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LEVIATHAN

Neo-Prog • Italy


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Leviathan biography
It's very common to find Italian Symphonic bands, but no so much when we are talking about Italian Neo Prog bands. So when I knew I had to write again the LEVIATHAN bio, I placed special interest in them, to see how they blended their traditional and peculiar melodic sense with the strength and modernity of Neo Prog.

LEVIATHAN was formed in 1985 by three very young Italian musicians, Alex Brunori (vocals and lyrics), Franco Pezzella (keyboards) and Andrea Moneta, drums. Immediately the band started to work at their first demo "The 7% Solution EP" which saw the light in the same year. This demo has two long tracks, but sadly and because it was a tape and the distribution was limited, there are almost no copies of it today. But the point was made and they caught the attention of the critics due to their particular sound.

In 1987 LEVIATHAN recruits Sandro Wlderk (bass) and Rocco Paterna (guitar) and their definitive lineup was complete, with Wlderk credited for all the compositions and Brunori for all the lyrics and the conceptual art direction. Just before recording their first album, Rocco Paterna leaves the band, replaced by Giorgio Carana (recently deceased in 2016). They produced and released their official debut called "Heartquake", which for many is the first Neo Prog Italian release, in 1500 copies, 300 of which in red vinyl limited edition. The band starts a long and successful Italian tour in 1988 to support the album.

"Heartquake" presents clear influences of GENESIS, MARILLION and PENDRAGON, but with a clear respect to the lyrical and melodic roots of Italian Symphonic bands like PFM or BANCO DEL MUTUO SOCCORSO.

In 1989 Pezzella leaves the band and is replaced by the classically trained keyboardist Andrea Amici and they start the recording sessions of their second album, "Bee Yourself", which was again released independently in 1500 copies, 300 of which in yellow vinyl limited edition. The album was later reprinted on CD by Contempo and on vinyl by the Korean label Jigu Records (in 1991).

The album was a great success among critics and fans. It presented a 25 minutes suite, "Bee Yourself", that gave them the chance to perform not only in Italy, but also in France as well as in an epic presentation at the Teatro Olimpico in Roma.

In this occasion the Neo Prog tendencies blend with an exquisite Jazzy vibe which makes of "Bee Yourself" a rich and versatile album.

In 1993, Musea Records gets intereste...
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LEVIATHAN discography


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

3.03 | 20 ratings
Heartquake
1988
3.32 | 29 ratings
Bee Yourself
1990
2.68 | 13 ratings
Volume
1997
4.32 | 14 ratings
Heartquake / Redux
2024

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

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

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

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

LEVIATHAN Reviews


Showing last 10 reviews only
 Heartquake / Redux by LEVIATHAN album cover Studio Album, 2024
4.32 | 14 ratings

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Heartquake / Redux
Leviathan Neo-Prog

Review by maurodeblaise

5 stars Now again "Leviathan"! And it is immediately a plunge into the 1980s, years of the "renaissance" of progressive rock music, made up of searches for new records reviewed in self-produced fanzines sold in record stores or sent in the mail. The CD looks good right away, with a revamped graphic design and an original, well-edited booklet containing lyrics, much appreciated in times of liquid music. It starts with "The waterproof grave" with big synthesizers, guitar riffs and tight rhythm. "Hellishade of avenue" follows, with melancholic intro and "Wind & Wuthering" atmospheres, moog brushstrokes, a big central guitar solo followed by an appreciable rhythmic phrasing on which the guitar grafts again. The ironic "Only Visiting This Planet" tells us of an alien visit and a warning to humankind, in a continuous web of musical surprises. "Up we go!" is my favorite, great 80s new prog, callbacks to Pallas and Pendragon, with continuous tempo changes, great bass work and the reapparence of the beloved moog. "Dream of the coccon" is a return to quieter, dreamier atmospheres with great class. The title track is the longest track, musically encapsulating all the ideas and atmospheres of the album, with theatrical and engaging singing and all the musicians at their best. The operation ultimately represents a very appreciable work of modernism, which makes us all remain in eager anticipation of the new "Testudo"?. that is coming.
 Heartquake / Redux by LEVIATHAN album cover Studio Album, 2024
4.32 | 14 ratings

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Heartquake / Redux
Leviathan Neo-Prog

Review by MrTomSawyer

4 stars In the early '80s, a turmoil crossed the British Isles: a handful of niche bands, led by Marillion, committed themselves to reviving progressive rock, a genre that post-'77 seemed swept away by punk and new-wave. However, in Italy, a similar phenomenon seemed destined not to materialize: in those same early '80s, the biggest names of the Italian progressive scene like Pfm, Banco, Orme, New Trolls, drastically shifted towards more catchy melodies, shorter song durations, simpler structures, and memorable "pop gatherings" of the early '70s gave way to appearances at Sanremo and Festivalbar.

Yet, starting from 1987-88, even in Italy, the unexpected happened: albeit at a very "underground" level, a real army of neo-prog bands formed across the regions of our nation. The sound was much different from that of the previous decade, often sung in English, with sonorities indebted to what had been happening for some years in Britain. Yet, this phenomenon triggered new fermentations: specialized magazines, from those focused on new-wave to those of the metal audience, began talking about this musical scene; inspired by this, fanzines dedicated to the genre were born, photocopied and sold by mail; and even some brave individuals ventured to organize small festivals to gather these artists on stage.

One of the most convincing names within this phenomenon is that of Leviathan. Compared to many of their contemporaries, they seem less "children" of British New-Prog Rock and more closely tied to a lineage from Genesis and Yes. In 1988, they debuted with an already profound, intelligent, and complete album: "Heartquake". The title is a play on words: a earthquake of the heart of sorts. In short: Leviathan are ready to tell us in music about those "heartquakes" that we would commonly call "emotions".

Two years after this already excellent album, the even more mature and convincing "Bee yourself" was released. Another title, another play on words between "be yourself' and the bees. In the long eponymous suite, indeed, as in an Orwellian metaphor (think "Animal Farm"), the concept of the beehive is used as a symbol of our society, which massifies, standardizes, and homogenizes everything. Until a non-conformist bee arrives to awaken the listener.

In those years, the non-conformist bee was physically interpreted live by the singer Alex Brunori, complete with striped bodice and luminous antennae. Leviathan, indeed, benefited from the lessons of Genesis and Marillion also from the standpoint of live performances, always very cared for in theatrical terms, as in the song "The devil in the cathedral", performed with a timid angel and a sexy she-devil on stage. After these albums, Leviathan's activity became increasingly rare: a third album only seven years later, titled "Volume" (1997), in which they rediscovered the Italian language with a new singer, and sporadic appearances in compilations and collective tribute albums, spread over decades.

Today, to properly celebrate 35 years of the debut album's history, Leviathan releases "Heartquake Redux". The cover, curated by singer Alex Brunori, who rejoined the band, is updated to current aesthetic and graphic standards. But above all, the intent of this project is clear: the band's will is to ensure that the tracks written at the time can "express" themselves at their best thanks to the beauty and quality of sound granted by today's recording technologies. And to achieve this, they turned to a lifelong friend who, incidentally, is also one of the best sound engineers today on the international progressive rock scene. We are talking about Fabio Serra... And for those who fell in love with the powerful sound of the two albums by Røsenkreütz (a band in which Serra is a composer, artistic producer, guitarist, initially also a keyboardist, and occasionally a singer) no further explanations are needed.

Back to the late '80s and early '90s lineup, in this "Redux" we find Alex Brunori (vocals), Andrea Amici (keyboards), and Andrea Moneta (drums); the guitars are now played by Fabio Serra himself, who at this point is not just sitting behind the mixing console but becomes an actual member of the group. To complete the new lineup, a truly experienced bassist: Andrea Castelli. His curriculum in Italian progressive rock is vast, but one name among all those he has collaborated with is enough: Il Rovescio della Medaglia. The original "Heartquake" was born with six medium-long tracks, giving each side of the record a fairly precise duration of 20 minutes per side. Later it was reprinted on CD with two "bonus cuts" left out from the "Bee yourself" sessions. Today, however, for this "Redux", Leviathan choose to take up the original version, the six-track one. And that's right. Forcibly inserting rarities, unreleased tracks, alternative versions, or other material would have denatured a record born with a strong and clear identity from the start.

And we start immediately with the very "stunning" cut of "The Waterproof grave", a track with a more melodic approach, direct and with a more concise structure. It is perhaps the moment of greatest concession to the "eighties" atmospheres of the period in which the album was conceived, between AOR, new-prog, Genesis of the "Duke" period, and Yes of "90125". An intense and theatrical singing is supported by a great melodic work based on interweaving riffs of synthesizers and guitars. In four minutes, the band immediately demonstrates what it is capable of, keeping the listener on the edge of the razor with a ruthless "drive".

Much more delicate is "Hellishade of avenue": the introduction is entrusted to minimal touches of piano, fretless bass embroideries, and electronic pads, onto which guitar arpeggios gradually insert. The duration increases to double that of the previous track, the vocal melody, and the enrichments of the Minimoog cannot but remind of Genesis, again in the period from "A trick of the tail" onwards. A poignant guitar solo is made even more emotional by the powerful support of bass pedals. After a long keyboard-only verse, the guitar-led recovery, supported by ostinatos of the rhythm section, has a Hackett-like quality. Everything leads to a poignant final crescendo where a "lyrical" synthesizer under the guitar reminds of "Entangled".

"Only visiting this planet" has the "light" pace of Genesis's more "vaudeville" moments, those that started from "Harold the barrel" and went up to "All in a mouse's night" and "The lady lies", but with a touch of Marillion's "Market square heroes" and "Incommunicado". The track is a forge of surprises, with continuous stop-and-go in unison, finesse of the rhythm section, unexpected entrances now and then of guitars or keyboards that give the right "seasoning" to a singing rich in emphasis and theatricality. And again, after the fourth minute, when everything seems over, here is a poignant coda to give further intensity to the track.

"Up we go!", another track with a quick and energetic demeanor, in its pace and its time changes even recalls Gentle Giant, with its alternation of baroque "embroideries" and almost hard-rock guitar/organ riffs. This is also reflected in the singing, heir to the theatricality of Gabriel as much as that of the Shulman brothers (and why not? Even with a pinch of Roger "Chappo" Chapman). In the economies of the track, keyboards dominate the entire second part of the track, with powerful Moog crescendos and Mellotron choirs, but never lacking in guitar finesse. All obviously supported by great work from the rhythm section.

"Dream of the cocoon" is again a more intimate pianistic ballad to which a splendidly highlighted fretless bass even adds an elegant "fusion" touch. The constructs generated by the intertwining of guitars and keyboards are of rare elegance, the drumming that underlines every single passage, on cymbals or with long and precise rolls, is impeccable, the singing obviously is no less. The final guitar solo is moving. A test of great class. In five and a half minutes, the band condenses the excellence of its abilities with grit and cohesion.

And we say goodbye with the title track... And here already from the intro, one cannot help but think of the already mentioned "All in a mouse's night", or other Genesis moments like "One for the vine". The entry of guitar-bass-drums in unison on the keyboard riff is nothing short of majestic, the singing always capable of infusing the right dramatic intensity to everything, the changes of pace and atmosphere disconcerting according to the best lessons of prog. A worthy conclusion to an impeccable work from the first note to the last.

In conclusion: an album that was already surprising for its richness of ideas, substance, maturity, at the time it was released, but which objectively needed these "new clothes". Everything now sounds more "open", brighter, the sounds are more "unfolded", a certain use of reverb typical of the era has been smoothed, every frequency has found its place, especially in the basses, full and vibrant, while the keyboards are richer and more powerful and the guitars more "substantial", less "thin". Those who grew up in that generation and loved that lively historical moment, which marked the rebirth of Italian prog, will not be able to help falling in love with this "Heartquake Redux".

And now we just have to wait for the mysterious "Testudo", the Leviathan album that has been hidden in a drawer for over thirty years, which this new formation seems to be taking up again.

And it will certainly be delicious.

 Heartquake / Redux by LEVIATHAN album cover Studio Album, 2024
4.32 | 14 ratings

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Heartquake / Redux
Leviathan Neo-Prog

Review by alainPP

3 stars 27 years after their 3rd album, the latest one comes out, and covers their 1st album which dates back 36 years! We're going to see the sound in what state it's in and dive back into neo prog far from the typical Italian RPI in fact. The album includes the first 6 tracks of the original album, the original group remains Alex Brunori for vocals, Andrea Monetta on percussion and Andrea Amici on keyboards. The sound goes directly into the neo-prog or even prog-rock ambiance; we still feel the influences of GENESIS for the first title in a significant way. For the rest, the atmosphere shifts to IQ and ARAGON, less to MARILLION from the 80s. The rhythm is energetic, with melodic prog corridors; the breaks occur gradually without a clear break. As you listen, the orchestration also returns to the work of PENDRAGON and especially PFM with a more symphonic side. The question why not have taken up the last title, my question of the day! Well, a good throwback which offered a good album when FISH left the MARILLION, but which is vintage today and in fact not evolving. For those who didn't know and remain in the 80's era.
 Heartquake / Redux by LEVIATHAN album cover Studio Album, 2024
4.32 | 14 ratings

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Heartquake / Redux
Leviathan Neo-Prog

Review by Cagliostro

4 stars Definitely a very good surprise, an international high end production with great quality both in the songwriting and in the arrangements. With this new/updated version of Heartquake the Italian band shows its quality and skills; Leviathan can be easily compared to great prog bands of the past as Genesis, Marillion, just to name two.. Great musicians who express themselves excellently both as individuals and as a group. The sound in general is modern and at the same time reminds the atmospheres of masterpieces of the past, especially Marillion, perhaps for the voice of the singer or the guitar sound and taste. Keys play a fundamental role in the entire work and give a 80/90s touch with perfect sound choices and arrangements. It would be great to have the chance to see them live!
 Heartquake / Redux by LEVIATHAN album cover Studio Album, 2024
4.32 | 14 ratings

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Heartquake / Redux
Leviathan Neo-Prog

Review by Hierophant99

5 stars I didn't know Leviathan's original Heartquake album until I found this new album, Heartquake Redux. So, I listened to it without any expectation or the need to compare the two records. Said that, what a great prog rock album. I could spend some time to find all possible inspirations that are embedded within the songs, but I really appreciated how different Leviathan's latest effort on CD sounds in the progressive rock contemporary domain. My preferred songs are the opening track' The Waterproof Grave', such a powerful statement to start with, 'Up We Go!' and the beautiful jewel of 'Hellishade of Heavenue', a pop/rock ballad which turns into a prog epic instrumental.
 Heartquake / Redux by LEVIATHAN album cover Studio Album, 2024
4.32 | 14 ratings

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Heartquake / Redux
Leviathan Neo-Prog

Review by K8raze

5 stars This is an impressive reebot! I remember when the original version came out, here in Italy, the magic of a gatefold vynil format (with a definitely prog cover), and the sense of happiness and immediate affinity when the first bars of "The Waterproof Grave" kicked in! Seeing and hearing the new version of the album has been an unexpected surprise. I was afraid the band would have changed things to sound modern, but they did the opposite: they just enhanced pretty much every aspectof the original: better sounds, clearer recording, tighter playing. With this new version, songs like Heartquake and Only Visiting This Planet have gained such a bigger impact, and the whole album is now quite a ride, from start to finish. The sense of melody and wonder has remained untouched, giving to this beloved album a new life and the status it deserved so many years ago. Can't wait for a new album.

 Bee Yourself by LEVIATHAN album cover Studio Album, 1990
3.32 | 29 ratings

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Bee Yourself
Leviathan Neo-Prog

Review by b_olariu
Prog Reviewer

3 stars 3.5 stars for sure

Leviathan (don't be confused with american prog metal from the '90s aswell another americans from the '70s) is a neo prog band from Italy formed around mid 80s and releasing 3 albums so far as far as I know. The one I'm talking about is the second offer from 1990 named Bee yourself and definatly their best from their catalogue. Graced by an excellent art wotk, this little known release among prog heads is for sure a winner from start to finish. Influences are immediately recognizable in Gnesis, PFM or Bnaco type of symph prog with neo prog elements thrown in not far from IQ or Pendragon or Marillion fame. All pieces are great with a plus on ending lenghty title track cloking around 20 min - is a pure joy and one of the better neo prog pieces ever came from Italy. Also despite being a neo prog band , there are some jazzier moments interluded with the rest, giving a quite complicated background and awesome musicianship. All in all a very worthy affair for any serious prog fan intrested in bands that in thet period were trying to revive the style, I think Leviathan must not be forgotten, Bee yourself is a good aqusition for sure. Similar with aformentioned bands but in places remind me of another band from Italy named Fancy Fluid. 3.5 stars. Unfairly unnoticed.

 Bee Yourself by LEVIATHAN album cover Studio Album, 1990
3.32 | 29 ratings

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Bee Yourself
Leviathan Neo-Prog

Review by apps79
Special Collaborator Honorary Collaborator

3 stars In 1988 a long period full of concert begins for Leviathan.The result of this heavy promotion was the group to become known not only in their homecountry, but also in Germany, Holland, Japan, France and The United States, achieving some very good sales.In July 1989 a new member joins the group, keyboardist Andrea Amici, who replaced Franco Pezzella and a second album, entitled ''Bee yourself'', is recorded and released in 1990 on Contempo Records.

Very good Neo Prog of the MARILLION/DEYSS school of Prog is the name of the game for another Leviathan release, who deny any evident links with the Italian Prog movement for a more British-styled Progressive Rock, relying on melody, bombastic keyboards and sensitive vocals, all delivered in the English language.The sound of Leviathan remains emotional and very atmospheric with nice vocal harmonies, catchy tunes, interesting guitar work ala STEVE ROTHERY and 80's-flavored keyboards with symphonic orientations, which nevertheless suffer from a thin quality, as most of the bands of the time.''Bee yourself'' contains less tracks than Leviathan's debut, clocking though at the same length, and the reason is the addition of the 20-min. title track, the most ambitious effort of the group.This is definitely the most 70's-inspired composition of the album with a deep, symphonic sound akin to GENESIS and laid-back guitar work in the vein of PINK FLOYD.Lots of Classical influences, dramatic instrumental lines, theatrical, diverse voice performances and qualitive melodies appear in a well-structured piece with numerous shifting moods and even some complex keyboard themes, although the weak keyboard sound seems to be again a negative factor.

Typical product of 90's Italian Prog with English lyrics.Musically interesting, containing a combination of accesible and advanced ideas, fairly symphonic along the lines of the groups of the 70's, but always held down by a mediocre recording quality.Still recommended, especially if you are a MARILLION fan.

 Heartquake by LEVIATHAN album cover Studio Album, 1988
3.03 | 20 ratings

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Heartquake
Leviathan Neo-Prog

Review by apps79
Special Collaborator Honorary Collaborator

3 stars Another entry by an 80's Italian band,but this time with a very British sound.LEVIATHAN were formed in mid-80's in Rome by singer Alex Brunori, keyboardisy Franco Pezzella and drummer Andrea Moneta and the same year they even recorded a demo entitled ''7% solution'',distributed in a few copies, enough for the band to gain some wide recognizion.In 1987 with the arrival of Wldrek Sandro on bass and Giorgio Carana on guitars LEVIATHAN enter the studio to record their debut ''Heartquake'',released the next year and re-issued on CD by Musea Records five years later.

It is rather a surprise that the band's sound has nothing to do with any group related to the Italian prog movement of the 70's.Obviously influenced by the new prog movement of UK, LEVIATHAN produced some exciting melodic prog.All tracks are sung by Brunori in English:an emotional,clear and non-accented voice,who supports the band's style very well.The album is filled with the nice playing of Carana,who's distorted guitars are all over the place,delivering sensitive solos, great breaks and catchy grooves.The synth work of Pezzella ranges from colorful supporting roles to grandiose,almost symphonic passages and resembles more than anyone to IQ's Martin Orford.However I find their sound to be a hybrid between ''The wake''-era IQ and early PALLAS in the most bombastic and intense tracks,yet each one is played with great lust and inspiration.

Neo prog followers will love this album,the rest of the progheads will have some pleasant time spent,I think, if listening to ''Heartquake''.Warmly recommended.

 Volume by LEVIATHAN album cover Studio Album, 1997
2.68 | 13 ratings

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Volume
Leviathan Neo-Prog

Review by ekaton

2 stars An at best mediocre album all in all. Fans of Italian Prog can easily find dozens of groups who are superior to Leviathan. The song writing isn't very exciting, the keyboard department sounds boring and pretty sterile. Some good guitar soli, at least...
Thanks to Ivan_Melgar_M for the artist addition. and to NotAProghead for the last updates

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