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Rock Progressivo Italiano • Italy

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Maxophone picture
Maxophone biography
Founded in Milan, Italy in 1973 - Duisbanded in 1977 - Reformed in 2008

Although less popular than other mainstream Italian prog rock groups, MAXOPHONE achieved a late cult status among prog rock fan because of their well crafted music, solid musical expertise and precisely cut arrangements. A well coordinated six piece ensemble, MAXOPHONE sits in the prog rock arena covering the gap between the clattering edge of groups like KING CRIMSON, the folky roots of JETHRO TULL and the more elaborated Canterbury sound. MAXOPHONE had a twin-fold soul: half of the members had classic music background while the other half had a solid rock background. This weird combination appears clearly in some songs were very non-rock instruments, such as horn, clarinet, trumpet and vibraphone are used in very balanced way together with Fripp-esque guitars and electrical piano. After one year rehearsal work, in 1975, MAXOPHONE issued their only LP record, the homonymous MAXOPHONE, which aged pretty well, sounding fresh today as 30 year ago.

Although MAXOPHONE may sometime blink an eye to melodic rock, they never forget to surprise the listener, nicely standing repeated listening. Their music shows surfacing influences from Greg LAKE, Robert FRIPP, ELP, KING CRIMSON, GENTLE GIANT, NATIONAL HEALTH, PFM, BANCO and Yes among the others. Their most renown feature is to change the music mood from pastoral to rock to classical within the same song without losing listening momentum. After the publication of the homonymous LP, they recorded a pop pier single, whose side A and B songs are both included as bonus tracks in the CD version of MAXOPHONE.

A clear must for all Italian prog rock lovers.

: : : Ludovico Vecchione, ITALY : : :

MAXOPHONE Videos (YouTube and more)

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Live in TokyoLive in Tokyo
Immaginifica 2014
$17.79 (used)
La Fabbrica Delle Nuvole (Blue Cloud Vinyl)La Fabbrica Delle Nuvole (Blue Cloud Vinyl)
Ams 2017
$32.48 (used)
L'isola (Ep) [VINYL]L'isola (Ep) [VINYL]
$12.36 (used)
Btf 2009
$25.19 (used)
From Cocoon to ButterflyFrom Cocoon to Butterfly
Box set
Btf 2008
$34.15 (used)
Maxophone (Japanese Mini LP Sleeve SHM-CD)Maxophone (Japanese Mini LP Sleeve SHM-CD)
Belle Antique
Belle 2018
$47.10 (used)
Maxophone by Maxophone (2005-01-21)Maxophone by Maxophone (2005-01-21)
Disk Union Japan
Official Bootleg LimitedOfficial Bootleg Limited
Vivid 2013
$34.95 (used)
Maxophone (Italian Version) [Reissue Vinyl]Maxophone (Italian Version) [Reissue Vinyl]
$49.99 (used)
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MAXOPHONE discography

Ordered by release date | Showing ratings (top albums) | Help to complete the discography and add albums

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

4.25 | 448 ratings
3.68 | 61 ratings
Maxophone (English lyrics)
3.54 | 43 ratings
La Fabbrica Delle Nuvole

MAXOPHONE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.89 | 19 ratings
Live in Tokyo

MAXOPHONE Videos (DVD, Blu-ray, VHS etc)

4.05 | 28 ratings
From Cocoon To Butterfly

MAXOPHONE Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

MAXOPHONE Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.71 | 7 ratings
C' un paese al mondo/ Al Mancato Compleanno Di Una Farfalla
3.70 | 10 ratings
Il Fischio Del Vapore/ Cono Di Gelato


Showing last 10 reviews only
 Maxophone by MAXOPHONE album cover Studio Album, 1975
4.25 | 448 ratings

Maxophone Rock Progressivo Italiano

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

5 stars The Milan based MAXOPHONE arrived late to the game within the explosion of Italian progressive rock bands that dotted Italy from every conceivable nook and cranny and as a result, the band's career was cut short to four years and one self-titled album which woefully went under the radar of the original scene due to their one and only album coming out in late year of 1975 just as the prog scene was winding down and other forms of musical expression were stealing prog's thunder. MAXOPHONE would unknowingly have to play the patience game because once the great prog revival of the 90s would hit, the legions of 70s bands that came before would get a second chance to prove themselves and as a result, MAXOPHONE proved they had the chops to sustain interest well beyond their era and has become one of the most respected Italian prog rock bands that sits high in the pecking order with other greats like PFM, Banco and Museo Rosenbach.

Despite fitting snugly into the Italian symphonic prog tag that found the usual elements of symphonic prog, classical, operatic vocals and off-kilter time signatures with rock elements, MAXOPHONE went above and beyond the call of duty in creating one of the most diverse albums of the entire 70s Italian scene and although it didn't get their just dessert in the initial four year run that lasted from 1973-77, the musicians on board proved that they were in it for the art and not the fame and fortune (you know how profitable prog is!). The band which consisted of six members (and a fair number of sessions musicians) took many years to craft their one and only album which was the alchemic amalgamation of two different pools of musical experience brought together and teased out into a perfect balance of talent by outstanding multi-instrumentalists.

The band consisted of Sergio Lattuada (keyboards), Roberto Giuliani (guitar, piano), Leonardo Schiavone (clarinet), flute and saxophones), Maurizio Bianchini (vibraphone, horn and trombone), Alberto Ravasini (bass, acoustic guitar and flute) and Sandro Lorenzetti (drums), plus some guests on the harp, violin, cello and double bass. Half of the members were graduates of classical training whereas the others were heavily experienced in various rock bands. The result was an interesting blend of all the experience of the members involved and the band took years to craft their modernly deemed magnum opus into a true musical gem. While MAXOPHONE pumped out a mere six tracks on their sole album of the era, the running time goes for the gusto and tackles not only the usual fusion of classical and rock but also has a stealthy supply of jazz, folk, Neopolitan traditional music along with avant-garde touches.

Like almost all of Italian prog of the era, MAXOPHONE began their journey with strong melodic developments but once established, deviated into some of the most complex journeys within the history of Italian prog with off-kilter time signatures, unexpected dynamic shifts, dense atmospheric drifting and an uncanny attention to detail which allowed the band to effortlessly shift gears from soft pastoral moods to heavy guitar or keyboard dominated frenetic attacks. The various musical textures delivered is uncanny and MAXOPHONE was one of the rare bands within the whole Italian prog scene to add clarinet, vibraphone and harp. Having hit the tail end of the whole scene and attempting to copy the marketing skills of other bands like PFM, this album was released with both Italian lyrics (1975) and then in English the following year (1976). Italian experiencing this in English.

MAXOPHONE, despite their best efforts, was doomed in their initial run. The prog scene was winding down and the bigwigs of the day already had the gaze of those who were paying attention. The label Produttori Associati was not accustomed to signing prog acts but rather focused on soundtracks and jazz. MAXOPHONE probably slipped through the label's cracks due to the fact that they implemented more jazz elements than the ordinary symphonic prog act not only in the sultry sax solos that occur sporadically but also in the rather unorthodox jazzy compositional constructs that add an extra layer of complexity to the already breathtaking classically driven rock sequences.

Despite this album having been released and utterly ignored, the rediscovery of the prog scene has been quite generous and has ranked this amongst the best of the best. This is definitely one of the more demanding examples of the Italian prog scene. Despite the strong melodic deliveries strewn about, the variations that change frequently dictate a dedication of multiple listens for this to have sink in. While usually i require a mere single listen to the max five for an album to sink in, MAXOPHONE's eponymous album has taken well over ten. While at first i was unfazed, after many, many listens this has at long last revealed its secrets as if i've broken the code that allows premium access into the world that was constructed so many decades ago. In that regard MAXOPHONE is a real trip. There are many segments of this album that are instantly addictive but the whole enchilada doesn't necessarily gel until it's penetrated on a deeper level, however after the album has sunk in, it's undoubtedly the case that this is indeed one of the highlights of the entire Italian prog scene with a magnanimity that has rarely been matched.

 Maxophone by MAXOPHONE album cover Studio Album, 1975
4.25 | 448 ratings

Maxophone Rock Progressivo Italiano

Review by Walkscore

4 stars A Classic with Tons of Variety

Never boring, Maxophone's one-and-only 70s album stands as one of the classics of the era, shifting between sonic timbres and moods. Although released in 1975, its sound is more like 1971. The drum, electric guitar, and organ sounds in particular avoid the more slick recording quality that dominated the UK and US rock scenes in the mid-to-late 70s. The guitars can sound quite harsh at times, actually, which is somewhat refreshing, and contrast nicely with the sometimes very sweet Italian singing (I have the Italian language version, which I much prefer). The album begins with some amazing piano playing before shifting into one of the better tracks on the album ("C' Un Paese Al Mondo"). The second track breaks with this sound, instead building around an electric guitar riff (ala 'In-a-gadda-da-vida'). This is to my ears the weakest track on the album, but I still listen to it. The third track is very mixed, moving between styles, including hints of Canterbury-esque time signatures, medieval flute passages, and quirky horn parts. My favourite track is the fourth track ("Elzeviro"), very musical, with an electric mix of styles (from beautiful flute soloing, to sweet Italian singing, to harsh moody guitar). The fifth track is an eclectic mix of harmony vocals, slowish classical music, and a touch of cheese, but with some very interesting and musical chord changes in places. The closing track brings back the horns, mixing more of a rock feel, a great sax solo (and even a synthesizer) and some really interesting changes and quasi-sentimental singing. The song/album closes with a mass- like organ and choir soul ending. While not my favourite RPI album, I still put this on every once in a while. Even the parts that aren't so musical are easy to take, as no section lasts very long, and there are a lot of nice cool sections that follow. I give this 8.1 out of 10 on my 10-point scale, which translates to four PA stars.

 La Fabbrica Delle Nuvole by MAXOPHONE album cover Studio Album, 2017
3.54 | 43 ratings

La Fabbrica Delle Nuvole
Maxophone Rock Progressivo Italiano

Review by Mellotron Storm
Prog Reviewer

3 stars 3.5 stars. A pretty good comeback album from this Italian band who haven't released a studio recording in over 40 years. When compared to the debut this one lacks the variety of horns and flute that the seventies release featured. We do get the same vocalist and he certainly is one of the main reasons I've given this 3.5 stars, I love his voice and it has some character to it. And yes he sings in Italian. The album is all over the place with quite a bit of variety including both modern and commercial sounding music. I really like the romantic RPI vibe but the heaviness with the GARDEN WALL-like guitars not so much. Same with the poppier stuff on here, I'm just not a fan.

"Un Ciclone Sul Pacifico" opens with a violin melody before it kicks into a real good groove. Man I like this part. Piano joins in then vocals. A catchy chorus follows then a guitar solo. Violin only like the intro after 2 minutes then it builds with keys and more. The vocals sound different after 3 minutes and we get a heavier sound.

"Perdo Il Colore Blu" starts with the drums and guitar standing out as keys and bass join in. A good driving sound here before it settles back with vocals. Contrasts continue. Piano only before 1 1/2 minutes as processed vocals join in. Not a fan of this. The heaviness comes and goes. A prolonged instrumental follows including some excellent guitar.

"Il Passo Delle Ore" is my favourite because it has such a classic RPI flavour to it. Great sounding vocals here and one of the rare times I feel emotion from the music, especially on the chorus.

"La Fabbrica Delle Nuvole" sounds so interesting with the percussion and sounds that come and go before some organ arrives. It turns heavy with GARDEN WALL-like guitars which I'm not into. The drumming is killer then after 2 minutes it changes and soon it's piano only before drums and more join in. An instrumental GENTLE GIANT vibe before 2 1/2 minutes. Synths lead later on trading off with the guitar. The bass and drums shine on this one.

"La Luna E La Lepre" is the other song I really like. Intricate guitar and percussion early on. Vocals just before a minute with strummed guitar. Love his singing here. Bass and organ join in as well. Nice guitar solo then back to that earlier sound. Great sound after 3 1/2 minutes as the vocals return. A feel good vibe with that guitar after 4 minutes.

"Estate '41" sounds different to begin with then these emotional vocals arrive before 1 1/2 minutes. Lots of intricate sounds. I like the atmosphere late to end it with violin.

"Nel Fiume Del Giorni I Tuo Capelli" sounds really good until the tempo picks up and this modern feel arrives. Suddenly before 2 minutes we get a GENTLE GIANT section both vocally and instrumentally. You should hear this! GENTLE GIANT all the way, a nice tribute then the guitars turn heavy which seems out of place. Back to the GG vibe as contrasts continue. Piano and violin ends it.

"Il Matto E L'Aquilone" opens with picked guitar then violin before a minute along with bass as relaxed vocals join in. Thankfully it changes after 2 1/2 minutes to a more uptempo and heavier sound that I actually like. Organ, drums and guitar stand out here. A calm after 4 minutes then it kicks in again. "Le Parole Che Non Vi Ho Detto" ends it and it's a short 2 1/2 minute track. Vocals, violin and more in this mellow closer.

Lots to like here but there's lots of sections that I don't like as well. A mixed bag you could say but I'm glad I got to spend some time with it. I'll stick with their classic seventies album in the future though.

 La Fabbrica Delle Nuvole by MAXOPHONE album cover Studio Album, 2017
3.54 | 43 ratings

La Fabbrica Delle Nuvole
Maxophone Rock Progressivo Italiano

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars There used to be something of a running joke that Italy was home to a ton of doomed vintage prog bands that delivered one single album in their prime active years and then promptly vanished, leaving it their sole legacy. That rule has been somewhat shattered over the last few years as a ton of Italian groups have reunited and delivered long-belated follow-ups - yes, the likes of Museo Rosenbach, Murple, even Cherry Five and countless others - and now it's Maxophone's turn! Although `La Fabbrica delle Nuvole' doesn't often sound like their much-loved self-titled 1975 debut and only singer Alberto Ravasini and keyboardist Sergio Lattuada remain from the original line-up (although utilising the same talented new musicians that performed on their 2014 `Live in Tokyo' release), it's a varied and lavish assortment of rock pieces grafted to fancy classical-flavoured symphonic pomp that remains melodic and approachable without being overly simple.

Unpredictable and cool rocker `Un Ciclone sul Pacifico' opens the LP around teases of orchestration and cool slinking grooves from electric piano, with heavier punchy bursts kicking in and out around slick backing harmonies, and Alberto Ravasini's voice has remained in fine raspy and charismatic form (with all the vocals performed in Italian, no two versions including English offered this time around, thank you very much!). `Perdo il Colore Blu' is book-ended with twisting/turning up-tempo sprints, and there's a light jazziness to the Hammond organ and cheerful swagger of the piece with brief rollicking PFM-like trilling synth runs, and `Il Passo delle Ore', one of the loveliest tunes of the album, is a gentler romantic moment with a catchy clever chorus, soft violin and crisp electric guitar themes.

The title track `La Fabbrica delle Nuvole' is the first big `wow' moment of the disc, a fully-instrumental crossover of whimsical keyboard prettiness, light jazz-fusion guitar grooves and colourful symphonic themes (Marco Croci's slinking thick bass is a real highlight here too) all in under six minutes, and in parts it doesn't sound unlike Italian discs of the last few years like Progenesi's `Ulisse l'Alfiere Nero', Moogg's `Italian Luxury Style' or the last F.E.M album `Sulla Bolla di Sapone'. Folk aromas permeate intricate rocker `La Luna e la Lepre' with a dancing Baroque fanciness of madrigal-flavoured Gryphon and Gentle Giant-like sophistication and whimsy, plenty of ravishing acoustic guitars and intricate multi-part group harmonies, and dreamy synths, silken acoustic guitars and ruminative sax throughout the tasteful and classy `Estate '41' could almost have hailed from a Steve Hackett solo disc.

`Nel Fiume dei Giorni i Tuoi Capelli' is busily schizophrenic for a track that doesn't even run four minutes, bouncing through everything from dream-like careful soft rock with elegant violin and sparkling electric piano tiptoes to delicate folk and frantic contorting guitar races, ultimately sounding closer to something like the modern version of Swedish symphonic proggers Kaipa. Those baroque and chamber prog flavours pop up again throughout `Il Matto e l'Aquilone' thanks to warm folk-flecked acoustic guitars and prancing violin whilst alternating back and forth with snappy jazz-fusion turns and infectious keyboard-driven symphonic prog sprints, and `Le Parole Che non vi Ho Detto' is a short and giddy violin/piano closer.

While it can't possibly live up to the status that the popular 1975 debut enjoys, `La Fabbrica delle Nuvole's strength lies in the fact that it's a real grower that impresses more and more with every listen. It's an eclectic, colourful and tastefully performed comeback with plenty to recommend about it, and another example that no country delivers better and more rewarding modern prog albums from older acts than Italy. Lovers of Maxophone and Italian prog fans in general should end up having a terrific time with this unexpectedly vital, highly surprising and greatly inspired work.

Four stars.

 La Fabbrica Delle Nuvole by MAXOPHONE album cover Studio Album, 2017
3.54 | 43 ratings

La Fabbrica Delle Nuvole
Maxophone Rock Progressivo Italiano

Review by maryes

4 stars 4,5 stars really ! MAXOPHONE "La Fabbrica Delle Nuvole" - A great surprise... I make an effort to remind similar case ; A new band release with very good quality after all these years... still more admirable is the fact that in this album only two original members : Alberto Ravasini and Sergio Lattuada . Although, at this time the same influences that I point in my review of their first album ((#282950) Friday, May 21, 2010 ) PFM , Campo di Marte and Gentle Giant... now the sound is much more close of GG. Is enough listen the title track "La Fabbrica Delle Nuvole" introduction and main theme, the "Interlude" (starting at 2:02 until 2: 52 min ) in same track ! The only "weak" moment as in track 3 "Il Passo delle Ore" ... but this moment aren't enough to make a great "damage" of audition. The album is full of interesting musical passages as for instance , the medieval atmosphere in track 5 "La Luna e la Lepre"... between others. My rate is 4 stars !!!
 La Fabbrica Delle Nuvole by MAXOPHONE album cover Studio Album, 2017
3.54 | 43 ratings

La Fabbrica Delle Nuvole
Maxophone Rock Progressivo Italiano

Review by Chalcobalt

3 stars Baroque strings set the tone for this album in a classic Italian prog rock feeling. Keyboard-based style with plenty of guitars, horns and violin. There are really bright moments here, lovely melodies, paces and intricate changes in these. The symphonic parts with folky and classical incorporations are the most enjoyable, and there are also beautiful piano to be found occassionally. The guitar is on the other hand quite eclectic at times in sections not as interesting for me. In prog measures, most songs are short. With the musical skill and the range of instruments obviously possessed and mastered, I think the band could compose elongate epic masterpiece tracks if such ambitions would appear to them. But the songs rather orientate into rock tunes in a more standard appearance. Because of this, most tracks becomes increasingly tedious upon repeated listening instead of growing with time. Don't get me totally here though, there are a lot of these genious moments on the record, but no song that I absolutely admire from start to end. 'Un ciclone su Pacifico' is my honourable mention apart from the piano- and bass-driven instrumental title track that really tickles progressive nerve cells. Medieval tunes at boths ends of an otherwise really eclectic 'La luna e la Lepre' are also among the most exciting parts. I'm left with the sense that it could have been so much more, in many senses, but this is nevertheless recommendable high quality prog rock.
 Live in Tokyo by MAXOPHONE album cover Live, 2014
3.89 | 19 ratings

Live in Tokyo
Maxophone Rock Progressivo Italiano

Review by Thierry

4 stars We all know one shot bands, generally author of a brilliant album. Bands who quickly, too quickly, went back into the mists of oblivion. Best kept secrets or beautiful losers? England and "Garden Shed" comes to the mind, Silver Lining's "The Inner Dragon" in France for instance. And Italy, Maxophone and their eponymous opus released in 1975. This album quickly became a legend at the time it was published and even had its English version. It deserves it because the music, both symphonic and jazzy in a pastoral atmosphere, is a thing of beauty. Think of Genesis, Brand X and PFM (violin parts). I believed the band was gone with the wind and what a surprise I had in my letterbox! A live record! In 2013, they went to play in an Italian prog festival in Japan. From the original line up, there are only Alberto Ravasini (acoustic guitar, keyboards, vocals, flute) and Sergio Lattuada (keyboards, vocals) left but they are the main leaders I would say. And they hired gifted fellows for this rebirth. Thus the magic is back. Of course, the Milanese outfit plays the whole album (including a splendid version of 'C' un paese al mondo') but they add two unreleased tracks, one ('Guardian Angel') showing welcome Gentle Giant influences. What a pleasure! A thing of beauty is a joy for ever (Keats).
 Maxophone by MAXOPHONE album cover Studio Album, 1975
4.25 | 448 ratings

Maxophone Rock Progressivo Italiano

Review by Xonty

5 stars Maxophone's debut has recently earned its place as my favourite record from the whole RPI scene. For me, even better than any PFM or Banco album, and the only 5-star rating I think I'll ever give in the sub-genre, having already heard the most exalted works within the sub-genre. Those who undermine "Maxophone" often use the veiled insult of calling them the Italian band for those who don't like Italian prog, therefore rendering the band untrue or even dishonest to the genre. To an extent I'd agree with this fallacy, but more in the vein of it being a combination of it both drawing illustrious symphonic influences with colourful moments of jazz, and also the more intimate RPI sound. Kind of like when people call "Hot Rats" the Zappa album for people who don't like Zappa - it doesn't make it any less of a masterpiece. Frankly, I often have a reluctancy to distribute 5-star reviews to any albums I've recently heard (as a result of it being merely an anxiety of a momentary hype), but I sincerely doubt my opinion of this glorious album will waver. The magnificence and intricate musicality, tightly wound by the band's chemistry make this an irresistible listen, and unequivocally essential to a progger's collection.

"C'e Un Paese Al Mondo" is possibly the greatest Italian album opener, its only real competition being "Appena Un Po" off of PFM's highly regarded "Per Un Amico". I still remember the first time I heard it, nodding along with admiration to that dreamy and pensive piano intro, and subsequently shellshocked by the blistering, harsh guitar. Honestly, it's everything I look for in a prog song, as the textures thickened and I just didn't have to try to find anything to enjoy. Even after a dozen or so listens, I'm still utterly overwhelmed and astonished by the dexterity and absolute perfect balance between all its climaxes and musical/rhythmic elements. I seriously cannot begin to articulate the state of awe that this puts me in - just listen to it for yourself, and you may experience what I did and still do.

"Fase" obviously has a lot to live up to, but the fully-formed sound and endless variety displayed does not diminish whatsoever in this track. There's some gorgeous instrumentation and unique harmonies throughout, with numerous first-class instrumentals (as with the whole record). The piece frequently changes its musical direction without any indications, but manages to sound not at all laboured in doing so - certainly a respectable feat to accomplish. Again, it has a concrete structure, leaving just enough room for experimentation without going off on a tangent, and ah! Looking back, these 2 tracks could almost constitute as enough for a 5-star album - there's so so much to say.

"Al mancato compleanno di una farfalla" is another faultless track in its own right, primarily exhibiting the band's more tentative side. A delightful classical guitar intro leads into a beautiful rustic setting, emphasised by the flute. The slightly sharp harpsichord line is just so delectable, and almost makes you root for these Italian underdogs. Furthermore, those little glitches in production like the accidental guitar mute midway through, make it yet more warming and relatable. Another unique quality this record possesses is the consistent use of phasing, that truthfully makes certain parts more bloated, but the great sentiment of a desire to push boundaries and the vibrant personality it contributes easily outweighs this minor flaw. 5 minutes through, an organ solo just explodes after a very gradual growing, which goes to show how discrete Maxophone can be, and the energy they come at you with after a seemingly minimal change or contrast.

"Elzeviro": yet another mindblower. There are some truly astounding and effective chord progressions here. The diminished compressions that just elevate and reveal some extremely vehement vocals. More fantastic horn sections, plus one of the several musical pinnacles on the album, with that isolated piano note. The arrangement is just flawless when analysed, and the forced tempo changes are another sumptuous imperfection on here. The manic vibrato guitar seems to add just enough chaos to an already explosive track. The chilling woodwind chorus towards the end illuminates the gentle landscape painted by the singer; a huge contrast to those bellowing horns. The piece is particularly credible from a technical standpoint, and nevertheless very enjoyable.

The penultimate track begins with a pastoral harp serenade that bears a much less threatening build-up for those who aren't huge on the adrenaline-driven earlier pieces. There's a yet more adventurous harmonies that are further explored by the bass on here. Watery effects and a particularly soothing guitar line lead into a fairly hypnotic coda. On first listen, this repetitiveness seemed fairly tedious, but has become something for engulfing and simply transcendent upon re-listening to the album, especially when you're caught in the right frame of mind. I suppose this would be a weaker song in comparison to the rest of the album, but really it couldn't do much better in setting out on the sound it was trying to achieve. Plus, there's no way I couldn't imagine this track not on here.

"Antiche Conclusioni Negre" closes the album all too prematurely. A particularly liberating intro with some kind of call and response going on between the group. All the instruments have effectively had their say in the first 30 seconds or so, and all of this contributes to forming a very inclusive, empowering track. An excellent composition that really feels like its one more for the road. The very under-played, falsetto delivery suddenly augments and really lifts to reveal some vociferous vocals. Then, just when you think it's drying up, they enter that unbelievable build-up before culminating at the immaculate sax solo. Very melodic with those unmistakable fusion-esque squeaks. A slightly trippy, eccentric choral approach for the coda brings the album to a close in a much more conclusive way than their Italian cohorts. Maxophone really are the unsung heroes of the RPI scene when each of the member's innate, effortless talent and affinity is taken into consideration. Thankfully, they're finally getting their recognition here on ProgArchives

A: If these guys never made it, and allegedly each had to live off a sandwich a day during this recording session, how will I ever make it in music? Maxophone appear to be as fully-formed from the get-go as King Crimson on their timeless debut. The fact that this group disbanded and have only left this one-album legacy behind makes you wonder how much potential they really had. Quintessential.

C' Un Paese Al Mondo: ***** Fase: ****.5 Al Mancato Compleanno Di Una Farfalla: ****.5 Elzeviro: ****.5 Mercanti Di Pazzie: **** Antiche Conclusioni Nerge: *****

 Maxophone by MAXOPHONE album cover Studio Album, 1975
4.25 | 448 ratings

Maxophone Rock Progressivo Italiano

Review by Mr. Mustard

4 stars If there was ever a one hit wonder, then Maxophone's only album certainly makes the mark. This isn't your standard PFM, Banco, or Le Orme styled album; there are bits of these band's sounds, but for the most part this is a very unique sound these guys achieve. A few of the members are classically trained, while the others have a rock background. This alone gives the album a unique blend of pure classic rock riffage and well-composed symphonic moments, in addition to plenty of jazzy moments to top it off.

Suffice it to say the album is quite diverse. The album can be folky, jazzy, symphonic, or heavy. It can be intense, dramatic, yet equally beautiful and melodic. All of this while retaining a sense of unity. Not adhering to any strict sound, style, or formula is what makes this album so appealing.

There are plenty of surprises in each song; the through composed nature of the album benefits this, as they often don't spend too much time on a single idea. Yet everything seems in its rightful place. The first song, for example, is based on a dramatic, repeating vocal melody, while the following 'Fase' has a much more aggressive and rough edge. The band even takes a more poppy approach in songs like 'Il Fischio Del Vapore' and the ballad-esque 'Cono Di Gelato,' both of which are more laid-back than the rest of the album.

A unique album, yet undeniably Italian in style, I would say this is a must have for Italian Proggers at the very least, and earns a nice spot amongst the best of the genre.


 Maxophone by MAXOPHONE album cover Studio Album, 1975
4.25 | 448 ratings

Maxophone Rock Progressivo Italiano

Review by Moogtron III
Prog Reviewer

5 stars Excellent RPI album, one of the best that I know of.

What makes it so good is the excellent compositions, which are as good as any of the 'big Italian bands', like PFM, Banco and Le Orme. Actually, there is not one weak song on the album. All the compositions have something to offer. This is a very mature band, even when this is their debut album. Each song has different bits and pieces that gel all well together: nothing sounds artificial, everything sounds 'in place'.

Except for the compositions, I'd say that the imaginative use of keyboards add to the great quality of the album. The vocals are quite nice too, even if not very special. Soundwise, the band is quite good too.

Strongly recommended for anyone who likes classic Italian 1970's prog!

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

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