CERVELLO

For whatever reason, Italy has been a country with a great tradition in the music. The transalpine country likes dramas, operas and operettas. From the chaotic south to the north, this is something common and accepted in Italian daily and cultural life. This is certainly the main reason why that so many prog bands appeared in Italy, since its heydays to our days. Someone once even said that there are probably more prog bands in Italy than fans. Many of those bands only were able to release a single album despite the usual high quality of their works. And this is also the case of Cervello.

Cervello was an Italian prog rock band based in Naples. They initially came to attention due to the presence of guitarist Corrado Rustici, the younger brother of Osanna's Danilo Rustici. Their unique album "Melos" is vastly an ambitious conceptual album based on Greek mythology, and thoroughly infused with the traditions of the Mediterranean folk. The presence of various separate flautists in the line up also brought a stunningly original dimension to the band's sound. Sadly, Melos broke up in late 1973. In the following year, Corrado had joined to his brother in Osanna and appeared on the fourth studio album of Osanna, "Landscape Of Life" released in 1974, as a guest. Later, he has moved on to Nova.

"Melos" is an impressive work of art. The band came out of nowhere, released an excellent album with great quality. It's dark, mysterious and rich with Mediterranean rhythms, lyrics about ancient Greek myths and much more. If there is any comparison with other bands in Italy, I would probably indicate primarily Osanna, which isn't really in fact a true strange thing, indeed. Much like the music of Osanna, the music of Cervello deftly fortifies complex punctilious prog arrangements with clever uses of local Neopolitan folk flavorings, jazzy touches and heavy outbursts of rock bombast. And like Osanna's line up, Cervello's line up consists of saxophones, flutes, bass, guitar, drums and of course, vocals.

"Melos" isn't an immediate or an easy album to get into. It takes some time and several listens to get on it. One of the defining characteristics of Cervello was the complete absence of keyboards which was almost unheard of in the Italian progressive rock scene. While related Osanna eschewed the predominant use of keys, they still implemented their atmospheric prowess for certain effects. Minus the keys, the atmospheric generating power of "Melos" is derived from a heavy use of four flutes (played by three members), vibraphones and acoustic guitars. Bass pedals were implemented through a Binson Echorec which produced strange distorted cello effects which also give to "Melos" its own distinct flavor. Sizzling saxophone solos also point to a Van Der Graaf Generator connection, a band whose early years found them spending more time in Italy than in their native country UK, because were the Italians the main fans of the band.

All songs on "Melos" are, with the exception of the short closer "Affresco", very complex and progressive. "Canto Del Capro" starts quite loosely and dark with massing, spoken vocals that quickly turns into harmonies of a much more joyful and lighter kind before the track goes into a heavy and bluesy but still quite weird riff with distorted vocals on top. "Trittico" features some of the finest melodies on the album giving to the listener a sense of melancholy and nostalgia. The band makes a somewhat unusual and very inventive musical construction. The recorder gives a slight medieval feel to the opening of "Euterpe" through guitar and flute in beautiful melodic lines. "Scinsicne (T.R.M.)" has a gloomy instrumental passage with some distorted sounds that is quite hard to figure out what really is, considering that the band claimed to use no keyboards. The title track shows a serene and beautiful start, vibraphones, acoustic guitar, soft voice and a medium speed drum input. The flute also puts a rich layer on the melody of the song. The dramatic "Galassia" turns into a sax-driven cacophony based in a disharmonic riff at the end. It invites the listener to an inner search. "Affresco", just over a minute long, is a short and very calm track that concludes the album in a heavenly way.

Conclusion: "Melos" is cited by many as one of the pinnacles of the Italian prog rock scene. "Melos" is intriguing and a unique Italian progressive rock worth hearing if you're into this particular music style. It's an album made from self-confidence and youth, an intriguing and unique album in the Italian prog scene. It's impressive for a number of reasons, where one of the main ones is that while it can look a bit "rough", it has a pastoral feel. The almost total absence of keyboards is brilliantly supplemented by lines of saxophone and guitar arrangements and winds that give the work an air of madness while the compositional delicacy of some passages is undeniable. It's an album of contrasts in which it's necessary to deepen to get all the juice. I think they did something in prol of the progressive rock, beyond the three big names of the genre in Italy, Premiata Forneria Marconi, Banco Del Muttuo Soccorso and Le Orme. It's a pity at the time to have gone virtually unnoticed and with that the band had to separate the year following the release of the album.

Prog is my Ferrari. Jem Godfrey (Frost*)

Cervello is not letting you easily into their world of craziness: no real hooks, lots of time changes, hard-to-see-through atmosphere, disjointed sax, woodwind frenzyness and lots more. This album is categorized as « not easy », and it's definitely a left field release, even in the prog world. It's that schizo feeling that got me first, and then drew me away after a spin. Cervello is indeed a good word describing them (cervello meaning brain), because your frontal cortex will hurt after a few minutes. Nose bleeds and all.

I'm pretty sure it's a rewarding record after like 6 years of daily playing, but life's too short to try to « get » them so I'll pass.

For those seeking a real challenge, if Balletto di Bronzo wasn't schizophrenic enough for you.

The one and only album MELOS (released in 1973) is an English word borrowed from Greek that means a succession of tones that constitute a melody which signifies the overall emphasis on the seven tracks that could not be mistaken for anything but early 70s Italian prog with the romantic operatic vocal style of Gianluigi Di Franco, pastoral acoustic passages that sooth the soul accompanied by airy flute sounds, the jazzy touches of vibraphones and sax and an extraordinary vocal and instrumental interplay at which the Italian scene excelled. Despite the Osanna connection, CERVELLO is noticeably less rock oriented and the majority of MELOS is a light, airy musical journey on Mediterranean zephyrs with only occasional bursts into guitar oriented rock that clearly finds inspiration from early King Crimson in their incessantly intricate and complex time signature workouts.

One of the defining characteristics of CERVELLO was the complete absence of keyboards which was almost unheard of in the Italian prog scene. While related Osanna eschewed the predominant use of keys, they still implemented their atmospheric prowess for certain effects. Minus the keys, the atmospheric generating power of MELOS is derived from a heavy use of four flutes (played by three members), vibraphones and acoustic guitars. Bass pedals were implemented through a Binson Echorec which produced strange distorted cello effects which also give MELOS its own distinct flavor. Sizzling saxophone solos also point to a Van Der Graaf Generator connection, a band whose early years found them spending more time in Italy than their native UK because it was the Italians first and foremost connected to their ambitious eclectic sound before the rest of the world caught on.

MELOS is really one of the more complex albums i've heard from the Italian scene and despite the word implying 'melody' which it does supply an ample supply of, much of the music is fortified in university level musical complexity that implements the full power of jazz to offer bizarre counterpoints and jittery time signature workouts. While Robert Fripp seems to have provided the blueprint for angular guitar riffs, Mahavishnu Orchestra type soloing a la John McLaughlin joins in during the most aggressive moments of MELOS. Much of the album however is heavy in atmospheric drifting via flute, vibes, acoustic guitar and Di Franco's charismatic and operatic vocal style. MELOS is truly a musical journey, a summary of an entire career squeezed into a mere 36 minute experience but one that has been mastered and executed in relative perfection. The album excels at an unpredictably zigzagging between various styles whether they be the sensual romantic softer sides or the jarring bombast and freneticism of the heavier rock segments.

MELOS is cited by many as being one of the pinnacles of the entire Italian prog scene and deemed a veritable masterpiece by many. This is not one of those instant warm and fuzzy albums much like the more pop infused albums that bands like Il Balletto Di Bronzo or Metamorphosi dished out, but rather a heavily fortified prog powerhouse reserved for only the big kids in the club. Such was the case with my own experience regarding CERVELLO's solo releasea, while initially expecting something more in the lines of Osanna's classic 'Palepoli,' what i got was a unique amalgamation of various prog styles which ultimately once experienced and fully digested, provides a quite satisfying experience and unique stamp within the greater realms of Italian prog. However, something about MELOS seems unfulfilling. Despite the excellence and technical workouts on par with the greats of PFM and Banco, somehow MELOS seems scattered and random in all its eccentricities and misses the mark at taking that final step into ultimate cohesion. Nevertheless, although not a top tier album of the Italian prog scene in my book, is a fastidious work of art that is guaranteed to please the truly adventurous proggers of the world.

1. "Canto del Capro" (6:29) opens with three minutes of weird, creepy psychedelia before establishing a fairly fast- paced psych rock song. The musicians are performing very tightly, at a very high level of competency. The dissonant flutes, guitar plucks, and reverse electric guitar over long, steady Mellotron chord progression are so fresh and creative. An odd but brilliantly inventive song. Brave youths! (9.5/10)

2. "Trittico" (7:19) opens with strong vocal sung over electric guitar arpeggi, trading the lead with flutes and vibes. Again, such an unusual and inventive foundational sound and construct! Guitar harmonics takes the lead in the third minute before vocal effects project the singers' voices to be in several places in the sound. Then, suddenly, at 3:06 the band kicks into high gear with rapid fire lead guitar licks, drum flourishes, sax, bass, and vocal stepping into the oddly-timed pace. Everything drops back into pastoral pace at 4:20--though lead guitar is playing his arpeggi at a much faster (William Tell Overture) speed. These guitarists are so talented--moving in and out of time signatures, in and out of acoustic and electric sections, in and out of strumming and picking. The song has a very odd fade-in and fade out closing of "la-la-la" drunk men's vocal chorus. Amazing song! (9.5/10)

3. "Euterpe" (4:32) opens with acoustic guitars and recorders before vocalist. I love the vocals of Gianluigi di Franco because they feel so common and relaxed, not forced or operatic or melodramatic. This song is John McLaughlin- inspired Corrado Rustici's breakout song--the one that lets us know just how fiery his lead style is. And yet, the fact that he has held back (or been held back) over the first 14-minutes of this very adventurous, very experimental album, just let's me know how band-oriented and non-ego driven this young man was. (9.5/10)

4. "Scinsione (T.R.M.)" (5:43) Probably the weakest song on the album, but still exploratory and innovative, not straightforward at all, it just doesn't have the beauty, surprise- or wow-factors of the previous songs. The sustained, almost-droning synth occupying the background throughout (and then climbing to the fore in the final minute) is absolutely brilliant--as is the multi-tracks of Corrado dueling with himself at the end. (9/10)

5. "Melos" (4:58) Vibes, slow acoustic guitar picking, gentle voice is soon joined by Pete Giles-like drumming, flutes to make for a gorgeous if slightly King Crimson-like song. The interplay of multiple vocalists in the second minute is cool. The two-guitar interplay that follows with singing over the top is a little awkward, but the cacophonous buildup that follows with Corrado's blistering, bluesy guitar soloing over thick mix of saxes and Mellotrons is awesome. (9.5/10)

6. "Galassia" (5:48) opens with cymbal play soon joined by distant flutes, guitar picking and voices. By the time the one minute mark arrives the soundscape had moved more forward--except for the vocals that soon ensue--which remain in the far background. Drums, guitars, flutes, even Mellotron are all forward of the voice. Vibes and electric guitar take turns soloing over the acoustic guitar pretty picking--until voice and Mellotron jump in to declare their messages. At 3:25 everything drops out for a brief vocal section before a heavy, frenetically paced instrumental section comes crashing in. This insistent, crazed weave seems to creep steadily forward even till the end. (9/10)

7. "Affresco (1:11) is an adventure into space and effects with vocal, flutes, and picked guitars weaving together over the top--the most forward presentation of sound on the album! Surprise and flawless. (9/10)

A true masterpiece of progressive rock music and one of my favorite albums from the classic period of RPI.

In my quest through Italian progressive music lately this perhaps might be my most rewarding find. It's that good. But not immediately. Melos (the song) I found mind-blowing the first time I heard it, but all the rest really had to grow on me. But that's only good, because:

I'm afraid I regard music from another angle as most people do, I am not particularly interested in its technical aspects nor who's who and who did it with whom, For me the most important part about music is in which way it can play MY strings, i.e. my internal strings. It must "act" on me, it must impress me, it must touch my emotions, it must make me misunderstand. Perhaps the latter being the most important; since in that way it's adventurous in the most ultimate way.

Melos does it all. It did take some time (the misunderstanding), but then it hit very hard. Apparently from first listen until now I played this album some 12 times. Today particularly I really had to fight my tears (touching my emotions). So, this album really took me by surprise (impressed me), but not at the first listen! It indeed is a grower, and a very rewarding one at that.

I read the other reviews on it, I need to say that "technically" I can underscribe David's(Guldbamsen) remark on the way it sounds; "It's like a harmonious bird convention with added tumultuous rock". It is. Despite the sometimes harsh "looking" sounds in fact it's rather pastoral. It at times being harsh only accentuates that, but in it's core it's just very very beautiful. Real maybe, earthen, true. Another friend for life made in front of the loudspeakers here.

Among many bands, especially in RPI, surely emerge those bands that have created only one album, leaving for the rest of life in the imagination of the listener, unforgettable melodies and a hint of dissatisfaction for the only one prog gem.

The talent of these one-shot band's musicians is often forgotten, probably for little know names. But here the band formations is very impressive. The charming and powerful voice of Gianluigi Di Franco goes well with incredible guitar of Corrado Rustici, brother of Danilo who plays guitar whit most popular Osanna. Unfortunately Gianluigi Di Franco died in 2005.

It's hard not to be impressed by the attention to details. Starting with the cover in which there is a pack of canned brain. On original LP cover is possible to open this box under which appear the members of the band locked by spider's web. The band's name CERVELLO already offers an idea of their creativity. They want to recreate atmospheres of the past, of an old Greece lost, with magical and mysterious moments. But the surprise is when the album plays! In the opening track "Il Canto Del Capro" (the sing of the goat) you can feel clearly a kind of black magic, as if a pagan ritual was in front of your eyes. While the 4/5 of the band are playing the wind instruments (flutes for most) a bleak chorus sometimes as bewitched, falls into the scene: "Magica Danza Ci Porterà Il Seme, Vivido Intruglio Disseta La Mente, Magica Danza Ci Porterà Il Seme". (magic dance will bring to us the seed, vivid concoction quenches the mind, magic dance will bring to us the seed) WOW! A shiver down to the spine.

Other songs are spectacular. Di Franco's voice reaches the culmination in "Trittico" (triptyque / maybe mean an Opera in three parts) after a soft dreamy intro. Sophisticated time changes introduce an increasing singing with haunting guitars until come back again gentle chorus. And when the track appears to be over a galloping rhythm with an unforgettable "LA LA LA LA LA LA LA LA" concludes the song. As two lighthouses the voice and the guitar light up the mind in "Scinsione (T.R.M)", which at 4th minute is characterized by a wonderful crazy guitar. To embellish the album there's "Melos", (melodic aspect of a song in Greek time) 5 minutes of musical essence with a superb guitar solo.

"Galassia" (galaxy) is my favorite song. I'm a dreamer and when listening is at the end of the album it's as if I started to wander in dense universe, accompanied by that hypnotic voice, and then be awoken by the redundant final rhythm. It's always the old unmistakable emotion, truly unique! This track, their structure and the fact that it is toward the end of the album reminds me "The Fountain Of Salmacis" by GENESIS. It's an innate analogy that my mind always do.The album ends with the strange "Affresco" (fresco / a painting technique) that as in a painting sets this ancient journey into the Greece of Gods, of the sacred and profane, lulled by ritual symphonies.

One of the most significant album of RPI. A tribute to human intelligence and art. A unique album in the history of Prog Rock destined to remain a solitary gem.

5 Stars

I vividly remember reading Jim's(Finnforest) extraordinary review of Melos from back before I joined this site. Now whereas the surreal art work depicting a psychedelic can of tomatoes in the process of being opened already inevitably had drawn my attention, it was the review of the music standing next to it that made me purchase the album in a heartbeat. So first and foremost a great big thank you goes to Jim for introducing me to this music. Wow, looking back now, I can hardly imagine having lived the last 5 years without Cervello's Melos in my life. It means so much to me..........like an invisible brother.

To start out on the wrong foot musically though, I'd like to point out the obscure and completely unrelated fact, that this record sounds remarkably close to an Italian version of Burnin' Red Ivanhoe. Yup, I know..... Who the feck is Burnin' Red Ivanhoe? Still, comparing obscure bands to equally obscure bands is something I genuinely adore. BRI are a Danish band with one particular Karsten Vogel behind the saxophone. Their brand of psychedelic jazz rock is one that I haven't heard reproduced anywhere other than on Melos. Cervello are however from Italy, and you certainly get a whiff of the ol Mediterranean seaboard in the cheeky vocals, the constant flirtations with acoustic folk elements and perhaps even more so in the general warm vibe that permeates this gem.

That vibe comes from the lack of synths, or at least I certainly think so. Instead of focusing on the more luscious and creamy character of the symphonic school of melodies, Melos feeds off the natural and slightly breezy sway of jazz rock. Though most notably associated with the musical equivalent of all chops and no sauce, the fusion offered up on this baby is beyond melodic. It's like a harmonious bird convention with added tumultuous rock. Through simple quirky reed sections with a mere 3 chords, this album soars into unknown heights of sonic bliss. Similarly to the aforementioned Danes, these guys have a way with melody that is second to none, and then with a charming crooked smile on their lips, like had the cheese just slit off their crackers, and a youthful nonchalance about em, Cervello then wraps up the remaining room of the album in a wild and adventurous strain of rock, that I have come to love so dearly.

There are moments on here where I get short out of the blue chills and feel the urge to spread my arms out and leap into the air. The ending pirouette rock of Euterpe with the sax and guitar lapping up against each other in the most ingenious manner conceivable, - the teenager inflicted anxiousness of the vocals that mixed with a nasal quality to them appear bittersweet and poetic throughout the record, - the inspiring windswept flute melody of Trittico, - the colourful spacey twang of the guitar in Scinsicne - all of these are highlights on a release that seems to be immune to any low points or meandering musical riff raff. I hoover them up tenaciously with my ears and feel invigorated and ready to explode, like had I just licked the surface of a small star.

If you decide to dive into this album on account of its rather peculiar take on RPI or just find yourself intrigued by the enigmatic cover, the one thing that truly matters is that you're diving into it - plowing yourself through one of the most original sounding records from the Italian scene. And if anything, Melos continues to show itself as a timeless piece of art each and every time you return to it. Cervello hit a nerve back when they recorded this thing, that's for damn sure, and as a consequence of that we're now able to tap into the mainline whenever we feel the urge for an electric jolt of genius.