THREE MONKS

Dark, dramatic organ-driven music of the kind that wouldn't be amiss as the soundtrack of a vintage horror movie with an abandoned castle as the setting is what Three Monks present us on their second album "The Legend of the Holy Circle". In many ways a similar production to their debut album, but with an expanded scope and sound due to the inclusion of additional keyboards. Highly recommended to just about anyone with a soft spot for the church organ used as the main and dominating instrument in an instrumental, progressive rock context.

The opener "The Holy Circle" sets the atmosphere with dark pipe organ rides and frenzied bass lines. Traditionally, circles were believed by ritual magicians to form a protective barrier between themselves and what they summoned and the Holy Circle is supposed to be the main line of defence against the forces of the Outside. On the art cover you can see three mysterious characters with their hands stretched out on a strange sphere where shines the light of a dangerous, powerful force while here the music evokes esoteric practices and infernal dances...

The following "Into Mystery" begins by threatening, obsessive bass lines and a hypnotic marching beat, then solemn church-like organ notes soar taking you across dark places where strange rituals are celebrated. It could be the perfect background for the reading of the works of H. P. Lovecraft or Gustav Meyrink...

"The Battle Of Marduk" is even tenser. It seems to describe a raging battle against the devils summoned from the other-world. What kind of devils? Well, Marduk is the Babylonian name of a late-generation god from ancient Mesopotamia associated with water, vegetation, judgement, and magic... Scenes from films like The Mummy or The Scorpion King could come to mind while listening to the different passages of this complex track full of dark energy.

"The Rest Of The Sacred Swarm" comes like the calm after the storm. It's a beautiful adagio for pipe organ solo that draws you between the desert aisles of a Gothic cathedral. It leads to "Rieger" where you can experience a breathtaking mystical experience surrounded by strong smells of incense. Th title of this track refers to the Austrian master organ-builder from the XIX century Franz Rieger and in the inner sleeve you can admire a picture of a sumptuous pipe organ in Prague Cathedral...

Next comes the long, complex epic "The Strife Of Souls", a magnificent track that every now and again reminds me of Emerson, Lake & Palmer and drives you through the many different moods and situations of a terrible conflict between Good and Evil, with angels and demons fighting all around. The brilliant "Toccata Neogotica #5 (Epilogue)" closes the circle evoking the immense force of destiny and waking you up from your uneasy dreams... On the whole a great album that everyone is free to interpret as he likes but that is absolutely worth listening to!

So, things are simple here, only three instruments, a bass, a pipe organ and a drum kit, and a monster dose of Classical influences from the romantic and Baroque periods.The overall sound reminds me of PAR LINDH PROJECT's monumental performances on pipe organ with a bit of RICK WAKEMAN.The album's title is on par with the music.Very much Classical-influenced music with a certain reference to the old progressive bands of the 70's, having also a quite gothic atmosphere with a very dark and mystical approoach, which comes close to the sinister sounds on DEVIL DOLL's albums.The music is extremely bombastic with endless interludes and organ solos and a powerful rhythm section supporting Lazzeri's mascular pipe organ deliveries, while there are moments when the whole thing turns even to be frightening with the ghost-like Gregorian choirs.IL BALLETTO DI BRONZO is the most fair comparison from the Italian scene, as the music features a combination of symphonic atmospheres and heavy parts under a haunting mood.On the other hand the lack of additional keyboards or instruments and the absence of breathing, softer themes can get this listening a bit tiring on the way.Of course this is far from an uninteristing release, I could even say that this is one of the most original works launched within the first decade of the millenium due to the monstrous sound of pipe organ.

For fans of Classical Rock and keyboard Prog Rock with a nostalgic style.Powerful and sinister music with an unmet grandieur and great executions on pipe organ.Recommended.

Three Monks is formed by the bass of Mauricio 'Bozorius' Bozzi and the organs and pipe organs of Paolo 'Julius' Lazzeri. Now, that's exactly the difference in their sound, the use of pipe organs and a big Gothic approach in their music, even when they play classical parts a la ELP. The Legend Of The Holy Circle (2013) was released by Black Widow Records in a simple Digipack, but because the album is instrumental I don't think this is a bad thing as all the info we need are there.

This is a really interesting release full of 'church' music if you like, a feeling of really being somewhere on the past in some monasterium. A really must have if you're a fan of Antonius Rex and Emerson, Lake & Palmer.

This is very much a band, all pulling together in the same direction, showing just how powerful a pipe organ can be in the hands of someone who really knows what he is doing. Apparently Paolo is heavily influenced by the music of composer Julius Reubke (1824-1858), as well as his love of progressive rock, but that is yet another composer I have never heard of so can't say if it comes through into the album. What I do know is that this is an incredible example of keyboard based progressive rock, and fans of this style definitely need to seek this out. www.blackwidow.it

This album is my first taste of the Three Monks as I have missed the debut, and my general impression is of a sort of "dark Rick Wakeman", but really better than many of the releases of that very prolific master of keys. In this darkness there's more rock and listening better, the "Italian" factor adds a difference. The Wakeman's impression is caused mainly by the use of the Pipe Organ with its very distinctive sound. Think to Criminal Records to have an idea.

Well, the Wakeman think ends here. There's a lot much than just pipe organ in this album. The second track, in example, would be a perfect fit for a horror movie, nothing less than most famous bands like Goblin. Wanting to list possible influencers, the "trio" lineup made of keys, bass and drums and the tracks composed by "Julius", the keyboardist can remind to ELP.

Another mention goes to the "classical" mood of "The Rest Of The Sacred Swarm", a very powerful title, too. It's clearly inspired to the Albinoni's "Adagio", but its weird sweetness reminds me to the grotesque Azatoth of the old Canterbury band Arzachel.

There are "goblins" also in the following track "The Battle Of Marduk". For who doesn't know, Marduk is one of the most ancient obscure Gods of the history: son of Enki, who later became the most important God in Babylon, identified with the planet Jupiter. Not bad for a devil, isn't it? The track is split in two different parts: one very dark and heavy, followed by another very dark but more ambient oriented, mainly driven by the bass. Perfect for Dario Argento.

Rieger is probably a tribute to the Austrian Organ-maker, but it's still very dark. If this album has a problem is that the mood doesn't change much. This means that the occasional listener may find it boring after a while, but if it's listened with the attention that it deserves, it's rewarding.

"The Strife Of Souls"sounds very Emersonian. Some passages are reminding of Works (Pirates), but let me say that the music is not derivative. It's sometimes similar because of the particular instruments used, but unlike many other bands around the world they can't be considered a clone of anybody.

The final "Toccata" is the less dark track of the album. It's a canon, likely inspired to J.S. Bach. An excellent closer for an album which is balanced between evily darkness and classical mood.

Strongly suggested to fans of Goblin, ELP, Wakeman and Organ driven music in general, regardless the historical period it belongs to.

It is true the patterns of this music sound a bit old. They have a lot of organs but the catching of an antic feeling hasn't really worked. Three monks are Paolo Lazzeri (organs), Maurizio Bozzi(bass) and Roberto Bichi(drums) and the leading and totally dominating instrument is the organ and I didn't thought I was going to say this but it's even too much organs.

I wrote te music was bombastic and that is true. The compositions take a big place and they are whirling around without being stopped by anything. Though I feel a lack of variation all the time. Some tracks on this albums are very good such as "Into Mystery" with has a more honest depth in it and the shorter "The Rest of the Sacred Swarm" which reminds me of classical music(both 8/10). The rest are a little bit better than just good (6-7/10) and the pure organ sound is absolutely decent. But I don't find it authentic! These organs want me to believe I am hearing a symphony in a cathedral but the music isn't enough for making me believe that.

I like the pretentions I scent but it is the result that counts. Three stars to this Italian band!

`The Legend of the Holy Circle' is apparently something of a concept piece, although I've yet to figure out the theme or narrative just yet! Even the band members credit themselves as Julius, Bozorius, Placidius and Ursinius, but I'm not sure if there's any clues there! Paolo Lazzeri (Pipe Organ, synthesizers, compositions), Maurizio Bozzi (Bass, Sound Engineer), with both Roberto Bichi (tracks 3, 6, 7) and Claudio Cuseri (tracks 1-2-5) are on drums, and within the first few minutes, you'll be transported to a time of ancient stone castles, chilly mists over lonely hills, solemn churchs, private meetings for secret societies, esoteric symbols and devilish deals.

Lead track `The Holy Circle' definitely brings to mind Ars Nova, loud and heavy overwhelming dizzying gothic synths swirling around booming intimidating pipe organ, pitch black dirty bass mumbling away in the background beneath a storm of the wildest drums smashing through some unpredictable tempo changes. A truly delirious and manic opening that will have you gasping for air! `Into Mystery' opens with some nice stalking bass creeping up, Grand organ shattering your senses and stomping down on top of you, the whirling aggressive Moog throughout taking on such a spectral ghostly glee that I had to check to credits to see if this section wasn't played by a demon inhabiting the body of Rick Wakeman!

At nearly ten minutes `The Battle of Marduk' sinks into the mire and grime of the deepest dungeon, sometimes comparable to the scratching, clawing overwhelming sinister organ driven menace of Antonius Rex and Jacula. Thrashing militaristic drumming, wild tempo changes that grab you by the throat, and even a cautiously soothing electric piano passage in the middle to catch you off guard. The bass here has a murky, stuffy sound that really hammers home the oppressive and suffocating mood of this gloomy work, and the final half of the track turns absolutely chaotic and berserk. Thankfully `The Rest of the Sacred Swarm' is a lovely and darkly romantic solo duel organ piece, full of wistful contemplation and longing, truly a sublime reflective moment of respite to catch your breath.

`Rieger' is all stomping, imperial pomp and intimidating regal glorious majesty, with frequently lovely near-whispering moments of low-key organ and the softest of percussion, only to have these moments of ease blasted away seconds later. Like a serpent, the bass slithers it's way around the background of the piece, as if whispering promises and lies in your very ear. Several grand and triumphant themes throughout this one. The frequently uptempo and nimble `The Strife of Souls' moves through chasing, manic-like tension and fear to even more heroic themes of glorious victory, always a constant strident drumming charge moving the piece forward, the gentlest of tiptoeing vibraphone footsteps over lulling placid organ. Solemn, somber, filled with purpose, and always exhilarating.

`Toccata Neogotica (Epilogue)' is like a ghostly waltz, so grab your gothic lady and head to the ballroom floor. All eyes on you, you steal the spotlight, some guests look on with plotting and jealous eyes, others in quiet awe. Organ crashes down like an anvil, taking to listener up in glorious divine rapture. A breathtaking vigil mass to end this intoxicating work on.

Available on both CD and LP from Black Widow Records, `The Legend of the Holy Circle' is more thrilling instrumental music for prog fans in 2013, as well as yet another Italian stunner. Truly timeless music, and along with Sophya Baccini's Arcadia's theatrical gothic symphonic opera `Big Red Dragon', L'Albero del Veleno's promising debut `Le Radici del Male' and the latest Antonius Rex work from late last year `Hystero Demonopathy', it makes for yet another triumph for the dark and uneasy corner of the Italian progressive scene.

Five stars.

Overall there is not much I can condemn (or would want to) and much to be admired. Its a real joy to have this music and a band such as this in existence. I go with a 5 star rating and let other people pick holes in it ( if they can find them).

Opening salvo is the 8 minute + "Progressive Magdeburg", a thoroughly Teutonic onslaught that would have made Odin and Thor proud, a no-holds-barred organ rampage of the highest order (Opus Dei?) that kicks royal ass. The Magdeburg pipe-organ has a massive echoing and metallic tinge that, combined with a driving bass and thrashing drum attack, really gives Emerson and company a lesson in colossal power.

Thankfully, the mellower but epic "Toccata 1" offers a brief respite from the 'sturm und drang', incorporating more romantic Italian-style operatics that somehow soothe more than devastate. Eleven minutes of searing organ aesthetics remindful of the ecclesiastic impression given by Wakeman on "Anne Boleyn" for example. This symphonic exercise has more classic overtones were it not for the rhythm section bashing away with frenzied abandon (the rolling bass in particular is quite stupendous here and throughout the album). Now of course, the entire purpose of the powerful magnificence of the sound is to engulf the listener/believer into abject acceptance and numbed humility. The final section is spectrally ambient, as if in complete repentance, showing off melodic tendencies and not just power! The finale therefore incorporates terrific rifling drum fills and incessant bass themes that coalesce with the heavenly glory.

The absolute highlight piece here by far for prog addicts is the insane brilliance of "Neogothic Pedal solo" which starts off with ethereal choir work as if recorded in some faraway abbey or hidden monastery. Then liquid bass kicks in, preparing the platform for a bass pedal solo that will blow your spires and then the organ takes over with its sonic incandescence,! A thunderous slice of incredible prog-rock, both playful and overpowering.

"Herr Jann" is more keyboard thunder and rhythmic lightning, a fast paced, bruising piece that has a distinct Rick Van der Linden flavour (He of Ekseption and Trace fame). Paolo Lazzeri plays with obvious endowment and devotion, quickly engaging the powerful instrument on its own terms, a full frontal sonic assault on the senses. Bassist extraordinaire Maurizio Cozzi carves some serious ruts within the torrents of wind-blown notes.

I bet you readers out there in Progland were wondering when the Goblin influences would ever show up, well "Profondo Rosso" is here and as with the Goblin crew, the music has all the cinematographic qualities one would expect and as such, the delivered music is plain terrific. Impressions of 'deep red' are evident, the bass work in particular manages to grab the Goblin spirit perfectly (Their bassman Fabio Pignatelli is a monster). Three Monks offer up a heavier version which is not surprising, as everything they do is lacerated with burden! "Profondo Gotico" serves as a brilliant companion piece, the arrangement fitting nicely into the previous mood, though with only a slight 'lightness' that is still very Gothic. A coalescence of styles, Italian and Germanic under one cathedral dome.

"Toccata 7" is in honour of Anton Bruckner, famed Austrian composer known for his masses, motets and symphonies and of course a master organist himself. Bruckner favored all kinds of radical innovations such as dissonance, impromptu modulations and rambling harmonies and Lazzeri expresses these characteristics with dedicated reverence.

This is definitely not everyday progressive rock unless you want to be the next Silas, the suffering and self-mutilating soldier of God, desperate to protect the last remnants of the greatest power on earth. When the disc ends and silence appears, you really get the gist of this intoxicating music, its numbing effect and incredible impact on your ears.

4 trio of hermits