Contrary to popular belief, progressive rock didn’t disappear with the advent of punk, and the lack of media support didn’t prevent new bands from forming and new music being created. It is hard to imagine these days, with everyone being permanently connected, but there was a time not long ago when communication was by word of mouth and letter. With no coverage by much of the media, it was down to fanzines and independent magazines to spread the word of what was happening within the progressive rock scene, what was being released, and who was worth going to see in concert. Most of these magazines survived for just a few issues, while others continued for many years, all having their part to play in spreading the word.
One of the most important during this period was ‘Feedback’. It initially started as the newsletter of Mensa’s Rock Music Special Interest Group in 1988, but when Kev Rowland became secretary in 1990, he determined to turn it into a magazine promoting music that often wasn’t being written about in the mainstream press. ‘Feedback’ soon became one of the key promoters of the underground progressive scene, and Rowland one of the most well-known and popular reviewers. He also became a contributor to ‘Rock ‘n’ Reel’, as well as writing for the Ghostland website in the early days of prog on the web.
Rowland collated all his progressive rock reviews and interviews written between 1991 and 2006 into three volumes which have been described by Record Collector and others as “The Bible” while one reviewer called it the “Encyclopaedia Progressivica”. It was originally intended to be just one book, but with the word count at more than half a million it was too big, so instead it was decided to break it into easily digestible chunks and include all album artwork. The books have been widely acclaimed, and questions were asked of Rowland as to when the next one in the series would be available? Originally there was never any intention to produce any others as these had captured the time when he was running ‘Feedback’. However, even though he moved to the other side of the world and dropped out of the music scene, Rowland did begin writing again in 2008 and was soon as involved as he had previously been in the UK. Also, all his reviews were now saved digitally and did not have to be brought back to life from poorly photocopied fanzines, and he became convinced that it would be worthwhile to continue the series as the music had never stopped.
This led to Volume 4, containing his writings from 2008 to 2013, with all album covers in full colour and cover art again by Martin Springett. Unlike the others in the series, this included the complete alphabet, along with some book and DVD reviews, various artists, and a few interviews. Of course, again questions were soon being asked as to when the next volume would be available and now, we have Volume 5, which starts in 2014 and takes us into 2018. The foreword is by label owner Nick Katona, while the comments on the rear cover are from musicians Steve Bonino and Peter Matuchniak.
Along with the other volumes in the series, this book shines a spotlight onto a scene which is still critically ignored by many and provides information about the music in a constructive manner. It is again possible to discover some great music from wonderful bands, and this should be used as a guide to expand collections and understand that prog rock really didn’t die, it just went underground.
About the author
Kev Rowland is a self-confessed music addict, who has never really been the same since he heard ‘Sabbath Bloody Sabbath’ in 1975. In the Eighties he spent quite a ridiculous amount of money on all things related to Jethro Tull and was asked by David Rees to write a piece on Carmen (the band including John Glascock, not the opera) for the Tull fanzine ‘A New Day’. This simple request was life-changing, although neither realised it at the time.
Kev discovered he enjoyed writing about music and submitted reviews for the inaugural Mensa Rock Special Interest Group newsletter, before becoming secretary himself in 1990. Over the next 16 years, the newsletter gained a name, and he put out more than 80 issues, many of them doubles, more than 11,000 pages. When he moved to New Zealand in 2006, he retired from the music scene, but was pulled back in – initially kicking and screaming until he accepted his fate. These days he can again be found contributing to many magazines and websites and over the last 30+ years has written literally millions of words on music, but is not stopping yet and somehow, he still manages more than 250,000 words annually. So much music, so little time!
When he isn’t listening to music, writing about music, or thinking about music, then he can be found on his lifestyle block with his wonderful wife Sara, and their 6 dogs, 5 cats, chickens, sheep, lambs, calves, and cattle. Oh, apparently, he has a day job as well.
Kev is available for interview but asks for initial contact to be made via email as time zones can be confusing to some people, and he does live at the end of the world after all: [email protected]
Kev Rowland’s previous collections of his progressive rock reviews and interviews written between 1991 and 2013 are essential for all lovers of the genre, but don’t just take our word for it.
A book that will be quickly referred to as “a bible”.
Daryl Easlea, Record Collector
His writing is informative, intelligent, and generous… As Brian Appleton would put it, thank you Kev for your contribution.
Rychard Carrington, Rock n Reel
It is unvarnished and unencumbered by any expectations of PR; the reviews are clearly done for no other reason than love of the genre.
DE, Prog Magazine
This is best treated as a kind of guide to the neo-progressive genre… progressive rock has never really died; it just went from the mainstream to the underground.
Artur Chachlowski, MLWZ
All I can say is if you are a true proghead this book should be in your library of progressive rock literature. Because it’s a great work. A book to be considered of superior or lasting artistic merit.
Henri Strik, Background Magazine
Chronic well-crafted, short, and mostly written in order to develop the subject with ease… I believe that many current columnists should emulate the writing of Mr. Rowland.
Fred, ProfilProg
All four volumes are essentially icings on a huge, delicious prog cake and should be an integral part in every prog-lovers’ cabinet.
Jan Buddenberg, DPRP.net
I continue to find these books extremely enjoyable and consider Kev a role model. “Read on” Kev indicates in his introduction. I fully concur.
Murdock is probably best known for being drummer and leader in progressive rock band Cymballic Encounters, and here he has used some of the musicians involved in that plus other guests in what is presumably a concept album of some type. Singer Tim Pepper is one of these, but while he can hit the notes, his delivery rarely has any real presence, and when that is combined with music which is rarely inspiring it results in a somewhat flat album where everything just washes over the listener who is soon looking to see how much longer there is to go (74 minutes in total). This is a real pity as there are bits and pieces which are real sparks of delight. For example, at the beginning of second track “Time Travelers from the Future” there is an instrumental passage which reminded me immediately of Colosseum II and I was looking forward to something of great speed and intricacy, but although that passage was repeated a few times, the rest of the song was somewhat lethargic.
I have not heard any of Cymballic Encounters’ four albums, but if they are in a similar vein to this then that will not be something I will be looking to address. Played multiple times, and I know that will never happen again. Kev Rowland 6/10
Born and raised in Sweden, multi-instrumentalist Kristoffer now lives in The Netherlands, playing in Kayak. Many people still think of him as being associated with his brother Daniel, and he played on the first six Pain of Salvation studio albums but since leaving in 2006 has built a reputation working with many different artists. ‘Let Me Be A Ghost’ is his fourth solo album, released towards the end of 2021, following on from ‘Rust’ (2012), ‘The Rain’ (2016) and ‘Homebound’ (2020). I reviewed the last, and I was intrigued at just how much at home he sounded with the one cover, Leonard Cohen’s “Chelsea Hotel #2”
I many ways this is a logical extension of that album, as it is melancholic, and is something which really needs to be played on headphones. The songs are more like soundscapes, with a huge use of space and a slow tempo which really lets the listener into what in many ways feels likes quite a private world. Yes, there are a few additional singers and a drummer, but for the most part this is one person sat quietly, crafting something which is magical and mystical. “Lean On Me” is a case in point, gentle percussion, acoustic guitar, electric solo, and loads and loads of vocals including a wonderful high female from Erna auf der Haar who provides the perfect cut through.
This is not something designed to be played on the radio, nor can I imagine it ever being played in an arena, but is designed for small places, in the dark where the listener can really let their mind wander where it will. This is a marvellous piece of work and I look forward to the next album with great interest indeed. 9/10 Kev Rowland
Contrary to popular belief, progressive rock didn’t disappear with the advent of punk, and the lack of media support didn’t prevent new bands from forming and new music being created. It is hard to imagine these days, with everyone being permanently connected, but there was a time not long ago when communication was by word of mouth and letter. With no coverage by much of the media, it was down to fanzines and independent magazines to spread the word of what was happening within the progressive rock scene, what was being released, and who was worth going to see in concert. Most of these magazines survived for just a few issues, while others continued for many years, all having their part to play in spreading the word.
One of the most important during this period was ‘Feedback’. It initially started as the newsletter of Mensa’s Rock Music Special Interest Group in 1988, but when Kev Rowland became secretary in 1990, he determined to turn it into a magazine promoting music which often wasn’t being written about in the mainstream press. ‘Feedback’ soon became one of the key promoters of the underground progressive scene, and Rowland one of the most well-known and popular reviewers. He also became a contributor to ‘Rock ‘n’ Reel’, as well as writing for the Ghostland website in the early days of prog on the web.
Rowland collated all his progressive rock reviews and interviews written between 1991 and 2006 into three volumes which have been described by Record Collector and others as “The Bible” while one reviewer called it the “Encyclopaedia Progressivica”. It was originally intended to be just one book, but with the word count at more than half a million it was too big, so instead, it was decided to break it into easily digestible chunks and also include all the album artwork. The books have been widely acclaimed, and questions were asked of Rowland as to when the next one in the series would be available? Originally there was never any intention to produce any others as these had captured the time when he was running ‘Feedback’. However, even though he moved to the other side of the world and dropped out of the music scene, Rowland did begin writing again in 2008, and was soon as involved as he had previously been in the UK. Also, all his reviews were now saved digitally and did not have to be brought back to life from poorly photocopied fanzines, and he became convinced that it would be worthwhile to continue the series as the music had never stopped.
This brings us to Volume 4, which contains his writings from 2008 to 2013, with all album covers in full colour and cover art again by Martin Springett. Unlike the others in the series, this one-volume contains the complete alphabet, along with some book and DVD reviews, various artists, and a few interviews. The foreword is by the highly respected reviewer Olav M. Björnsen, while the comments on the rear cover are from Thierry Sportouche of the French progzine Acid Dragon (one of the longest-running progressive rock fanzines in the world) and Jerry van Kooten, founder of the highly influential Dutch Progressive Rock Pages (DPRP.Net). Together, these four stalwarts of the prog scene have more than 100 hundred years’ experience of writing about the music they love.
Along with the other three volumes in the series, this book shines a spotlight onto a scene time which is still critically ignored by many and provides information about the music in a constructive manner. It is again possible to discover some great music from wonderful bands, and this should be used as a guide to expand collections and understand that prog-rock really didn’t die, it just went underground.
About the author
Kev Rowland is a self-confessed music addict, who has never really been the same since he heard ‘Sabbath Bloody Sabbath’ in 1975. In the Eighties he spent quite a ridiculous amount of money on all things related to Jethro Tull and was asked by David Rees to write a piece on Carmen (the band including John Glascock, not the opera) for the Tull fanzine ‘A New Day’. This simple request was life-changing, although neither realised it at the time.
Kev discovered he enjoyed writing about music and submitted reviews for the inaugural Mensa RockSIG newsletter, before becoming secretary himself in 1990. Over the next 16 years, the newsletter gained a name, and he put out more than 80 issues, many of them doubles, more than 11,000 pages. When he moved to New Zealand in 2006, he retired from the music scene, but was pulled back in – initially kicking and screaming until he accepted his fate. These days he can be found contributing to many magazines and websites and is thoroughly enjoying the amazing music which can be found at the end of the world, saying the gigs remind him so much of what he used to attend 30 years ago.
When he isn’t listening to music, writing about music, or thinking about music, then he can be found on his lifestyle block with his wonderful wife Sara, and their 8 cats, 6 dogs, chickens, sheep, lambs, calves and cattle. Oh, apparently, he has a day job as well.
Containing all of Kev Rowland’s progressive rock reviews and interviews written between 1991 and 2006, the first four volumes of The Progressive Underground are essential for all lovers of the genre, but don’t just take our word for it.
A book that will be quickly referred to as “a bible”.
Daryl Easlea, Record Collector
Rowland is collecting his reviews in three volumes (in alphabetical order): their preservation for posterity is welcome. His writing is informative, intelligent, and generous. It certainly makes interesting reading… As Brian Appleton would put it, thank you Kev for your contribution.
Rychard Carrington, Rock n Reel
The third compilation of reviews from his Feedback fanzine is warm, honest and engaging. It is also, like the best underground writing, unvarnished and unencumbered by any expectations of PR; the reviews in The Progressive Underground Vol 3 are clearly done for no other reason than the love of the genre.
DE, Prog Magazine
This is best treated as a kind of guide to the neo-progressive genre. Thanks to this release, you can rediscover the wonderful albums of great bands and see that progressive rock has never really died, it just went from the mainstream to the underground.
Artur Chachlowski, MLWZ
All I can say is if you are a true proghead this book should be in your library of progressive rock literature. Because it’s a great work. A book to be considered of superior or lasting artistic merit.
Henri Strik, Background Magazine
Chronic well-crafted, short and mostly written in order to develop the subject with ease…Simply relevant information, the essential and useful. Personally, I believe that many current columnists should emulate the writing of Mr. Rowland.
Fred, ProfilProg
Laying his fan card on the table, Rowland has brought all of these reviews together to create a veritable Encyclopaedia Progressivica in three volumes… the ultimate pan-progressive fanzine.
Recorded in 2009, this album is available in multiple different formats, including swirled vinyl and a CD/DVD set etc. As one may be able to work out from the album title, this is a live run through of one of his most controversial albums, at least when it was first released back in 1973. His previous album, ‘Something/Anything/’ had charted well in multiple countries, and spawned some hit singles, but this saw him undertaking far more inventive paths, something which was exacerbated by his experimentation at the time with psychedelic drugs. Many Todd fans now look back on this very favourably indeed, while I have always felt there is some very strong material contained within but others which are not as good, so a rather inconsistent release.
Needless to say, this means that this album contains the same flaws and strengths as the original, but he has surrounded himself with a strong band and there is no doubt that the crowd in Akron, Ohio, had a great time. Mind you, whether they would say the same about this release would be another matter altogether. Todd has released a great many live albums over the years, both under his own name and Utopia, and I have a few different boxed sets so it can be said I am quite a fan, but what has been done with these recordings is quite unforgiveable. The production is great, as is the performance, but whoever messed with this needs to be sacked. I know that in these days of people using Spotify (I don’t) and shuffling albums (I don’t do that either), there are few of us who like to play an album from beginning to end, but surely when it comes to live albums everyone does? Whoever mutilated this album obviously does not, as what has happened is that each track fades out and then back in again, even though this is taken from a single night performance of a complete album. But worse than that, sometimes as it fades back in, we get a few seconds of the previous song again. Did no-one listen to this? Did Todd sign it off?
The end result is an album which in many ways should be a masterpiece, but instead it is an annoyance, and incredibly frustrating. To me this is a great opportunity ruined – I guess it would be okay if I played it on shuffle, but I can’t bring myself to do so. A real shame. 6/10 Kev Rowland
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