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MAXOPHONE

Rock Progressivo Italiano • Italy


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Maxophone picture
Maxophone biography
Founded in Milan, Italy in 1973 - Duisbanded in 1977 - Reformed in 2008

Although less popular than other mainstream Italian prog rock groups, MAXOPHONE achieved a late cult status among prog rock fan because of their well crafted music, solid musical expertise and precisely cut arrangements. A well coordinated six piece ensemble, MAXOPHONE sits in the prog rock arena covering the gap between the clattering edge of groups like KING CRIMSON, the folky roots of JETHRO TULL and the more elaborated Canterbury sound. MAXOPHONE had a twin-fold soul: half of the members had classic music background while the other half had a solid rock background. This weird combination appears clearly in some songs were very non-rock instruments, such as horn, clarinet, trumpet and vibraphone are used in very balanced way together with Fripp-esque guitars and electrical piano. After one year rehearsal work, in 1975, MAXOPHONE issued their only LP record, the homonymous MAXOPHONE, which aged pretty well, sounding fresh today as 30 year ago.

Although MAXOPHONE may sometime blink an eye to melodic rock, they never forget to surprise the listener, nicely standing repeated listening. Their music shows surfacing influences from Greg LAKE, Robert FRIPP, ELP, KING CRIMSON, GENTLE GIANT, NATIONAL HEALTH, PFM, BANCO and Yes among the others. Their most renown feature is to change the music mood from pastoral to rock to classical within the same song without losing listening momentum. After the publication of the homonymous LP, they recorded a pop pier single, whose side A and B songs are both included as bonus tracks in the CD version of MAXOPHONE.

A clear must for all Italian prog rock lovers.

: : : Ludovico Vecchione, ITALY : : :

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MAXOPHONE discography


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

4.27 | 573 ratings
Maxophone
1975
3.73 | 74 ratings
Maxophone (English lyrics)
1975
3.81 | 57 ratings
La Fabbrica Delle Nuvole
2017

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

3.93 | 21 ratings
Live in Tokyo
2014

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

4.04 | 32 ratings
From Cocoon To Butterfly
2005

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

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

3.57 | 7 ratings
C'è un paese al mondo/ Al Mancato Compleanno Di Una Farfalla
1975
3.60 | 10 ratings
Il Fischio Del Vapore/ Cono Di Gelato
1977

MAXOPHONE Reviews


Showing last 10 reviews only
 La Fabbrica Delle Nuvole by MAXOPHONE album cover Studio Album, 2017
3.81 | 57 ratings

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La Fabbrica Delle Nuvole
Maxophone Rock Progressivo Italiano

Review by andrea
Prog Reviewer

5 stars In 2005 Sergio Lattuada tried to reform Maxophone gathering his old bandmates. His effort led to the release of a CD plus DVD documenting the history of the band but it wasn't until 2008 that Maxophone really came back to life thanks to the contribute of some new musicians that joined the old creative core of the band. The new course led to new compositions and in 2017 the band released an excellent album entitled "La fabbrica delle nuvole" on the independent label AMS Records with a line up featuring along with founder members Sergio Lattuada (piano, keyboards, vocals) and Alberto Ravasini (guitars, keyboards, lead vocals) the new entries Marco Tomasini (electric guitar, vocals), Marco Croci (bass, vocals) and Carlo Monti (drums, percussion, violin). For the lyrics, the band collaborated with the Bolognese poet Roberto Roversi, best known for his works with singer-songwriter Lucio Dalla in the seventies. Unfortunately, Roberto Roversi passed away in 2012, well before the album was completed... Anyway, the beautiful artwork, elaborated by Eugenio Crippa developing an idea of Alberto Ravasini, tries to depict musical and poetical content of this impressionistic work...

The opener "Un ciclone sul Pacifico" (A typhoon on the Pacific) starts by a classical inspired first part, decadent and melodic, where an emotional typhoon begins to build up from a sea of dissatisfaction and disenchantment. Then words turn into water and wind, the rhythm rises and the music becomes more complex and frenzied. When the rage storms out, nobody can say what's true any more, nobody can say what can break the wall... Nonetheless, those raging, forbidden words are the words of the future!

Next comes "Perdo il colore blu" (I'm loosing the blue colour) that every now and again reminds me of PFM. It begins with a frenzied rhythm and describes the feelings of a man who dives into a busy life as an antidote to the poisonous consequences of a broken relationship, a man who works to forget...

"Il passo delle ore" (The pace of hours) is a melodic piece that underlines the importance of finding the right partner to share your time and your decisions. Those who have the bad chance to be lonely like stones are condemned to climb an endless stairway to the moon...

Then it's the turn of "La fabbrica delle nuvole" (The factory of the clouds), a magnificent instrumental track that starts with the pace of a gentle giant in a glass house. Try to imagine a factory producing dreams and expectations through words and notes and listen to the sound of its cogs and wheels...

"La luna e la lepre" (The moon and the hare) is a beautiful track with a medieval atmosphere and excellent harmony vocals. It tells the story of a hare that was charged by the moon to bring a message to humanity... Unfortunately, the hare forgot the words of the moon and delivered a wrong message provoking sadness, shadows and ice...

The bitter-sweet "Estate '41" (Summer '41) evokes the image of two lives on the border. Dreams falls down and a magma of memories throws stones into a fragile heart... And yet, there's still time to listen to strange sounds, the beating of the drums seems like the voice of screaming giants. The war is raging outside, it's a difficult time for two lovers but their kisses are able sweep off all the words and the sense of distress...

The following "Nel fiume dei giorni i tuoi capelli" (In the river of days your hair) opens softly. It's as if the arms of a clock would start to go back in time seeking for the memories of lost summer days, as in a hypnotic trance. Then the music becomes bolder and Gentle Giant could come to mind again while the notes begin to play hide and seek over a sea of a thousand words...

"Il matto e l'aquilone" (The madman and the kite) starts by a classical guitar intro, then the music goes through many changes in mood and rhythm while the lyrics conjure up the image of a madman in love who lives inside his desires and dreams to take off like a kite in the midst of a thousand colours and powerful sounds of thunders and bells. For him, life is just a flight beyond the sun, in total freedom...

The closer "Le parole che non vi ho detto" (The words I haven't told you) is a melancholic song led by piano and violin where regrets pour down like rain on a man who's thinking of the words he would say to his parents if he could meet them again...

On the whole, an excellent blend of poetry and challenging music and a great album that grows spin after spin.

 Maxophone by MAXOPHONE album cover Studio Album, 1975
4.27 | 573 ratings

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Maxophone
Maxophone Rock Progressivo Italiano

Review by sgtpepper

4 stars Expect one of the most versatile Italian prog albums if this really still falls into the RPI genre. The bunch of very gifted musicians (both composers and instrumentalists) meet to release a very sophisticated and mature debut album. Soft melodic moments full of harmony ("Al Mancato Compleanno Di Una Farfalla"), more typical Italian prog tracks with excellent orchestra instruments (C'E Un Paese Al Mondo), instrumental tracks of pure progressive heaven with flute, keyboards ("Fase"), slight Canterbury influence with ("Elzeviro") and even some classick rock and blues-rock licks, this is a very appealing combination and balance of skilled composing and playing.

The voice is soothing and fits greatly for an Italian Prog band sung in Italian. Italian prog puts strong emphasis on keyboards and also here we have multiple instrumentalists capable to playing some "key" instruments, which results in keyboard layers and fine sound. Highly recommended as it stands on its own in the vast RPI set of albums.

 Maxophone by MAXOPHONE album cover Studio Album, 1975
4.27 | 573 ratings

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Maxophone
Maxophone Rock Progressivo Italiano

Review by zeuhl1
Collaborator RPI Team

5 stars Maxophone released a single album in 1975 in both English version and Italian version (get the Italian one). Exquisite musicianship and an odd and wide assortment of classical instruments make this a unique entry in Italian prog. Bears some resemblance to likewise very talented Locanda della Fate. Somehow I'd never heard of these guys when first getting into some obscure Italian bands when I was in college, but time has solved that problem.

Opener C'e Un Paese Al Mondo is a good impression of what they are up to-dense arrangements that echo Genesis. circa 73, with their distinctive touch. Second song, the instrumental Fase, guitarist Roberto Giuliani lays down a very convincing and convoluted Steve Howe run, but the song quickly veers into horn dominated Crimson stylings. (the highly inventive band can veer from section to section very quickly). Vibraphone, a rarely heard instrument in prog, is used to great effect here. Third song Al Mancato Compleanno Di Una Farfalla starts with a classical guitar and flute figure straight off early PFM repertoire.

Side two begins with Mercanti Di Pazzie, a hint of early Starcastle, and they quickly take it to another level. Second song Mercanti di Pazzie begins with harp (it also credits a HIndemith sonata as the source). Vibraphone helps creates a baroque Genesis flavor. It is one of the few placid moments on the album. Final song Antiche Conclusioni Negre is a nine minute tour de force, combining Yes styled runs with French horn and sax before calming to a piano and vocal interlude. Fans of Chocolate Kings might begin to notice some similarities to that PFM album here. The song and album finishes with a wistful sing along of all the members accompanied by only the organ. Great stuff from opening notes to final fade out, with no bad moments at all in the whole experience.

Two bonus tracks are listed on the inner gatefold of the reissue vinyl lp, but sadly they aren't included.

If there are any weaknesses to this record, perhaps it is the vocals, but that would be looking really hard to find something to complain about. The band is so versatile in so many ways-able to seamlessly slip from ELP to Yes to Genesis to Crimson to jazz to PFM in a single song, and still somehow make it their own. An astonishingly high level of musicianship is on display. Fans of UK prog with not much RPI in their collections would do well to check this album out., as they do lean somewhat towards the traditional English stylings. RPI fans though? You'll find plenty of Italian flavour in here. Absolutely essential for Italian prog fans, and highly recommended for UK symphonic prog fans. And if you can find the English version? A great intro to RPI for beginners.

4.75 stars

 Maxophone by MAXOPHONE album cover Studio Album, 1975
4.27 | 573 ratings

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Maxophone
Maxophone Rock Progressivo Italiano

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

5 stars The Milan based MAXOPHONE arrived late to the game within the explosion of Italian progressive rock bands that dotted Italy from every conceivable nook and cranny and as a result, the band's career was cut short to four years and one self-titled album which woefully went under the radar of the original scene due to their one and only album coming out in late year of 1975 just as the prog scene was winding down and other forms of musical expression were stealing prog's thunder. MAXOPHONE would unknowingly have to play the patience game because once the great prog revival of the 90s would hit, the legions of 70s bands that came before would get a second chance to prove themselves and as a result, MAXOPHONE proved they had the chops to sustain interest well beyond their era and has become one of the most respected Italian prog rock bands that sits high in the pecking order with other greats like PFM, Banco and Museo Rosenbach.

Despite fitting snugly into the Italian symphonic prog tag that found the usual elements of symphonic prog, classical, operatic vocals and off-kilter time signatures with rock elements, MAXOPHONE went above and beyond the call of duty in creating one of the most diverse albums of the entire 70s Italian scene and although it didn't get their just dessert in the initial four year run that lasted from 1973-77, the musicians on board proved that they were in it for the art and not the fame and fortune (you know how profitable prog is!). The band which consisted of six members (and a fair number of sessions musicians) took many years to craft their one and only album which was the alchemic amalgamation of two different pools of musical experience brought together and teased out into a perfect balance of talent by outstanding multi-instrumentalists.

The band consisted of Sergio Lattuada (keyboards), Roberto Giuliani (guitar, piano), Leonardo Schiavone (clarinet), flute and saxophones), Maurizio Bianchini (vibraphone, horn and trombone), Alberto Ravasini (bass, acoustic guitar and flute) and Sandro Lorenzetti (drums), plus some guests on the harp, violin, cello and double bass. Half of the members were graduates of classical training whereas the others were heavily experienced in various rock bands. The result was an interesting blend of all the experience of the members involved and the band took years to craft their modernly deemed magnum opus into a true musical gem. While MAXOPHONE pumped out a mere six tracks on their sole album of the era, the running time goes for the gusto and tackles not only the usual fusion of classical and rock but also has a stealthy supply of jazz, folk, Neopolitan traditional music along with avant-garde touches.

Like almost all of Italian prog of the era, MAXOPHONE began their journey with strong melodic developments but once established, deviated into some of the most complex journeys within the history of Italian prog with off-kilter time signatures, unexpected dynamic shifts, dense atmospheric drifting and an uncanny attention to detail which allowed the band to effortlessly shift gears from soft pastoral moods to heavy guitar or keyboard dominated frenetic attacks. The various musical textures delivered is uncanny and MAXOPHONE was one of the rare bands within the whole Italian prog scene to add clarinet, vibraphone and harp. Having hit the tail end of the whole scene and attempting to copy the marketing skills of other bands like PFM, this album was released with both Italian lyrics (1975) and then in English the following year (1976). Italian experiencing this in English.

MAXOPHONE, despite their best efforts, was doomed in their initial run. The prog scene was winding down and the bigwigs of the day already had the gaze of those who were paying attention. The label Produttori Associati was not accustomed to signing prog acts but rather focused on soundtracks and jazz. MAXOPHONE probably slipped through the label's cracks due to the fact that they implemented more jazz elements than the ordinary symphonic prog act not only in the sultry sax solos that occur sporadically but also in the rather unorthodox jazzy compositional constructs that add an extra layer of complexity to the already breathtaking classically driven rock sequences.

Despite this album having been released and utterly ignored, the rediscovery of the prog scene has been quite generous and has ranked this amongst the best of the best. This is definitely one of the more demanding examples of the Italian prog scene. Despite the strong melodic deliveries strewn about, the variations that change frequently dictate a dedication of multiple listens for this to have sink in. While usually i require a mere single listen to the max five for an album to sink in, MAXOPHONE's eponymous album has taken well over ten. While at first i was unfazed, after many, many listens this has at long last revealed its secrets as if i've broken the code that allows premium access into the world that was constructed so many decades ago. In that regard MAXOPHONE is a real trip. There are many segments of this album that are instantly addictive but the whole enchilada doesn't necessarily gel until it's penetrated on a deeper level, however after the album has sunk in, it's undoubtedly the case that this is indeed one of the highlights of the entire Italian prog scene with a magnanimity that has rarely been matched.

 Maxophone by MAXOPHONE album cover Studio Album, 1975
4.27 | 573 ratings

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Maxophone
Maxophone Rock Progressivo Italiano

Review by Walkscore

4 stars A Classic with Tons of Variety

Never boring, Maxophone's one-and-only 70s album stands as one of the classics of the era, shifting between sonic timbres and moods. Although released in 1975, its sound is more like 1971. The drum, electric guitar, and organ sounds in particular avoid the more slick recording quality that dominated the UK and US rock scenes in the mid-to-late 70s. The guitars can sound quite harsh at times, actually, which is somewhat refreshing, and contrast nicely with the sometimes very sweet Italian singing (I have the Italian language version, which I much prefer). The album begins with some amazing piano playing before shifting into one of the better tracks on the album ("C'è Un Paese Al Mondo"). The second track breaks with this sound, instead building around an electric guitar riff (ala 'In-a-gadda-da-vida'). This is to my ears the weakest track on the album, but I still listen to it. The third track is very mixed, moving between styles, including hints of Canterbury-esque time signatures, medieval flute passages, and quirky horn parts. My favourite track is the fourth track ("Elzeviro"), very musical, with an electric mix of styles (from beautiful flute soloing, to sweet Italian singing, to harsh moody guitar). The fifth track is an eclectic mix of harmony vocals, slowish classical music, and a touch of cheese, but with some very interesting and musical chord changes in places. The closing track brings back the horns, mixing more of a rock feel, a great sax solo (and even a synthesizer) and some really interesting changes and quasi-sentimental singing. The song/album closes with a mass- like organ and choir soul ending. While not my favourite RPI album, I still put this on every once in a while. Even the parts that aren't so musical are easy to take, as no section lasts very long, and there are a lot of nice cool sections that follow. I give this 8.1 out of 10 on my 10-point scale, which translates to four PA stars.

 La Fabbrica Delle Nuvole by MAXOPHONE album cover Studio Album, 2017
3.81 | 57 ratings

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La Fabbrica Delle Nuvole
Maxophone Rock Progressivo Italiano

Review by Mellotron Storm
Prog Reviewer

3 stars 3.5 stars. A pretty good comeback album from this Italian band who haven't released a studio recording in over 40 years. When compared to the debut this one lacks the variety of horns and flute that the seventies release featured. We do get the same vocalist and he certainly is one of the main reasons I've given this 3.5 stars, I love his voice and it has some character to it. And yes he sings in Italian. The album is all over the place with quite a bit of variety including both modern and commercial sounding music. I really like the romantic RPI vibe but the heaviness with the GARDEN WALL-like guitars not so much. Same with the poppier stuff on here, I'm just not a fan.

"Un Ciclone Sul Pacifico" opens with a violin melody before it kicks into a real good groove. Man I like this part. Piano joins in then vocals. A catchy chorus follows then a guitar solo. Violin only like the intro after 2 minutes then it builds with keys and more. The vocals sound different after 3 minutes and we get a heavier sound.

"Perdo Il Colore Blu" starts with the drums and guitar standing out as keys and bass join in. A good driving sound here before it settles back with vocals. Contrasts continue. Piano only before 1 1/2 minutes as processed vocals join in. Not a fan of this. The heaviness comes and goes. A prolonged instrumental follows including some excellent guitar.

"Il Passo Delle Ore" is my favourite because it has such a classic RPI flavour to it. Great sounding vocals here and one of the rare times I feel emotion from the music, especially on the chorus.

"La Fabbrica Delle Nuvole" sounds so interesting with the percussion and sounds that come and go before some organ arrives. It turns heavy with GARDEN WALL-like guitars which I'm not into. The drumming is killer then after 2 minutes it changes and soon it's piano only before drums and more join in. An instrumental GENTLE GIANT vibe before 2 1/2 minutes. Synths lead later on trading off with the guitar. The bass and drums shine on this one.

"La Luna E La Lepre" is the other song I really like. Intricate guitar and percussion early on. Vocals just before a minute with strummed guitar. Love his singing here. Bass and organ join in as well. Nice guitar solo then back to that earlier sound. Great sound after 3 1/2 minutes as the vocals return. A feel good vibe with that guitar after 4 minutes.

"Estate '41" sounds different to begin with then these emotional vocals arrive before 1 1/2 minutes. Lots of intricate sounds. I like the atmosphere late to end it with violin.

"Nel Fiume Del Giorni I Tuo Capelli" sounds really good until the tempo picks up and this modern feel arrives. Suddenly before 2 minutes we get a GENTLE GIANT section both vocally and instrumentally. You should hear this! GENTLE GIANT all the way, a nice tribute then the guitars turn heavy which seems out of place. Back to the GG vibe as contrasts continue. Piano and violin ends it.

"Il Matto E L'Aquilone" opens with picked guitar then violin before a minute along with bass as relaxed vocals join in. Thankfully it changes after 2 1/2 minutes to a more uptempo and heavier sound that I actually like. Organ, drums and guitar stand out here. A calm after 4 minutes then it kicks in again. "Le Parole Che Non Vi Ho Detto" ends it and it's a short 2 1/2 minute track. Vocals, violin and more in this mellow closer.

Lots to like here but there's lots of sections that I don't like as well. A mixed bag you could say but I'm glad I got to spend some time with it. I'll stick with their classic seventies album in the future though.

 La Fabbrica Delle Nuvole by MAXOPHONE album cover Studio Album, 2017
3.81 | 57 ratings

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La Fabbrica Delle Nuvole
Maxophone Rock Progressivo Italiano

Review by Aussie-Byrd-Brother
Special Collaborator Honorary Collaborator

4 stars There used to be something of a running joke that Italy was home to a ton of doomed vintage prog bands that delivered one single album in their prime active years and then promptly vanished, leaving it their sole legacy. That rule has been somewhat shattered over the last few years as a ton of Italian groups have reunited and delivered long-belated follow-ups - yes, the likes of Museo Rosenbach, Murple, even Cherry Five and countless others - and now it's Maxophone's turn! Although `La Fabbrica delle Nuvole' doesn't often sound like their much-loved self-titled 1975 debut and only singer Alberto Ravasini and keyboardist Sergio Lattuada remain from the original line-up (although utilising the same talented new musicians that performed on their 2014 `Live in Tokyo' release), it's a varied and lavish assortment of rock pieces grafted to fancy classical-flavoured symphonic pomp that remains melodic and approachable without being overly simple.

Unpredictable and cool rocker `Un Ciclone sul Pacifico' opens the LP around teases of orchestration and cool slinking grooves from electric piano, with heavier punchy bursts kicking in and out around slick backing harmonies, and Alberto Ravasini's voice has remained in fine raspy and charismatic form (with all the vocals performed in Italian, no two versions including English offered this time around, thank you very much!). `Perdo il Colore Blu' is book-ended with twisting/turning up-tempo sprints, and there's a light jazziness to the Hammond organ and cheerful swagger of the piece with brief rollicking PFM-like trilling synth runs, and `Il Passo delle Ore', one of the loveliest tunes of the album, is a gentler romantic moment with a catchy clever chorus, soft violin and crisp electric guitar themes.

The title track `La Fabbrica delle Nuvole' is the first big `wow' moment of the disc, a fully-instrumental crossover of whimsical keyboard prettiness, light jazz-fusion guitar grooves and colourful symphonic themes (Marco Croci's slinking thick bass is a real highlight here too) all in under six minutes, and in parts it doesn't sound unlike Italian discs of the last few years like Progenesi's `Ulisse l'Alfiere Nero', Moogg's `Italian Luxury Style' or the last F.E.M album `Sulla Bolla di Sapone'. Folk aromas permeate intricate rocker `La Luna e la Lepre' with a dancing Baroque fanciness of madrigal-flavoured Gryphon and Gentle Giant-like sophistication and whimsy, plenty of ravishing acoustic guitars and intricate multi-part group harmonies, and dreamy synths, silken acoustic guitars and ruminative sax throughout the tasteful and classy `Estate '41' could almost have hailed from a Steve Hackett solo disc.

`Nel Fiume dei Giorni i Tuoi Capelli' is busily schizophrenic for a track that doesn't even run four minutes, bouncing through everything from dream-like careful soft rock with elegant violin and sparkling electric piano tiptoes to delicate folk and frantic contorting guitar races, ultimately sounding closer to something like the modern version of Swedish symphonic proggers Kaipa. Those baroque and chamber prog flavours pop up again throughout `Il Matto e l'Aquilone' thanks to warm folk-flecked acoustic guitars and prancing violin whilst alternating back and forth with snappy jazz-fusion turns and infectious keyboard-driven symphonic prog sprints, and `Le Parole Che non vi Ho Detto' is a short and giddy violin/piano closer.

While it can't possibly live up to the status that the popular 1975 debut enjoys, `La Fabbrica delle Nuvole's strength lies in the fact that it's a real grower that impresses more and more with every listen. It's an eclectic, colourful and tastefully performed comeback with plenty to recommend about it, and another example that no country delivers better and more rewarding modern prog albums from older acts than Italy. Lovers of Maxophone and Italian prog fans in general should end up having a terrific time with this unexpectedly vital, highly surprising and greatly inspired work.

Four stars.

 La Fabbrica Delle Nuvole by MAXOPHONE album cover Studio Album, 2017
3.81 | 57 ratings

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La Fabbrica Delle Nuvole
Maxophone Rock Progressivo Italiano

Review by maryes

4 stars 4,5 stars really ! MAXOPHONE "La Fabbrica Delle Nuvole" - A great surprise... I make an effort to remind similar case ; A new band release with very good quality after all these years... still more admirable is the fact that in this album only two original members : Alberto Ravasini and Sergio Lattuada . Although, at this time the same influences that I point in my review of their first album ((#282950) Friday, May 21, 2010 ) PFM , Campo di Marte and Gentle Giant... now the sound is much more close of GG. Is enough listen the title track "La Fabbrica Delle Nuvole" introduction and main theme, the "Interlude" (starting at 2:02 until 2: 52 min ) in same track ! The only "weak" moment as in track 3 "Il Passo delle Ore" ... but this moment aren't enough to make a great "damage" of audition. The album is full of interesting musical passages as for instance , the medieval atmosphere in track 5 "La Luna e la Lepre"... between others. My rate is 4 stars !!!
 La Fabbrica Delle Nuvole by MAXOPHONE album cover Studio Album, 2017
3.81 | 57 ratings

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La Fabbrica Delle Nuvole
Maxophone Rock Progressivo Italiano

Review by Chalcobalt

3 stars Baroque strings set the tone for this album in a classic Italian prog rock feeling. Keyboard-based style with plenty of guitars, horns and violin. There are really bright moments here, lovely melodies, paces and intricate changes in these. The symphonic parts with folky and classical incorporations are the most enjoyable, and there are also beautiful piano to be found occassionally. The guitar is on the other hand quite eclectic at times in sections not as interesting for me. In prog measures, most songs are short. With the musical skill and the range of instruments obviously possessed and mastered, I think the band could compose elongate epic masterpiece tracks if such ambitions would appear to them. But the songs rather orientate into rock tunes in a more standard appearance. Because of this, most tracks becomes increasingly tedious upon repeated listening instead of growing with time. Don't get me totally here though, there are a lot of these genious moments on the record, but no song that I absolutely admire from start to end. 'Un ciclone su Pacifico' is my honourable mention apart from the piano- and bass-driven instrumental title track that really tickles progressive nerve cells. Medieval tunes at boths ends of an otherwise really eclectic 'La luna e la Lepre' are also among the most exciting parts. I'm left with the sense that it could have been so much more, in many senses, but this is nevertheless recommendable high quality prog rock.
 Live in Tokyo by MAXOPHONE album cover Live, 2014
3.93 | 21 ratings

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Live in Tokyo
Maxophone Rock Progressivo Italiano

Review by Thierry

4 stars We all know one shot bands, generally author of a brilliant album. Bands who quickly, too quickly, went back into the mists of oblivion. Best kept secrets or beautiful losers? England and "Garden Shed" comes to the mind, Silver Lining's "The Inner Dragon" in France for instance. And Italy, Maxophone and their eponymous opus released in 1975. This album quickly became a legend at the time it was published and even had its English version. It deserves it because the music, both symphonic and jazzy in a pastoral atmosphere, is a thing of beauty. Think of Genesis, Brand X and PFM (violin parts). I believed the band was gone with the wind and what a surprise I had in my letterbox! A live record! In 2013, they went to play in an Italian prog festival in Japan. From the original line up, there are only Alberto Ravasini (acoustic guitar, keyboards, vocals, flute) and Sergio Lattuada (keyboards, vocals) left but they are the main leaders I would say. And they hired gifted fellows for this rebirth. Thus the magic is back. Of course, the Milanese outfit plays the whole album (including a splendid version of 'C'è un paese al mondo') but they add two unreleased tracks, one ('Guardian Angel') showing welcome Gentle Giant influences. What a pleasure! A thing of beauty is a joy for ever (Keats).
Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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