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HOMUNCULUS RES

Rock Progressivo Italiano • Italy


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Homunculus Res biography
Founded in Palermo, Italy in 2013

Another wonderful band on the ever-growing excellent AltRock label, HOMUNCULUS RES is a Sicilian band centered around songwriter/guitarist/keyboardist Dario D'Alessandro. Other members currently include keyboardists David Di Giovanni and Federico Cardaci, bassist Domenico Salamone, flutist Dario Lo Cicero, and drummer Daniele Di Giovanni. A featured guest on the band's debut is YUGEN keyboardist Paolo Ske Botta.

The primary inspiration for the band is PICCHIO DAL POZZO, the best Canterbury-influenced Italian band from the 1970s. They seem likewise, as did PICCHIO DAL POZZO, to derive inspiration from other Canterbury bands, particularly CARAVAN and SOFT MACHINE. But HOMONCULUS RES is far from being a simple clone--they have taken the light, breezy, humorous Canterbury feel and mixed it with the early material from PREMIATA FORNERIA MARCONI and even LE ORME. They have combined these influences, spinning the whole in their wonderful melodic sensibilities, in the process creating one of the more unique and memorable entries into the crowded field of modern excellent Rock Progressivo Italiano.

The 2013 debut album Limiti All'eguaglianza della Parte con il Tutto demands to be heard and enjoyed and portends of wonderful things to come from this delightful ensemble.

[Todd]

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

3.97 | 38 ratings
Limiti All'Eguaglianza Della Parte Con Il Tutto
2013
3.82 | 40 ratings
Come Si Diventa Ciò Che Si Era
2015
3.99 | 54 ratings
Della Stessa Sostanza Dei Sogni
2018

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HOMUNCULUS RES Reviews


Showing last 10 reviews only
 Della Stessa Sostanza Dei Sogni by HOMUNCULUS RES album cover Studio Album, 2018
3.99 | 54 ratings

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Della Stessa Sostanza Dei Sogni
Homunculus Res Rock Progressivo Italiano

Review by felonafan

5 stars "Della Stessa Sostenza Dei Sogni" ("About the same essence of dreams") is the third studio full-length album of the band from sunny Palermo, playing music deeply rooted in stylistics and "in spirit" in Canterbury scene. If Hatfield and the North and other similar groups were created by the Italians and sang in Italian, then perhaps they would sound like Homunculus Res. Also it is worth mentioning the group with whom people compared, compare and probably will compare Sicilians - Picchio dal Pozzo. This Italian ensemble released two studio albums in the second half of the 70s / at the turn of the 80's (and again at the beginning of zero), apparently inspired by the "classic" Canterbury bands, but sounded more jazzy, a little slower and much more "more seriously" than the heroes of this review. The leader of Homunculus Res - singing composer and multi-instrumentalist Dario d'Alessandro - was able to attract a large number of musicians to the studio work. These include not only the regular members of the group - all of them, together with the leader, five - but also approximately 15 guests, performing vocal parts and playing various instruments, from guitars and keys to numerous wind instruments. There is also a "guest composer". He is the leader of the group Brezhnev Fun Club Rocco Lomonaco, dragged (in varying degrees) in creation of two works on the album. Homunculus Res, like the legendary representatives of the Canterbury scene, embody the compositional ideas built on jazz harmonies and complex/changing measures in very short songs with almost pop tunes. All tracks last less than 5 minutes, and the musicians managed to "lay" 12 such tracks in the "format" lasting about 42 minutes. Among them, it is difficult to mark the highlights (for me at the moment it is "Bianco Supreme"), but everything in general leaves a pleasant impression by its 'laconicism' and relaxedness. Comparisons of some critics and listeners with Henry Cow and Magma are not clear to me: the creativity of Homunculus Res is absolutely not gloomy or "stressful". Complicatedness does not "stick out on the surface". At the same time, a rich and varied sound, coupled with frequent changes in musical events, can strongly entice lovers of the "complex prog". "Della Stessa Sostenza Dei Sogni" is one of the best releases of the AltrOck Productions label for the last few years.

p.s. Many times I re-listened to this album and came to the conclusion that it is (almost) essential opus.

 Della Stessa Sostanza Dei Sogni by HOMUNCULUS RES album cover Studio Album, 2018
3.99 | 54 ratings

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Della Stessa Sostanza Dei Sogni
Homunculus Res Rock Progressivo Italiano

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars The third full-length album release from these creative artists from Palermo reveal a band that continues to grow and experiment though their sound and style while remaining as refreshingly quirky, humorous, and Canterburian as ever. The songs are far more complex, far more avant on some layers, while, gratefully, maintaining the light, even humorous approach to rendering music. I even feel somewhere in my gut that there has been a slight return to the loose, enjoyable spirit that was so prominent and prevalent throughout their 2013 debut, Limiti all'eguaglianza della parte con il tutto, (one of my top five favorite albums of all-time).

1. "La Cabala" (4:00) smooth with typically catchy HR melodies (9.5/10)

2. "Faccio una pazzia" (2:49) more odd, humorous, and avant than before. Quirky vocals similar to those explored by AltrOck stable mates HUMBLE GRUMBLE on their early release, Flanders Fields. I love the thick fretless bass contrasted by the sharp, staccato, odd-tempo hits of the horns and rhythm section. Funky sax solo by Dave Newhouse at the end. (8.5/10)

3. "Bianco supremo" (03:32) a pretty, bucolic song with melodies and sound renderings that harken back to the idyllic summer musics of the late 1960s. How many instruments can one clearly weave into one song? (9/10)

4. "Non sogno più" (02:44) This one has the feel of a late-1960s Latin jazz pop song. Fun, engaging, danceable, and gorgeous. (9/10)

5. "Mentre dormi" (04:16) opens like a Ben Watt/Tracey Thorn song before becoming all HR. Great shift at 0:45. I love the woodwinds and mandolin in the mid-section. Another great shift just before the three-minute mark leads into the electric guitar solo in an awesome reed-based outro. A top three song for me. (9.5/10)

6. "Rimedi ancestrali" (03:39) an odd-tempoed piano-based song with aged electro-pop sounds (the return of the Casio VL-TONE Vl-1?!!) performing some of the song's base fabric. I love Dario D'Alessandro's vocals on this one. Another top three song. (9.5/10)

7. "Se la mente mentisse" (04:16) a fun pop song with lead vocals from Alessandra Oria Bollino. The second part, instrumental/post vocal, sounds so much like a 70s Canterbury song. Then we return to the poppy vocal section while Alessandra scats the main melody with "la-la-las" in place of the words. Great flute work here from Dario La Cicero. Just pure fun?makes me so proud to be a human being (despite our inanities)! I cannot decide between this song and the album opener for my third top three song. (9.5/10)

8. "Il nome di Dio" (02:34) a quirky jazzy song with odd multi-voiced vocals over the top (and below). Great jazz rhythms and horn work after the 1:00 mark. I like the multi-layered synth work in that solo in the second minute. The song bounces back and forth from quirk vocal to jazz section one more cycle while ending with a nice little Casiotone solo. (8.5/10)

9. "Denti cadenti" (04:41) presents a very different recording soundscape with tons of reverb on multiple tracks (not just the voices). Harpsichord and other older-sounding instruments. Even a Hammond and Mellotron to go with piano and other more-"classic/common" prog instruments. (9/10)

10. "Dopamine" (03:49) another song that uses instruments and sounds sounding like they're straight out of the 1970s Canterbury Scene bands' repertoires. Great raunchy electric guitar work over the jazzy organ-led foundation. (9/10)

11. "Preludio e distrazioni" (02:09) is a slow, sentimental song with piano and multiple layers of woodwinds. Pretty first minute, shifts, then more gorgeous, ending with acoustic classical and electric guitar duet. (9/10)

12. "La casa dei sogni" (02:54) fun, horn-based, carnivalesque song with lead vocals by female singer, Sara Zerilli. Starts out slow but then picks up at 0:37 becoming more bouncy and upbeat. This could almost be a Stereolab song. (8.5/10)

Five stars; a masterpiece of progressive rock music in the Canterbury style. Not as amazing or ground-breaking as their debut, but I do like this one better than their sophomore release--which left me kind of flat.

 Come Si Diventa Ciò Che Si Era by HOMUNCULUS RES album cover Studio Album, 2015
3.82 | 40 ratings

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Come Si Diventa Ciò Che Si Era
Homunculus Res Rock Progressivo Italiano

Review by Warthur
Prog Reviewer

4 stars When it comes to influences of UK groups on Italian prog, it tends to be the symphonic bands we think of - consider Genesis and Van der Graaf Generator's inspirational early 1970s tours of Italy, for instance, or ELP using their Manticore label to give some of the big-league Italians more exposure in the English-speaking world.

However, Italy has also always had its fair share of purveyors of the jazzier side of prog too, and even occasionally puts out a group that has mastered the particular style of jazz-prog associated with the Canterbury scene. Picchio dal Pozzo did it in the 1970s, and now in the 2010s we have the magnificent Homunculus Res, who this time around even give guest spots to members of groups like Picchio and US Canterbury masters The Muffins for good measure, delivering an album which wouldn't look too shabby next to better works by influences such as National Health or Matching Mole.

 Come Si Diventa Ciò Che Si Era by HOMUNCULUS RES album cover Studio Album, 2015
3.82 | 40 ratings

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Come Si Diventa Ciò Che Si Era
Homunculus Res Rock Progressivo Italiano

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

4 stars A tremendous emotion given to me.

Listened to HOMUNCULUS RES' stuff for the first time, and enjoyed much. They have attractive variation of progressive rock essence fusioned with Canterbury / Jazz Rock, and in addition, seasoned with Italian easygoing temperature and a tad sensitive racial character ... such a musical appearance can sometimes sound ironic, and sometimes purely childish. Yes looks like they play completely what they want to do upon this album turf, and it's simple and natural for them and also the audience.

Wondering where would they like to go via this album "Come Si Diventa Ciò Che Si Era". No nervous touch nor strong persistence but somewhat their great enthusiasm to create "such a music pleasure" can be heard ... "Vesica Piscis", as if the title (in English "Independent Noises"?) musically designed, tells us what they would produce with noisy rock sound elements. They might convert noises via instruments into a cup of dramatic, sensational sound stew. They notify us this work be not difficult when the production might be done with much delight and sincerity.

And it's magical and attractive that we can receive such a complex melody line based upon multi-rhythmic origin as a natural music phenomenon. Via such an amazing fact, we can find this should be one of their emotional strategies. Even through a short track like "La Felicità" or "Egg Soup" their safe and sound presence of musical condition (but slightly distorted fantastically) can be heard. Some slimy stuffs remind us of jazzy Krautrock like Electrip (Xhol Caravan). On the other hand, the longest one "Ospedale Civico" (Civic Hospital) can be felt as a Soft Machine-ary crooked, mobbed sound treasure seasoned with Italian words and tempos peculiar to RPI. Let me say their soundscape is such a lunatic (in a fine sense) (why can a civic hospital sound psychic, btw?).

No complicated or tortuous opinion needed. Taking a listen to this album above all, let me say, and we can feel as though our musical field of vision should expand forward in addition to Rock Progressivo Italiano or Canterbury Scene without any doubt. An amazing stuff really.

 Come Si Diventa Ciò Che Si Era by HOMUNCULUS RES album cover Studio Album, 2015
3.82 | 40 ratings

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Come Si Diventa Ciò Che Si Era
Homunculus Res Rock Progressivo Italiano

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. I'm a huge fan of this band having given 4.5 stars for their debut as well. This is very much Italian Canterbury with plenty of humour and distorted keyboards. This time they include an almost 18 minute epic and we get a special guest in THE MUFFINS Dave Newhouse offering up a variety of saxes as well as bass clarinet all on two tracks. Udi Koomran mastered this recording so it sounds amazing.

"Operazione Simpatia" is the bright and upbeat opener with the drums and keys standing out although we also get English horn and aboe chipping in as well. I love the distorted keyboards ala CARAVAN after a minute. "Doppiofondo Del Burile" features vocals for the first time on this disc and there's such a feel-good sound to the opening instrumental. After the vocals stop we get another excellent instrumental section. Love this stuff. Distorted keys before 2 1/2 minutes. "Vesica Piscis" has an upbeat start as the vocals join in. This is catchy and warm. Some laughter follows and we get lots of intricate sounds when the vocals stop. It's all so interesting. A change 3 1/2 minutes in as we get more of a determined rhythm with background synths and more. Sax 5 minutes in as the driving rhythm continues almost to the end of the song. "Dogface Reprise" has these vocal melodies that bring Wyatt to mind before the vocals kick in before a minute. "Opodeldoc" has a relaxed sound of keys, drums and sax but it does get fuller before another calm arrives before 2 minutes. It's building again and I adore the distorted keys before 4 minutes. "La Felicita" is light and whimsical with vocals, glockenspiel, mellotron and synths.

"Ottaedro" opens with fuzzed out keys and bass. Man this sounds amazing! A calm after 2 minutes with bass and floating organ. "Egg Soup" is less than a minute long and man I'm reminded of WIGWAM here with the piano and other sounds. "Belacqua" and the next track feature Dave Newhouse on horns. This one is laid back to start but it picks up quickly. It's the keys/ drums show 1 1/2 minutes in before it turns pastoral late to end it. "Ospedale Civico" is the epic and it's catchy early on with vocals. Love the Wyatt-like vocals 1 1/2 minutes in. Newhouse offers up a variety of saxes as well as bass clarinet. An experimental calm 7 minutes in but then it turns fuller before 8 minutes as the tempo and mood continue to shift. "Dogface" is a breezy tune with vocals, bass and synths standing out. It becomes more passionate late. "S Invertita" is less than a minute of synths, bass and keys mostly. "Paum/" is interesting when the vocal melodies arrive because they remind me of the Gilmore Girls. "Schermaglie" ends the album and it's led by alto sax and drums.

Another winner for these Italians and I think this one is slightly better than the debut. Talk about a feel good listen. For Canterbury fans.

 Limiti All'Eguaglianza Della Parte Con Il Tutto by HOMUNCULUS RES album cover Studio Album, 2013
3.97 | 38 ratings

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Limiti All'Eguaglianza Della Parte Con Il Tutto
Homunculus Res Rock Progressivo Italiano

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars A band from Italy in the AltrOck Productions stable whose debut album, 2013's Limiti all'equalianza della parte con il tutto, offers wild and humorous musical stylings that definitely evoke that light, airy Canterbury feeling. All songs (but one) are short (less than four minutes) and quirky in the SOFT MACHINE/Matching Mole style. Great keyboard and synthesizer work, drumming, and rhythm section as each and every song incorporates amazing and unexpected whole-band syncopation and tempo and key shifts throughout. The laid-back vocals of composer and Casiotone virtuoso Dario ALESSANDRO are awesomely soothing. The Di Giovanni brothers, Daniele and David on drums and keyboards, respectively, flutist Dario Lo Cicero and not one, not two, but three keyboard players (including AltrOck ubiquity, Paolo "SKE" BOTTA), serve Dario's songs amazingly well.

Imperfect songs: 5. "Sintagma" (1:09) (8/10); 8. "Rifondazione unghie" (3:18) (9/10); 14. "Centoquarantaduemilaottocentocinquantasette" (2:06) (9/10), and; "Puk 10" (2:25) (9/10).

Perfect songs: All of the others! (14 of them!!)

This is the best Canterbury album of the 21st Century and perhaps the best of all-time!!

 Limiti All'Eguaglianza Della Parte Con Il Tutto by HOMUNCULUS RES album cover Studio Album, 2013
3.97 | 38 ratings

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Limiti All'Eguaglianza Della Parte Con Il Tutto
Homunculus Res Rock Progressivo Italiano

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. HOMUNCULUS RES are an Italian band who have created a Canterbury album which was greatly influenced by fellow Italians PICCHIO DAL POZZO. We get 18 tracks over the 48 minutes of running time. This is light and melodic and it's sure to put a smile on your face. There are some crazy long song titles including the title of the album which again is almost a tradition when we're talking about Canterbury music. It's cool to see Ske(YUGEN etc.) helping out as a guest on several keyboard related instruments.

"Culturismo Ballo Organizzare" is by far the longest track at just under 6 minutes. It reminds me early on of ANTIQUE SEEKING NUNS and the vocals arrive quickly. Catchy stuff. Lots of piano and drums on this one including some intricate guitar before 2 minutes. "Delta U" is light and catchy with laid back vocals. The tempo really picks up after a minute which is a cool section. "DJ Psicosi" is a feel good tune with vocals. It's fairly uptempo at times as the tempo shifts gears throughout. The keyboards and drums lead the way and we get some trumpet as well after 2 minutes which is a welcomed new element.

"Preparazione Bomba H" is a top four and actually my favourite song on here. Water sounds and wind to start as the piano joins in. This has vocal melodies and a catchy sound. Can a song possibly make me feel any better than this one does? "Sintagma" is a short electronic sounding piece. "Jessicalaura" opens with relaxed piano as bass, drums and guitar join in followed by vocals and backing vocals. This sounds more like an RPI tune and it's gorgeous. Some flute here as well. "(Che Ne Sai Tu Di Un)Cerchio Nel Grano" is a top four for me. We get beautiful vocal sounds, flute and a beat. I like when it picks up, it reminds me of SOFT MACHINE for some reason with the fuzz. This song transports me.

"Rifondazione Unghie" is drum and flute driven as other sounds join in. A catchy uptempo tune that sounds so good when the synths lead after 2 1/2 minutes to the end. "La Ballata Dell'amore Stocastico" is led by piano and reserved vocals. It's laid back early on but it does turn fuller as contrasts continue. "Chi Phi" is another excellent tune led by vocals, piano, drums and synths. "Nabucco Chiappe D'oro" is another top four song for me. Man this sounds amazing and I love the piano and intricate sounds. Also we get mellotron before 1 1/2 minutes. Nice. "Il Papa Buono" is uptempo with pulsating organ and drums standing out. A spacey calm arrives before a minute with mellotron, synths and more, then it kicks back in after 1 1/2 minutes. "Accidenti" is a very short 23 second tune that honours the Canterbury greats.

"Centoquarantaduemilazttocentocinquantasette" is actually the title of this track, is it even a word? Piano and drums lead the way as the music starts and stops which i'm not a fan of. It then starts to flow beautifully after that though. "Profiterol" is led by percussion early on as the guitar and more join in. This is so uplifting. Synths also arrive and lead. "Estate 216 Solstz" features vocal melodies and breezy instrumental work. Another feel good tune. "Puk 10" is my final top four. This is all about the mellotron and buzzing synths. "Il Contrario Di Tutto" ends the album and we get reserved vocals and a mellow sound.

I'm such a sucker for that Canterbury sound and these Italians certainly have impressed me big time with their own special take on that beloved sub-genre. A must for Canterbury fans.

 Limiti All'Eguaglianza Della Parte Con Il Tutto by HOMUNCULUS RES album cover Studio Album, 2013
3.97 | 38 ratings

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Limiti All'Eguaglianza Della Parte Con Il Tutto
Homunculus Res Rock Progressivo Italiano

Review by Progulator
Prog Reviewer

3 stars Even though it's sort of funny that you can use the word "Canterbury" to describe bands that didn't come from that relatively small British city that was a hotbed of prog in the 70′s. Well, I'm going to go ahead and use the term with Homunculus Res; even though they're an Italian band debuting in 2013 there are so many moments on their, Limiti all'egualianza della Parte con il Tutto, that absolutely nail the British style that I simply can't help myself, making them perhaps appear in many of our minds alongside their countrymen, Picchio dal Pozzo in the Canterbury sound. Despite their similarities to classic groups like Caravan and Hatfield and the North, there's most definitely more to this band than meets the eye at first glance, as they certainly know how to spin more experimental elements into their songs with frequency.

Right from the start, "Culturalismo ballo organizzare" dives in with odd rhythms, jazzy chords, and funny keyboard sounds that prove that this album isn't a mere canterbury ripoff; it maintains a quirky edge, even including zeuhl and RIO elements from time to time. Obviously though, this is a British-centric record; there're a number of tracks like "DJ Psicosi," "Preparazione Bomba H," and "Jessicalaura" that hint at bands such as Hatfield and the North and Camel-esuqe melodies (including some 'dat dat dah' lyricless vocals following chord changes). These are not without their twists, however, such as the avant- garde leanings (reminiscent of Rascal Reporters) in the middle of "Preparazione" and the zeuhl-like repetitions with increasing intensity in "DJ Psicosi." From here it gets stranger and stranger with the arrival of "Sintagma," which opens up with some zany sounds and rhythms?typical of what we'd expect from an Altrock band?before moving back into some more familiar territory such as the dreamy chord changes and perfectly classic use of Mellotron flutes in tracks like "Nabucco Chiappe D'oro.

Although there are lots of great things about Limiti all'egualianza della Parte con il Tutto, I think if it has a weakness it would be the second half of the record. Around track twelve there's a tendency to present a lot of short songs that make the album, overall, feel a bit drawn out (in my personal opinion). Tracks like "Accidenti,"demonstrating a straightforward cantebury influenced style, "Centoquarantudemilaottecentocinquantasette," which toys with us by using lots, and lots, and looooooots (and lots) of rests after a quirky opening (best song title ever, btw), and "Puk 10″ which leans a bit psychedelic, all come off as pieces with fantastic ideas. But simultaneously they leave me with the impression of jam ideas that were rolled out in practice?never fully developed into full what they could have potentially been.

In the end (how many times have I wrapped up a review with that phrase? Time to dig a bit deeper in my lexicon) Homuculus Res churned out a pleasing first record. It's founded on strong ideas and a high level of playfulness (without degenerating into silliness) and shows promising prospects. I'm looking forward to seeing where these Palermo boys will go from here on future records.

 Limiti All'Eguaglianza Della Parte Con Il Tutto by HOMUNCULUS RES album cover Studio Album, 2013
3.97 | 38 ratings

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Limiti All'Eguaglianza Della Parte Con Il Tutto
Homunculus Res Rock Progressivo Italiano

Review by Matti
Prog Reviewer

4 stars What a wonderful cover art! This new Italian band doesn't hesitate to go full steam at any musical ideas that keep blossoming just like the little mushrooms from the guy's head. Right from the start you get both Zappa's breath-taking angularity and Canterbury's jazzy charm as referring points. One example of the free- minded approach is the way 'Dj Psicosi' ties together disco and jazz grooves with a musical citation of Michael Jackson's 'Billy Jean'. There are as many as 18 tracks, under three minutes in average, but the listening experience is not much marred by that seemingly short-tempered nature any more than on the certain albums of Soft Machine or Hatfield and the North.

The playing is amazing, even virtuotic especially for the Moog. There's naturally the danger of self-indulgent showing off, but it's happily avoided. Probably the biggest reason for that is the fresh airiness in the keyboard oriented sound, where also the guitar usually stays pretty cool and jazzy. The first half of the album has more vocals that effortlessly get along with the music's wittiness, whereas the latter half is more instrumentally oriented, and there may be a slight unbalance in the track order. However the final song is nicely relaxed. For me this is one of my highligts in the prog year 2013.

(Recycled from a review for Colossus magazine.)

 Limiti All'Eguaglianza Della Parte Con Il Tutto by HOMUNCULUS RES album cover Studio Album, 2013
3.97 | 38 ratings

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Limiti All'Eguaglianza Della Parte Con Il Tutto
Homunculus Res Rock Progressivo Italiano

Review by Utnapishtim

4 stars From Palermo with prog!!! Italy has been "hit" by musical British influences since ever, and answers are often of high quality. A curious case is the influences of Canterbury Scene, which has produced in Italy an isolate case in '70s. I refer to PICCHIO DAL POZZO, which is without doubt one of the band of reference of Homunculus Res. For example in "Preparazione Bomba H" you can note this. Personally the real difficult in the approach to Canterbury Sound is to coordinate the use of Italian language, but In opening song "Culturismo Ballo Organizzare" seems not to exist. There are clear RPI backgrounds, but for the most part the work is surely Cantrbuaryan. Maybe the 18 tracks choice (reported to the choice of many tracks) is another reference to the Canterbury Style, chosen by other bands like HATFIELD AND THE NORTH, THE SOFT MACHINE, GONG. Sometimes, listening to this album, you can feel a little bit confused, because analogies with Canterbury bands are so much. There are in a mixture of Hatfield And The North passages with RPI backgrounds, freak resonances and Paolo Botta's estro (SKE) that makes this album worth listening to. Personally I put it in my Canterbury Scene folder. Good interpretation of a style so complex. As debut album is valuable, with so much good ideas and talented musicians that will surely produce great work in future (I expect this).

Recommended to Canterbury Scene fans. 4 Stars.

Thanks to todd for the artist addition. and to Quinino for the last updates

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