CLEPSYDRA

What a wonderful melodic group. These guys are a hidden gem, but unfortunately that also means they are somewhat of an unknown. For symphonic prog on the order of classic Yes, Genesis, or Marillion they are fantastic - lots of synths and guitar riffs a la the 1970s classic progressive period.

It is surprising how many reviewers reference Marillion, and how many use the word "derivative". Since there is lots of derivative prog out there in the world in general, let us be clear on what we mean: if Marillion is the pole this group lies much further towards the equator than say, does Marillion from Genesis, or does Glass Hammer from Yes. Surely Clepsydra has studied those other groups and are similar in theory, and are influenced, but this album is separate and distinct in fact; Clepsydra own their own sound.

After being hooked by the fast-paced Flyman, I found that this album holds together surprisingly well from start to end, although it may not be so accessible to the average listener.

If I had any criticism, the lead vocalist, although excellent, has sort of a "Kraut" sound to him; this is certainly not something to hold one back, and is fixable.

Give this a spin, starting with the song Flyman. If you like prog on the order of Genesis, Yes, and Marillion, you WILL also like this material.

An easy 4 stars.

This wonderful 1994 album from Switzerland--my copy happens to be the 2014 remastered version--is very typical neo-prog. Other reviewers have made comparisons to Fish-era Marillion, and in fact the music sounds very much the same. Add Fish--both his vocals and his lyrics--and to my ears it would sound exactly like early Marillion.

The vocals themselves are pretty standard neo-prog. They're very good, but not amazing. The lyrics are fine, but also not anywhere near Fish-level. Those two things are the only things keeping this from being a 5-star album. In keeping with the prog tradition, five songs are over 7 minutes long. The music is driven, atmospheric, and well-written. The remastered version has a live 1998 version of "The Missing Spark," a track from their first album.

Highly recommended for neo-prog fans. 4 stars.

Clepsydra fans had to wait 18 long years. But it was definitely worth it!

As this "The Gap" continues the magic and neo-prog mastery that made this band great so long ago. It may not reach the level of the masterpiece "Alone", which still is one of the best neo-prog albums of this millennium, but "The Gap" will undoubtedly delight all those nostalgic fans of the band.

One of my main fears for this album was the loss of their guitarist Marco Cerulli, but the great work of Luigi Biamino makes us practically forget that the band has changed its line-up.

In summary, anyone who has enjoyed any previous album by the group or is fond of neo-prog should give this excellent record a try.

Best Tracks: You (when you hear the piano in the instrumental part, followed by that wonderful guitar solo, you know you're in front of something special), The Story Teller (rock, dynamic and great guitar work) and Lousy Soul (precious little instrumental track)

My Rating: ****

Hologram is the debut album from this terrific swiss neo prog band that I had hazard here on PA only after they had broken up for quite some time. But I fell for their sound from the get go and got all of their four CDs at once (along with several other groups I was discovering at the time, 2006/7). The bad thing about getting so many albums in one buying is that you tend to focus on the ones that are on the "blow you away" category, and tend to neglect those which do not, So for years I totally loved Fears and Alone, and, therefore, gave little attention to the "lesser ones", More Grains Of Sand and Hologram. Recently I decided to give another try with some CDs that I had not listen for a long time. And I found that those two early Clepsydra works were much better than I initially thought.

I knew that More Grains Of Sand would be great because of the high praising most Clepsydra fans give it, but there was not so much fanfare for their debut. And I understand why: compared to their latter work, Hologram is quite less original and appealing. However, this is far from being bad or even weak. In fact I was surprised to find all the elements of their sound already here, and the strong musicianship and performance of all involved. It is ok that their trademark sound was not quite developed and some of the songs are still "green". Still, the tracks are all at least good, with some very good ones becoming quite popular among fas. I must say that my opinion about this CD (and More Grains Of Sand) may be influenced by the remastered CDS released in 2014, which gave them a clearer and brighter sound that fits perfectly to their sound and kind of "fix" the not so good original production.

Now you can hear Gabriele Hoffman guitar solos with all their mighty power, Phillip Hubert subtle keyboards are more on the fore and Andy Thomen bass is also more audible. The only not so positive aspect of the new production is the drums, a little too compressed that make it sounds a little artificial, but nothing that spoils the overall greatness of their sound. The only reason I don´t rate Hologram four stars is because the songwriting is not as spectacular as their latter output. It is good, as I mentioned before, but they would get much better from More Grains Of Sand onwards. So, 3,5 stars is a fair rating.

I was really happy to rediscover this CD, that is very pleasant, melodic and well made. Clepsydra´s debut was very promising indeed and, thankfully, they ended up more than fulfilling that promise. And I am even happier that they came back recently with a powerful new album. I don´t think I would recommend Hologram for a newbie, but if you already know their latter output, then listening to this one will give some good moments too. They started with the right foot.

Swiss band Clepsydra is one of the great prog bands to emerge from the 1990´s and More Grains of Sand Is their second album. It is also one of my favourites. Coming three years after their debut, Hologram (1991), MGoS find the band in a transitional mode stylistic speaking: still a bit derivative in parts but on the right direction. They would find their very own sound with their next release, Fears (1997). However, in terms of songwriting and playing quality, the album is simply superb: the songs are much more inspired, powerful and well structured and the production is better (although not ideal yet). I specially appreciated Lele Hoffman´s guitars licks and solos, along with Philip Hubert´s tasteful keyboards and the tight rhythm section of Andy Thommen (bass) and Pietro Duca (Drums). Aluisio Maggini´s voice is always something different, to say the least, but you can´t deny his charisma and power. It´s a matter of taste, and I, after acquiring the taste, like it a lot.

Although the band had not totally shed their early Marillion influences yet, More Grains Of Sand shows their enormous talent and potential. Songs like The Prisioner´s Victory and Moonshine On Heights are among their best and the album does not have a single weak track to mar its greatness. If you like the more melodic side of progressive music, where the great technique is used to enhance the songs and not just for pointless displays of virtuosity, then you should not miss this one.

Rating: four strong stars.

What? Just two reviews up until now? Let´s fix it. It seems incredible that it took whole 18 years for swiss neo proggers Clepsydra to release am album of new material. Ok, since I have known this band only after 2008, and had four excellent albums to discover, it seemed a little shorter period. Still, it was a long wait. But fortunately most of the band is back: only guitarist Luigi Biamino is a real new face here (bassist Nicola De Vita is not an original member, but played on their 2001 release Alone). So I was quite hopeful about what they had to offer after all this time. I also feared something completely different or uncharacteristically to their trademark sound. You know, with Clepsydra you either love them or hate them. Their style was very unique, specially Aluisio Maggini vocals. And I really love their previous CDs.

So what The Gap (insightful name, very fitting, by the way!) has to offer? Like the new Pendragon CD, the brilliant Love Over Fear, at first it seemed very different, with a few bars using heavy guitar licks. Did they fell prey of the siren call of the prog metal genre? Well, like Pendragon´s newest CD, it only took a few seconds to discover that Clepsydra´s new offering is very much their very own sound, spiced up with some novelties here and there, but nothing that deviates much from what we would expect from this great band. In fact, I was stunned that they sound so tight and inspired after such a long absence.

To me this album sounds like a long suite rather than a collection of songs, and this is a compliment. There are many mood and tempo swings, but mostly it is very fluid and of great quality. If you have listened to their earlier stuff and liked them chances are you´ll probably take some time to adjust to The Gap, as I did. The new tunes are not as accessible as material from Fears or, more to the point, More Grains Of Sand (1994). However, if you persist, you´ll be rewarded with a very fine record that is constantly being played at home and in my car (this CD is absolutely great to hear while you´re driving). Fine, I´ll concede that this is not really their best (Alone carries this honour), and a few brief moments are not as sharp as the rest, but those moments are few and far between and they never spoil the best qualities of the songs they´re on. So we have am excellent album that I always listen from beginning to end without skipping a single track (or any part of the long suite, as I like to think of them). With an excellent production and impeccable performances, we can only forgive the band for the long waiting: it was worth it. We just hope it won´t be that long for a follow up!

Conclusion: a very fine album, with just what I wanted from them: great melodies, emotional guitar solos and vocals, fine songwriting. Definitely, The Gap is on my top five list of the year. Welcome back, guys!

18 ... yes 18 years we expect the new album CLEPSYDRA, well here it is "The Gap". There was a silence of 14 years from the last album in 2001 "Alone" and their performance at Rosfest in 2014 and out of the box "3654 Days" which included the first 4 albums remastered with bonus Galileo Records in 2014. Even if there was talk of a new album at that time ... it will wait another 4 years before you see it happen! I am the group since "More Grains Of Sand" by 94 and it fell in the same year of the beginning of the program profile. So just imagine ... for me it was a heart stroke and the opening track of the album 'The First Grain' was the theme of our program for a year and during their visit to Quebec in 1997 to Progest bar D'Auteuil. I had the pleasure of receiving CERULLI Marco & Andy THOMMEN to my record shop 'ProgFusion "for an interview that aired on the show Profile (Crossing Jordan photo). Great memories, then you will understand the interest I have for this group and the release of the new album "The Gap"!

In 2014, during their visit to RosFest CERULLI Marco (Guitar) & Andy THOMMEN (Bass) was present. Marco left and replaced by Luigi Biamino & Andy left for other projects and replaced (or return) by Nicola De Vita who was there for the album "Alone" in 2001. Since the beginning Clepsydra changed 3 times with guitarists from the excellent Lele HOFMANN (Shakary) who played on the first two albums (91 & 94), Marco CERULLI the following 2 (97 & 2001). And now Luigi Biamino and as we know the importance of the guitar in the band's music, we ask all the time when there are changes ... how it will sound! Be reassure that Luigi did a masterful job with a slightly different sound, rhythm a little heavier with tasty guitar solo time. You're going to realize from the first song 'When The Bells Ringing Started' when the guitar embarks on a heavier sound, we are surprised and excited at the same time! One of the most beautiful compositions that Clepsydra has written to date, and that says it all because they have a lot! The other important point in the music of the band is singing well and do not fear because ailliez Aluisio MAGGINI has not lost its charm ... his voice is still beautiful, powerful and melodic. We must listen to 'You' between another to realize that he has not lost his voice and tell yourself that this is how the whole disc. Keyboards plies are both at their volatile or planing and rhythmic accompanied it all very nicely. Another piece to note is 'Millenium'. Magnificent ! One of the most beautiful compositions that Clepsydra has written to date, and that says it all because they have a lot! The other important point in the music of the band is singing well and do not fear because ailliez Aluisio MAGGINI has not lost its charm ... his voice is still beautiful, powerful and melodic. We must listen to 'You' between another to realize that he has not lost his voice and tell yourself that this is how the whole disc. Keyboards plies are both at their volatile or planing and rhythmic accompanied it all very nicely. Another piece to note is 'Millenium'. Magnificent ! One of the most beautiful compositions that Clepsydra has written to date, and that says it all because they have a lot! The other important point in the music of the band is singing well and do not fear because ailliez Aluisio MAGGINI has not lost its charm ... his voice is still beautiful, powerful and melodic. We must listen to 'You' between another to realize that he has not lost his voice and tell yourself that this is how the whole disc. Keyboards plies are both at their volatile or planing and rhythmic accompanied it all very nicely. Another piece to note is 'Millenium'. Magnificent ! powerful and melodic. We must listen to 'You' between another to realize that he has not lost his voice and tell yourself that this is how the whole disc. Keyboards plies are both at their volatile or planing and rhythmic accompanied it all very nicely. Another piece to note is 'Millenium'. Magnificent ! powerful and melodic. We must listen to 'You' between another to realize that he has not lost his voice and tell yourself that this is how the whole disc. Keyboards plies are both at their volatile or planing and rhythmic accompanied it all very nicely. Another piece to note is 'Millenium'. Magnificent !

Without a detailed each title to, after 4 consecutive plays, I must admit that no parts are disappointed me, because after 18 years of waiting, it often sets the bar high as auditor and sometimes we is disappointed. And this is not the case here. It runs alone and 62 min. that takes the album goes to a torrid pace. Plus, excellent production! The wait has not been luck, it's hard-CLEPSYDRA, quality Neo-Prog, always with a style of their own. Yes I admit, I was sold in advance, and my expectations were high. The new album "The Gap" handily pass and will be considered in my end of year tops! Fans of CLEPYDRA ... immerse eyes closed!

Prog from Switzerland! Who knew!? The miraculous thing about this album, these musicians, is that they purposely chose progressive rock! In 1991!

1. "Sunrise" (1:20) the opening of a bookend pair with the finale, "Sunset," church bells chime as bass, distant drums, single plucked guitar chord and keys rise and kick into full gear before searing electric guitar ends the song. (4.25/5)

2. "New Day (Part 1)" (5:11) piano opens before Aluisio joins in singing in a relaxed, as if tired, voice. The second verse is joined by synth strings as Aluisio perks up, switching up an octave, singing with much more force and clarity. Drums and bass join in for the "time pass me by" chorus before launching into the guitar-led instrumental section. Keys do a very reserved solo as drums play beneath until sax-like guitar returns at the 3:00 mark to signal time to slow down again for Aluisio to sing, starting low and tired before quickly jumping into his more urgent pleading voice. Another melodic guitar solo finishes it off. Nice song. (8.75/10)

3. "4107" (5:12) typing on an old manual typewriter as typist recites that which he is typing. Low bass note, glockenspiel synth arpeggio and drums form spacious support to Aluisio's plaintive vocal. Electric guitar takes the lead at the end of the second minute and into the third before slowing to play arpeggiated chords. Then the music shifts for keyboard play before Gabriele takes the lead again at 3:00. Nice horn-like METHENY-ish guitar tone (in the upper registers). (8.5/10)

4. "Fleeting Moments" (3:13) opens softly, sounding like Steve Hogarth on Marillion's Marbles. Aluisio's sensitive voice in the second minute is so heart-breakingly fragile and vulnerable! What a vocalist! (9/10)

5. "Fading Clouds of Time" (3:50) opens with slow emotional electric guitar lead over synth strings until 0:54 when piano, bass and drums kick into gear. Vocals join in with a STARSHIP, JOURNEY or even BON JOVI type of sound. Song alternates soft spacious sections with full, uptempo, power chord sections while ending with a slower section for an electric guitar solo. (7.75/10)

6. "Poem For a Rainy Day" (2:11) stairway footsteps and child's voice preempt this electrified acoustic guitar lullaby. Some synth support and the addition of a classical guitar in the second minute. Nice. (There are no words to this "poem.") (4.5/5)

7. "New Day (part 2)" (6:13) up and down, as the previous version, from soft and spacious to loud and bombastic. Still, Aluisio's voice can almost win me over no matter what else is going on around or beneath him--and this is one of his finest performances on the album. Also one of the best chord progressions and electric guitar solos. (9.25/10)

8. "Sandfow" (3:17) general train station restaurant conversation, dishes noises, and PA announcements lead into a cymbal and synth supported electric guitar solo. The chorus-delayed sound of the guitar is cool. At 1:35 drums kick in and band amps up to announce their presence for a few seconds before backing down to leave a really cool, almost eerie spacious soundscape. Electric guitar eventually steps into the void with a melodic bluesy solo to the end. (5/5)

9. "For Her Eyes" (4:41) CURE-like electric guitar and electric piano open this one until Aluisio enters around the half- minute mark. The song becomes standard rock ballad support, still sounding like THE CURE though also WHITESNAKE and other 1980s hairbands. (8.5/10)

10. "Steve and Jane" (5:19) synth wash, electric piano and Aluisio open this one. Despite indications that it's going to get loud and heavy, the boys show restraint and stay quiet for the first 90 seconds. Then there is shift as a fast- picked guitar arpeggio chord sequence triggers some latent power from the keys (orchestra hits). When Aluisio returns, the music beneath is still defining itself. The keys definitely get much more prominence on this one that the rest of the album. (8.5/10)

11. "New Day (Part 3)" (2:01) opens sounding like airport/spaceport music before electric piano enters. At 1:00 synth strings form support for electric guitar to solo over. Nice brief emotional melodic solo. (4.75/5)

12. "Hologram" (7:40) Aluisio singing over amplified classical guitar turns proggy after the first minute with the arrival of drums, bass and keys. What a voice. He makes it sound so effortless! A shift at 2:45 leads to more theatric storytelling approach from Aluisio before the band kicks in and jumps forward. What sounded like they were going full SCORPIONS turns instead to something more spacious like COLLAGE. The instrumental jam we thought was coming several times before starts, in part, at 5:45 as Gabriele solos over the churchy organ and gated drums--into a long, slow fade out. (13/15)

13. Sunset (1:21) reprise of the opening song with full band engaged from opening and electric guitar doing an aggressive rock solo from the start, then ending with church bells. (4.25/5)

Total Time: 51:29

B/four stars; a nice addition to any prog lover's music collection and recommended for anyone interested in hearing a truly gifted male vocalist.

I have to report that I do prefer the original sound over the "remaster." I've never been a fan of gated or compressed drums--one of the biggest mistakes Peter Gabriel and Phil Collins ever made. It's also too bad that the 1990s had to deal with such poor, cheap sounding keyboard sounds from the plethora of everybody-can-afford cheap keyboards coming out at the time. We're still paying for it to this day with some bands that refuse to let go of those cheap old things. Overall, there is just a lot of music here that sounds as much "Prog-Wannabe" or "Near Prog" as Neo Prog.

Swiss-Italian neo prog collective CLEPSYDRA boasted a formidable run of 4 acclaimed albums between 1991 and 2001, albums that together constituted an intensive course in how to do neo prog the "right way". With emotive and skilled vocals, keening guitar leads, atmospheric keyboards and a flair for composition and arrangement, they left their sweet scent on the scene and then...nothing. The last 5 years have seen a flurry of updates and, finally, with a lineup 80% identical to that of their last and best studio recording "Alone" some 18 years ago, they have emerged anew with "The Gap".

Well, it's like no time has passed at all; all the pieces are in place and functioning in synch. Aluisio Maggini's voice is as distinct as ever, and continues to be an anchor of the group's integrity. New guitarist Luigi Biamino caught the baton passed by his predecessors, with expressive languid leads. Keyboardist Philip Hubert continues to aerate the arrangements and might be slightly more prominent than in prior releases, while the rhythm section is capable as ever, muscular when called upon.

While CLEPSYDRA generally espouses a temperate style with a preponderance of dreamy passages over raucous interludes, they earned my ardent attention in the first 30 seconds of "When the Bells Started Ringing". A plodding, metallic riff, perhaps the most assertive in their history, kicks off a dynamite 11 minutes, which are punctuated by more typical melodic passages, solos, and even ambient interludes. Unfortunately, their attempts at other epics meet with more mixed success as they did on the weakest of the earlier releases, "Fears". The strategy of blending moderate length tracks into a continuous epic reached peak fruition on "Alone" and the excellent "More Grains of Sand" mined a similar vein. The band's strong suit is in the low to moderate complexity numbers, but they appear to be conflicted by the belief that, among prog fans, more is more. I have seen this in the more recent releases by other groups that are more or less of this ilk. I do hasten to add that every track here has much to redeem it, with the best of the rest being "The Spell" and "Millenium", even if the latter could have been pruned by 1/3 to its benefit.

While CLEPSYDRA tends to be judged as an "imitator" rather than innovator in neo prog circles, it remains that they are one of the more recognizable bands in this sub genre, due mostly but not only to Aluisio Maggini's voice. Therefore a new CLEPSYDRA album is well worth celebrating, especially after a gap of almost 2 decades. 3.5 stars.

Bad album cover but yummers inside!

Yes, behind a bland art cover hides some of the best Neo you could get. Well produced, well executed and well sung this piece of prog pie is a delight IF you're in the right mood. Lush keys, soaring Gilmour solos and energetic drums are topping a beautiful but emotional voice. Maggini's voice is strongly resembling Benoit David's way of singing (even sharing the same accent!) and feels refreshing in a sea of wannabes trying to emulate their hero.

Does Neo Prog has to be sad to be part of the movement? That's why I said this record's great if you're in the right mood; I know they're not singing about sunshine and lollipops just by listening. It could enhance a sentiment of loneliness if played a day you're not a your top, not a serotonin booster to say the least.

For those who like Mystery (Quebec's best kept secret), Pendragon and Saga, you've found one of best thing Switzerland can offer..apart for chocolate of course.