All Prog From Italy Appreciation Thread

A pioneer of the RPI scene

Il Mucchio were not exactly well known but they are historically important as one of the early entries on the Italian progressive scene, their lone album being released in the Spring of 1970. They hailed from Venice and were active from 1970-1974 before returning for a brief reunion in the mid 90s, but this was their only full-length album. It is important because it is a bridge album from the beat and psych-pop sounds of the late 60s to the classic RPI era, incorporating classical influences and the beginnings of progressive experimentation. Sjef Oellers writes "Il Mucchio plays organ-soaked proto-progressive, sounding like a cross between Moody Blues and early Manfred Mann/Spencer Davis Group." And while other sources out there claim the album is nothing special I have to say I found it much more enjoyable than I thought I would. It's probably not quite as good as Panna Fredda but that would be a decent reference point as well.

With material written by composer/singer Dino Donaggio, Il Mucchio forges their unique sound by using dual-keyboards and a strong bass guitar presence, but very little prominent electric guitar. The keys are mostly organ but there is harpsichord, piano and some other odd sound I can't place. The second component of the sound is the distinctive upper-register vocals, both solo and in frequent chorus, that are straight out of the New Trolls playbook. Though to my taste they sound much more authentic to me than do the Trolls glass-cracking hysterics. The vocals are very professionally arranged and on their own are quite a treat to listen to. The compositions are pleasant and of pretty good quality although only sporadically reaching beyond period psych-rock and beat. You hear them go for it in "Qualcuno Ha Ucciso" which features tribal rhythms and wild noises mixed with classical piano, lovely Hammond, and those amazing vocal arrangements. There are still catchy hooks though even on the more avant sections the band is keeping one foot in each universe. And that sums up most of the album: it is simply a pleasant blend of vintage keyboards and wonderful vocals in engaging but not overly complex tracks. The other highlight of this album is an absolutely breathtaking version of Schubert's "Ave Maria" that was worth the price of admission alone. If you took away the rock drumming that eventually gets upbeat, vocally the piece could be used for Sunday service, very respectful and yet interesting. From here the album closes with some bluesy organ workout in "Questi Siamo Noi" that would be fertile ground for Ritchie Blackmore to step in and wail on.but Il Mucchio just brings in another keyboard rather than the expected guitar-blazing. Some will be put off by this but personally I found the approach unique and didn't miss the guitars for a second. It's more evidence to the quality level of RPI when even the 2nd and 3rd tier bands are consistent and quality enough for 3 solid stars. You have to dig even deeper to start finding 2 stars albums. Mellow Records has done a nice job with the sound quality on MMP-166 although the booklet is a scant foldover. Their later singles are included as the four bonus tracks.

For their sophomore release, the excellent Italian ensemble Stereokimono provided an enhancement of their musical path as stated in their debut "Ki". This time, "Prismosfera" comprises a repertoire in which the threesome show an increase of both energy and experimental trend, which eventually leads to an awesome opus within the realms of avant-garde prog. Their self-imposed psychofonic oblique label is nothing but an energetic combination of 80s King Crimson, jazz-rock with a funky core, psychedelia with moderate electronic leanings and ethnic sensibilities that come to the fore occasionally. What can go wrong when the group stays cohesive and their sound becomes stronger? 'Onda Beta' is the opener that has to set the initial mood for all things to come afterwards. It kicks off with a set of oppressive, sinister synth layers and sound effects before the main motif erupts, mixing neurotic and joyful vibes. 'Rosso di Luna' is a bit less explosive, more oriented toward the reflective, something that is easy to notice from the evocative guitar leads and keyboard ornaments, as well as the splendid electric piano solo that emerges somewhere in the middle: yet, it's not a languid number really, but an excuse to make the jazz element more noticeable. 'Bahnhofstrasse' finds the band exploring the virtues of ethnic-infused jazz fusion based on Arabic ambiences. The midi sounds emulating cello and violin create a beautiful sonic architecture sustained firmly by the ever-efficient rhythm section. Once again, the synth effects come by to provide some sort of mystic feel (to some degree, like the Ozrics or classic Gong), especially during the track's second half, in which the tempo shifts to a faster pace. 'Xetrov 5' is the aggressive apex in the album, starting with a dark synth-based soundscape and then following with a very RIO-esque motif built on a challenging 5/4 tempo. Things get a bit closer to Present and other robust RIO acts. 'L'Uomo Nuvola' is yet another exhibition of typical psychofonic oblique rock, albeit with a sleight added touch of pop that allows the main melody be easily noticeable and get its hooks on the listener. Attention to the beautiful clarinet solo - is it a midi guitar trick? Also attention to the jolly country coda, which brings an air of easygoing relief to the band's bizarre musical vision. 'Salamandra' makes things get aggressive again, with a massive display of hard-rock colors on a funky basis: it almost equals the dark approach of 'Xetrov 5'. The last piece in the strictly musical collection is the ethnic 'La Soffitta Volante', which gradually keeps on growing from a mesmeric succession of acoustic guitar chords, percussive ornaments and keyboard layers all the way until the final climax, full of frenzy and mystery. The album's last 4 minutes are occupied by a series of old prog and art-rock classic albums' samplers: spot pieces of material from Yes, Pink Floyd, Gentle Giant, Genesis, Tangerine Dream, King Crimson, Gong, Camel, Area, ELP,. floating by among the birds in the forest. A homage to the old stuff made by one of the most amazing prog acts of the new millennium. General conclusion: "Prismosfera" is a real contemporary masterpiece.

Very trippy, spacey and trancey and pretty electronic. I'd call the music at different times (or often simultaneously) Psychedelic Space Rock, Progressive Electronic, Psychedelic Krautrock, Psych Ambient, and Kraut Symphonic Prog, as well as rock, jazz, electronic, blues, soul, folk and funk. I hear (across this album (1974), 'Fragments of Light' (1974) and 'Finest Finger' (1976)--the three i've heard) similarities to Ashra, Pink Floyd, Ash Ra Tempel, A.R. & Machines, Genesis, Hawkwind, Nektar, Eloy, Black Sabbath, Fripp/Eno, Agitation Free, Brainticket, Kalacakra, Popol Vuh, and some Japanese psych perhaps, as well as a number of bands I can't yet put my finger on. Their sound manages to be fresh and distinct from each of these bands, with a very creative and original musical sensibility. Some of the electronic parts show this band to be an early pioneer of both psychedelic/progressive electronic and psychedelic space rock a la Ashra (whom they preceeded by 2 years!), Pink Floyd (whose album 'Wish You Were Here'-1975 they preceded with their first 3 albums-all 1974 by 1 year!), Eloy (whose masterpiece 'Ocean' came 3 years later-in 1977), and Tangerine Dream (who released Pheadra the same year) More "song"-oriented than its successor. Sounds in line with the German electronic, krautrock and symphonic genres, though an abundance of other styles are invoked here and there, with touches of French and English psych and electronic (they were an Italian band). Of interest is their use of simultaneous synth/keyboard and acoustic guitar. Very good.

4.5