ANDIAMO IN GIRO DI NOTTE E CI CONSUMIAMO NEL FUOCO

My wife and I just sold our farm (happy/sad). We just returned from two days of cleaning out and driving to storage the family valuables (happy/sad). But then I opened up my computer after a couple days of absence to find that one of my favorite bands of the 21st Century had released its new album--on my mother's 85th birthday (happy/HAPPY). AUTO-BUY! I have to report that the band has (finally) returned to the (full) form of sophisticated Canterbury quirk of their 2011 debut> I am SO HAPPY to be listening to this beautiful yet happy music-especially in these COVID times. Thank you, Dario & company! And thank you for releasing your album on my mother's 85 birthday! It will always make this album feel so special--like it was just for me.

Full, more detailed review in the days to come (as I will, no doubt, be listening to this album non-stop throughout the weekend). The PERFECT SUMMER ALBUM! If you want happy, melodic music to play on your days by the water, I could not think of a better one than this.

1. "Lucciole per Lanterne" (4.54) Canterbury and Homunculus Res perfection! (10/10) 2. "Il Carrozzone" (3:42) Two in a row! Different lead vocalist. (10/10) 3. "Buco Nero" (6:44) odd tempoed rhythm jazz guitar chord play opens this song before singer joins in. Nice vocal melody (in the best of HR tradition). Fun when Steely Dan-like quirky synth joins in during second verse to noodle alongside the vocalist. Cool, intricate weave that is brought together perfectly by the vocal. Electric guitar solo in the instrumental sections sounds so much like Jeff "Skunk" Baxter-era of Steely Dan! Slow down section in final third sounds so much like classic STEREOLAB (even with the banjo). (8.75/10) 4. "Supermercato" (6:21) after a rather banal opening lyrical half, the music goes chamber instrumental with full complement of strings. Very interesting for HR! (8.75/10) 5. "La Spia" (4:36) (8.75/10) 6. "La Salamandra" (6:25) (9/10) 7. "In Girum" (3:37) sounds more like The Winstons' debut album (and, therefore, Matching Mole/Robert Wyatt). (8.5/10) 8. "La Luccicanza" (4:27) (8.75/10) 9. "Tetraktys" (3:33) (8.75/10) 10. "Non Dire No" (3:45) opens as if a teacher/parent singing to (or for) children. When flute supplants vocal it becomes more rich and though still community feeling. Cool, different song. (9.25/10)

The album starts out on a real high with the first two fast-paced joy-fests, but then then tempos settle into the middle inviting the listener to tune in more carefully to hear the clever and quirky nuances that the band throws in.

A-/five stars; a minor masterpiece of progressive rock music and such a refreshing addition to my (so far) rather weak 2020 collection.

P.S. How could ANYONE call this music anything but Canterbury???!!!! This is NOT a RPI band!

Ciao tutti, the Sicilian boys are back in town and once again they make you an offer you can't refuse ! D'Alessandro, the Di Giovanni brothers and their mates are back to the roots, and this time it really sounds as if Palermo has been removed to Kent. As usual, the band chose an extended album title à la Caravan (this time an Italian translation of a famous medieval Latin palindrome verse 'In girum imus nocte ecce et consumimur igni'). Quirky pop songs that the late Pip Pyle wouldn't have denied, adorned with brilliant instrumental parts, odd meters, jazzy solos, and witty lyrics. In fact, from the very first notes of "Lucciole per Lanterne" to the last ones of "Non Dire No", you constantly feel as if the only thing required to make this a Hatfield album would be English lyrics instead of Italian ones. Superb musicianship all the way through too!

This is the second Canterbury pearl released this year, after the Zopp one, and for me the top album of 2020 so far. Bel gioco ragazzi!

The album titled "Della stessa sostenza dei sogni" by the Italian - more precisely, by the Sicilian - band Homuncuus Res, released in 2018, turned out to be Album of the Year for me, along with the debut release of the project organized by the bass player of Anglagard (by this project I mean All Traps on Earth) ... On July 23 this year, the fourth full-length studio disc of Italians was released - with an even more intricate title "Andiamo in giro di notte e ci consumiamo nel fuoco". And again we hear songs, Canterbury "in spirit", but sung in Italian. And again, these songs are built mainly on jazz harmonies and are characterized by a complex structure, odd and changing time signatures and frequent changes in musical patterns, but at the same time they sound relaxed and even pop, if the word "pop" is not taken as a "curse". In general, it is believed that the first "Italian response to the Canterbury" was made in the second half of the 1970s by the Picchio Dal Pozzo, but the music of Homunculus Res is prettier, brighter, more pleasant, more accessible, and, I must say, almost does not look like the work just the mentioned ensemble. So if they tell you somewhere that Homunculus Res is almost the same as Picchio Dal Pozzo - don't believe it! At the same time, the music of the heroes of the review is not at all perceived as secondary - in comparison, say, with Hatfield and the North - the quintet from Palermo led by composer, vocalist and multi-instrumentalist Dario d'Alessandro has its own face, claiming uniqueness, not without reason! The main point is the following. What Homunculus Res is doing is by no means reduced to "Canterbury". Musicians are open to different influences. Their compositions organically "include" both vocal chants a la Yes ("La Salamandra"), and a direct quote from "Hey Jude" by the Beatles ("La Luccicanza") and elements of music that could easily become a soundtrack for films by Fellini or other Italian directors ("Non Dire No"). Complexity, beauty, jazz, sensual melodies, irony, detachment - everything is combined into a single whole in this work of Homunculus Res. The musicians approach the development of the compositions, perhaps even more carefully even in the 2018 album, as a result of which they turn out to be longer and, possibly, "unified". This is in stark contrast to the first two Homunculus Res albums - 2013 and 2015 - which were full of short pieces, often lasting 1-2 minutes - the music was very interesting, exciting, but often unnecessarily fragmentary. The new disc contains no songs shorter than three and a half minutes. True, the detailed "elaboratedness" of the opuses often turns out to be boring, which the first three albums of the Sicilians were almost deprived of. Some fragments in some compositions are somewhat tiring. Therefore, at the moment I like the new disc a little less than the previous one, but it still "catches", and with each listening it gets stronger. Among the best pieces here, along with the aforementioned "La Luccicanza" and "Non Dire No", I would include the brilliant "Supermercato" with a gorgeous ending played by a whole ensemble of musicians playing wind and strings. These people are mostly guests. And once again I will say about the concluding track "Non Dire No" - you will not find anything like it in releases by Soft Machine, National Health or Hatfield and the North - this is a very beautiful, tender, sad and lyrical song in the form of a waltz, very Italian in spirit. Summary: The album "Andiamo in giro di notte e ci consumiamo nel fuoco" is excellent, one of the candidates for the title of the best in 2020!

4/5*

Most of the songs are pretty good, though I find many to be in indistinct and forgettable. Generally speaking the songs are short, maxing out at 6:43 but this time is spent pretty well, the songs all have vocals, done in a manner reminiscent of Richard Sinclair without going so far as to be considered imitative.

Overall while this is a good album, I find if a few tracks had been removed, extended and some redone as instrumentals the album would be a lot better. If you like chill bands like Supersister or Hatfield And The North then give this a spin. Canterbury Sound Score 5/5

If you need any evidence that the Canterbury Scene is alive and well, of all places you can look here, in a newer, still-active Italian Prog band. Amazing. The quirk is here, mostly from the sort of carefree vocals (at least to me, an ignorant English speaker). The skill is very much present, and present in everyone here. From the keyboards to the guitar, from the drums to the (thankfully featured) horn section. Compositionally very tasty as well, with fast and slow sections, and fun verses and well-performed solos. A must-hear for fans of the Canterbury Sound.

There's a more modern approach to things, which is very refreshing. Bright and clear classic-sounding instrumentation, too. This approach reminds me most immediately of BEARDFISH. Most tracks are light and upbeat, yet skillfully presented. And being inspired by the Canterbury Scene, everything is so well balanced, each part distinguishable immediately. Another phenomenal current Prog band that comes to mind (see also my note below for "Tetraktys") is ONCE AND FUTURE BAND. [Please, nobody tell my buddies who introduced them to me how "low" their ratings are.]

The surprise banjo on "Buco nero" is so nice! Very unexpected. The featured banjo performer is also responsible for some guitars, double bass and vibraphone, all on this same track! Amazing.

Other sort of surprises to me include "Supermercato", which sounds like if Caravan had even more of a Pop Rock slant. The static vocal melodies even remind me of something that we might expect from Richard SINCLAIR early on in his career. In the least, a fun track. It's been a while for me, but couldn't the end of this track be a sort of callback to GRYPHON? Sort of Canterbury-meets-Ren'-Prog? On "La spia", the backend picks up with a very... unexpected Island(?!) vibe? It sounds pretty good. Just surprising. In other news, "In girum" is... just kinda weird lol. Pretty good though, I guess haha. Not a bad song on here. The middle of the album is a bit weak compared to the top and bottom.

And speaking of the bottom, things swing back into form, I think, on "La Luccicanza" to start the end to the album. Great melody and chord changes. Really, very nice. Again, classic Canterbury! And a weird, reharmonized homage to "Hey Jude"?! I'll take it! "Tetraktys" continues this positive swing back to "great" with what feels like EGG. I love me my Dave STEWART, so I'm all for it.

Personal Standout Tracks: T1, T3, T9

While you wouldn't normally associate Italy with Canterbury just don't tell that to PICCHIO DAL POZZO, THE WINSTONS or this incredible band HOMUNCULUS RES. The latter have had a consistent five piece lineup since their second release and they offer up this happy, melodic, sophisticated, whimsical brand of music that softly screams Canterbury. This album is so uplifting and while I feel the first two records are slightly better, this one is a keeper.

I just feel the first two were more consistent and it's interesting that this is their first album of the four they have released not to have Ske on here helping out as he did on their first three. Lots of guests still, in fact ten adding viola, clarinet, oboe, french horn, vibes, bassoon, sax, flute, electric piano and more. Ten tracks over 48 minutes and I did feel it waned somewhat early in the second half but this is a solid 4 star recording all the way.

By the way it was interesting having Dave Newhouse from THE MUFFINS and Jarrod Gosling from REGAL WORM helping out on that second record which at the time I reviewed it I said I liked it slightly better than the debut. Well in doing my favourite Canterbury albums of all time it was the debut I picked for that list so in my opinion both are essential. I love the cover art for this one and have found their album art to always be at least interesting.

All the lyrics are in Italian including all the info in the liner notes. That opening number might be the most joyful song they've created. Everyone is just so happy. The dissonant sax is a nice contrast to this. I like the vocal melodies after 6 minutes on the third tune and while that fourth song might sound the most Canterbury it also features viola, oboe and french horn. One of my favourite opening sounds is the sixth track and the guest electric piano on the ninth song is really good.

A solid 4 stars and for Canterbury fans.

Back in the early days of progressive rock, Italy was second only to the UK in the scope and vibrancy of their prog scene. The Italians infused Anglo-originating prog with native folk and classical influences, they sang in their native language, and their use of uncommon scales and modes made them stand out. Not many of these bands found success beyond Italy's borders, though, perhaps due to just how intensely Italian the music was.

Homunculus Res, then, have somewhat subverted prog tropes. Andiamo in giro di notte e ci consumiamo nel fuoco (We Go around at Night and Consume Ourselves in the Fire) is Homunculus Res's fourth full-length release. This Sicilian quintet plays a variety of progressive rock strongly inspired by the Canterbury scene. The sound of the Canterbury scene was intensely English, and that's why it was so surprising to find an Italian act in that vein.

Andiamo opens in a jazzy manner, with "Lucciole per lanterne" ("Fireflies for Lanterns") featuring light guitar strumming and saxophone. Before long, though, a cascade of keyboard tones?organ, synthesizers, and clavinet?fill in the auditory space. The organ tones especially pay homage to Caravan and Soft Machine. "Il Carrozzone" ("The Caravan") continues with lush synth tones embellished with silky sax lines over unusual rhythms. Even the vocal delivery is reminiscent of Robert Wyatt's distinct style.

"Buco nero" ("Black Hole") is bouncy, light, and summery, in stark contrast to its rather grim lyrics. (Thanks, Google Translate!) "Supermercato" ("Supermarket") features some of Homunculus Res's most Italian moments, with a reeds-brass-and-strings arrangement in its second half, before "La Spia" ("The Spy") enters with a fittingly slinky, sneaky electric piano heartbeat.

Even this album's darkest moments?the opening moments of "La Salamandra" ("The Salamander")?are relatively light. Buzzy electric organ is the lead instrument here, and there are some great instrumental excursions. "In girum" ("The Roundabout") is mostly instrumental and highlights interplay between a biting, funky bass and rich, warbling synthesizers.

Andiamo closes on something of an odd note. "Non dire no" ("Don't Say No") works in its role as the record's finale, but stripped of that context, it's not quite strong enough to stand in isolation. It's slow-moving and based around a waltz rhythm. Layers of keyboards gradually build up with flute and bassoon adding more textural depth.

The particular brand of keyboard-forward, jazz-infused, Canterbury-style prog is not exactly common nowadays. And when I do run across acts that play it, they frequently run the risk of sounding derivative or simply paling in comparison to the original founders of the scene. Homunculus Res largely succeeded at paying homage to the big names of the Canterbury scene while also making something distinct. The frequent inclusion of classical instruments helps to keep the sound diverse and engaging, while the classic keyboard tones work to evoke an era of prog, not blindly ape it.

Review originally posted here: theeliteextremophile.com/2020/08/31/album-review-homunculus-res-andiamo-in-giro-di-notte-e-ci-consumiamo-nel-fuoco/