Progarchives, the progressive rock ultimate discography

METRONHOMME

Crossover Prog • Italy


From Progarchives.com, the ultimate progressive rock music website

Metronhomme picture
Metronhomme biography
An Italian unit METRONHOMME were founded in Macerata in the summer of 2003, as a brainchild for developing original material composition upon miscellaneous projects. Their first works were conceptual theatrical composition for "L'Ultimo Canto di Orfeo", "Neve", and "Bar Panopticon". A drama of ballet / video clips / musical painting titled "L'Ultimo Canto di Orfeo" was released in 2005, a musical theatre "Neve" in 2008, and "Bar Panopticon" at Teatro Lauro Rossi di Macerata in 2010 (in collaboration with Associazione Marchigiana AttivitÓ Teatrali and Comune di Macerata). In 2019 their fourth opus "4" produced by themselves was released.

METRONHOMME forum topics / tours, shows & news


METRONHOMME forum topics Create a topic now
METRONHOMME tours, shows & news
No topics found for : "metronhomme"
Post an entries now

METRONHOMME Videos (YouTube and more)


Showing only random 3 | Show all METRONHOMME videos (18) | Search and add more videos to METRONHOMME

Buy METRONHOMME Music



More places to buy METRONHOMME music online

METRONHOMME discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

METRONHOMME top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
l'Ultimo Canto di Orfeo
2005
4.00 | 11 ratings
4
2019

METRONHOMME Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

METRONHOMME Videos (DVD, Blu-ray, VHS etc)

METRONHOMME Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

METRONHOMME Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.32 | 9 ratings
Tutto il Tempo del Mondo - 1.˛ikos
2020

METRONHOMME Reviews


Showing last 10 reviews only
 4 by METRONHOMME album cover Studio Album, 2019
4.00 | 11 ratings

BUY
4
Metronhomme Crossover Prog

Review by Kempokid
Collaborator Prog Metal Team

3 stars While I definitely end up saying this quite a few times, it's still no less true that I am quite appreciative of whenever I end up getting requested to review a barely known album like this, gives a nice change of pace from my regular listening and can often feel like it leads to some pretty enjoyable listening experiences. Metronhomme's 4 is yet another situation where this rings true, being a fun, pleasant instrumental prog album that captures a lot of the spirit of past prog acts while having their own bit of identity to it, particularly in the electric guitar tone having quite a clean, modern sound. Furthermore, the piano acts as the instrument that underpins most elements of the album, forming the core rhythmic backbone most of the time, but also breaking into more catchy, melodic territory to make it quite memorable in places as well. That's not to discredit the contributions that the rest of the band make to this either, as they all work in tandem to form the sound of the band, the peaks in intensity being full of energetic, groovy basslines, with the synths working to create a rich atmosphere that makes it all a good listen even during the slight lulls that occur from time to time. This is certainly an important thing in general, but especially for these sorts of albums that sometimes can feel as if they have the common pitfalls that a lot of modern prog can have.

From all the tracks here, the one that easily stands out the most to me is Blow-Up Automatic Chiodi, and it's almost all because of the acoustic guitar that's introduced in the 2nd half of the song. I love the way it not only introduces a different sound to what the listener has heard on the album up to this point, but also evokes a mysterious tone that separates it quite strongly from anything else here. Similarly, L'uomo Ombra is another standout for feeling so energetic and exciting, becoming almost explosive near the end, with the way it falls into almost complete silence before rising up dramatically is without a doubt one of the best moments to be found here. On the other hand, while the more bombastic moments are definitely more memorable and fun, it's the more understated, elegant moments that hold everything together more consistently, especially in terms of the drumming, having a nice bit of flair while maintaining a solid rhythm, playing off the piano remarkably well to establish a series of rhythmically interesting tracks for sure, particularly with Ortega. While I do find this a bit unmemorable at points without enough moments that really stand out to me and "wow" me in any particular way, this is nonetheless a very solid, well put-together album that I've happily listened to quite a few times at this point. Interested to see this band's other output for next time I want this sort of style of prog. Definitely worth a listen for those who are into some melodic, atmospheric instrumental prog, as it has a lot of the hallmarks that can make that music so enjoyable.

Best tracks: L'oumo Ombra, Blow-Up Automatic Chiodi, Salt

Weakest tracks: Hapax, R.I.P. Brian Diy

(Don't take my 3 stars here as a sign that I even slightly dislike it, as said, I find this to be quite a good album that certain people would definitely enjoy)

 Tutto il Tempo del Mondo - 1.˛ikos by METRONHOMME album cover Singles/EPs/Fan Club/Promo, 2020
3.32 | 9 ratings

BUY
Tutto il Tempo del Mondo - 1.˛ikos
Metronhomme Crossover Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars M╔TRONHOMME, a band comprised of four members coming from the Macerata region in Italy. This is their third release, an EP lengthy collection of seven relatively concise compositions. 'Tutto Il Tempo Del Mondo' (All The Time In The World) - besides some track names this is a reference to the COVID-19 circumstances all musicans are challenged with, no matter from what meadow they are coming from exactly. Actually forced or not, the musicians have focused on the virtual element in this case, decided to realize an entire new album quasi remote. The title suffix initiated by numero uno, well, this is pointing to a follow-up, right? And yep, a second effort is in the planning, they are promising. This music sounds unusual to me in some way. That's good, as long as it is not resulting in simple and disturbing noise, agreed?

Here we have a collection of short and rather eclectic song patches, very much piano / keyboard / synth laden, yet electronically styled stuff. Produced in a modern contemporary vein, with the incorporation of several samples. For the first time two vocal decorated songs are offered, a further development for the band. Overall this is reminding me a bit of the band Delirio Sonoro. Not rock music in a common manner one can say. Drummer Andrea Lazzaro Ghezzi exclusively assures that all percussions are provided via acoustic instruments. This might be a reflex due to some remarks. His input sounds relatively minimalistic. The songs are made in a rather melancholic mood, where the vocals respectively voices are more presented in parlando mode. Yep, unusual somehow, hence it takes some time to get used to. But hey, being innovative turns out to be a big plus in the end.

Let's drop the coin. Just take the wonderful Di Una Moneta Che Cade and the following Supermarket. I simply adore this flow in the meantime. Take your time, this is rich on impressions, oriental Middle Eastern flair here ... singer/songriter and jazzy ingridients there. The piano plays an important role, for example forwarding us into the marvellous ArkŔ, which closes with a somewhat whacked-out speech sample. For some time I thought it would be a special Italian dialect. But actually it's taken from the last speech of Romanian chief dictator Ceausescu at the end of 1989, where he's still blatantly insisting to stand for a socialist politics. Considering this EP M╔TRONHOMME are delivering no mass-produced goods, so to speak. That of course makes curious regarding the other albums they already have released beforehand.

 Tutto il Tempo del Mondo - 1.˛ikos by METRONHOMME album cover Singles/EPs/Fan Club/Promo, 2020
3.32 | 9 ratings

BUY
Tutto il Tempo del Mondo - 1.˛ikos
Metronhomme Crossover Prog

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

3 stars ...di una moneta che cade.

At the very first listen I had to wait for this song before something clicked in my mind, but I don't regret having waited enough, as with the following listens all the tracks deserved to be listened to.

What clicked is the similarity, at least what I think is a similarity, with the experimental side of Franco BATTIATO. So, having in mind something to be used as a key for the listening experience, I later appreciated the whole EP.

I (still) don't know the previous works of Metronhomme, so I can't say if this is different. For sure having composed, performed and recorded it by exchanging files via network during the lockdown must have had its impact on the overall process.

But let's speak about the music: Quarantine is a short instrumental mainly based on electric piano and keys. A bit jazzy with electronic percussion which are not sequenced but "played by hands" as the drummer Andrea GHEZZI proudly states on the bandcamp page. Short and light, not as dark as a quarantine can be. Come La Neve (As the snow), has lyrics and a lazy tempo. It gives me the idea of a naif painting or a b&w photograph. Very atmospheric.

As already said, "..di una moneta che cade" is my favorite track here. Experimental in the choice of sounds, with that bit of electronic which is not too invasive, so that the track can show its structure and continuity. But there is continuity throughut the whole EP. The sounds and the lazy tempo of the tracks, even when it gets more rhythm as in this one, are consistent with a dreaming soundscape. It gives the idea of a very unusual situation, like in some dreams, but far from being a nightmare.

"Supermarket" is very interesting. Experimental again, with the weird female voice speaking of trivial things like her favorite supermarket. The banality of daily life even during the pandemic.

Arkhe' is a greek word, meaning "beginning" or even "ancient". "Ark" derives from it. A piano based track, similar in some ways to the album opener. I'm not able to say what language is spoken below the music. Arabic or Russian?

Il rumore del Mare (The sound of the sea) is a proper song and the lyrics are about the strange summer of 2020. "L'estate dipinta su un muro" means "Summer painted on a wall". Curiously, "Son y Myr" (sound of sea) is one of the few things that I know in Welsh. Nothing to do with the album, which is closed by the darkest track: La citta' di K. (The city of K,) which I suppose has something to do with Franz Kafka. I wonder whether the SciFi sound in the first part of the track is a theremin.

Not "essential" in the progarchives sense, but surely not wasted time. About 25 minutes of dreamy soundscapes and the intention of digging the Metronhomme music further.

Note: 3 PA stars can have a different meaning if instead of "good but not essential" it's read as "not essential but good". And good is what I mean.

 Tutto il Tempo del Mondo - 1.˛ikos by METRONHOMME album cover Singles/EPs/Fan Club/Promo, 2020
3.32 | 9 ratings

BUY
Tutto il Tempo del Mondo - 1.˛ikos
Metronhomme Crossover Prog

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

3 stars 2020 is terribly another special year for people all over the world. In the EU, especially Italy, people have been suffering from coronavirus pandemic since the early days of this year. Winter has come in the Northern Hemisphere, and such a terrible situation has not changed but worthened more. There is no coming nor going worldwide, and we have depression due to unclear future. However, we MUST try to find another hope and future brightness in a continuous manner. A Macerata-based combo METRONHOMME's latest ep "Tutto il tempo del mondo - 1.˛ikos" is filled with depressive atmosphere and heartwarming flavour of hope. They say this ep was produced with material each of them created at home, on instruments around them. I've heard some musicians work for production in the same way, and actually they create lots of good opuses. "Tutto il tempo del mondo - 1.˛ikos" is no exception. We can feel their essential musical spirit should be well unified and consolidated. Look at this sleeve, and feel their identification.

A tough "Quarantine" sounds like their sincere feeling. Monotonous but boiling melody lines would be naturally born via their anxious and restless condition at home. But somewhat strong will can be heard here and there, at least for me. "Come la neve" has lonesome atmosphere, just like we are watching snow falling through a window. A tad cold but heartsome. The former part of "...di una moneta che cade" is so beautiful and delightful enough for us to dream a fantastic dream. Voices of playing children on the background? The middle phase gives us massive cheer. This energetic texture would also be launched for themselves, I guess. But yes, under such a terrible circumstance we have some anxiety to visit a "Supermarket", that basically should be kinda wonderland for everyone. Their creation offers a combination of concern and tiny happiness for us all over the world. And our thirst to go outside actively can be quenched by the beautiful piano sound in "ArkŔ" that is another favourite of mine. "Il rumore del mare" shows that nature should be great and not easily be overcome. Anyway we never give up and get nature as our supporter. Via "La cittÓ di K." (what city do they mean, let me ask?) chilling air, deserted roads, and people's enthusiasm for reconstructing their own city in near future ... various movements can be heard overall.

Yes now it's time for us to put up with the situation but will see the sunshine anytime soon.

 Tutto il Tempo del Mondo - 1.˛ikos by METRONHOMME album cover Singles/EPs/Fan Club/Promo, 2020
3.32 | 9 ratings

BUY
Tutto il Tempo del Mondo - 1.˛ikos
Metronhomme Crossover Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

4 stars Obviously 2020 has been a challenging year, and historically, it should be reminded that it was the first time since Armstrong set his foot on the Moon (and even then, there were a few areas still in the realm of the unknown) that the entire globe was affected by the same thing, at the same time.! While it has created a fair amount of trepidation, anxiety, and outright dread, I am glad to report that we now have proof that the human species (while still plagued by many ills) have not conducted themselves like lemmings and collectively jumped off a cliff (except maybe politically, LOL). Being an amateur historian, I cannot help remembering my interviews with Londoners who survived the Blitz and extrapolated these words today:" We live under perpetual fear of death (bombardment) every day, every hour and every second for years, we can and did overcome". So, it is for the pandemic, for most of us found a way to cope, in conditions still way more comfortable today than in 1941. In relation to music, and for ever more, all productions recorded from April 2020 and ongoing, were under this bunker-mentality umbrella, a fact that warrants at the very least our admiration. Music has always been the panacea that keeps humanity sane.

As Andrea explains: "As you can hear, it is completely different in terms of sound, due to the conditions in which it was born: the April / March lockdown. We never met during the composition, it was recorded separately in our houses, often using objects adapted for the purpose! (especially the rhythm part: electronic drums were NOT used; everything is played by hand). The project was born spontaneously, without premeditation and almost for fun ... and in the end our most experimental work came out".

While "4 "was a smashingly modern instrumental prog album, you can immediately "feel' the difference here, I can give the analogy between Talk Talk's Colour of Spring and then subsequent leap forward on Spirit of Eden: an existential shift away from the comfortable and the immediate. Metronhomme sought to include voices, screams and vocals but more as effects than, say actual 'songs. I managed to catch on from the get-go, the material on this EP is more ephemeral, more spiritual, more confused and confusing than anything before. It is also a musical window on a specific place and time, where entitled freedom is tossed out with the dishwater! I mean titles like "Quarantine" and "Supermarket" clearly sheds light on the austerity of the crisis and the sounds, effects match the angst. Some will not necessarily like this starker minimalist approach, yet it's the product of our current reality, which is why this is an EP, something I am rarely fond of because I get teased into believe something substantial will come about before it suddenly ends with an unsatisfied appetite. The future will better reveal what we have lived through, especially if we do all return to "normal". "Tutto il Tempo del Mondo" (All the time in the world) is an appropriate title for a glimpse into a moment in time when, collectively and individually, we are somewhat brutally reminded what is important in our existence. I for one, miss visiting my numerous Italian friends and musicians. One fine day, soon!

This is one of the exceedingly rare times that a rating is not really a rational exercise. But those are the rules, so do not attach too much importance to the numbers but instead to the words.

4 patient patients

 4 by METRONHOMME album cover Studio Album, 2019
4.00 | 11 ratings

BUY
4
Metronhomme Crossover Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars You must hand it to the Italians, they just keep on bursting through the seams and creating a constant river of sensorial delights, seemingly with the uncanny ability to blend traditional and well-proven methods and adapt them to futuristic visions. They have been doing this since the dawn of civilization and can be witnessed in art, design, food, architecture, fashion, engineering, mechanics and of course, music. So not only has RPI maintained credibility with seemingly an inordinate number of musicians (not surprising, prog is a higher school of learning after all), but it has bloomed into variants that yearn to establish a new progression, unafraid of fantasy, courageous in overturning the norms, uncanny ability to veer into going against expectations. Everyone knows that singing is an Italian national sport, so when groups decide to take the instrumental route, the mind does boggle! While that tradition has always existed (Goblin, Arti+ Mestieri, DFA, to name but a few) , in recent years, many bands have left the microphone behind and concentrated on exceptional aural landscapes. Bands such as La Batteria, Protocollo C, Gran Torino, Mad Fellaz, L'Albero del Veleno, Daal, Moogg, Progenesi etc... are keen to display extraordinary musicianship, structural imagination, modern sounds and wizard production.

I have been biding my time in getting Metronhomme into my collection and, of course, patience being a virtue, the band from Macerata has finally asked me to review their albums. I will dispense with the suspense immediately and give the golden buzzer right now. "4" is a masterpiece that has all the hallmarks of a genre defining monument to creativity while maintaining to afore mentioned irrevocable RPI traditions of lyrical beauty, technical mastery and as Franco Falsini of Sensation's Fix once described as "Music is Painting in the Air". The electric guitars are appropriately covering the entire sonic spectrum from serene to sizzling, there is a heavy reliance on the magical piano that pervades quite evidently, though e-piano, synth and organ are also featured everywhere. The thrilling bass carves eloquently, giving the 'prosciutto' arrangement the right amount to fat to amplify the flavour. Mirco Galli is certainly a stunner. The most evident 'modernistic' trait is the drum style of Andrea Lazzaro, a crafty and contemporary upgrade of Brufordian simplicity that is pure beat candy. Overall, there is a solid jazzy approach that seeks to keep everything fresh, tight and impactful, very much like a cinema soundtrack (a common quote from prog neophytes). The fact that there is truly little to no 'noodling' , makes this even more of a revelation. No need whatsoever to provide a blow-by-blow account of each track, as this release can and should be listened to as a stirring whole, eleven chapters of pure sonic joy! Throw in great artwork and you have a flawless package that will keep on giving for many auditions to come, it has all the tools to be continually pleasurable and relevant. My only caveat is that the title "4" does not reflect the number of stars deserved here, which is a definite "5".

5 regulating measures

 Tutto il Tempo del Mondo - 1.˛ikos by METRONHOMME album cover Singles/EPs/Fan Club/Promo, 2020
3.32 | 9 ratings

BUY
Tutto il Tempo del Mondo - 1.˛ikos
Metronhomme Crossover Prog

Review by Steve Conrad

3 stars Tabernacle- the Divine Dwelling

Silver Linings

Here is progressive music writ large! Each track on the EP "Tutto il Tempo del Mundo1.˛ikos" ("All the Time in the World" was released in turn as it was developed, played, and recorded.

Starting in April 2020, as COVID-19 repercussions became vividly apparent, and with each succeeding track until September 2020, the resulting seven titles represent the 'first half' of an album Italian progressive band MÚtronhomme is in the thick of producing.

I Mention 'Tabernacle'

The ancient Greek term ˛ikos translates the basic unit of Greek society as 'home' and 'family', and in Biblical literature refers to the dwelling of the Divine- human, human groups, or building.

I suspect the cerebral members of MÚtronhomme utilize the 'thicker' meanings of these titles and terms, so I'm playing a bit of improvisation myself, based on that suspicion.

Silver Linings

During the enormous, global, and intensely personal events of the ongoing pandemic (as I write this), scarcely nothing feels 'normal'; nearly everything seems 'different'.

Members of MÚtronhomme, no less than any other grouping of individuals, were often homebound with selves and family members- their own ˛ikos, as it were.

And decided to honor their personal 'tabernacles' of creativity, of love and respect for music and for each other, by continuing to write, collaborate, play, utilize what's possible rather than pine for what is NOT, to record, and to be forward-looking rather than bitterly or wistfully gazing in the past.

Silver Linings, part 2

"Tutto il Tempo del Mundo1.˛ikos" then represents a 'progression' - after all this is a progressive rock website and a progressive rock outfit being reviewed! The silver lining is that MÚtronhomme found within themselves the permission granted by these extraordinary times to write and to play and to collaborate in quite new, yet somehow perhaps more elemental ways.

More gently. More subtly. More minimalistically, and whimsically, and repetitiously- in ways that challenged them, and challenge us to not only listen, but to HEAR what a pandemic sounds like to creative souls who are nonetheless still humans in an ongoing world-shaking event.

So, Make the Best of Things

Between 'found' objects to recreate drum sounds, and keyboard sounds many of which are synthesized, through the screens of computers and via the internet, with children, and perhaps a spouse or lover, with all the normal everyday things that require time and attention, these songs were assembled, added to and subtracted from, recorded, mixed, and then released into the multiverse.

No face-to-face rehearsals, no in-person arranging and developing of themes and passages- but making the best of things. 'Quarantine'. 'Like the Snow'. 'Supermarket'. And so on.

MÚtronhomme members kindly provided me with some of their thinking and translating (me here in the USA, them in Italy, via the internet and through the screens, etc), and of course these 'simple' tunes, these piano-based lines and compositions and ideas, with gentle exposition and development, with little of the epic RPI flourishes and drama, become real, and rooted, and profound.

The meaning of ArkŔ, for instance- that elemental fear and anxiety that small children feel sleeping in a darkened room, wind blowing- are there monsters under the bed?

The lyrics to 'Il Rumore del Mare' (The Sound of the Sea)- "the sound of the sea/it's an old fan/it is scrap metal abandoned on the street"...

Remember, progressive music does not necessarily mean loud flourishes and wild tempo changes.

So, Reset

Reset your expectations! Calm down, and go beyond the act of listening to actually hear what is being given to you and to us all. Being forced into the ˛ikos in which you find yourself, do you and I and everyone not need to explore the new reality, the new terrain, the new facts as they reveal themselves?

For me, that's what MÚtronhomme does with this EP- and it's quite a feat. I give it 3.75/5 stars.

 Tutto il Tempo del Mondo - 1.˛ikos by METRONHOMME album cover Singles/EPs/Fan Club/Promo, 2020
3.32 | 9 ratings

BUY
Tutto il Tempo del Mondo - 1.˛ikos
Metronhomme Crossover Prog

Review by RelayerFr

2 stars Here I am reviewing for the second time this group from the town of Macerata in Italy. With the confinement, METRONHOMME took the opportunity to produce "Tutto Il Tempo Del Mondo", a 25-minute "extended play" comprising 7 titles including 2 sung for the first time. The recordings were made with the means at hand using the instruments that each musician had at his disposal: in many cases, everyday objects found at home and readjusted for this purpose. Musical solutions have been found through the use of new or old unconventional instruments, such as: sofa, sheets of paper, hairbrush, cutlery, mirrors and basins, used for rhythm parts. A whole month was needed for the work of composition with exchanges on the internet. This modus operandi has deeply influenced the new work, giving it a new and original sound compared to the previous ones, thus adding a new chapter to their discography. METRONHOMME is a hybrid name of French origin which can be interpreted as "the precise man".

"4" is the title of the previous album released in 2019 which offered symphonic rock combined with Italian prog of the seventies, in symbiosis with modern and innovative influences, such as STEVEN WILSON, LA BATTERIA, ILLUVATAR, MIKE OLDFIELD and many others. 'others ... This first opus had brought me to bear the note of excellence. Let's see what it comes down to here ... "Quarantine" is aptly named in view of the circumstances already mentioned above and offers us a music a bit jazzy, arranged with touches of electro, composed of sounds and percussions sampled, an acoustic piano, and various synthesizers ... you can listen to it!

"Come la Neve" is a simple and delicate song, sung in Italian and referring to winter. The tempo is quite slow and punctuated by a bass, a piano and some special effects. "Di una Moneta che Cade" is presented as a mix of sound effects with ambient sensations evoking water falling in droplets, followed by a rhythmic and futuristic atmosphere with aerial impressions ... it's not bad! In "Supermarket" a woman speaks vehemently in Italian, and she does so at the start and end of this short piece. Between the two we can hear a big repetitive bass accompanied by an electric piano and various keyboards performing descents and ascents in a synthetic atmosphere.

"ArkŔ" is a pretty pianistic melody which matches two simple repetitive notes as a common thread over the entire musical frame. Towards the end, you can hear a man with an Eastern or Greek accent shouting repetitive words that I guess are: "I love" ?! "Il Rumore del Mare" sends us electronic pop music like the French group PHOENIX, it's quite rhythmic and it's sung in Italian ... not unpleasant! "La CittÓ di K." is undoubtedly the most elaborate piece, with its oriental clarinet well inserted in a frame with cinematic plots skilfully composed in the style of the Italian group LA BATTERIA, as well as a beautiful light bass played in a passage in the style of MIKE OLDFIELD . For me, this is the only track that looks like Prog in this cake filled with too short pieces, but it is also true that the frame and the context did not help much!

This record exudes clarity and futurism ... suddenly, the seventies have passed by, the compositions are minimalist and singularly lacking in complexity for a group stamped with prog. Adding electronics in a massive way is good but not enough to hide the forest represented by "4" the previous album. This artwork is made for fans and bootleg collectors. To be continued...

 4 by METRONHOMME album cover Studio Album, 2019
4.00 | 11 ratings

BUY
4
Metronhomme Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars As can probably be gathered from the album title, this is the fourth album by Italian instrumental quartet Metronhomme. Formed in the Summer of 2003, the band comprises Mirco Galli (electric bass), Tommaso Lambertucci (piano, synth), Andrea Lazzaro Ghezzi (drums) and Marco Poloni (guitars) and they were joined on this album by guest keyboard player Paolo Scapellato along with Manuele Marani who contributed double bass on one number. The normal way of releasing music independently these days is through digital only releases, and this like many others is indeed available on Spotify etc, or possibly a CD if the band can scrape together the cash or already have a following, but these guys instead came out straight away with an honest to goodness 180 gm vinyl release so needless to say I was already impressed before it made it to the player.

I was even more impressed by the time I had played it a few times, as here is a band who often use piano as the underpinning instrument, allowing the bass and drums to keep a melody in mind while the guitars move in many different styles. Synths are often used to pervade some brass-type sounds as opposed to the massive string-styles so often favoured by Italian progressive acts. One's mind is immediately drawn to the Seventies, as there is a definite flavour for that period, often mixed in with jazz-fusion, but not always. It is music which is immediately accessible, with the melodies intertwining and weaving together to create something which is both complex and immediate at the same time. On Prog Archives they are listed as being crossover progressive, and if I were still in the team I would have definitely have voted yes as this is solidly within that genre with commerciality and progressive attitudes combining together to create something which is incredibly pleasing and interesting to the ear. It is relaxing but never laid back, commercial yet still pushing boundaries and creating something which provides best results when the listener is prepared to do just that, listen with no other distractions. This is my first introduction to the band, but I look forward to hearing much more.

 4 by METRONHOMME album cover Studio Album, 2019
4.00 | 11 ratings

BUY
4
Metronhomme Crossover Prog

Review by RelayerFr

4 stars Once is not customary, another Italian to review! Even if the comparison may seem harsh, we can say without really being mistaken that Prog is to Italy what France is to cheese and wine, and this even if the transalpines are among the best in the field of casein. and wine! But let's take Italy as an example to talk about music ... and good! Here is a new group or almost coming from Macerata from the center of the boot in the Marche region to offer us a first album typed Crossover Prog. Why "4"? Because it simply represents METRONHOMME's fourth work, the previous three were conceptual theatrical performances, experiments on the relationship between music and dance (L'Ultimo Canto di Orfeo 2005), music and theater ( Neve 2007, Bar Panopticon 2010) whose design was impossible to reproduce on CD. "4" is a musical cover of the first show "L'ultimo Canto di Orfeo", this time without concept and without vocals, but with more freedom for an innovative and creative result. The group tells us that METRONHOMME is a hybrid name of French origin that can be interpreted as "the precise man". Note that the 180 gram vinyl is already available. You will discover an album comprising 11 songs, the longest of which is 5:28, with an overall average of 4:00 which may put off more of a picky progenitor ... And although nay, these 11 songs will not be tamed. at first draft, and will appear as real miniature cases containing nuggets of pure prog. You have been warned, to deserve them you will have to invest in listening very carefully and be seated with your hands flat on your knees to get all the content! "I Treni di Gabo" begins this opus with a beautiful rhythmic piano, surrounded by a heavy guitar rotating in a loop, whose foot of the musician remains well glued to the wah-wah pedal. Following are guitaristic ambiances in the "sixtee's" fashion which quickly go towards a little jazzy tune. High-pitched synths warn us by shouting "alarm" before the arrival of a rise in range of a superbly executed rock chord! (8.5 / 10). "L'Uomo Ombra" begins slowly and mysteriously and then goes into rhythm as to the sound of a metronome. The orchestra accelerates with the arrival of a drum roll to embrace the path of a guitar with electrifying and exquisite arpeggios, accompanied by synths with multiple and innovative modulations. The tour will be complete with the arrival of a cohort of guitars delicately and deliciously interpreted in the unique way of MIKE OLDFIELD (8.5 / 10). "Chiuso per Gatti" is a short and beautiful pianistic ballad accompanied by a double bass and a reassuring guitar that STEVEN WILSON could have played and mixed. Very pleasant! (8/10). A single string starts the intro of "Blowup - Automatic Chiodi" and then orchestrates LA BATTERIA style accompanied by a piano with the flashes of GERSHWIN. A jazzy chorus and soon Rock follow a quiet and lackluster little path ... could do better! (7/10). "Rip Brian DIY" is a short, typically rhythmic neo-prog interlude whose beginning will remind us of ILLUVATAR to repeat itself at the end of the track, but nevertheless admirable. Between the two ends a heavy guitar will accompany a very bright jazz fusion / funky part (8.5 / 10). "Quattro Pesci Rossi" translates in French as "four red fish". For cooking, I suggest a small fry whose largest specimen, which seems to move nonchalantly, will serve as a plump bass occupying the sound space in large waves, and will be well cut by a pilot drum with a nervous pulpit; then you will take a small striped stripe decked out in a bandana with MIKE OLDFIELD inscribed on it, the last one will have an irreproachable smile with impeccable teeth and will play by key all his talent as a pianist. This recipe is a tastefully effective little miracle (8.5 / 10). With its 4:09 "Ortega" is a condensed prog with jazzy intonations brilliantly interpreted by a keyboard tinged "doomy", but well enhanced here and there by a six strings with performing aspects and varied tones. A well-placed drum solo will give an additional cachet to this progressive piece constantly moving forward (8/10). "Salt" reveals to us a beautiful instrumental assortment with its pianistic predominance, a fiery drums with a BILL BRUFORD emphasis. The orchestration stands out here a little more from the lot with a complexity and a higher class, thanks to a permanent fluidity framed by an impression of false simplicity (9/10). "Hapax" is a ballad with sea scents illustrated by licked cymbals and songs in the background of men mimicking the sounds of the waves. This title was composed to make us travel and show us serene and remarkable regions. The end of this little masterpiece expresses a quintessence of voluptuous delicacy literally plunging us into a hypnotic half-sleep ... my favorite! (9.5 / 10). A piano and a guitar turn slowly in a loop at the intro of "Uccideresti l'Uomo Grasso" to gradually accelerate, coupled with a punctual and deep bass, an ardent piano takes over RICHARD CLEYDERMAN style (nothing pejorative), and brings us directly into a masterful neo-prog cadence, taken up by an increasingly thin and incisive six-string ... well yes, it must be said when it's beautiful! (9.5 / 10). "Acrobazie" is the last and longest track on the album. It is here a branch with its models on display. Everything is there, heavy intro, jazzy rhythm, gala piano, cinematic ballad admirably played by a guitar with the allures 60 ', and also a nod to YES with the intro of "Roundabout" located at the end of the track. A real review with some flamboyant passages, but not really transcendent on the whole (7.5 / 10) . Formed in 2003, METRONHOMME did not have its first attempt despite this opening discographic and self-produced album. This group offers us symphonic rock combined with Italian prog of the seventies in symbiosis with modern and innovative influences. This achievement does not occur immediately, it must be earned, because here the combinations are multiple, and the changes of rhythms frequent. Each instrument is placed in the right place, everything is precise, and nothing is left to chance. Every note, every sound, every special effect has been studied in a professional and corosive way in order to give the listener the feeling of great clarity at all levels. I would go so far as to say that conception and hearing are in this place of an intellectual order, because this complex work gives us a lot to listen to, but also to reflect. Its two attributes are required to be able to enter deeply into the heart of this work, and to immerse oneself completely. This album was for me an excellent discovery, it was made gradually and gave me a lot of nicely introspective work allowing me to draw all the keys. Strong recommendations!
Thanks to dAmOxT7942 for the artist addition.

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — jazz music reviews and archives | MetalMusicArchives.com — metal music reviews and archives

Donate monthly and keep PA fast-loading and ad-free forever.