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LA FABBRICA DELL'ASSOLUTO

Rock Progressivo Italiano • Italy


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La Fabbrica dell'Assoluto biography
LA FABBRICA DELL'ASSOLUTO originated from Rome in 2007, where Daniele Sopranzi (guitar), Michele Ricciardi (drums) and Marco Piloni (bass) performed in `Effetto Progressivo' playing covers of classic Italian prog pieces. A chance meeting in 2012 by Michele with Daniele Fuligni (keyboards) led to him joining the band, and soon after Claudio Cassio on vocals proved the essential final addition to the group. They began to record the material that would make up their debut on October 10th, 2014, and a year later, "1984 - L'Ultimo Uomo d'Europa" was released on Black Widow Records.

Inspired by George Orwell's bleak `1984' novel, "1984: L'Ultimo Uomo d'Europa" ("1984: The Last Man in Europe") explodes with dark symphonic atmospheres and wild energetic outbursts with a welcome dirty production by way of a battery of vintage keyboards, buzzsaw-like guitars and passionate ravishing vocals. Sounding very much like the second coming of BANCO DEL MUTUO SOCCORSO, IL BALLETTO DI BRONZO and BIGLIETTO PER L'INFERNO with a dash of CERVELLO, it makes a huge musical statement in the same way that modern debut albums like `La Crudelta di Aprile' by the youthful UNREAL CITY and `In Hoc Signo' by INGRANNAGI DELLA VALLE did in recent years, and it's the absolute standout R.P.I/Italian prog release of 2015, perhaps already a true modern classic by those lucky to have discovered it.

Biography by Michael Hodgson (Aussie-Byrd-Brother)

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3.93 | 122 ratings
1984 - L'Ultimo Uomo d'Europa
2015

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LA FABBRICA DELL'ASSOLUTO Reviews


Showing last 10 reviews only
 1984 - L'Ultimo Uomo d'Europa by FABBRICA DELL'ASSOLUTO, LA album cover Studio Album, 2015
3.93 | 122 ratings

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1984 - L'Ultimo Uomo d'Europa
La Fabbrica dell'Assoluto Rock Progressivo Italiano

Review by Matti
Prog Reviewer

4 stars Here's one of the many rock albums inspired by the famous dystopian novel "1984" of George Orwell. And it might also be the most intensive one, but in my case (although I was deeply impressed by the book already in my teens) the intensity of the music has its negative side too. For the rest of my review I handle this album as music, not as a literary adaption -- for which approach I wouldn't have the knowledge on Italian language anyway.

The RPI tradition can be roughly divided into two styles. The first one is more pastoral and romantic (PFM, Celeste, Errata Corrige, ...) and it often involves instruments such as flute and violin. This is very much up to my musical taste. And the second style is heavier, darker, edgier etc, with influences not only from prog bands such as ELP and VdGG but from e.g. DEEP PURPLE and BLACK SABBATH as well. Naturally there's no absolute division into these two styles; both can use elements from the other one and many bands are somewhere in the middle. LA FABBRICA DELL'ASSOLUTO is however clearly closer to the heavy side of RPI. Seemingly this is the case with most of the new RPI bands that sound like they could come from the 70's. Fabbrica's domestic influences might include e.g. ALPHATAURUS, IL BALLETTO DI BRONZO, MUSEO ROSENBACH, PANNA FREDDA and SEMIRAMIS.

The 55-minute work starts with disturbing shouts and a brief dramatic narrative followed by intense Hammond-dominated heavy prog. Soon the proper vocals enter and are intertwined with sharp synth passages. Already at this point the listener can be sure to have one hell of a prog ride. The vocals are mostly a bit shouty, reaching higher notes and being also quite flexible, but the voice itself lacks charisma and depth. Frankly, I don't like them. But the band is truly full of fiery power, especially the many-sided keyboard arsenal with its ELP flavour.

After the nearly seamless flow of highly intense tracks, the more delicate 'Giulia' is a gorgeous highlight. 'La Stanza 101' is another good, melancholic song, but to my taste the whole is too intense and highly strung. And yet, I just can't rate it lower than four strong stars. Definitely one of the most remarkable items in retro-RPI of these times!

 1984 - L'Ultimo Uomo d'Europa by FABBRICA DELL'ASSOLUTO, LA album cover Studio Album, 2015
3.93 | 122 ratings

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1984 - L'Ultimo Uomo d'Europa
La Fabbrica dell'Assoluto Rock Progressivo Italiano

Review by ande89

5 stars '1984: L'Ultimo Uomo d'Europa' is the debut album of the Italian progressive rock band 'La Fabbrica dell'Assoluto'. It reached its final form when initially Daniele Fuligni (keyboards) in 2012 and then Claudio Cassio (vocals) in 2013 joined to 'Effetto Progressivo' band, where Marco Piloni (bass guitar), Michele Ricciardi (drums) and Daniele Sopranzi (electric guitar) have been militated since 2007.

We are in front of a real progressive rock album, in all its aspects: the cover (a wonderful Cesare Modesto painting, 'La libert' di scelta'), the lyrics and, last but not least, the music.

Why the lyrics? Because this is a concept album; inspired to the novel 1984 by George Orwell. It tells about the drama that a man, which is Winston, is living in a future world, dominated by war and tyranny. Lyrics and the emotional interpretation of Claudio Cassio create both a perfect fusion with the music, evocating and sharing with the listener all Winston feelings: fear, rage, hope, taking awareness and will of change reality, love, desperation, pain, resignation.

And now the music. When you'll listen this album for the first time, it will directly throw you back to the seventies, thanks also to some original instrumentation (all the keyboards). But no, this is a 2015 album and it's an exemplar instance of Progressive Rock! An extremely varying work: many rhythm changes (leaded mostly by Daniele Sopranzi guitar), psychedelic pieces ('Bispensiero') and melodic ones ('Giulia', 'La canzone del castagno'), hard guitar ('Chi controlla il passato controlla il presenta, Chi controlla il presente controlla il futuro', first part of 'Processo di omologazione') ; there is even the presence of a marching band, the Montopoli Marching Band (final track 'Amava il grande fratello').

Music is dominated by the presence of Daniele Fuligni keyboards: Hammond Organ M102, Leslie 145, Minimoog Model D, Binson Echorec 2, Davoli TD LIED 160, Davolisint, Logan String Melody I, Piano. Thanks to that amount of keyboards we can listen rich and wonderful sonorities, this is probably the most prog aspect of the album.

Two things that are often underestimated: the brilliant support of Marco Piloni bass and Michele Ricciardi drums. I cannot miss to mention the warm atmosphere that contrabass creates during the guitar solo in 'Processo di omologazione'.

So, finally, we can compare the band to many others bands and artists like ELP, Banco del Mutuo Soccorso, Balletto Di Bronzo, Gilmour (in the guitar solo mentioned before), Il Rovescio della Medaglia and so on. But the point is just one: they have done an incredible work and developed their own sound, they are 'La Fabbrica Dell'Assoluto' !

 1984 - L'Ultimo Uomo d'Europa by FABBRICA DELL'ASSOLUTO, LA album cover Studio Album, 2015
3.93 | 122 ratings

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1984 - L'Ultimo Uomo d'Europa
La Fabbrica dell'Assoluto Rock Progressivo Italiano

Review by Olape

5 stars La Fabbrica Dell'Assoluto / 1984-L'ultimo uomo d'Europa (2015)

The contemporary italian prog rock scene is very interesting and has given us several masterpieces in recent time. La Fabbrica Dell'Assoluto offers other gem to RPI lovers, one of the highlights of the past year.

Like other reviewers said, the musicians are awesome, we got heavy guitars, thrilling vocals, calmer keyboard dominated parts and everything comes together in a great musical trip.

For me, this album is in the same league as Il Rovescio Della Medaglia's "Contaminazione", Museo Rosenbach's "Zarathustra" or Metamorfosi's "Inferno", due to the development of a concept and the different moods that provokes in the listener. If you like these, don't let it pass!

Five big stars.

 1984 - L'Ultimo Uomo d'Europa by FABBRICA DELL'ASSOLUTO, LA album cover Studio Album, 2015
3.93 | 122 ratings

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1984 - L'Ultimo Uomo d'Europa
La Fabbrica dell'Assoluto Rock Progressivo Italiano

Review by Mellotron Storm
Prog Reviewer

5 stars Until I heard this debut from LA FABBRICA DELL'ASSOLUTO I can honestly say I've never heard a band that sounded anything like IL BALETTO DI BRONZO. Yes this is a huge compliment and I also thought of ELP and NUOVA ERA thanks to those filthy organ expressions on here. This is a concept album based on George Orwell's classic book but it's all lost on me since I don't know Italian.

"I Due Minuti Dell'odio" opens with some powerful atmosphere before sampled words and sounds take over. When the music kicks in around a minute it's so impressive, especially the organ. Amazing sound after 2 minutes, it's like I'm in heaven. "4 Aprile 1984" is where we hear the vocals for the first time and they are very good to say the least in the Italian tradition. The organ creates atmosphere but then it all becomes more passionate including the vocals and it's so emotional. Synths cry out followed by guitar. "Chi Controlla Il Passato..." opens with some heavy guitar as the vocals kick in with power. The guitar counters the synths which sounds cool then the vocals return as themes are repeated.

"O'Brien" has a powerful intro with crazy synths as the vocals cry out. A calm follows as we get a powerful atmosphere that vibrates the soundscape as fragile vocals join in. It picks up then we get some sampled words late. "Bispensiero" is dark with liquid keys sprinkled in along with experimental sounds. Man this is like classic Krautrock, very "out there" if you know what I mean. The guitar comes in before 2 1/2 minutes and fires off some rounds as whispered vocals come and go. What a song! "La Ballata Dei Prolet" has a lot of tension throughout with strong vocals and prominent organ. "L'occhio Del Teleschermo" features some killer pulsating organ as the guitar and drums try to keep pace. Vocals join in. Great sound!

"Giulia" has lots of floating organ on it. "Lo Sguardo Nel Quadro" has fast paced organ expressions and drums as the vocals join in briefly. "Processo Di Omologazione" is by the far the longest track at around 12 1/2 minutes. Heavy guitar to start as drums and bass join in. Nice. A bass solo follows then some organ runs followed by passionate vocals. More filthy organ runs before 3 minutes with vocals, guitar and more. Check out the synths after 3 1/2 minutes. Great sound before 5 1/2 minutes as well. Another calm before 7 minutes which is a beautiful section then it kicks back in around 8 1/2 minutes briefly before turning pastoral again as contrasts continue. Big finish.

"La Stanza 101" opens with floating organ and I love the liquid keys with drums that follow. Reserved vocals are next and they turn more passionate after 2 1/2 minutes. It picks back up 4 1/2 minutes in. "La Canzone Del Castagno" features guest vocals from the singer for IL ROVESCIO DELLA MEDAGLIA. It opens with acoustic guitars then picks up some as the organ and drums join in and more. The fragile vocals 1 1/2 minutes in quickly turn theatrical as these contrasts continue. So much emotion. "Amava Il Grande Fratello" like the opening track has sampled words and sounds followed by orchestral music then spoken words. We then get a long silence until the piano arrives 5 minutes in to the end.

What more can I say? This is my favourite RPI album of 2015 hands down and of course it will be on my "album of the year" list.

 1984 - L'Ultimo Uomo d'Europa by FABBRICA DELL'ASSOLUTO, LA album cover Studio Album, 2015
3.93 | 122 ratings

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1984 - L'Ultimo Uomo d'Europa
La Fabbrica dell'Assoluto Rock Progressivo Italiano

Review by Progfan97402

4 stars La Fabbrica Dell'Assoluto is another new Italian band (actually they formed in 2007, but only released their debut in 2015) that is nothing short of amazing. Heavy Italian prog in the vein of ELP, RDM, Metamorfosi, Museo Rosenbach, Biglietto per L'Inferno, in that ballpark, meaning you'll love this if you're a fan of said groups. This is another one of those albums inspired by George Orwell, but sung in Italian, so as a non-speaker of the language, I'm not sure what they're on about, but even if you don't know Italian, you still get a clue if you're familiar with Orwell. This album is full of great analog keys like Hammond organ, Mini Moog (original, not the Voyager), Davoli synth, and Logan String Melody, with Clavia Nord Stage 2 for the piano and Mellotron parts. Then you get plenty of great guitar passages, as well as Pino Ballarini of RDM making an appearance here (he and the band even did some material off Contaminazione live). I noticed one passage that sounded like it was taken right off Le Orme's Collage. There are some spacy experimental passages, but by and large this is heavy Italian prog, and great stuff to boot. I can't believe what Black Widow Records have been offering of recent. They appear to be on the forefront of an Italian prog renaissance (another great example: Ingranaggi Della Valle's In Hoc Sogno) and La Fabbrica Dell'Assoluto is another great example that comes highly recommended!
 1984 - L'Ultimo Uomo d'Europa by FABBRICA DELL'ASSOLUTO, LA album cover Studio Album, 2015
3.93 | 122 ratings

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1984 - L'Ultimo Uomo d'Europa
La Fabbrica dell'Assoluto Rock Progressivo Italiano

Review by poito

3 stars Short and easy. These fabricantes master an impressive number of musical resources. They share with Italian progs an exuberant vocalist, but the music develops sounds from all epochs anywhere, mostly conducted by beautiful hammonoid keys creating variety of atmospheres. They use a story-telling format that has given us a few immortal titles... and also ten times the number of pretentious compositions. This, in my view, doesn't get to the Olympo, though it is interesting enough. The problem with this format is that the musical structure gets limited by the story. Even if the album is partitioned in tracks it follows the story too closely so it gets trapped in the lyrics, even buried at times. Some tracks are brilliant (check "Processo di omologazione") and others are just trying to tell us with music something that should have remained in the books. Most tracks do not stand by themselves; play them shuffled and only a few make sense musically. Sorry, I never quite understood those trying to make us feel with music what they feel in their brains, music comes from beyond the guts, it has no explanation. Anyway, got enough time to play it in a row? Then, yes, this 1984 is a good experience.
 1984 - L'Ultimo Uomo d'Europa by FABBRICA DELL'ASSOLUTO, LA album cover Studio Album, 2015
3.93 | 122 ratings

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1984 - L'Ultimo Uomo d'Europa
La Fabbrica dell'Assoluto Rock Progressivo Italiano

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

5 stars Every year in every progressive rock-related style, there are those couple of particular titles that stand out and hugely impress right from the very first play, destined to become a truly special work that makes a massive impression, only growing in stature and reputation as rave reviews and good word-of-mouth spreads. In the RPI style, La Fabbrica Dell'Assoluto's "1984: L'Ultimo Uomo d'Europa", based on George Orwell's book `1984', leads the way in 2015 by a great distance, being a varied and complex symphonic work with the same tough energy and rough production laced with danger found throughout the defining works of Il Balletto di Bronzo, Biglietto per L'Inferno and Banco del Mutuo Soccorso. Coated beginning to end with a battery of vintage keyboards, buzzsaw-like guitars, relentless bass, thrashing drumming and a dynamic vocalist, this album proves to be something very special indeed...

An opening nightmarish collage of random noise, vocal snippets and a deranged Banco-like narration is blasted by a spiralling whirl of noise, as filthy maniacal Hammond rumbles like the Devil himself, rusted-metal guitars slice the air and delicious whipping drums sound like they were recorded inside a wet cardboard box! Claudio Cassio's voice soars to the heavens throughout `4th Aprile 1984', into a mix of classical guitar, twirling synths, heavy riffing snarls and seductive bass grooving through the mire of `Chi Controlla...', and `O'Brien' lifts into Marillion-flavoured symphonic Mellotron-flecked heavens with droning synth ambience and classical piano fancy. Deeply disorientating psychedelic swirls and eerie vocal taunts float through `Bispensiero', `La Ballata Dei Prolet' is a solemn organ reflection that grows in power, and the relentless breakneck `L'occhio Del Teleschermo' erupts with delirious F.E.M-like colourful keyboard kaleidoscopes.

Gothic flavours return to the darkly romantic and melancholic `Giulia', with a sweetly and sadly crooned vocal full of longing backed by shimmering organ, ruminating bass and reaching guitar strains, the piece soaring on hopeful flights of fancy once the drums arrive. `Lo Sguardo Nel Quadro' overloads on classical bombast with slinking keyboard eruptions and slithering bass murmurs, but it's the twelve minute `Processo Di Omologazione' that goes completely mental, a whirring blur of instrumental noise and fury with all the deranged schizophrenic direction and tempo changes of the classic first Banco album. Symphonic grandness, furious jazz-fusion runs, stomping hard-rock bursts, intimidating gothic mystery, haunted swooning vocals, strangled saxophone and searing Mellotron veils all feature, making it quite possibly the best track to appear on an Italian prog disc in 2015. `La Stanza 101' eventually lurches and prances with malevolent glee, `La Canzone Del Castagno' (with a guest vocal from Pino Ballarini of vintage Italian prog band Il Rovescio della Medaglia) overwhelms with imposing regal presence, and `Amava Il Grande Fratello' is a ghoulish pantomime of searing infernal Mellotron curtains closing on the listener.

For its entire 55 minute length, you'll be hard pressed to find a more thrilling and satisfying modern Italian symphonic work that stands just as strongly as many of the vintage classics so beloved by generations of Italian progressive music fans. This is not merely some fawning imitation, instead La Fabbruca dell'Assoluto indulge in the sounds of their favourite Italian prog heroes and fuse it with youthful energy, confidence and sheer guts, offering an almighty kick up the backside of the RPI style. If you don't like the overly polished, safe modern works of both comeback Italian groups and new acts, these fellas strip back the sheen, bring back the dirt and intensity but still always remain melodic. The musicians themselves play with incredible skill and liveliness well beyond their years, and Claudio Cassio delivers a sweeping lead vocal almost on par with Alessio Calandriello's performance on La Coscienza di Zeno's `La Notte Anche di Giorno'.

Forget other bands (some whose music doesn't even sound Italian!) arrogant claims of being the new symphonic progressive stars to be placed alongside Banco, PFM, and so on. Here instead is the real deal from an unbelievably talented young band already on fire, with a virtually faultless and daring album in "1984: L'Ultimo Uomo d'Europa" that's sure to be a future classic of the R.P.I sub-genre.

Five stars, and simply the best Italian prog album of 2015.

Thanks to aussie-byrd-brother for the artist addition.

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