DROPS

MAD CRAYON, MAD for the initials of the first names of its creators, Italian group created in 1986, first album in 1992, only four albums on the clock; it must be said that its founding keyboardist Alessandro di Benedetti worked prolifically with his group INNER PROSPEKT, ten albums there. Major group on the progressive scene with many collaborations, major influences from PFM, BANCO DEL MUTUO SOCCORSO for Italy and above all GENESIS for the work of keyboards close to BANKS at times; complex sounds with many breaks based on an omnipresent piano and alternately Andalusian or metal-progressive guitars and drifting PORCUPINE TREE blowing languid calm to energetic rock or OZRIC TENTACLES fusion of soaring, psychedelic and eclectic atmosphere . Modern prog in fact which suggests that they synthesized over a lot of periods.

"A Sort of Incoming" starts with an instrumental hovering on the synth as we like, spatial, ethereal, mysterious atmosphere too, a bit of VANGELIS keyboards here, Asian voices to destabilize even more and doubt sets in where it goes - do we leave? "Bloody Days" on piano keys à la SUPERTRAMP at the beginning, then it starts with a slightly baroque pop- jazzy tune, follows a basic melodic progressive variation but rhythmic pleasant to the listening with nervous, fat breaks, airy synth, a delight. "Where You Cannot Lie" on the same key with an air centered on the piano, a voice at the limit of phrasing which accompanies the instruments well and vice versa, then the instruments are grafted around for a long time. progressive suite whose musical tricks will make you travel to a folk-jazz- rock country. Note a progressive latency due to Alessandro's keyboard section; I can feel the tones of the WHO, the notes of Joe JACKSON in his second period all magnified by a solo by Federico. "The Ape" starts off with a fruity atmosphere like OZRIC TENTACLES, HAWKWIND, AL DI MEOLA too; it is the guitar which takes center stage accompanied by a bass and a synth flirting with those of GENESIS and BARCLAY JAMES HARVEST; the second part returns more jazzy, more bucolic, very beautiful instrumental title with duel between guitars and keyboards.

"Evening Comes" suddenly reminds me of the MANFRED MANN'S EARTH BAND just for the intro, then the song sung goes to a more conventional atmosphere, a little dark à la KING CRIMSON, then the Gilmourian guitar on the "Animals" period gives a note of hope; the voice present at the start has delicately eclipsed. "Disturbed Love" for a short but oh so delicious title, combining the fury of the notes with a tune trying to describe to you a deep amorous disarray! Be careful as soon as the phone rings, it starts out hard then the piano calms down a bit before starting again, hard riff when you hold us. "Down the Trench" and another long track with an introduction to GENESIS, over 9 minutes of melodic musical digression; 9 minutes where the piano plays on improvisation with a flute in a long crescendo supported by various synths; the Charisma Label spirit of the genesis is there with sublime voices plunging you back into the 70's; the guitar leaves for an emotionally pleasurable solo. "Mad Crayon Run" and an air in which progressive fusion can bring best at the moment, namely modern prog music ignoring the codes: Andalusian guitars at first then others in a frantic rock metal temper, even tortured. An instrumental from which I notice that these are even more musical, giving no benchmarks to the duration of the title, in short an extraordinary deluge where we find the fat and tortured sound of MAD CRAYON and that's it . "The Glitter of Your Life" title sung at the beginning, almost hilarious for our ears, break then return to the voice on a return of THE WHO for a few moments, the notes seem to seek each other or to warm up to go on yet another fusional path filled with various pop, rock and Italian notes surely. "Way Out" as an outro, as the end of a musical clap, as a sign to come back to earth ?, short end of a very good album.

MAD CRAYON released 11 years after its last album a revolutionary progressive disc based on ancient sounds, those of mythical Italian groups. Experimentation is in order with a jazzy side brought by the basic but omnipresent piano; the RPI in fact with a marked neo-classical characteristic and obvious jazzy drifts; Flat for the voice, flat for the beginning of each title which seems to leave on a different tune like a different group so a little disjointed in fact. However the progressive drift with twirling bass, drums by layers of pads, the psychedelic guitar and this Erik SATIE piano make it an eclectic album rather than RPI in my opinion.