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MAD CRAYON

Rock Progressivo Italiano • Italy


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Mad Crayon biography
MAD CRAYON is a band that once drew comparisons to the Golden Age of Italian progressive rock a generation earlier (BANCO DEL MUTUO SOCCORSO, etc.). Their 1994 effort, "Ultimo Miraggio," featured complex writing with bright vocals around frequent breaks and clever solos. They were admittedly quite influenced by Genesis at the time. In 1999, the band released "Diamanti" which built upon the success of their debut.

In 2009 the band released their most formidable album, the modern and eclectic "Preda." It's a big departure from their early Genesis-inspired days and will please fans of aggressive, jamming prog rock. It has a Porcupine Tree/Ozric Tentacles styled sound with a side of fusion and a touch of RPI warmth.

MAD CRAYON have been around since 1986 but sound reborn with "Preda." They have plans to continue playing live and recording new material that looks forward. (Click the link on their artist page to read their interview with PA.)

See also: INNER PROSPEKT (project by the band's keyboardist Alessandro di Benedetti)

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MAD CRAYON discography


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

3.50 | 41 ratings
Ultimo Miraggio
1994
3.30 | 33 ratings
Diamanti
1999
3.86 | 41 ratings
Preda
2009
3.87 | 18 ratings
Drops
2020

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

MAD CRAYON Videos (DVD, Blu-ray, VHS etc)

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

4.00 | 1 ratings
Far from the Clouds - Someone Wants to Play
1992

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

3.00 | 1 ratings
Citta'Frontale
2002

MAD CRAYON Reviews


Showing last 10 reviews only
 Diamanti by MAD CRAYON album cover Studio Album, 1999
3.30 | 33 ratings

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Diamanti
Mad Crayon Rock Progressivo Italiano

Review by andrea
Prog Reviewer

4 stars "Diamanti" is the second album by Mad Crayon and was released in 1999 on the independent Mellow Records label with a renewed line up featuring Alessandro Di Benedetti (keyboards, piano, vocals), Daniele Agostinelli (keyboards, vocals), Federico Tetti (electric guitars, sax), Daniele Vitalone (bass, electric guitar), Luca Cleri (acoustic and electric guitar) plus Stefano Crudele (drums), Simone Durante (Hammond organ), Monica Ward (vocals) and Eleonora Ricci (vocals). In my opinion, it confirms all the good qualities of the debut work and even marks a step forward for the band. This time all the lyrics are in Italian and the vocal parts sound more confident while the music tries to explore new territories with original compositions, a great sense of melody and fresh ideas...

The nervous opener "La ballata dell'uomo nudo" (The ballad of the naked man) describes in music and words the feelings you can experience in a restless night where darkness steals your breaths, unveils your silences, turns up your cards and undresses your soul without mercy, leaving you in front of a light that shows your nakedness. All you have to do is heeding the call of fantasy and follow its course heading up towards the sky...

The reflective, melancholic "Deserti" (Deserts) tells in music and words about an inner desert that the protagonist carries inside him everywhere he goes and evokes distant voices dancing on the horizon, mirages of love and painful memories...

Then it's the turn of the beautiful instrumental "Glorioso destino" (Glorious destiny), a dynamic piece full of positive energy that leads to the dreamy "Pioggia di fiori" (Rain of flowers) where delicate acoustic guitar arpeggios and soaring melodies invite you to leave behind fake smiles and ephemeral pleasures to embark on a boat and sail through a calm sea, over the clouds, under a soft rain of flowers. An old man smiles at you... Welcome on board!

The excellent instrumental title track, "Diamanti" (Diamonds), blends romantic atmospheres and more aggressive passages and leads to "L'allegra brigata" (The merry brigade), a long, complex piece dedicated to all the friends of the band. It starts softly as the story comes to life from the ashes of reality and takes off on the wings of fantasy while the music and lyrics conjure up a fantastic voyage on a ship sailing across an unknown sea in search for the treasures of youth with a merry crew always open to adventure...

"Principe delle maree" (Prince of the tides) is a kind of celebration of the power of music and the healing force of singing. You have to set your heart free and follow the rhythm of the tide, then you'll take off on an imaginary flight across mysterious lands and Oriental landscapes leaving behind the daily problems of a hostile reality... The short, evocative "Alchimia di una leggenda" (Alchemy of a legend) ends the album with a kind of tribute of the art of cinema. Narrative female vocals raise questions about the greatness and the righteousness of a man who conceives kingdoms of death and boasts his victories in front of those who cry, a man under the rain looks for shelter... Director, do not stop, please!

On the whole, a very good album full of melody and dreamy atmospheres.

 Ultimo Miraggio by MAD CRAYON album cover Studio Album, 1994
3.50 | 41 ratings

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Ultimo Miraggio
Mad Crayon Rock Progressivo Italiano

Review by andrea
Prog Reviewer

3 stars Mad Crayon began life in the mid eighties in Genzano, a town near Rome. They took inspiration by the progressive rock of the seventies and recorded a first demo with original compositions in 1992. In 1994 the band recorded and managed to release on the independent label Cygnus Records their debut album, "Ultimo miraggio", with a line up featuring Daniele Agostinelli (keyboards), Luca Cleri (guitar), Alessandro Di Benedetti (piano, synthesizers), Stefano Fabiani (drums) and Daniele Vitalone (bass). It's a concept album revolving around the problematic love story between the daughter of the moon and the son of the sun and where the main musical influences come from Genesis or neo-prog bands such as Marillion. The beautiful, oneiric art work by Walter Mac Mazzieri (best known for his art covers for Le Orme) in some way depicts the subject matter...

The opener 'Lost In Years' sets the atmosphere. In a world not very far from here lived two lovers... The music and words depict a world where love and friendship are forbidden and where, because of the feelings that the two lovers have for each other, she is condemned by the mighty, cruel king to go back in time and to come to life again to purify her sin while he has to raise her as her father and to get old prematurely...

The following 'Dance Of Puppets' starts by a frenzied passage describing the lively dance of two puppets on stage. Then the rhythm slackens, the puppets get tired to dance and a veil of melancholy falls down. For them it's time to run away, far from the crowd and the city lights... But when the rhythm rises we know that tomorrow the dance of the puppets will start again and that the marionettes will play their role once more time.

The short, dreamy 'Fiore di Luna' (Moonflower) is a delicate lullaby sung (in Italian) by the son of the sun to the daughter of the moon that now is sleeping and taking off on a ship directed up to the sky, under sun... He can't forget her!

The sparkling 'Running Child' is an instrumental track that begins with a spacey intro and then goes on mixing the energy of rock with classical influences ranging from Bach to Mozart's Turkish March. It leads to the following 'Rapids To The Distant Sea' that tells in music and words (again in English) of a desperate, metaphorical fight against the sea and of a breathless run against the tide...

Next comes 'I giardini di Zoe' (Zoe's gardens) where after a classical guitar incipit the music and lyrics (this time in Italian) conjure up the image of the peaceful, hidden enchanted garden where the lovers used to meet each other defying the authority...

The long, complex 'Ultimo miraggio' (Last mirage) starts softly, with a melancholic mood, while the music and words (in Italian) deliver a heartfelt complaint against an adverse destiny. The night is like a shield for the silence and everything freezes in the heart of a man who's longing for a paradise where his dreams would turn into reality. His lover is just a mirage now... Then 'Persa nel tempo' (Lost in time) closes the album with a reprise of the first track (with a different arrangement and this time sung in Italian), painting with vivid strokes of colour a dream that is now imprisoned in a beautiful tableau...

On the whole, a good album although the vocal parts are not always up to the task and the idea of switching the lyrics from English to Italian and vice versa could make it difficult to follow the storyline.

 Drops by MAD CRAYON album cover Studio Album, 2020
3.87 | 18 ratings

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Drops
Mad Crayon Rock Progressivo Italiano

Review by Rivertree
Special Collaborator Honorary Collaborator / Band Submissions

4 stars For one or two this might be a big surprise. The MAD CRAYON story already started in the mid 1980's. Apart from a demo cassette production they later on recorded three albums by the year 2009. And now, totally unexpected, after not less than 11 years, another new one appears with a bang. It's my first contact with the crew, and what sort of attractiveness! The band's core still is comprised of a stable quartet, namely Alessandro Di Benedetti, Daniele Agostinelli, Federico Tetti, Daniele Vitalone, taking care of the guitar, bass and keyboard instruments. Eh, invited, arrested, obliged, convinced, or whatever :-) somewhat unusual, all in all four different drummers are involved in the recordings. Anyway, this is a very worthwhile effort! Great variety is assured, due to symphonic, folk, pop, ambient, psychedelic and heavy rock elements merged together to something coherent.

Hence musically they are delivering some fine progressive art rock here. Lyrics are predominantly in English, but not all the way through. Thus a slight Rock Progressivo Italiano flair is given here at least. The band's kick-off is dominated by Vitalone's ambient synth pattern flow. Yeah, just A Sort of Incoming actually, garnered with some samples. Very melancholic. Due to a catchy refrain Bloody Days then follows more as an art pop song. But it's also somewhat reminiscent to Peter Hammill, I'd say. At least three of the musicians are sharing the vocal task, on top comes some proper female backing. On Where You Cannot Lie Tetti's slight accent is really striking, in a positive meaning. A tricky composition, nice piano lines everywhere, comfortable synths, wonderful short guitar solo. In summary: brilliant!

The Ape is hurrying without having vocals in the luggage furthermore, underway in the jungle on groovy and restless paths and Brian Auger reminiscent organ appearance. Disturbed Love showcases them with a hybrid, heavy outbursts and subtle charm are alternating. The Mad Crayon Run is offered in a very busy and colourful manner, I mean the tricky and heavy rocking behaviour. While playing together for more than thirty years in this constellation they eventually have abandoned the idea of making money by selling records. The desire to reach a high number of listeners with their music still stays though, as you can see, and hear. Fortunately! During round about 60 minute playing time they are delivering melodic and atmospheric songs, absolutely appealing. Bravo, 4.5 stars so far, though 'Drops' is a strong candidate for a masterpiece status in the long term.

 Drops by MAD CRAYON album cover Studio Album, 2020
3.87 | 18 ratings

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Drops
Mad Crayon Rock Progressivo Italiano

Review by alainPP

4 stars MAD CRAYON, MAD for the initials of the first names of its creators, Italian group created in 1986, first album in 1992, only four albums on the clock; it must be said that its founding keyboardist Alessandro di Benedetti worked prolifically with his group INNER PROSPEKT, ten albums there. Major group on the progressive scene with many collaborations, major influences from PFM, BANCO DEL MUTUO SOCCORSO for Italy and above all GENESIS for the work of keyboards close to BANKS at times; complex sounds with many breaks based on an omnipresent piano and alternately Andalusian or metal-progressive guitars and drifting PORCUPINE TREE blowing languid calm to energetic rock or OZRIC TENTACLES fusion of soaring, psychedelic and eclectic atmosphere . Modern prog in fact which suggests that they synthesized over a lot of periods.

"A Sort of Incoming" starts with an instrumental hovering on the synth as we like, spatial, ethereal, mysterious atmosphere too, a bit of VANGELIS keyboards here, Asian voices to destabilize even more and doubt sets in where it goes - do we leave? "Bloody Days" on piano keys à la SUPERTRAMP at the beginning, then it starts with a slightly baroque pop- jazzy tune, follows a basic melodic progressive variation but rhythmic pleasant to the listening with nervous, fat breaks, airy synth, a delight. "Where You Cannot Lie" on the same key with an air centered on the piano, a voice at the limit of phrasing which accompanies the instruments well and vice versa, then the instruments are grafted around for a long time. progressive suite whose musical tricks will make you travel to a folk-jazz- rock country. Note a progressive latency due to Alessandro's keyboard section; I can feel the tones of the WHO, the notes of Joe JACKSON in his second period all magnified by a solo by Federico. "The Ape" starts off with a fruity atmosphere like OZRIC TENTACLES, HAWKWIND, AL DI MEOLA too; it is the guitar which takes center stage accompanied by a bass and a synth flirting with those of GENESIS and BARCLAY JAMES HARVEST; the second part returns more jazzy, more bucolic, very beautiful instrumental title with duel between guitars and keyboards.

"Evening Comes" suddenly reminds me of the MANFRED MANN'S EARTH BAND just for the intro, then the song sung goes to a more conventional atmosphere, a little dark à la KING CRIMSON, then the Gilmourian guitar on the "Animals" period gives a note of hope; the voice present at the start has delicately eclipsed. "Disturbed Love" for a short but oh so delicious title, combining the fury of the notes with a tune trying to describe to you a deep amorous disarray! Be careful as soon as the phone rings, it starts out hard then the piano calms down a bit before starting again, hard riff when you hold us. "Down the Trench" and another long track with an introduction to GENESIS, over 9 minutes of melodic musical digression; 9 minutes where the piano plays on improvisation with a flute in a long crescendo supported by various synths; the Charisma Label spirit of the genesis is there with sublime voices plunging you back into the 70's; the guitar leaves for an emotionally pleasurable solo. "Mad Crayon Run" and an air in which progressive fusion can bring best at the moment, namely modern prog music ignoring the codes: Andalusian guitars at first then others in a frantic rock metal temper, even tortured. An instrumental from which I notice that these are even more musical, giving no benchmarks to the duration of the title, in short an extraordinary deluge where we find the fat and tortured sound of MAD CRAYON and that's it . "The Glitter of Your Life" title sung at the beginning, almost hilarious for our ears, break then return to the voice on a return of THE WHO for a few moments, the notes seem to seek each other or to warm up to go on yet another fusional path filled with various pop, rock and Italian notes surely. "Way Out" as an outro, as the end of a musical clap, as a sign to come back to earth ?, short end of a very good album.

MAD CRAYON released 11 years after its last album a revolutionary progressive disc based on ancient sounds, those of mythical Italian groups. Experimentation is in order with a jazzy side brought by the basic but omnipresent piano; the RPI in fact with a marked neo-classical characteristic and obvious jazzy drifts; Flat for the voice, flat for the beginning of each title which seems to leave on a different tune like a different group so a little disjointed in fact. However the progressive drift with twirling bass, drums by layers of pads, the psychedelic guitar and this Erik SATIE piano make it an eclectic album rather than RPI in my opinion.

 Preda by MAD CRAYON album cover Studio Album, 2009
3.86 | 41 ratings

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Preda
Mad Crayon Rock Progressivo Italiano

Review by apps79
Special Collaborator Honorary Collaborator

3 stars The next decade would be a transitional period for Mad Crayon regarding both their music and the personel.The band started adapting new elements and influences in their music and the seeds of their efforts can be heard in the 2002 demo ''Citta frontale'', which was a small taste of their upcoming album and the new direction.In the meantime they had a hard time replacing their previous drummer Stefano Fabiani, the attempts on live shows with newcomers failed and they decided to focus on the rehearsals for the third album.With also Luca Clari out of the picture Mad Crayon continued as a quartet, but kept composing music, as they were regular participants in various concept albums of the Musea label (''Kalevala'', ''The Colossus of Rhodes'', ''Dante's Purgatorio: The Divine Comedy - part II'').The recordings of the long-awaited ''Preda'' album were completed again with Stefano Crudele as a session drummer and the album was originally self-released by the band in 2009, reissued two years later by BTF.

''Preda'' marks a huge change in every aspect of Mad Crayon's sound.The band had two keyboardists, but the keyboards rarely become a centerpiece in this album with the main contribution coming from the guitars of Daniele Vitalone and Federico Tetti.In other words ''Preda'' sounds like a much more balanced work regarding the guitar and keyboard parts compared to the band's past, mostly GENESIS-influenced albums.Stylistically there is a bit of everything contained in ''Preda'', offered in mid-length, proggy compositions, a fact that partly hurts the consistency of the album but simultaneously shows the band's development over the years.Some tracks are dominated by spacey and mascular synthesizers, flavored by electronic samplers and featuring some very heavy guitars, reminding of OZRIC TENTACLES or QUANTUM FANTAY.Almost in every track elements from the more loose side of music are present, either this is called Jazz, Funk or Fusion, while the harder, guitar-driven material with the slight distortions in a rather psychedelic mood crosses the borders of the PORCUPINE TREE/PINK FLOYD principles.And there are even some pieces, which still retain some of the band's past stylings, like ''Sovrano dell'Illusione'' or ''Re Schiavo Reprise'', with their deep Italian colors, the sensitive melodies on musicianship and vocals and the charming keyboard and piano arrangements with the symphonic and jazzy underlines in evidence.I believe the second half of the album is stronger than the first, which is rather unoriginal and dominated by the new influences of the band.The second one is measured and more personal with a lovely combination and balance between Italian-spiced proggy music, intense spacey soundscapes and heavier moves.

So a new era begun for Mad Crayon with ''Preda''.The following year Stefano Fabiani rejoined the group, so we could expect another work by the band in the future.In the meantime this is some very daring work by the Italians, suffering a bit from the new direction in the first pieces, but eventually evolving in some very good, modern Progressive Rock on the way, keeping its Italian character alive.Recommended.

 Preda by MAD CRAYON album cover Studio Album, 2009
3.86 | 41 ratings

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Preda
Mad Crayon Rock Progressivo Italiano

Review by Finnforest
Special Collaborator Honorary Collaborator

4 stars Preda moves the band into a new era

Mad Crayon recently celebrated their 25th anniversary as a band. They began in the middle 80s with other Italian groups who pioneered what would become another wave of RPI into the 90s, influenced by the 70s symphonic bands and neo prog. They did not remain there however, instead Mad Crayon has evolved from the typical early 90s Italian sound to the modern RPI edge of today. The five-piece still sports two of its original members in keyboardists Alessandro Di Benedetti and Daniele Agostinelli. They are joined today by guitarists Federico Tetti, Daniele Vitalone (guitar/bass), and drummer Stefano Fabiani (though Stefano Crudele recorded Preda.) Their Cygnus Records debut in 1994 was admittedly heavily influenced by 1970s Genesis and was warmly received by fans of the traditional style. The good response led to a 2nd album this time on Mellow Records, Diamanti, for which the band were attempting to become more complex.

Then in 2009 Mad Crayon reinvented themselves with a much more technically complex and harder edged modern sound on Preda. Most of the Tony Banks inspirations have been replaced by something closer to Ozric Tentacles, D.F.A., Yugen, and even a few bits of Porcupine Tree (Deadwing era, with some metal influence but not quite metal.) It is pretty obvious that the guys labored hard over these tracks, they are filled with ambition and complexity. As mentioned songs have a basis not so far from Ozric with a sort of free form instrumental jam and some spacey sound effects. Occasionally they'll inject a jazzier feel which accounts for my DFA reference, and there are some heavy guitar sections that sound like they came straight outta "Anesthetize." The RPI touches are there as well, the vocals and some of the lovely piano gracing certain sections resemble what a younger Banco might sound like today. It's all a very feisty and energetic ball of sound that bounces you around the room.

Some of the cooler parts are jaw-dropping good, nimble electric jamming, with amazing acoustic sections for balance, often over some dreamy sound effects. And yet to be frank there are sections which drag a bit for me, and some of the heaviest in particular can sound a bit forced. I love it best when the loudness falls away and the simple beauty of the keyboards brings the Italian flavor back to the forefront. Vocals do no play a huge role on Preda but they are definitely there and of decent quality. The variety of styles and the wide swings in intensity provide a package that will surely satiate adrenalin seeking prog fans. I think "Preda" is a good album by a very tight band. I'm torn between 3 and 4 stars as I often am, rounding up here because of what I feel would be their wide appeal to PA listeners. But I also feel that compositionally this band can do even better, at least for my personal taste. They have all the chops and imagination in the world, I'm truly anxious to hear where they go next.

Since the album's release Mad Crayon have been performing Preda live and working on new material, so stay tuned. 25 years on, the party is not over yet!

 Preda by MAD CRAYON album cover Studio Album, 2009
3.86 | 41 ratings

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Preda
Mad Crayon Rock Progressivo Italiano

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars Mad Crayon continues on its merry journey with an out of this world release much heralded by PA gurus Mellotronstorm and Finnforest and providing some additional vindication for this band that takes its sweet time to push out a bambino (10 years have gone by since 'Diamanti'!) and the wait has been quite worth it. The scope of their songwriting has evolved tremendously, with anything from harder rock, to funk, via some space, a touch of symphonics and a dose of fusion-jazz. Main guitarist Daniele Vitalone is unafraid to squeeze as much wah-wah pedal and assorted effects out of his crunching macho style, while the dual keyboard attack rekindles fond memories of RPI stalwarts Banco, Goblin and Il Volo. Delicious bass and thoughtful drumming makes this a pulsating affair, full of bravado, pomp and passion. Mad Crayon likes to offer 2 part song structures, often one after the other like a suite but also book ending the disc with sulfuric "Re Schiavo" and its reprise finale.

This opener is a devastating piece, metallic, tangible and yet audacious, setting a bold tone right from the get go, stating the fact that this will be an inspired ride.

On the 2 part "Preda" suite, everything is tossed into the mix including brutal organ rumblings, swift electronics and slithering beats, all welded together by some molten-hot guitar runs.

But it's the next core series of songs that impresses from the very first listen, a captivating flow of RPI of the highest standard. "Gabriel" is more keys oriented and as such there is a lovely piano lead into the arrangement that has some jazzy moments as well as a more psychedelic one, whilst providing some excellent Italian language vocals. The raspy axe stretches the mood brilliantly while the ravishing bass burps comfortable and content to even solo fretless. Darn good stuff this! When the guitar solo erupts, the tension is palpably demented like sonic Vesuvius, exploding chords into the air.

But the cornerstone genius of this album is the blooming electronic aura of "Xoanon", a scintillating slice of stellar space/psychedelia of the loftiest caliber, loaded with mood and atmosphere, all played with vivid authority and dedication. The synthesizers hold the rushing organ's hands as they travel through space and time, a loopy bass scurries thoughtfully, emitting a definite Brand X feel. But when the organ starts flying, ooooh my! This is a fascinating piece of work that can rival anything in the RPI catalogue (Si signore, its dat good!).

"L'Isola di Sara" is the designated ballad, a style Mad Crayon is very good at (as per the delectable "Poggia di Fiori" off Diamanti) showcasing Federico Tetti's buoyant and dreamy vocals , all blanketed with some spirited playing by all instrumentalists , less languorous and more assertive than ever before. The acoustic guitar solo is expressive to the max and surprises with its freshness and vivacity. Damn these guys are talented; just check the guitar solo, pfffff!

Then we have the epic 2 part "Sovrano dell'Illusione" with its ultra symphonic mellotron- guided intro, allied with nimble piano and acoustic guitar, evoking hints of pastoral/medieval Ant Phillips-like horizons before the fragile vocals kick in and remind us that we are in Alba and not Albion . But the 'tron keeps reappearing amid the various passages, where somber vocals reign supreme and flute-patch synths whistle in the gale. The longer second part has a more cohesive makeup, the rocky guitars reappear with unabashed vigor, the bass rumbles nastily and the whole sonic locomotive becomes a authoritative force. This is splendid music, where organ, synth and fretboards combine to create a frenzy of resonance, constantly weaving between soft and hard sections, like a musical teeter-totter. When the piano 'jazzlounges' towards the end, we are knowledgeably in the presence of something astounding as the ivories flow into the "Re Schiavo reprise". This only serves to consecrate this lively album further, easily the biggest surprise of 2011, as I thought these guys were gone from the face of Prog. Bravo!

I am therefore not surprised that mellotronstorm may have humidified his Fruit of the Looms, as this is definitely his style of adventurous, hard-edged yet fluid progressive rock. This is a monster album that deserves the highest praise, only the sucky cover art is unworthy (Pacman , really?).

Anyway, I adore it too, Gianni!

5 Atari Italiani

 Diamanti by MAD CRAYON album cover Studio Album, 1999
3.30 | 33 ratings

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Diamanti
Mad Crayon Rock Progressivo Italiano

Review by apps79
Special Collaborator Honorary Collaborator

3 stars The good response of ''Ultimo Miraggio'' helped Mad Crayon sign a contract with Mauro Moroni's Mellow Records and the band covered the Pierrot Lunaire track ''Sotto i ponti'' for the 97' ''Zarathustra's Revenge'' compilation.Next came the preparation of the new album with drummer Stafano Fabiani out of the picture.He was replaced by Federico Tatti on guitars/sax, while the band was helped by Stefano Crudele on drums, Simone Durante on Hammond and Eleonora Ricci on additional vocals.''Diamanti'' was recorded at SoundonMusic Studios in Rome and released in 1999.

Do not get fooled by the weak opener ''La ballatta dell'uomo nudo '', which sees Mad Crayon experimenting with rock, funk and prog sounds with a questionable result.The rest of the album follows the same line as ''Ultimo Miraggio'', though this time the whole effort is sung in Italian.The band's style is firmly rooted in the vein of GENESIS, PREMIATA FORNERIA MARCONI and BANCO DEL MUTUO SOCCORSO,adding a breeze of fresh air in contemporary Italian Prog and standing next to bands like NOTABENE, ARCANSIEL and RANDONE.The excellent melodic guitar lines are alive and well supported by the massive use of keys with romantic piano lines, symphonic synthesizers and fiery organ on the forefront.Vocals are decent though they were never Mad Crayon's strong point.This is definitely the ability of the band to switch from soft melodic textures to dynamic parts with dominant solos always with a sense of harmony around.The long instrumental parts are now given an extra dimension with the addition of saxes and the acoustic passages remain well-crafted and very sensitive.Though the album lacks a really stand-out composition, it is well-crafted from the start to the very end.

While Mad Crayon's ''Diamanti'' has not really anything new to add to the modern prog scene, the high level of musicianship, the memorable melodies and the nice arrangements make it worth adding in a prog collection.Fans of Italian Prog should definitely check this out.Strongly recommended, maybe a bit less inspired than the debut of the band...3.5 stars.

 Preda by MAD CRAYON album cover Studio Album, 2009
3.86 | 41 ratings

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Preda
Mad Crayon Rock Progressivo Italiano

Review by Mellotron Storm
Prog Reviewer

4 stars A big thankyou to Finnforest who suggested I check this out. I believe Jim said it would make me wet my pants. Well thankfully that hasn't happened yet but I agree with you, this is one wild ride. I had their previous album from 1999 which was good but I honestly could take it or leave it.Then I heard the song they did in 2005 for "The Colossus Of Rhodes" project and man they impressed me there. So it appears these guys are getting better with time as this latest release from them really made my day everytime I heard it.

"Re Schiavo" opens with atmosphere and a sample of people speaking. Psychedelic guitar comes in with drums and more followed by vocals. Mellotron too then it kicks in. It settles back as contrasts continue. Piano leads before 4 minutes as it calms right down.Guitar comes in soloing before it kicks in one last time.Great tune. "Preda Part 1" opens with some exellent bass as drums and guitar come in. Funkytown ! Vocals join in then it turns heavier before 2 1/2 minutes but it's brief. It does kick in again only this time for a longer period. Some funky bass as it settles before 5 minutes. "Preda Part 2" hits the ground running with riffs then the organ gets a workout as drums pound. Synths add a spacey vibe.Piano before 4 minutes as the riffs continue. "Gabriel" is one of my favourite tracks. A top two for sure. It opens with liquid keys then builds quickly. Vocals join in. What a great sounding tune. The guitar rips it up 4 1/2 minutes in when the vocals stop. Love this track.

"Xoanon" is my other top two. A dark soundscape here to start. Very cool. Electronics as the guitar echoes in the night. Drums after 1 1/2 minutes then it kicks in after 3 minutes heavily. Nice. Organ 4 minutes in as the bass throbs and the drums and synths also impress. The electronics return as it settles. "L'Isola Di Sara" is fairly laid back and vocals come in after a minute. I really like the sound after 2 minutes when it all picks up. Contrasts continue. Beautiful stuff. "Sovrano Dell'Illusione" opens with piano as the mellotron floods in. Acoustic guitar and synths follow then reserved vocals. "Sovrano Dell'Illusione Part 2" is the longest track and it's a killer. Love how it sounds to start. It kicks in before 3 minutes before settling back with guitar that echoes. It kicks back in quickly with riffs and organ as the contrasts continue. Vocals before 7 1/2 minutes. Piano only 9 1/2 minutes in followed by mellotron. "Re Schiavo Reprise" opens with piano only as background samples come in like on the opening song. Vocals and a fuller sound takes over.

I've really grown to adore this album.

 Ultimo Miraggio by MAD CRAYON album cover Studio Album, 1994
3.50 | 41 ratings

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Ultimo Miraggio
Mad Crayon Rock Progressivo Italiano

Review by seventhsojourn
Special Collaborator Honorary Collaborator

4 stars The government, with all the foresight of a giddy schoolgirl, wants us to perform three random acts of kindness each day in order that we feel happy. My contribution to this harebrained hobnailed happiness scheme would be to recommend Mad Crayon to fellow prog lovers. I have to tell you, this band is one of the best-kept secrets in town.

Their debut album 'Ultimo Miraggio' is a milestone and the minestrone of classic Italian symphonic prog of the nineties - a big galumphing soup, heavy with the aroma of the seventies and cooked-up with a delicious excess of Genesis, PFM and Banco. But mostly Genesis. You can almost put it to your lips and suck the marrow out of its bones. And while nine out of ten such albums tread the boards to a similar familiar foxtrot, the quality of this one is somewhere above the norm. It wasn't by sheer chance that the artwork was provided by the hand of none other than Walter 'Mac' Mazzieri of Le Orme fame.

'Ultimo Miraggio' is one of those RPI albums where English and Italian lyrics mingle with one another like streaks of mist. I'm not really fussed on this mixing of languages - although it actually works fine here - and the songs with Italian texts probably make the stronger impression. The opening brace, sung in English, instantly impresses with brisk frisky tempos but Mad Crayon really get their mojo working on the album's first song in the vernacular - 'Fiore di Luna' - a simple folk-like ballad that engenders a typically Italian feeling of romance.

Hammond organ plots the course of 'Running Child', a bedraggled instrumental romp that splices hornpipes with snippets and snapshots of Bach's 'Toccata' and Mozart's 'Rondo Alla Turca'. This track is sure to blot out the miseries of daily existence better than any political coalition. I've only skimmed the surface with my descriptions but if you're waiting for the big one you'll find it flying high among the three back-to-back RPI classics at the tail end of the album.

Some great things have found their way onto this album and in particular it's well endowed with melody, but if there is a counterweight to my glowing recommendation it's that 'Ultimo Miraggio' lacks the wild Italian animal spirit. Otherwise, shortcomings are as rare as the album itself - and you might have to sell your soul for a copy of this one.

Returning to the anecdote about government and its substanceless ideas, rather than bringing us happiness and gratification it seems to be doing its best to wear us down. When I began my working life over thirty years ago the life expectancy for men in my profession was sixty-five, therefore I might not live to collect my pension. In just the same way I fear there are many albums I will not hear again before I go to my grave, but not this one. It's a wonderful thing all the way through and, if my earlier talk of food has made you feel a little bit peckish, from the egg to the apples this album will surely satisfy your nutritional necessity.

Thanks to ProgLucky for the artist addition. and to NotAProghead for the last updates

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