WARM SPACED BLUE

Warm Spaced Blue is the band's sophomore release from a group of young Italian virtuoso musicians who are drawn to create progressive rock music in the tradition of their RPI forefathers. Here is a band that has fulfilled the promise shown in its debut album. Ingranaggi della Valle burst onto the prog scene in 2013 with their amazingly mature concept album, In hoc signo. That album served notice that seriously talented musicians in Italy of a new generation were desirous of creating serious progressive rock music. Whatever reason impels them to do this is unknown to me. I just know I am exceedingly happy that they do.

1. "Call For Cthulhu: Orison" (9:24) opens up this album with a wonderful display of the growth and maturity these musicians have achieved--especially in the compostitional department as the band here uses much more use of space and slower development than In hoc signo. I have to admit to being rather surprised that the band chose to open with what is, for all intents and purposes, an instrumental like this (the first seven minutes) as the voice of lead singer Davide Savarese is one of the things I look forward to most. Still, a great song with a great sustained buildup and climax. (9.5/10)

2. "Inntal" (10:34) opens slowly, almost delicately, even as the song moves into full-band mode, but the dynamic build up is there, they're just taking their time. By the break and ensuing slow down at 2:25 they have established a solid foundation--one that was considerably lighter than what follows as a dark, heavy YUGEN-like feel emerges with the second section. As things amp up, Mellotron vocals and violin taking leads. The meaning and significance of the recording of spoken German in the sixth minute is lost upon me, as is the vocal that follows, but it flows. Nice guitar solo in the ninth minute. Great drums throughout, as usual. (This guy is a god!) (9/10)

3. "Call For Cthulhu: Through The Stars" (3:13) opens with ominous sounds of distorted, heavily treated bells and organ which are eventually joined by slow treated/distorted piano notes. More ambiguous than scary. (I don't know what their intended effect was.) (7.5/10)

4. "Lada Niva" (8:49) a complex song that displays this band's amazing compositional skills (as well as drummer Shanti Colucci's extraordinary skills). the only flaw with this song is that the vocal feels somehow unfinished. Untreated, it feels as if it should have a little something to help it fit into the song. (10/10)

5. "Ayida Wedo" (5:52) opens with what sounds like a fast paced electronic sequence which is quickly joined by heavily riffing guitars, bass, and drums before Mellotron signals a change. Everything drops down to bass and drums before unhurried electric piano and electric guitar arpeggi join in. This is the drummer's showtime. (And he is impressive!) Then at 2:30 things quite down again for a little bridge from the vibes before a new set of instruments--synths and heavily treated guitars--take over the previously established melody (and add some really beautiful stuff to it). (It's still the drummer on display, though.) Another quiet interlude at 4:20 sets up the final run-- which includes a repetitive bass and synth sequence playing steadily while the drums and other incidentals add their wildness. Interesting and cool song in a NOT A GOOD SIGN way. (9/10)

6. "Call For Cthulhu: Promise" (6:44) a surprisingly simple and emotional beginning to the album's final song (the drums don't even appear until the 1:30 mark!) with acoustic guitar and organ supporting Davide's plaintive vocal. It's trying to be eery but it's failing (for me). It's also like it's trying to be a Zeuhl song. After the soundscape really fills up around the 3:40 mark it finally begins to succeed in expressing the heaviness of its theme. And then there are some subtle shifts starting at the five minute mark--little individual inputs, each admitted one at a time, which turn the song's mood into a more positive, hopeful feel. The ending section saves the song! (8.5/10)

4.5 stars; a near-masterpiece of progressive rock music. Not quite fulfilling the promise and potential shown in their debut but I do consider this a step forward. I look forward to seeing/hearing more vocals and dynamic variation in the future (and as much Shanti Colucci as possible, of course!).