just an acoustic duo, they managed to hold the audiences attention and, while there were occasional drifts into folk singer cliché, they utilised looping and percussive beats on other tracks to put on a fantastic set that kept the audience entertained.
Progradar – Following I Am The Manic Whale on Stage 2 were The Amber Herd, a band I'd never heard of before but one who produced a rather flawless set of folk rock/prog with intelligence and humour. As James has already stated, it's difficult to catch every band at a festival like this but I'm glad I caught this trio as they were on of my surprise highlights of day 2.
Over on Stage 2 I was able to catch some of Mother Black Caps' set, they had their 'team' out in force the night before passing out fliers and drumming up support, and while I didn't manage to stay very long, I found I enjoyed their blend of rock and would have liked to have seen a bit more. Unfortunately, with festivals like this, you do find there are clashes.
Back over to the Stage 1 arena I was in time to catch the whole set from Birmingham instrumental trio Axiom, who were last minute replacements, hot footing it down to North Wales from the Midlands, complete with their drummers' dogs.
This instrumental power trio of Zaid Crowe on guitar, Josh Ainsworth on drums and Stuart Drinkwater on bass were a revelation and one of the star acts of the Friday. Pulling together an impressive musical arsenal, they blend riffs with beats and they sit very nicely in the same area as bands like The Fierce and the Dead and Zombie Picnic.
Clever, progressive instrumental rock that is very easy to get into and enjoy, they also proved they have a sense of humour and don't take themselves too seriously by playing a track that included some of their favourite riffs, mixing Michael Jackson's Beat It with some Thin Lizzy and then the Death Star March tune from Star Wars got a great reception, it was fantastic to see a new exciting band like these guys really bringing it to life on Stage 1. I rather suspect that we will be hearing a lot more from this talented trio in the future.
A quick nip back over to Stage 2 enjoy the rest of Final Conflict's set, a band who I've not seen, like Haze in about 20 years, and it was good to see that they are as strong as ever, with their own brand of Floydian-esque rock they know how to put on a show, and the audience seemed attentive.
Following them was a band who were new to me, an act called GU-RU, another musical trio who, with Lee Spreadbury on keys and vocals, Malcolm D'Sa on drums and Naomi Perera on flute and vocals, created quite a unique sound.
The mixture of the drums, the flute and the keys created a fantastically eclectic musical mix going from old school prog to real psych sounds and heading into full on dance music, while Perera's flute soared throughout. Spreadbury is a bona fide old school prog keyboard player, full of charm and stage presence and plenty of musical chops.
In fact, GU-RU had magnificent stage presence and a sense of how to entertain the audience, and I managed to catch nearly all their set. They were really entertaining with a unique and different sound to some of the other guitar heavy bands. That really captured my attention as I love artists who will mix things up and go down a different road to everyone else.
GU-RU are one of those bands and they really played a fantastic set.
(Editor – We have this strange image because, despite James saying Wishbone Ash are one of his favourite bands, he didn't manage to provide a picture!)
It was back over to Stage 1 for the founder member of one of my favourite bands. I was chatting to someone about the mammoth Wishbone Ash box that came out earlier in the year, it really is a thing of beauty. I know it was expensive, but I have loved Wishbone Ash for over 20 years and it was a perfect opportunity to get everything all in one place for me, and that's why I was really looking forward to Martin Turner's set.
I have seen Martin Turner's band before, and the Andy Powell version of Wishbone Ash and while I like the fact that these bands are still out there and playing the music, Martin's band just edges it for me. The reason why is that he plays a lot of the deeper cuts and back catalogue stuff that Andy Powell doesn't, throwing in a blinding version of Front Page News for instance, Persephone also got an airing as did the title track to the latest studio album, Written in the Stars.
Obviously sets like this are truncated so the band, which is currently touring the Wishbone Ash debut album in its entirety, cut that back and played a few numbers from there and rounded the set off with a blinding trio from 'Argus', Warrior, Throw Down the Sword and Blowin' Free.
Martin was on top form with his between song banter and his bass work is asnifty as ever, the twin guitar work of Danny Wilson and Misha Nikolic replicates the sound of the original band but, as both men are incredibly talented guitarists, they aren't merely copying. They put their own stamp on the sound and are clearly having fun playing together, while drummer Tim Brown anchors the sound.
This is clearly Martin Turner's musical vision and he takes both the audience and the band with him as he plays the music he created. It's no nostalgia fest either as he and his talented band make their own mark on these songs and breathe new life into them.
Headliners on Stage 1 on Friday were Neo-Prog legends Pendragon, celebrating their first 40 years with the tour of the same name.
Nick Barrett's distinctive guitar and vocal work is, as ever, front and centre, while the core line up of Peter Gee on bass, Clive Nolan on keys and Jan-Vincent Valazco on drums were augmented by Verity White and Zoe Devenish, who help to flesh out the already mighty sound of Pendragon.
These guys have been touring and performing for a very long time, and Nick and Clive are both masters of their respective instruments. Though I have seen Pendragon live more times than I care to remember, this is the first time I've seen them with the additional female vocals, and this new dimension to the bands sound really makes a difference.
The auditorium was packed, and it was heartening to see several younger punters here (and by that, I mean people younger than me – at 41, according to Martin I brought the average age down!)
Performing a set covering all the classic Pendragon eras, after all 40 years is a hell of a lot of music to cover, Nick and the gang managed to mix the set up and include tracks like Green and Pleasant Land (with its slightly dubious lyrical content, I am not sure how tongue in cheek it is with some of the sentiments expressed) among others, which kept the crowd entertained.
Having enjoyed another full day of music and discovering new bands to go with my appreciation of some of the more vintage acts, HRH put on a good mix.
Progradar -I had, early evening, shot off to meet up with Sean Timms, Danny Lopresto and Brody Green of Southern Empire:
It was an impromptu interview which, unfortunately, I didn't record (the official interview will be aired soon) but we talked about all things Empyrean and the music in general over (quite) a few beers. I did manage to get back in time to catch part of a wonderful set from Luna Rossa, their ethereal sound and waif like grace ever ceases to calm my heart rate and Anne-Marie Helder was on top form this night.
Saturday, we had a lovely trip out to Criccieth Castle with those TPA boys Leo Trimming and David Glaves (there is no competition between the prog review websites, we're a friendly bunch of guys), just up the coast from Pwllheli, before the music started. The view was stunning and, as the castle is part of the ring of castles in North Wales, it would be rude to not visit whilst we were up there. We then found a pleasant café where we enjoyed our full Welsh breakfast to set us up for the days progging.
Martin was busy doing interviewing things (Ed: it's called 'work' James), so I spent plenty of time at the bar, drinking with Gareth Cole flitting between the two different arenas to see as many sets as I could.
I spoke to Al Winter, frontman for This Winter Machine, this time last year when their debut album, 'The Man Who Never Was', had just been released and was getting great reviews. Since then, the band has recorded their second album, and been making waves with their well-received live shows.
This was the first time I had seen them and, having really enjoyed their debut, I was looking forward to their set.
They did not disappoint, Al was on fine form, his vocals really superb, and he worked that stage (& the audience) like he owned it, the new material from the forthcoming album fitted in perfectly with the songs from 'The Man Who Never Was', a perfect evolution of the bands sound and approach, and when they finished their hour long set (4 or 5 songs I think, but hey this is Prog) they got a standing ovation (the first opening band, I Am The Manic Whale, also got one on Friday).
The band made a fare few new fans and friends, and I am sure that they sold plenty of CD's (Al knowing how to push his product by reminding the audience exactly where the merch was). Sometimes opening a festival can be a thankless task, it's not known as the graveyard slot for nothing, but, like I Am The Manic Whale before them, This Winter Machine took full opportunity of this to get the day started in style. It followed the tone of the weekend, while the bigger names were on Stage 1, some of the more eclectic and exciting acts were on Stage 2.
There is a delicious irony in me typing that as bar Southern Empire and Gandalf's Fist, I spent pretty much all Saturday in Stage 1 (& part of it enjoying the company of Gareth Cole, Chris Bembridge & Richard Thresh – splendid chaps, all of them).
I saw some of Goldray's set, the new band from former Reef guitarist Kenwyn House, with vocals from Leah Rasmussen. This weekend certainly had an interesting mix of classic rock sounds and psych sounds and Goldray were certainly out there.
From their glittery stage presence, to the light show, and the hypnotic musical sound they are at the forefront of the psych revival and about as far from Reefs sound as is possible to get. Leah has a magnetic stage presence, and plenty of star quality whilst the guitar work of Kenwyn was sublime. A complete glittery contrast to the next band on Stage 1, Jump.
Now out of all the bands that play for the CRS and that I have seen, I reckon I have seen Jump nigh on 30 times and they have never played the same set twice.
Fronted by Celtic bard John Dexter Jones, still looking as lithe and nimble as when I first saw him, he is the reminder of the fact that the protest song is still as relevant as it ever was and why musicians must talk about politics and life.
I read a lot of guff online about people saying that musicians shouldn't talk about politics in their music and they should keep their art separate. Why? Is always my stock answer, they are making their art and it is not up to us to dictate what anyone should sing about. I remember the Jump song Tower of Babel, inspired by someone telling John he shouldn't swear so much. Politics is everywhere, it dictates house prices, it permeates out every being, everything that happens to us and society is dictated to by politics, so musicians should reflect that in what they do if they are being true to themselves and their art.
He is a passionate, articulate and intelligent frontman who comes from proud Welsh stock and his history is as important as our future. This was evident in this truly impassioned and powerful set, featuring as it did, several songs that still resonate and sadly, despite being written a while ago, are still as relevant as they ever were.
The scathing Moscow Circus (taken from my favourite Jump album 'Matthew') and the new poem to music The Station Parade segueing into The Sniper from 'The Beachcomber' album, were two personally poignant insights about the First World War in the 100th year since it finished and telling of the folly of war and the story of one of John's Great Uncles.
However, the highlight and most powerful song of their set, nay the weekend, was their new number Breaking Point, the title taken from 'that' EU referendum poster. It is Johns most brutal and impassioned takedown of this whole Brexit clusterfuck and rise of the right, I doubt there was anyone in there who wasn't moved and understood the message behind the song.
Jump as a band are peerless live and they just get so much better with age, like a fine wine, with the twin guitar sounds of Steve Hayes and Ronnie Rundle trading licks and rolling riffs from one side to the other, whilst Mo on keys adds a lot of texture to the sounds. Andy Barker on drums keeps the beat going while newest member, Mark Pittam on bass, fits in perfectly with the band ethos.
JDJ made a humorous comment from a previous review about him hectoring and haranguing an audience, and you know what, for the quality of the performance and the songs I would happily be hectored and harangued for another few hours thank you very much.
I saw very little of Stage 2 during this period, which upsets me slightly as I had the misfortune to see some of the band that followed Jumps set.
Davy O'List's The Attack, now Davy has an impressive prog pedigree, and an interesting back story, however I watched about 10 minutes of The Attack, of which at least two were the band stood in silence on the stage after finishing one song and none of them quite knowing what was happening next. At one point it looked like the band were all playing different songs, very little audience interaction and not much entertainment.
Sorry chaps, it wasn't for me and I think a bit more rehearsal could have gone into this!
Progradar: I got back from interviewing duties just in time to catch German progressive metallers Deafening Opera on Stage 2 and I'm glad I did, their blend of powerful prog metal along with great melodies went down a real storm with the growing crowd. These young musicians were not only technically excellent but played with a lot of verve and a lot of soul. The 80 minute set was a great success and set everybody up for the next act…
I have been a big fan of Aussie melodic proggers Southern Empire for a while. Their first, self-titled, album crept under the radar a bit but the sophomore release of 'Civilisation' has seen them rapidly come to a lot of people's attention.
With the charismatic Danny Lopresto on vocals and guitar, Cam Blokland on lead guitar, Brody Green on drums, Jez Martin on bass and Sean Timms as erstwhile bandleader and keyboardist, the band delivered a flawless set of dynamic, powerful and downright soulful music. Saxophonist James Capatch added a layer of impressive sophistication and Southern Empire proceeded to literally blow the audience away with their incredible storytelling and joyous music.
Opening with Forest Fire from the debut album and then following up with two lengthy tracks, Cries For The Lonely and Crossroads, from 'Civilisation', these marvelous entertainers from Adelaide had everybody lost in the moment and in the palm of their hands. Cam and Danny's guitar interplay was brilliant and added a real fun feel to what was the utter highlight of the weekend for me.
A live performance that was one of the best I have ever seen and one which I later called a musical epiphany, if you ever get the chance to see these guys live then do not miss it for the world!
Back to James for his take on Southern Empire…
Making their HRH debut meanwhile over on Stage 2 was Southern Empire, formed by Aussie keyboard player Sean Timms, recently recovering from a heart attack, the timings were adjusted so they didn't clash with The Strawbsand boy was I glad about that.Wwith livewire frontman and guitarist Danny Lopresto in fine form, and the formidable musical attack by the rest of the guys, Southern Empire were the band of the weekend for me.
Every festival I have ever been to always has the 'why the fuck haven't I heard this before?' moment, and for me this moment was watching Southern Empire.
They filled the Stage 2 arena, put on an hour and 15 minutes of blinding music and left having won the hearts and minds of the arena. Those people saying 'You must see Southern Empire' were right, and much as I loathe to admit it (as it'll give him a big head) Lord Progradar himself was bang on the money by saying these guys would be band of the weekend.
To think, if they hadn't adjusted the timings due to pressure from fans wanting to see both Southern Empire and The Strawbs, I'd have missed this show, and I would have been completely gutted.
(Yes, I did leave having bought both Southern Empire albums, and they made excellent companions on the 4 and half hour journey home).
Progradar: Next up on Stage 2 were the wonderful 'progressive piano trio' Exploring Birdsong. I'd interviewed this young trio earlier and they came across as very wise heads on young shoulders and their set proved this to be very true. Drummer Matt Harrison, bassist Jonny Knight and pianist/vocalist Lynsey Ward delivered music that was a powerful combination of pop sensibilities and progressive compositions, all topped off by Lynsey's soulful vocals.
Their recently released track, The Dowpour, is a cut glass piece of songwriting that belies their relatively tender years and was delivered superbly to the rapt audience. These three have a bright future ahead of them if this performance is anything to go by.
Back to my spiritual home for the day, Stage 1, for a set celebrating 50 years of The Strawbs. David Cousins had been unwell recently and so to see him on stage, surrounded by mainstays Dave Lambert on guitar, Chas Cronk on bass, Tony Fernandez on drums and, relative new boy, Dave Bainbridge on keys, they really went to town and played an explosive set.
Having jumped across many genres and styles, The Strawbs complex and intelligent music weaves between folk, rock and softer sounds and , for HRH, they pulled out all the big guns and gave us an eclectic electric set.
Mixing material from new album 'The Ferryman's Curse' (tracks like The Nails from the Hands of Christ fitted the setlist like it had always been there) with an astonishing version of Ghosts, an emotive and powerful New World and a truncated quartet from their 'Hero and Heroine' set (Autumn, Hero and Heroine, Out in the Cold and Lay a Little Light on Me), they rounded off a powerfully strong set with the 'Bursting at the Seams' favourites The River and Down By The Sea.
This was an intense show of power by The Strawbs and shows how much energy and power the band have, it also shows that, with the newer material and the addition of Dave Bainbridge on keys, even after 50 years, Dave Cousins and the band are relevant, important and still have so much more to say musically.
I am glad the concert was rejigged so these guys and Southern Empire didn't clash, as both their sets were important parts of this festival jigsaw and I am so glad I got to see an all-electric full band The Strawbs set in their anniversary year.
Following on from The Strawbs, and in one of the contradictory and different pairings that HRH seems to relish was another classic band celebrating their 50th anniversary. The original psychedelic warlords and musical anarchists Hawkwind.
Astonishingly, despite having loved this band since I discovered 'Warrior On The Edge Of Time' back at Uni in 1995. This is the first time I have ever seen Hawkwind live and, again, like The Strawbs, Jump, Gandalf's Fist and Martin Turner, was one of my 'must see' bands of the weekend.
My favourite Hawkwind album is Warrior and so it was with great delight that they opened the set with Assault and Battery and The Golden Void, Dave Brock on fine form with guitar and vocals, while the line-up, currently down to a four piece of long serving drummer Richard Chadwick whose been with the band for 20 years (and who my chiropractor used to rent a room from, randomly!), Niall Hone on bass and vocals and newest member Magnus Martin, were, in suitably psychedelic fashion,just mesmerising.
The set included an incredibly extended version of the classic Damnation Alley where the riffs and extended improvisations contained more ideas than some bands have on an album, an arresting and brain melting Sonic Attack and a metronomical version of Born To Go.
We did duck out before the end due to the closing band on Stage 2 getting ready to start, but Hawkwind demonstrated why they are the original, and best, psych band still treading the board, and it's full testament to the vision and skill of Dave Brock to keep this band on the road, playing these amazing tracks to an audience who clearly idolised everything they did.
One of the bands I have wanted to see for aeons, ever since I reviewed the album 'A Forest of Fey' back in 2013 for the DPRP, was Gandalf's Fist, their drummer Stefan Hepe is a fellow naughty pachyderm. The way the band has expanded organically is brilliant, and then they blew everyone else out of the water in 2016 with their triple disc epic 'The Clockwork Fable'.
Founder members multi-instrumentalist Dean Marsh and lyricist and vocalist Luke Severn have created a band around them with Stefan on drums, Ben Bell (Patchwork Cacophony – whose albums you need in your life) on keys, Christopher Ewen on bass and Keri Farish on vocals, this 6 piece absolutely owned the stage,and they were the perfect band to end the festival.
Making a brave choice to kick off with the unreleased track Leader of Men, from the opening bar they got the whole of the second stage on side. After all, the Fisters have previous having already fisted an HRH to within an inch of its life.
Pulling together a set list covering all bases (and, of course, the merch desk had all their CD's including 'The Road to Darkness' reissue, 'A Day In The Life Of A Universal Wanderer', 'Forest of Fey' and 'Clockwork Fable', which I definitely didn't buy the lot of to play on my journey home – here's a tip for free, if you write for a prog website and know beyond doubt that your beloved better half won't read this review, when smuggling CD's into the house and hiding how much you spent, the phrase 'review copies' is one that you can get a lot of mileage from!)
Of course, the buggers pulled out the epic Eve's Song from 'Clockwork Fable', which brought a tear to my eye, either that or I was sobbing at how much I'd spent but, either way, the powerfully emotive vocals of Keri Farish really brought this to life live and, of course, the band were on fire throughout.
The witty intro to Emerald Eyes (careful with that plagiarism Eugene) hinted at where the inspiration for this song came from and the between song banter between Luke and Dean was hilarious.
Songs from 'Forest of the Fey' (do Gandalf's Fist deliberately try to provoke proggers with these titles?!?) mixed with the wonderful pieces from 'A Clockwork Fable' (a bloody marvellous live rendition of The Capture, for instance) show how much passion and energy the band put into their music. Another new song, The Warden, formed an integral part of the set and I cannot wait to hear the album that becomes part of.
From being a studio project to a fully fledged live band is not the easiest journey for some artists but Dean and Luke have chosen the perfect travelling companions. Stefan and Chris on drums and bass provide the perfect anchor points to allow keyboard wizard (in a top hat instead of a cape) Ben to sprinkle his magic all over the songs (seriously, you need to buy his Patchwork Cacophony albums) and Keri is the perfect blend of star vocalist and frontwoman, adding some real heart and soul to her musical performance and looking like this band have been together for ever.
From a competition to find the maddest prog name, to being real contenders for one of the most innovative and exciting prog bands out there, Gandalf's Fist have had a tremendous few years, this set confirming what we all knew.
They are the future of prog and it was brilliant to see them play to a room full of appreciative fans, who stayed up well past their bedtime, looking at the at the age of them. We were well and truly Fisted, and I wouldn't have had it any other way.
Progradar: I can echo James' sentiments completely here, Gandalf's Fist really did deliver a performance worthy of the final headliners on Stage 2. The impressive musicianship was matched by the peerless songs. To be fair, they are a band you either get or you don't but I'm a big fan of their steam punk fantasy lyrics and ideas and, in Keri Farish, they have a vocalist who can capture an audience and hold them in her spell.
Dean's sometimes crushing riffs give a visceral quality to the fantastical music and the rest of the band are all superb musicians imbuing the whole set with style and verve. Being the final act there was almost party feel to the performance with the audience thoroughly enjoying every track and giving the band well deserved standing ovation at the end. A wonderful way to close out the weekend.
I am a great believer in the healing power of music, and music, brings us together and unites us under one common cause, if only other things in life were so easy.
The HRH Prog festival crams a lot into the three days on site and I am very sorry to the bands that I couldn't get to see due to clashes but, in events like this, you're never going to see everyone, and I am glad I saw the sets I did. While I was most looking forward to seeing Gandalf's Fist, who did not disappoint in any way shape or form, Southern Empire with their empirical and dominating set, just edged it for me as band of the festival.
The next HRH Prog is down in that there London, whether it will retain the family feel of this one I am not sure but, if the line up is anywhere near as strong as this, then any attendees won't be disappointed.
People talk about the diminishing returns and lack of punters for small local prog gigs, I do wonder if this model isn't the future, it might cost a little more, and take out more of your time, but I loved the friendliness, the convenience, and the way of seeing a combination of bands I loved and new bands that I now love, all within a very small dash between two stages.
Hats off to all the folks involved in pulling this together, and a massive thanks for letting me tag along and be a small part of something much, much bigger.
Progradar: HRH Prog 2018 was a huge success for me, excellent bands spread across two excellent stages with all the support network (food, beer, water etc.) very close to hand. The location had a hell of lot to do with the brilliant atmosphere and time will tell if the Shepherds Bush Empire venue will be as accommodating next year.
The highlights were Martin Barre, I Am The Manic Whale, This Winter Machine and Gandalf's Fist but the star band of the whole weekend were the incredible and magnificent Southern Empire.
Keep your eyes peeled for forthcoming interviews from HRH Prog 2018 with Southern Empire, Exploring Birdsong and Gandalf's Fist.
Posted on 9th December 2018 9th December 2018 Categories Gigs/Tour News, NewsTags Axiom, Brody Green, Cam Blokland, Dan Mash, Daniel Lopresto, Deafening Opera, Exploring Birdsong, Final Conflict, Gandalf's Fist, Goldray, GU-RU, Hawkwind, Haze, HRH Prog 7, I Am The Manic Whale, James Capatch, James R. Turner, James Stewart, Jez Martin, Jump, LukeMachin, Luna Rossa, Marie-Eve de Gaultier, Martin Barre, Martin Hutchinson, Martin Turner's Wishbone Ash, MASCHINE, Mother Black Caps, Pendragon, Progradar, Sean Timms, Southern Empire, The Crazy World of Arthur Brown, The Strawbs, This Winter Machine, Tir na nOg2 Comments on HRH Prog 7 at Hafan y Môr Holiday Park in Pwllheli – by James R Turner with input from Progradar


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Milan Váchal (* 1965 Plzeň) je plzeňský profesionální fotograf, autor kalendářů, katalogů, billboardů, pohlednic a dvou knih (Fotoobrazy: Plzeň a okolí; Šumava kouzelná a umírající), které prezentují témata výlučně prostřednictvím jeho leteckých fotografií.

Život
Milan Váchal, narozený v roce 1965 v Plzni, maturoval v roce 1984 na Střední průmyslové škole (SPŠ) elektrotechnické v Plzni, emigroval ve svých 22 letech do Rakouska. V hlavním městě Štýrska – Štýrském Hradci se stal dvorním fotografem u dvou divadelních skupin: "Echitna Theater" a "Theater Marz" (s nimi částečně spolupracuje až do současnosti – rok 2020). Po sametové revoluci se (v roce 1991) vrátil do Československa. Profesionální fotografii se zabývá od roku 1991. Uměleckým fotografem Divadla Josefa Kajetána Tyla v Plzni se stal na základě výběrového řízení. Od roku 1993 se živí jako fotograf na volné noze. Spolupracuje s novinami Plzeňský deník, Blesk a s hudebními časopisy Report, Rock & Pop, dále pak s časopisy Pes přítel člověka, Vital a Regenerace. Zabývá se především technickou a reklamní fotografií, dále pak leteckou fotografií, reportážní fotografií, makrofotografií, uměleckou fotografií a rovněž i portrétní tvorbou.

Výstavy
 2001 – "Lesk a bída Indie",
 2002 – "BIG BEAT",
 2008 – "Karneval v Benátkách" a
 2017 – "KAOLÍNKA".

Publikace
 VÁCHAL, Milan. Plzeň s nadhledem 2007. Plzeň: Milan Váchal, 2006. 12 listů, poznámka: kalendář obsahuje letecké fotografie.
 VÁCHAL, Milan. Plzeňské nálady 2008 (grafika). Plzeň: Nakladatel: Jan Košťál, 2007, copyright: 2007, poznámka: 12 nečíslovaných listů, barevné ilustrace, fotografie Milana Váchala, kalendář.
 VÁCHAL, Milan. Fotoobrazy: Plzeň a okolí. 1. vydání Plzeň: Apollon, 2009; 170 stran. , poznámka: letecké fotografie Milana Váchala (texty Zdeněk Roučka, Milan Váchal)
 VÁCHAL, Milan. Šumava kouzelná a umírající. 1. vydání Plzeň: Apollon, 2009; 188 stran. , poznámka: Celkem 160 snímků barevných leteckých pohledů na šumavské hory, hřebeny, jezera, řeky, slatě, údolí, louky a obce bylo vybráno asi ze 4 tisíc fotografií Milana Váchala. Projekt vedl plzeňský publicista a znalec Šumavy Zdeněk Roučka, který se podílel nejen na výběru snímků, ale i na doprovodných textech k nim.

Výběr akcí
 V únoru roku 2018 se uskutečnila v plzeňské Visio Art Gallery na Roudné výstava tří kolekcí Váchlových "fotoobrazů". První kolekce obsahovala velkoformátové snímky (tištěné na malířských plátnech o rozměrech 1,5 x 1,0 m) z české i německé strany Šumavy; druhá kolekce představila fotoobrazy (tištěné na dibondových deskách) z cest po Řecku, Francii a Itálii; třetí kolekce prezentovala fotografie (technologie: adjustace fotografií na plexiskle) s tematikou architektury moderního Berlína.

 Od 25. května 2020 do konce července 2020 se ve spálenopoříčském Infocentru konala výstava velkoformátových barevných fotoobrazů Milana Váchala s tematikou šumavské přírody.

 Některé Váchalovy velkoformátové fotografie (s tematikou Šumavy, které se intenzivně věnuje) tištěné na fotografické plátno jsou k vidění v pizzerii – restaurantu Mikulášská na Mikulášském náměstí v Plzni.

Odkazy

Poznámky

Reference

Související články
 Fotografové Šumavy

Externí odkazy

 Webové stránky
 Milan Váchal na výstavě ve Visio Art Gallery v Plzni na Roudné (rok 2018)
 Kanál Milana Váchala na YouTube
  – Délka videa: 02:10; Datum: 14. 2. 2018

Narození v roce 1965
Narození v Plzni
Dvorní fotografové
Divadelní fotografové
Reklamní fotografové
Reportážní fotografové
Fotožurnalisté
Portrétní fotografové
Fotografové krajin
Fotografové přírody
Fotografové z Plzně
Žijící lidé
Muži

redpajama_set_name: RedPajamaWikipedia


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Missing Florida girl re-unites with mother 14 years later
image source, Clermont Police Departmentimage captionAngelica Vences-Salgado (left) was reunited with her missing daughter Jacqueline Hernandez on Monday
Fourteen years after she was allegedly abducted by her father, a Florida girl has been reunited with her mother at the US-Mexico border, police say.
The 2007 disappearance of six-year-old Jacqueline Hernandez was a cold case until this month, when she reportedly contacted her mother on Facebook.
Ms Hernandez, now 19, told Angelica Vences-Salgado that she was in Mexico. They reunited on Monday in Texas.
Investigators who intercepted the pair have verified Ms Hernandez's identity.
The reunification effort drew on the resources of multiple law enforcement agencies at the state and federal levels.
British actress Tanya Fear found safe in LA
Helicopter finds missing girl asleep in field
Toddler abducted and taken to Spain
Ms Hernandez – a native of Clermont, Florida – was allegedly kidnapped from her home by her father Pablo Hernandez on 22 December 2007.
A felony warrant was issued at the time, as authorities expected that the pair may travel to Mexico. The current whereabouts of Mr Hernandez remain unclear.
On 2 September, Ms Vences-Salgado reached out to Clermont police, saying she had been contacted online by a woman claiming to be her daughter.
Police in Florida and Texas, as well as investigators from the Department of Homeland Security, created a plan to "intercept" the young woman during her meeting with Ms Vences-Salgado to verify her identity.
In their Facebook exchange, Ms Hernandez and Ms Vences-Salgado agreed to meet at a point of entry to the US in Laredo, Texas.
Documentation soon proved that she was Ms Vences-Salgado's child.
In a statement on Monday, Clermont police chief Charles Broad said the coordinated effort created "a force multiplier" that helped reunite the pair after 14 years.
The Clermont Police Department did not immediately respond to a request for comment by the BBC.
Afghanistan: Taliban leaders in bust-up at presidential palace, sources say
Comedian Norm MacDonald dead at 61 from cancer

redpajama_set_name: RedPajamaCommonCrawl


text:
City Business Climate Alliance Guide - Accelerating Climate Action
Home > Research > Global reports > City Business Climate Alliance Guide
Cities cover less than 2% of the earth's surface but account for roughly 76% of global CO2 emissions.
Yet, shaped and financed by the private sector, some control just 4% of their emissions. This is why cities and businesses must come together, to deliver the ambitious and coordinated local climate action we need to slash emissions.
The CBCA model
The City-Business Climate Alliance builds on the successful experience of the London Business Climate Leaders (LBCL), an initiative of C40, CDP, The B Team and the We Mean Business Coalition - which saw the Mayor of London work with leading companies including Derwent London, Sky and Tesco to take action on clean energy, sustainable buildings, clean transport, waste and circular economy – as well as review of 30 city-business partnerships from around the world.
The model stands out from other public-private partnerships, with the city working with multiple businesses to co-create solutions to drive down emissions and adapt to climate change. By engaging the capacity, experience and innovation of the business community, the CBCA allows partners to implement critical projects, align priorities across sectors, and encourage collaboration across cities and within city departments.
This is seen in the example of Helsinki, where 29 public and private partners from the Helsinki Metropolitan cities, businesses, universities, research institutions and state actors are collaborating to deliver climate solutions, an initiative known as The Smart & Clean Foundation. Its spearhead project is building a circular economy for plastics, tackling the plastics value chain and ensuring that all plastic waste is reused or reprocessed into new material. Only 6% of virgin plastic is currently recycled into new materials.
The CBCA Guide is designed for city governments who want to work with their local business community to address the challenges of climate change. Besides Helsinki, the guide draws on the real-world examples of Boston, London and Paris to walk through the key steps and phases to establish a CBCA.
I want London businesses to lead the world in taking bold, innovative action to help tackle the climate crisis. My Business Climate Leaders programme is helping London companies make their buildings more sustainable, use cleaner transport, and reduce waste, and I am pleased that we can share our experiences as part of the new Alliance. As we work towards London becoming a zero-carbon city, businesses play an important part in helping us achieve our climate goals.
Sadiq Khan, Mayor of London
Download the guide here (4 MB)
The City-Business Climate Alliance is a joint initiative of C40 Cities, CDP and World Business Council for Sustainable Development (WBCSD).


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New York:The discovery of a four-legged fossil of a snake in Brazil's Crato Formation suggests that this suborder may have evolved from burrowing, rather than marine, ancestors.
The unique four-legged specimen found gives more insight into how these creatures evolved into the sleek reptiles that we are familiar with today.
By analysing both the genetics and the morphological features of this species compared to other known snake species, the authors said that the four-legged creature is in fact an ancestor of modern-day snakes.
"We've found the ancestor of all snakes. We have found the missing link between four-legged lizards and snakes," co-researcher David Martill, a professor of paleobiology at the University of Portsmouth, Britain was quoted as saying in Live SCience.
The study appeared online in the journal Science.
"The newly discovered species Tetrapodophis amplectus, which lived during the Early Cretaceous 146 to 100 million years ago, maintains many classic snake features, such as a short snout, long braincase, elongated body, scales, fanged teeth and a flexible jaw to swallow large prey," Martill said.
The main and glaring difference is Tetrapodophis's four limbs, which seems not been used for locomotion.
The limbs were used for grasping either to seize prey or to clasp during mating.
The specimen lacks the long, laterally compressed tail typically found in aquatic animals, further suggesting that snakes did not evolve from marine ancestors.
Thus, this intriguing fossil hints at how snakes eventually slithered their way into the modern world.


text:
By Bill Reddy, LAc, Dipl. Ac.
The conversation is changing in the broader healthcare community with patients actually moving the discussion toward more integrative topics. Patients today want to know their options. They want forms of care that include mainstream medicine, acupuncture, massage therapy, spiritual counseling, nutrition counseling, and more.
Patients don't necessarily want to just manage symptoms, they want to live healtheir lives and are looking for the experts that can help them achieve their health goals. Last year, I had the pleasure of attending the Academy of Integrative Health & Medicine (AIHM) Annual Conference and was quite impressed by the quality of lectures on topics ranging from the value of meditation, to detoxification and the microbiome. Every healthcare practitioner, including my AOM colleagues, would benefit from the AIHM's inter-professional curriculum, and I recently reached out the AIHM Executive Director, Nancy Sudak, MD, ABIHM, to gain a clearer picture of the Academy's history and vision and to share some information regarding this year's conference: People, Planet, Purpose: Global Practitioners United in Health & Healing in San Diego, Oct. 25-29, 2015.
AT: Can you tell me a bit about the history, mission and vision/ philosophy of your organization?
Nancy: The mission of the AIHM is to transform health and medicine on a global scale. The goal of the Academy is to offer a unified voice for all health professionals interested in integrative health and medicine. We are an inter-professional organization working to prevent illness and restore health, rather than just treat disease. The Academy provides critical resources (training, fellowship program, education, advocacy, membership) to support collaboration between practitioners working to transform our disease-care model into one that serves the whole person — body, mind, spirit — and beyond to include community and planet. We also provide resources to the public. The AIHM Find-A-Provider Directory is becoming a central resource for consumers looking for holistic providers. Collaboration is at the heart of the AIHM's mission. We evolved from an MD/DO centric entity because we believe in a team-based, heart-centered approach to health and medicine. Healthcare transformation will require unprecedented changes in our thinking about prevention and treatment strategies. Together we can do it. Beyond promoting integrative tools and the art of an holistic style of practice, we also offer a systems-oriented, broad-minded worldview and even an ecological perspective that brings meaning to clinicians as we step away from the "ill to the pill" mentality. To be in service of the integrative health agenda, we have to actually think integratively, which is much different than simply replacing drugs with a green pharmacy. The Academy is also committed to supporting clinicians who are working with underserved populations.
AT: You recently launched a fellowship with Tieraona Low Dog, MD. Can you share some background? Is it relevant to AOM practitioners?
Nancy: The AIHM Fellowship program offers an unprecedented opportunity and unites advanced professional clinicians in service of learning together. Dr. Low Dog is the internationally renowned educator, physician, herbalist, midwife and thought leader in integrative medicine who directed the Arizona Center for Integrative Medicine Fellowship for nine years. She brings unparalleled international expertise, vision and heart to the development and delivery of our program. The AIHM Fellowship in Integrative Health and Medicine is relevant to acupuncturists, conventional physicians, nurse practitioners, physician assistants, doctors of chiropractic, naturopathic physicians, doctors of oriental medicine, dieticians, nutritionists, selected psychotherapists and others. The two-year program includes online, in-person and clinical components. The best of health and medicine is moving toward values-based health care that rests on leadership, care of all communities and the broad determinants of health (socioeconomic, environmental, behavioral, cultural), with mutual respect across all healthcare disciplines in truly patient centered environments. The AIHM Fellowship will be the pace-setter in engaging these inclusionary and health creating values and strategies. Applications for the first class are being accepted now at www.aihm.org for the February 2016 cohort. There will be a special informational session with Dr. Low Dog at our San Diego Conference in October.
AT: Are your conference PDAs cleared through NCCAOM?
Nancy: We currently offer continuing education through the State of California Acupuncture Board and are in the process of applying to the NCCAOM. Our understanding is the PDAs through the NCCAOM are valued nationally. AMA PRA Category 1TM Credits will be available.
AT: What part would you like to play in implementing an integrative medicine model in U.S. healthcare?
Nancy: The Academy hopes to support the implementation of integrative medicine in the U.S. and globally by providing community and empowering unification of multiple disciplines within a single organization. The AIHM will provide a home to a broad international community of healthcare practitioners and health seekers connected by a shared holistic philosophy of person-centered care, and recognizing the link between our health and the health of the planet.
We want to transcend the silos and put patients first. We know this is a unique endeavor. It has been a dream of the board of directors to create harmonious conversations among diverse professions of health care professionals — that were not happening previously — in a single organization. We also want to build bridges between the clinical and nonclinical worlds. Integrative medicine is blossoming primarily due to public demand. People understand that the system is broken. They are ready for change. With our collaborative partner, the Integrative Health Policy Consortium (IHPC), the AIHM's advocacy activities aim to empower practitioners and consumers. For example, we are rallying around Section 2706 of the Affordable Care Act and are ready to challenge current reimbursement models.
AT: Where do prevention and health promotion stand in relation to primary care?
Nancy: To transform the medical system, we have to transform the role of prevention in primary care. As providers of care, of course, we want to prevent suffering. We understand the cost of not focusing on prevention. What may shift the conversation at the level of insurance reimbursement policies and legislation is the conversation around cost. The cost of not focusing on prevention is staggering. Of the more than $2.8 trillion spent annually on health care within the United States, the majority is spent on chronic diseases, most of which have a significant lifestyle component. According to a recent Interheart Study from IHPC, changing lifestyle could prevent 90% of heart disease. So, if 10% of angioplasties and CABG's are avoided pursuant to lifestyle changes, $10 billion will be saved per year.
AT: Integrative medicine is gaining momentum among physicians as well as the American public – how can you help tip the scales?
Nancy: Three things come to mind – advocacy, collaboration across organizations, and inter-professional community. The growing patient demand around the world for integrative and holistic services is bolstered by mounting evidence of its effectiveness. Consumers want access to integrative health, but there are still barriers such as insurance coverage. What we all can do is support critical legislation that is in the House and Senate to create change. We long recognized that legislation directly impacts patients' health and access to care. Among the most important ongoing initiatives of the IHPC is the support of Section 2706 of the Affordable Care Act, which basically states that all state-licensed providers can be reimbursed by insurance and not discriminated against as long as they operate within their scope of practice. That would include acupuncturists, chiropractors, nurse practitioners, naturopathic physicians, midwives, massage therapists, and others. We are proud to be joining hands with the IHPC as we show up to ensure that Section 2706 is properly enforced. There is an initiative called "Cover My Care," another IHPC initiative, which reflects the consumer-action side of the 2706 equation.
We are also helping tip the scales by creating an environment of collaboration across disciplines and like-minded organizations. Early in our formation, we entered into dialogue with a number of organizations sharing similar goals. Last year we opened our conference with a day-long workshop inviting inter-professional collaboration from a field of invited guests representing many professional associations. We are learning more about how to effectively collaborate by asking and listening to the leaders in the health arena.
The Academy membership community is generating a wave of change. It's critical that we connect with one another, learn together, and take action together. We are deeply invested in empowering members in their practices with resources like a trusted Find-A-Provider directory and the AIHM Journal Club, which helps clinicians keep pace with global advances in health care with a focus on integrative medicine. Events such as our annual conference in San Diego and local chapter meetings are critical for building and sustaining our inter-professional community. It's important for professionals to network and strategically plan at the local level as well as nationally. Imagine an inter-professional group – maybe an LAc, ND, MD, and NP - gathering around a table writing a proposal to a local healthcare system's CEO about why integrative health and medicine reduces costs. The Academy will be a platform to spark those connections. To start an AIHM chapter you need a minimum of six AIHM members. Please contact us to learn more.
AT: Communication and cooperation are key to successful outcomes in any endeavor. What steps are you taking to interact with the CAM community?
Nancy: We reached out to the Academic Consortium of Complementary and Alternative Healthcare, ACCAHC, to learn more about education. We are delighted to be connected ACCAHC because they are the academic experts of the CAM disciplines, and offer considerable value to our work. The certificate — and all other educational initiatives of the Academy — will aim to weave together themes of personal transformation, social justice, and planetary well-being, and will be broadly appealing to licensed health care providers.
We are also joining hands with the Academic Consortium for Integrative Medicine & Health, ACIMH, as a partner for the clinical track of their International Research Congress in Integrative Medicine and Health in Las Vegas in May 2016 and are discussing an international event with other organizations into 2016, as well. Another important connection is our partnership with Commons Health to support place-based integrative, health creation models that will function as our incubator for our community and ecological health efforts. This year, we will be cohosting our second Commons Health Conference in Duluth, Minn., integrating the clinician voice and sharing insights with the local community on issues such as social determinants, climate change, food systems, and more.
At the Annual Conference last year, we hosted an Association Leadership Summit with more than 60 individuals representing diverse disciplines and organizations. The group overwhelmingly voiced its support and intention to create the new Association Alliance, and two-thirds of those in attendance volunteered to serve on an Association Advisory Task Force. The AATF is comprised of Executive Directors, Board Presidents or Chairs or other highly respected individuals appointed to speak on their organizations' behalf. They provide wisdom, insight and counsel to create the Association Alliance in 2015.
The biggest question facing the AATF is, "How do we grow our collective voice?" If the AMA has 220,000 members or about 20% of all MDs, how isn't it in our own interest to bring together the hundreds of thousands of inter-professional practitioners dedicated to integrative health? This isn't about CAM. It's about all of the MDs and non-MDs pulling together for a better way of care - cutting edge stuff.
Last year, we launched the AIHM Ambassador Program to ensure our transition is successful and our vision of pluralism and inclusion is achieved at our annual conference and within the AIHM at all levels. Representing the non-MD/DO communities, ambassadors embody excellence at the top of their respective fields. They help guide the AIHM programs and educational offerings, participate in AIHM initiatives and share insights and feedback for further development. Ambassadors help the Academy connect with new communities and develop functioning networks among integrative clinicians. We are honored to work with these leaders. Bill, you are an AIHM Ambassador, and it has been great privilege to work with you. This year, we are working with four additional TCM Ambassadors, Jason Jishun Hao, DOM, Jeannie Kang, L.Ac., Fujio McPherson, DAOM, ARNP, L.Ac. Dipl Ac., and C. Daerr Reid, L.Ac.
AT: Who are some of the people you have lined up to speak at your conference?
Nancy: Those slotted at the podium are at the absolute forefront of their respective fields in medicine, ecological health, and social justice. Inter-professional leaders include, Deepak Chopra, MD; Efrem Korngold, OMD; Tieraona Low Dog, MD; Mimi Guarneri, MD; Lise Alschuler, ND; Jeff Bland, PhD; Jean Watson, RN; and, Harriet Beinfield, LAc.
AT: How would an AOM practitioner benefit from attending the upcoming AIHM conference?
Nancy: The Academy Conference is not designed to replace an attendee's respective profession's training. Our focus is on inter-professional training, education, and collaboration. An AOM practitioner will appreciate the excellent interdisciplinary curriculum that is directly applicable to their practice. The conference committee reached out to the experts in their respective fields to present at the conference.
There are ample opportunities for inter-professional networking and advocacy. We have created a sacred space where everyone's knowledge, experience, and perspective is honored. We meet on equal ground and share a vision of transforming health care – nationally and globally.
We live in a time of great change. While each of us is called to deepen our skills within our own discipline, we must also extend ourselves if we want to truly transform our system of care. I don't think we can presume to offer the depth of training in Chinese medicine you would find at one of your own professional conferences, but perhaps we are laying the groundwork for a deeper level of partnership and an opportunity to carve out the future together? The sense of renewal and celebration of People, Planet, Purpose makes the experience unique. Self-care is part of empowerment. We rejuvenate by connecting with one another on deep level over five full days of education and celebration in a beautiful space.
AT: What feedback have you received from your 2014 conference?
Nancy: Participants quite typically comment that the experience at the AIHM Annual Conference was "transformational" relative to their personal and professional lives. The event has long been recognized for its evidence based, academically rigorous content, presented in a thoughtful and holistic manner. Feedback is quite positive. Amidst all the science and rigor and exchange of ideas, the atmosphere of connection is what people often remember most clearly.
We also heard a desire for even more integrative content and for more advanced content. Some people who attended before asked us to reinvigorate the curricula. You'll see that feedback reflected in our program development. This year's program is something entirely new. We've doubled the number of speakers. There are nine break-out sessions. You'll notice clear themes and a new focus on planetary health. The research component is much stronger. The Academy membership is taking a much more central role with special events woven throughout the week. The 2015 AIHM Ambassadors will be more visible.
AT: How can practitioners learn more about your People, Planet, Purpose Conference in late October in sunny San Diego?
Nancy: To learn more, go to www.aihm.org, call 858-652-5400 or email med.edu@scrippshealth.org . The conference is October 25 – 29, 2015. There are three excellent pre-conference workshops on the 24th. On the final night, following an afternoon with our three final speakers, Jean Watson, PhD, RN, Deepak Chopra, MD, and Mimi Guarneri, MD, we are having a gala and awards ceremony. I encourage you to become an Academy member. Members receive a 10% discount on the conference. But there are more important reasons to join. If we are going to play a role in shifting the global medical paradigm to whole person, health-focused, socially and globally conscious, inclusive team-based care, the Academy needs to be in a central position and that requires the emotional and financial support of its members.
Acupuncture Today original article Massage Today original article


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text:
<?php
/**
 * Description of PermissionAsset
 *
 * @author Minh Nguyen
 */
namespace app\packages\account\bundles;

use yii\web\AssetBundle;

class UserAsset extends AssetBundle
{
	public $sourcePath = '@app/packages/account/bundles/publish';

	public function init()
	{
		$minext = ''; //'.min'
		$this->js = [
			'user/js/User'.(YII_DEBUG ? '' : $minext).'.js',
		];
		$this->jsOptions['position'] = \yii\web\View::POS_BEGIN;
		parent::init();
	}

    public $depends = [
		'yii\web\JqueryAsset',
		'yii\web\YiiAsset',
    ];
}

redpajama_set_name: RedPajamaGithub