Gli
Ingranaggi della Valle are a young prog band that was formed in Rome
in 2010 on the initiative of Mattia Liberati and Fabio Gonnellini
with the aim of reviving the atmospheres of Italian seventies prog.
After some line up changes and a first demo recorded in 2011, in 2013
the band released their first full length album, In hoc signo,
on the independent label Black Widow Records with a line up featuring
Igor Leone (vocals), Mattia Liberati (keyboards, vocals), Flavio
Gonnellini (guitars, vocals), Marco Gennarini (violin, vocals) and
Shanti Colucci (drums, percussion) plus some guests such as Marco
Bruno (bass), Edoardo Arrigo (bass, backing vocals), Simone Massimi
(bass), Fabrizio Proietti (classical guitar), Beatrice Miglietta
(backing vocals), Angelica Sauprel Scutti (backing vocals), Mattias
Olsson (drums, percussion) and David Jackson (from Van Der Graaf
Generator, sax and flute). In my opinion, the result of the hard work
of all the musicians involved in this project is excellent. In hoc
signo is a concept album inspired by the First Crusade but
despite the vintage sounds and the subject matter this work appears
always fresh and “authentic”...
 |
| Ingranaggi della Valle 2013 |
“What
is authentic? Anything that is not devised and structured to make a
profit. Anything that is not controlled by corporations. Anything
that exists for its own sake, that assumes its own shape. But of
course, nothing in the modern world is allowed to assume its own
shape. The modern world is the equivalent of a formal garden, where
everything is planted and arranged for effect. Where nothing is
untouched, where nothing is authentic. Where, then, will people turn
for the rare and desirable experience of authenticity? They will turn
to the past. The past is unarguably authentic. The past is a world
that already existed before Disney and Murdoch and Nissan and Sony
and IBM and all the other shapers of the present day. The past was
here before they were. The past rose and fell without their intrusion
and moulding and selling. The past is real. It's authentic...”.
Well, these words are taken from Michael Crichton's novel Timeline
and in some way I think they
could help to understand the spirit of this album, very rich in ideas
although respectful of the tradition. But maybe the beautiful art
cover by Marcello Toma describes the content of this work better than
all my words...
The
short opener “Introduzione” (Introduction) sets a dreamy
atmosphere and leads to “Cavalcata” (Ride), a wonderful track
that depicts a group of Norman knights riding through Italy directed
to the port of Otranto. Their banners are waving like sails in the
wind and you can hear prayers in Latin and toasts. There are many
changes in rhythm and mood, there's a feeling of pride and hope but
also a poignant sense of impending tragedy.
“Mare
in tempesta” (Stormy sea) describes the departure of the ships
carrying the Christian knights across the Adriatic Sea. It starts
softly, the mood is dreamy. The crusaders look back at the Italian
coastline, they think of their families and lands but they're ready
to fight in the name of the Sacred Truth. Then the rhythm rises, the
wind begins to blow stronger and stronger and the ships are battered
by the waves.
“Via
Egnatia” greets the landing of the Christian army on the other side
of the Adriatic Sea. It's the calm after the storm, but other
obstacles are waiting for the crusaders along their march to
Byzantium such as a very cold winter and heretic cities to siege. The
title refers to a road constructed by the Romans in the 2nd century
BC running through territory that is now part of modern Albania, the
Republic of Macedonia, Greece, and European Turkey.
The
magnificent epic “L'assedio di Antiochia” (The siege of Antioch)
is in some way the keystone of the album. It tells about the Siege of Antioch but this work is not a celebration of the Crusades and while
listening to this album you've always to keep in mind that, as
explained in the liner notes, this is the story of a few Norman
knights that faced the development of a modern social conscience in a
period dominated by a savage and intolerant individualism... a time
that's not so far away. As the battle rages on, the lyrics swing
from Italian to Latin to describe the slaughter of innocent women and
children in the name of God... “Damnatio aeterna nobis! / Miserere
nostras spathas! / Murky images envelop you, crusader / You loosen
your grip on the hilt / Your hands drenched with tears can't hide
your face from the judgement of God...”. Some knights are fed up,
they realize that they have betrayed Christ in His name, in hoc
signo, wearing the symbol of the
sacred cross. So, they desert from the Christian army and run away
from the Western world.
The
instrumental “Fuga da Amman” (Escape from Amman) describes a
desperate journey through sunny deserts and mysterious countries.
There are many changes in rhythm and atmosphere, oriental flavours
are mixed with frenzied jazz rock passages. It leads to “Kairuv'an”
where a melancholic feeling of nostalgia for land and family is mixed
with the colours and charms of the kingdom of Sheba... “Forgive me
my love / I can't come back to you...”.
“Masqat”
describes the next leg of this desperate journey through unknown
countries. Our heroes get lost in the narrow alleys of an Arabic
seaport city where they can smell exotic spices blending with the
sea. On the following “Jangala Mem” the atmosphere becomes
darker, almost mystical. The knights have come to India where they
meet a wise old man in a temple who is sleeping upon the wind. He
wakes up and smiling speaks to them...
Next
comes the complex, ethereal “Il vento del tempo” (Wind of Time)
where dream and reality blur and the future mirrors in the past. The
lyrics describe strange visions, there are mystic temples facing the
sea, ancient towers from where you can observe the flight of
mysterious spaceships... “Let the future speak – tells the hermit
/ In his hands the wind of Time bends... Manticore! Proud, but not in
the soul / The forest of tomorrow is its realm / Its throne has been
built by servile monkeys / It lies on the cranes of rebel tigers / In
its mocking laughter it hides the wish for power without honour nor
justice...”.
The
epic “Finale” tells about the end of the cathartic dream. The
altars of sand of an era without reason crumble and the brave
crusaders finally find their redemption. Now the evil belongs to
their past and their long journey comes to an end. Finally they can
come back to their families and land, they can love again and ride
back to their sweethearts with a new hope... “Now I consecrate my
sword to a better future / I must come back!...”.
On
the whole, I think that this is an almost perfect album where music
and lyrics perfectly fit the storyline. An authentic must for
every prog lover!
Ingranaggi
della Valle: In hoc signo (2013). Other opinions:
Michael
“Aussie-Byrtd-Brother”: I was initially very intimidated
attempting to review this album. Where to begin discussing an album
that bridges the classic vintage defining releases from Italy with a
modern sound so perfectly? This album kind of reminded me of
Marsupilami's deranged `Arena' album, and although they were not an
Italian band, that one headed in every direction at once with a
spastic `take no prisoners, grab them by the throat' approach yet
somehow still managed to hold together as a strong cohesive work.
Maybe this opinion of mine is also swayed as I look at the battle
scene depicted here on the front cover like that one too! Anyway,
there's a focused confidence and a keen ear for sublime melodies
weaving through the reckless, thrashing and fiery instrumental
passages. Take the triumphant fanfares of P.F.M, the jazz/fusion
precision of Arti e Mestieri in a more symphonic style (they get
several mentions in this review!) and the traces of darkness and edge
of Biglietto Per L'Inferno and you might get an idea where to
begin... (read the complete review HERE)
Steven
Reid: Especially for a debut effort, which In
Hoc Signo is, what Ingranaggi Della Valle have achieved
here is really pretty impressive and it's virtually impossible not to
recommend this album to those who revel in the styles in which this
band specialise... (read the complete review HERE)
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