MELOS

I vividly remember reading Jim's(Finnforest) extraordinary review of Melos from back before I joined this site. Now whereas the surreal art work depicting a psychedelic can of tomatoes in the process of being opened already inevitably had drawn my attention, it was the review of the music standing next to it that made me purchase the album in a heartbeat. So first and foremost a great big thank you goes to Jim for introducing me to this music. Wow, looking back now, I can hardly imagine having lived the last 5 years without Cervello's Melos in my life. It means so much to me..........like an invisible brother.

To start out on the wrong foot musically though, I'd like to point out the obscure and completely unrelated fact, that this record sounds remarkably close to an Italian version of Burnin' Red Ivanhoe. Yup, I know..... Who the feck is Burnin' Red Ivanhoe? Still, comparing obscure bands to equally obscure bands is something I genuinely adore. BRI are a Danish band with one particular Karsten Vogel behind the saxophone. Their brand of psychedelic jazz rock is one that I haven't heard reproduced anywhere other than on Melos. Cervello are however from Italy, and you certainly get a whiff of the ol Mediterranean seaboard in the cheeky vocals, the constant flirtations with acoustic folk elements and perhaps even more so in the general warm vibe that permeates this gem.

That vibe comes from the lack of synths, or at least I certainly think so. Instead of focusing on the more luscious and creamy character of the symphonic school of melodies, Melos feeds off the natural and slightly breezy sway of jazz rock. Though most notably associated with the musical equivalent of all chops and no sauce, the fusion offered up on this baby is beyond melodic. It's like a harmonious bird convention with added tumultuous rock. Through simple quirky reed sections with a mere 3 chords, this album soars into unknown heights of sonic bliss. Similarly to the aforementioned Danes, these guys have a way with melody that is second to none, and then with a charming crooked smile on their lips, like had the cheese just slit off their crackers, and a youthful nonchalance about em, Cervello then wraps up the remaining room of the album in a wild and adventurous strain of rock, that I have come to love so dearly.

There are moments on here where I get short out of the blue chills and feel the urge to spread my arms out and leap into the air. The ending pirouette rock of Euterpe with the sax and guitar lapping up against each other in the most ingenious manner conceivable, - the teenager inflicted anxiousness of the vocals that mixed with a nasal quality to them appear bittersweet and poetic throughout the record, - the inspiring windswept flute melody of Trittico, - the colourful spacey twang of the guitar in Scinsicne - all of these are highlights on a release that seems to be immune to any low points or meandering musical riff raff. I hoover them up tenaciously with my ears and feel invigorated and ready to explode, like had I just licked the surface of a small star.

If you decide to dive into this album on account of its rather peculiar take on RPI or just find yourself intrigued by the enigmatic cover, the one thing that truly matters is that you're diving into it - plowing yourself through one of the most original sounding records from the Italian scene. And if anything, Melos continues to show itself as a timeless piece of art each and every time you return to it. Cervello hit a nerve back when they recorded this thing, that's for damn sure, and as a consequence of that we're now able to tap into the mainline whenever we feel the urge for an electric jolt of genius.

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