HYPNOPHONIA

Back in 2012, a new Italian band called Marchesi Scamorza released the charming `La Sposa del Tempo', a polished debut that highlighted a group full of potential that was slowly finding their feet and forming their own sound. The extra few years performing and writing together has delivered great results, and their vinyl-length follow-up work in 2015, `Hydrophonia', is a significant improvement on their first work and a big step up! Their compositions are richer and more dramatic now with a greater variety, singer Enrico Bernardini's vocals are sounding stronger than ever, and by letting go mostly of the more Neo-styled/Genesis-like elements of the debut, the group have embraced their theatrical Italian prog heritage more fully and crafted a much more distinctive and eclectic symphonic work full of personality.

Lively opener `1348' is a strident, confident tune with a skipping momentum to its regal symphonic snap, Enrico's coarse voice commanding as if a call to arms. `Il Cammino delle Luci Erranti' is the first of two longer epics, full of synth-driven symphonic sophistication and classically-flavoured darker elegance that the Italian groups in particular do so well throughout its near-fourteen minute running time. With Enrico Cazzola's ghostly piano and scratchy Mellotron aplenty, Paolo Brini's bass sweetly murmurs with wicked intent, Enrico's vocal leaps between weary purrs and biting unease, and drummer Alessandro Padovani expertly delivers subtle bursts to effortlessly move the piece up and down in tempo. The group finds time for dashing Premiata Forneria Marconi-like charges and even heavier frantic attacks with a dirtier guitar bite from Lorenzo Romani in the manner of the first Banco del Mutuo Soccorso album, leading to a glorious and grand finish. `Campi di Marte' then closes what could be the first side with surprising funkiness, regal sprinting P.F.M gallops mixing with wild guitar fire.

`L'uomo col Fiore in Bocca' initially smoulders with molten guitar grooves, but a tastefully reflective piano interlude with a gently wounded vocal in the second half proves to be one of the surprising highlights of the disc. Three-part thirteen-minute closer `La via del Sognatore' is truly the soundtrack to a swooning, romantic and playful gothic pantomime with lengthy instrumental passages of ravishing symphonic themes. Full of theatrical instrumental pomp and ravishing vocals, constant doomed piano creeps with a devilish mischievousness, guitars chime with mystery and drift through dreamy Pink Floyd-like shimmering interludes while announcing drums rumble with purpose and build. It showcases the band fully immersing themselves in the glorious traditions of the vintage Italian prog past and is easily the most cultured and involved piece the band have offered to date.

It would be easy to place Marchesi Scamorza alongside numerous other low-key modern Italian bands that fly under the radar, but at the same time, `Hypnophonia' is the sound of what was an already promising band stepping up in a big way and delivering a superior work that easily eclipses their earlier effort, carefully showcasing their influences but also offering unexpected surprises. It boasts a fuller production, more confident vocals that aren't afraid to step back and let the thrilling instrumental passages take the focus, and gifted musicians playing with boundless enthusiasm and sharp skill. No doubt about it, `Hypnophonia' is simply a terrific symphonic album from a highly talented Italian band deserving of so much more attention!

Four stars.

"Hypnophonia" is the second studio album by Marchesi Scamorza and was released in 2015 on the independent Ma.Ra.Cash label with a confirmed line up featuring Lorenzo Romani (guitar, mandolin, keyboards, backing vocals), Alessandro Padovani (drums), Paolo Brini (bass), Enrico Bernardini (vocals) and Enrico Cazzola (keyboards, piano, synth, organ). Inspired by Italian seventies prog, it was recorded using analogue recording techniques and tapes to recreate a vintage sound which carries on the tradition of bands like Le Orme or Premiata Forneria Marconi adding a touch of originality and freshness. In my opinion, this work represents a step forward for the band. The beautiful art work by Lorenzo Romani and Julia Mahrer tries to give an idea of its content...

The opener, "1348", today might sound almost like a gloomy prophecy. In fact, the title refers to the year of the Black Death, a terrible bubonic plague pandemic that stormed through Italy and created religious, social and economic upheavals. It starts by a drum roll and a threatening marching beat, then the music and lyrics depict apocalyptic visions. The Black Death dances and ruthlessly hits without distinction between the poor and the rich while the wind gathers words and carries them on the gallows. Only a far sound of bells tears apart the gloomy silence, the Black Death has a thousand ways to creep in, frightened courtiers cling to a prayer like wild beasts but nobody can escape...

The long, complex, "Il cammino delle luci erranti" (The path of the wandering lights) goes through many changes in rhythm and atmosphere as the hermetic lyrics conjure up strange images. A thousand stories vanish into time and stone faces carved in the clouds melt, swept away by the wind. Dark, heavy, pagan shadows lurk in the night while under a pale light, in an incense mist, lonely wandering souls float in the air. Grey thoughts fall dawn on a poet who has lost his inspiration and, as the wind, bangs against immovable things destined to disappear...

Next comes "Campi di Marte" (Fields of Mars) where the music and words invite you to set off for a kind psychedelic journey where you have to follow light trails under the rain without looking back, leaving behind tears and worries. The light carries you beyond greedy streets, towards deserts where words are worthless...

The title of the reflective "L'uomo dal fiore in bocca" (The man with the flower in his mouth) refers to a play of the same name written in 1922 by Luigi Pirandello telling of the meeting in a bar, late at night, between a man who is dying of a cancer (the flower in the mouth) and a businessman who has missed his train. The dialogue between the two characters marks the contrast between someone who intensely lives the little time left to him and someone who has plenty of time to spend, waiting for the morning and completely absorbed by trivial mishaps, taken by his daily grind. Imagine people without a goal who are waiting for their death, waiting for the end with no escape...

The oneiric "La via del sognatore" (The dreamer's way) ends the album. It's a long, complex piece divided into three parts. The first is subtitled "La notte" (The night) and depicts in music and words a devouring dark, a black space dotted with stars that laughingly melt into oblivion. Shadows thickens around you, the night is falling, tired limbs can rest as the mind can't switch off and overflows... The second part is subtitled "Il sogno" (The dream) and conjures up the realms of dream, an ever changing place where tears of opals cross the streets between high stone columns and the lights of a new life show the way while strange sounds surround you... Then the last part, "Il risveglio" (The awakening), describes the come back of day light. Reality is still fuzzy when dawn begins to snatch the dreams from the night to let them fade out in a silent world...

On the whole, a good work that is worth listening to.