Disequazione came to life in 1980 in Trieste on the initiative of
Giorgio Radi and Vinicio Marcelli, both fans of bands such as King
Crimson or Camel in a period when this kind of music was considered
completely out of fashion. After many problems, personnel changes and
an intermittent live activity on the local scene, in 2016 the band
finally managed to release an excellent debut album, entitled
Progressiva desolazione urbana,
on the independent Andromeda Relix label with a line up featuring
Giorgio Radi (bass), Vinicio Marcelli (guitar, flute), Dario Degrassi
(keyboards), Fiodor Cicogna (drums) and Luca Sparagna (vocals). The
years spent performing live and honing their skills have resulted in
an excellent, mature work in the best tradition of Italian
progressive rock...
The opener “Inutile” (Useless) every now and again might recall
Le Orme. The music and lyrics paint the image of a man soaring above
the city, observing people with an air of indifference while
remaining invisible to others. He flies first high, then lower,
almost to the level of the side-walk, filling his lungs with
unhealthy air before rising again. After an instrumental interlude,
the second part gives the protagonist advice. He must find someone
who can take him out of time and explain the world to him; there's no
point in trying alone. The protagonist can only find himself if he
can see reality within the dark circle of the world, but first he
must try to see his true self, otherwise it will all be for naught...
In “Il vaso di Pandora” (Pandora’s box) at times the music
recalls King Crimson and Camel. It is a hermetic reflection on the
passing of time. You can't steal time's innocent image, because its
gaze is destined to change and transform you, depriving you of a
freedom you'll soon find yourself desperately longing for...
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| Disequazione on stage, 2015 |
“E’ giorno ormai” (It’s day by now) is a brief reflection on
alienation and disconnection from reality. It evokes the image of a
man locked in his white room and his inner world. He's free of
anxiety and expectations, forgotten by people, with his madness as
his companion. For him time no longer has any value and he can no
longer perceive the call of the day and of real life...
“Nel giardino del piccolo Gik” (In the little Gik’s garden)
encompasses dreamlike atmospheres that at times become disturbing and
dark. The hermetic lyrics evoke strange notes, rarefied by fantasy,
and an uncertain race between madness and hope, mud and faith in
progress. Little Gik's Garden is certainly a magnificent and
imaginary place, but it strongly recalls the Garden of Eden and a
forbidden fruit that has led man far away, despite himself and not
for the better...
“Progressiva desolazione urbana” (Progressive urban desolation)
is a long instrumental piece divided into three parts that closes the
album. The title evokes the unnatural urban concentrations that
accentuate the emptiness between people rather than foster
socialisation and the liner notes include a quote from the poet
Eugenio Montale, reminding us that living in concrete cages is a
condemnation to loneliness. The music, however, is excellent,
alternating nervous rhythmic passages and ghostly atmospheres with
other more relaxed and dreamy moments. After all, sharing the
experience of good music is a way to make the desolate urban
landscape of a big city less oppressive...
On the whole, a work that definitely deserves a place in an Italian
prog collection!
You can listen to the complete album HERE
Disequazione: Progressiva desolazione urbana (2016). Other
opinions:
Jim Russell: This album has a bit of a nostalgic vibe for me as it
seems to capture the sound that made me fall for progressive rock in
the first place so long ago. I like that the production is somewhat
relaxed and warm compared to a lot of new releases that can be so
loud and digitally cold. This album is much more "crackling
fireplace at ski lodge" than "mega-crisp stadium show on
flatscreen" if you catch my drift. The only possible complaint
one could lodge here is that the songwriting doesn't attempt to break
new ground, that it leans too much into the classic sound, too
comfortable for the listener. I don't feel that way, but I wouldn't
be surprised if some do. I would heartily suggest giving yourself
permission to kick back and enjoy a sound that doesn't come along
often anymore, a gift from Prog Nirvana to you... (read the
complete review HERE)
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