HEARTQUAKE / REDUX

In the early '80s, a turmoil crossed the British Isles: a handful of niche bands, led by Marillion, committed themselves to reviving progressive rock, a genre that post-'77 seemed swept away by punk and new-wave. However, in Italy, a similar phenomenon seemed destined not to materialize: in those same early '80s, the biggest names of the Italian progressive scene like Pfm, Banco, Orme, New Trolls, drastically shifted towards more catchy melodies, shorter song durations, simpler structures, and memorable "pop gatherings" of the early '70s gave way to appearances at Sanremo and Festivalbar.

Yet, starting from 1987-88, even in Italy, the unexpected happened: albeit at a very "underground" level, a real army of neo-prog bands formed across the regions of our nation. The sound was much different from that of the previous decade, often sung in English, with sonorities indebted to what had been happening for some years in Britain. Yet, this phenomenon triggered new fermentations: specialized magazines, from those focused on new-wave to those of the metal audience, began talking about this musical scene; inspired by this, fanzines dedicated to the genre were born, photocopied and sold by mail; and even some brave individuals ventured to organize small festivals to gather these artists on stage.

One of the most convincing names within this phenomenon is that of Leviathan. Compared to many of their contemporaries, they seem less "children" of British New-Prog Rock and more closely tied to a lineage from Genesis and Yes. In 1988, they debuted with an already profound, intelligent, and complete album: "Heartquake". The title is a play on words: a earthquake of the heart of sorts. In short: Leviathan are ready to tell us in music about those "heartquakes" that we would commonly call "emotions".

Two years after this already excellent album, the even more mature and convincing "Bee yourself" was released. Another title, another play on words between "be yourself' and the bees. In the long eponymous suite, indeed, as in an Orwellian metaphor (think "Animal Farm"), the concept of the beehive is used as a symbol of our society, which massifies, standardizes, and homogenizes everything. Until a non-conformist bee arrives to awaken the listener.

In those years, the non-conformist bee was physically interpreted live by the singer Alex Brunori, complete with striped bodice and luminous antennae. Leviathan, indeed, benefited from the lessons of Genesis and Marillion also from the standpoint of live performances, always very cared for in theatrical terms, as in the song "The devil in the cathedral", performed with a timid angel and a sexy she-devil on stage. After these albums, Leviathan's activity became increasingly rare: a third album only seven years later, titled "Volume" (1997), in which they rediscovered the Italian language with a new singer, and sporadic appearances in compilations and collective tribute albums, spread over decades.

Today, to properly celebrate 35 years of the debut album's history, Leviathan releases "Heartquake Redux". The cover, curated by singer Alex Brunori, who rejoined the band, is updated to current aesthetic and graphic standards. But above all, the intent of this project is clear: the band's will is to ensure that the tracks written at the time can "express" themselves at their best thanks to the beauty and quality of sound granted by today's recording technologies. And to achieve this, they turned to a lifelong friend who, incidentally, is also one of the best sound engineers today on the international progressive rock scene. We are talking about Fabio Serra... And for those who fell in love with the powerful sound of the two albums by Røsenkreütz (a band in which Serra is a composer, artistic producer, guitarist, initially also a keyboardist, and occasionally a singer) no further explanations are needed.

Back to the late '80s and early '90s lineup, in this "Redux" we find Alex Brunori (vocals), Andrea Amici (keyboards), and Andrea Moneta (drums); the guitars are now played by Fabio Serra himself, who at this point is not just sitting behind the mixing console but becomes an actual member of the group. To complete the new lineup, a truly experienced bassist: Andrea Castelli. His curriculum in Italian progressive rock is vast, but one name among all those he has collaborated with is enough: Il Rovescio della Medaglia. The original "Heartquake" was born with six medium-long tracks, giving each side of the record a fairly precise duration of 20 minutes per side. Later it was reprinted on CD with two "bonus cuts" left out from the "Bee yourself" sessions. Today, however, for this "Redux", Leviathan choose to take up the original version, the six-track one. And that's right. Forcibly inserting rarities, unreleased tracks, alternative versions, or other material would have denatured a record born with a strong and clear identity from the start.

And we start immediately with the very "stunning" cut of "The Waterproof grave", a track with a more melodic approach, direct and with a more concise structure. It is perhaps the moment of greatest concession to the "eighties" atmospheres of the period in which the album was conceived, between AOR, new-prog, Genesis of the "Duke" period, and Yes of "90125". An intense and theatrical singing is supported by a great melodic work based on interweaving riffs of synthesizers and guitars. In four minutes, the band immediately demonstrates what it is capable of, keeping the listener on the edge of the razor with a ruthless "drive".

Much more delicate is "Hellishade of avenue": the introduction is entrusted to minimal touches of piano, fretless bass embroideries, and electronic pads, onto which guitar arpeggios gradually insert. The duration increases to double that of the previous track, the vocal melody, and the enrichments of the Minimoog cannot but remind of Genesis, again in the period from "A trick of the tail" onwards. A poignant guitar solo is made even more emotional by the powerful support of bass pedals. After a long keyboard-only verse, the guitar-led recovery, supported by ostinatos of the rhythm section, has a Hackett-like quality. Everything leads to a poignant final crescendo where a "lyrical" synthesizer under the guitar reminds of "Entangled".

"Only visiting this planet" has the "light" pace of Genesis's more "vaudeville" moments, those that started from "Harold the barrel" and went up to "All in a mouse's night" and "The lady lies", but with a touch of Marillion's "Market square heroes" and "Incommunicado". The track is a forge of surprises, with continuous stop-and-go in unison, finesse of the rhythm section, unexpected entrances now and then of guitars or keyboards that give the right "seasoning" to a singing rich in emphasis and theatricality. And again, after the fourth minute, when everything seems over, here is a poignant coda to give further intensity to the track.

"Up we go!", another track with a quick and energetic demeanor, in its pace and its time changes even recalls Gentle Giant, with its alternation of baroque "embroideries" and almost hard-rock guitar/organ riffs. This is also reflected in the singing, heir to the theatricality of Gabriel as much as that of the Shulman brothers (and why not? Even with a pinch of Roger "Chappo" Chapman). In the economies of the track, keyboards dominate the entire second part of the track, with powerful Moog crescendos and Mellotron choirs, but never lacking in guitar finesse. All obviously supported by great work from the rhythm section.

"Dream of the cocoon" is again a more intimate pianistic ballad to which a splendidly highlighted fretless bass even adds an elegant "fusion" touch. The constructs generated by the intertwining of guitars and keyboards are of rare elegance, the drumming that underlines every single passage, on cymbals or with long and precise rolls, is impeccable, the singing obviously is no less. The final guitar solo is moving. A test of great class. In five and a half minutes, the band condenses the excellence of its abilities with grit and cohesion.

And we say goodbye with the title track... And here already from the intro, one cannot help but think of the already mentioned "All in a mouse's night", or other Genesis moments like "One for the vine". The entry of guitar-bass-drums in unison on the keyboard riff is nothing short of majestic, the singing always capable of infusing the right dramatic intensity to everything, the changes of pace and atmosphere disconcerting according to the best lessons of prog. A worthy conclusion to an impeccable work from the first note to the last.

In conclusion: an album that was already surprising for its richness of ideas, substance, maturity, at the time it was released, but which objectively needed these "new clothes". Everything now sounds more "open", brighter, the sounds are more "unfolded", a certain use of reverb typical of the era has been smoothed, every frequency has found its place, especially in the basses, full and vibrant, while the keyboards are richer and more powerful and the guitars more "substantial", less "thin". Those who grew up in that generation and loved that lively historical moment, which marked the rebirth of Italian prog, will not be able to help falling in love with this "Heartquake Redux".

And now we just have to wait for the mysterious "Testudo", the Leviathan album that has been hidden in a drawer for over thirty years, which this new formation seems to be taking up again.

And it will certainly be delicious.