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Il Tempio delle Clessidre – Il Tempio delle Clessidre (2010)

Posted in Progressive Rock, Review, Rock Progressivo Italiano (RPI), Symphonic, tagged , , , , , , , , , on February 28, 2011| 2 Comments »

TRACKLISTING:
1. Verso l’Alba (2:52)
2. Insolita Parte di Me  (7:20)
3. Boccadasse  (5:20)
4. Le Due Metà della Notte  (5:18)
5. La Stanza Nascosta  (5:10)
6. Danza Esoterica di Datura  (6.07)
7. Faldistorum  (6:06)
8. L’Attesa  (4:36)
9. Il Centro Sottile  (9:39)
10. Antidoto Mentale  (3:30)

LINEUP:
Stefano “Lupo” Galifi  – vocals
Elisa Montaldo – piano, keyboards, organ, concertina, vocals, sound effects
Fabio Gremo – bass
Giulio Canepa – guitars
Paolo Tixi – drums

With:
Max Manfredi – voice (7)
Antonio Fantinuoli – cello (5)

Known outside Italy as the hometown of Christopher Columbus, the bustling seaport of Genoa has had a long tradition as a hotbed of musical creativity – starting as far back as the late 18th century with legendary violinist Niccolò Paganini. Then, in the early 1960s came the ‘Genoese school of singer-songwriters’, whose foremost representative, Fabrizio De André, is known to prog fans for his collaboration with PFM. About ten years later, a number of influential progressive rock bands were formed,  such as Delirium and New Trolls – two outfits that are still producing great music in the early 21st century. In particular, Delirium’s comeback album of 2009, Il Nome del Vento (reviewed elsewhere on this blog) stood out among the plethora of prog releases for successfully marrying the glorious heritage of Italian prog with a thoroughly modern sound quality. The same accomplished nature is shared by this stunning debut by Delirium’s label mates (and fellow Genoese) Il Tempio delle Clessidre.

Named after the final section of the titular suite of Museo Rosenbach’s one-off Zarathustra – one of the most iconic albums of the Italian Seventies – Il Tempio delle Clessidre (“The Temple of Hourglasses”) have been around since the summer of 2006, when keyboardist Elisa Montaldo and bassist Gabriele Guidi Colombi met former Museo Rosenbach vocalist Stefano “Lupo” Galifi. The idea that brought the band together was to perform the whole of the Zarathustra album live on stage with Museo Rosenbach’s original singer, using vintage instruments, and subsequently start penning original compositions inspired by the spirit of the golden years of Italian prog. After some line-up changes, Il Tempio delle Clessidre’s self-titled debut album was released in September 2010 by Genoa-based label Black Widow Records.

For all its cult status, Italian prog can be seen as very much of an acquired taste – mainly on account of its operatic, occasionally overblown nature, especially as regards the vocal department. In this respect, Galifi’s warm, bluesy vocals (also heard on one track of Delirium’s 2009 album), which add an emotional yet somehow informal note to the lush textures of the band’s music, are definitely Il Tempio delle Clessidre’s not-so-secret weapon. The tightly organized compositions, never gratuitously meandering, strike the right balance between melody and complexity, without a second wasted in pointless noodling, and with enough changes of pace to make the most demanding prog fan happy. Although the singing is strongly emphasized,  there is also a lot of room for the instrumentalists to display their considerable chops. Indeed, the pristine sound quality allows each of the musicians’ performances to shine, and captures every nuance of Galifi’s seasoned vocal delivery, honed in years of fronting blues-rock bands; while the pronounced melodic bent tempers the intensity of the lyrics and the dense esoteric symbolism of the cover art and booklet.

Interestingly, with the sole exception of the almost 10-minute “Il Centro Sottile”, the tracks on the album are all relatively short, with an average running time of 5 minutes. The album itself, at about 55 minutes, is markedly shorter than the majority of current prog releases, some of which skirt the 80-minute mark. Those who appreciate the instrumental aspect of progressive rock rather than the vocal one will be glad to learn that Il Tempio delle Clessidre manages to balance both sides quite admirably. Opener “Verso l’Alba”, the only completely instrumental track on the album, sets the scene with the deep, Gothic sound of the organ and wind-like effects, developing into a keyboard- and guitar-driven piece reminiscent of a heavier Genesis. “Insolita Parte di Me”, at 7 minutes the second longest track, alternating quieter passages with more dramatic ones, dominated by Elisa Montaldo’s magnificent keyboards, is a perfect example of how the band manage to achieve the structural complexity typical of prog without sacrificing the unique Italian attention to melody. Montaldo, who is the main composer together with bassist Fabio Gremo, handles her array of instruments with impressive skill and flair. “Le Due Metà della Notte”, interpreted with warmth and feeling by Galifi, is a splendid keyboard showcase that combines melody and intensity; while in the sedate “La Stanza Nascosta” the piano and Galifi’s stunning vocals conjure a melancholy, meditative atmosphere. On the other hand, the mid-paced “Boccadasse” (dedicated to a picturesque mariner’s neighbourhood of Genoa) is a more conventionally structured song, with a very catchy chorus and a beautiful, melodic guitar solo.

However, it is the two central numbers that prove to be the most distinctive, in keeping with Black Widow’s keen interest in the mystical and the esoteric. “Danza Esoterica di Datura”, as the title implies, opens with a brisk, dance-like pace, and culminates with an extract from Shakespeare’s Macbeth, chanted by Montaldo in tense, dramatic fashion; some of the keyboard inserts are appropriately reminiscent of Goblin’s Dario Argento soundtracks, such as the renowned Profondo Rosso. The cryptically-titled “Faldistorum” sees the Hammond organ take the lead in parallel with the drums, introducing a male voice reciting a short text in an emphatic, melodic yet slightly ominous manner, reinforced by the closing strains of a church organ. The following “L’Attesa”, a rich, energetic keyboard-fest, is very much in the vein of classic Italian heavy progressive acts such as Il Balletto di Bronzo and Biglietto per l’Inferno; while in the solemnly melodic “Il Centro Sottile” all the instruments strive to create a lush texture that can bring to mind Genesis or Banco del Mutuo Soccorso in their heyday. After a somewhat lengthy pause, the album is wrapped up by the poppy, rather undistinguished “Antidoto Mentale”, which in my view is the only track that smacks a bit of filler.

Blending the warmth and melodic flair of the Mediterranean musical tradition with the driving energy of rock and the artistic ambition of prog, Il Tempio delle Clessidre’s debut deserves to be hailed as one of the standout releases of 2010, and one of the most promising albums to have come out of Italy in a long while. While taking their cue from the music produced in the Seventies – and, thankfully, not pretending to reinvent the wheel – the band manage to sound fresh and up-to-date, and not a mere exercise in nostalgia. A flawlessly performed, lovingly presented effort, Il Tempio delle Clessidre will surely bring a lot of listening pleasure to the many fans of Italian progressive rock.

Links:
http://www.myspace.com/iltempiodelleclessidre

http://www.museo.it

http://www.blackwidow.it

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From the Vault: Egg – The Polite Force (1971)

Posted in Avant-garde, Canterbury Scene, Progressive Rock, Review, tagged , , , , , , , , , , , on February 24, 2011| 7 Comments »

TRACKLISTING:
1. A Visit to Newport Hospital (8:25)
2. Contrasong (4:21)
3. Boilk (9:23)
4. Long Piece No. 3 –  Part One (5:06)
5. Long Piece No. 3 –  Part Two (7:39)
6. Long Piece No. 3 –  Part Three (8:01)
7. Long Piece No. 3 –  Part Four (2:51)

LINEUP:
Mont Campbell – bass, vocals, organ, piano, French horn
Dave Stewart – organ, piano, tone generator
Clive Brooks – drums

With:
Henry Lowther – trumpet (2)
Mike Davis – trumpet (2)
Bob Downes – tenor sax (2)
Tony Roberts – tenor sax (2)

Released in 1971, Egg’s sophomore effort is one of those albums that, in a way, can be said to be representative of a whole movement, though they rarely get the appreciation they deserve. Though “Canterbury scene” may sound rather vague as a definition, being more about a place than an actual musical style, it is nonetheless undeniable that most of the bands and artists associated with this most peculiar subgenre do share a number of features that go beyond their somewhat ‘incestuous’ sharing of personnel. Many see the output of the  “Canterbury scene” as a subsection of jazz-rock with poppy leanings and occasional excursions into more avant-garde territory; however, to these ears at least, the best Canterbury outfits offer a complete progressive package of humour, sophistication, diverse influences, and remarkable musical chops. Quintessentially English,  with a timeless feel that often eludes the more stereotyped instances of symphonic prog, the Canterbury sound commands fierce devotion, though its quirky nature can also leave listeners somewhat cold.

To all intents and purposes, Egg was a continuation of Uriel, the psychedelic progressive quartet that also included guitarist Steve Hillage (later with Khan and Gong), whose only album was released in 1969 under the name of Arzachel.  After Hillage left, the three remaining members took a different, more experimental route, pushing the keyboards at the forefront, and dabbling in those genre-defining contaminations between rock and classical music – as witnessed by “Fugue in D Minor” and “Symphony No.2”, both featured on their 1970 self-titled debut album.

In spite of its cult status among true-blue Canterbury fans, The Polite Force is generally not rated as highly as the likes of Third or In the Land of Grey and Pink. Some reviewers have even hinted at comparisons with the much-reviled ELP – owing to the similar configuration of both bands – which, unfortunately, does not do the album any favours. Now, though I consider ELP one of the most influential bands in the history of progressive rock, and rate their first five studio albums quite highly, I do not find the connection between their sound and Egg’s as evident as some maintain. While The Polite Force is very much a showcase for Dave Stewart’s distinctive style, and therefore a real delight for keyboard fans, it would also be unfair to state that the band is dominated by him. In fact,  bassist/vocalist Monty Campbell and drummer Clive Brooks (who joined blues-rock trio The Groundhogs after Egg’s demise) do not just function as supporting cast for Stewart’s keyboard antics, but drive the band’s sound along with their impressive, though understated, skills. Campbell is also a vocalist very much in the classic Canterbury mould, with a polite (pun unintended), pleasant voice that is the perfect complement to the band’s quirky, complex sound.

Though seven tracks are listed on the back cover, the album actually comprises four compositions, one of which, “Long Piece No.3” is divided into four parts. “A Visit to Newport Hospital” is one of the most impressive openers to be found on a Canterbury album – introduced by an almost Sabbath-like riff, heavy and plodding, which suddenly loosens up into a cheery, sprightly organ section. The gently ironical lyrics, relating some of the band’s experiences in their Uriel days, are an unobtrusive yet essential accompaniment to Stewart’s elegantly assertive organ; Brooks’ drumming underpins everything with a discreet touch.  The song then comes full circle, ending with the same gritty organ riff as it began.  In the following “Contrasong” a full-blown horns quartet punctuates Stewart’s dynamic piano forays and Campbell’s urgent vocals, with a basic 5/8 9/8 pattern reminiscent of Gentle Giant’s counterpoint arrangements; Stewart switches to organ later during the song, propelling it forward in parallel with Brook’s drumming, and the horns coming in bursts.  Next comes the somewhat controversial “Boilk”, a full-fledged avant-garde piece almost 10 minutes long, very much in the vein of King Crimson’s “Moonchild”. The composition, which had already appeared on Egg’s debut (though in shorter form), opens with the sound of running water, and includes improvisations on a Bach theme, tolling bells and a host of other effects.

The album closes with the ‘epic’ instrumental “Long Piece No.3”, about 20 minutes long if taken as a whole – though its four parts are listed separately. As the liner notes point out, the ‘outer’ parts (One and Four) are rhythmically based, while the ‘inner’ ones are harmonically based. Interestingly, the whole composition comes across as somewhat fragmented, with frequent pauses breaking up the flow of the music. Part One opens with Stewart’s briskly repetitive organ, assisted by Campbell on piano and organ, and driven along by Brooks’ skilful drumming. Part Two immediately introduces Stewart’s fluid organ, with the drums going back to a supporting role (though essential), and a palpably more melodic texture – though its central section contains a sort of improvisational organ piece that might bring “Boilk” to mind. Campbell’s bass introduces the textbook-Canterbury Part Three, with its almost military drum pattern, unbridled organ flights (sometimes reminiscent of Soft Machine’s Mike Ratledge), and tone generator adding wailing, guitar-like effects. Part Four wraps up the album in a short but intense climax, driven along by frantic drumming and harsh, fuzzed organ.

As Edward Macan intimates in his book Rocking the Classics, The Polite Force can be seen as bridging the gap between keyboard-based symphonic prog and the jazzier, quirkier sound typical of the Canterbury scene. Definitely one of the finest moments of  Stewart’s career, its eclectic nature – featuring as it does avant-garde experimentation, more or less ‘conventional’ songs, classical touches and plenty of instrumental brilliance –is likely to appeal to a wide range of fans of progressive music. While not a full-blown masterpiece like Third or The Rotters’ Club, it is doubtlessly one of the most interesting productions coming from the variegated Canterbury universe – and as such highly recommended.

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Ukab Maerd – The Waiting Room (2010)

Posted in Ambient, Electronic, Instrumental, Progressive, Review, tagged , , , , , , , , , on February 17, 2011| 2 Comments »

TRACKLISTING:
1. The Cave (23:35)
2. White Light, No Heat (11:28)
3. God’s Elastic Acre (18:16)
4. Sati & The Trainman (11:14)

LINEUP:
Gayle Ellett – analog and digital keyboards, electric guitar, effects
Chuck Oken, Jr. – analog, digital and modular keyboards, electronic percussion, effects, loop processing and reconstruction

With:
Richard Pinhas – guitar loops (1-3)

Ukab Maerd’s The Waiting Room, the second of Djam Karet’s side projects to be  released in 2010, is a very different affair from Mike Henderson’s song-oriented White Arrow Project. The brainchild of Djam Karet’s founding members Gayle Ellet and Chuck Oken, Jr., with legendary French musician Richard Pinhas guesting on three out of four tracks, Ukab Maerd (“Baku Dream” spelled backwards – a reference to DK’s 2003 album A Night for Baku) is a vehicle for the creation of hypnotic soundscapes inspired by the European electronic music of the Seventies. The two musicians describe the album’s content as mind music that draws its inspiration from dream language and Surrealist art – a definition that fits it to a T.

While neither an expert nor a dedicated listener of progressive electronic music, I recognize its importance both in historical and artistic terms, and The Waiting Room provides a fine example of the possibilities offered by technology. Even if its running time of about 64 minutes (divided into four tracks, none under 11 minutes) might turn it into an ordeal for people who are not used to listening to music produced almost exclusively with electronic instruments, the album undeniably possesses a mesmerizing quality, at least if taken in judicious doses. As can be expected, the main points of reference are German giants such as Tangerine Dream and Klaus Schulze, as well as their followers from other European countries (including Pinhas’ former band Heldon). Most of the album was recorded live at two different performances by Ellett and Oken, with Pinhas’ parts added subsequently.

Many people are put off by electronic music on account of its supposedly cold, overly cerebral nature, unlike warmer, more down-to-earth musical forms such as rock or blues. While this may in some respects not be entirely wrong, the music presented on The Waiting Room intrigues and captures in a sharply different fashion than guitar-driven rock, progressive or otherwise. As the pointed out in the press release, it is music that appeals to the mind rather than the body, conceived to be listened to with some degree of concentration, and therefore always at risk of fading in the background if used as a soundtrack for other activities. With a minimal amount of percussion, and guitars manipulated in such a way as to become unrecognizable, the music ebbs and flows with hypnotic regularity, while all kinds of electronic sound effects enhance the moods and atmospheres created by layers of synthesizers.

“The Cave” evokes the titular place with uncanny accuracy, eerie sounds suggesting machinery or sloshing underground waters, the keyboards surging in waves or subsiding with a movement that may come across as monotonous, but also subtly unsettling and quite fascinating. The following “White Light, No Heat” alternates between majestic keyboard surges that create a sense of keen tension and disturbing industrial noises, replaced in the second half by tinkling yet vaguely robotic keys; while “God’s Elastic Acre” unfolds in a cinematic sweep underpinned by clanging, echoing sounds, droning and bubbling noises, while the solemn tone of the keyboards takes on a more upbeat, Eastern-tinged note towards the end. Album closer “Sati and the Trainman”, the more accessible number by far, revolves around a pulsating synth line paralleled by a slower, more atmospheric tune that suggests a train running through a darkened, slightly sinister landscape.

Needless to say, devotees of this particular genre will be able to show The Waiting Room the appreciation it deserves; while those listeners who can only process small quantities of almost completely electronic music might find it a bit too demanding to sit through the whole 64 minutes, and decide instead to break the album into separate segments. On any account, The Waiting Room is a fine example of vintage progressive electronics, and –  even for those who, like me, have never been keen followers of electronic music – it is very much worth a listen.

Links:
http://www.myspace.com/ukabmaerd
http://www.djamkaret.com

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From the Vault: Colosseum II – Strange New Flesh (1976/2005)

Posted in Classic Rock, Fusion, Jazz-Rock, Progressive Rock, Review, tagged , , , , , , , , , , , on February 6, 2011| 3 Comments »

TRACKLISTING (2005  edition):
Disc 1:
1. Dark Side Of The Moog (6:17)
2. Down To You (9:05)
3. Gemini And Leo (4:48)
4. Secret Places (3:59)
5. On Second Thoughts (7:30)
6. Winds (10:23)
7. Castles Version 1. (previously unreleased demo – 1975)(11:09)
8. Gary’s Lament (previously unreleased demo – 1975) (7:00)
9. Walking The Park (previously unreleased demo – 1975) (7:05)

Disc 2:
1. Night Creeper (previously unreleased demo – 1976) (3:46)
2. The Awakening (previously unreleased demo – 1976) (11:43)
3. Siren Song (previously unreleased demo – 1976) (6:55)
4. Castles Version 2. (previously unreleased demo – 1976) (5:00)
5. The Scorch (previously unreleased demo – 1976) (4:39)
6. Rivers (previously unreleased demo – 1976) (4:27)
7. Interplanetary Slut (previously unreleased demo – 1976) (5:32)
8. Dark Side Of The Moog (BBC session, In Concert – June 1976) (9:00)
9. Siren Song (BBC session, In Concert- June 1976) (12:13)
10. The Awakening (BBC session, In Concert – June 1976) (15:46)

LINEUP:
Don Airey – keyboards, synthesizers
Jon Hiseman – drums, tympani, gongs
Gary Moore – guitars, vocals
Neil Murray – bass
Mike Starrs – lead vocals

Although I had been thinking for a while of posting a review of this album for my ‘vault’ series, the sad events of today have made it almost mandatory for me to do so.  And what better way to celebrate the life and work of Irish guitar legend Gary Moore – who passed away last night at the still young age of 58 – than posting a review of an album that sees some of his finest contributions to the history of rock music?

In spite of the name, the only connection between Colosseum II and the original Colosseum is the presence of monster skinsman Jon Hiseman (so conveniently forgotten in those boring “best drummer” polls, where everybody seems to think that Portnoy and his ilk are God’s gift to drumming).  The new band also showcased the considerable talents of keyboard maestro Don Airey (who went on to replace Jon Lord in Deep Purple) and bassist Neil Murray, nowadays better known for his stints in Whitesnake and Black Sabbath. Murray tends to be given less credit than other four-stringers – in spite of having previously played with such Canterbury legends as Gilgamesh and  National Health, where he took the place left vacant by Richard Sinclair after Hatfield and the North’s demise. The musical proficiency of somebody who can keep up with both Jon Hiseman and Pip Pyle cannot be so easily disregarded, and Murray’s playing on Strange New Flesh is immaculate.

However, Colosseum II’s ace in the hole was the fiery fretboard prowess of then 24-year-old Gary Moore, formerly with Dublin-based band Skid Row. Moore’s stunning guitar work gave  Colosseum II a definitely harder edge  than the band’s former incarnation – straddling the line between Colosseum’s blues-based, sax-laden jazz-rock and Deep Purple-style hard rock. Unlike other jazz-rock bands, Colosseum II did not start out as a purely instrumental outfit. For Strange New Flesh, their debut album, Hiseman and Moore enlisted the talents of  vocalist Mike Starrs  (later with German-based band Lucifer’s Friend). For some, the sometimes overpowering presence of Starrs’s otherwise excellent vocals – a powerful tenor that, at times, oddly reminds me of a richer, more restrained version of James LaBrie – detracts from the overall brilliance of the album. Personally, though I quite like Starrs’s singing (Moore’s backing vocals being quite abrasive most of the time, though he developed quite a respectable voice in later years), I must also admit to having a slight preference for the instrumental tracks.  As Starrs (together with Murray) was subsequently fired by the band’s record label, Colosseum II’s next two albums were almost completely instrumental.

Most of the songs on the album were penned by Moore, with the exception of the Joni Mitchell cover “Down to You” – apparently an odd choice, yet rather successful, mainly thanks to Starrs’ passionate vocal performance and Moore’s beautifully melodic guitar. The album, however, opens in a completely different vein, with the blistering keyboard and guitar tour de force of the aptly-titled “Dark Side of the Moog”. “Gemini and Leo” is a funkier, jazzier track, with Starrs sounding a bit like Glenn Hughes in his Trapeze years. The following songs, “Secret Place” and On Second Thoughts” continue in much the same vein, all featuring superb interplay between the four virtuoso musicians, as well as soaring, powerful vocals. Hiseman and Murray’s propulsive rhythm section is masterful throughout, but Moore and Airey are the ones who really steal the show, Airey’s majestic keyboard sweeps duelling with Moore’s fluid yet searing lead. Original album closer “Winds” , a 10-minute-plus epic, summarizes all that is great about this record, at the same time jazzy and edgy, with plenty of tempo changes and that magnificent guitar sound.

The 2005 edition contains some real treats for fans of the band, including a number of live tracks (such as a killer version of “Dark Side of the Moog”) and quite a few unreleased demos of songs, part of which would end up on the band’s following albums, Electric Savage and War Dance – notably the original versions of blistering, intricate “Intergalactic Strut” (here bearing the amusing title of “Interplanetary Slut”),  the self-explanatory “The Scorch”  and romantic ballad “Castles”.

The highlight of those bonus tracks, though, is  the utterly beautiful Moore showcase “Gary’s Lament”, a wistful slow burner that  sounds particularly poignant in the light of today’s news. Gary was the anti-shredder, a down-to-earth guy who could really make his instrument speak and sing with an almost human voice. This review is dedicated to him, one of the many great musicians who left us way too soon. On any account, Strange New Flesh is a superb album, highly recommended to all lovers of great musicianship combined with heart and soul.

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D.F.A. – 4th (2008)

Posted in Canterbury Scene, Fusion, Jazz-Rock, Progressive Rock, Review, tagged , , , , , , , , , , , , on February 4, 2011| 4 Comments »

TRACKLISTING:
1. Baltasaurus (14:18)
2. Flying Trip (7:51)
3. Vietato Generalizzare (6:38)
4. Mosoq Runa (18:58)
5. The Mirror (10:16)
6. La Ballata de s’Isposa ‘e Mannorri (10:16)

LINEUP:
Alberto De Grandis – drums, percussion, vocals (5)
Alberto Bonomi – Hammond A-100 organ with Leslie 760, Fender Rhodes electric piano, Steinway acoustic piano, synthesizers, flute
Silvio Minella – electric guitars
Luca Baldassari – bass guitar

With:
Andhira (Elena Nulchis, Cristina Lanzi, Egidiana Carta) –  vocals (6)
Zoltan Szabo – cello (4, 6)
Maria Vicentini – violin, viola (4, 6)

Hailing from Shakespeare’s own ‘fair Verona’ (one of the most beautiful cities in Italy), where they formed in the mid-Nineties, D.F.A. (acronym of Duty Free Area) are living proof of the old Latin saying that a prophet has no honour in his own country. Hailed as one of the best progressive rock bands of the past decade, they took the NEARfest audience by storm in 2000, and offered a stunning repeat performance in 2009 – when I first saw them, and was floored right from the opening strains of  their set. However, as seems to happen all too frequently, they are barely known in their home country, where their extremely elegant yet punchy brand of Canterbury-tinged jazz-rock starkly contrasts with worship of all things Genesis that is still widespread in Italy. That historic first NEARfest performance was captured on the band’s 2001 live album, Work in Progress, which for over seven years remained the last testimony of the band’s activity.

D.F.A. are nothing but pure class. A quartet reproducing the configuration of bands such as Hatfield and the North and National Health – with both keyboards and guitar in a prominent role,  and the occasional contribution of other instruments – they are one of those rare outfits where each member’s contribution is essential to the band’s overall sound. Even if drummer Alberto De Grandis –  a drummer that, like Christian Vander or Daniel Denis, is much more than a simple timekeeper – gets most of the composing credits, all of the instruments get their chance to shine and create a tightly woven mesh of sound. Alberto Bonomi’s multilayered keyboards lay a lush tapestry for Silvio Minella’s brilliantly expressive guitar work; while Luca Baldassarri’s bass provides ever-reliable bottom end, adding fullness and texture to De Grandis’ propulsive drumming. D.F.A.’s music is effortlessly fluid, yet complex enough to please the most demanding jazz-rock fans – striking a perfect balance between technical skill and genuine emotion, breathless dynamics and captivating atmospheres.

Taking a leaf out of Soft Machine’s book, the album’s title is a simple numeral – not surprising, in the light of their affiliation with Leonardo Pavkovic’s far-sighted MoonJune label. Though it runs at almost 70 minutes, unlike the majority of albums running at over an hour it never outstays its welcome, and always manages to hold the listener’s attention. Most of the six tracks are instrumental, with one notable exception (on which more later). Interestingly, though D.F.A. do not sound as typically ‘Italian’ as those bands who opt for a more traditionally symphonic sound, they possess the inimitable flair for melody that seems to be ingrained in most Italian musicians. Their music is never harsh or needlessly convoluted, yet it also manages to eschew that somewhat overblown theatricality that can turn people off Italian progressive rock. It would be unfair to the band, however, to imply that they are mere Canterbury imitators. While D.F.A have a definitely international appeal (as proved by their choice of giving their composition titles both in Italian and in English), their Mediterranean inspiration – even if thankfully untainted by the overly sentimental excesses of Italian melodic pop – can be often keenly felt. This is one aspect that D.F.A. share with historic jazz-rock outfits such as Area, Il Baricentro and Napoli Centrale.

Chosen to accompany the opening images of the documentary film Romantic Warriors, “Baltasaurus” introduces the album in charmingly subdued mode, a feature shared by most of the tracks. Elegant guitar licks and flawless rhythm section lead the way for a splendid, mid-paced development, in which keyboards and guitar seamlessly interact, bolstered by De Grandis’ stunning drum work – never overwhelming, but very much a protagonist. Gently atmospheric sections alternate with more energetic ones, and the many tempo changes do not break up the smooth flow of the music. The following number, “Flying Trip”,  picks up the Canterbury references with a wistful mid-tempo spiced up by occasional jazzy, Latin-flavoured passages, and featuring some stunningly beautiful organ passages and delicate flute; while the barnstorming “Vietato Generalizzare” (It Is Forbidden to Generalize – the track with which D.F.A. opened their set at NEARfest 2009) barges in, propelled by a vertiginous synth riff and high-energy drumming. Very much guitar-driven, it allows Silvio Minella to display his considerable chops in an intense, expressive solo reminiscent of Gary Moore during his Colosseum II tenure. “The Mirror”, on the other hand, is a classic jazz-rock workout, with the instruments creating a keen, somewhat darker-hued sense of tension – though eased by snippets of muted singing at the beginning and in the middle of the track – and climaxing with an arresting, yet subtle drum ‘solo’.

That leaves the album’s epic, the almost 19-minute “Mosoq Runa” (Quechua for “new human being”), which, not surprisingly, displays a definitely more symphonic bent – thanks also to the presence of strings, as well as a recurring main theme. The amazing interplay between the instruments is nowhere more evident than here, and – in spite of its running time – the track never once feels overlong or overdone; as usual, both the guitar and the keyboards get their chance to shine, with Minella’s soloing at its most soulful. However, 4th’s most distinctive track is strategically placed at the close of the disc. Sung entirely in the ancient Sardinian language (the most archaic of Romance languages) by the heavenly voices of the folk trio Andhira, “La Ballata de s’Isposa ‘e Mannorri” (The Ballad of the Bride of Mannorri) is a tale of love, betrayal and vengeance that would be perfectly at home on a Pentangle album – in spite of the frequent comparisons between Andhira and Canterbury’s own trio of female vocalists, The Northettes. The three Sardinian vocalists, though, are less operatic and more emotional; the resonant contralto timbre of one of them lends even more depth to their performance. The minimalistic instrumental accompaniment does not divert the attention from the sheer beauty of the vocal interplay – though the bridge features a lovely, touching guitar solo that seems to echo the profound sadness of the story.

At the time of writing, D.F.A. are reported to be on indefinite hiatus, due to the all too familiar pressures of ‘real life’ (i.e. family and work) on any non-professional musician. It may even be that the band has reached the end of the road – which would obviously result in a great loss for the whole progressive rock scene. However, even if they indeed decide to call it a day, they will have left a lasting legacy in the history of progressive rock, both for the beauty and power of their music and their genuinely down-to-earth attitude – as captured in the aforementioned Romantic Warriors.. Needless to say, 4th is a must-listen for devotees of the Canterbury scene and classic jazz-rock, and very highly recommended to prog fans of every persuasion. This is one of the landmark albums of the first decade of the 21st century, and one of the very best productions to ever come out of the Italian progressive music scene.

Links:
http://www.myspace.com/dutyfreearea
http://www.moonjune.com/MJR021.htm
http://www.andhira.com

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Majestic – Ataraxia (2010)

Posted in Progressive Metal, Progressive Rock, Review, tagged , , , , , , , , , , on January 25, 2011| 2 Comments »

TRACKLISTING:
1. Disarray (3:02)
2. Faceless (7:57)
3. Wither (9:23)
4. Star Bound (4:43)
5. Numb (4:05)
6. Astral Dream (7:03)
7. Delusion (4:06)
8. Dance of the Elders  (8:18)
9. Takes My Breath Away (2010)  (14:14)
10. Altered State (9:43)
11. Reflections (5:14)

LINEUP:
Jeff Hamel – guitars, keyboards, bass, vocals
Jessica Rasche – vocals
Chris Nathe – drums

With:
Jerry Swan – bass (5)
John Wooten – drums (6, 8)
Gregg Johns – guitars, talkbox (10)
Jeremy Hamel – guitars (11)

When I reviewed Majestic’s album Descension in the summer of 2009, my words reflected my lack of enthusiasm for what I saw as yet another ‘solo pilot’ project by a very skilled multi-istrumentalist (Jeff Hamel, formerly of prog-metal band Osmium), ambitious yet lacking in direction. Things took a definite turn for the better with their following album Arrival – the first recorded with the participation of vocalist Jessica Rasche – though I still expressed some reservations about the compositional aspect. Rasche’s arrival (pardon the pun), however, brought some welcome depth and intensity to Hamel’s lengthy, sometimes rambling compositions, and the added bonus of one of the best female voices heard on CD in the past few years.

With Ataraxia (a philosophical concept meaning ‘freedom from worry’ in Greek) it would not be overstating the case to speak about a quantum leap for the Minneapolis-based outfit – now become a real band, with Rasche’s husband Chris Nathe on drums. With the collaboration of a few guests (including Gregg Johns, Hamel’s partner in Proximal Distance, and leader of Mississippi-based project Slychosis), though resting mainly on Hamel’s talents as a multi-instrumentalist, Majestic have produced an album that is unabashedly ambitious – almost 80 minutes long, offering a wide range of sounds and styles that had already been foreshadowed in the band’s previous efforts, though not as coherently developed. The evident progressive metal bent of Arrival is here kept to a minimum, while the symphonic component emerges with far more authority. Indeed, Majestic seem to have grown out of that fascination with prog-metal that, in my view, caused Arrival to be not as impressive as it might have been.

This time, Majestic decidedly head for more traditional prog territories, with most of the compositions bridging the gap between Pink Floyd-style spacey moods and symphonic textures, solemn and pastoral in turn. The longer, weightier compositions (between 7 and 12 minutes) are interspersed by shorter, more accessible numbers that prevent the album from turning into too onerous a listen on account of its length. Most important, though, the music on Ataraxia keeps melody at the forefront, all the while avoiding any descents into cheesiness. As a matter of fact, the danger of sounding too close to those terminally cheesy, female-fronted symphonic metal bands (whose progressive quotient is often rather flimsy) is thankfully kept at bay by Jessica Rasche’s stunning performance. Her clear yet assertive voice steers clear of the operatic excesses of so many female singers, relying on a near-perfect balance between sweetness and power.

All but two of the tracks on Ataraxia feature vocals – mostly Jessica’s, though Jeff Hamel makes a brief appearance on the last two tracks. Touches of Genesis circa Wind and Wuthering surface in the cascading finale of the wistful, melodious opener “Disarray”; while following number “Faceless” begins very much in the prog-metal vein displayed on Majestic’s previous recording effort, then subsiding in favour of a fuller, more symphonic mood with plenty of tempo changes to add interest. The longest track on the album, the 14-minute “Take My Breath Away”, takes instead a more stately direction, with solemn, march-like passages and a lovely, nostalgic mood, enhanced by Jessica’s pure, heartfelt tones and Hamel’s clear, Gilmourian guitar. Another highlight, “Wither displays all of Jessica’s vocal versatility, with a darker mood and a sense of tension that contrast with the almost pastoral quality of “Faceless“, and more of  Hamel’s excellent guitar work.

As wonderful as Rasche’s vocals are, the two instrumentals can easily be numbered among the album’s highlights. The hard-edged riffing and overall ‘metallic’ touches in “Astral Dream” are never overdone, and do not overwhelm the spacey atmosphere created by the synths and the clear, piercing tone of the guitar; while the aptly-titled “Dance of the Elders” reveals a folksy inspiration in its lilting pace and a classical feel in the guitar parts, as well as reminiscences of the likes of Vangelis or Tangerine Dream in the haunting keyboard passages. As to the shorter tracks, the piano-led, funky workout of “Star Bound” allows Jessica to pay homage to her idol Ann Wilson of Heart, and the equally dynamic “Delusion” reveals a distinct influence of Pink Floyd circa Dark Side of the Moon, with a final section where Jessica’s vocalizing made me think of Clare Torry in the immortal “The Great Gig in the Sky”; while “Numb” and “Reflections” are both subdued, romantic ballads which, in my opinion, do not add a lot to the album – the latter providing a rather anticlimactic, though soothing, conclusion.

While Majestic do not pretend to be reinventing the wheel, Ataraxia is a classy offering, showcasing the work of a band brimming with an enthusiasm and love of their craft that have become increasingly rare in the music world, and whose compositional skills are growing by leaps and bounds. Though, as my faithful readers know, I tend to be rather critical of albums that exceed one hour in length, and believe that Ataraxia would have benefited from a bit of trimming, its refreshing lack of pomposity and ‘cheese factor’ balance its undeniable ambitiousness. Moreover, Jessica Rasche’s delightful vocals alone are worth the price of admission – she is a real find, and living proof of how a female singer does not need to indulge in operatic or cloyingly sweet excesses to offer a credible performance in a prog context.

Links:
http://www.majesticsongs.com

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From the Vault: Blue Oyster Cult – Imaginos (1987)

Posted in Classic Rock, Hard Rock, Progressive Rock, Review, tagged , , , , , , , , , , , , , on January 11, 2011| 3 Comments »

TRACKLISTING:
1. I Am The One You Warned Me Of  (5:04)
2. Les Invisibles (5:33)
3. In The Presence Of Another World  (6:26)
4. Del Rio’s Song  (5:31)
5. The Siege And Investiture Of Baron Von Frankenstein’s Castle At Weisseria (6:43)
6. Astronomy  (6:47)
7. Magna Of Illusion  (5:53)
8. Blue Öyster Cult  (7:18)
9. Imaginos  (5:46)

LINEUP:
Eric Bloom –  vocals
Albert Bouchard –  guitar, percussion, vocals
Joe Bouchard –  keyboard, vocals
Allen Lanier –  keyboards
Donald “Buck Dharma” Roeser –  guitars, vocals

With:
Kenny Aaronson – bass
Thommy Price –  drums
Jack Secret –  additional vocals
Tommy Moringiello –  guitars
Jack Rigg –  guitars
Tommy Zvoncheck –  keyboards
Shocking U – backing vocals (3)
Joey Cerisano – additional lead vocal (5)
Jon Rogers – additional lead vocal (9)
Daniel Levitin –  additional backing vocals
Marc Biederman –  guitar
Kevin Carlson –  guitar
Robby Krieger – lead guitar (7,8)
Daniel Levitin –  guitar
Aldo Nova – guitar
Joe Satriani –  lead guitar (5)

Back from my well-deserved vacation, I am quite ready to resume my reviewing duties as regards both new and older material.  Though I have a couple of reviews of recent releases in the works, I would like to devote the first slot of the new year to what is possibly the most intriguing album by the band that brought us the original Fire of Unknown Origin (pun unintended).

Just before Imaginos was released, the mighty Blue Oyster Cult had been in disarray, a shadow of their former powerful selves. With the departure of some key members, the spark seemed gone forever – as witnessed by their previous, rather lacklustre release, 1986’s Club Ninja, held by many as their weakest recording effort. However, the completion of this 20-year-long project (originally conceived by drummer Albert Bouchard and mastermind Sandy Pearlman) brought the original members of the band together for what was destined to be their last great album (in some ways, even their masterpiece), and certainly one of their most progressive offerings.

The very elaborate concept behind Imaginos was at least partly inspired by HP Lovecraft’s Cthulhu Mythos, and crafted in order to provide an ‘alternative’ explanation for the onset of World War One.  The titular character is a ‘modified child’ with supernatural abilities, whose story is told (though not in chronological order) in the nine songs on the album, and foreshadowed on two songs featured on 1974’s Secret Treaties – “Subhuman” and “Astronomy”. Both appear on Imaginos, the latter with a different musical arrangement (in my view inferior to the original, and way too ‘Eighties’ for my tastes), the former rewritten as “Blue Oyster Cult”.

Such an intriguing, grandiose concept needed to be implemented accordingly. Therefore, the five members of the band brought on board a number of other musicians, including the ‘Guitar Orchestra of the State of Imaginos’, an impressive array of lead guitarists that included The Doors’ Robbie Krieger (who had already guested on BOC’s “ET Live”), and six-string wizard Joe Satriani. The result is a rich, majestic sound that fits the storyline like a glove, immediately noticeable from the first strains of opener “I Am the One You Warned Me Of,” which sets things off with a bang. In comparison to the somewhat limp-wristed nature of the band’s previous two efforts, The Revolution by Night and Club Ninja,  an exhilarating sense of energy can be  clearly perceived here. Even the more accessible numbers, like the sax-driven title-track, which closes the album on a somewhat cheerful note, in spite of its rather disturbing lyrics, or the even more upbeat “Del Rio’s Song” (possibly the album’s weakest link) seem to barge in with an assertiveness approached by none of the compositions appearing on either of the above-mentioned releases.

Vocalist Eric Bloom – one of the most distinctive (and underrated) voices in rock – is at the top of his game, belting out the obscure lyrics with self-assured forcefulness. On the rousing “The Siege and Investiture of Baron von Frankenstein’s Castle at Weisseria”, though, Bloom is replaced by guest singer Joey Cerisano; the song climaxes with a haunting chorus of “World without end”, and Joe Satriani’s blistering solo makes it even more memorable. Buck Dharma’s well-mannered voice does the honours on “Les Invisibles” – though the song itself is anything but reassuring, with its sinister synth effects and guitar work, and its insistent, almost obsessive repetition of the word ‘seven’; while “In the Presence of Another World” is a dark-hued mid-tempo, almost ballady at times, with a thundering, yet oddly catchy chorus stating that “Your master is a monster”.

The true highpoint of the album, however, comes  in the second half, with the double whammy of “Magna of Illusion” and “Blue Oyster Cult”. The former, named after the mysterious obsidian mirror that Desdinova (the new name given to Imaginos by his rescuers, the human servants of ‘the Invisible Ones’) finds in a jungle in the Yucatan, and which, kept for twenty years in his attic, poisons the minds of European leaders before the outbreak of WWI, is a triumphal, keyboard- and guitar-laden march related from the point of view of the protagonist’s granddaughter. “Blue Oyster Cult”, on the other hand, is as creepily addictive as its earlier version, “Subhuman”, with an anthemic close celebrating the occult nature of the band’s name as originally conceived by Sandy Pearlman.

Many BOC albums boast outstanding cover artwork, and Imaginos is no exception – the über-Gothic Victorian mansion (a San Francisco landmark burned to the ground in 1907)  poised on a cliff on the background of a stormy sky aptly conveying the sense of mystery and menace implicit in the whole story.  At any rate, despite its Eighties-style production (rather evident, for instance, in the drum sound), this is an album of epic proportions that will appeal to both hard rock and progressive rock fans – a much-needed reminder of the greatness and unique approach of this seminal band.

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From the Vault: Colosseum – Daughter of Time (1970)

Posted in Blues, Classic Rock, Jazz-Rock, Progressive Rock, Review, tagged , , , , , , , , , on December 2, 2010| 3 Comments »

TRACKLISTING:
1. Three Score And Ten, Amen (5:36)
2. Time Lament (6:04)
3. Take Me Back To Doomsday (4:26)
4. The Daughter Of Time (3:30)
5. Theme For An Imaginary Western (4:05)
6. Bring Out Your Dead (4:25)
7. Downhill And Shadows (6:11)
8. The Time Machine (8:12)

LINEUP:
Jon Hiseman – drums
Dick-Heckstall-Smith – saxes
Dave Greenslade – organ, piano, vibes
Clem Clempson – guitar, vocals
Mark Clarke  – bass
Chris Farlowe – vocals

With:
Barbara Thompson – flute, saxes
Louis Cennamo – bass

Colosseum’s first studio album since the departure of singer/guitarist James Litherland (who went on to form the short-lived Mogul Thrash, known for having been John Wetton’s first band) sounds at the same time similar and unlike its illustrious predecessor, Valentyne Suite.  In comparison with the latter, it is a bluesier, jazzier effort, somewhat ‘bigger’-sounding, and with a harder, more guitar-oriented edge.

While progressive rock  fans will find a lot to enjoy in Daughter of Time, at least as regards the instrumental performances, new singer Chris Farlowe’s powerful, blues-tinged vocals do not fit with many people’s expectations of what a prog singer should sound like, and for some they may even be an acquired taste. To these ears, though, his voice is simply stunning, and complements perfectly the epic sweep and overall uplifting mood of the album.

I set great store by the opening track of an album, and “Three Score and Ten, Amen” does not disappoint, with Farlowe’s commanding vocals fitting perfectly into the lush texture of Colosseum’s music. Saxophonist  Dick Heckstall-Smith is joined by Barbara Thompson (Jon Hiseman’s wife) on flute, so that the presence of a mini brass section boosts the band’s already dramatic sound, providing a foil for Hiseman’s textbook-perfect drumming. Clem Clempson’s brilliant guitar work shines throughout the album,  and the instrumental section of “Time Lament” showcases his sadly underrated skills as a six-stringer. “Take Me Back to Doomsday”, my own personal favourite, is an exhilarating ride dominated by an awesome vocal performance by Farlowe and Greenslade’s scintillating piano, as well as a soothing, tasteful flute section.

While the title-track may sound slightly too bombastic for comfort, “Theme for an Imaginary Western” is another vocal tour-de-force for Farlowe, though of a somewhat more understated nature than his trademark, over-the-top style. Originally written by legendary bassist Jack Bruce for his 1969 album, Songs for a Tailor, it is a melancholy ballad vaguely reminiscent of Procol Harum’s best efforts. The intricate instrumental “Bring Out Your Dead” “, featuring sterling organ work by Dave Greenslade, comes closest to the band’s sound on Valentyne Suite; while the powerful, bluesy “Downhill and Shadows” introduces the live recording of “The Time Machine”, mainly an extended solo by master drummer Jon Hiseman. Even if drum solos have the reputation of being all too often terminally boring, this one is eminently listenable even for non-musicians.

The release of Daughter of Time was followed in 1971 by the legendary  Colosseum Live!, and then by the rather unexpected demise of the band.  The same line-up got back together in 1994 for a tour, which led to a permanent reformation of Colosseum.  Barbara Thompson, who had often guested in the band’s live performances, eventually replaced Dick Heckstall-Smith after his untimely passing in 2004.  On any account, though not as ground-breaking as Valentyne Suite, and slightly less cohesive, Daughter of Time is an excellent offering, blending jazz, blues, classic rock and progressive stylings in a single package – as well as lashings of genuine emotion. A highly recommended release from one of the landmark years in the history of rock.

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Delirium – Il Nome del Vento (2009)

Posted in Jazz-Rock, Progressive Rock, Review, Rock Progressivo Italiano (RPI), Symphonic, tagged , , , , , , , , , , , , , , on November 25, 2010| 2 Comments »

TRACKLISTING:
1. Intro/Dio del Silenzio (1:23)
2. Il Nome del Vento (6:01)
3. Verso il Naufragio (6:35)
4. L’Acquario delle Stelle (6:15)
5. Luci Lontane (4:14)
6. Profeta Senza Profezie (4:20)
7. Ogni Storia (5:02)
8. Note di Tempesta (4:29)
9. Dopo il Vento (9:40)
10. Cuore Sacro (8:49)
11. L’Aurora Boreale (4:26) (bonus track)

Bonus Video:
L’Acquario delle Stelle

LINEUP:
Ettore Vigo – keyboards
Martin Grice – sax, flute, keyboards
Pino Di Santo – drums, vocals
Roberto Solinas – guitars, vocals
Fabio Chighini – bass
Mimmo Di Martino – vocals (2)

String quartet:
Chiara Giacobbe Chiarilla – violin
Diana Tizzani – violin
Simona Merlano – viola
Daniela Caschetto Helmy – cello

With:
Stefano “Lupo” Galifi – vocals (6)
Sophya Baccini – backing vocals (2, 4, 7, 9), piano (9)

After having spent the past few months concentrating on albums from the English-speaking world, now it is time for me to to spotlight some  Italian bands and artists. Though many great albums (in some cases essential for a true prog fan) have come out of my native country from the Seventies onwards, only a part of this vast, exciting output has received the attention it deserves.  Here in the US most of the attention tends to be directed at the likes of  Le Orme, PFM and Banco (also owing to their relatively frequent visits to the New World), to the detriment of other acts who seem to be familiar only to a selected few.

Genoa-based band Delirium hold a special place in my heart, since their debut album, Dolce Acqua, was the first progressive rock album that I bought – at the ripe old age of 11. Among the founders of the original Italian progressive rock scene, in 1972 they experienced mainstream success with  the anthemic single “Jesahel”, which introduced the Italian public to the gritty, bluesy vocal talents of Ivano Fossati.  Soon afterwards Fossati  left the band  to embark on a successful career as  a singer-songwriter, to be replaced by British-born Martin Frederick Grice.  After the release of their third album, released in 1974, Delirium split up, but thankfully got back together in 2001 with most of the original members on board.

When listening to Il Nome del Vento, one might almost be tempted to feel that the 30-year hiatus between  Delirium III and this album has in some way been beneficial to the band – a lengthy yet necessary ‘recharging of the batteries’, so to speak. This is indeed a mature, finely-crafted album, very much in the way of  PFM’s  Stati di Immaginazione – a sumptuous, accomplished effort from seasoned prog veterans that had been forgotten or written off far too soon.

Although Il Nome Del Vento is a concept album of sorts (the wind symbolizing the energies that sweep negativity away and usher positive change), it does not feel as contrived as many similar efforts can be. Shunning the clichés than often plague concept albums, Mauro La Luce’s lyrics opt instead for simplicity and emotion, a perfect complement to the outstanding performances of all the vocalists involved. The latter are nicely balanced by the brilliance of the instrumental sections, where the background of each musician, their individual tastes and preferences, is put to effective use. While Martin Grice’s love of jazz and vintage English prog shines through his flute and sax  work, guitarist/vocalist Roberto Solinas (a true revelation) injects a welcome dose of classic rock energy in what is largely an acoustic effort. The presence of an all-female string quartet contributes an authentically symphonic feel to many of the compositions, infused by that uniquely Italian flair for melody and lyricism.

The continuity between the new and the old incarnation of Delirium is highlighted right from the start, as “Intro/Dio del Silenzio (Reprise)” references one of the songs featured on Delirium III. This brief, intense introduction (complete with sounds of rain and thunder at the beginning) sets the scene for what is to come. The title-track is a magnificent slice of complex yet melodic prog, soulfully interpreted by the band’s former guitarist Mimmo Di Martino, whose deep, bluesy tones find a perfect foil in Sophya Baccini’s ethereal soprano. The following track, “Verso il Naufragio” (one of two instrumentals featured on the album), is an exhilarating rollercoaster ride of slow, majestic keyboard washes and electrifying guitar riffs; it also incorporates a passage from George Martin’s “Theme One” (also covered by Van Der Graaf Generator, Cozy Powell and Osanna). The jaw-dropping duel between sax and organ in the second half of the track displays the band’s jazzier side, a constant of their sound since their debut album, Dolce Acqua.

More jazzy influences surface in the uptempo “Profeta Senza Profezie”, further enriched by a  commanding vocal performance by Stefano ‘Lupo’ Galifi (of Museo Rosenbach fame), somewhat reminiscent of the late Demetrio Stratos’ acrobatics; while the romantic “L’Acquario delle Stelle” (dedicated by Martin Grice to his first grandson) is a gorgeous slice of classic Italian prog, in which flute and keyboards emote over a lush background of strings. However, it is the double whammy of “Dopo il Vento” and “Cuore Sacro” that forms the album’s climactic point. The former alternates jazzy passages with calmer, more melodic ones, the string quartet holding the fabric of the song together; while the latter is markedly darker and rockier, enhanced by rippling piano, dynamic drumming, and assertive flute work that recalls early Jethro Tull.

A truly classy offering, and undoubtedly one of the top releases of 2009, Il Nome Del Vento is the ideal showcase for the unique talents of a band that seem to be finally about to get the recognition they highly deserve. It is also a textbook example of how classic progressive rock can sound modern without jettisoning its glorious past. Hopefully this stunning comeback disc will lead the way for more releases of the same high quality from a band that still has a lot to offer to the discerning prog fan.

Links:
http://www.idelirium.it
http://www.blackwidow.it

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Dean Watson – Unsettled (2010)

Posted in Fusion, Instrumental, Jazz-Rock, Progressive Metal, Progressive Rock, Review, tagged , , , , , , on November 24, 2010| 6 Comments »

TRACKLISTING:
1. The Encounter ( 5:03 )
2. The Push ( 3:36 )
3. Out Of The Mist ( 8:25 )
4. Sequence Of Events ( 3:25 )
5. DIP ( 6:56 )
6. The Departure ( 4:40 )
7. Gray Matter ( 6:16 )
8. Orb ( 7:47 )
9. 11th Heaven Blues ( 4:00 )
10. Still (Unsettled ) ( 2:10 )

LINEUP:
Dean Watson – all instruments

While so-called ‘solo-pilot’ instrumental albums seem to be rather ubiquitous these days (with results not always up to scratch), it is far from an everyday occurrence to come across an album as impressive as Unsettled, Dean Watson’s debut release – even more so if we consider that we are dealing with a wholly independent production. An amazingly accomplished disc, structured in a remarkably balanced way, it presents music that is eclectic without being directionless, and complex without being unnecessarily convoluted.

For such a proficient composer and multi-instrumentalist, Toronto-based Dean Watson is a very unassuming character, in spite of his decades-long experience in the music world. Dispensing with the bells and whistles to which so many new acts seem to be addicted, he has embarked on the promotion of his music completely on his own, offering his album for review on progressive rock discussion boards, and eliciting almost unanimously positive feedback. Indeed, though it falls somewhat short of perfection,  Unsettled as a whole is an impressively cohesive effort: inspired by the painting of the same name by Ron Eady (a visual artist also based in Toronto), it is conceived as a sonic rendition of the painting itself, realized with a successful blend of emotion and technical skill that often eludes all-instrumental productions.

Other reviewers have labelled Unsettled as progressive fusion, and, in some ways at least, the description fits the album quite well – especially if we take into account the many diverse sources of inspiration (listed by Watson on his MySpace page) that make up its sound.  the actual jazz-rock component in Unsettled is rather restrained, sharing the stage with spacey touches, progressive metal overtones, and even subtle classic rock influences. Although comparisons have been made with the likes of Planet X and Liquid Tension Experiment – at least as regards those moments on the album where things take a more metallic turn – I feel they limit the scope of Watson’s creative impulse. In fact, while some tracks on the album may bring to mind the aforementioned, hyper-technical instrumental combos, others reveal a vintage jazz-rock feel akin to Jeff Beck’s two seminal mid-Seventies albums, Blow by Blow and Wired, eschewing the feeling of chilly perfection that often plagues the output of metal-fusion acts.

Unsettled’s main flaw lies in the use of programmed drums, though they are nowhere as annoying than on other similar projects. True, their artificial nature occasionally surfaces, marring (albeit slightly) the otherwise warm and engaging sound of the compositions, and making one wonder how the album would sound if Watson had instead gone for the real thing. A couple of tracks also come across as somewhat less cohesive than the others, with abrupt changes in mood and pace that may leave the listener a tad baffled. However, the level of both composition and execution is so consistently high that it amply compensates for these shortcomings.

Running at around 52 minutes, Unsettled is a compact album that strikes the right balance between longer, more complex compositions and shorter numbers with a more direct impact. Watson’s approach definitely helps the listener to concentrate on each number, and appreciate the diversity on offer. Watson always keeps melody at the forefront, opting for power rather than harshness when introducing heavy riffing into the fabric of his songs, so that even the heaviest moments are amazingly tuneful. Opener “The Encounter” is a good example of how Watson merges progressive metal vibes with more sedate moods;  the use of keyboard-based riffs reminded me of Relocator’s self-titled debut (another excellent instrumental album released in 2010), with various electronic effects adding a spacey note, and some remarkable Hammond organ and guitar work. “Sequence of Events”, one of the shortest items on the album at barely over 3 minutes, offers an intense, almost concentrated atmosphere made of brisk keyboard flights and hard-edged riffing reminiscent of classic instrumental metal-fusion; while the brisk, high-energy “Orb” would have been more effective without the overpowering drums and whistling synth sounds.

On the other hand, Watson’s talent emerges most clearly in those tracks where the prog-metal component is kept to a minimum – such as the jazzy, almost funky “The Push”, relying on some fine organ-guitar interplay with a warm, rugged Seventies sound, or the exhilarating “Gray Matter”, propelled by energetic bass and drums and showcasing Watson’s outstanding skills as a guitarist. His soloing here, as well as in the splendid first half of “The Departure”, possesses a clean, melodic feel that evokes  the aforementioned Jeff Beck, as well as another guitar great, Irish legend Gary Moore. While the latter number is somewhat marred by an abrupt change in pace and style towards the end, its slow-burning, wistful first half brought to my mind some of Moore’s more meditative pieces, such as “Sunset”, “The Loner” or “Gary’s Lament”. With “Out of the Mist”, the longest piece on the album (and possibly its highlight), we are presented with a musical version of Ron Eady’s intriguing cover painting, with its romantic, melancholy beginning, backed by strings that add depth to the beautiful strumming of the acoustic and electric guitars, and a second half full of tension and menace, driven by intense riffing and crashing drums.

Though the problem with an album such as Unsettled might lie in its evident metal subtext – which may put off the more conservative jazz-fusion fans – lovers of eclectic instrumental rock will definitely find a lot to enjoy in this finely-crafted effort, an excellent debut from an outstanding musician. In any case, it would be interesting to see Watson branch out and enlist the help of some other musicians, in order to bring his compositions before a live audience.

Links:
http://www.myspace.com/deanwatson2
http://www.roneady.com

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