BARBARO (MA NON TROPPO)

Impeccably performed and recorded compositions that are both intricate and complex in a way that is more similar to modern classical music than progressive rock music (like Änglagård, Kotebel, All Traps on Earth, Yugen, and, of course, Univers Zero) the music contained here is remarkably engaging despite the angular rhythms and chromatic scales used. Still, there is enough of a lack of "grooves" and melodic "hooks" that I would have trouble recommending this for casual listening (less so for "A Last Drop" as there are some basic elements of groove and melodic hook throughout this one). I understand that "casual listening" has never been a signature of progressive rock, so perhaps I should lighten up my judgment, I just don't find myself interested in returning to this music (whereas I am so inclined with the works of the above-mentioned bands). Thus my lower than average rating for this album: it's based on accessibility and popularity over longevity

1. "Vertiges" (16:38) filled with a lot of nuanced and fast changing motifs, this is truly a masterpiece of composition and performance without being memorable or very likable; I appreciate it's brilliance without ever wanting to return to it. (26/30)

2. "A Last Drop" (11:26) the most engaging composition on the album due to its "groove" and melodic "hooks." And yet, it is long... (18/20)

3. "Jack The Ripper" (16:41) One of the more captivating musical renderings of the legend of and mood created by the White Hall murderer (especially the "slasher" work of the viola and electric guitar). But, is musical representationalism enough to merit high marks? Is this "perfection" of songwriting? (27/30)

Can an album be a masterpiece of modern Avant garde/RIO music without being a masterpiece of progressive rock? If it's possible, this is one of the albums one would use to make your case.