METRONHOMME

[Originally published as a mini review at The Progressive Aspect]

I have no knowledge of Italian, but my classes in French lead me to guess this EP is entitled 'All the Time in the World'. Unless Òikos is also an Italian word, my Classical studies lead me to assume this is the Greek concept of family and house. This would make a lot of sense, given the EP came out of the lockdowns and quarantines of 2020. For so many of us, we did indeed have all the time in the world, with our family, in our house. Just to ram it home, the opening number is entitled Quarantine. The immediate sound of this release is vastly different from 4, as it feels almost swamped by darkness, anxiety and dread that is palpable. There is none of the light-heartedness that peppered 4. This is almost, yet not quite, gloomy. But there is always a spark of hope that is never put out - always flickering away in the background. It makes for very interesting listening, and is notably different from a lot of quarantine releases I've heard from other bands and artists. Listening to some of thosereleases, it's easy to come up with adjectives such as unsettling, haunting, and melancholic, which no doubt is perhaps how their composers were feeling when they wrote the pieces. On the other hand, it seems Metronhomme might even be content!

While it could not really be described as upbeat, Òikos simply feels to me to be an optimistic release. While 4 was easy to listen to, and immediately accessible, Tutto Il Tempo del Monde - 1. Òikos seems intent on taking us out of our comfort zones. It's more experimental and spontaneous, sometimes unsettling but never threatening. It's music as catharsis and medicine - a means of coping with a situation out of our control. It's more stark, more sparse, more minimal, more inorganic than 4. And it's all the better for this. Sometimes there is such a great sense of expansiveness and space in the music that it's impossible to feel enclosed or trapped - which is no doubt how some people in lockdown felt. Even when the music feels more constrained, it's never quite in a threatening manner. The sense of constraint is more akin to being wrapped up and cocooned in a blanket. Some of this is down to the instruments and instrumentation often feeling more like effects than music, almost giving an ambient effect - though ambient music this is not. The same can be said for the use of voice, whether sung or sampled, because unlike 4 this is not a fully instrumental release. Interestingly, Meteonhomme come closer than Pink Floyd ever did to making a "Household Objects" album, given what they used for instrumentation, according to their Bandcamp page.

The tracks that make up this ep are all quite different and separate from each other, which seems to neatly fit back into the sense of (self) isolation of covid lockdowns, and also of the varying emotions that are cycled through while separated from the world, apart from by our screens. The electronic nature of much (but not all) of the ep heightens this feeling. But there are some truly beautiful tracks, like the second track (which I assume translates as "Like the Snow". This is as breathy and fragile and ephemeral as you might expect, and almost has a classic RPI sound to it. But there's not another track on the album that sounds like it. And really, none have the intriguing meeting of jazz and space rock that 4 had, even if still predominantly created with a similar mix of electronic and acoustic sounds. 4 was thoroughly delightful. I'm not sure I'd describe Òikos in the same manner, but it is definitely one of the best EPs I've heard from 2020, and I very much hope that the title indicates that there will be a second part forthcoming.

Here we have the latest EP by Italian group Métronhomme, following on from their excellent album, '4', which was released in 2019. There are no guests this time around, so the line-up is Mirko Galli (bass, pedal synth), Tommaso Lambertucci (piano, synth and vocals), Andrea Lazzaro Ghezzi (percussion) and Marco Poloni (guitars, maschine and vocals). They stress that all the percussion was physically played by Andrea, and there is no drum machine, but given they feel the need to explain that, one can imagine what it actually sounds like. Written and recorded during lockdown, each member of the band worked on their individual areas using whatever they had to hand, given that they could not get to their rehearsal space, which may somewhat explain the percussion.

There is a definite feeling of separation within these seven numbers, which are mostly instrumental, and there are times when it really hits home, and that separation becomes something deep and meaningful. But there are others when it feels somewhat lightweight and unfinished. This is not assisted by some of the keyboard sounds being utilized which can come across as what one would hear from arcade video machines back in the early Eighties. But there are some strong melodies here as well, and one wishes that the guitar had been utilized more than it had as when it comes more to the fore then the music does become more interesting and dynamic. Recording in isolation is hard, and their EP should be seen for what it is, four musicians needing to flex their musical muscles and having no other opportunity to do so. The situation in Italy was horrific back in the early days of the pandemic and speaking to some friends up there I know what they were going through, so while this EP does not really resonate with me, I can only imagine the circumstances under which it was recorded. I thoroughly enjoyed their next album and am still looking forward to the next one with keen interest.

The Italian 5 piece formation Métronhomme was formed in the summer of 2003. About the band name: is a pun with the French language, that mix the sense of rhythm, of measures (Métronome), with the idea of human beings (homme). The idea of the members was that of ​​developing an unusual project, based on original music compositions, open to a wide type of sounds and experimentations. The first Metronhomme's work was characterized by the form of the "concept": not single pieces for the sake of themselves, but a single conceptual composition divided into several moments; the purpose was to represente the work in a theatrical context. The band, represented its first work in numerous theaters; the performances were welcomed by the critics and in 2005 Metronhomme decided to create a CD of the musical part of the show entitled L'Ultimo Canto Di Orfeo. In 2010, the group was involved in a new project: Bar Panopticon. Proceeding along the path of interference between music, theater and video, the Métronhomme give life to a multimedia show with live performances and a dream-like music style. The band is the author of the music and also of the tale; videos of the projections were made with the collaboration of professional actors of the Piccolo Teatro of Milan. In 2019 the band releases its fourth effort, simply entitled 4. For the band it was the result of a long period of separation from the "live" scenes, passed in the rehearsal room and dedicated exclusively to composition and musical exploration, with the subsequent studio recording final moment.

Listening to this instrumental album I am impressed by Métronhomme, because the band features outstanding musicians, and the music is an interesting and varied journey, with lots of own muscial ideas. The music is hard to pigeonhole, ok, to me it sounds as an eclectic progressive blend of several styles, with the focus on fusion, and rock. The strong points in the 11 compositions (between 1 and 5 minutes) are the interplay between the musicians, and the elements dynamics, variety and tension. The music often builds from mellow to a mid-tempo and back to mellow, fuelled by an inventive and powerful rhythm-section, and embellished with excellent, very refined and tasteful work on keyboards and guitar.

A catchy beat, fiery guitar work, concluded with delicate piano and fine synthesizer solo in I Treni Di Gabo.

Shifting between up-tempo and mellow, and between heavy guitar and tender piano and fragile guitar in L'Uomo Ombra. It evokes Anekdoten without Mellotron, but with lots of dynamics and tension.

The short track Chiuso Per Gatti delivers a dreamy sound with tender piano and electric guitar, very atmospheric, simply wonderful.

Then Blowup - Automatic Chiodi with its slow rhythm, wonderful interplay and varied keyboards. The climate is pretty hypnotizing, due to the strong and propulsive drum beats. A nice musical idea is the organ that joins in the second part, it turns the music into a compelling experience.

Rip Brian DIY is another very short piece but it sounds like 4 or 5 minutes, so much to enjoy: sparkling piano and jazzy guitar, soaring organ, a dynamic rhythm-section, swinging electric piano and fiery guitar, and what an awesome interplay!

Quattro Pesci Rossi contains a slow rhythm, the sensitive electric guitar reminds me of Steve Hackett, topped with tender piano and inventive drums.

The track Ortega is the most dynamic and powerful one on this album. It starts with a tight beat, electric piano, raw distorted fiery guitar and powerful drums, I notice elements of King Crimson. Then the music turns into swinging fusion, with powerful and dynamic drums. In the final part a more bombastic sound with organ waves and howling guitar runs, again excellent interplay.

A more jazzy musical approach in Salt, I love the swinging piano and the vivid interplay between the rhythm-section, keyboards and guitar. The moods are shifting between mellow and more lush, topped with a fiery and howling guitar, and sparkling piano.

Hapax starts mellow with tender piano, then the music becomes gradually more dynamic, a powerful guitar joins, then again mellow, with a very atmospheric part.

One of my favorites on this album is the next track Uccideresti L'Uomo Grasso? First dreamy with hypnotizing guitar work, then a swinging mid-tempo, embellished with powerful drums and sensitive electric guitar leads. Halfway an energetic build-up to a furious mid-tempo, the inventive play on keyboards and guitar is trademark!

The final composition is the longest one entitled Acrobazie, it epitomizes this band its adventurous and dynamic fusion-friendly sound, and inventive work on keyboards and guitar. The music alternates between a mid-tempo with rock guitar, a swinging rhythm with electric piano and organ, and dreamy with tender piano, backed by a splendid rhythm-section.

An interesting musical journey, especially for those who are into instrumental, more fusion-oriented prog.

Other interesting Italian prog that is not on PA: Unalei, Blind Golem and Alessandro Corvaglia.

While I definitely end up saying this quite a few times, it's still no less true that I am quite appreciative of whenever I end up getting requested to review a barely known album like this, gives a nice change of pace from my regular listening and can often feel like it leads to some pretty enjoyable listening experiences. Metronhomme's 4 is yet another situation where this rings true, being a fun, pleasant instrumental prog album that captures a lot of the spirit of past prog acts while having their own bit of identity to it, particularly in the electric guitar tone having quite a clean, modern sound. Furthermore, the piano acts as the instrument that underpins most elements of the album, forming the core rhythmic backbone most of the time, but also breaking into more catchy, melodic territory to make it quite memorable in places as well. That's not to discredit the contributions that the rest of the band make to this either, as they all work in tandem to form the sound of the band, the peaks in intensity being full of energetic, groovy basslines, with the synths working to create a rich atmosphere that makes it all a good listen even during the slight lulls that occur from time to time. This is certainly an important thing in general, but especially for these sorts of albums that sometimes can feel as if they have the common pitfalls that a lot of modern prog can have.

From all the tracks here, the one that easily stands out the most to me is Blow-Up Automatic Chiodi, and it's almost all because of the acoustic guitar that's introduced in the 2nd half of the song. I love the way it not only introduces a different sound to what the listener has heard on the album up to this point, but also evokes a mysterious tone that separates it quite strongly from anything else here. Similarly, L'uomo Ombra is another standout for feeling so energetic and exciting, becoming almost explosive near the end, with the way it falls into almost complete silence before rising up dramatically is without a doubt one of the best moments to be found here. On the other hand, while the more bombastic moments are definitely more memorable and fun, it's the more understated, elegant moments that hold everything together more consistently, especially in terms of the drumming, having a nice bit of flair while maintaining a solid rhythm, playing off the piano remarkably well to establish a series of rhythmically interesting tracks for sure, particularly with Ortega. While I do find this a bit unmemorable at points without enough moments that really stand out to me and "wow" me in any particular way, this is nonetheless a very solid, well put-together album that I've happily listened to quite a few times at this point. Interested to see this band's other output for next time I want this sort of style of prog. Definitely worth a listen for those who are into some melodic, atmospheric instrumental prog, as it has a lot of the hallmarks that can make that music so enjoyable.

Best tracks: L'oumo Ombra, Blow-Up Automatic Chiodi, Salt

Weakest tracks: Hapax, R.I.P. Brian Diy

(Don't take my 3 stars here as a sign that I even slightly dislike it, as said, I find this to be quite a good album that certain people would definitely enjoy)

MÉTRONHOMME, a band comprised of four members coming from the Macerata region in Italy. This is their third release, an EP lengthy collection of seven relatively concise compositions. 'Tutto Il Tempo Del Mondo' (All The Time In The World) - besides some track names this is a reference to the COVID-19 circumstances all musicans are challenged with, no matter from what meadow they are coming from exactly. Actually forced or not, the musicians have focused on the virtual element in this case, decided to realize an entire new album quasi remote. The title suffix initiated by numero uno, well, this is pointing to a follow-up, right? And yep, a second effort is in the planning, they are promising. This music sounds unusual to me in some way. That's good, as long as it is not resulting in simple and disturbing noise, agreed?

Here we have a collection of short and rather eclectic song patches, very much piano / keyboard / synth laden, yet electronically styled stuff. Produced in a modern contemporary vein, with the incorporation of several samples. For the first time two vocal decorated songs are offered, a further development for the band. Overall this is reminding me a bit of the band Delirio Sonoro. Not rock music in a common manner one can say. Drummer Andrea Lazzaro Ghezzi exclusively assures that all percussions are provided via acoustic instruments. This might be a reflex due to some remarks. His input sounds relatively minimalistic. The songs are made in a rather melancholic mood, where the vocals respectively voices are more presented in parlando mode. Yep, unusual somehow, hence it takes some time to get used to. But hey, being innovative turns out to be a big plus in the end.

Let's drop the coin. Just take the wonderful Di Una Moneta Che Cade and the following Supermarket. I simply adore this flow in the meantime. Take your time, this is rich on impressions, oriental Middle Eastern flair here ... singer/songriter and jazzy ingridients there. The piano plays an important role, for example forwarding us into the marvellous Arkè, which closes with a somewhat whacked-out speech sample. For some time I thought it would be a special Italian dialect. But actually it's taken from the last speech of Romanian chief dictator Ceausescu at the end of 1989, where he's still blatantly insisting to stand for a socialist politics. Considering this EP MÉTRONHOMME are delivering no mass-produced goods, so to speak. That of course makes curious regarding the other albums they already have released beforehand.

...di una moneta che cade.

At the very first listen I had to wait for this song before something clicked in my mind, but I don't regret having waited enough, as with the following listens all the tracks deserved to be listened to.

What clicked is the similarity, at least what I think is a similarity, with the experimental side of Franco BATTIATO. So, having in mind something to be used as a key for the listening experience, I later appreciated the whole EP.

I (still) don't know the previous works of Metronhomme, so I can't say if this is different. For sure having composed, performed and recorded it by exchanging files via network during the lockdown must have had its impact on the overall process.

But let's speak about the music: Quarantine is a short instrumental mainly based on electric piano and keys. A bit jazzy with electronic percussion which are not sequenced but "played by hands" as the drummer Andrea GHEZZI proudly states on the bandcamp page. Short and light, not as dark as a quarantine can be. Come La Neve (As the snow), has lyrics and a lazy tempo. It gives me the idea of a naif painting or a b&w photograph. Very atmospheric.

As already said, "..di una moneta che cade" is my favorite track here. Experimental in the choice of sounds, with that bit of electronic which is not too invasive, so that the track can show its structure and continuity. But there is continuity throughut the whole EP. The sounds and the lazy tempo of the tracks, even when it gets more rhythm as in this one, are consistent with a dreaming soundscape. It gives the idea of a very unusual situation, like in some dreams, but far from being a nightmare.

"Supermarket" is very interesting. Experimental again, with the weird female voice speaking of trivial things like her favorite supermarket. The banality of daily life even during the pandemic.

Arkhe' is a greek word, meaning "beginning" or even "ancient". "Ark" derives from it. A piano based track, similar in some ways to the album opener. I'm not able to say what language is spoken below the music. Arabic or Russian?

Il rumore del Mare (The sound of the sea) is a proper song and the lyrics are about the strange summer of 2020. "L'estate dipinta su un muro" means "Summer painted on a wall". Curiously, "Son y Myr" (sound of sea) is one of the few things that I know in Welsh. Nothing to do with the album, which is closed by the darkest track: La citta' di K. (The city of K,) which I suppose has something to do with Franz Kafka. I wonder whether the SciFi sound in the first part of the track is a theremin.

Not "essential" in the progarchives sense, but surely not wasted time. About 25 minutes of dreamy soundscapes and the intention of digging the Metronhomme music further.

Note: 3 PA stars can have a different meaning if instead of "good but not essential" it's read as "not essential but good". And good is what I mean.

2020 is terribly another special year for people all over the world. In the EU, especially Italy, people have been suffering from coronavirus pandemic since the early days of this year. Winter has come in the Northern Hemisphere, and such a terrible situation has not changed but worthened more. There is no coming nor going worldwide, and we have depression due to unclear future. However, we MUST try to find another hope and future brightness in a continuous manner. A Macerata-based combo METRONHOMME's latest ep "Tutto il tempo del mondo - 1.òikos" is filled with depressive atmosphere and heartwarming flavour of hope. They say this ep was produced with material each of them created at home, on instruments around them. I've heard some musicians work for production in the same way, and actually they create lots of good opuses. "Tutto il tempo del mondo - 1.òikos" is no exception. We can feel their essential musical spirit should be well unified and consolidated. Look at this sleeve, and feel their identification.

A tough "Quarantine" sounds like their sincere feeling. Monotonous but boiling melody lines would be naturally born via their anxious and restless condition at home. But somewhat strong will can be heard here and there, at least for me. "Come la neve" has lonesome atmosphere, just like we are watching snow falling through a window. A tad cold but heartsome. The former part of "...di una moneta che cade" is so beautiful and delightful enough for us to dream a fantastic dream. Voices of playing children on the background? The middle phase gives us massive cheer. This energetic texture would also be launched for themselves, I guess. But yes, under such a terrible circumstance we have some anxiety to visit a "Supermarket", that basically should be kinda wonderland for everyone. Their creation offers a combination of concern and tiny happiness for us all over the world. And our thirst to go outside actively can be quenched by the beautiful piano sound in "Arkè" that is another favourite of mine. "Il rumore del mare" shows that nature should be great and not easily be overcome. Anyway we never give up and get nature as our supporter. Via "La città di K." (what city do they mean, let me ask?) chilling air, deserted roads, and people's enthusiasm for reconstructing their own city in near future ... various movements can be heard overall.

Yes now it's time for us to put up with the situation but will see the sunshine anytime soon.

Obviously 2020 has been a challenging year, and historically, it should be reminded that it was the first time since Armstrong set his foot on the Moon (and even then, there were a few areas still in the realm of the unknown) that the entire globe was affected by the same thing, at the same time.! While it has created a fair amount of trepidation, anxiety, and outright dread, I am glad to report that we now have proof that the human species (while still plagued by many ills) have not conducted themselves like lemmings and collectively jumped off a cliff (except maybe politically, LOL). Being an amateur historian, I cannot help remembering my interviews with Londoners who survived the Blitz and extrapolated these words today:" We live under perpetual fear of death (bombardment) every day, every hour and every second for years, we can and did overcome". So, it is for the pandemic, for most of us found a way to cope, in conditions still way more comfortable today than in 1941. In relation to music, and for ever more, all productions recorded from April 2020 and ongoing, were under this bunker-mentality umbrella, a fact that warrants at the very least our admiration. Music has always been the panacea that keeps humanity sane.

As Andrea explains: "As you can hear, it is completely different in terms of sound, due to the conditions in which it was born: the April / March lockdown. We never met during the composition, it was recorded separately in our houses, often using objects adapted for the purpose! (especially the rhythm part: electronic drums were NOT used; everything is played by hand). The project was born spontaneously, without premeditation and almost for fun ... and in the end our most experimental work came out".

While "4 "was a smashingly modern instrumental prog album, you can immediately "feel' the difference here, I can give the analogy between Talk Talk's Colour of Spring and then subsequent leap forward on Spirit of Eden: an existential shift away from the comfortable and the immediate. Metronhomme sought to include voices, screams and vocals but more as effects than, say actual 'songs. I managed to catch on from the get-go, the material on this EP is more ephemeral, more spiritual, more confused and confusing than anything before. It is also a musical window on a specific place and time, where entitled freedom is tossed out with the dishwater! I mean titles like "Quarantine" and "Supermarket" clearly sheds light on the austerity of the crisis and the sounds, effects match the angst. Some will not necessarily like this starker minimalist approach, yet it's the product of our current reality, which is why this is an EP, something I am rarely fond of because I get teased into believe something substantial will come about before it suddenly ends with an unsatisfied appetite. The future will better reveal what we have lived through, especially if we do all return to "normal". "Tutto il Tempo del Mondo" (All the time in the world) is an appropriate title for a glimpse into a moment in time when, collectively and individually, we are somewhat brutally reminded what is important in our existence. I for one, miss visiting my numerous Italian friends and musicians. One fine day, soon!

This is one of the exceedingly rare times that a rating is not really a rational exercise. But those are the rules, so do not attach too much importance to the numbers but instead to the words.

4 patient patients

You must hand it to the Italians, they just keep on bursting through the seams and creating a constant river of sensorial delights, seemingly with the uncanny ability to blend traditional and well-proven methods and adapt them to futuristic visions. They have been doing this since the dawn of civilization and can be witnessed in art, design, food, architecture, fashion, engineering, mechanics and of course, music. So not only has RPI maintained credibility with seemingly an inordinate number of musicians (not surprising, prog is a higher school of learning after all), but it has bloomed into variants that yearn to establish a new progression, unafraid of fantasy, courageous in overturning the norms, uncanny ability to veer into going against expectations. Everyone knows that singing is an Italian national sport, so when groups decide to take the instrumental route, the mind does boggle! While that tradition has always existed (Goblin, Arti+ Mestieri, DFA, to name but a few) , in recent years, many bands have left the microphone behind and concentrated on exceptional aural landscapes. Bands such as La Batteria, Protocollo C, Gran Torino, Mad Fellaz, L'Albero del Veleno, Daal, Moogg, Progenesi etc... are keen to display extraordinary musicianship, structural imagination, modern sounds and wizard production.

I have been biding my time in getting Metronhomme into my collection and, of course, patience being a virtue, the band from Macerata has finally asked me to review their albums. I will dispense with the suspense immediately and give the golden buzzer right now. "4" is a masterpiece that has all the hallmarks of a genre defining monument to creativity while maintaining to afore mentioned irrevocable RPI traditions of lyrical beauty, technical mastery and as Franco Falsini of Sensation's Fix once described as "Music is Painting in the Air". The electric guitars are appropriately covering the entire sonic spectrum from serene to sizzling, there is a heavy reliance on the magical piano that pervades quite evidently, though e-piano, synth and organ are also featured everywhere. The thrilling bass carves eloquently, giving the 'prosciutto' arrangement the right amount to fat to amplify the flavour. Mirco Galli is certainly a stunner. The most evident 'modernistic' trait is the drum style of Andrea Lazzaro, a crafty and contemporary upgrade of Brufordian simplicity that is pure beat candy. Overall, there is a solid jazzy approach that seeks to keep everything fresh, tight and impactful, very much like a cinema soundtrack (a common quote from prog neophytes). The fact that there is truly little to no 'noodling' , makes this even more of a revelation. No need whatsoever to provide a blow-by-blow account of each track, as this release can and should be listened to as a stirring whole, eleven chapters of pure sonic joy! Throw in great artwork and you have a flawless package that will keep on giving for many auditions to come, it has all the tools to be continually pleasurable and relevant. My only caveat is that the title "4" does not reflect the number of stars deserved here, which is a definite "5".

5 regulating measures

Tabernacle- the Divine Dwelling

Silver Linings

Here is progressive music writ large! Each track on the EP "Tutto il Tempo del Mundo1.òikos" ("All the Time in the World" was released in turn as it was developed, played, and recorded.

Starting in April 2020, as COVID-19 repercussions became vividly apparent, and with each succeeding track until September 2020, the resulting seven titles represent the 'first half' of an album Italian progressive band Métronhomme is in the thick of producing.

I Mention 'Tabernacle'

The ancient Greek term òikos translates the basic unit of Greek society as 'home' and 'family', and in Biblical literature refers to the dwelling of the Divine- human, human groups, or building.

I suspect the cerebral members of Métronhomme utilize the 'thicker' meanings of these titles and terms, so I'm playing a bit of improvisation myself, based on that suspicion.

Silver Linings

During the enormous, global, and intensely personal events of the ongoing pandemic (as I write this), scarcely nothing feels 'normal'; nearly everything seems 'different'.

Members of Métronhomme, no less than any other grouping of individuals, were often homebound with selves and family members- their own òikos, as it were.

And decided to honor their personal 'tabernacles' of creativity, of love and respect for music and for each other, by continuing to write, collaborate, play, utilize what's possible rather than pine for what is NOT, to record, and to be forward-looking rather than bitterly or wistfully gazing in the past.

Silver Linings, part 2

"Tutto il Tempo del Mundo1.òikos" then represents a 'progression' - after all this is a progressive rock website and a progressive rock outfit being reviewed! The silver lining is that Métronhomme found within themselves the permission granted by these extraordinary times to write and to play and to collaborate in quite new, yet somehow perhaps more elemental ways.

More gently. More subtly. More minimalistically, and whimsically, and repetitiously- in ways that challenged them, and challenge us to not only listen, but to HEAR what a pandemic sounds like to creative souls who are nonetheless still humans in an ongoing world-shaking event.

So, Make the Best of Things

Between 'found' objects to recreate drum sounds, and keyboard sounds many of which are synthesized, through the screens of computers and via the internet, with children, and perhaps a spouse or lover, with all the normal everyday things that require time and attention, these songs were assembled, added to and subtracted from, recorded, mixed, and then released into the multiverse.

No face-to-face rehearsals, no in-person arranging and developing of themes and passages- but making the best of things. 'Quarantine'. 'Like the Snow'. 'Supermarket'. And so on.

Métronhomme members kindly provided me with some of their thinking and translating (me here in the USA, them in Italy, via the internet and through the screens, etc), and of course these 'simple' tunes, these piano-based lines and compositions and ideas, with gentle exposition and development, with little of the epic RPI flourishes and drama, become real, and rooted, and profound.

The meaning of Arkè, for instance- that elemental fear and anxiety that small children feel sleeping in a darkened room, wind blowing- are there monsters under the bed?

The lyrics to 'Il Rumore del Mare' (The Sound of the Sea)- "the sound of the sea/it's an old fan/it is scrap metal abandoned on the street"...

Remember, progressive music does not necessarily mean loud flourishes and wild tempo changes.

So, Reset

Reset your expectations! Calm down, and go beyond the act of listening to actually hear what is being given to you and to us all. Being forced into the òikos in which you find yourself, do you and I and everyone not need to explore the new reality, the new terrain, the new facts as they reveal themselves?

For me, that's what Métronhomme does with this EP- and it's quite a feat. I give it 3.75/5 stars.