Prog East 2 Review 11th April 2026

Progeast 2 11th April 2026

The Pub on the Shrubs, Norfolk

Viper Soup Complex

Spriggan Mist

Mother Black Cap (Organisers)

Norfolk has long been associated with incursions by other cultures, and tonight was no exception, experiencing a brief but intense foray by members of the Maltese Prog community ( across two of the bands) , that had left the area forever changed.

Viper Soup Complex

Wither With The Sun, Good Man, Tetrahedon Paradise, The Well and the Labyrinth , Xenolithic Cold

The band opens the evenings proceedings with The single ‘Wither With The Sun’ that sees vocalist Annemarie Spiteri wearing a white cloth over her head, slowly and with deliberation wiping blood over said cloth and her face. An entrancing beginning. The song itself, beginning with picked guitar, migrated to a Prog-Metal styling that transports the song to ist clinactic ending, with enthralling theatrics from Annemarie, using the cloth prop well to gain complete attention from the audience. A superb start.

‘Good Man’ follows with more stage theatrics; trying to force a smile by manipulating her face with her hands, drawing a mouth on a white glove, and a range of other expressions. The vocals here are operatic in style using the full range of Annemarie’s voice. The song again has a powerful, choppy almost Prog-Metally vibe that features tone and time changes galore. A sing songy section with added tiara that is ultimately given to an audience member to wear leads to a wordless vocal refrain. It’s here that drummer. Gwen Zammit ( standing in for the unavailable Melchior Bussuttil) starts to shine, putting in an impressive, subtle and technically beautiful performance that had the drummers in the room purring with admiration.

‘Tetrahedon Paradise’, opined as a love song intricately smoothed its way in with picked guitar and piano fills (backing tracks tonight as keys player David Ciantar was unavailable ). A fluid bass line courtesy of Michael Spiteri and ethereal keys allow Singer Annemarie more opportunity for acting out the lyrics. Drumming here has multitudes of drum rim and clap stack rhythms. There is an opportunity to introduce the band, followed by a wordless woh ah ah vocal refrain. A truly wonderful song that glides and hypnotises.

Viper Soup Complex have been described as Kate Bush fronting Van Der Graaf Generator; a very valid comparison. However, the band tonight transcend any such comparisons, to create a cathedral of sound where myth, and madness, find truth andllexpression in a woman’s voice.

‘The Well in the Labyrinth’ . Perhaps the most complex song here tonight. A metal Van Der Graaf, has a Crimson moment in 7/8 and 5/4, and lord knows what else! Keyboard solos, power chords , powerhouse drumming, all held by that grounding bass voyages the song (and listener!) along Both the ‘violence’ and ‘the silence’, even with a slight rock steady reggae section, leading to discordant circus like keys solo, with an equally discordant guitar squall from Sean Anastasi. An apple even gets eaten on stage, blood smeared, but totally in fashion with this band touched with passion, mania and genius. This is truly Prog!

‘Xenolithic Cold‘- a narrative of the profession of womanhood from animal to deity to Witch. An impassioned operatic vocal over a Eastern influenced Prog metal waltz, tight technical drumming leads to a guitar solo that on the night was a terrific combination of Jimmy Page and Steve Howe. The story in the trice is sanctified with broken twigs held in a vessel. Propulsive guitar and keys rifferama motors the song along still displaying eastern scales, and topped with a ‘yummy yummy’ half spoken vocal coda that climaxes with almost unhinged cackling. An incredible finale to the short but intense set.

Annemarie totally inhabits the songs; assured by the musical excellence the band affords her, she, and the band, are unfaltering. Her voice is mercurial: one moment a fragile, almost whispered invocation, the next a piercing, operatic cry that seems to arc above the band like a shooting star. She sings in characters, in fragments of dreams, in half-remembered mythologies, l as though she’s following some private tide beneath the music. She becomes part oracle, part haunted protagonist, her gestures as deliberate as her melodies.

Viper Soup Complex are going places, big places, very soon. Don’t fail to catch them on their meteoric rise.

Spriggan Mist

Gaze of The Dragon, Gregorian Ode to Isambard, Isambard The Mechanical Dragon, Pieces Of Glass, Faery Wood, When Stars Collide, Ianatores Teresteres, Kintbury Witch, Faery Queen

Earlier I had been sitting in the car, doing last minute review prep, and noticed a line of figures standing in front of the parked car looking quite shadowy and supernatural. Of course it was assorted Spriggans who had magically materialised in time for their performance later. It was going to be one of those gigs then… I was enticed into the venue.

And indeed, starting with the Isambardian Rhapsody Tryptich, otherworldly, ethereal and Rocking, the as now traditional Dragon cult berobed band cast many spells over the audience with a fast, tight and precise rendition, all power, grace and Magick , ensuring the audience was with them immediately. Guitarist Neil Wighton pulled out some top drawer Guitar Hero faces and shape throwing straight off the bat, his solid power chords in perfect unison with Maxine Cilias laser focused guitar lines, weaving the subject of the Mechanical Dragon’s strange and fiery story, that could see the band at times likened to be any of Thin Lizzy, Wishbone Ash and even Iron Maiden. Monster song!

The stage at the venue was on two tiers, which had the effect of keeping the bad boys of the band on the higher level, where their behaviour could be monitored more closely, just in case! The two-tier effect gave the the impression of being like the bridge of the Starship Enterprise, with Maxine’s Keyboards akin to the science officers station and… well, let’s Leave the comparisons there. Spriggan Mist go Sci-Fi would be an interesting concept though…

However it’s back to the (Other) World with the Majestic ‘Pieces of Glass‘, all tribal polyrhythms from Drummer Ali Souiedan, decorated with glittering Faery Dust keyboard flourishes, and fluid fretless bass from the bekilted Baz Cilia. This, a story of dark sorcery manipulation, floats, and caresses the listener into thinking that they’re ’in control’ but ultimately are lost to the syncopated folky pleasures and intricacies of the Piece, being now forever lost and claimed to the Spriggan sound world.

And speaking of sound, a shout out to Aaron Cilia for the studio like clarity of sound the audience were treated too, it really makes a huge difference.

Now Baz, as he’s making the next announcement, knows he is inviting trouble, by asking Fay Brotherhood to introduce the next song, the magnificent, dreamy and Hyacynthoides non-scripta induced everlasting love that is ‘Faery Wood’. So we get educated in Hornbeams, risk assessments, losing tired ecologists to 1000 year sleeps….zzz….He knew what he was doing! Thankfully (after what seems like a thousand years. Sorry Fay!) we are treated to the Majestic song itself, a warning paean to being careful where you tread and sleep. Transcendent and exquisite, the song transfixes with verve and poised, graceful composure, contrasting the propinquity of luxurious acoustic led sections with sections of lavish power. Drummer Ali really builds on the recorded version here, adding tasteful fills to glide the song along. This song really is a magnum opus, a masterpiece.

‘When Stars Collide’ follows with its insistent 2/4 time riff and rhythm. The song motors along on a storm cloud of astrological coincidence or possibly contrivance, and really has a sting its tail. Complete with a syncopated clap along section, a Herta drum fill, added bar chines, floating ethereal sax and calming coda the song is a crisp and invigorating encomium to the stars leaving the audience totally starstruck.

Following a shout out to The bands keeper of the merch, Trish, who will happily purvey all your Spriggan Merch needs, Fan favourite ‘Ianatores Teresteres’ thunders in next, all breakneck speed, assertive swagger, allied with an intangible, supernatural enchantment that the Spriggans are masters of. A galloping, most Iron Maiden Like (there are three guitarist playing at one point in the song!) rocking little number brings more heroic guitar slinger faces From Neil (hope the wind doesn’t change!), powerful drums and compelling unison guitar playing, topped off with delectable a Capella harmonies, the song showcases completely the Spriggan Mist musical aesthetic.

Final two songs ‘ Kintbury Witch’ and encore ‘Faery Queen’ are enjoyable romps Into the realms of witchcraft and the Fae. Like a lightning bolt, they really made the windows rattle and jump. Both powerful and containing a folky flavour, the songs see arms raised audience participation, Fay Bashing two goat skulls together like there’s no tomorrow during the jig section, high kicks from Bassist Baz (natch), and ensure a rousing finale to the Spriggan’s set, and one which ensure a rousing appreciation from the audience. As with Isambard himself, the band put in a Fiery and commanding performance.

Spriggan Mist are essential viewing on this tour, totally in command of the audience and at the top of their game. Compelled by arboreal Phantasies, manufactured by the impish mischievous spirits and adorned with steampunk mechanics, They are rising like a fiery Dragon, ready to set the Prog scene ablaze.

Mother Black Cap

Breydon Sunrise, Last Chance, Living Laid Back, 3 Fools, Flake, Modern World, Caveman TV, Don’t Let The Bastards Grind You Down, Twiddly Dee

Headliners for the evening were Mother Black cap, the East Anglian Prog Pranksters, highlighting a reverence for classic Prog in their well-crafted compositions, and with the polished ability to construct Prog crowd pleasing creations.

Beginning with ‘Breydon Sunrise’, a very Floydy drifting hymn to a local beauty spot they set their musical stall out straight from the off. Lyrical Gilmour like guitar abounds central to a sound similar to if the aforementioned Pink Floyd created Meddle today; their sound abounds with fleeting moments of familiarity; guitar and keyboard riffs that tease recognition, brushing up against echoes of well-known influences without ever crossing into outright imitation. It’s this playful nod to the past that adds an extra layer of charm.

‘Last Chance’ follows, and we are Guided through the song by way of a Prog education, entertaining via use of a Flip chart humorously describing each. Section. A distorted guitar intro , then with guitar line Andy Latimer would be proud to have written, a weird funk bit, ambient moody sounds. An out of context key and tune change, then the outro to make it last longer and become a more prog Than Prog song. A crisp snare roll the escorts the song to an assertive ending.

‘Living Laid Back‘ enters with a Camel-like funkiness, and contains within many classic Camel keys sounds, once again highlighting Nods to Prog‘s gloried past. A curveball is thrown with the a segment very reminiscent of the Pearl & Dean cinema advert music (you perhaps need to be of a certain age to have picked up on this!). Guitarist Martin Nichols dons a cloak lit up with Psychedelic lights whilst soloing. This is very early middle period Floyd in nature and brings the song to its climax. Martin is then unceremoniously jokingly sacked by keys player Bob Connell to much amusement.

Having immediately been rehired. The band invite in stage the mum of one of the bands occasional backing singers for a Prog rendition of the Cadburys flake ad. Only at a Prog Gig!

Modern World has a bell! ; it wouldn’t be prog without a bell, Division type or not. This is smooth sophisticated Prog that gallops, caresses and entertains.

Prog epic ‘Caveman TV‘, a lengthy exploration of a time before any sort of electric media , contemplates the stars. A floating, fluid beginning, prompting scarf waving (MBC festooned scarves handily being distributed to the audience beforehand) to the flutey keyboard sounded. An insistent 16ths hi-hat pattern from drummer Mac Mcarthy leads to a section that wouldn’t be out of place on a Magnum album, leads to Atom Heart Mother Style Floyd again. Mention must be made of bassist singer Andy Fizz Bye, who’s vocal delivery touches a Peter Hammill like intensity, if not quite as stentorian. However the keys pound a triumphant clarion call to a most Van Der Graaf ish tranche, that leads to Martin once again being totally immersed in a guitar solo that leads. To a passionate and stately ending.

‘Don’t let The Bastards Grind You Down‘ is the monumental singalong, to which the now partisan audience dutifully and joyfully participate. A hymn to perseverance and stiff upper lippedness, brings the set to a rousing, almost last night of the Proms ending.

Until that is, The band go all ‘Twiddly Dee‘.

And furnish us all with a bluesy Jethro Tull inspired instrumental jig, all speed and power, and played with gleeful abandon. It is a rip-roaring end to the night, and sends the audience happily home.

A band that thrives on an irreverent energy, never taking themselves too seriously yet fully committed to entertaining their audience. Supportedby a , partisan local crowd, their Performance elicited a lively, atmosphere that felt as much communal as it did musical.

Ultimately, they sculpt their own position in today’s Prog scene; a take on progressive rock, where amiability nd musicianship collide to create something simultaneously nostalgic and refreshingly unpretentious.

Where to MBC go from here with their bonkers bucolic British act? Indeed their sound is built on the past with a perhaps healthy cynicism to their lyrics that are concerned with the modern world. Perhaps the are a tad too self reprocating for their own good sometimes , entertaining as it may be. As it stands, they are taking a sort of short hiatus. It will be interesting to see what they create next.

Seeing bands regularly over a small space of time really highlights the differences between a bands gigs; these can be influenced by the venue, The sound. The audience, and can inform if a set is more powered, more considered, or a combination of these. It is a privilege to be able to view these differences over time and space, and to see just what each song can contain given the environmental influences.

After such a captivating and successful mini festival, with three very different but fantastic bands, one can only be left with the famous phrase from Frank Zappa-

‘Il-mużika hija l-aħjar’.

Totally and Absolutely, Frank!

Review by Mike Burgess