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Diagonal es un periodico de información alternativa
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Review by ProgShine — Il Tempio Delle Clessidre is an Italian band formed in 2006 in the Genoa city. The band
initially had Stefano 'Lupo' Galifi (original vocalist from Museo Rosenbach), but after the
departure of Stefano that went band to reunite with his former band they convened Francesco Ciapica for his place. The rest of the band is still the
same, Elisa Montaldo (keyboards and vocals), Fabio Gremo (bass), Giulio Canepa (guitars)
and Paolo Tixi (drums). The band have released their second album AlieNatura (2013) by
Black Widow Records earlier this year.
Black Widow is a specialized label which pretty much focuses on what I like to call 'dark
Prog'. If you have no idea what I'm talking about I'll make it easier for you: Gothic influenced
Prog. This is their specialty.
I started my listening with the nice booklet in hands and when the opening track 'Kaze'
begins one can hear strong and well recorded music out of the speakers. This makes you
sit down and pay attention immediately. The Japanese sounds that come out of the track
are quite hypnotic.
The moment of truth comes with the following song 'Senza Colori', the first track of
AlieNatura (2013) with vocals.
As I mentioned, the Gothic and somber moments are all around here, but at the same time
the band has a strong root on the Symphonic Italian style too.
The continuation, 'Il Passo', is even more atmospheric and full of little details. Its
Symphonic apex lies on the double guitars and a number of great keyboards. Amazing
The acoustic 'Fino Alla Vetta' is the next piece of music. It's basically a ballad with acoustic
guitars till around the 3rd minute of the song. After that it gets a bit heavier, especially
because of the organs of Elisa Montaldo. That's when it gets really interesting.
'Onirica Possessione' is a damn strong track! Classic Genesis meets Italian 70's Prog at
its best moments. Powerful vocals melodies by Francesco Ciapica and the Symphonic side
of Prog Rock speaking really loud. One of the best tracks of the AlieNatura (2013). Weird
last part though!
'Notturna' is a smaller interlude with a nature kind of feeling to it, basically commanded by
keyboards and Elisa vocals. Beautiful piece of music!
The last track on the album is an almost 15 minutes suite with 5 parts called 'Il Cacciatore'.
This last song is full of heavy guitars riffs and grim keyboards, that's how it starts really. It's
great how they used the vocals between the verses. It helps create a really powerful mood
in their music.
'Il Cacciatore' is all about changes and beautiful yet melancholic music. You have to listen
with attention but still, you will bang your head with the riffs!
Il Tempio Delle Clessidre came as a big surprise to me as I didn't listen their debut album
and knew nothing about them.
Now I can honestly say that AlieNatura (2013) is one of the most powerful releases of the
Perfect musicianship, great production and songwriting with a fresh sound. The album is
powerful and melodic at the same time as the great Prog albums should be!
Progshine recommends it!
(Originally posted on progshine.net)
[Singles/EPs/Fan Club/Promo · 2013]
1. Corrupticus 5 (5:17)
2. Surface Raid (4:28)
3. The Bear (3:26)
4. JPF (5:51)
5. Trophy Bride (5:11)
Total Time 24:15
[Studio Album · 2014]
1. Non Posso Parlare Più Forte
2. La Certezza Impossibile
3. L'Interno Di Un Volto
4. La Quarta Vittima
5. Sotto Un Cielo Nero
6. Il Circo Brucia
7. Una Sera D'Inverno
Review by Mexx — So here it is, the album of the decade. At least this is what pops up if you go to the "PA Top Albums" section, choose the past ten years (2003-2013) over all genres and press the search button. That happens from time to time, if an album is new and has a few ratings, but this one here already approaches 400. So had to seriously give it a try. After listening to the album for the first time I said to myself, really? And after the second time REALLY???? This is supposed to tower above gems such as De-loused in the comatorium, To shatter all accord, Bantam to Behemoth and The Raven? Albums with so much spirit and originality? And it even ranks higher than ground-breaking classics like Larks Tongues in Aspic, Hot Rats or Relayer and everything Emerson, Lake and Palmer have ever done? Maybe the problem lies with me but, when I listen to The Mountain, it feels kind of used up and uninspired. Like I have heard everything in it already by only listening to a few Dream Theater Albums. I don't say the album is not well produced, it is very solid and the musical skills here are beyond any doubt, but it's like not having a heart, all too mechanical. Like a well made piece of furniture, nice but not so exciting. Like the band member asked, what could we do that is very exciting and the sole intention of doing so takes away from the real excitement because it makes it feel all too forced. I appreciate the effort but in my opinion this is probably the most overrated album of the year. Don't believe me? Listen to it back to back with the above mentioned albums. 3 Solid stars and maybe a quarter, but that's it.
Review by psarros — Entering the millenium, Habitat had become more or less a band of Aldo Pinelli and Roberto Sambrizzi, although flutist Enrique Hittos was still around during the new recordings of an album.This was again a very slow process with the duo spending time between two different studios to record a sum of about 40 minutes of new music.They were also helped by Juani Guzzo on keyboards, Mario Pugliese on drums and Ricardo Henestronoza on keyboards and voices.Most of these new pieces have been recorded during a 3-year period, one comes though from a live recording, dating back in 2000.The third album was entitled ''Puente'', another independent release by Habitat.
The fairly 70's-rooted style of the group is again present, recalling old legends of Argentinian Rock such as INVISIBLE, LUIS ALBERTO SPINETTA, LITTO NEBBIA and MAQUINA DE HACER PARAJOS, swirling between guitar-driven Heavy/Psych and keyboard-based Progressive Rock with symphonic touches, while a more complex guitar-led music even recalls the bizarre, later KING CRIMSON experiments with some sort of ambiental/Industrial moods around.Vintage Hammond organ and cinematic synthesizers always color the music with spacey or orchestral textures and the result is often quite challenging and intricate, though not always convincing.In fact this offering sounds like a collection of songs, which seems pretty reasonable for recordings that lasted over three years.Despite the complicated material, Habitat' sensitive side is again present on tracks such as '' Labradora especial'', a good melodic ballad with focus on vocals, or the folky, entirely acoustic ''La enamorada del juglar'', which suffers from a bad sound quality, but nevertheless this a fine, nostalgic tune.The long ''La ultima de las aranas buenas'' is possibly the weakest track of all, an overstretched Art/Folk Rock track with an emotional atmosphere, suffering from little variations and forgettable lines, although it pretty much sums up the love of Aldo Pinelli for Folk Music.
About 2/3 of the album is nice and well-played Progressive Rock, where complexity meets harmony in diverse compositions with edgy and technical guitar parts and full-blown keyboard fanfares.The more folky or melodic tunes are not on par with the aforementioned composing quality, but anyway they work as lighter breezes between more emphatic
Review by admireArt — I have never been too fond of this kind of "Boxed Compilations", I have aquired some, by many artists, and they are by rule "uneven". Most of the times they have some rare "values", but out-balanced with minor efforts. I will have not gotten this "Silber", if it was not by chance. BUT I was proven wrong. This compilation, out shines, by far his "Container" (which is too much) or the very good "Trigger Triology" and its predesor "Gold". I come to think, that somehow, Mr Schnitzler, has been holding his best for this 2nd part of a compilation. To be honest, I can compare this work, to his best experienced later music. "Silber", compiles his work after his departure from TD, in search for an own identity in the music world. This compositions (1973-1975) were first released in 2009, in the form of an LP, this re-release on CD adds 3 new "bonus" tracks, and they turn to be the highlights, alonside songs 1,2,3 and 5, 4 is just good, a bit too "raw" by comparisson.
The best in this compilation in fact is his most structured music writing. Maybe his quest, at the time was more experimental, therefore I suppose this works were archived.
Anyway, if you want to sense all what was behind his "monolithic" musical structures, like "Zug", "Rot" and all, this is your best guide, and somehow it is even better in some ways than those.
****4 "essential" for electronic music followers. PA stars.
[Compilation · 2013]
1. Silber (7:38)
2. Silber (6:34)
3. Silber (10:19)
4. Silber (7:19)
5. Silber (6:29)
6. Silber (bonus) (7:37)
7. Silber (bonus) (6:30)
8. Silber (bonus) (8:15)
Total Time- 1:00:44
Review by siLLy puPPy — Although many artists in the 70s were recording albums in English, most of the Italian groups
including AREA continued to use their native language. One of the plights of this decision is for
non-Italian speakers to be utterly clueless what the album is about. Not speaking much of the lingo
I formed my opinion solely on the music. What a surprise to learn that this is actually a concept
album about an imaginary bank in which history is stored and loses data from the 15th century
causing people to forget how to govern the world. The outcome of which leads to society learning how
to divide power amongst the different demographics. Hmmm. More socialist proganda? Maybe....
Did that change my perception of this album? Well, YES! and it made me appreciate that AREA was an
even more complex band that I thought and made me realize how much we can miss when taking an album
out of the context of its place and time. What once seemed like random and chaotic tracks now seem
like they were placed there for a reason.
About this album! AREA continue their strange mish-mash of rock, jazz, Balkan and Mediterranean
music that separated them from other prog acts of the day. MALEDETTI incorporated all of the
elements that made up their sound and went the experimental route once again. After a spoken word
opener (in Italian) that explains the evaporation of information we get a rather straight forward
jazz-fusion track "Diforisma Urbano," followed by "Gerontocrazia" which incorporates a txalaparta (a
Basque xylophone type instrument) to the mix. This is a track that Mr Stratos really steps up to the
plate and delivers a stunning vocal performance. "Scum" is a track that is clearly inspired by the
jazz classics but takes it into a frenetic and ecstatic state of virtuosity. "Il massacro di
Brandeburgo numero tre in sol maggiore" is the most unexpected track in all of AREA's disocraphy. It
is an excerpt of J.S. Bach's Brandenburg Concerto. WTF?!! After that unexpected tidbit we continue
with "Giro, Giro, Tondo." This is yet another ecstatic jazz-fusion fest which everyone shines
especially keyboardist Patrizio Fariselli. The last track "Caos (parte seconda)" is probably the
track that leaves most casual listeners alienated and running for the hills. This is one of the
strangest tracks on the album. It is indeed a piece of musical insanity but there is a bass piano
piece that is the underpinning of the whole thing (kinda reminds me of The Pink Panther theme). Very
wild and has something to do about the whole structured system falling apart.
In conclusion, this album started out as a 4 star album but after many listens and then another few
after the discovery that it is a concept album I have to say this has weaseled itself into my heart
as the 4th masterpiece in a row. The details are dizzifying. Just read the amount of guest musicians
and instruments involved in the whole thing. AREA continue to make me believe they were one of the
best musical entities of the ages. I wish I knew Italian better so I could understand their lyrics.
This album requires multiple listens and dedication to appreciate it. Sorry, no easy listening with
Review by Second Life Syndrome — I will come right out and say that I am very impressed with this release from Panic Room. I had
no expectations going into "Skin", as this is my first experience with the UK-based outfit.
However, they have gained my immediate attention, and also my anticipation for their recently
announced 2014 album.
Panic Room is a female-fronted progressive rock band that utilizes dark guitar atmospheres,
some novel instruments, and incredible violins. The rock music is very well performed, and it
is augmented with some electronic elements and a melancholy ambiance that draws you into
the emotions being portrayed here. Really, the violin is masterfully performed and written, as
can be seen on such tracks as "Tightrope Walking" and "Promises". It is simply astounding to
see such inventive and purposeful use of an instrument that is usually more atmospheric or
orchestral. Here it is raw, vulnerable, and beautiful.
Speaking of raw and vulnerable, I think the cover art really showcases what you will experience.
Confusion and insecurity reign in the lyrical content, and you can really detect the feelings of
vulnerability portrayed by the nudity in the open forest. Wet, alone, and possibly scared, "Skin"
is a fascinating look into a melancholy mind.
Anne Helder has one of the best female voices I've ever heard. Actually, she has one of the
best voices I've ever heard, male or female. Clear, concise, and extremely melodious, Anne's
voice is powerful when necessary and small when appropriate. "Impressed" doesn't begin to
address her voice. More like "astonished" or "flabbergasted". I was, strangely enough,
especially interested in her ability to annunciate but still keep the melody intact. That's talent! I
can think of no great compliment than to say that she reminds me of a younger Anne Jobs
Bender of the band Introitus. Amazing!
Dark, emotive, and hauntingly beautiful; "Skin" is a near-masterpiece, and I am confident that
Panic Room's next album will be something special. I really hope they can continue their very
personal style of music.
Review by Second Life Syndrome — Zozimo Rech of Astronomusic has quite an affinity for astronomy; and, therefore, spacey music.
I have no complaints about this, as I simply adore this kind of music. Zozimo's newer album
"Pictures of a Solar System" is an amazing synth and keyboard driven album of surreal,
otherworldly music. His collaboration with his wife Adrianne Simioni on the album under her
name, "The Intelligible Sky", featured a more eclectic atmosphere which included haunting
"The Life of a Star", however, is Zozimo at his best, I believe. This is his masterpiece. This
album features Zozimo playing his heart out on the guitar. On the other albums, he played
some impressive solos and such, but "The Life of Star" showcases Zozimo's incredible guitar
talent. Whether it be the fantastic riffing on tracks like "Shock Wave" or the driving guitar lines
on "Ignition", Zozimo impresses at every turn. He again reminds me of Colin Masson and his
intensely awesome guitar work that has a hint of folk to it. Yes, Zozimo mirrors him in some
ways, but I think he shows that he can perform some incredibly technical portions without
much effort at all, such as on "Queen Star".
This album still features the excellent keyboard work that really makes the spacey atmosphere
come alive. I do find that this album doesn't stick to its theme as closely as the others, but I
think it is to its advantage. Sometimes, Zozimo just shows us his talent, but the ethereal
themes are still very much in place here. Indeed, the haunting nature of the music is bolstered
well by the great melodies that are present.
What more can I ask of an Astronomusic release? Zozimo shows his stuff here with excellent
melodies, astounding guitar work, and an ethereal journey that anyone should be glad to
experience. From the darkness of "The Collapsing Star" to the rocking feel of "Dancing with the
Invisible", "The Life of Star" delivers everything I wanted. This is definitely Zozimo's best.
Review by admireArt — Terry Riley masterpiece in the hands of the hyper-active and creative "Bang on a Can" ensemble, in the, at least, twelfth version of this multi-experimental composition.
The feeling as opposed to the original release, is more "world music" oriented, I mean, of course not the common association with the style, but that of the inherent musical "canon' non-western instruments possess. The use of a koto, ties you down to its tuning for example. So as expected fom this ensemble, no matter what or who they play, it is almost impossible to mistake them for someone else. That is almost miraculous, considering they have covered an extended line of works, of most of the contemporary composers, "classical" and not. (They have their own version of Brian Eno's "Music for Airports", also highly recommendable).
A masterpiece in the hands of "Bang on a Can", rarely loses, but the opposite, normally grows out, even from the original limits, and as if magic,developes branches that were even overlooked by the composer himself.
The 2nd best way to be introduced to this "ground breaking", ahead of its time, really not a Prog (although adopted in this sub-genre), more a classical music "Masterwork". The first best version is still for me the original, but this one comes as close as you can get, with added drops of inspiration. ****4.5 PA stars.
Climb the ladder!
Review by aapatsos — 40 years worth the wait
It is exactly 40 years since the release of "Skeleton in Armour" and the second incarnation of the
group, with only Colin Dawson on guitars from the 70's band, sounds quite similar and at the same time quite different
than its predecessor. While FO2 keep the general character of the 70's band, they succeed in
creating an album fresh and dynamic.
FO2 has a similar set-up to FO1 - a 5-piece with a female vocalist - and even the structure of the
album resembles to "Skeleton in Armour" with long compositions and several bridges/interludes that
work as well as they did back then. The interest is focused on the three long (>10min) compositions
where their jazzy progressive hard rock character is unveiled in all its splendour. While the
improvisation, long solo sections and occasional jamming feeling are ever apparent, the result
remains accessible and very often "catchy". To this assists the exciting voice of Elsie
Lovelock who combines the punchy, street rockin' and rebellious tone (ala Joplin) in her voice with
more jazzy and mellower patterns with such easiness...
Well-worked compositions with the right balance between the rock and prog aspects, plenty of
organ-driven or pure jazz passages on hard-rockin' riffs or melodic (often dual) phrases, a very
tight rhythm section that employs frequent breaks, simultaneously "filling" the sound, paint the picture for what promises
to be one of the best albums of 2013.
The minute production problems should not avert the listener from enjoying this to the full. For
fans of the FO1 and acts such as Babe Ruth, this might not be a genre-redefining album but an
excellent, honest effort and quite dissimilar to a lot of recent progressive rock albums.
Review by BrufordFreak — Companion release to Leaving Your Bodymap, I find it quite difficult to articulate why it is that
I am more attracted to the former than to Bath. They both certainly have songs and sections
that are totally mind- and soul-blowing. Bath may actually have sections that are more
beautiful than those of Bodymap but I think Bath's lows are just lower.
1. "The Blue Ghost, Shedding Qliphoth" (7:57) starts the album off quite mellowly, very
delicate acoustic guitar play, when drums finally come in, during the fifth minute, they are
played with brushes. Saxes play gently. Beautiful guitar melodies. Quite a deceptive intro for
what is to come at the 6:42 mark (and later--in the next song). A nice song even though it is a
bit drawn out. (9/10)
2. "They Aren't All Beautiful" (5:37) is pure doom metal, growl singing, screams, machine gun
bass drum play, and loud metal guitar power chords. Still, the song is filled with many bizarre
and very fleeting twists--acoustic, ambient pauses, and jazzy chord twangs. Not my favorite
TD song. (6/10)
3. "Heaven and Weak" (7:43) begins mellowly, almost acoustic jazz-like, with a bass,
acoustic guitar and jazz-style drum kit. MICHAEL FRANKS-like beautiful male voice enters at
the 1:30 mark. Song gets amped up into heavy rock at the three minute mark and soon
begins to sound a little FRANK ZAPPA-ish--even DEVIN TOWNSEND-like. Amazing guitar
riffs at 4:30 introduce full-blown metal dance. Treated voice takes the lead at 5:34, song
comes a little down, then a bridge/interlude of harmonics and snare and bass drum beating
before everything escalates into full-blown space shredding. Cue DEVIN to close. (8/10)
4. "(Interlude 1)" (1:38) is a slighlty jazzy instrumental of two acoustic guitars with delicate
wah-pedaled electric guitar lead taking the melody over the top. Nice song! (9/10)
5. "The Ferryman" (7:51) opens with some dramatic and ominous solo organ play. This gives
way in the second minute to some very subtly played drums which are then joined around
the 1:30 mark by some equally delicate guitars, strummed and soloed. Then at 2:40 the wall
of metal comes crashing in--with three different metal voices: a growler, a screamer, and a
couple of melancholy disembodied ghosts. The fourth voice, a female, is actually quite lovely
if a bit pitchy. The reappearance of the organ--over/under the metal thrashing--is quite cool,
and supports the ghostly feel of the voices quite nicely--and actuallly takes the metal edge
off of the guitar play, bringing them down to almost "rock" level. The Harry Potter-like death
voices in the watery cave in the final minute are a bit bizarre, but, I guess, very effective in
perpetuating and completing that Charon/River Styx theme here. (8/10)
6. "Marid's Gift of Art" (3:42) sounds of water splashes and drips (carrying over from Charon's
pole-work of the previous song) opens the song before a pleasant, laid back
picked/strummed acoustic guitar and background electric fade in. The vocal (to a child?)
begins around 1:20. The vocal mirrors the guitar work throughout. Nice trumpet and cello
integration in the last half of the song. (8/10)
7. "Girl with A Watering Can" (8:45) opens with some beautiful folkish solo from a read
instrument (bassoon?) before an equally beautiful band sets up a full, delicate foundation for
the beautiful female voice (the "Girl"?) to join in around the 1:30 mark. The tempo seems to
be being played with a bit as the girl sings her tale, yet the constant bass rhythm betrays the
truth. Very interesting. A coda and bridge into a new section is accomplished with the use of
a sequence of heavy guitar chords. The new stand on which the female singer pours forth
her public voice is still quite lovely. At 5:30 a soft male voice takes over vocal lead, as if to tell
his perspective of the Girl. At 6:20 a metal guitar and synth solo section are played out to
great effect and emotional display. The final minute maintains that open pace while the soft-
spoken male returns to sing about the girl's flower garden and his missing her. Great song!
One of my three favorites on the album. (10/10)
8. "Birth Pains of Astral Projection" (10:35) opens with a guitar, bass and drum foundation
which has a bit of an Old West flavor to it. Very soothing as if played next to the fire under the
midnight stars. Gentle saxophone joins for a bit just before the two minute mark at the same
time a single sustained and wavering note from an electric guitar screeches menacingly in
the background. By 3:30 the song shifts into heavy metal mode (though ever retain some
calmer, less frenetic quality to it) as the doom growl voices emerge. At 6:40 Toby and the
beautiful music side comes back. Great guitar work (lead and rhythm) in the ninth minute.
One of my other favorites. (10/10)
9. "(Interlude 2)" (2:13) uses the splashing in a bathtub for its rhythm track with acoustic
guitar and horns. Nothing special and a little gimicky but okay. (8/10)
10. "Geography" (4:26) is acoustic guitar based with a straightforward Toby vocal and some
Frippertronics-like electric guitar sliding around in the more dynamic parts. Nothing too
A very good album with some great TD/moTW highlights, just not as mind-blowing as its
4.5 star album, rated down for its inconsistencies.
Review by admireArt — The "missing link" appears at last. This 2010, 54 minutes/3-sided, 2 LPs album, was composed in 1972 as a "soundtrack", for an unreleased movie that same year. The same year as "Rot" was composed (released in 1973), one of his most favoured works.
Why Conrad Schnitzler waited so long for this re-release, and making it almost impossible to aquire, in comparisson to other 'minor" works in his catalogue? That is the question. I do not know why.
Anyway, this work stands masterfully alongside, forget "Rot" or "Zug" even "Blau", this is the "missing link" from those to his excellent "Ballet Statique". Maybe because it was written for a film, his musical language travels through his most common "Dark/Bright" minimal tones, but eventually it turns out closer to the "dynamics" of "Ballet Statique", BUT without the "drum box" effect of it. Rhythm, when used, is supplied by "noise/like" electronic pulses, that being unmelodic, never resemble the "trademark" pulses of TD, of which he was once a member in their first incarnation "Electronic Meditations". (Therefore no
"drum/box" or "tinker-bells", rhythmical silly melodic lines or "riffs" ).
That is just for starters, the song writing never loses the sense of being experimental, but everything sounds perfectly structured, composition wise. So, it makes me think, that being composed for 'images", the music was more a focused composition, than a mere electronic music "experiment" (there are no gaps or "silences" between songs) . Because of the same, the project travels through single short -timed songs( 3 to 6 minutes, more or less), in a variety of "different" electronic related styles, that convey to a greater musical effort, due to its "un-minimalistic" approach in the long run. This by turn, offers, in these works, a wide scope of "moods" in comparisson to his most known "minimal' musical structures. Opening the door of his own and others, eventual future works, composition wise.
Innovative, daring, emotional, unique, excellent compositions, compressed in a 3-sided album, that is a "must", for any "Electronic" music audiophile or creator, Prog or not.
Essential Masterpiece of the sub-genre and of "Prog" in general. *****5 PA stars!!
The wait is over.
Review by Guillermo — I didn`t expect to find this single in the Prog Archives database, but I saw it today in the updates
section of this website. So, I`m going to write a review about it. This single was released in late 1981
before Christmas, almost at the same time that the "Classic Yes" compilation album from Yes was
released. By April 1981, Yes had split for the first time after the "Drama" album and tour of 1980, and
after this Squire and White spent some time trying to form a band with Jimmy Page from the also then
recently defunct Led Zeppelin. Despite they rehearsed and recorded some Demos for some months,
the projected band called "XYZ" finally was found to be uncompatible in musical styles, and they split.
So, some months later it seems that Squire and White had the idea to record this single with the help
from Peter Sinfield who wrote the lyrics (while Squire and White maybe only wrote the music), and
from the late Andrew Pryce-Jackman who did the orchestral and choral arrangements (and maybe
played some keyboards too) for this Christmas song, which is good, with some choral arrangements
which sound like inspired by a Church Choir. It also has some piano playing (maybe done by White),
plus drums, percussion, bass guitar, and lead and backing vocals (with all vocals maybe only done by
Squire). It also has a brief melody played with a recorder (soprano flute). I don`t know if this song was
played in the radio in the U.K. then (and it seems that it wasn`t released in the U.S. then), but I
listened to this song for the first time in 1991-92 when it was released in the "Yesyears" Box Set from
Yes, and now it seems that it is the only release on which this single could be found on CD until this
Box Set was discountinued some years ago. I don`t know why Squire and White wanted to record and
to release a single like this. Maybe they only did it for fun. But I think that now it is mostly interesting
for collectors only. Apparently the B-side was another version of the same song without vocals, but I
never have listened to it.
Review by psarros — Interesting Progressive Rock band from Rutigliano in the Puglia region.Architrave Indipendente's driving force was their love for 70's Italian Prog, leading to their formation in mid-00's with a line-up of two multi-instrumentalists, Oscar Larizza and Emanuele Palumbo, along with guitarist Stefano Renna, cellist Alessandro Mazzacane and drummer Piero Palumbo.Their debut ''Azetium a otto piste'' was entirely recorded in analog equipment and was only released on vinyl format in 2009.Only a very limited number of CD-R's was also distributed by the band for those more into modern sound technologies.
Architrave Indipendente played an intricate Progressive Rock with a bizarre musicianship, that could be both smooth and rich at the same time.The instrumentation is huge, including glockenspiels, flutes, recorders, cello, percussions and a spectrum of vintage keyboards among the usual rock instruments.Thus the result is very eclectic with the group using the 70's as a source of inspiration and managing to create a fresh album, despite the strong presence of analog equipment.Their style recalls diverse bands of the Italian Prog movement, such as E.A. POE, SALIS, IL VOLO, PREMIATA FORNERIA MARCONI or ERRATA CORRIGE, groups that produced a very chalenging sound through balanced and smooth arrangements.There are constant changes between folky acoustic textures with violin and flutes in evidence and electric moves with deep keyboards and evident Classical and Jazz influences.The material is very satisfying, ranging from calm soundscapes with jazzy and symphonic parts, led by piano interludes and various keyboards to more energetic showering, full of electrified atmospheres, characterized by its sharp synth flights and heavy organ waves.Moreover the album contains two long pieces, each divided in three movements, the 18-min. ''Emplecton'' and the 16-min. ''Azezio'', definitely a prog fan's paradise, where the group's talent comes in full shape, cleverly combining Classic Italian Prog with Folk and Jazz.
I am afraid this was the first and last album of the band.A little internet search reveals the fact that one of the band's leaders, Emanuele Palumbo, has moved on with his music studies, experiencing new forms of music and having relocated in Milan.
''Azetium a otto piste'' is destined to become an obscure album in the near furure due to its original vinyl pressing.A must-have for fans of Italian Prog and a nice example of challenging, flexible, multi-influenced Progressive Rock.Warmly recommended.
Review by kenethlevine — Riccardo Prencipe is to be commended for diligently performing and recording for the last 8
years as the leader of ethereal folk group CORDE OBLIQUE. Every other year he offers a
meticulously and lovingly prepared disk of finely aged yet ageless beauty. "Per La Strade
Ripetute" is no exception, yet it is not necessarily what I would have expected after 2011's "Hail
of Bitter Almonds".
Indeed the group had been slowly, steadily and classily incorporating pop elements ever since
their 2nd release, yet here we find a retrenchment of sorts into the more downbeat gothic
sentiments and tempos of their debut. One of the aspects I really enjoy is the greater variety of
violin phrasings, which is notable from the very first note of the first track, and carried to its
fitting climax on the stunning instrumental "Uroboro". Conversely, Prencipe has entirely
retreated from the lead microphone, which is disappointing given his hypnotic performances
on tracks like "Together Alone" and "My Harbour", among others, on prior collections. Some
other highlights are "My Pure Amethyst", where I continue to discern a ponderously strummed
CRANBERRIES influence, and a grand guitar instrumental "Requiem for a Dream".
While the resplendent sound is intact, "Per La Strade Ripetute" generally lacks the excitement
of prior works by CORDE OBLIQUE. The project synergy, in which one's listening pleasure is
enhanced from tune to tune and peaks from the cumulative effects, is not reaching me. While
it's lovely background music this time around, I crave a bit more from even my mellow prog. 3.5
stars rounded down.
Review by marcobrusa — It's good, but not that good. In terms of experimentation, having in count these are very
technical musicians, they deserve a prize. But my ears ask me to press stop after the fifth track.
It seems like the prog rock public in general do like this material but I think it's overrated. The
music is very mechanical which can be good in this times when there is no much you can
innovate, yet it's not that enjoyable for me. My favourite track is Atlas Stone, it's the most
balanced one in my opinion. However, if you started listening to prog with Dream Theater for
example, you will find this amusing. I personally think music is each time more technical,
digital, mechanical. I see that as a problem. The standards of technicity that bands like Dream
Theatre had settled in the prog scenario are affecting the "heart" of music. It seems now you
either have to be super technical and complex or dance around semi-naked to "entertain" the
listener (excuse me for including pop music in my point), or make songs that will remind you of
the 70's but "sound modern". Seriously, 4.5 stars for this album? For my it is a 3.5 star album,
the first 2 of the band being obviously better. 3 stars to level down the rating!
Review by VOTOMS — "I use voices a lot too, but not as conventional vocals. I always use a lot of voices, and if
somebody having an orgasm in the background is used as part of one of the waveforms, it
makes the sound more interesting, without the listener actually knowing what they're
- David Vorhaus, White Noise/The BBC Radiophonic Workshop
Another forgotten classic. In this mindblowing, amazing trip from the late 60s, you will open
your eyes to the revolutionary electronic (without any synth) music by late members of The
BBC Radiophonic Workshop, including Delia Derbyshire, a pionneer and master of the tape
manipulation techniques. Brian Hodgson, Delia Derbishire, and David Vorhaus
management to create sound effects is superb. These works features Paul Lytton on
drums. An Electric Storm has the unique capacity to bother your senses in a relaxing way.
Most of the tracks are calm when they are singing. The vocal lines are pretty catchy. But
listeners will please the unexpected with the dark atmoshperic unknown presence made by
sound textures and emulation of soundbanks. Edited tapes of intruments playing to sound like violins. Noises. Random voices of people laughing, screaming, crying and having sex in the most innapropriate moments.
Side A: Phase-In - The album cames from a totally different root, but eventually fell into the
avant-psychedelic territory. You will notice the psychedelia in the very few minutes: Love
Without Sound. This first track is a musical mushroom paradise. The noisy intersections
makes a contrast with the easy mood and desperate anger. The song is followed by the
erotic My Game of Loving, and then, the psychedelic experimental rock Here Comes The
Flea, featuring great female vocals, one of my favorite tracks, highly reccomended to Gong
and similar artists fans. Firebird is a great track, as well. The A Side is closed with the four
minutes proto-shoegaze of Your Hidden Dreams.
Side B: Phase-Out - Here we are, the lenghty track. The Visitation. Twelve minutes of
insanity. The track follows a line to play the lyrical part, then distorts them with the brilliant
magic of the tape edition method, causing strange vibes between the chorus. The last
moments of the album (the lenghty track called The Black Mass: An Electric Storm In Hell)
is very similar to some Einstürzende Neubauten records: harsh yells and almost industrial
noises. Well, in the case of White Noise, there are corrupted soundwaves seeming drills
and jackhammers. This track features a jazzy drum solo and a thriller feeling.
An Electric Storm is a knockdown. This disturbing soft album was ahead of it's time using
vintage recording effects by manipulation. Come on and take place in the White Noise
[Studio Album · 2013]
1. Down On The Road Ahead (3:26)
2. The Golden Chariot (4:56)
3. Until I Found You (3:37)
4. She (3:05)
5. Bridge To Nowhere (1:11)
6. Promises (4:04)
7. Lazaru's Feet (2:29)
8. No Coming Back (2:48)
9. Time Is Running (5:04)
10. On The Judgement Day (3:38)
Total Time 34:18