MINDFLOWER

Formed in the beautiful city of Piacenza,MINDFLOWER begun their journey to the world of music in 1994 and only a year after their ''Purelake'' album was ready.An album of different sounds and music landscapes through 12 mellow tracks.

''Purelake'' is unique experience of Contemporary Prog music with the band twisting from vocal- driven semi-acoustic arrangements to minimalistic passages,sometimes dominated by smooth guitar,others by piano or soft organ sounds.Artists like MIKE OLDFIELD,STEVE HACKETT or even GOLDON GILTRAP should have been a great influence for the band's mastermind Fabio Antonelli.Female vocals by two singers are excellent,I can't say the same about the male ones.The atmospheres met through Folk,Symphonic and Acoustic-influenced music are very personal sounding,what however slows this album down are some over-streched monotonous tunes,which could have been a bit more limited and the absence of some dynamics.

Nevertheless,''Purelake'' is a very nice and recommended listening for anyone looking for dreamy light prog trips,based more on atmosphere and limited complexity.

Dreamy chamber-acoustic gem

Mindflower is the brain/soulchild of Fabio Antonelli along with Fabrizio Defacqz and Alberto Callegari. Various albums have featured a host of other musicians but these three have been the core group. "The Art of Dreams in a Little Bottle" was released under the moniker of Fabio Antonelli Ensemble, but as far as the RPI team is concerned, as well as the presentation on the artist's website will acknowledge, the album can easily be included on the artist page of Mindflower. The main difference with this title is that while Mindflower was a blend of Italian rock and classical influence that was fairly even, here the emphasis shifts to the chamber-acoustic sound. There are more choirs, strings, and classical arrangements, though there is still a bit of rock drums and bass creeping into some tracks. The interesting thing is that while I enjoy all of Mindflower's unique, hard-to-classify albums, this one under the alternate moniker may be my favourite, or at least tied for favourite with the beautiful "Mindfloater" album.

The band who has incorporated symphonic, neo, folk, rock, pop, and classical into various albums here presents a more focused artistic vision. "Art of Dreams" is a truly wonderful cross between chamber music and pastoral Ant Phillips-styled light progressive, with the typically beautiful Italian touch though certainly not typical RPI fare. While Mindflower/FAE without question have RPI influences, notably Orme according to the group, they don't present with obvious RPI band characteristics beyond the beauty of the arrangement and instrument choices. The themes are similar to the other Mindflower albums and concern the search for enlightenment represented by images of fairies, paths in nature, magic, and the search for "the point" of attainment. Vocals are usually female and English language (here by Micaela Gotelli, frequent Mindflower vocalist) along with occasional female choir vocals and male vocals. Antonelli's soothing acoustic guitars and Defacqz's keyboards work masterfully together. Bassist Callegari engineered the album and directed the chorus as well. But further icing on the cake is the gorgeous, flowing strings frequently used, the violin and cello. Gentle and spacious compositions typically are built around the Ant Phillips-like acoustic guitars and Gotelli's fragile, intimate vocals. Once in a while the drums and bass will turn the corner into a "rock" sound but not often. Mostly this album remains quiet but dynamic, openly intimate and soft yet still focused. Interludes of strings or solo acoustic guitar separate more typical sections with vocals. Dreamy, lightly treading piano permeates the gorgeous title track with gently strummed guitar and light drums, the piece having really nice upbeat melody.

Almost always optimistic and hopeful in its outlook, this is an album which requires a respite in your day. It will not suffice to play in your car in traffic, you need to slow down and open a bottle of wine to truly appreciate this "Little Bottle." The album closes with a formal-feeling pipe organ and a loud thud which brings you back to your day. My only criticism of "Art of Dreams" is the same one I have of all of their projects, the misguided insistence on using more awkward English vocals/phrasings instead of the world's most beautiful language. Italian vocals would really put Mindflower over the top and they have missed every opportunity so far to do this. Of course this is a highly subjective criticism on my part. Nevertheless, nothing dilutes my enthusiasm for what may be Fabio's finest moment, an album which never fails to leave me rejuvenated by its therapeutic spells. A true healing musical tonic. They would be back to a more rocking approach with the follow-up "Mindfloater" which is another very enjoyable and unique album. My advice for starting with this band would be "Mindfloater" if you want to hear their rocking side, or "Art of Dreams" if you wish to enjoy their softer, contemplative side. If you like those two albums continue later with "Little Enchanted Void" and "Purelake."

The lyrics booklet really pulls the project together and adds to the classy aesthetic here. The tasteful cover art is just the beginning; there are gorgeous photos and painting reprints throughout. I love the life affirming qualities of the artwork and music as they perfectly compliment each other. "Art of Dreams" should appeal to fans of Karda Estra and Gatto Marte on the chamber side, and Anthony Phillips on the acoustic side.

From what I can understand this is the third effort by this Italian outfit, and it is a remarkable production they've made this time around.

Not because of innovative or new features as such though. It is a low key, subdued effort we're presented with here. Slightly dramatic at times and with enough energetic moments to keep matters interesting, but first and foremost a relaxed, harmonic affair. The pastoral or dreamy sequences far outnumber the dramatic ones.

Clocking in at almost 80 minutes, this composition is divided into 26 different passages that takes us from classical and at least partially neo-classic territories to symphonic progressive rock segments, switching back and forth between rich layers of strings and keyboards to subdued wandering acoustic guitar efforts - with quite a few numbers spiced with space-tinged textures. Think Genesis, Pink Floyd and Phideaux for references, but mostly from the mellower parts of their respective discographies.

And while the end result is pretty remarkeable this isn't a stunning effort. It is an intriguing experience though, and especially those with a fondness for the really long, epic tracks with a great deal of variety should find this album interesting, especially if they don't crave major dramatics in such a production.

Do you like Karda Estra?

"Mindflower's philosophy is based upon the intention of getting back to the basics, to the true essence of simple things. It's a difficult mission to uphold when the world keeps on trying to follow standards, to be quicker, to be more technological. Even music is part of this. Its substance is often lost in rich arrangements that overwhelm the senses and make one forget the experience of slow and deep listening." [Band statement excerpt]

I wanted to begin with part of the band's "mission statement" because it really does offer strong clues about the journey you will take with them. This is not a typical RPI band nor is it even close to the typical "prog-rock" bands that get so much buzz on the big prog sites. Mindflower is a rather unique Italian band blending some RPI influence with a delicate symphonic prog, classical music, minimalist approach, electronica, and perhaps a bit of neo-prog. They have released two previous albums in a mostly similar style, though I recall the second having a bit more rock guitar.

I know the Mindflower are big fans of Le Orme as I interviewed them some time ago. But in describing the Mindflower sound I do not start with traditional RPI groups. Rather, the most obvious reference point I can think of is Karda Estra: if you enjoy Karda Estra there is a good chance you will enjoy Mindflower. Think of "Little Enchanted Void" as a long piece of classical music on piano and strings, with an Anthony Phillips flavored concept piece occurring simultaneously. As indicated in the band philosophy it does evolve very slowly (for "the experience of slow and deep listening"). Many parts will be a quiet, spacious piano drifting along accented by the Matrix string quartet. The huge quantity of short tracks flow one to the next to create the experience of one long suite. Both the piano and strings are just exquisite and lovely. To this they add mostly male vocals with occasional female harmony and sometimes by a choir of "fairies." Drums and electronica come and go but for the most part there is not much rock here. In fact the drums, which are mixed quite loud, tend to drop out of quiet spaces for a very jarring effect sometimes.

But aside from these occasional heavy moments the point here is not to rock and roll you, but to allow the listener to immerse in a very subtle, mellow experience that is different from most "prog." The story is told quite softly about the Mindflower character and his/her continual search for enlightenment. "Walking near the line" is a highlight with the female choir delivering on the most beautiful melody, completely relaxing, celestial stuff. In other more avant inspired moments the "fairies" appear chattering in the background, their voices clearly audible and yet your brain has trouble locking in on them. It's really cool because it mimics the magical experience---you're getting messages from another dimension but they're not entirely decipherable to you. That's what really makes Little Enchanted Void so appealing to me: the whole album makes you feel as if you're in some dream state.

My personal criticism is the same one that applies to many Italian bands, not just Mindflower: the insistence on using English vocals. Why people fluent in the world's most beautiful language would choose to use English, which often comes across as quite tentative, clumsy, and with incorrect emphasis when used by Italian vocalists, is beyond me. I'm just being honest folks, it NEVER sounds as good as Italian, despite your best efforts. Sing in the language that you employ best, whatever language that may be. Let your English speaking audience adapt to you, not the other way around. Second, some will feel the album needs some tightening in length and editing of ideas, and I agree to some extent, but these assume Mindflower are shooting for a typical release. You can see from reading their statement above that they are not, and thus the approach here is wide open and patient (perhaps to the extreme for some listeners). You are best to approach the album with a completely open mind, or expecting the chamber-prog experience rather than the prog-rock one.

I truly enjoy Mindflower for the unique experience that they are and I also believe this is their finest album albeit their most challenging. I can put this album on and lose myself completely. People give me grief sometimes because of how much I enjoy Jacula and they just don't get it. Mindflower, while the polar opposite of Jacula in mood, is something I appreciate for the same reason. It's very beautiful and completely unlike anything else I listen to. That means something to me in this day of homogenous prog bands. 3 ½ stars.

It didn't take long for this album to win me over. First of all thanks to Finnforest for another winner from Italy. This is very modern sounding with lots of acoustic guitar, deep male vocals along with some great female vocals (both in English). There is some heaviness, in fact this record does contrast moods and sound very well. The thing that impresses me most is that it touches my emotions at times. Not sure why but it is very moving.

"The Neverending Meal" opens with some great sounding guitar, very intricate. Reserved male vocals join in then a fuller sound crashes in at a minute.The contrasts continue. Gotta love those organ runs as well. "High Meanings" is an interesting track, I like when it settles a minute in and 2 minutes in. Nice. Bass and drums are prominant late in the song. "A Bridge Beyond The Hill" opens with acoustic guitar, I like the atmosphere here. Female vocals before 1 1/2 minutes. The contrast continues. Killer sound before 3 minutes when the organ comes in. Hell ya ! Male vocals follow. "Mindflow" has these strummed guitar passages that come and go. Female vocals come in followed by a calm to the end.

"Magic Riddles Suite" consists of 5 parts and is around 20 minutes in length. Acoustic guitar to opem then reserved male vocals come in. I always think of MOONGARDEN when he sings here. It kicks in before 3 1/2 minutes and builds to a powerful sound in part 2. Nice. Part 3 is such a good section with those excellent male vocals and the way the mood changes. Part 4 is simply gorgeous.This is pure emotion for me with the acoustic guitar early and then the song gets much more powerful before settling down with piano. Gulp. Part 5 is the final part of this suite. It opens with gentle guitar but gives way to a heavier sound quickly. A good beat with organ and vocals follows. It calms down with piano before 4 minutes.

"Before The Walklight" features piano melodies throughout. "Walklight" is a good bright, uplifting song with vocals. "Mindfloater" features melancholic acoustic guitar throughout. "The Bridge Beyond the Hill" is mellow with gentle guitar and reserved vocals to start. It does get fuller and we get some cool atmosphere before 2 minutes to the end. "In A Lightbox" is kind of spacey with drums to open. Male vocals 1 1/2 minutes in. Piano 3 minutes in are just perfect here. Female vocals 4 minutes in create emotion for me. Very cool track.

This is one of those albums that I look forward to putting on while I just kick back and enjoy the ride.

Modest but pleasant debut

The debut of Mindflower, an Italian progressive collective assembled by Fabio Antonelli. With him are bandmates Fabrizio Defacqz and Alberto Callegari who will appear on all three Mindflower albums, along with several other musicians who are not permanent members. This first album was recorded in Genoa in late 1994 and early 1995. Mindflower captured my interest immediately because they have such a freedom to their sound. Their sound can vary from rock to symph to neo, from classical and folk and new age, from things like Willowglass to Oldfield to classic period Italian. While their sound would evolve and expand on later work you just never know what is coming in the next Mindflower song. It could rock, it could be a classical acoustic guitar solo, it could be a passionate vocal over some delicate keyboard melody. Listening to Mindflower is like walking into a painting..

Lyrically Fabio begins the thread that will permeate the following two Mindflower albums, a being on his search for some kind of enlightenment. Strange characters and natural surroundings will be introduced to the listener and these thematic elements will repeat. In this first work our subject is somewhat unaware of the magic and beauty around him and he will become increasingly more aware on "Mindfloater" and "Little Enchanted Void."

"Lightbox" has a neo-prog feel to me with effervescent guitars, sythns, and catchy drumming. Playing is superb and there are various male and female vocals. "In It" begins with classical guitar and a sonic effect that sounds like Darth Vader breathing. There are some very nice vocal harmonies briefly but this piece is mainly Antonelli's delightful guitar on display. "Miss Shadow and the Void" is an almost new-age soundscape of acoustic guitar/synth/female vocal. Very beautiful. "Empty Shadow Around Me" is back to a catchy pop/neo sound with great bass playing and drumming by Roberto Lupo. "The Nowhere Poem" is hard for me to describe but features some of Fabio's harder-edged guitar playing and some great keyboards by Fabrizio. "Happy Silence" is a folksy piece that reminds me of classic '70s prog albums. Female vocals to acoustics and unique hand percussions. "In Two Flowers" has a modern eclectic pop-rock sound not unlike a Gabriel track. "Mr. Mindflower" is another classical guitar composition by Fabio setting the stage for the album's centerpiece "Sitting" clocking in at over 10 minutes. Nice classical acoustic supporting mellow female vocal verses. Then a section with conversation between guitar and bass. The synth sections after the 6 minute mark seem to have a "shimmer" effect on the sound which might be the sunlight on the water of the lake that our character sits by. The rest of the song is an ambient exploration of these keyboard passages. "Minor End" certainly ends the tranquility with drums and guitar coming back in for another eclectic rocker that becomes repetitive and hypnotic. "Ghosts in the Garden Eat the Poet" is one I honestly haven't figured out yet. "Lightbox (third light)" brings things to a close with a nice distorted guitar solo over acoustic, fat bass, and keys. Our character has gone as far as he can for now, the journey will continue in Mindfloater.

I think some will find Purelake to be an esoteric experience, how much you enjoy it may depend on whether you think that's a good thing or a bad thing. It certainly is more concerned with sampling the colors on the sonic palette than it is in carving out a specific "band sound" for which to sell records. Mindflower is an exploration of ideas and emotions represented in sound rather than an adherent to any of rock and roll's rules. The next album Mindfloater will have a harder rocking edge to it and be a bit more consistent, perhaps with better flow. This debut has some very nice moments but in the larger scheme is not their best work. Start with one of their others. If you end up a fan return to this one later. 2 ½ stars.

Little known modern day Italian gem

Mindflower is an Italian band with English-language lyrics featuring Fabio Antonelli on guitar, Fabrizio Defacqz on keys and vocals, Alberto Callegari on bass, Micaela Gotelli, vocals, and Corrado Bertonazzi on drums. Stylistically the band visits many avenues. There is traditional prog along with neo-prog, rock sections, and pastoral gentle soundscapes. While they have their own unique sound, if I had to make comparisons to some others I would mention Renaissance, Gabriel, Oldfield, Willowglass, and early Ragnarok (Sweden). But they are not a clone of anyone, trust me.

The music is really unique sounding, magical, spacious, and intriguing. There are long gentle acoustic interludes, passages with acoustic guitar and piano together, with soft dreamy vocals. There are sections that are quite rocking, with heavy distortion laden guitars chugging away to nice heavy bass and good inspired drumming. I love the occasional use of strange, less common chords. There are smartly employed keyboards which add color and texture without taking over the sound. All of the musicians are good players who are tasteful without being flashy, though the drummer does occasionally awe me with some great fills. Most importantly is a complete lack of respect for formula and convention-bravo! They throw everything at you in a really intimate, patient manner. You never know what to expect from the next part and it's always going to change to something interesting. Some people will say this means lack of focus or consistency, I say it's people brimming with so many ideas they can't contain themselves, and I find it really charming on this particular album. This is one album where time just flies by very fast when I play it meaning that it never bores me.

The five part "Magic Riddle Suite" clocks in around 20 minutes and takes up the middle part of the album. The piece is a musical fairy tale that is as grandiose and delightful as you hope it might be, weaving together waves of soft acoustic guitars, vocals, piano that build up to rocking parts with electric guitar, synths, and drums. They really conjure up a world you can kick back and get lost in, in the finest tradition of the long-winded prog epics.

Addressing one problem, a reviewer at a different prog site complained that the vocals on Mindfloater were somewhat poor but I don't agree. I think at first listen they may seem average and not as commanding/dramatic as other bands, perhaps too hesitant. But after many listens I have ended up growing quite fond of the vocals, the male vocals occasionally remind me of early Gabriel and the female vocals are fragile and sweet.

The closing track "In a Lightbox" is another delicious track. The drumming is off on its own as a solo instrument, off in the background doing a rhythmic ambient thing. Gentle synths are welling up before a melodic line creeps slowly into the picture around 3 minutes. Then Micaela gently sings "Gimme your hand.don't leave me alone.I feel like a dead stone.I wanna be alive." and the pastoral ending fades away. Be sure to give it a few spins before forming an opinion, it's an esoteric beauty that may not make itself apparent to you at first.

Their CD booklet and artwork are delightfully whimsical, a style which appeals to me very much. Both high-minded and childlike the drawings feature peaceful countryside views with vibrant other-worldly colors. All of the starry-eyed lyrics are also included featuring stories of Gnome elders, magic, yearning, and the eternal quest for that better place just beyond the hill. Recommended for hopeless romantics, fairy-tale/fantasy prog fans and whimsy fans of all ages. More Mindflower is coming in the future I've been assured, so do check out their two albums and Fabio Antonelli's solo album "The Art of Dreams in a Little Bottle." All are available from Mellow Records. I can't wait to hear where they go in the future.