Two Monkey Finger & MoonJune proudly announces

PROGMAN COMETH FESTIVAL

Prog rock music festival in the USA featuring the best of
Canterbury EnglandÕs distinguished musicians, along with their
counterparts in the US, "Progressive". When most had given up
on this dream, others have made it a realityÉ"Progman Cometh"
music festival.

August 16th, 17th, & 18th 2002 in Seattle Washington USA, in a
historic 1500 seat venue, The Moore Theatre will continue the
legend of Progressive Music. Performers scheduled include:
SoftWare - Allan Holdsworth, Hugh Hopper, Elton Dean, and
John Marshall (the New Software for the Classic Machine), Pip
PyleÕs Bash, Phil Millers In Cahoots, Kevin Ayers, Daevid Allen's
University of Errors, Richard Sinclair, Gordon Beck and the list
goes onÉ

Former bands these gentle men have encompassed include
Soft Machine, Hatfield and the North, National Health, Gong,
Caravan, É need we say more? Over 60 previous bands will be
represented through members, with more than 700 recordings
released amongst the lot. Canterbury isnÕt the only part of the
progressive continuum that will be at Progman Cometh, Glass
will delight long time NorthWest fans and Kopecky, Azigza,
Phreeworld, Hampster Theatre and others bring to life the many
aspects of "Prog Music"

Progman truly Cometh, as a grand finale, an All Star Jam,
"Evolution in time and space"

This is what we Ôve all been waiting for, donÕt ask how, just donÕt
be the one saying "I wish I would have been there"... Visit
http://ticketmaster.com and get your tickets.

Please visit: http://twomonkeyfinger.com for all of the concert
details.



SOFTWARE
New album "ABRAKADABRA"
Coming on Universal Records Japan in October 2002
and in January 2002 in the rest of the world
An exclusive MoonJune production

We are the New Software
for the Classic Machine!

ALLAN HOLDSWORTH electric guitar
ELTON DEAN alto sax, saxello, Fender Rhodes
HUGH HOPPER electric bass
JOHN MARSHALL drums


In September of 1999, Software debuted at a festival in
Augustusburg, Germany. The band Ñ Hugh Hopper (bass),
John Marshall (drums), Elton Dean (alto sax and saxello), Keith
Tippett (piano) Ñ presented a mosaic of glittering Soft riffs, fuzzy
hues and blues and a percussive lyricism that crackled like a
snapping whip. They blew life into the still smoldering members
of early 70's progressive music. They rocked, they grooved, but
mostly they made a glorious noise. And then, they took their
bows, packed their bags and returned home. . .to relative
obscurity, infrequent opportunity and the occasional indignity, but
always handled with grace and English sang-froid. In other
words, the jazzman's life or "the continuation of the Battle of The
Somme by other means".

But this one-off performance continued to resonate. Along the
Canterbury trail interest was on the rise. A generation of
listeners marinated in "smart guy music" had achieved the reins
of power. They clamored for reunions, for long-lost concerts to
digitally appear, for the musical pioneers of their youth to finally
be seated at the high-table where the Myrmidons have for too
long held sway.

And thus 2002 heralds the arrival of a brand new Software for a
classic machine. Hugh, Elton, and John are now joined by the
equally iconoclastic Allan Holdsworth on guitar. Chat rooms and
message boards are buzzing like wet power lines and with good
reason: Two incarnations of vintage Soft Machine have come
together to forge a sound that not only acknowledges their
storied pasts but points towards a future free from category, both
timeless and in-the-moment.

The legend of Soft Machine, its birth in the acid-addled Sixties, its
Monk meets Monty Python sensibility, and its cresting to
conclusion as a spirited, if increasingly conventional/fusion outfit,
has been amply documented. Cults flourish not only around
individual members but particular years, months, and even
weeks (!) of the band's existence. This is both a source of pride
and burden to the musicians who have continued to be creative
and prolific over these many years. Attempts to recapture the
past in ersatz "Supergroups" combined with the perfervid ranting
of fans desperate to see, hear, and feel, just once, the legendary
line-ups, invariably, often miserably, fail. And it would be
disingenuous to suggest that the initial overture to erect Software
was immediately embraced. Each musician took a long deep
breath and exhaled very slowly before agreeing to "give it a go".
But uncertainty quickly gave way to excitement and inspiration;
from their first rehearsal the music began to fly. If their first
album is any indication, then one can predict the emergence of a
new lineage, with its own rich tradition of memorable concerts
and recordings, guaranteed to reward both dog-eared veterans
and a legion of fresh recruits, eager to succumb to a glorious
noise.