BLACKSMITH TALES

Well, with a title so expressive, once can easily guess that theatrics and perhaps even a prog opera may be in the cards, with a strong medieval/Middle Ages flavour that was also apparent on their 2021 debut album "The Dark Presence", which was enjoyed by the community with high ratings. Eight electrifying tracks with a wide palette of diversity, swagger and well-executed contrasts galore, as well as exceptional vocal performances from singers Stefano Sbrignadello and Beatrice Demori. Needless to state, that the word Hamlet can only mean that the spirit of Shakespeare is present and accounted for in terms of inspiration. Having recently seen Othello in concert at the Budapest State Opera, I felt compelled to keep William's spirit alive by diving into this modern Prog opera. The core trio of keyboardists David Del Fabro and Luca Zanon with Marco Falanga on guitar and bass are the symphonic backbone, with new drummer Simone Morettin completing the line-up. As befitting the progressive rock operatic tradition, all the lyrics are sung in both English and Italian. The title track alone encompasses all the above-mentioned traits, a scintillating 9-minute sonic roller coaster that weaves quite the tale, a wake-up call to attention, as the ride will be most memorable. The guitar dynamics are instantaneously gripping, the keyboard-driven atmosphere verging on thrilling, seductively carving out tortuous melodies, ensuring that the rhythmic pulse keeps everything tightly on course, a passageway to a sense of heavenly discovery.

The clash of heavy prog bombast with a conflicting violin-fuelled folk/classical pushback is the "Key to the Temple", a vivid and forceful arrangement with a rousing dual voiced chorus that hits the pleasure spot, a thrilling organ blizzard with howling windswept electric guitar tirades, muscular percussive and an overarching symphonic embrace.

In the grand tradition of Italian folk canzone, "C'è Casa a 30 Miglia" is a brief ballad of sunshine and levity, underlining a profound sense of melancholia, a gorgeous piano platform for Beatrice to fully display her convincing technique. The manner in which she raises the level of emotion in the final verses really bangs the gong. Falanga injects a sustained guitar shiver, as a child-like voice takes over, inviting us to play on the merry-go round.

Having the audacity to interpose a short harpsichord theme in "The Flame Within" will make my day any day of the week, especially when contrasting with the fiery breakneck instrumental delivery where all the soloists get to shine, including the singing which is off the charts, the entire arrangement infusing Gothic, medieval and Middle Ages thematics that scorch deeply into the soul. A masterful performance that takes the breath away. A piano etude "Interlude -A Guide Through the Path "is a Del Fabro moment in the spotlight, an intricate and heartfelt flutter that serves to regenerate some power for the final push to the finish line.

The turbo-charged engine is gunned once again into maximum acceleration on the swarthy 'heavy metal thunder', of "Descent of God", with Stefano bellowing with operatic skill, Beatrice shouldering perfectly inserted adornments to full effect, while the organ/guitar coalition shows neither pity or remorse, as both Zanon and Falanga remain absorbed in their intertwining synergy. The latter in particular delivers a throttling bass solo, a set-up for a blistering axe attack. Transcending time and space, "The Pendulum" sounds like a more contemporary exercise, festooned with shiny electronics, raunchy guitar phrasings, moody ambient keyboard flutters, and a wide variety of mysterious vocal effects that only elevate the impassioned vocals, as exhibited by a dual voiced chorus that hits the bullseye with immediacy and applause. Inject some inspired piano playing and a stunning choir finale, and one has the makings of an impending standing ovation and a reverential bow from the cast as the velvet curtain loosens its restraints. A bold dance is therefore an obligatory send off to begin the festivities that will coronate this amazing album.

Straight out of a medieval banquet, the animated "Dance of the Stars" offers a lively performance from Beatrice, within a superbly constructed piano-led medieval melody, with orchestrations adding sweetness to the pulsating guitar, bass and drum structure. To plan such a well-crafted flow throughout the set-list is now rewarded by this closing piece, that simply kills it on its path to the final note.

5 forged stories

BLACKSMITH TALES draws its musical roots from varied progressive rock, playing early covers of GENESIS, KANSAS, PINK FLOYD, RUSH and GENTLE GIANT, since 1990. A tenuous, rich, symphonic sound with numerous ramifications.

"Hamlet's Mill Overture" symphonic, dithyrambic, airy, grandiloquent, stirring, heavy, brilliant; 2'30 to throw nothing away before leaving on a soft air reinflated by the fat and velvety synths; the vocals held by Stefano and Beatrice coming from Italian power metal. The piece blowing hot on the embers, melodic and heavy symphonic with keyboards for an incisive crescendo. "Key to the Temple" on Hollywood metal with tone, lyricism and instruments of yesteryear; hard riff, swirling pads. RHAPSODY, SYMPHONY X folk, medieval AYREON with the aggressive violin; the vocal duo alternates the lively voice with the solemn choir. The finale is martial with a crazy organ solo and another on the guitar using the wa-wa pedal; a good symphonic progressive metal. "C'è Casa a 30 Miglia" warm vocal by Beatrice in Italian for the energetic ballad talking about memories forever gone; a typical RPI title with flute and vibrant spleen guitar. "The Flame Within" harpsichord opening then energetic organ with the nervous pad, it starts off as modern RPI prog metal, much more expressive than the aforementioned genre. The fast break intertwined with the wild heavy choir of a VISAGE, yes there is inventiveness. Riff, synths, piano, the notes rush out, advantageously mixing symphonic rock and dreamlike expressive metal; I find some of the madness of ETERNITY X, Beatrice excelling in the final chorus, leering like Tarja on a divine soprano.

"Interlude: A Guide Through the Path" with a haughty and solemn crystalline piano leading to "Descent of God" on a prog metal worthy of a rock opera with the voices; a sound smelling of the orient with the melody, the phrasing sung like MEAT LOAF. The powerful riff with the harpsichord then the female choir, AYREON in the distance with his medieval flute. The drum break and drift of the 1001 nights brings the musical spice, the search for the saving solo; nervous, calibrated. "The Pendulum" short, mysterious electronic intro bringing the deliquescent piano for the melodic prog metal piece; ambient, spatial break with serious voice-over, the drum punctuating this moment, putting the sauce back with the vocal duo. We are well in the typical rock opera space with a final aerial piano solo. "Dance of the Stars" a capella by Beatrice in beauty and its tonic, medieval violin; on a Celtic IONA. This cheerful folk rock gives pride of place to the voice, reciting its story in a rhythmic and jerky way. The intense folk break with the endless violin and the intertwined voices in the distance for a clever mix of prog rock, heavy folk, innovative in itself and the finale in the style of MOSTLY AUTUMN.

BLACKSMITH TALES has potential finally, with time and repeated listening, it is very good and very innovative to boost my rating. Originelly on Profilprog.

Warning!, concept album or almost that hides real pearls! An album out of nowhere that mixes neo-prog, yes, yes, quite stunning medieval folk and symphonic in the background. David Del Fabro does almost everything and does it very well, he who has spent many years reflecting on the dinosaur bands that are PINK FLOYD, GENESIS, on the prog metal bands of the 80's before the appearance of progressive metal; neo that is not from the RPI:

"The Dark Presence" for the enjoyable start with a mixture of solos on a rather slow rhythm, which explodes the meter of emotion; old keyboards which flirt with an angry guitar and you have a bomb. "Golgotha ​​' 'impressed me for this musical crescendo where old sounds intersect with some female voices, all sprinkled with a good guitar riff; bombastic and worked. Other titles pass one after the other with ballads, sequencing, more or less relaxing musical interludes, where the folkloric side gives a certain freshness. '' Possessed By Time '' is inserted by offering a mega title of more than 17 minutes with an alternation of neo and folk rhythms, even classical ones; a bit of MARILLION at times for the lyrical and instrumental flights, a bit of heavy atmospheres, others soaring, relaxing, post before a more nervous restart, a title that asks only to be listened to again. ''. Book of Coming Forth by Day '' and this final which will alternate soft and strong, tender and nervous, melodic classic with heavy metal for guitars, delicate and grandiloquent symbiosis, accomplished and perfectionist yes.

BLACKSMITH TALES is thus releasing a fantastic album on a common ground by allowing itself to mix pleasantly various progressive sounds and to release a sound apart, between all. The spirited trendy story adds to the depth of the music, the voice of Beatrice gives more openness to the sound while Michele narrates more than he sings and intensifies the notion of the concept album. To immerse yourself in the long term to remove all the musical nuances.

What a surprise! This a near perfect album. The album is a mix of neo prog and symphonic prog. Some of the tracks also have a medieval feeling. The instrumentals are all fantastic here too. The guitar, keyboards, drums and bass are all played very well. I wouldn't be surprised if this ended up being the album of the year for 2021. My favorite tracks would be the first 4. But they are all great! I'm hoping their next album will even top this one! Everyone who wants to hear some spectacular new prog should listen to this album right away.

Nice symphonic slice of Italian icy folk metal. More symphonic than folk. More folk than metal. David Del Fabro composed the entire Dark Presence. Fabro's singular vision bubbles through a smooth production, a piano dynamo, and devilish guitars. Lyrics reveal a tragic hero questioning his accent into a religious icon.

Beatrice Demori's breathy sultry vocals salt and diversify the instrumentation. Michele Guaitoli's vocals vacillate between menacing and narrative. The Dark Presence is definitely a night album under a dry Mediterranean sky, wettened with honeyed keyboards, howling winds, and intermittent thunderstorms... dramatic in intensity. Impressive debut. Totally worth several listens.

I'm awarding The Dark Presence three stars for the same reason I keep bestowing three stars on Neal Morse albums. The singularity of Fabro's vision saturates the album. The velvet, honeyed production dulls jagged chainsaw guitar solos, drowning the sonic landscape...if you know what I mean. I encourage lovers of romantic, dramatic neo, symphonic prog to indulge. Many will find more to love than I.

Warning: this is not Neo-prog!

This Italian septet is a musical project that started in the Nineties when multi-instrumentalist David Del Fabro (backing vocals, piano, keyboards and duduk) in fact wrote all the material on piano. The story and music are inspired by symbols and images from ancient history. From the very first moment I am delighted about this blend of Old School symphonic rock, prog metal and folk. The 13 tracks alternate between mellow, up-tempo beats and sumptuous eruptions (creating lots of tension and dynamics), embellished with outstanding work on vintage keyboards, harder-edged guitar play, and fuelled by an often thunderous rhythm-section.

My absolute highlight is the opener, the epic titletrack, close to 12 minutes. It starts atmospheric, including delicate sequencing, followed by a slow rhythm with distorted guitar and synthesizer flights. Then the mood changes to dreamy with tender piano and soaring strings, the English vocals are pleasant, I have no problem with the obvious accent. Gradually the music turns into more lush and compelling, culminating in a bombastic up-tempo with propulsive guitar riffs and awesome work on the Hammond, Minimoog and Mellotron (choir section), Old School keyboards rule, wow! In the end a heavy metal solo and a swinging rhythm with an exciting duel between a fat Minimoog and fiery guitar.

Another strong track is Golgotha. It begins in a mellow climate, wonderfully coloured with first a catchy piano and soaring keyboards and then the sound of the Indian tablas, blended with Mellotron strings, I love the sultry atmosphere. Next heavy guitar work and flashy Minimoog runs, followed by a mellow part with high pitched female vocals, gradually turning into bombastic with heavy guitar. The end is subtle featuring a blend of sequencing and soaring strings, a fine musical idea.

I am also pleased with the other epic composition entitled Possessed By Time, close to 18 minutes. The moods frequently alternate between dreamy and bombastic, embellished with Grand piano, ominous soaring strings, howling guitar runs, fat Minimoog flights, classical orchestrations and flute. The final part delivers strong female vocals, blended with hypnotizing drums, tender piano and a choir sound, a very compelling atmosphere, with a lot of tension, this is 'trademark Blacksmith Tales'!

Most of the shorter tracks sound mellow, like the ballad Rain? Of Course! (sparkling piano and Minimoog flights), Interlude (wonderful blend of warm vocals, flute, piano and twanging acoustic guitar), Chapter LXIV (sitar sound, whispering vocals and sequencing) and Last Hero's Crusade (melancholical vocals and piano, topped with folky acoustic rhythm guitar).

The final composition Book Of Coming Forth By Day (8.27) is a strong goodbye, it showcases the huge potential of the band, and its dynamic and varied sound. The song starts with a fine blend of folk and classical featuring warm vocals, tender piano and twanging classical guitar. Then Heavy Prog rules with blistering guitar, swirling Hammond and fat Minimoog, topped with powerful vocals. Next the band returns to a mellow atmosphere with delicate piano work, but soon a heavy outburst follows, it sounds like 'classical meets prog metal' with howling and biting guitar, a thunderous rhythm-section, classical orchestrations and a Minimoog solo. Gradually the music turns into a slow rhythm with emotional vocals, a very compelling final part, the end of a varied, dynamic and exciting musical adventure, what a promising band, I highly recommend this album!