MYSOGINIA

Notable Italian group Syndone, founded by Nik Comoglio, formed in the very early Nineties, with an expanded line-up delivering a selection of constantly more ambitious symphonic works since that time, 2014's `Odysseas' being their first showing of true greatness. While their latest `Mysogonia' is not a concept album as such, the nine pieces all share a mutual branching theme of women, in some cases the songs highlighting the way love, lust, obsession, depression, jealousy in themselves and suspicion from others affect their lives, and Syndone's keyboard-dominated music, often heavily influenced by legendary British rock group Queen, is presented in conjunction with a multi-piece orchestra here. The words alternate between Italian and English in the vocals, not a feat that often turns out well from Italian prog acts attempting a worldwide crossover appeal, but fortunately we have an incredibly talented group of performers here that pull it off far more successfully than numerous others have.

Opening instrumental `Medea' instantly grabs attention with its dramatic and eclectic mix of sounds. Gigi Rivetti's pristine piano is quickly met with sweeping orchestration weaving in and out, the piece picking up in tempo as it's blasted with Maurino Dellacqua's murmuring bass, Marta Caldara's busy percussion and sparkling electric piano all laced with a jazz-fusion fire and manic avant-garde daring. What a peppy and energetic introduction this is, reminding of the ambitious fusion of strings and rock music that legendary Seventies Italian progressive acts such as Banco del Mutuo Soccorso, Latte e Miele and the New Trolls all implemented on various albums!

For the first song piece here, `Red Shoes' controversially offers an English lyric, although thankfully Ricarrdo Ruggeri still delivers all the proper Italian passion and theatrical flair in his wild vocal! It's a punchy rocker that's really an ode to freedom and love, pumped full of Nik Comoglio's scratchy Hammond organ, whirring Minimoog and sultry slivers of strings. `Caterina' begins as a sombre gothic piano-led ballad with a mournful vocal and confronting lyric about an innocent woman convicted of witchcraft in 1617 before ultimately turning defiant with all manner of spiralling keyboard colour (lovely flute contributions from New Trolls member Vittorio De Scalzi throughout this one too).

`12 Minuti' is a hilariously melodramatic and comical prance about a female serial killer with a swooning vocal and playfully quirky instrumental backing that dials the early Seventies Queen influences right up, and `Evelyn' is an overwhelming ballad detailing a suicide, the piece laced with so many reflective little details and lifted high by guest vocalist Viola Nocenzi soulfully crooning alongside Riccardo. The title track `Mysoginia' races with aggressive Hammond organ, grumbling bass and Martino Malacrida's smashing drum attacks with deliriously frantic break-neck runs of keyboard fury behind a female-fronted choir, and `Women' is a strident mid-tempo English-sung melodic rocker that somewhat reminds of English pop-proggers Muse in its more anthem-like moments but with an added retro Seventies keyboard-overload touch.

Queen fans will notice that much of the vocal and instrumental melody of `No Sin' seems lifted from `The White Queen (As It Began)' off their `Queen II' album from 1974, but there's such a tender affection to Riccardo's romantic vocal (he probably sets the standard for English sung on an Italian prog disc on this track), and there's some great extended passages of jazzy soloing from all the players throughout the remainder of the piece (with guest guitarist Gigi Venegoni really standing out here). Two-part closer `Amalia' begins as a classically inspired instrumental of elegant violin, heartbreaking piano and evocative string swells, but ultimately it becomes a gloriously warm and embracing farewell ballad.

Once again, Syndone has released a vibrant, dramatic and endlessly lavish symphonic work in `Mysogonia', and its mix of first-rate musicianship, unpredictable arrangements, thoughtful lyrics and charismatic vocals is endlessly captivating. Fortunately the dual languages do not detract from the album in this instance, and the disc not only proves that there's a damn good reason why Syndone is one of the most highly regarded Italian prog groups currently active, but it proves to be one of the most exciting and luxurious discs from that country of 2018.

Four and a half stars.

(note - Syndone offering both English and Italian lyric translations in the CD booklet is to be highly commended, as it's a great way to welcome intimidated newcomers to Italian progressive music, and it's something more Italian bands should consider doing in the future!)

Italian progressive rock band Syndone ('Shroud') was formed by keyboard player Nico (Nik) Comoglio in the early Nineties, and they released a couple of albums before he decided to go off and pursue other avenues. But he formed a new version of the band to release 'Melapesante' in 2010 and since then the band has released a new album every two years, of which 'Mysoginia' is the latest, being released in 2018. Here is a band very much in the classic Italian model, with plenty of keyboards (they do actually have a second keyboard player in the band which is somewhat unusual), songs sung in Italian (although somewhat controversially there one performed in English), plus loads of dynamics and theatricality. At times this feels almost operatic, at others far more theatrical as if it is being performed either on a stage or as a backdrop/soundtrack to something far more visual (shades of Goblin perhaps).

Singer Riccardo Ruggeri pours his very soul into his performance, and it does feel much more like a performance than just a singer behind a microphone. The drama is palpable, the intensity of it all being far more than just another album. These guys are baring themselves to the public, while also performing classical symphonic progressive rock. That they also use both a choir and symphony orchestra feels both right and almost expected in the way the music is performed. It does feel very dated indeed, which is often the case with this style of progressive rock in that it is almost always the total reverse, but there is plenty here to enjoy. This is the first time I have come across the band, and look forward to discovering some of their earlier works as well, if this is anything to go by.

SYNDONE or the Italian progressive rock of good quality, or the prog rock that is desired! SYNDONE, which with its 5 albums (in fact 7!), Had since 1992 and its "Spleen" set the tone with music filled with very cold style, very bewitching too! SYNDONE, with Nick and Riccardo at the helm for a style of music oscillating between avant-garde jazz, convoluted symphonism, energetic and electric prog rock straight from? Italy; we go to Peter HAMMILL, ELP and AREKNAMES for the dark and romantic side, but also and this is where it gets interesting towards RAINBOW for the voice and towards QUEEN, yes QUEEN for the voice and the musical textures. SYNDONE quite simply a group apart in the progressive world.

Question titles, an instrumental intro to lay the foundations of the following compositions with a little of everything, flirting towards symphonic jazz but not only, and which allows to get a good idea of ​​the SYNDONE sound, that is reassuring from the start! "Red shoes" with his voice a la D. WILSON or a J. TURNER sublime voice and a bluffing air passing to different genres, including the typical AYREONnesque organ. "Caterina" with a station wagon straight out of the first steps of PINK FLOYD. "12 minuti" and his snub to "The Millionnaire Waltz" of the legendary QUEEN with its almost intimate ending, cozy and theatrical atmosphere. "Evelyn" always on F. MERCURY in jazzy hard rock opera and progressive mode at will, and her vocal convolutions leading to a charleston aria! "Mysoginia" sends us to orchestral symphonic jazz with a second aerial instrumental on the first part followed by a sequence taken from a BOF. "Women" draws frankly on notes of the 2nd generation GENESIS (no, not "Abacab" but almost !!), and on the musical games of an ELP of the great era; it is for me the tube of the album! "No Sin" with his minimalist piano and his tortured, frail voice, accompanied by a plaintive violin, then assisted by a fruity synth and later by a highly energetic guitar solo, all this on a masterfully orchestrated crescendo ; to note here again a grandiloquent final evolution with symphonic notes. "Amalia" ends this CD on a ballad one could say, on a simple piano arpeggio once again on the 1st part of the title and then on a musical hymn, on a soft voice-synth melody where thousands of violins mingle: again and again a theme used for film soundtracks. The last minute resumes al dente, uh a capella the air on the piano alone.

In short, this album is confusing, far from the prog of the 70's, and yet throughout it, notes, airs, tunes, hymns, melodies come and go and avoid leaving a messy atmosphere detected at the 1st listening; the different breaks between each title or even within the same title finally give the signature of this "mysoginia" invaded by musical contrasts, film music tunes, fruity tones where each instrument goes at one time or another take the front to better bring the place to another; a real jazz-prog progression! It is obvious that this album needs several listening to be able to let pass the emotion which simmers in it.

Nik Comoglio's Turin scene of RPI pumps out yet another high-quality symphonic album using another cast of all-star collaborators--including none other than Yugen and AltrOck founder Francesco Zago to conuct his orrchestra. Also of note is the presence of my favorite choir in Italia--the same one that played such a integral role in Latte E Miele's stunning remake of Passio Secundum Mattheum--Coro dei Piccoli Cantori di Torino. Quite an appropriate and timely topic--especially with the Elena Ferrante phenomenon spreading like wildfire through the home nation (which might be why there is such a large proportion of women on board to create this album).

1. "Medea" (3:38) Out of a chaotic symphonic opening comes a great prog rocker! (9.5/10)

2. "Red Shoes" (4:00) what also starts out rather chaotic in an avant symphonic way, turns into a piano and organ based blues rocker over which Riccardo Ruggeri really stretches himself out. Not my favorite. Interesting strings arrangement and weird, awkward ending. (8.25/10)

3. "Caterina" (6:38) woodwinds in a gorgeous slow chromatic weave opens this one before piano and a very theatric Riccardo take over. Quite an operatic song--even down to the strings arrangement. Riccardo's performance seems a bit excessive, but, then, since it's being sung in Italian and it's meaning is, therefore, a bit obscured from my comprehension, I'm hardly in a position to comment. (8.75/10)

4. "12 Minuti" (6:00) solo piano opens this one creating a foundation for a very operatic/cabaret-like performance from S. Ruggeri. There's quite a bit of Queen/FREDDIE MERCURY in this performance: incredibly theatric and yet quite possibly tongue-in-cheek comedic, as well. After three minutes of this, a vampy piano bridge takes us to a brief fast-paced section before dumping us out into a dreamy psychedelic place. Here gentle vibes and bass dominate--to the end. (9/10)

5. "Evelyn" (4:22) Riccardo and piano give us another jazzy smoky-lounge start. Then singer Viola Nocenzi joins Riccardo to make this an impassioned duet. Flute and xylophone come to the fore when the singers disappear. I like the male-female duet part the best. (8.75/10)

6. "Mysoginia" (2:58) Female choir and cymbals open this one, chanting the song's title, before organ and jazzy rock band come together for a rousing run through the streets. At 1:30 we slow down for an urban passage through a rough neighborhood with the female choir announcing their displeasure at our presence--and Signore Ruggeri singing as if he's running afraid before leaving from whence he came. Weird song but effective. Another instance in which I felt like I was in Billy Joel's bar. (8.75/10)

7. "Women" (3:49) more jazz-inflected piano rock with xylophone and Riccardo Ruggeri as its two lead instruments. Has a very macho Gino Vannelli-like sound and feel to it. (8.5/10)

8. "No Sin" (6:33) solo Fender Rhodes yields to a very GINO VANNELLI-like vocal performance and soundscape. Vibes agin become the lead solo instrument of choice (until Roland Juno takes over). Once the full band joins in for the second verse the GINO VANNELLI feel is only continued and perhaps even amplified. Even the instrumental passage in the fourth minute feels as if Gino, Joe and Ross are pulling all the strings. The successive orchestrated passage is very cool--very creative--before yielding back to the lush smooth jazzy-scapes of Vannelli-land till the close. Cool song. (9/10)

9. "Amalia" (5:59) solo violin opens this before yielding to solo piano. Orchestra strings join in after the piano's fist exhibition--as it establishes its cinematic "love theme." At 2:42 we suddenly find ourselves in the middle of a church with Riccardo singing some kind of Italian ode to "Amalia." Then we finish with some BILLY JOEL solo piano. (8.5/10)

Total Time 43:57

I'm quite unconvinced that this type of jazz-cabaret music was the right choice for a serious treatment/discussion of the topic of how men have formed the norms for the treatment of women.

B/four stars; an excellent album of theatric lounge prog attempting to address one of the big issues of our times.