Braindead, despite the unfortunate name, were a superb band on the 90s Sicilian scene, and the forbears of the band many of you know as Il Castello di Uova. The band convened in Marsala in 1990 and recorded a demo and a full length album plus two live recordings. They had a good live activity in their region. The band consisted of Pietro Li Causi (lead guitar, lyrics); Salvatore Sinatra (keyboards); Abele Gallo (drums); Maurizio Mannone (bass); Ninni Arini (acoustic guitar, vocals), Giacomo Anastasi (vocals) and Nicola Ratto (guitars and vocals). Many of the band members have known each other since their early days, growing up in the same neighborhood and still jamming on occasion for fun. They released their full length studio album “Ombre ancora luci” in 1998 and remained together until 2001. After that, Pietro, Salvatore, and Abele formed the next band on their journey together, Il Castello delle Uova, proudly featured on this site as well. Braindead’s influences include Banco, PFM, Rush, Area, and Crimson and their unique style reflects these choices.

“Ombre ancora luci” is an album that stopped me in my tracks when I first heard it. Something in the vocal was just arresting, an air of authority, formality, and richness…and then came the twinkling piano as my heart started to melt. But alas, this was not going to be the strictly retro ‘70s revisit that the cover art might have projected, for when the band kicked in the style was a bit unexpected. Their musical influences include Banco, PFM, and Area, but also Crimson and Rush, and you can hear this playing out in the tracks. When the band locks and loads the modern shred-rock edge is there for some fireworks. Each track was written based on the writings of different classics of literature. Sogno di un viandante (the dream of a wayfarer) is dedicated to Italo Calvino's The Castle of Crossed Destinies. What a monster track this is! Delicious, dramatic piano announces the introduction of those arresting vocals I told you about, God I was hooked immediately. By the middle of the track they are just scorching away, the drenched electric leads and agile bass cookin’ away, yet never getting cold and impersonal which the technically-gifted sometimes slide into. The ending turns down the heat to some very playful synths over beautifully nimble percussion. Ooohh, nice. Il risveglio di Pessoa (the awakening of Pessoa) describes an imaginary morning waking in the life of Fernando Pessoa. Again the balance of the light and heavy is masterful, even behind the lead solo you can hear the repeating piano patterns and acoustic guitars remaining. Carovane (Caravans) is the second part of an older BD's song, entitled Il deserto (the desert), inspired by Italo Calvino's Invisible Cities. It is presented on this album recorded live at Rocckarossa 1995 and as you might expect contains some of the most extended jamming. The riffing gets almost Petrucci heavy in some spots but there are still milder sections coming and going with the sweet piano. The longest track is next—at over 9 minutes, Nello spazio del mare (in the space of the sea) is inspired by Dante Alighieri's reading of Homer's Odyssey. This track has my favorite opening with these repeating, swirling synth patterns that build up amazing tension before the guitar just explodes. The solo that follows is pure Adrian Belew in his wilder moments, that same charged guitar sound bursting with volume. They often remind me of Crimson but I find more warmth to the sound here and so I find it more enjoyable. Il poeta nell'ombra (the poet in the shadow) is dedicated to Jorge Luis Borges and reminds me of latter day Rush’s guitar sound. The percussion and pianos team up for some spirited interplay later in the track. La seduzione del non-ritorno is inspired by a poem of Bertolt Brecht and closes the album with a balls to the wall rocker, a manic jam-fest to crank way up.

Braindead, who are anything but braindead musically, were another of the fine bands keeping the flame in 90s Italy. There are minor problems with the sound which in a few places sounds thin or uneven, and a few of the synth choices can sound a bit light to my ear. But the talent and potential of Braindead are undeniable and the feistiness of this release make it well worth checking out. The band would grow in variety with Castello so I have to rate this just a hair less at 3 ½ but I think it deserves the round up. Braindead is likely defunct now as the bands future releases will be under the Castello moniker. But this is still a very good album and you can get a copy quickly and easily through www.lulu.com. Recommended.

Review by tszirmay
Prog Reviewer

Mangala Vallis’ debut is quite a well-rounded story as the lush and rather breathtaking artwork of “Book of Dreams “will attest, serving up another hefty dose of spirited symphonic Prog “a l’ Italiana” and inspired by that well known giant literary progger , Jules Verne! This is really primo stuff as the band is spearheaded by the ravaging Hammond C-3 with Leslie, a heralded monster of legendary proportions and reputation, deftly played by Enzo Cattini. He is aided and abeted by Gigi Cavalli Cocchi on drums and the guitar/bass magic of Mirco Consolini. Added guests fill out the lead mike role (Vic Fraja, Matteo Setti and the future lead singer –on the next album- ex-PFM & Acqua Fragile vocalist Bernardo Lanzetti), as well as a saxophonist and violist. After the brief fanfare of “Ouverture”, the story line gets fully developed with some rather effervescent and grandiose arrangements (hello Mellotron M-400 and Mini-Moog D), “Is the End the Beginning” offering up some dizzying electric licks, all washed in cascading torrents of choir ‘Tron and energetic vocals by Setti. The title track really sets the speakers ablaze with a whirlwind romp that has Genesis’ signature all over it, from the zipping synth lead, the jangling 12 string guitars, the Rutherfordian bass pumping jovially along , all held by sprightly drums to the uncanny “Jacob wake up and tidy your room now “ feel , some nifty harmonies to boot. Yes, it’s a well-performed take on a classic and we are so much blessed for it. Fun! Hey, I Know What I Like! “The Journey” is a massive 12 minute piece that combines dashes of Genesis, close cousin Marillion and Pink “The Wall” Floyd. Vic’s English vocals are quite impressive, conveying the right amount of emotion without sounding like a Napolitan tourist guide (Madonna mia!). The organ typically devastates, the marshalling rhythm powers forward, giving the guitar the opportunity to stretch out and roam among the vaporous synth clouds. An excellent slice of first rate prog that sizzles all the way through, a cool synthesizer solo whistles by unforeseen and the crescendo “outro” is where the Floyd influence screams through the nebulae. Slide guitar squeals adorn appropriately and the insistent bliss is terrific. ”Days of Light” is probably the most Gabrielesque , something the sadly departed Shaun Guerin would have come up with, mainly due to the passionate vocal delivery , the gorgeous mellotron fueling the internal fire, with a duo of sultry sax solos (goodness, what a beautiful and warm sound, so un-Genesis and so desperately needed in prog). A definite winner that deserves lofty praise! “Under the Sea” menaces darkly at first, with glowing intensity and moody shifts, where barracuda-swift guitar torpedoes and synthesized dolphin solos mingle amid the chaotic water, organ swells cresting over the horizon. “Asha” is another Genesis inspired gem, full of delicate instrumental ornamentations that recall Collins’ work on Afterglow, highly romantic and even slightly commercial but Cattini’s energetic mellotron keeps things interesting throughout, a slim country style pickin in the midsection. A totally unexpected narration puts this one to rest. “The New Century” is another extended piece, featuring Signore Lanzetti and has heavy symphonic trappings. He has a trembling tremolo that needs getting used to, not everyone’s cup of tea and certainly not mine, but he does an admirable job nevertheless. Halfway across, the viola makes its gracious entrance while the axes churn gracefully in the foreground, a sedate solo accentuating the voyage. The final seconds rely on the now famous dialogue between Houston and The Eagle when landing on the Moon. Yes, this is certainly a worthwhile trip that deserves place in a prog collection. 4 Nautiluses