FESTIVAL REVIEW: Prognosis Festival 2023
It is always a joyous occasion when a new festival debuts upon our shores. After several successful editions in its native Eindhoven, the 2023 edition of Prognosis Festival incorporated an additional weekend in the UK, setting up at the Indigo rooms in London’s O2 Arena, for a two-day extravaganza of all things progressive.
Saturday – April 22nd
Opening proceedings at the main stage were US quartet ASTRONOID, whose singular brand of euphoric metal packs out the space in the still-filling room. Combining elements of shoegaze, black metal and prog/djent, their most striking feature is the high-pitched vocals of Brett Boland, rendered somewhat robotic through a vocoder and often overlaid with additional sung harmonies singing to humanise it. Some teething sound problems rob them a little of their dynamics and clarity, but despite this the glorious major key melodies and dramatic tremolo riffs convey the originality of the Massachusetts group. ASTRONOID focus on songs from last year’s excellent Radiant Bloom, and the IRON MAIDEN-esque dual guitar attack of Up and Atom rounds off a solid opening set.
Rating: 7/10
Self-confessed Swedish ‘experimental instrumentalis[ts]’ PG.LOST are next to take to the main stage, bringing in the closest representation of post-rock on the bill. Mixed in with the cinematic build-ups and euphoric crescendos typical for the genre, they possess a sharp bass that keeps the momentum going with the driving pulse of a stoner rock song, alongside the tom-heavy drums of Martin Hjertstedt. Alongside their atmospheric lightshow, bassist Kristian Karlsson is an engaging sight as he switches frequently between his four-string and keyboards, and even does the closest to ‘singing’ that PG.LOST incorporate. Multiple layers of effect wizardry take his vocalisations and turn them into an extra solo guitar on top of those of his two colleagues, piercing through the sound like whale song. With a powerful propelling set, PG.LOST showcase why they are one of the acclaimed names in the post-rock genre.
Rating: 7/10
Over at the smaller second stage – in reality an adapted corner of the bar area without elevation to the stage which makes seeing the acts somewhat challenging – are industrial post-hardcore duo FAKEYOURDEATH. Consisting of singer Candi Underwood and drummer Sam Barnes (both of alt-rock trio LAZYBONES) and electronic samples, their style is a striking blend of noise, aggression and catchiness. Underwood cuts through the industrial noise employing a multitude of sung and screamed vocal stylings, and sells them with a furiously energetic presence on the stage. Despite their seeming stylistic clash with the rest of the Prognosis Festival lineup, or maybe because of it, their committed performance and sheer force win over the crowd. Despite having only two released tracks, the duo aren’t lacking tunes – one particular song has a magnificently catchy chorus that could be taken off a 90s dance music hit. With a tight and explosive set, FAKEYOUDEATH demonstrate a perfect example of how an emerging act can make the most of a festival.
Rating: 9/10
Canadian masters of space thrash VOIVOD take to the main stage next for the final stop of their 40th anniversary European tour. The always smiling Daniel ‘Chewy’ Mongrain delivers their hectic guitar chords in all their dissonant glory, while drummer Michel ‘Away’ Langevin drives the angular beats along with ferocious energy. Towering above it all is vocalist Denis ‘Snake’ Bélanger, stomping across the stage and spitting out the lyrics in his signature shout-song, full of attitude and gentle disregard for staying in tune, like a prog-punk Mark E. Smith. The comprehensive walk through their catalogue includes cuts from albums with different vocalists (for which Snake graciously says it’s an honour to perform), and a nod to Jason Newsted’s time with the band. Newer cuts off 2022’s Synchro-Anarchy stand their ground proudly next to stone-cold late 80s classics like the anxious Macrosolutions to Megaproblems or the controlled chaos of Pre-Ignition. Rounding off with the raw speed metal of VOIVOD, the Quebec four deliver a very engaged performance with nods to many corners of their prolific discography.
Rating: 8/10
One of the coups secured by the Prognosis Festival organisers is a premiere appearance for the solo project of LEPROUS frontman EINAR SOLBERG. With his first solo album 16 due out in June, Solberg has gathered a talented group of musicians (some of whom he collaborated with for the album itself) for a handful of special performances. Despite having just “two rehearsals and one show” under their belt, the collective sound like a well-oiled machine. Musically, it is a complete melting pot of influences – electronica, ethno-jazz trumpet passages, long ethereal interludes with beautiful violin playing, even a hip-hop passage. Mercifully, it is not SOLBERG himself who raps – but the fingerprints of his intricate vocal lines and flexible falsetto are otherwise all over the music. The material treads lighter than that of his main band, but retains the same penchant for eclecticism and drama. One of the singles released already Over the Top is a clear highlight, with grandiosity at an almost LEPROUS–esque level, and the same could be said for closer The Glass is Empty, an astonishing 11-minute prog epic. If anyone in the room was not already excited for 16 they absolutely have to be now, with EINAR SOLBERG having demonstrated once again why he is one of the most potent creative minds and voices working in progressive music nowadays.
Rating: 9/10
Closing the second stage for the day are UK-based Russian duo IAMTHEMORNING. A well known name to prog fans, their style offers an understated kind of prog-pop with elements of jazz, folk and classical. A big part of this is brought across by the tasteful piano of Gleb Kolyadin, who is looking casually cool wearing shades and a wry smile. Lead vocalist Mariyana Semkina imbues the songs with her tenderly expressive voice, and exudes positive energy from stage with her personable banter (she happily mingles with fans the rest of the festival). The duo and backing band align mid-musical-flight with nods and winks, showing an effortless quality to their musical conversation – almost like improvising jazz musicians. They traverse through many musical moods, such as the cabaret Libretto Horror or the dark chamber-pop of Chalk and Coal, and do them all expertly. While IAMTHEMORNING could have easily been a large draw at the main stage, the intimate atmosphere of the second stage is a fitting setting for a wonderful showcase.
Rating: 8/10
Following a day filled mostly with modern prog, the choice of first day headliner may seem a leftfield shout, but you can’t go without a nod to the 70s masters of the genre. HAWKWIND, the band in which Lemmy started his career, have been riding aboard the good (space)ship prog for over 50 years and amassed a cult following off the back of their prolific release schedule and tireless touring. Opener Levitation punches with a menacing groove, while the stomping snare-kick beat of You’d Better Believe It can power a distance runner for at least a few miles. The ever present bandleader Dave Brock gives no indication of slowing down at 81 years of age, singing in fine voice and tirelessly picking droning guitar chords. The only one to rival him is drummer Richard Chadwick who ploughs on with the fast snare-kick drum marches with relentless energy.
HAWKWIND’s blend of psychedelia, proto-punk energy and extended jamming around a motif with rare tempo changes makes for a mesmerising sonic experience, almost to the point of trance. Contributing to this, as befits exponents of space and acid-rock, is their impressive lightning show which consists of blasting the crowd with laser beams and broadcasting psychedelic blobs and spirals onto the video screens. There is a directness inherent to their music, such as in the unstoppable forward-motion motorik of two-chord Spirit of the Age. But they don’t just lay on their considerable laurels – even with their enormous back catalogue, they are still releasing music and played two songs off their 35th album The Future Never Waits, coming out the week following the festival. That said, it is their signature closer Brainstorm that finishes the set with one final 10-minute release of spacey prog-punk. Going strong after all these years and still delighting their many fans, the evergreen HAWKWIND see off the first day of Prognosis with a bang.
Rating: 8/10
Sunday – April 23rd
French progressive alt-rockers LIZZARD kick off the second day of Prognosis Festival on the second stage, and what a start it is. The power trio’s sound consists of explosive alt-metal riffs, polyrhythmic grooves and a pummelling rhythm section. Despite being just a trio, they are clearly optimised for a loud and exciting live performance. Frontman Mathieu Ricou capably juggles vocal lines and guitar riffs that intertwine but never copy each other, while the drums by Katy Elwell and bass of William Knox provide a tight, dynamic backbone. Their set covers each of their four studio albums, with an emphasis on their most recent offering Eroded, full of fresh songs that fans of KARNIVOOL, 00s-era PORCUPINE TREE and even early MUSE would find a lot to like about. With a superb half-hour set, LIZZARD set a high bar at the start of the day.
Rating: 9/10
Rising stars ITHACA are next to kick off proceedings at the main stage. By some distance the heaviest act on the festival bill, the foursome are evidently set on impressing proggers of all persuasions with their ferocious blend of metal and hardcore. We hear many fine cuts off their highly acclaimed 2022 offering They Fear Us, among them the crushing title track whose opening riff is surely the best thing MACHINE HEAD never wrote. Despite the early hour and the sparsely populated main hall, the quartet give it their all, as they headbang and throw their bodies around the stage. Vocalist Djamila Boden Azzouz is a commanding and confident presence, gathering admiration for her screamed and clean vocal stylings, as well as her footwear choice which elicits the wholesome crowd shout of “we love your Crocs”. Taking a moment to reiterate their message of believing in one’s self-worth and the possibility of healing from trauma, ITHACA round off a strong set that is sure to expose them to many new potential fans.
Rating: 8/10
Coming on for her first ever London performance is blackgaze act SYLVAINE – the solo project of Norwegian multi-instrumentalist Kathrine Shepard. SYLVAINE present a cohesive blend of black metal and ethereal folk, combining moments of intense fury with heart wrenching beauty. Shepard’s vocals are impressive with their power and range, her demonic shriek often interchanging with angelic clean vocals. Similarly dynamic is the music itself, shifting frequently between quiet and loud, as well as fast and slow. As is often the case in this style, the songs are on the long side, and a 40-minute set comprises of just four pieces. Among them is the ten-minute opus Mono No Aware which Shepard introduces as the heaviest work in terms of emotion, and backs that statement with a work of frenzied fury and transcendent beauty. A powerfully emotional set by an artist with a singular artistic vision, SYLVAINE’s first ever show in London is one to remember.
Rating: 9/10
Another act of the strongly represented prog label Kscope, O.R.K. have a lineup of considerable prog heritage, featuring former KING CRIMSON drummer Pat Mastelotto and ex-PORCUPINE TREE bassist Colin Edwards. Despite this history, their style is a much more direct version of alternative hard rock that is bombastic and almost post-grungy. The clearest association is SOUNDGARDEN – vocalist Lorenzo Esposito Fornasari even sounds a bit like Chris Cornell when he reaches for his high register with a raw rasp. Their set even ticks off an entry on everyone’s prog show bingo card by including the first and only drum solo of the weekend. The outfit present multiple cuts from their impressive latest offering Screamnasium, but a sound engineering that overemphasises the mid-frequencies leaves them bereft of dynamics and something about the day’s performance feels flat. Their half-hour set includes a fair few catchy riffs but it ultimately leaves the feeling that O.R.K. are capable of going up a few more gears.
Rating: 6/10
Modern progressive rock can occasionally be guilty of taking itself awfully seriously, but even a cursory glance at its 1970s roots reveals more than a pinch of psychedelia and campness. Embracing this legacy is singer-songwriter ROSALIE CUNNINGHAM and her band who take to the main stage in bold colourful outfits and the bravado to pull them off. Even more outrageous is the bulldozing groove of opening instrumental Start With The Corners, or the KING CRIMSON-esque explosive breakdown in Ride On My Bike. The group have the air of an improv band laying down the tastiest of jams. Its ingredients – a punchy bass, maximalist drums, organs for days, and Cunningham’s versatile voice. They are no mere throwback to a bygone era though – the songs sound catchy, fresh, and have a fair share of ominousness to accompany the camp, making for a thoroughly enjoyable 40-minute set.
Rating: 9/10
Few bands have been on such an upward trajectory in the last decade like Swedish power prog outfit SOEN. After making waves with their string orchestra lockdown livestream Atlantis, Prognosis Festival was to be host to a very special performance in this style. Heralding the band onto the stage, the string quartet intro to Antagonist soon morphs into a naked acoustic guitar and Joel Ekelöf’s warm voice. However, just because SOEN are instrumentally stripped-down does not mean they are toothless. Heavier riffs from the original songs are carried over with a degree of menace, often sounding sharper on the higher-pitched string instruments, while drummer Martin Lopez makes little allowance for mercy on his drum heads. The bluesy feel of Trials shines with a GARY MOORE-esque guitar solo, while their rendition of SLIPKNOT’s Snuff is genuinely goosebumps-inducing. The string quartet do their job to perfection, and a special mention is warranted to backing singer Diana Kantner whose spot-on harmonies blend expertly with Ekelöf’s tenor. One can feel within the crowd how appreciative they are to witness such a special occasion, and after the closer Lotus, SOEN are showered with thoroughly-deserved applause and a standing ovation from the balcony area.
Rating: 10/10
The responsibility of ushering in the grand finale of the inaugural Prognosis Festival falls to RIVERSIDE, Poland’s biggest non-death metal export. Their first visit to London since 2018, the quartet are wrapping up a stint of UK dates to promote the release of their acclaimed eight record ID.Entity. They choose, however, to announce themselves with the bass-heavy hooks of two older rockers from their catalogue – #Addicted and 02 Panic Room. Their sparse stage design gives the illusion that the main stage has gotten even bigger, with amps brought to the back to declutter the space, and seven light projectors encircling drummer Piotr Kozieradzki. Frontman Mariusz Duda strikes a commanding figure on stage, effortless in singing and weaving intricate bass lines.
Earlier in the day during a Q&A slot he says that they wanted to avoid the uber-serious cliches of prog concerts and just put on a really good rock show, and that comes through clearly. The setlist leans towards their more energetic songs that lend themselves to Duda’s encouragement of singing and clapping along, while Michał Łapaj even busts a few moves from behind his keyboards. The main focus of the setlist does fall on ID.Entity and we get to hear six of its seven tracks. Among its highlights are the stunning 13-minute epic of The Place Where I Belong with its gorgeous acoustic interludes, and a positively juicy blues rock section, as well as the infectious 80s energy of Friend Or Foe?. An extended version of Conceiving You off RIVERSIDE’s first album rounds off a fantastic headline set by the Polish quartet, and calls curtain on an even more fantastic debut London edition of Prognosis Festival.
Rating: 9/10
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