All Prog From Italy Appreciation Thread

Cryptic, red-blooded and pulsating, Zarathustra is a ride of massive proportions. If you’re looking for pastoral beauty, take a step back. Not to say that there isn’t any, but the best part of the near forty minutes here take a more sinister, darker and heavier approach to the concepts usually found in Italian symphonic rock.

Built around Nietzsche’s work, the album's main focal point is the title piece, which consists of many shorter songs-within-a-song in true progressive spirit. Needless to say, the lyrics are lost for those who don’t speak the language, and thus I cannot comment on whether the concept works or even exists. Based on track names alone, it does seem to make sense. I’ve never been hard on lyrics anyway, and when the music speaks for itself, all possible concerns about lost depth and philosophical comments are left behind.

Zarathustra is definitely more aligned with the rest of the European prog scene, without losing a distinct Italian touch of melodrama and passion along the way. Instead of the rather delicate compositions provided by many of Museo Rosenbach’s contemporaries, power is top priority. A rocking guitar takes a lot of space which, granted, gives the music a grittier, earthier flair together with a Hammond sound that would make Atomic Rooster proud. Drummer Giancarlo Golzi does a tremendous job behind the kit in delivering consistently powerful and interesting drum work. Once again: heavy. But on top of this are massive layers of atmospheric Mellotron, with sprinkles of different sorts of keys, both varied and beautifully arranged in a lot more interesting compositions than one first would think. And just because the guitar is prominent doesn’t mean that it overshadows the keys in any way, this is still very keyboard-heavy music. Dotted across the album are also a number of softer interludes. With sublime and suggestive keys (sometimes piano) and gentle guitar, they are melodic and dramatic like early PFM. They often end in ‘explosions’, either from the combined forces of the band or in rough, raspy outburst from vocalist Stefano ‘Lupo’ Galifi. He’s got a colourful voice, perhaps not of everybody’s liking, but it is nothing if not passionate.

Not much to complain about as it seems. But Zarathustra suffers from one small drawback. This one being that the band knows what they do well and thus never really broadens their horizons on the album. There are a lot of variations on themes used earlier, and the structural differences between the songs are never very big. Too often you find yourself thinking ‘haven’t I heard this before?’ when spinning the album. And in order for it to reach the elusive masterpiece level, I just want more variation. Pauses, crescendos, interludes, rising and falling tension, all in a natural flow that enhances the musical storytelling. It exists in one form or another, but it’s not perfected.

A very enjoyable and balanced release, interesting for RPI fans, heavy prog fans and fans of more readily accepted symphonic bands.

Excellent addition to any prog collection. 4 stars.

//LinusW

Zaal is an extraordinary recording from talented composer Agostino Macor, the brilliant keyboardist of Finisterre, Hostsonaten and La Maschera di Cera renown. Surrounded by some of his usual colleagues as well as a few new guys, the crafty composer suggests a jazzier side to his usual heavy symphonic gig with weighty use of the grand piano. When a progressive disc starts off with a 51 second intro with some superlative ivory work, you know this is going to be joyride. The 8 minute plus ”Zelig” is a stunning work with intense cello and supple violin fillets on a bed of lush mellotron and sweet synthesizer, another dash of tangy piano, the prolific Fabio Zuffanti on bass and some wonderfully ornate drum work from Federico Foglia as sides. On the masterful epic “Il Destino di Haghia Sofia”, Macor shoves this straight into pure jazz confines with liberal use of Fender Rhodes , tagging along with some highly Pontyesque violin forays from Sergio Caputo, some exemplary furrowing bass by Maurizio Bavastro as well as Foglia ‘s relentless work. “La Lama” is a minute long reflective piano etude that breathes and pants, a stellar example of passionate restraint. The next track is called “Progress”, pfff what a title! The mood goes head first into some seriously experimental symphonic Prog with strings ablaze, a hint of harpsichord, ornately buzzing synths as well as Finisterre’s soaring Stefano Marelli on lead guitar (is he good or what?) all tossed into the melee, a musical antipasto adding bursts of saxophone to provide some “piccante”. This final supreme instrument is the showcase on “Naan”, a vibrant follow-up to the previous madness, a meanderingly sexy solo courtesy of Paolo Pezzi that has a cool, relaxed authority about it that just exudes class. Aaah! What, I dialed a wrong number? Well, this is a recording after all and “Il Cannocchiale” is a Macor Fender Rhodes and a Marelli e-bow guitar theatrical duet with French and then German spoken word samples. Hey, Robert, Stefano can “tronic” too! Simply brilliant stuff, constantly in search of the edge. “Cinquequarti” smartly revisits the jazz quartet pattern with Bavastro’s bopping bass foraging assuredly, Caputo’s catskin caressing the violin strings with sheer impunity and Macor weaving some additional piano magic. Blending briefly into the mellotron infested “Limbo”. The final piece is “Sul Mutamento”, a classy 7.23 minute epic that showcases all the combined talent amassed by Macor and his “amici”, a keyboard fest with piano, Rhodes, Wurlitzer, Mellotron and synthesizer all taking a bow in the spotlight. Caputo takes a little violent ride with later Marelli going for a mellow exit. Though most probably a one–shot “solo” album that is miles away from his normal style, Agostino Macor certainly has a side project that is most worthy of pursuing. Certainly hard to resist for fans of ISP and for those discerning proggers who like a little class with their music. Beautiful gray/blue slate modern graphics add to the pleasure. 5 Rhodes.