MALAAVIA

Malaavia began life in Naples in 1998 on the initiative of Pas Scarpato. After some line up changes and a good live activity, in 2004 the band released a d'but album on the independent label Ma.Ra.Cash., Danze d'incenso, with a line up featuring Pas Scarpato (bass, guitars, vocals), Oderigi Lusi (organ, piano, keyboards, synthesizers, accordion, backing vocals), Lucio Fontana (drums), Solimena Casoria (flute, vocals) and Egidio Napolitano (percussion) plus numerous prestigious guests such as Michele Mutti (synthesizer, from La Torre dell'Alchimista), Lino Vairetti (vocals, from Osanna) or Giovanni Mauriello (vocals, from Nuova Compagnia di Canto Popolare) just to name but a few. The result is an interesting album, very rich in ideas but where, in my opinion, is difficult to separate the wheat from the chaff. You can recognize many different influences ranging from Le Orme to Osanna, from classical music to ragtime, from disco music to rap, but the blending is not always convincing. The album is divided into three long suites where you can find some brilliant passages but also some weak points that risk to spoil the pleasure of listening to it.

The opener 'Sequenza prima: delle danze' (First sequence: of the dances) begins with a very promising instrumental part, 'Preludio di luna piena' (Prelude of full moon), featuring classical influences and a dreamy mood, then comes 'Abraham, where is the land?', with lyrics swinging from Italian to English to Neapolitan dialect evoking the contradictions of the tormented countries of Middle-East, a promised land ravaged by war and culture clashes. There are some beautiful melodic lines with male and female vocals and a raging rap break... 'Panic and terror in the streets and markets of Damascus / Blooding children who pay the horror of a war / Land, land that will never come...'. Then, suddenly, the music and lyrics take you across the Sahara desert to the streets of Marrakesh, a melting pot of cultures, colours and sounds... Hints of ragtime and ethnic sounds lead to the weak final part, 'Kyrie Eleyson', and its disconcerting, horrible disco-beat.

The second suite, 'Sequenza seconda: della conoscenza' (Second sequence: of the knowledge), begins by piano and vocals, then ethnic instruments joins contributing to evoke some mysterious shadows creeping on: the ancient shadows of life, harmony and love. The first part, 'Ombre' (Shadows) fades into the ethereal second section, 'Gn'ti saut'n (conosci te stesso)' (Know yourself), where reality becomes uncertain and beautiful melodies soar in a living dream... 'Gnoti saut'n, the truth is just inside you / If the music will resist / Your soul will listen to new notes... An orchestra will play a symphonic music...'. Unfortunately what comes after is not a symphony but a disco-pop section, 'Vie interne' (Internal ways), that abruptly breaks the dreamy mood... 'We are the travellers of the internal ways / We are looking for eternal truths / Wandering souls of the internal ways / We are looking for ancient truths...'. Then a delicate piano interlude, 'Softmoon', leads to 'Cuori d'elettricit' (Hearts of electricity), a section that in some way reminds me of Franco Battiato's works from the eighties... 'Animality, mechanicality / We are bodies / We are hearts of electricity...'. A distorted electric guitar solo, 'Hominem quaero', follows and a final explosion concludes the sequence.

The third suite, 'Sequenza terza: tra balsami d'incenso' (Third sequence: through balms of incense), starts with an instrumental section, 'Interludio sospeso' (Suspended interlude), featuring a dark mood and a strong classical influence with strings in the forefront. It leads to 'Vivi nascosto' (Live hidden), another nice section that recalls Franco Battiato with lyrics telling you that you've better hide from false priests and easy goals, from false paradises and sophisms... A beautiful, dreamy instrumental section follows, 'Danza d'incenso' (Dance of incense), bringing a touch of exoticism and Middle Eastern flavours. It fades into 'Mezzaluna fertile' (Fertile crescent moon), a bitter-sweet part with lyrics in Italian and Neapolitan dialect about the absurdity of the never ending war that Christians, Hebrews and Muslims are fighting in Palestine. Rap, Italian melody and Bach are mixed together with a very peculiar effect. Then comes the sound of a gong that introduces an acoustic guitar passage evoking a peaceful landscape, 'Locus amoenus'. The following section, 'Canzone di Giuseppe' (Joseph's song) is dedicated to the character of Saint Joseph and reminds me slightly of the atmospheres of Fabrizio De Andr''s album La buona novella, recently reinterpreted by Premiata Forneria Marconi. The conclusive section, 'Coda di luna calante' (Tail of waning moon), is a magnificent instrumental featuring murmured vocals in the background reciting some verses by Italian poet Gabriele D'Annunzio... 'Oppressed in love, in pleasure, the people of the world of the living are asleep... O waning scythe, what a harvest of dreams ripples in your mild and diffuse light down here!'.

On the whole, I think that despite the many ups and downs this is an album that is worth listening to. A mention also for the beautiful album cover painted by Domizia Parri that maybe describes the content better than all my words.

Malaavia from Napoli started in 1998 as a project of guitarist, bassist and singer Pas Scarpato along with bassist Tullio Ippodamia.The duo welcome keyboardists Antonio Casoria and Oderigi Lusi, flutist/singer Solimena Casoria and percussionist Egidio Napolitano to form the first nucleus of the band.Just when things seem to roll, Ippodamia and A. Casoria left Malaavia in 2000 and the next year Scarpato recruited drummer Lucio Fontana.However over the span of five years Malaavia participated in several contests, concerts and festivals with success.In 2002 Scarpato met Massimo Orlandini and Raoul Caprio of MaRaCash Records, which would result the release of the band's debut ''Danze d'incenso'' in 2004.In the record several guest musicians would help the Malaavia quintet, among them keyboardist Michele Mutti from La Torre Dell' Alchimista and Lino Vairetti from Osanna.

The album proposes a nice mix of Progressive Rock with Ethnic and World Music and the opening 15-min. ''Sequenza prima: delle danze'' is a good example.Just when you get enough moments of Classic Italian Prog of symphonic nature with dominant synths, piano and organs appears a interesting journey around the world with lots of saxes, violins, mandolins and percussion, offering evident Spanish, Eastern and Arabic overtones, while some lyrics are even delivered in the Spanish and Ancient Greek language.Some dull beats or commercial moments are also present, but overall this composition sounds very nice.

Second track comes under the title ''Sequenza seconda: della conoscenza'', clocking at almost 20 minutes.Here Malaavia sound a lot like the most ethereal material of HOSTSONATEN with a touch of ZAUBER, excellent Progressive Folk with symphonic orchestrations.Beautiful flute parts, light piano interludes, dreamy female vocal lines and versatile symphonic keyboard passages with some very good instrumental moments, again another segment (''Vie interne'') seems totally out of place, hurting the composition's consistency.

Things become too dangerous regarding the tracks' lengths with the third part of the album ''Sequenza terza : tra balsami d'incenso'', which lasts over 38 minutes.But actually this sounds as the more consistent track of the whole album despite the minor flaws.Charming combination of romantic Italian Prog with Ethnic/Folk Rock, even the male vocals sounds great on this.There are strong references to the Spanish, Middle-Eastern and Mediterrenean culture throughout, either through the tunes provided by the pianos and synths or with the use of traditional instruments like the accordion, flamenco guitar, percussions or flutes.But there is still plenty of Classic Italian Prog color in this with Classical preludes and symphonic instrumental soundscapes.Again HOSTSONATEN is the closest comparison, tight mix of keyboard-based Prog with Ethnic Music, producing a variety of trippy soundscapes.

Very good album and an impressive musical concept overall.Works much better as a whole listening than separating the tracks with each listen and this way it will definitely reward you.You love HOSTSONATEN, you'll love Malaavia as well.Strongly recommended...3.5 stars.

This is another fine example of Italian proficiency in progressive rock field, combining local and foreign influences to create memorable music and exemplary playing. RPI is akin to Italian cuisine, there are a lot of combinations, flavors and aromas that can go into the pan, while still keeping to long held traditions . The main cooks are Pas Scarpato and Oderigi Lusi with an army of guest musicians on violin, viola, trombone, sax, flutes, synths, mandolin and percussion. This is one colossal suite composed of 22 pieces that all intertwine brilliantly, some snippets and others, full blown pieces. It will take multiple listens for this to sink in but when it does, hold on to your prosciutto! I was attracted by the positive reviews and I am not disappointed one bit as this is pretty original RPI stuff with hints of opera, jazz, Italian folk, Middle Eastern spices (including Arabic and Hebrew), some disco (yup!), lighter barroom piano fare, classical orchestrations and the cucina 's sink!

Huge highlights include (and there are many): On "Abraham", the singing from Osanna's Lino Vairetti and Solimena Casoria is ecstatically incredible, blazing fast and powerfully emotive, creating a landmark RPI piece for the ages. The music is phenomenal but multiple voice fencing is truly epic and the chorus defines hummable to death. Same can be said on "Marrakech", where another scintillating female vocal rules the roost, with slight Moroccan hints, a caravanserai of bopping bass and a sandstorm of brass work. .

"Kyrie Elieson" is operatic, playful and loopy. "Ombre" is utterly brilliant, grandiose and driven, especially when twined with the follow-up "Gnoti Sauton", featuring crisp lady vocals and a sizzling synth solo (courtesy of Michele Mutti of Il Torre dell'Alchimista) that is flush with emotion, all of this splendor wrapped in lush symphonics . Bloody fantastic this.

The pulsating "Vie Interne" is where the disco feel is prevalent but not to worry, this ain't no Donna Summer (RIP), it's both gloomy, quirky, playful and has a sexy sax solo that will knock your socks right off, plus Solimena does another masterful vocal, fast, clean and just wow! "Cuori d'Eletricitta" offers more brisk wailing, flute and some liberal doses of passion and power, the mellotron synths kicking up some dust and finally a diabolic electric guitar solo bursting of fuzz and froth amid the pomp and circumstance ("Hominem Quaero"). "Vivi nascoto" is another colossal male vocal that inspires with an easy beat and some fabulous duet vocal and choir work into an almost hummable song that will stick in your mind, the arrangement has a massive orchestral feel that is also impressive.

Obviously, the instrumental title track is the longest piece here clocking in at 6.48, shepherded by a lovely flute melody, later paralleled by a synthesizer, acoustic/Spanish guitar modulations, elegant piano ripples and some more ornate classical dressing.

Then a miniature 3 part suite "Mezzaluna Fertile" sandwiched by a fascinating JS Bach piano interlude elevates the music to the proggiest levels and does not fail to impress, stuffed with various cinematographic voice effects and a colossal orchestrated chorus, metallic resonations in the foreground, bleeping synths and sparkling melodies. The impassioned female vocals scream despair and the male vocals recite in resignation at a blistering pace..

Gentle acoustic guitar leads the haunting "Locus Amoenus" in perhaps the most personal and melancholic instrumental piece yet, disturbingly sad. When the dexterous mandolin takes over, the sheer beauty of this song rises to the top. "Canzone di Giuseppe" is done in an outright Italian folk style, with male and female vocals, allied with some accordion-like sounds, dabs of synthesized sound effects, a lingering little ditty that is extraordinarily pleasant. The final cut, "Coda di Luna Calante" a muscularly flute-led beat, displays a trembling Hammond and loving piano work, only to be outdone by a whopping guitar intervention both sharp and concise. This a spacey exit that gets arranged with swirling synths and a near psychedelic formula.

A varied, complex, inspirational and refreshing RPI album that bodes well for the future.

4 Bad birds

I found this CD by pure chance. And I was amazed by its terrific musicality. I was not expecting much: although Italy has produced an incredible number of great prog acts since the 70´s, lately I was a bit disapointed with its newer groups. But Malaavia is really something else. Their debut album is absolutely stunning for its sheer power and musical diversity: think of any style and you´ll probably find it here somewhere. It´s hard to describe it and hard to believe it. And what could be a ragged and/or confused array of different kinds of music, turns out into a very cohesive, melodic and well rounded piece of art. Thanks to their great knack for writing good tunes, tasteful arrangements and fine melodic sense, this is by far one of the most satisfying albums I found this year. I specially loved the alternating male/female vocals, with some operatic male voices thrown in at the right places.

I was equally surprised by the different ratings this album got from other reviewers. Naturally some of them didn´t get it. And I guess it´s just a matter of taste. A challeging album like someone said? Not for me, that´s for sure! I fell in love with it the minute I heard the first few notes from Preludio Di Luna Piena. And every time I listen to it I love it more. Every note, every instrument or voice, comes and goes at the right moment. Not a single boring moment in the whole CD. Not even a weak moment. Excellent songwriting, terrific musicanship, beautiful vocals. Can you ask for more? Oh, yeah: tremendous powerful. emotional and convincing performances. And you get that a lot in Danze D`Incenso. Original, bold and quite different from other italian acts, ok, and yet very familiar, accesible and captivating. Prog with a capital P. Something to listen from beginning to end without skipping a single track.

There is no highlights, really. You should listen to it as a whole. Production is top notch.

I probably should not give this album five stars so soon, since this is only their first release and I want to believe they can improve even more in near future. But I can´t help it. It would not be fair to do otherwise: for me it´s a masterpiece. And my rating might contribute to diminish the unfairness of some misguided reviews I found here. Definitly recommended! One of the best debut albums I heard in a long time.

I was a little disapointed with what I heard lately in the field, bu now my faith into prog music is restored!

Malaavia is continuing their journey around Italy, Northern Africa and the Middle East with this, their second album.

As on their debut album, previously reviewed by myself some weeks ago, their sound is lush, full of intricate details and a pastoral soundscape. The female vocals are excellent and so is the male vocals. The use of instruments are pretty intelligent and sophisticated. It will take too much space to list them here, but the band deserve huge credits for getting this spot on.

The music is both pastoral and pretty passionate at the same time. I also detects a lot of Spanish passion in this music here in addition to influences listed over. The music is in other words great. I have two gripes with this album and that is the inclusion of some English vocals. Only some lines, but they sticks out like sore thumbs on an otherwise great album. My only other gripe is the lack of some truly great songs.

But the result is still good enough to make this a great album. I believe the resident Rock Progressivo Italiano team may find this album so great that they will float off into deep space.

Malaavi has cemented their position as one of the best new Rock Progressivo Italiano bands with this album. I am eagerly awaiting their third album as they announced in our interview with them.

In the meantime; get this album.

4 stars

Their debut album......

No, my opening line is not one of my lazy throw away remarks bereft of any intellectuel values. On a debut album, most bands does not really know where they are heading and what they are doing. Most bands are in a development phase at that stage and only some feedback from the likes of example us is helping them out. Yes, I have both been there myself and I have a room full of debut albums too.

The music itself is based on keyboards, bass and drums with the occasional guitar. Most of all, it is based on, in particular, female vocals and some supporting male vocals too. The music changes between mellow and orchestral throughout. The vocals are in Italian. Both the vocals and the music is well played and I have no complaints whatsoever.

Malaavia has a lot of ambitions, that's for sure. Their music is a blend of modern electronica, some eclectic rock, some opera, a lot of classical music, some Genesis like symphonic prog, a lot of neo-prog, a lot of Arabic folk music and a lot of classic Rock Progressivo Italiano from the 1970s.

This also makes a very demanding album which really needs time to develop. It also makes this an album to be enjoyed and debated for the decades to come.

My gripes...... yes, I am a complaining guy......... is the lack of some really great and even some killer tracks. The band has guts and both the right sound & music, but not the quality required to really makes me think every home should have a copy of this album. But it is still a very promising debut album and I have already ordered their second album on the basis of this album. Malaavia is a band to really keep an eye on for all Rock Progressivo Italiano fans.

3.5 stars

"Vibrazioni liquide" (Liquid vibrations), Malaavia's second album, is mainly the brainchild of Pas Scarpato, bassist, guitarist, vocalist, composer, lyricist and only founder member in the present line up of the band that now features also Joe La Viola (flute, sax, oboe, samples), Helèna Biagioni (vocals), Jacov Leone (drums), Sebastiano Mazzoleni (keyboards) and Donato Zoppo (recitative vocals). With the help of some guests musicians, in 2008 they recorded this concept album full of spirituality, inviting you to search for higher levels of knowledge and wisdom. "Vibrations shake and make crumble the walls inside you... You have to be liquid... You can find the truth only inside you!". The result, in my opinion, is definitively better than Malaavia's debut album. The music has a strong Mediterranean flavour and it could remind of bands like Abash or Radiodervish but you can feel also the love of the band for classic prog bands like Le Orme, BMS and PFM...

The opener "Deus dementat?" is a beautiful instrumental where acoustic "ethnic" elements are blended with a powerful electric guitar and it could remind of some works of Al Di Meola... It's a perfect introduction for the excellent second track "Lakmidi" that begins with a Middle Eastern melody. The interaction of Pas Scarpato, Sophya Baccini and Helèna Biagioni vocals is perfect and the "musical fabric" extremely rich (there's even a didgeridoo!). Lyrics are about the mysterious people of Lakhmidis, their cruel rites and prayers... "They pass by like killing wolves shadows, silently / What a traffic of camels, Bedouins, women, slaves / And they don't talk / And they don't laugh... Every now and again they stop and pray when the night is falling... ".

Next track, "Listen To The Voices", is like a delicate, bittersweet, multiethnic and melodic prayer... "Voices spreading in the air of the evening / Voices that you can here from here / They sing the sad litany of a prayer... Shemà shemà Israel / Listen To the voices today...". The vocals in the dialect of Naples by Gianni Lamagna (Nuova Compagnia di Canto Popolare) give additional value to this invocation for freedom.

The long "Vagando" (Wandering) features a darker atmosphere with vintage keyboards and melancholic vocals that come out like "wondering in the shadows" and lead to the next track "La rosa" (The rose) on the notes of a solitary sax... After a short instrumental intro the dreamy vocals of Helèna Biagioni soar bringing hope and light... "New eyes for the invisible / New ears for the inaudible / New senses for the what you can't gather... The rose of the desert leads you to the laws of light".

"Il cedro" (The Cedar) is a beautiful acoustic ballad featuring lyrics taken from the Bible (Ezekiel 17: 22,24)... "I myself will take a shoot from the very top of a cedar and plant it; I will break off a tender sprig from its topmost shoots and plant it on a high and lofty mountain. On the mountain heights of Israel I will plant it; it will produce branches and bear fruit and become a splendid cedar. Birds of every kind will nest in it; they will find shelter in the shade of its branches. All the trees of the field will know that I the Lord bring down the tall tree and make the low tree grow tall. I dry up the green tree and make the dry tree flourish".

"Elevazione (recitativo)" (Elevation) is another acoustic track featuring a beautiful melodic part of oboe and spoken words full of hope... "One day you will slowly see what is the sky and touch it with your hands... Open your arms to the infinite"... On the sound of a bell then comes "Salmo di Lode Universale", an hymn in Latin taken from the Christian tradition and musically inspired by Monteverdi.

The last track is an excellent long suite in five parts, "Stati superiori (suite in 5 movimenti)", where the music tries to describe a kind of spiritual path leading from "Crisis" to "Sleep", from the "Spirit Awakening" to "Beatitude" through a new beginning... "The time is coming / Open the doors of your night / Show the light to your shadows..."

On the whole, an excellent album that is really worth listen to!

Album cover looks like cool wind and swirl well I bought this album not its cover but eager mind of collection in Italian prog. The music is a little different from others. Kind of Rock Opera? I don't know what rock opera is. And I think of RANDONE's Hybla Act1 while hearing Malaavia Danze. pretty looks like the two. Malaavia music interesting as well as their Name. I glad that I was able to hear this kind of music. thanks.

Well, what a challenge to review this album (take a look at the varied awarding of stars from fellow reviewers)! In general this musical project from the Italian duo signori Lusi and signori Scarpato is a wonderful and very alternating progrock album: great duo-vocals, tastefully blended with flute, organ, violin and piano in "Abraham, where is the land?", an Arabian undertone with synthesizer flights and saxophone in "Sahara - Marrakesh", classical orchestrations and a splendid grand finale featuring violin and some church organ in "Ombre", sparkling classical piano play in "Softmoon" and "Bach's prelude", fiery and heavy guitar work in "Hominem quaero" and wonderful classical/Spanish guitar and mandoline in "Locus amoenus". So there is a lot to enjoy, especially the titletrack (great keyboards, a sensitive Spanish guitar solo, beautiful piano and in the end a synthesizer solo) and "Mezzalunafertile" (compelling classical undertone, tastefuly blended with sitar, accordeon, Spanish guitar and flute). Unfortunately the composers got the idea to add disco beats to some tracks ("Kyrie Eleison" and "Vie interne")! Just when you are carried away to progheaven, that weird musical idea send you back to a harsh reality. But if you use the programm function, this CD will deliver lots of wonderful progrock moments.

www.progwalhalla.com

I pretty much agree on most that the previous reviewer Dieter Fischer has said about this album. I just can't hear the 'pop' he claims to hear. Before I bought this album I had read some very positive things about it but after hearing it I was very disappointed. I have tried to analyse this because I'm usually an Italian prog lover :). When I listen to this album I can't disagree that this album has some very strong musical and compositional strengths. Actually, many times this album delivers some really beautiful music passages. So, what's the problem then? It's those little moments when this band sounds something totally different than what my brains (very small ones might I add) recognize as progressive rock. Some of those 'modern' new age moments are not really that bad but they make this album a mish-mash like Dieter says. Those moments destroy this album for me.

So, what are the strong points then? Like I said, some of the musical passages are really good. Also, this band has a female singer Solimena Casoria (also flauto) in addition to main man Pas Scarpato's vocals. Her vocal delivery is absolutely mesmerizing. It's always nice to hear female vocals in progressive music.

Conclusion: This is a roller coaster of really good and some bad stuff. If you have a high tolerance for some new age sounding stuff in your music this could be a real treat for you. Due to my restrictions I cannot give more than ***.