RISVEGLIO

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Amazing new RPI voice

EGONON combines the best of the Italian progressive tradition with modern sensibilities and eclectic influences. Although "Risveglio," their first album, was self-produced, the sound is very professional. The band continues in the grand Italian tradition of incorporating Mediterranean (including Middle Eastern) influences, sounds, melodies, and instruments into their songs--besides the normal rock staples, we hear mellotron, cello, sax, trumpet, flugelhorn, oud, sitar, sarangi, and darbuka. The result is a wonderful blend of old and new, exotic and familiar, melodic and jarring--in short an excellent Rock Progressivo Italiano adventure.

As for the music, there is beautiful melody as seemingly only the Italians can do (listen to the chorus of "Voglio Essere Piccolo"); hard driving crunchy guitars (beginning of the same song); guitars doubled by sax ("Rosso Asfalto"); melodic acoustic guitars over a lush mellotron background ("Lacrime di Luce"). There are many Middle Eastern instruments, singing, and melodies ("Golgotha," "Khamsin"), even some Italian folk melodies.

Lyrically, according to lyricist and songwriter Fabio Calo', the album begins a "quadrilogy that sets a whole initiation process through Music; a different way to see spirituality, more of a Solar Hero's ultimate fight rather than a monk making Om on a solitary hill. . . . It hits your darkest parts soundly and lifts them up to the sky sublimated." Sung mostly in Italian, the lyrics are personal, meaningful, and poignant, adding another dimension to an already pleasantly diverse work.

All in all, this album is a phenomenal debut from a band that I look forward to hearing from in the future. I include Egonon with Gran Turismo Veloce, Absenthia, La Coscienza di Zeno, Il Tempio delle Clessidre, and Lagartija as the vanguard of the excellent new music coming from Italy. I can't actually imagine them getting any better. Five stars.

Oh Italy, you are so lovely!

And I am not a one-day fan of Italian prog, no, I am a truly follower of that progressive rock scene because they are always bringing new, fresh and original music, of course, with elements taken from past influences, but with an own and rising sound. Egonon is a new band whose music surpasses the RPI cannon, and includes an interesting blend of symphonic rock, with folk elements, jazzy moments and even some avant-garde tunes. They released in 2011 their debut album entitled 'Risveglio', whose 15 tracks will make you have a satisfying experience.

It opens with 'Phosforo' which is a wonderful opener song. Piano, percussion, strings and a great voice begin to build up this track. There are soft moments which later are contrasted with heavier ones in which electric guitars appear; there is also a brief passage where English lyrics appear, but well, I love Italian language, so I always prefer bands sing in their native language, it gives uniqueness. After some four minutes when you don't think about it, you are already listening to 'Lacrime di Luce' which is one of my favorite tracks of this album. Here I love the keyboards as background, the sometimes delicate sometimes heavy guitars, and of course I love Fabio Calo's voice. The song is very well crafted and gives as a result a wonderful composition.

With only two tracks, one can feel satisfied and wait for more good tunes. The next track is 'Risveglio', it features a sitar that produces an obvious mid-east sound complemented by percussion, however, seconds later it makes a drastic change making a heavier sound with electric guitar and strong vocals. The variety of musical and cultural elements in this song is worth highlighting, because we can listen to the 'ordinary' instruments, but in some moments they bring a flute, a sax, a sitar, and even a guest male voice that all together make an outstanding track, whose four minutes are a proof of the top-notch quality of Egonon.

'Alma senza virt'' continues with that particular Egonon sound which does not stand in only one style. Here we can listen again to sax, plus a wonderful viola, as well as the conventional instruments. One of the things I really appreciate is how the album easily flows, I mean, we are listening to a giant track divided in 15 episodes which are connected each other, here all of them are essential for the album's success. 'L'uomo Libero' is an example of that perfect fluency, and another of my favorite tracks, especially after two minutes when sax enters and a true dynamic passage is created.

'Voglio essere piccolo' has a powerful starting but it is softened seconds later, though guess what, it is like a roller coaster with moments of high and low intensity that is transmitted to the listener, so one can feel what the music suggests, no matter if you understand Italian or not. I am about to say that this is another of my favorite tracks, but well, which isn't? 'Golgotha' starts with a delicate saxophone for almost a minute, then guitars, drums, bass and voice enter, along with that particular mid-eastern flavor. Here we can listen how they enjoy experimenting and trespass boundaries.

'Khamsin' is the shortest track, but it is a very peculiar one nonetheless due to the addition of a disarming African voice, I ignore the language, but it sounds terrific. It is liked to 'Maya' where the Italian lyrics return but the mid-east sound is still there. Here, besides those sounds and cultural styles we can listen to a jazzy passage thanks to the saxophone, but later a violin and female vocals produce once again the folkish sound. Man, what a great mixture of elements, sounds, textures, cultures, styles, nuances, etc.

'Rosso asfalto' has a powerful introduction with the sax, drums and bass, later it slows down and little by little it begins to progress once again. The mellotron background is wonderful in the whole album, as well as the voice. There is a short pause after 4 minutes, later some spoken voices are heard and the song softly vanishes. 'Tra la note e l'Alba' continues with that soft sound in the beginning, but later it progresses little by little, adding electric guitar riffs, heavier tunes that all of a sudden are combined and contrasted with some experimental moments, like the entrance of sax.

'Tutto cio che avevo era un'anima' starts again with a delicate sound, with violoncello accompanying voice and guitar, later mellotron joins and creates a wonderful choral background. The last minute is vertiginous, faster and with some cool backing vocals. 'Sul lato caldo della strada' combines once again Italian and English lyrics, while the music lies in a mellotron atmosphere, along with rockish guitars (acoustic and electric), jazzy saxophone and nice bass lines.

'L'abito bianco' has a kind of sacred sound in the beginning, but later a new structure is being built with a delicate and mellow sound that in moments is even sensual with the addition of the clarinet. However, as usual they change and produce different sounds and moods, which is part of the own style of Egonon. The album finishes with 'Coda: 42km' a two-minute ending track that is like the final experiment of the band. Case closed, turn the page, and wait for their new album.

What a wonderful experience I had with this album, now I am eagerly expecting for the new Egonon work, which will be sure a guarantee of good music. My final grade will be five stars, masterpiece!

Enjoy it!

'Risveglio' - Egonon (8/10)

Although prog rock may not receive the same recognition today that it did in its prime, Italy is one place where the progressive tradition still holds strong. In fact, bands like EGONON go to prove that the Italy prog scene is going through another 'great age'. Among acts like IL TEMPIO DE CLESSIDRE and HOSTSONATEN, EGONON are pursuing the 'prog' sound boldly, without falling into many of its cliches. 'Risveglio' is the first effort by this band, although the professional approach and sense of adventure seems indicative of a band much more experienced. Lively, diverse and full of surprises, 'Risveglio' is a near-masterpiece from a band that is worth keeping an eye on.

Regardless of quality, I cannot say I would have been surprised, had EGONON pursued a 'symphonic' brand of prog rock here, as many of their contemporaries have done. Mellotrons and the theatrical Italian-language vocals typical of Italian progressive music are both here in great amounts, but this band may have as much in common with TOOL or even SYSTEM OF A DOWN as they do with PREMIATA FORNERIA MARCONI, or the 'classic' Italian bands. At first, hearing EGONON's grungy approach to the prog formula is puzzling, but they know how to make it work. Inching over the hour mark, 'Risveglio' boasts the performances of many talented musicians and instrumentation ranging from the typical guitars and keyboards, to trumpets, cellos, and sitar. EGONON seem determined to keep their sound from falling into any one style. Suffice to say, there are few albums out there where a listener is treated to grungy alt rock and Arabic folk music within the same disc.

'Voglio Essere Piccolo' may be my favourite cut from 'Risveglio', balancing out passionate anger and beauty in equal measure. Barring that, it is difficult to pinpoint 'highlights' within 'Risveglio'. The sheer variety and constant switching up of sound and style makes EGONON's music best approached idea-by-idea. Some of the more conservatively minded RPI proggers may find EGONON's modern approach to be a little too aggressive and promiscuous with style, but 'Risveglio' is one of the most interesting modern statements to come out of Italy's prog rock scene over the past year.

This is an album that has that dark mood I like and they keep it interesting with those Middle Eastern instruments and sound. This really was a trip though that offers up plenty of atmosphere and power as the mood and tempo shift often. This is never boring and it's quite adventerous. I can't praise this album enough and there's mellotron too.

"Phosforo" eventually is led by drums followed by reserved vocals. Piano, horns and more. Great sound. It's surprisingly heavy before 2 minutes and this will come and go. Nice grinding guitar late. "Lacrime Di Luce" opens with what sounds like someone trying to find a radio station. It kicks in before a minute then settles back with vocals as contrasts continue. I like the clarinet that comes and goes. Killer track. "Risveglio" has a Middle Eastern sounding intro then the drums kick in at a minute. Here we go ! The heaviness continues to be contrasted with the more laid back sections. "Alma Senza Virtu" has sparse cello to start followed by melodic guitar and reserved vocals. It's building with horns. Guitar before 4 minutes. "L'uomo Libero" has reserved vocals and flute as a beat joins in and more. It kicks in at a minute then settles back again. It then picks up before 2 1/2 minutes. Great sound. It settles again before 4 minutes. "Voglio Essere Piccolo" kicks in right away with a heavy sound then the vocals come in as it settles some. The tempo and mood continue to change. "Golgotha" has mournful sounding horns to start then it kicks in hard before a minute. Vocals arrive as it settles back. Violin-like sounds after 2 minutes then it turns jazzy after 3 1/2 minutes then heavy again. The sound of the wind blowing ends it.

"Khamsin" is a short piece with mournful vocals. "Maya" has spoken words, strings and bass as it builds. It kicks in with vocals before a minute. Spoken words as it calms down again. Contrasts continue. "Rosso Asfalto" is an amazing track where the heaviness comes and goes. "Tra La Notte E T'alba" opens with the usual chunky bass and deep sounding drums. Vocals join in. It picks up with horns. Grinding guitar after 2 1/2 minutes then it turns jazzy before 3 1/2 minutes. Kicks back in. "Tutto Cio Che Avevo Era Un'anima" is a vocal track where the tempo changes often. Guitar after 2 minutes. It ends with laughter and i'm laughing too. "Sul Lato Caldo Della Strada" has a dark intro that builds. So good. Reserved vocals join in then it turns powerful before settling back again as contrasts continue. Horns before 2 1/2 minutes then guitar. "L'abito Bianco" has these repeated words as vocal melodies join in. Very Middle Eastern sounding then the horns come in. "Coda : 42 Km !" ends the album with atmosphere and experimental sounds.

Maybe i'm just too hopped up about this right now but I have to give this 5 stars. Time will tell if this changes. An incredible release from Italy.

This brilliant debut release from Egonon convinces me that the band are truly one to watch for all RPI lovers. Incorporating a diverse range of instruments into their sound - including oud, sitar, sarangi, trombone, flugelhorn, cello, bansoori and darkuka - might have come across as gimmicky if Egonon didn't do such an absolutely superb job of incorporating their sounds into their music. And the instrumentation isn't the only unusual influence they bring to bear; evolving the classic RPI sound of yesteryear by incorporating substantially more heavy elements (including one memorable segment which resembles a metalcore breakdown backed by some gorgeous classical acoustic guitar), Egonon demonstrate that they aren't a simple nostalgia act either. Drawing on musical influences spanning decades and sounding thoroughly modern with it, Egonon prove with this album that the RPI scene has plenty of surprises to offer yet.