MAD PUPPET

All the the tracks are linked together in a long suite that tells the lore of King Laurin and of his mythical garden of roses. In fact, the Rosengarten or Catinaccio is the name of a spectacular spot in the Dolomites and Laurin was the king of the dwarfs who lived up there. The music is less derivative than on the debut album and the song-writing here in my opinion is rather good. Some passages could recall Pink Floyd or Genesis or Marillion, but this influences are just reference points. There are some narrative parts that help to follow the development of the story but, in my opinion, it's a pity that the band chose to sing in English rather than in Italian, German or Ladin since this choice put some limits in the lyrical expression. Anyway, listen to the album and judge by yourselves! You can listen to the complete work and read the lyrics on the official website of the band. Don't miss it!

Well, you can listen to the complete album and legally download it for free from the official website of the band, so judge by yourselves!

The opener 'Wild Rushing Waters' begins softly. It deals with a religious theme and draws from... Genesis! The following 'Look Out' recalls The Doors and evokes the shadow of Jim Morrison passing by, sailing across the grey night. 'The Masque Of The Red Death' is a long, complex track introduced by a charming medieval atmosphere and inspired by a short story by Edgar Allan Poe about a masquerade ball and a dangerous, uninvited guest. 'Icarus' is another long, complex track, a suite in two parts with lyrics inspired by the ancient myth of the Greek hero. Here the music flows away with gentle giants smiling in the background and wolves running wild all around. The bitter-sweet, nervous 'Wheels Of Time' concludes this good work with a pungent reflection about the changes that time provokes on our lives and our sense of freedom and security. The album was released on CD in 1992 on the independent label WMMS Music.

You can listen to the complete album and legally download it for free from the official website. Have a try!

A strong influence from Genesis is definitely present in Mad Puppet's music, but many of the pop/rock influences and synthesizer-based aesthetics that characterized other neo-prog groups are nowhere in sight - although some ties can certainly be made to pioneers like Twelfth Night, Marillion, and IQ, Mad Puppet sounds quite different from many of their contemporaries. The choice of keyboard tones is particularly unique for the time period, as the array of warm electric piano tones and Hammond organs sound about as far away from the synthetic-dominated eighties' as possible. A late sixties' psychedelic feel is present throughout much of the album, and this matched with some medieval touches and pure symphonic prog makes Masque actually a rather unique album, especially in the dying prog climate of the early eighties'.

Masque's rather original musical approach, unfortunately, isn't enough to save it from a few other nagging flaws. The production is a particularly large shortcoming; while everything is audible, it doesn't sound nearly as crisp as the music demands. Mad Puppet's compositional techniques also aren't quite up to par at this point, and most of the album strikes me as 'average' rather than extraordinary. I wouldn't call Masque a particularly great or essential album, but it is worth hunting down if you're into early eighties' progressive rock.

The group takes cues from THE DOORS, JETHRO TULL, and possibly some German acts of the 70s. In "Look Out", a rich plate of influences, none fully copied, contribute to the bluesy and rock and roll palate. Manfred Kaufmann's electric piano is also a highlight. "Masque of the Red Death" is a Gothic tour de force, utilizing the organ as a wind instrument (perhaps it's a "pipe" organ) and the harpsichord to set the atmosphere for one of Edgar Allan Poe's more macabre tales. The lyrics are sung, spoken and shouted. It's certainly not a flawless interpretation, but interesting enough to merit longest cut.

The highlight of the proceedings, however, is "Icarus Part 1", starting with a sprightly yet reflective combination of acoustic guitar and, again, what sounds like flute but is probably a versatile organ or synthesizer. The guitars strum as they lead into the vocal segment, where a masterful melody unfolds reminiscent of JETHRO TULL at their best (but I prefer Manfred Schweigkofler's voice to Ian Anderson). The middle break MUST contain flute even if not in the credits - I can hear the breathing! While "Icarus Part 2" is a bit too close to a jam of 1970s RPI instrumentally, and to "You Keep me Hanging on" in main song thrusts, the musical prowess of the group remains intact throughout. The "Wheel of Time" injects a folk rock bias again, and the baritone lead guitar parts remind me of the mid 1970s STEELEYE SPAN, but otherwise rehashes devices already exploited in prior cuts.

This is a fairly diverse yet cohesive album that displays the potential of Mad Puppet., even though they were working in an environment in which record company execs were pulling the strings.

1. Wild Rushing Waters is a nice sounding melodic song with dominant keyboards though a pretty fierce guitar tries to be very present as well. I like very much what Manfred Kaufmann is showing in this opening track. A few impressing guitar performances as well by the way. 3,75*.

2. Look out has actually a very interesting opening riff that reminds me of Spooky by Atlanta Rhythm Section that was a hit over here around the same time. Could be coincidence or just an influence. Rest of the song sounds quite different anyway. Again a nice one but less impressive than previous. 3,25*.

3. The Masque of the Red Death (title track ?) starts with nice flute and keys accompanied by laid back acoustic guitar. Lovely opening section of this almost epical track. After these first three minutes the usual sound emerges again with the organ-like keys and the typical recognizable vocals of Manfred Schweigkofler. The names of these Italians sound German and that is because they are from northern Italy where more people have those kind of names. A theatrecal middle part breaks the song in two parts, it reminds a bit of Fish's acts on Marillion's debut. Harpsichord sounds and flute make the song go on giving it a medieval touch. 3,75*.

4+5 Icarus Part I and II is in a way the other epic on this album clocking 13:30 in total. Mad Puppet are already showing on this debut that they are good composers. The longer songs have a structured build up, it all sounds pretty mature. Part I is a vocal part, Part II starts with fast keys and drumming later on guitar joins in completing a very compelling instrumental section. Vocals arrive in next section making the diversity complete. Guitar sounds like Eloy I suddenly realize. The song gets better and better. This must be the absolute highlight. 4*.

6. Wheels of Time has a bit of a Camel feel in the beginning, rest of the song is the Mad Puppet I've really grown used to. This is not the very best song of them all but still very respectable. 3,25*.

At first I was sure this was going to be a three star effort but after this individual reviewing of each song I have to admit 3 stars is selling them short. And mainly looking at the year of issue I think this whole performance deserves 4 stars after all, though rounded up (3,6).

Formed in Tyrol in 1980,MAD PUPPET were a progressive rock band inclunding musicians both from Austria and Italy,mainly students.The band was inspired lyrically from literature and mythology and they tried to create an epic atmosphere in their albums.The first of their works,called ''Masque'' was recorded in 1982 and it contained 6 original compositions,much influenced by CAMEL and in a lesser extent URIAH HEEP.Their musicianship is dominated by the Latimer-like guitar work (from the interesting solos to the mellow passages and the bluesy riffs) and the great alternating synths/organ parts in the vein of Peter Bardens.Vocals are sung in English and have a slight foreign accent.When the music takes a little bit off,then you'll get some fast rockin' rhythmic parts and solos in the vein of URIAH HEEP,but there are also some decent smooth flutes added for good measure.A very interesting release back in early 80's,which I personally enjoy very much.Strongly recommended!