PATHWAY TO HAMLET'S MILL

BLACKSMITH TALES draws its musical roots from varied progressive rock, playing early covers of GENESIS, KANSAS, PINK FLOYD, RUSH and GENTLE GIANT, since 1990. A tenuous, rich, symphonic sound with numerous ramifications.

"Hamlet's Mill Overture" symphonic, dithyrambic, airy, grandiloquent, stirring, heavy, brilliant; 2'30 to throw nothing away before leaving on a soft air reinflated by the fat and velvety synths; the vocals held by Stefano and Beatrice coming from Italian power metal. The piece blowing hot on the embers, melodic and heavy symphonic with keyboards for an incisive crescendo. "Key to the Temple" on Hollywood metal with tone, lyricism and instruments of yesteryear; hard riff, swirling pads. RHAPSODY, SYMPHONY X folk, medieval AYREON with the aggressive violin; the vocal duo alternates the lively voice with the solemn choir. The finale is martial with a crazy organ solo and another on the guitar using the wa-wa pedal; a good symphonic progressive metal. "C'è Casa a 30 Miglia" warm vocal by Beatrice in Italian for the energetic ballad talking about memories forever gone; a typical RPI title with flute and vibrant spleen guitar. "The Flame Within" harpsichord opening then energetic organ with the nervous pad, it starts off as modern RPI prog metal, much more expressive than the aforementioned genre. The fast break intertwined with the wild heavy choir of a VISAGE, yes there is inventiveness. Riff, synths, piano, the notes rush out, advantageously mixing symphonic rock and dreamlike expressive metal; I find some of the madness of ETERNITY X, Beatrice excelling in the final chorus, leering like Tarja on a divine soprano.

"Interlude: A Guide Through the Path" with a haughty and solemn crystalline piano leading to "Descent of God" on a prog metal worthy of a rock opera with the voices; a sound smelling of the orient with the melody, the phrasing sung like MEAT LOAF. The powerful riff with the harpsichord then the female choir, AYREON in the distance with his medieval flute. The drum break and drift of the 1001 nights brings the musical spice, the search for the saving solo; nervous, calibrated. "The Pendulum" short, mysterious electronic intro bringing the deliquescent piano for the melodic prog metal piece; ambient, spatial break with serious voice-over, the drum punctuating this moment, putting the sauce back with the vocal duo. We are well in the typical rock opera space with a final aerial piano solo. "Dance of the Stars" a capella by Beatrice in beauty and its tonic, medieval violin; on a Celtic IONA. This cheerful folk rock gives pride of place to the voice, reciting its story in a rhythmic and jerky way. The intense folk break with the endless violin and the intertwined voices in the distance for a clever mix of prog rock, heavy folk, innovative in itself and the finale in the style of MOSTLY AUTUMN.

BLACKSMITH TALES has potential finally, with time and repeated listening, it is very good and very innovative to boost my rating. Originelly on Profilprog.

Well, with a title so expressive, once can easily guess that theatrics and perhaps even a prog opera may be in the cards, with a strong medieval/Middle Ages flavour that was also apparent on their 2021 debut album "The Dark Presence", which was enjoyed by the community with high ratings. Eight electrifying tracks with a wide palette of diversity, swagger and well-executed contrasts galore, as well as exceptional vocal performances from singers Stefano Sbrignadello and Beatrice Demori. Needless to state, that the word Hamlet can only mean that the spirit of Shakespeare is present and accounted for in terms of inspiration. Having recently seen Othello in concert at the Budapest State Opera, I felt compelled to keep William's spirit alive by diving into this modern Prog opera. The core trio of keyboardists David Del Fabro and Luca Zanon with Marco Falanga on guitar and bass are the symphonic backbone, with new drummer Simone Morettin completing the line-up. As befitting the progressive rock operatic tradition, all the lyrics are sung in both English and Italian. The title track alone encompasses all the above-mentioned traits, a scintillating 9-minute sonic roller coaster that weaves quite the tale, a wake-up call to attention, as the ride will be most memorable. The guitar dynamics are instantaneously gripping, the keyboard-driven atmosphere verging on thrilling, seductively carving out tortuous melodies, ensuring that the rhythmic pulse keeps everything tightly on course, a passageway to a sense of heavenly discovery.

The clash of heavy prog bombast with a conflicting violin-fuelled folk/classical pushback is the "Key to the Temple", a vivid and forceful arrangement with a rousing dual voiced chorus that hits the pleasure spot, a thrilling organ blizzard with howling windswept electric guitar tirades, muscular percussive and an overarching symphonic embrace.

In the grand tradition of Italian folk canzone, "C'è Casa a 30 Miglia" is a brief ballad of sunshine and levity, underlining a profound sense of melancholia, a gorgeous piano platform for Beatrice to fully display her convincing technique. The manner in which she raises the level of emotion in the final verses really bangs the gong. Falanga injects a sustained guitar shiver, as a child-like voice takes over, inviting us to play on the merry-go round.

Having the audacity to interpose a short harpsichord theme in "The Flame Within" will make my day any day of the week, especially when contrasting with the fiery breakneck instrumental delivery where all the soloists get to shine, including the singing which is off the charts, the entire arrangement infusing Gothic, medieval and Middle Ages thematics that scorch deeply into the soul. A masterful performance that takes the breath away. A piano etude "Interlude -A Guide Through the Path "is a Del Fabro moment in the spotlight, an intricate and heartfelt flutter that serves to regenerate some power for the final push to the finish line.

The turbo-charged engine is gunned once again into maximum acceleration on the swarthy 'heavy metal thunder', of "Descent of God", with Stefano bellowing with operatic skill, Beatrice shouldering perfectly inserted adornments to full effect, while the organ/guitar coalition shows neither pity or remorse, as both Zanon and Falanga remain absorbed in their intertwining synergy. The latter in particular delivers a throttling bass solo, a set-up for a blistering axe attack. Transcending time and space, "The Pendulum" sounds like a more contemporary exercise, festooned with shiny electronics, raunchy guitar phrasings, moody ambient keyboard flutters, and a wide variety of mysterious vocal effects that only elevate the impassioned vocals, as exhibited by a dual voiced chorus that hits the bullseye with immediacy and applause. Inject some inspired piano playing and a stunning choir finale, and one has the makings of an impending standing ovation and a reverential bow from the cast as the velvet curtain loosens its restraints. A bold dance is therefore an obligatory send off to begin the festivities that will coronate this amazing album.

Straight out of a medieval banquet, the animated "Dance of the Stars" offers a lively performance from Beatrice, within a superbly constructed piano-led medieval melody, with orchestrations adding sweetness to the pulsating guitar, bass and drum structure. To plan such a well-crafted flow throughout the set-list is now rewarded by this closing piece, that simply kills it on its path to the final note.

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