Friday, 7 February 2014

RAG MEN AND BROKEN DOLLS


After the successful album “Collage”, Le Orme developed some ideas already present in their previous work and released another masterpiece, “Uomo di pezza” (Man of rags). This album features the same line-up (Aldo Tagliapietra, Antonio Pagliuca and Michi Dei Rossi) and the same producer (Gian Piero Reverberi) of the previous work and is reputed one of the most influential albums of the Italian prog scene. The wonderful art cover features a painting by Walter Mac Mazzieri titled “Garbo di neve” that perfectly describes the mood of this work. There’s a perfect symbiosis between the music and lyrics and all the tracks are in some way linked by a thread. This work was conceived almost as a concept album and it’s a kind of journey in the feminine universe. Every song tells the story of a woman but the mood is not at all light or romantic. Troubled stories of violence, broken dreams, fears and madness are told in a very poetical, bold way while the music underlines the poetical content of the lyrics...

Walter Mac Mazzieri: Garbo di neve

The opener “Una dolcezza nuova” (A new sweetness) begins with a church-like organ sound. The organ tries to evoke the dreams of a young girl, such as a romantic relationship and a happy marriage, but sometimes things go wrong and the first experience with love and sex can be a real trauma. The rhythm section carries away those dreams. Then comes a new beginning, with a delicate piano pattern and soaring vocals... “I pick up your glance and I hold it tight in my hands / There’s an old fear in your eyes / Now dreams of ash are burning inside you / When your fears melt away, you believe in me...”. A new relationship with the right man can lead to a new sweetness... “The storm is inside your heart / And you find a shelter in me... Your voice becomes a whisper / And you, you are shaking beside me... I pick up your glance and I hold it tight in my hands / There’s a new sweetness in your eyes / New for you...”.

“Gioco di bimba” (Little girl’s game) is a wonderful acoustic ballad about a broken charm... “She gets up in the night as if compelled by a spell / She silently walks with her eyes still closed / As if she would follow a magic song / And on the roundabout she comes back to her dreams...”. Well, despite the dreamy mood of the music this song is about a rape. A man tears apart the dreams of the young girl, then it’s too late for him to repent... “A stealthy shadow gets off the wall / In the little girl’s game a woman gets lost... In the morning a scream resounds in the middle of the street / A man of rags is invoking his tailor / In a lost voice he keeps on saying / I didn’t want to wake her up this way / I didn’t want to wake her up this way!”. In this case the tailor is a metaphor for God...




“La porta chiusa” (The closed door) is about a woman who lives locked in her house fearing an impending meeting with her destiny... “As every evening you are alone in the dark / Your innocence keeps you company...”. The woman has renounced the struggle for love but suddenly she hears someone knocking on her door, what’s up? She would like to open and she doesn’t know why. The music helps raise the tension... Well, it’s difficult to say whether it was just a scoundrel or love passing by... “You didn’t open the door, why? / It could be him...”.

“Breve immagine” (Short image) is a short, dreamy track describing an ideal woman through the eyes of a boy. She appears like a mirage, a light trick reflected in the water... “Over there, where the sky ends melting into the sea / There’s a young woman who is smiling to me... It’s an image that lasts just for a while / It’s an image that the sundown carries away...”.
 



“Figure di cartone” (Cardboard figures) tries to depict in music and words madness. It’s about a woman closed in her room and completely cut off from the real world. She has lost her youth as a flower cut off from its branch in springtime... “You live in your own strange world made of cardboard figures and rag dolls / You live closed between those four walls / You can’t remember who took you in / You don’t know anyone but who plays with you / You don’t have the anxieties of the future / Time is worthless for you / Tomorrow you will do again what you did yesterday / And in your dreams you talk with angels...”. Despite the subject matter in this track the music is not aggressive and there’s a feel of mercy and melancholic sweetness... “You hold tight to your chest the pillow / And on the white wall shadows draw the profile of a woman with her baby / And so you fall asleep, happy...”.

“Aspettando l’alba” (Waiting for sunrise) is about a summer night spent on a beach waiting for dawn. The sound of a guitar, songs soaring in the night, boys and girls on the sand around a bonfire... Nonetheless the music doesn’t express joy, there’s something wrong, a disquieting feeling in the air. There’s a girl with an empty, dazed face among so many smiling ones, so many eyes have become just one look... What happens next? Well, the lyrics don’t tell us but probably it was something so nasty that made even the wind angry... “A strong wind at dawn became angry with the sun / And the sea waves raged all over beach...”.

The last track “Alienazione” (Alienation) is an instrumental that tries to express madness and estrangement. It starts with a dark burst of energy, then a disquieting feeling soars from wild rhythm patterns hanging on until the end...


You can listen in streaming to the complete album HERE


Thursday, 6 February 2014

SLEEPWALKING IN THE GARDEN

After the release of their first official album entitled Perigeo (2012), Il Giardino Onirico started to re-work on the ideas of their 2010 demo titled Complesso K. In 2013 the band released a new, enhanced version of the demo on the independent label Lizard Records with a line up featuring Emanuele Telli (keyboards), Stefano Avigliana (guitars), Ettore Mazzarini (bass), Massimo Moscatelli (drums, percussion), Dariush Hakim (keyboards, effects) and Marco Marini (vocals). The title of this new work is Complesso K MMXIII to differentiate it from the original demo recordings and in my opinion the result is excellent.

Il Giardino Onirico 2013

“Complesso K” is a long suite divided into four parts plus an introduction. The intro begins with narrative vocals and a dark, spacey atmosphere... “Oneiric is the way you take when the sundown closes the night curtain and its arms stretch out stealing streets, deserts, whispers...”. The words evoke strange psychedelic visions, musical harmonies and orgies of sounds and colours... Close your eyes, the words will follow you down into your sleep like a mystic incantation while a strange journey begins and the rhythm rises.


Well, the title of the suite refers to a K-complex and gives you a key to approach this work. A K-complex is an electroencephalography waveform that occurs during Non-Rapid Eye Movement sleep. According to wikipedia sources, unlike REM sleep, there is usually little or no eye movement during this stage. Dreaming is rare during NREM sleep... People who do not go through the sleeping stages properly get stuck in NREM sleep and because muscles are not paralyzed, a person may be able to sleepwalk... The mental activity that takes place during NREM sleep is believed to be thought-like, whereas REM sleep includes hallucinatory and bizarre content.


Part I and II are completely instrumental and feature a wide range of influences, from Pink Floyd and Eloy to Goblin and Pholas Dactylus. There are many sudden changes in mood and atmosphere but I never have the feeling of aimless improvisation. Lights and shadows, notes and images move in a quickening tempo like clouds in the sky. In the end of Part III the narrative vocals come back adding new evocative images... You'll sleepwalk on beaten tracks along your old steps, past and present will blur, forgotten lives and lost memories will come back, you'll live new passions and abandons... Classical inspired piano patterns are intertwined with psychedelic parts, dark organ rides alternates with brighter musical colours but the mix is always well balanced and never boring. The instrumental Part IV concludes the suite in a crescendo of positive energy... You're going to wake up!

On the whole, a very good album made to stir your imagination

You can listen to the complete album in streaming HERE

Il Giardino Onirico: Complesso K MMXIII (2013). Other opinions:
Michael Aussie-Byrd-Brother: This talented group of musicians have now released two top-notch albums in a row, and `Complesso K MMXIII' shows just how much potential the band still has, while also hinting at many exciting directions they can go on future releases. Never so dark to be pitch-black and overwhelming, always with an atmospheric and thoughtful edge, Il Giardino Onirico perfectly balance frenetic energy with subtle and delicate touches, and their music is always endlessly melodic. They deliver heavy colourful instrumental arrangements played with skill and precision, and heavy prog and space-rock fans should really investigate the band right away... (read the complete review HERE)



Sunday, 2 February 2014

THE WANDERING JEW

Il Segno del Comando began life in Genoa in 1995 as a studio project with the aim of reproducing the sound and the atmospheres of bands from the seventies such as Goblin, Il Balletto di Bronzo or Jacula. In 1996 an eponymous album was released on the independent label Black Widow Records, inspired by the novel of the same name by Italian writer Giuseppe D'Agata. In 2001 the band released e second album, Der Golem, inspired by a novel by Austrian writer Gustav Meyrink. In 2013, after a long hiatus and with a renewed line up featuring founder member and main composer Diego Banchero (bass, keyboards, Theremin) along with Giorgio Cesare Neri (guitars), Maethelyiah (lead and backing vocals), Fernando Cherchi (drums, percussions), Maurizio Pustianaz (keyboards, piano, organ), Roberto Lucanato (guitars) and Davide Bruzzi (giutars), the band released another concept album inspired by a novel by Gustav Meyrink, Il volto verde (The Green Face). Many prestigious guests contributed to enrich the sound, among others Claudio Simonetti from Goblin, Gianni Leone from Il Balletto di Bronzo, Martin Grice from Delirium, Vinz Aquarian from Il Ballo delle Castagne and Sophya Baccini. The result is excellent and the music and lyrics perfectly fit the concept although I fear that is almost impossible to completely appreciate this complex work without having read the book that inspired it.  

Il Segno del Comando 2013

The Green Face was written in 1916 and is set in a surreal Amsterdam post World War I. It is pervaded by a strong sense of mysticism and spirituality... I want to see a fresh, unknown world, I want a new sense of wonder such as must strike an infant if he were to become a grown man overnight... I want to be a full-stop rather than eternally a comma in the punctuation of time...

The opener “Echi dall'ignoto” (Echoes from the Unknown) is a short instrumental, provided by the guest Federico Pedichini a.k.a. Freddy Delirio from Death SS, that sets the atmosphere. It leads to the nervous, hypnotic “La bottega delle meraviglie” (The Hall of Riddles) that describes a visit to a very strange shop where the borders between reality and dream are blurred. Here the protagonist of the novel, Fortunatus Hauberrisser meets for the first time the strange, haunting character with the green face portrayed in the beautiful art work by Danilo Capua... It was smooth, with a black strip of cloth tied over its forehead, and yet it was deeply furrowed, like the sea, that can have waves but not wrinkle on its surface. The eyes were like chasms and yet they were the eyes of a human being and not empty sockets. The skin was a greenish olive colour and looked as if it were made of bronze, such as the races of ancient times may have had of whom it is said they were like dark-green gold...


The dark, Gothic “Chidher il Verde” (Chidher the Green) focuses on the peculiar character with the green face, vaguely based upon the legendary figure of The Wandering Jew. He's been on earth ever since the moon has been circling the heavens and is the one who can show you the way leading to a hidden spirituality... “Prophecy or circularity, claustrophobia, psychic undertow / You are just one step from the gallows / It's the turn of madness to rule over men...”.

The following “Trenodia delle dolci parole” (Threnody of the sweet words) features the beautiful vocals of the guest Sophya Baccini and draws a strong sense of loss and impending tragedy. It leads to the short, disquieting instrumental “Il rituale” (The ritual) and to the esoteric, threatening “La congrega delle Zee Dyk” (The Zee Dyk club) where the spectral vocals of another guest, David Krieg, contribute to draw a mystical delirium where the dangerous ritual of a cathartic, spiritual rebirth is consumed with deathly consequences.

“Il manoscritto” (The manuscript) is another track full of dark mysticism and visionary strength. There are some strong classical influences that could recall the Carmina Burana by Carl Orff and a constant flowing of raw energy waves. The protagonist discovers an ancient manuscript that helps him to go through some esoteric experiences... “The weapons of Death are: dream, daze and sleep / From one awakening to another, I live to find a new beginning...”.


The excellent instrumental “L'evocazione di Eva” (Eva's evocation) features the guests Claudio Simonetti (organ, Moog and Mellotron) and Martin Grice (flute sax). Along with the following “Retrospettiva di un amore” (Retrospective of a love) it depicts a love where spirituality prevails upon materialism. A strange magic binds the protagonist and his sweetheart, the strange prophecy of a perfect love that is stronger than Death...

“Usibepu” was inspired by the character of the powerful necromancer and shaman of the same name, a violent and merciless Zulu warrior who wanted to possess Eva, the protagonist's fiancée... “Serving under the banner of greediness / I attend to the resurrection / I think again of the caste determination that prevented me from having you / Making even mockery of my magic...”.

The dazzling instrumental “L'apocalisse” (The Apocalypse) features the guest Gianni Leone (keyboards, organ, vocals) and describes with sudden vortexes of notes a storm so violent to conjure up the imagine of the end of the world. It leads to the final curtain of “Epilogo” (Epilogue), featuring narrative vocals and an obscure omen... “The walls of Jericho have crumbled / He's back from the Kingdom of Dead...”.

On the whole, an excellent, challenging work but beware! It takes many spins to be completely appreciated and, of course, you have to read the book!

You can listen in streaming to the complete album HERE

More info:



Sunday, 26 January 2014

GHOSTS FROM THE WASTE LAND

Unreal City began life in Parma in 2008 on the initiative of Emanuele Tarsconi and Francesca Zanetta, rising from the ashes of another band called Syllogism. After some line up changes, an intense live activity in the local scene and a first self-produced demo, in 2013 the band finally released their début album, La crudeltà di aprile (The cruelty of April) on the independent label Mirror Records. The album was recorded at the Hilary studios in Genoa with the help of experienced producers such as Fabio Zuffanti and Rossano Villa and with a line up featuring Emanuele Tarasconi (vocals, piano, organ, Moog, Mellotron, synth, harpsichord, Theremin), Francesca Zanetta (electric and acoustic guitars, lute), Francesco Orefice (bass, vocals) and Federico Bedostri (drums, percussion, vocals) plus the special guest Fabio Viale on violin. The result is a brilliant mix of memory and desire that the band achieved stirring dull roots with spring rain for the pleasure of the listener: well, it's not by chance that both the name of the band and the title of the album are in some way related to T.S. Eliot's The Waste Land and maybe some other verses from this poem could give you an idea of the content of this charming work... “Unreal City / Under the brown fog of a winter dawn / A crowd flowed over London Bridge, so many / I had not thought death had undone so many...”. The sound of vintage instruments, a solid classical background and a fresh creativity evoke ghosts, melodies and dreams from the past and give them a new life.

Unreal City 2013

The opener “Dell'innocenza perduta” (Of the lost innocence) begins with a tense section, then a calmer part follows featuring soaring vocals evoking the almost human voice of the wind in a dark, enchanted wood. The music and lyrics describe in an original way the trauma of a boy who has to tackle the loss of family and security, his necessity of rapidly growing up to face the world and the hypocrisy of the people around him. As the innocence of the childhood gives way to rage and awareness the rhythm rises again with a beautiful collage of vintage sounds and a raging wave of fresh energy.

The second track, “Atlantis (Conferendis Pecuniis)”, was inspired by the myth of Atlantis as narrated by Plato and deals with the dark side of human nature. The atmosphere is dark and you can almost feel an impending sense of tragedy. The fall of Atlantis and its civilization here is just a metaphor used to describe the punishment for the guilty behaviour of people corrupted by greediness, ambition and an infinite thirst of power. Eventually virtues and culture succumb to the spreading materialism but mother nature always takes its revenge. A flood that no one can stop pours on the crowded square... “The large slab of aurichalcum that gave us wisdom is now reduced to dust / It rang our guilt...”.


“Catabasi (Descensio ad Inferos)” was inspired by Goethe's character Faust and describes the timeless trip of a damned scientist to the underworld in search for knowledge. It begins by a dark church-like organ passage and vocals. You can hear the sound of a bell in the background, a man is walking in the twilight on an Autumn evening, then a thousand spectres begin to dance around him to the sound of a violin while the rhythm rises evoking an eternal Sabbath that draws the listener towards black flames and mud, down into a merciless abyss. Nevertheless the damned scientist doesn't fear the devil, during his meeting with him he's calm and remorseless like a man who eats a prohibited fruit and taste it... “I'm ready, take me away from here... Time is running out / Stop the time!”.

The beautiful “Dove la luce è più intensa” (Where the light is more intense) describes in music and words a man on the border of madness that runs away from reality. Prisoner of his poetry and of his nightmares, he becomes a hermit hiding in a hollow tree in a wood, not far from a graveyard... “Among white statues and tombstones / Grey and soulless / I heard his voice...”. The theatrical vocals by Emanuele Tarsconi are very effective here while the music perfectly fits the content of the lyrics.



The lively “Ecate (Walpurgisnacht)” was inspired by the Goddess Hecate and by the pagan rites of the Walpurgis Night. Hecate in Greek mythology is associated with crossroads, entrance-ways, fire, light, the Moon, magic, witchcraft, knowledge of herbs and poisonous plants, necromancy and sorcery. The music and lyrics evoke a solitary village in the mountains not far from a mysterious place where the witches used to gather to celebrate the new moon with their dark lady. All the travellers who had the chance to see those celebrations lost their reason... “If you follow the route beyond the mountain / Beyond the black of its darkest path / There you'll find her, queen of the horizon / In her eyes burns a fire, eternal and still...”.

The last track, “Horror Vacui”, is a long, complex suite divided into four parts that deals with the disquieting feelings of a serial killer. It begins with a tense instrumental part, “Le radici del male” (The roots of evil), that could recall Goblin and the atmospheres of Dario Argento's movies. The second part, “L'assassino” (The murderer), introduces the protagonist of this piece, that is set in a surreal, nightmarish New York City where you can see black butterflies in a sky of lead, living dead sitting in the metro and hungry monsters walking on bloody streets. The third part, “Nel sonno della ragione” (In the sleep of reason), is a calm, dark instrumental passage that leads to the the last part, “Il baratro della follia” (The chasm of madness), where the voices of the victims of an absurd, cruel game echo in the insane mind of the protagonist, soaring from rusted metal boxes hidden in dark, red rooms. Well, I think that this could be a perfect background for a Stephen King's novel!

You can listen to the complete album in streaming HERE

Unreal City: La crudeltà di aprile (2013). Other opinions:
Michael “Aussie-Byrd-Brother”: Immaculately produced, endlessly melodic and catchy without sacrificing sophistication and artistic integrity, `La Crudeltà Di Aprile' really knocked many of us RPI fans back even upon the first listen. It's rare to hear a band so confident, playing with such vigor and power. Sure they take on endless ideas and styles, but it's all so pleasing to the ear and well composed with a great sense of flow that the endless different sections shift seamlessly. I fully applaud Fabio Zuffanti's urging that the band sing in their native language, and a recent interview seemed to suggest they relished singing in Italian to `take advantage of all the quotes and expressions that would have been lost in English'. To the lads and lass in `Unreal City', real Italian progressive fans admire and are very grateful for this devotion and respect to the true sound of the RPI genre... (read the complete interview HERE)
Thomas Szirmay: Musically sensational, visually attractive and fresh, we are offered a vision where classic progressive meshes with absolute modernisms, a young quartet of Northern Italian fashionistas who happen to master their instruments (besides looking hot) and incorporate all the classic RPI traditions of clever melodies, artful presentation, impeccable delivery and dramatic performances... (read the complete review HERE)