LA FABBRICA DELLE NUVOLE

it seems we are living in a luxuriant period for the Italian progressive rock scene. Il Castello di Atlante is standing tall since 1974, Cherry Five released a new studio album after 40 years and Spettri have confirmed to be here to stay after their resurrection in 2011, originally formed in 1964 but fallen in hiatus during 1975. Lately RPI lovers have really been given many reasons to be elated. Someone up there is still feeling generous then, because Maxophone have just released their sophomore effort, a good 42 years having passed after the cult classic self-titled album was released.

Only two members were part of the founding line-up but, though there are definitely some key differences in sound, the Maxophone spirit is intact. For the genre, the songs aren't very long but they can still count on rich and eventful songwriting. Every instrument (voice included) has something to offer, harmoniously joining in a very focused sound in which Maxophone's trademark relatively heavy guitar-driven moments are seamlessly intertwined with bittersweet sections where melancholic vocals and keyboards lead the dreamy way. All of which is at times drifting to a symphonic flavor, supported by the presence of two keyboardists -on occasion also switching to acoustic guitars- and by the violin playing of the drummer. It's a sound that, as catchy as it can get, never leaves any doubts about the musicians' maturity and craftmanship.

The major change is the external influences from which the band draws from. On Maxophone there was a certain jazz vein which is now absent, traded for an overall gentler approach (no more swirling saxophones, sadly). In fact, La Fabbrica delle Nuvole is an album that can get quite intimate and folk-sounding in places. Furthermore the lyrics were penned by recently defunct poet Roberto Roversi, and are recited with notable emphasis giving birth to strong hooks. The shift in sound is adequately supported by an organic production job, making La Fabbrica a pleasure to listen to. The neat duration of 45 minutes just works as icing on the cake for an album this tight and memorable.

To say that Maxophone fans will surely like it too could be a little rushed because, even if the genre-bending attitude is there, it's a different beast. Familiar elements however are present, from the vocals to the reflective mood and incursions of cutting guitar riffs. Maxophone simply evolved and tried to adapt to the times, striking a good balance between old and fresh, creating something that's as progressive as it is accessible. Trading jazz for folky and poppy influences that better fit Italy of 2017. I recommend 4.0 great comeback after 42 years !

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