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Cellar Noise biography
Founded in Milan, Italy in 2013

Cellar Noise was born in Milan in 2013, from the meeting between Niccolò GALLANI and Alessandro PALMISANO. The two, united by the passion for progressive rock, decide to join forces and their compositional talents to give birth to an original project, respectful of the "classics" of the 1970s but at the same time projected to more modern sounds. The main core of the group completes when the keyboardist and guitar player adds Francesco LOVARI, singer, who will give his personal contribution writing the lyrics.
After several line-up changes, in 2015 the rhythm section of the BERSAN brothers, Loris at the bass and a young Eric on the drums are composed. The line-up is finally complete.
Cellar Noise continues the writing of the songs, which they propose during the concerts, receiving positive comments and getting the victory in a band contest between their city. In 2016, the band met Fabio ZUFFANTI, who, fascinated by their music, decided to offer themselves as an artistic director and to follow the creation of their first record, recorded in Genoa, released for AMS Records February 10, 2017.

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CELLAR NOISE discography

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3.75 | 88 ratings
3.80 | 30 ratings

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Showing last 10 reviews only
 Nautilus by CELLAR NOISE album cover Studio Album, 2019
3.80 | 30 ratings

Cellar Noise Symphonic Prog

Review by TCat
Collaborator Eclectic Team

4 stars Cellar Noise is a Symphonic Prog band from Milan, Italy, founded in 2013 by Niccolo Gallani and Alessandro Palmisano. Their love of progressive rock was the thing that gelled into a full band. Their 2nd album, released in September 2019 shows the band exploring some other avenues in their sound, but still coming back to the progressive sound when all is finished. "Nautilus" is this 2nd album which features 8 tracks with a total run time of over 52 minutes. The line up consists of the two founders Gallani on piano, organ, mellotron and synthesizer; and Palmisano on guitars. The other 3 members consist of Francesco Lovari on lead and backing vocals, Moris Bersan on bass and classical guitar, and Eric Bersan on drums and percussion. Guest Laura Meade also provides vocals for the track named "Her". All of the tracks are sung in English.

"The Creator" (8:07) crashes into existence with a very progressive and heavy beginning with fast moving drums and rousing guitars. Soon, the vocals come in, which right away reminds one of a lot of the Neo-prog bands out there. This track seems to be mostly concerned with a heavy sound however, not necessarily metal, but more of a Heavy prog sound. The music is also dynamic however, and the vocal melody is not typical pop/rock either, a little complex, but necessarily atypical. Almost halfway through, the mood becomes darker, a new melody emerges, and there are many words in there that your mother would not appreciate. Another major change comes along at 5 minutes when the music calms to a simple piano-led vocal. A nice emotional instrumental re-build later on brings the track to a satisfying conclusion pushed forward by synths and guitar. This track is an excellent and effective opener, for sure.

"Our Last Dance" (5:58) begins much calmer with soft guitar and sustained keys with mellow vocals. The drums soon bring in a moderately slow rhythm. The music begins to build at 2 minutes and gets a bit heavier and dramatic. What seems to have started as what might be an odd love song turns into one about a man on the edge of sanity in a mental hospital from the sounds of it, and then an awesome and very progressive instrumental break takes the song further away from pop. It's a nice clash of styles in a song that I had at first disregarded as a typical pop/rock song because of the seemingly corny title. The title track "Nautilus" (5:32) comes up next. This one does actually veer more into safe prog-pop territory. The lyrics, though, are surprisingly depressing for the more poppy and cheery sound that it brings out. The instrumental is pretty solid however, and that helps to make things more interesting. I must say the band can smoothly move from what starts out as something typical and develop it into something more interesting by the time the track is finished, and that is what happens here.

"Under My Command" (8:30) begins with a nice piano interlude that the vocals soon come in on. There is some nice emotion here and a bit of freedom is taken on the main melody allowing the vocalist to improvise on the melody a bit. There is more of a symphonic sound to this track provided by synth layers. The music starts to move a bit faster after a while as the drums become more active, but the smooth synth sounds continue. The melody becomes more dynamic not necessarily resting on a single theme. About halfway through, the music calms again to guitar chords and pensive synths. This rolls along instrumentally for a while at this slow tempo. Around 6 minutes, you can hear things building dramatically, then a sudden roll of drums brings in a heavier guitar-laden sound supporting a very dramatic and emotional vocal section.

"Leeches" (4:54) in contrast, builds to a quick and lively guitar-driven track that moves to the heavy prog sound. Chunky guitar riffs push the vocals to a rougher edge and the track is quite solid with some great tempo changes. The music really matches the overall negative vibe of the lyrics on this track. The synths that accompany the guitars emphasize the dark feeling of the track. "Her" (4:50) contrasts this track by moving to a soft and melancholic sound. A slow pensive tempo backs the soft guitar and sustained synths. Soon, guest vocalist Laura Meade adds her vocals to the track and give it the smooth softness that is needed here giving a nice degree of comfort to the dark lyrics. I wouldn't mind hearing more of her vocals as her voice is quite lovely and has a nice range. It is all followed up by an expressive electric guitar solo in the instrumental break.

"Omega" (12:05) takes us back into solid progressive territory again. It starts of with mysterious sounding piano notes playing in a minor key against sustained synths underneath it. The symphonic effect from the synths builds and then backs off again. Vocals start with a slow melody sung with light accompaniment, which builds back up again as the emotional level rises and then a sudden, solid increase of intensity brings in a powerful riff led by guitar and synth. An excellent guitar solo comes in after 3 minutes, then the music slows again with strong acoustic guitar chords and then a take over by the keys and synths bring it all back down, a pause, then boiling bass suddenly comes out of nowhere, and the power level shifts up about 5 notches as things get suddenly heavy and dark, not unlike a Porcupine Tree track with rousing guitar riffs, dark synth washes and progressive greatness. It all calms down again after 8 minutes and dark lyrics return with minimal accompaniment. There is another sudden build after another verse and the return of the vocals build it all to a major key shift that take the track to a different plane, and then it is all brought to a sudden and heavy progressive section that carries it all to a satisfying end. The final track here is the short "Relics" (2:41) which is the sound of drums fading in along with a piano and acoustic guitar playing a repeating riff while some other keys slowly add in layers and, in a way, it wraps it all up and then fades away slowly.

This is quite a satisfying sophomore album from this band that seems to be quite talented. There is a good variety here as the band explores dark themes against both heavy and soft moods, many times flowing from one style to another seamlessly. All of the areas they explore end up leaving you with a collection of excellent tracks that overall leave you satisfied by the end. The overall sound is more on the heavy side of prog with occasional symphonic effects brought in to keep the sound from being too predictable and giving some tracks additional atmosphere. Sometimes, the music doesn't quite match the lyrical content, but that is okay, not really much of a bother. The album really does come close to being a 5 star album, but just doesn't quite reach the essential stage, so it is definitely a strong 4-star album. Nevertheless, it is defiantly an excellent album that would easily fit into anyone's progressive library and possibly even become a favorite. Very impressive and highly recommended.

 Alight by CELLAR NOISE album cover Studio Album, 2017
3.75 | 88 ratings

Cellar Noise Symphonic Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

3 stars A Fabio Zuffanti find, this young Italian band is making very nice neo-GENESIS prog. Poor sound production (a consistent Zuffanti trait, in my opinion), the band members have a great sense of melody and drama and are truly on their way to mastering the challenging shifts and turns of symphonic prog. The music reminds me of BABYLON's eponymous 1980 album with less noticeable drums. Nice incorporation of classical instrumentation into their mixes. They will certainly be a band to watch in the future.

1. "Dive with me" (9:32) modernized "Watcher of the Skies" opening. Too derivative. Piano and acoustic guitar duet section that follows is awesome--soon joined, slowly, by the rest of the band. A little too bombastic and simple-- though nice keyboard/synth work. Again, too much like a study in mid-70s GENESIS music. (8/10)

2. "Underground Ride" (8:03) opening section of acoustic guitar and voice, later joined by Mellotron, is nice. Electric guitar solo is sufficient. Vocal suffers in next verse. Melodic sophistication and harmonic support are rather simple, one-dimensional. Charlie Chaplin-like spoken section in fifth minute is nice. Following Genesis build and Tony Banksian solo are good. Best guitar solo on album screams right after. Poor ending. A top three song for me. (8.5/10)

3. "Embankment" (6:29) nice slow, soft opening section. It's the bigger, fuller, electronic sections that gets oversimplified. Too much senseless meandering. (7.5/10)

4. "Temple" (8:24) inviting acoustic guitar opening followed by slow-build of heavy organ. Song then resets into slow, calm storytelling mode. A little RUSH-like but the instrumental bridges and codas are quite simple--like Prog 101. Acoustic guitar return is quite welcomed. Nice singing here and succeeding use of oboe. (8/10)

5. "Blackfriars" (3:27) kind of "Get 'em out by Friday" opening with theatric vocal. Competent instrumental performances and better than average composition. (8/10)

6. "Move the Stone" (5:45) nice piano and voice NeoProg opening with awesome use of bassoon (too low for oboe, nicht wahr?) Another vocal over piano section with oboe solo following. Enter soloing electric guitar just after the three minute mark. Nice key change at 3:40. Sensitive and engaging. Best song on the album. (9/10)

7. "Monument" (8:52) has a true GENESIS sound and feel to it--kind of like Nursery Cryme's "Fountain of Salamacis." The piano and voice section is nice--vocal reminding me of Doroccas from 1970s Ft. Lauderdale band BABYLON. Followng section is nice GENESIS/GLASS HAMMER section using formula from Prog 102 class. (8/10)

High three stars album; nice addition to prog world. A band who is working hard to emulate the basic sounds and structures of 1970s GENESIS but whose gifts really lie in their most simple, acoustic supported vocal arrangements. A band to watch!

 Alight by CELLAR NOISE album cover Studio Album, 2017
3.75 | 88 ratings

Cellar Noise Symphonic Prog

Review by Mellotron Storm
Prog Reviewer

3 stars 3.5 stars. CELLAR NOISE are a young band out of Italy forming in 2013 and this is their debut released this year(2017). Fabio Zuffanti became a fan after hearing some of their music and offered himself to help them out with the recording process, and they of course welcomed his help and so he became the Artistic Director. The vocals are in English and there's a strong GENESIS vibe especially with the keyboards but also beyond that. We get three guests helping out with oboe, flute and cello.

"Dive With Me" is the 9 1/2 minute instrumental to get us started. It opens with the sounds of a subway train(see album cover) then the atmosphere slowly pulses. Piano only takes over after 1 1/2 minutes as the oboe joins in. It's building as the drums, bass and synths arrive. This sure sounds like GENESIS with those pulsating synths. It kicks in a minute later, mellotron too. It becomes uptempo and synth driven 4 minutes in. I'm not into this but I like when it returns to that GENESIS sound as contrasts continue. Piano only 5 1/2 minutes in as it slowly winds down and cello joins in. Oboe is back then mellotron and piano a minute later. It kicks back in after 8 minutes then piano only ends it.

"Underground" again brings GENESIS to mind right away with the acoustic guitar and gentle vocals. Mellotron joins in along with synths. The vocals stop before 2 minutes as the drums, organ and guitar lead the way but vocals are back quickly. Organ and spoken words 4 minutes in then fast paced acoustic guitar takes over as drums, bass, organ and more help out. Synths lead before 5 minutes in this uptempo section. A calm before 6 1/2 minutes with strummed guitar and almost spoken words, piano too then it kicks back in.

"Embankment" along with the next track "Temple" are my favourites from this album. "Embankment" opens with piano as reserved vocals join in. I like this a lot. Some emotion here. The mellotron rolls in around a minute followed by drums. It then turns fuller before 2 1/2 minutes before becoming heavier with guitar before 3 minutes. Nice. The synths are very GENESIS-like 4 minutes in then the vocals return.

"Temple" opens with picked guitar before it turns dark. It's building as some powerful organ joins in. A change before 1 1/2 minutes as vocals and a lighter sound take over. That darker and heavier sound will come and go. Check out the mellotron that storms in before 4 minutes during a heavy section. Picked guitar and vocals are back before 5 minutes like the intro. It starts to build then the guitar starts to solo over top around 6 minutes in, oboe too.

"Blackfriars" is one I'm just not into at all. Mostly because of the vocals. It's uptempo with lots of vocals. More GENESIS-like synths and a calm with mellotron ends it. "Move The Stone" is a relaxed tune starting out with piano and reserved vocals. Cello will join in as well. Laid back guitar, oboe, piano and mellotron after 3 minutes. It ends as it began with vocals and piano.

"Monument" is not a cover of that amazing FATES WARNING track unfortunately. It opens with acoustic guitar as drums join in followed by a fuller sound. This is fairly heavy until a calm with bass and mellotron arrives. Vocals 3 minutes in during a calm then it builds. Mellotron follows then we get another calm after 4 minutes. It does build again then we get a guitar solo after 7 minutes and it continues for about a minute.

A good album for sure but for various reasons I can't offer the fourth star.

 Alight by CELLAR NOISE album cover Studio Album, 2017
3.75 | 88 ratings

Cellar Noise Symphonic Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

5 stars Italian band Cellar Noise was formed by keyboardist Niccolò Gallani and guitarist Alessandro Palmisano back in 2013, and despite a few line-up changes since then, the band quickly came to the attention of modern Italian prog-rock icon Fabio Zuffanti, who agreed to produce their debut album. Zuffanti's gut instinct for spotting talent has once again paid off brilliantly, as Cellar Noise's 2016 debut `Alight' is an absolute symphonic knockout beginning to end, lyrically being an observation on the mundanity of modern life but managing both stark and hopeful themes, and a work that perfectly blends vintage prog-rock and current sounds.

On the surface, Cellar Noise often calls to mind the classic Peter Gabriel-fronted Genesis period (instrumentally at least, but not at all vocally) given a modern makeover by way of a younger keyboard-heavy Italian group like Unreal City, and they deliver a rich level of musical precision that reminds of classic Italian band Banco del Mutuo Soccorso. There's a touch here and there of heavier guitar grunt that will appeal to younger listeners, and it frequently has a refreshing vocal-driven melodic approach that will make it instantly accessible, as well as also being one of the better examples of an Italian band utilizing English of recent years.

Like with Promenade's recent debut `Noi al dir di Noi', it's perhaps a gamble that a vocal-driven band open their debut disc with a near ten-minute instrumental, but that's what `Dive with Me' is, and WHAT an instrumental! Think the regal Mellotron veils and organ pomp of Genesis' `Watcher of the Skies' spiced with lonely sax, Eric Bersan's peppy drumming, fancy acoustic guitars and sparkling grand piano, all growing together in carefully building drama. Once Niccolò's whirring keyboard overkill hits, we're instantly reminded of current popular Italian prog-bands like Unreal City and La Coscienza di Zeno, and as stirring violin, soft flute, creaking oboe and elegant cello concoct almost classical-flavoured themes, it definitely takes the band the closest to a pure RPI moment (or even Fabio Zuffanti's own symphonic Hostsonaten project), as well as being one of the loveliest and most exceptional instrumental pieces of the year.

But the vocal pieces don't disappoint either, as singer Francesco Lovari has a soothing and amiable voice, and his use of charmingly accented English here mostly works very well. He swoons and trills around bassist Loris Bersan's placid acoustic guitar strums and colourful keyboards of `Underground Ride', where grandiose Mellotron choir rises, Alessandro Palmisano's soaring Steve Hackett-esque reaching guitar strains and even stream-of-consciousness spoken-word passages intertwine throughout a gorgeous and melodic tune, and the two minute instrumental break from the 4:30 mark will make Genesis fans smile wildly!

The darkly romantic `Embankment' is book-ended with a vivid lyric aided splendidly by softly melancholic yet pretty piano, but the piece also unexpectedly breaks into dirtier heavy guitar tantrums and manic keyboard outbursts in the middle. `Temple' is highlighted by Loris Bersan's ravishing classical guitar, and the complex vocal arrangement offers great variety and easily met challenges for Francesco. But a darker searing heaviness is lurking just below the surface, and quickly glistening electric piano tiptoes, bubbling Moog trills and intimidating Mellotron strings and choirs burn the middle of the piece with hellish fire before an exquisite classic Genesis-styled three-minute instrumental climax.

A nice shorter break, the buoyant and brisk `Blackfriars' is Genesis given a heavier guitar snarl and a biting social commentary lyric, and `Move the Stone' is a welcome stripped-back ballad mostly carried by restrained piano, cello and flute touches but effortlessly still manages to work in some subdued powerful moments that never overwhelm. Darker album closer `Monument' holds a constant peppy momentum and breathless urgency, and even finds time for some moments of booming gothic intensity! Loris gets plenty of bass soloing spots to shine, and while the piece presents a confronting lyric about crippling social anxiety, it all builds to a hopeful and defiant finale - just an amazing end to a superb album.

There's endless things to recommended about this disc - incredible arrangements, vocals full of character, intelligent lyrics and top-notch playing (which includes probably the best piano playing on an Italian disc so far this year), and even better the whole album runs a nice vinyl length of forty-nine minutes which means it's easier to approach and will be replayed much more frequently (none of this packed-to-the-gills, 79-80 minutes CD limit nonsense here, thank you very much!). Mr Zuffanti might have a keen eye and great ear for big potential when he sees it, but the skill and talent of Cellar Noise is already all theirs, and this cracking debut album is one of the standout Italian works of the year well deserving of plenty more attention, and one that should also hold a great crossover appeal for English speaking prog-rock listeners.

Four and a half stars, but let's round it up to five for one of the best prog-rock releases of 2017!

 Alight by CELLAR NOISE album cover Studio Album, 2017
3.75 | 88 ratings

Cellar Noise Symphonic Prog

Review by mitarai_panda

4 stars Cellars Noise was founded in 2013 in Milan, Italy. Niccolò GALLANI and Alessandro PALMISANO are original members who are passionate about forward rock and deciding to do something like the classic 70's classic forward shake but adding a modern voice. Later lead singer Francesco LOVARI joined, he not only singer, but also wrote the lyrics. Then in 2015, BERSAN brothers and Eric joined, the team formed. The band continued to write, get good reviews at the concerts, and won the city's band competition. In 2016, the band met Fabio Zuffanti, fascinated by the band's music and decided to help them out their first album. February 10, 2017, "Alight" is released. However Cellar Noise although it is an Italian band, but the album is not the same as the traditional Italian forward shake, it can be said that the symphonic shake before the taste. The theme of the album is an observation of the modern secular life, but with some hopeful visions. Perfectly combining vintage classic avant-garde rock and modern sounds. I think it's a bit PG Genesis + Italian veteran shake before Banco feel. Get off is a concept album about the power of fantasy. The story is about a man entering the London Underground and then starting to fantasize. The song is inspired by the subway station name. The band name cellar noise is a metaphor that shakes our everyday paralysis, which is the theme of the album. This concept album has been suspended in the fantasy of the real world and the protagonist, and the protagonists, like everyone else, immerse themselves in the huge maze of London Underground to discover the meaning of existence - something that has been completely lost in day-to-day day-to-day work. Musically, hammond and mellotron make sound walls, then pianos, keyboards and guitars join in to serve concepts and narratives. The song is therefore structured, giving the listener a fascinating story from beginning to end.
 Alight by CELLAR NOISE album cover Studio Album, 2017
3.75 | 88 ratings

Cellar Noise Symphonic Prog

Review by The Jester

4 stars Review # 60. I always become very happy and excited when I discover new - high quality - bands, like the Italian Cellar Noise for example. The Milan-based quintet is a very promising new band, and their debut album Alight was a pleasant surprise to me. It includes 9 tracks and all of them worth the listener's attention. The album begins with the 9+ minute long instrumental Dive with Me, which I believe that, will be appreciated a lot by the fans of Progressive Rock. It's a rather upbeat and jolly - in its majority - tune, followed by the excellent 8-minute-long Underground Ride, one of the album's highlights in my opinion. (This was the first song I noticed and listened to it over and over again). The third song is Embankment, which is another highlight. It begins with a soft and melancholic piano intro, but it slowly evolves, and from a point and on, it changes completely. The things I wrote above about the first three songs characterize more or less all the songs in this album. There are many melancholic and soft moments, changing into upbeat and powerful parts, including lots of piano, mellotron and guitars. The lyrics are in English, and the singer's performance is very good. In a few words, Alight is a modern Progressive Rock album, obviously influenced by the great Prog bands of the 70's, but in a good way. It includes some really wonderful moments, some very talented and skillful musicianship and very good vocals. Well, what more can you ask for? Go for it! You won't regret it!

My Rating: 4.0 out of 5.0 stars

Thanks to rdtprog for the artist addition. and to Quinino for the last updates

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