4

Once is not customary, another Italian to review! Even if the comparison may seem harsh, we can say without really being mistaken that Prog is to Italy what France is to cheese and wine, and this even if the transalpines are among the best in the field of casein. and wine! But let's take Italy as an example to talk about music ... and good! Here is a new group or almost coming from Macerata from the center of the boot in the Marche region to offer us a first album typed Crossover Prog. Why "4"? Because it simply represents METRONHOMME's fourth work, the previous three were conceptual theatrical performances, experiments on the relationship between music and dance (L'Ultimo Canto di Orfeo 2005), music and theater ( Neve 2007, Bar Panopticon 2010) whose design was impossible to reproduce on CD. "4" is a musical cover of the first show "L'ultimo Canto di Orfeo", this time without concept and without vocals, but with more freedom for an innovative and creative result. The group tells us that METRONHOMME is a hybrid name of French origin that can be interpreted as "the precise man". Note that the 180 gram vinyl is already available. You will discover an album comprising 11 songs, the longest of which is 5:28, with an overall average of 4:00 which may put off more of a picky progenitor ... And although nay, these 11 songs will not be tamed. at first draft, and will appear as real miniature cases containing nuggets of pure prog. You have been warned, to deserve them you will have to invest in listening very carefully and be seated with your hands flat on your knees to get all the content! "I Treni di Gabo" begins this opus with a beautiful rhythmic piano, surrounded by a heavy guitar rotating in a loop, whose foot of the musician remains well glued to the wah-wah pedal. Following are guitaristic ambiances in the "sixtee's" fashion which quickly go towards a little jazzy tune. High-pitched synths warn us by shouting "alarm" before the arrival of a rise in range of a superbly executed rock chord! (8.5 / 10). "L'Uomo Ombra" begins slowly and mysteriously and then goes into rhythm as to the sound of a metronome. The orchestra accelerates with the arrival of a drum roll to embrace the path of a guitar with electrifying and exquisite arpeggios, accompanied by synths with multiple and innovative modulations. The tour will be complete with the arrival of a cohort of guitars delicately and deliciously interpreted in the unique way of MIKE OLDFIELD (8.5 / 10). "Chiuso per Gatti" is a short and beautiful pianistic ballad accompanied by a double bass and a reassuring guitar that STEVEN WILSON could have played and mixed. Very pleasant! (8/10). A single string starts the intro of "Blowup - Automatic Chiodi" and then orchestrates LA BATTERIA style accompanied by a piano with the flashes of GERSHWIN. A jazzy chorus and soon Rock follow a quiet and lackluster little path ... could do better! (7/10). "Rip Brian DIY" is a short, typically rhythmic neo-prog interlude whose beginning will remind us of ILLUVATAR to repeat itself at the end of the track, but nevertheless admirable. Between the two ends a heavy guitar will accompany a very bright jazz fusion / funky part (8.5 / 10). "Quattro Pesci Rossi" translates in French as "four red fish". For cooking, I suggest a small fry whose largest specimen, which seems to move nonchalantly, will serve as a plump bass occupying the sound space in large waves, and will be well cut by a pilot drum with a nervous pulpit; then you will take a small striped stripe decked out in a bandana with MIKE OLDFIELD inscribed on it, the last one will have an irreproachable smile with impeccable teeth and will play by key all his talent as a pianist. This recipe is a tastefully effective little miracle (8.5 / 10). With its 4:09 "Ortega" is a condensed prog with jazzy intonations brilliantly interpreted by a keyboard tinged "doomy", but well enhanced here and there by a six strings with performing aspects and varied tones. A well-placed drum solo will give an additional cachet to this progressive piece constantly moving forward (8/10). "Salt" reveals to us a beautiful instrumental assortment with its pianistic predominance, a fiery drums with a BILL BRUFORD emphasis. The orchestration stands out here a little more from the lot with a complexity and a higher class, thanks to a permanent fluidity framed by an impression of false simplicity (9/10). "Hapax" is a ballad with sea scents illustrated by licked cymbals and songs in the background of men mimicking the sounds of the waves. This title was composed to make us travel and show us serene and remarkable regions. The end of this little masterpiece expresses a quintessence of voluptuous delicacy literally plunging us into a hypnotic half-sleep ... my favorite! (9.5 / 10). A piano and a guitar turn slowly in a loop at the intro of "Uccideresti l'Uomo Grasso" to gradually accelerate, coupled with a punctual and deep bass, an ardent piano takes over RICHARD CLEYDERMAN style (nothing pejorative), and brings us directly into a masterful neo-prog cadence, taken up by an increasingly thin and incisive six-string ... well yes, it must be said when it's beautiful! (9.5 / 10). "Acrobazie" is the last and longest track on the album. It is here a branch with its models on display. Everything is there, heavy intro, jazzy rhythm, gala piano, cinematic ballad admirably played by a guitar with the allures 60 ', and also a nod to YES with the intro of "Roundabout" located at the end of the track. A real review with some flamboyant passages, but not really transcendent on the whole (7.5 / 10) . Formed in 2003, METRONHOMME did not have its first attempt despite this opening discographic and self-produced album. This group offers us symphonic rock combined with Italian prog of the seventies in symbiosis with modern and innovative influences. This achievement does not occur immediately, it must be earned, because here the combinations are multiple, and the changes of rhythms frequent. Each instrument is placed in the right place, everything is precise, and nothing is left to chance. Every note, every sound, every special effect has been studied in a professional and corosive way in order to give the listener the feeling of great clarity at all levels. I would go so far as to say that conception and hearing are in this place of an intellectual order, because this complex work gives us a lot to listen to, but also to reflect. Its two attributes are required to be able to enter deeply into the heart of this work, and to immerse oneself completely. This album was for me an excellent discovery, it was made gradually and gave me a lot of nicely introspective work allowing me to draw all the keys. Strong recommendations!