All Prog From Italy Appreciation Thread

Colster is a new project from Cuneo, Italy, the collaboration of multi-instrumentalist Livio Cravero and percussionist/drummer Francesco Previotto. Their impressive debut album has been released on Ma.Ra.Cash Records and features compositions the duo wrote over the past two years. During this time they were traveling in Europe, America, and Asia, engaging another interest in photography that they have integrated into the Colster project. They sought to create instrumental music which would express their life experiences while at the same time be accessible and conducive to mental imagery for the listener. While I have read some reviews which mentioned Pink Floyd and King Crimson in their discussion, in my opinion this is music which sails closer to modern psych/space-tinged jamming with Djam Karet and Ozric Tentacles flavorings. I would say Colster is a bit more accessible than those bands even, creating an almost instantly appreciated rock jam with psychedelic influences but far from anything seriously weird or dissonant. This is a classy and interesting new act that will make some waves, and a second album is already planned.

The most overt Crimson sounds I heard were on the opening track "Searching Absolution pt 1" which reminded me of the 80s project "I Advanced Masked" that Fripp did with Andy Summers of The Police. I have no idea how long Livio and Francesco have been friends or how long they've been jamming together but they have a good interplay, and are musically supportive of each other. While not overly flasher exhibitionists they possess a certain confident swagger in their active playing styles. Cravero is a tight guitarist with a graceful, fluid lead style, able to pick off notes that seem to fill those emotional holes in the listener. Previotto is a similarly adept drummer, adventurous and yet solid, willing to try some fills and rhythms which are not always expected. Their interplay is spirited, warm, and most importantly, filled with color.

The mood of the music for me was especially effective as a driving soundtrack in the dark of night. I was driving home late last Friday night from someone's house. It was warm and humid outside and the thick air was creating a slight halo effect around the bright lights of oncoming cars on the freeway. The track "Meloncholy" came up next and the lovely introspective music created a very effective moment: the bright guitar mixing with the headlights cutting through the night, the movement of the cars around me, and the warm breeze coming through the window made for magical listening. "The First Wail" was the first Colster composition and it breathes moodiness with gorgeous, spacious chords and leads. Cool, rolling drumming segments and generous fills in the latter half of "Everyday Life." The latter moments remind me a bit of Porcupine Tree here and there, nice spaciness and good interplay. "Island Asylum" sounds like some mellotron behind strange environmental sound, soaring guitars, crisp drums, in a track focusing on the pleasure of the refuge. Where one goes to "lick his wounds" and find some peace from distraction and stress, according to the band liner notes. The second part of the three part "Searching Absolution" begins with an energetic drum solo leading into murky sounds reminiscent for me of Djam Karet explorations. Amazing "lead" drumming on this track as Previotto explodes with bombast-great! "See through the Tears" brings the album to a close through the "tears of the world" and more introspective moods, with a somewhat melancholic melody and a very independent bass line bubbling below the song's surface.

Colster succeeds at what I believe are one of their intentions, creating a sort of soundtrack for the thoughts and images of the listener, music that moves with you as you live. And yet it is important to reiterate that their succinct style is a strength. They improvise and dream musically of course, they take you places, but they keep the pieces reasonably brief and well paced, stretching the length out only as necessary. There is no overindulgence here where you are tortured by 16 minutes of feedback over breaking glass and barking dogs. Colster brings a lighter edge to psych/space and are capable of crossover should they choose to go there. At times there are even hints of fusion that creep in reminding me of the superb AIIR jam band. My only real criticism is the same one I often have about bands which are one or two man projects. No matter how capable the musician or musicians, I can always detect that I am not listening to a full band. I believe having 3 or 4 distinct personalities in a project comes through in the sound, and that the added ideas and contributions can prevent an album's worth of music from sounding too similar. But while I would suggest Colster collaborate with others on at least some tracks on future albums, I can also say that my enjoyment was not truly hindered in this case---this is a fine album which I very much enjoyed. The digi-pak comes with a booklet of lovely artwork and song inspiration notes about various tracks, a nice and intimate touch to include.

The band consists of three musicians from Milan who now reside in London: the two brothers Silvio Cavallo (vocals, acoustic guitar, drums), Giampaolo Cavallo (bass) and Luca Herb (guitars, synthesizers, piano). This album was said to be in the vein of early 70s Rock Progressivo Italiano albums such as Le Orme and Premiata Forneria Marconi. Indeed they do have this vintage sound and approach (as well as art work and design) that characterizes albums from these older days, this album manages to sound fresh (and appealing), but with some flaws. The whole album is less than 40 minutes, and has 6 tracks on it.

The bass is pretty dominant in this release, a powerful driving force and rhythmic source. The second most noticeable characteristic is the keyboards. They give the color and flashiness to the music, giving it character, appeal and beauty. They define the mood and then counteract it. The third element that is crucial here are the vocals. And here I have a problem. For the most part they are fine, but when going to higher registers or at time when a softly spoken or sung section is done, I hear them going slightly out of tune and becoming too nasally, which is a shame, as this would have amplified the effect the music has, had a better vocalist been used in these sections. The title track is the weakest song in terms of vocals, as it clearly sounds as if he can't reach that high a note. But don't let it scare you away, as I can for the most part get over it and enjoy listening to the songs even at those moments where I find fault in the singing.

The music, however, is another matter. The first track can give an example of the range of dynamics at play here. With its various sections, it travels from a soft and unsure start to a decisive and structured rock part, with a very "exposed" bass line (it's at the front of the mix); the song is further developed with a keyboards and guitar solo and the ever present bass, which has a propelling rhythm. The song goes from high points with thrilling peaks to calmer grounds; it recapitulates previous sections and ties it all together and then goes on a new journey, further developing the main theme. The title song and the last song Orizzonti both deliver the same level of song-writing and musicianship found in the opening track and are as enjoyable.

My favourite track is La grande Citta, which is divided into two songs: La Notte di una Citta and Il Risveglio di una Citta. These two together form a stellar musical experience, with high emotional peaks and superb instrumental segments (here's an example where the vocals can diminish the experience). The second part, starts with an earworm keyboards line, backed up by percussion and then the bass joining it, followed by the guitar. The build up is well done as more layering, ornamentation and development is done to the original basic melody. The music becomes more powerful, more aggressive, fuller and richer until the peak. Which in turn gives way to a side-development of that tune. This is classic progressive rock that isn't too complicated or pretentious, but rather relies and relishes in the fun form of rock and simply adds some little sophistication to it, but the raw energy and power are there to enjoy. Too bad they end the song in a clear-cut manner; I'd have preferred a subtler ending that would better fit the spirit of the song.

Despite the flaws I've mentioned, I find this a compelling album; the music is too good to not listen to, despite the issues I mentioned above. They take simple melodies and make them more interesting and special and build up on them to create an appealing piece with their craftsmanship. Worth getting!