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Andrea Cortese View Drop Down
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Andrea Cortese Quote  Post ReplyReply Direct Link To This Post Posted: November 21 2010 at 02:38
^^^
 
 
Hi Todd,
 
I didn't know you had Parsifal already. You will certainly enjoy Un Po', then.
 
Just for my curiosity, how many RPI or italian related items do you own? You see, I don't have anything from Dammico... eh ee he he
 
I've read many reviews and comments about Dove Comincia il Sole. Many pointed out bland comparisons with IQ or Pendragon...
 
I still don't have the album so I can only judge from what I listened to from youtube ... yes there's defnitely a neo-thing in it. Musically the Pooh's typical mood is easily recognizable but now all seem different from their past output. More modern sounding than ever.
 
 
.. and now a bit of restyling for my avatar...! eh eheh e
 
 


Edited by Andrea Cortese - November 21 2010 at 02:47
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Nightfly Quote  Post ReplyReply Direct Link To This Post Posted: November 21 2010 at 06:16
Vault Pick: Another nice Zuffanti offering.....
 
 Autumn Symphony by HOSTSONATEN album cover Studio Album, 2009
4.04 | 10 ratings

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Autumn Symphony
Hostsonaten Rock Progressivo Italiano

Review by tszirmay
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4 stars I get the first kick at this one! On Halloween night, I must be blessed!

Höstsonaten is an established offshoot project from the energetic, prolific and polyvalent Fabio Zuffanti , Italy's version of Steve Wilson or Roine Stolt, who has cemented such fabled RPI acts as Finisterre and La Maschera di Cera. His musical resumé is too long to list but he can be heard delving into prog versions of folk, jazz, ambient and symphonic. A masterful bassist but most of all, a creative mind, he has nurtured this project for more than a decade now and "Autumnsymphony" is the latest chapter in the seasonal cycle that began with the pastoral masterpiece "Springsong" and the ridiculously fabulous previous jewel "Winterthrough", two albums that I regard as symphonic monuments in reflective /introspective prog. Suffice to say I was awaiting this one with unbridled trepidation being a massive fan of the fall season to boot but after a few anguished spins, I cannot really raise this one beyond the other 2 ?yet. The artwork is as breathtaking as the preceding one, winter blues replaced by fall ochre and golden hues, setting the melancholic mood that autumn generally evokes. Significantly, the initial forlorn soundscapes on "Open windows to autumn" recall the sorrow of rustling trees shedding their crisp leaves, a binary double bass echoing between the fluttering cymbals and polyrhythmic drum patters, a brilliant trumpet blaring the sudden flight from the warm summer breeze. This is highly robust ambient prog with jazzy pretense, gently howling mellotron entering hand in hand with its usual ideal partner, the flute. It is certainly a haunting musical signature that sets the proper mood and segues nicely into "Leaves in the well" introducing guitarist Matteo Nahum's glowing electric guitar leads as well as some welcome classical work, with an only too rare added feature, the Japanese koto. The evolving keyboard-laced symphonics are pointedly accurate, choir mellotron injecting some grandeur and majesty while Marco Moro's flute sprinkles its sweet passion. On "Out of water", things get very orchestral with the impromptu appearance of cello, viola, violin, oboe and piccolo, blending the swirl of fluttering strains into the mix. "Nightswan I" is a special effects cocktail, heavily electronic and with the rumbling double bass, highly contemplative, while "II" raises the level another notch with another majestic series of electric guitar runs, a rampant flute , simple drum beat and whirling synths, the 'tron coughing , this is pure proggy bliss. The very jazzy "As the night?" has an amazing bagpipe setting, somberly pensive in league with that amazing Michele Bernabei trumpet (an instrument criminally underused in prog!), some churning Stick work, and a little Genoese whispering to add some spice. Stringsynth and mellotron are served up as bonus candy coating. The jazz vibe gets rather upbeat on "Trees in November", a playful romp that has shuffling drums, fun-loving flute and a guitar solo at first closer to George Benson than Steve Hackett (which happens later), a welcome surprise. "Elegy" has the sublime voice of Simone Angioloni who "lead microphoned" Zuffanti's brilliant Aries project, a soaringly crisp voice that wails passionately , almost near opera , a definite winner. The final nearly 6 minute track is the absolute winner here, incorporating all the glorious musicianship displayed previously = the double bass, the various strings, the elegant piano and mellotron, the flute, trumpets and oboe and that crystal clear voice. As stated earlier, this is an excellent release that cannot surpass the imperial majesty of "Winterthrough" but shores up the RPI mantle very nicely and it is Halloween after all. 4.5 aromatic chestnut trees

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Andrea Cortese View Drop Down
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Andrea Cortese Quote  Post ReplyReply Direct Link To This Post Posted: November 21 2010 at 13:20
^^^
 
I have that one... and was a bit disapponting for me... at least if compared with its predecessor Winterthrough.
 
Musically it describes perfectly autumn (in general) and leaves' falling (in particular), thanks to the jazz injection.
 
Great review, btw.


Edited by Andrea Cortese - November 21 2010 at 13:42
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Nightfly Quote  Post ReplyReply Direct Link To This Post Posted: November 22 2010 at 05:24
^ I'm on the fence on whether I preffer Winterthrough or not. Neither of them classics but both very enjoyable nevertheless.
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Todd Quote  Post ReplyReply Direct Link To This Post Posted: November 23 2010 at 01:45
^ Hostsonaten is enjoyable enough for me, but I have to say that for me it lacks a certain punch.  I enjoy La Maschera di Cera and Finisterre more, as far as Zuffanti's projects go.  But don't get me wrong, I'll still buy the next one . . .
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Todd Quote  Post ReplyReply Direct Link To This Post Posted: November 23 2010 at 01:57
Originally posted by Andrea Cortese Andrea Cortese wrote:

 
Just for my curiosity, how many RPI or italian related items do you own? You see, I don't have anything from Dammico... eh ee he he
 
 
 
I own about 750 Italian prog titles, but that includes RPI, JRF (Perigeo, Nova, etc), ZART (Universal Totem Orchestra), etc.
 
Definitely running out of space! 
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Dirk Quote  Post ReplyReply Direct Link To This Post Posted: November 24 2010 at 11:08
Originally posted by Todd Todd wrote:

^ Hostsonaten is enjoyable enough for me, but I have to say that for me it lacks a certain punch.  I enjoy La Maschera di Cera and Finisterre more, as far as Zuffanti's projects go.  But don't get me wrong, I'll still buy the next one . . .
It's been a while since i've been here good to see that this thread is still going strong.Clap. I like Zuffanti's work a lot,  and i agree that Hostsonaten while very enjoyable is not as good as the best  from Finisterre and La Maschera. Personally i think the rock opera Merlin (especially if you also like classic rock as i do) and Aries with great female vocalist Simona Anglieoni maybe even  better if not as complex as Finisterre/La Maschera.
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Finnforest Quote  Post ReplyReply Direct Link To This Post Posted: November 24 2010 at 18:51
It's probably been posted here before, or in Andrea's blog, but I love watching this guy sing Zarathustra, his voice still sails....sounds quality ain't perfect, but hey, its YouTubeWink


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Post Options Post Options   Thanks (0) Thanks(0)   Quote mourningknight Quote  Post ReplyReply Direct Link To This Post Posted: November 24 2010 at 20:21
Just got my copy of Murple's "Io Sono Murple" in the mail yesterday and loving every second of it!!! Waiting for Formula 3's "Sognando e Risognando" to arrive.
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Finnforest Quote  Post ReplyReply Direct Link To This Post Posted: November 24 2010 at 20:28
Hi Jason, yeah that Murple title is pretty cool......Formula 3 is a band I've not played in quite some time.   I might have to pull one of those out soon.  Smile  
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Andrea Cortese Quote  Post ReplyReply Direct Link To This Post Posted: November 25 2010 at 15:54
Originally posted by Todd Todd wrote:

Originally posted by Andrea Cortese Andrea Cortese wrote:

 
Just for my curiosity, how many RPI or italian related items do you own? You see, I don't have anything from Dammico... eh ee he he
 
 
 
I own about 750 Italian prog titles, but that includes RPI, JRF (Perigeo, Nova, etc), ZART (Universal Totem Orchestra), etc.
 
Definitely running out of space! 
 
 
azzz!!!Shocked
 
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Alberto Muñoz Quote  Post ReplyReply Direct Link To This Post Posted: November 25 2010 at 15:58
Finnisterre... ah that band reminds me my days of universityCool




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Post Options Post Options   Thanks (0) Thanks(0)   Quote Finnforest Quote  Post ReplyReply Direct Link To This Post Posted: November 27 2010 at 09:16
OK RPI readers, I'm going to give this review an extra bump here, because this album is one of 2010s best Italian releases, and more people need to buy this and review it.  Everyone reading this thread wants to see new RPI bands of high quality catch on, so here's your chance.  This band is wonderful.  Find them, and support them, so they can record a second album. 

Review below.  Listen to a sample track here.





 Il Tempio delle Clessidre by TEMPIO DELLE CLESSIDRE, IL album cover Studio Album, 2010

4.31
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Il Tempio delle Clessidre
Il Tempio delle Clessidre Rock Progressivo Italiano

Review by Finnforest
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4 stars Seeds blown from Museo Rosenbach's flower bring one of 2010s best

Il Tempio delle Clessidre have been around for a few years but in the fall of 2010 they released this self-titled debut on Black Widow Records. The band was formed in 2006 by keyboardist Elisa Montaldo and Gabriele Guidi Colombi, the latter of whom left the band before the album's release. The current line-up of the band retains Elisa, and adds Stefano "Lupo" Galifi (vocals), Fabio Gremo (bass), Giulio Canepa (guitars) and Paolo Tixi (drums). Italian prog fans will note that Galifi was the lead vocalist of the legendary Museo Rosenbach, one of the most beloved classic-era RPI bands. The new album not only bears some resemblance to "Zarathustra," I think it may well join Il Bacio della Medusa's second album as one of the most beloved RPI titles of this period.

This debut should break through the RPI fan community into the wider prog-rock community, because it is a title that will hold appeal for any fan of classic progressive rock. The majority of the music is quite beautiful and I would say holds most appeal for those who love refined and melodic progressive rock, as opposed to the wild and crazy, abrasive stuff. This title has everything in one package: Sweeping, majestic compositions filled with passages of great beauty and dramatic overtones; a vintage sound approach but with great audio quality; highly proficient and energetic performances on bass, guitar, and drums; extended instrumental passages which allow the guitar and rhythm section to work up some gorgeous themes. But I have to talk most about the keyboards and vocals here.

First, the vocals. Often times proggers who don't speak Italian complain that the "operatic/overbearing" Italian vocal style (which they see as negative, but I personally love) will wreck their enjoyment of an album, and I can vouch that this one will not do that. Stefano Galifi's vocals are warm and inviting, passionate and yet not overbearing, soothing rather than grating in any way. His voice has held up amazingly well, he sounds just as good as he did four decades ago, in fact he may be a better vocalist now. He certainly sounds more controlled and seasoned. Further, this is not an album where the vocals are constantly in your face. There are plenty of spaces where the vocals fall away for the various instrumentalists to shine.

Second, I have to speak about the keyboards of Elisa Montaldo. Oh my God this album is going to send the keyboard fanatics into bliss overload. Lots of organ and even some Church organ, mellotron (or synth 'tron effect, not sure), and most importantly, tons of traditional piano. Being my favorite keyboard, the generous passages of piano make the album irresistible. Elisa has very keen melodic instincts as well, finding lines of notes that are all about emotion rather than prog showiness. The compositions were written by Montaldo and bassist Fabio Gremo. They bring the songs to the others were they are fleshed out through improvisation and the further exchange of ideas. It sounds like there is plenty of team work in crafting arrangements that are exciting and pleasing for the listener. The keyboards create swelling, grand backgrounds throughout, but the lead keyboard runs are consciously arranged and written to work in unison with the guitar parts for a wonderfully effective sound.

"I can tell that "Il Tempio delle Clessidre" is not only an album for me, it's a whole world, a piece of life that took shape in the course of the years. The music we propose is new and fresh even if we know that it's not so innovative, but this is a choice: one of our aims is to recreate the sounds and atmospheres of '70's progressive rock" -Elisa

"....one of the most important aspects in this band is the wide difference in the musical taste of each of us. This helped creating songs with a great variety of elements and nuances. Every musician adds a character, an ingredient to the recipe, thus creating something peculiar." -Fabio

"When I get inspiration I immediately go to my piano and play: improvisation is the most important thing for me, I compose music directly from my emotions, dreams and ideas and try to translate those ones into music....I often overlap different sounds from my keyboards to create the right tone colour, and try to emulate the classical progressive sounds that I love (Mellotron, Chamberlin, Hammond organ). The guitars are strictly connected with the keyboards in our music, they are very refined and versatile, Giulio is a really good guitarist and he has a great musical sensibility that makes the arrangements original, well balanced and in harmony with the real sense of the compositions." -Elisa (quotations from ProgArchives interview with the band, October 2010)

The tracks boast a nice mix of heavier rock, romantic Italian flavored prog, and moods both melancholic and joyful. It occasionally can sound like Zarathustra, but Zarathustra to my ears gets a bit more aggressive and occasionally raw. Here the sound is more layered, melodic, and more richly dressed. The highlights of the album for this listener are many, but I would point most enthusiastically to the middle section where three songs, "La Stanza Nascosta," "Danza Esoterica di Datura," and "Faldistorium" just knock my socks off. Here they will add to their base band sound by introducing elements such as cello (beautifully handled!), recitation, and church organ to the already solid material, making the experience even better. I would love to see them use more strings, choirs, and church organ in the future. The 10-minute "Il Centro Sottile" is also a real beauty with a spirit of sentimentality and adventure, almost like a mini film soundtrack, ebbing and flowing but ultimately soaring.

I can only imagine how incredible it must be for the younger members of this band to be working with Galifi, and vice versa. They have been able to put one of progressive rocks great vocalists over their debut compositions, and Galifi has found musicians as capable and creative (if not more so) than the Museo Rosenbach band of yesteryear. The combination of their youth, energy, and great compositions merged with his voice and great emotional instincts have without question created one of RPI's most exciting current bands. These two formidable personnel strengths are not insignificant; having both youthful passion and a veteran's wisdom in one tent can only mean the opportunity for great song creation. This is a project that simply must give us more, it would be a tragedy if this album were not followed up in the future.

Not only is this album one of progressive rock's finest of 2010, but it's one of the 2000s finest RPI titles. The cover art is not fully appreciated until you are able to fold it over and view the back panel with the front. Only then can you see how cool it is, a fantasy land that this music inhabits and sounds a true part of. Wonderful stuff. 9/10

(This album will likely be battling "Rabbit" for my top album of the year vote)


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Post Options Post Options   Thanks (0) Thanks(0)   Quote Todd Quote  Post ReplyReply Direct Link To This Post Posted: November 27 2010 at 13:38
^ Great review of a great album, Jim!  Thus far, this album will be my top pick of 2010 and is a top contender for my favorite post 1970s RPI title.  Please do not let this one pass by!
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Todd Quote  Post ReplyReply Direct Link To This Post Posted: November 27 2010 at 13:39
Originally posted by Dirk Dirk wrote:

Personally i think the rock opera Merlin (especially if you also like classic rock as i do) and Aries with great female vocalist Simona Anglieoni maybe even  better if not as complex as Finisterre/La Maschera.
 
I haven't heard Merlin--it's on my list, for sure!  And I'm excited about the new Aries album.
"I have seen the broken sky turn blue."



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Post Options Post Options   Thanks (0) Thanks(0)   Quote Andrea Cortese Quote  Post ReplyReply Direct Link To This Post Posted: November 27 2010 at 17:33
As I said to James via private message (after his review), I cannot disagree with his comments on Il Tempio delle Clessidre. A wonderful record. Wow, "Lupo" Galifi's tone is incredibly the same after 37 years!! How can he get through to it??
 
BTW, the most important thing to point out is the fact that I don't remember another woman being the leader (keyboardist, composer et cetera) of a prog rock band as Elisa Montaldo is. Silvana Aliotta of Circus 2000 wasn't. Jenny Sorrenti of Saint Just... perhaps...
 
And how about outside of Italy? Neither Sonja Kristina (Curved Air), nor Renate Knaup (Amon Düül II)...
 
In some respects, this is the most interesting (and innovative) thing... I wonder what her feminine touch can bring us with the follow up...


Edited by Andrea Cortese - November 27 2010 at 17:34
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Finnforest Quote  Post ReplyReply Direct Link To This Post Posted: November 27 2010 at 17:42
That's a really great point Andrea.

Sticking just to RPI here, can anyone name any other RPI bands which are led by a female?  By led I mean not just the vocalist, but the composer of the material itself. 
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Post Options Post Options   Thanks (0) Thanks(0)   Quote seventhsojourn Quote  Post ReplyReply Direct Link To This Post Posted: November 28 2010 at 06:14
Sophya Baccini? I'm not familiar with her work with Presence though.
 
I know you asked us to stick to RPI, Jim, but I feel compelled to mention Elisa Wiermann of Brazilian band Quaterna Requiem. Great band, and they've got quite an RPI sound.
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Finnforest Quote  Post ReplyReply Direct Link To This Post Posted: November 28 2010 at 19:19
Yes, Sophya made a good solo album, i liked it better than the Presence album I heard.  
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Nightfly Quote  Post ReplyReply Direct Link To This Post Posted: November 29 2010 at 16:01
A great review Jim. I'll be adding one of my own very soon to give it a bit more deserved exposure.
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