PICCHIO DAL POZZO

Fairly confident that Picchio didn't actually pass me by before now, but it must have been only recently that this album in particular was digitally available to me. Saying Spotify is my main form of listening is, at this point, a great understatement.

"Merta" starts us out with one of many proper Prog builds. Ominous and spacy, and where repetition is key. I love the sound of the synths used here. Sorta replicates between sax and bagpipes, which then, as the track passes into the next, "Cocomelastico", actually gives way to real-life horns (Huzzah?!). And on this track, we do in fact get that Canterbury Sound. Rolling and tumbling rhythm with guitar and sax(?) interplay. I love it! Sounds perhaps like HATFIELD or (early) GONG or (earlier) SOFT MACHINE. Easy goin', but real tasty lickin'. It was rather humorous to me to see all the different bands that other reviewers were referencing here. But I get it now. Picchio Dal Pozzo was not made in a vacuum, yet glad to hear their own (I would say clearly) Italian take on the style of Jazz-Prog that we know (and many love) as "Canterbury Scene".

And once you get into this album with track 3, "Seppia", we are rollin'! Super intense, super dark, with the steady cadence of the synth and the whole rhythm section (including creepy xylophone). Hard-hitting drums on this one. This is definitely a mix of HATFIELD and GONG to my ears. Spacy, ominous, a bit odd, but overall, intense as hell. This rolling creep continues on, unfettered, for six and a half minutes. And it's just consistently pleasing to my ears (saying a lot for this set-in-his-ways maximalist). This second section to the track (and yes, I'm still talking about "Seppia") rolls to a different cadence: soft arpeggiations from guitar with light vocals (I'll take more Northette energy, please). This follows naturally in a "Hatfield style" (see what I did there? see "Big Jobs, No. 2") into the less-than-a-minute interlude "Bofonchia". A nice reprieve, not that we even needed one (a compliment, if you're not picking that up).

This interlude is followed, again naturally, by "Napier". Squeaky, and slippery(?), this track meanders like some other Canterbury idioms, resolving in the latter half into beauty and melody--male vocals are most prominently featured for the first time, and we get some tasty horns and cymbal-play. I'm really quite happy with everything I've been hearing. The ratings don't lie, folks. If you're into the Kentish thing at all, get on this. Very well balanced, from calm and beautiful to raucous and interesting. My interest is retained--I am always "interest-hungry". At this point in the album, I must say, I just hope that more of their material will get released to Spotify (and elsewhere?).

The end of the album, in tracks "La Bolla" and "Off", is quieter and more reflective balladry(?). Canterbury really is one of those styles that generates scenery and set; it's better at this than most.

To conclude, very satisfying Canterbury-esque Jazz-Prog. We've got beauty, quirk, charm and a whole helluva lot of talent on this album--I haven't even mentioned the keys this whole time. The keyboards here really are largely the centerpiece--similar to how the excellent Dave STEWART holds his position as anchor, in the very least, in numerous bands, from Hatfield to EGG to KHAN. Also, compositional knack, with most every track tied together with a pretty little bow. The Hatfield concept is in full effect. It can not be stressed enough. And it tickles my fancy (it is at this present time that their first, their self-titled, is my phone wallpaper, for God's sake). Check it out.

Personal Highlight Tracks: T2, T3, T5

Full disclosure: for once I'm rounding up from a True Rate of ~3.5/5.0.

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