All Prog From Italy Appreciation Thread

A pioneer of the RPI scene

Il Mucchio were not exactly well known but they are historically important as one of the early entries on the Italian progressive scene, their lone album being released in the Spring of 1970. They hailed from Venice and were active from 1970-1974 before returning for a brief reunion in the mid 90s, but this was their only full-length album. It is important because it is a bridge album from the beat and psych-pop sounds of the late 60s to the classic RPI era, incorporating classical influences and the beginnings of progressive experimentation. Sjef Oellers writes "Il Mucchio plays organ-soaked proto-progressive, sounding like a cross between Moody Blues and early Manfred Mann/Spencer Davis Group." And while other sources out there claim the album is nothing special I have to say I found it much more enjoyable than I thought I would. It's probably not quite as good as Panna Fredda but that would be a decent reference point as well.

With material written by composer/singer Dino Donaggio, Il Mucchio forges their unique sound by using dual-keyboards and a strong bass guitar presence, but very little prominent electric guitar. The keys are mostly organ but there is harpsichord, piano and some other odd sound I can't place. The second component of the sound is the distinctive upper-register vocals, both solo and in frequent chorus, that are straight out of the New Trolls playbook. Though to my taste they sound much more authentic to me than do the Trolls glass-cracking hysterics. The vocals are very professionally arranged and on their own are quite a treat to listen to. The compositions are pleasant and of pretty good quality although only sporadically reaching beyond period psych-rock and beat. You hear them go for it in "Qualcuno Ha Ucciso" which features tribal rhythms and wild noises mixed with classical piano, lovely Hammond, and those amazing vocal arrangements. There are still catchy hooks though even on the more avant sections the band is keeping one foot in each universe. And that sums up most of the album: it is simply a pleasant blend of vintage keyboards and wonderful vocals in engaging but not overly complex tracks. The other highlight of this album is an absolutely breathtaking version of Schubert's "Ave Maria" that was worth the price of admission alone. If you took away the rock drumming that eventually gets upbeat, vocally the piece could be used for Sunday service, very respectful and yet interesting. From here the album closes with some bluesy organ workout in "Questi Siamo Noi" that would be fertile ground for Ritchie Blackmore to step in and wail on.but Il Mucchio just brings in another keyboard rather than the expected guitar-blazing. Some will be put off by this but personally I found the approach unique and didn't miss the guitars for a second. It's more evidence to the quality level of RPI when even the 2nd and 3rd tier bands are consistent and quality enough for 3 solid stars. You have to dig even deeper to start finding 2 stars albums. Mellow Records has done a nice job with the sound quality on MMP-166 although the booklet is a scant foldover. Their later singles are included as the four bonus tracks.

More good news from Italy's progressive rock field: Areknamés is back on the road and in very good shape. 4 years after the excellent demonstration of epic and somber retro-prog delivered in "Love Hate Round Trip", Michele Epifani & co. manage to offer yet another enjoyable exhibition of art-rock with "In Case Of Loss?", the third album that confirms these guys as serious business. The VDGG and Hammill references remain a solid source of inspiration in the band's input, but in comparison to the aforementioned sophomore album, "In Case Of Loss?" exhibits more luminous textures and a lighter dynamics in places. In fact, the guitar parts are less intense in general terms, although the use of powerful riffs and creative harmonies remains a strong asset in the band's framework: in short, there is more Hackett and less Iommi in the guitar inputs. All in all, Epifani (call him the "Italian Matthew Parmenter" if you like) provides less tense singing and more colorful keyboard inputs in the overall repertoire. Well, now we are going to the repertoire itself, and so we find that the opener 'Beached' provides almost 7 minutes of agile space-rock moods set on an appealing rhythmic swing: picture pre-"Absentia" PT and the artsier side of Radiohead meeting halfway in the realms of the softer side of Ozric Tentacles and you will have a reasonable idea about what is cooking here. This somewhat up-tempo beginning prepares our spirit to face the nihilistic approach incarnated in the next two pieces, 'Alone' and 'Dateless Diary', which indeed keep a closer relation with the angry somberness of the "Love Hate" album. 'Alone' starts with a brief musical box sequence, then shifts toward a vandegraffian framework wisely elaborated with uncommon signatures and augmented with jazz-oriented schemes (very "Godbluff"-like); 'Dateless Diary' states eerier ambiences that serves as a valid counterpoint to the caustic moods predominant in the previous track? and why does the fade-out have to arrive so soon?... At this point, we can easily notice the musical substance that makes this album such a rich contribution to the 2010's prog rock scene, but there's more to enjoy. 'Don't Move' brings what is perhaps the warmer atmosphere in the album: a progressive ballad that gives Epifani enough room to celebrate (one more time) the Hammill legacy (something like "Over"-meets-"Silent Corner"). Its ethereal mood is defining of the whole composition despite the presence of some intense passages in its main body's elaboration. Apparently, 'A New Song' inherited some of the previous track's contemplative aura for its first half, but then the second half shifts toward a robust expression of psychedelic developments, very retro, a well accomplished amalgam of early VDGG, Gnidrolog, Greenslade, and even some classic Deep Purple too! The resulting climax is forceful and brilliant. 'Where' slows down thing a bit (just a bit) by installing a middle term between track 1 and 3. So far, this is how it goes with the album's "shorter" tracks. Now, let's go for the suite entitled 'The Last Number'. This piece shows the sort of disciplined progressive rock students the Areknamés musicians are: this suite bears the epic attitude and melodic ambition that prog rock suites are famous (and infamous) for. All in all, let us remember that this is "In Case", not "Love Hate", so this suite in question gives ample room to constrained sonorities and sober melodic developments in preference over the darker passages (which also exist). Introspection and melancholy are the dominant atmospheres in 'The Last Number'. There are also some sax solos that emphasize the occasional jazzy textures, while the cello arrangements display an extra dose of stylish beauty to some symphonic-centered passages. Right at the 12 minute mark, a motif installed on a 5/4 tempo capitalizes the controlled intensity for a while until it fluidly gives way to a softer passage - here is an example of the consistent brilliancy in this suite's arrangements. For the last 4 minutes, a lovely organ solo and a powerful section announce the majestic finale that brings back memories of 70-71 VDGG and "Trespass"-era Genesis. This is not the real end: after a minute of silence or so, Epifani plays a spinet sonata that mixes Baroque and modern dissonance (very much a Balletto thing, isn't it?). The listening experience of this album is just awesome: Areknamés reassures its status as one of the biggest items in the current European retro-prog area.

Mediterranea - Ecce Rock

RPI influenced progressive rock from Mexico

Sometimes when people are trying to convince me that Italian Prog is not a legitimate subgenre, one of the bits of nonsense they use is that RPI never influenced bands outside of Italy. First, I wouldn't necessarily agree with the premise that influencing others is a requirement for a rock sound grouping, but if it is, Arbatel is one example of a Mexican band clearly influenced by Italian progressive rock. Latin America seems to be a part of the world who have embraced RPI with great enthusiasm, and in Arbatel you can hear the influence pretty easily. Back in their early days they cut their teeth with covers of Orme and Balletto di Bronzo. Their debut "Gamadion" was initially released by the band and picked up later by Mylodon Records, currently it is distributed by Black Widow Records.

"Gamadion" is a turbulent and passionate progressive rock, nothing dry about it. The best non-musical image I can think of to describe it would be that of a thunder cloud, though the music itself is not dark in a negative emotional way. It is a mix of unsettled and uplifting passage built from bold keyboard presentation and fairly crunchy, distorted electric guitars. The lead playing is beautiful, soaring and fluid, quite expressive. Composition features good dynamics and variables. "Xólotl" is a standout track which opens with church bells and a gothic pipe organ to a militaristic snare drum, the organ soon doubled to the lead guitar and later some lovely piano enters. The title tracks is very dramatic, it utilizes a Hitler speech as the set-up for a musical look at the horrors of war. Bullets and bombs sound effects fill bombastic, intense riffing and feedback sections, brilliantly placing the listener into the hell and confusion of violence, simply one of the best musical interpretations you'll hear of such a horrid subject. "Tu che sei" is another favorite because it so reminds me of Italian prog, featuring traditional prog-folk melody with dreamy vocals, violin, and piano. At the end is a bonus version of Xólotl with lovely female vocals. I realized while listening that parts of the melody resemble the verse melody of Neil Young's "Like a Hurricane" and certainly Arbatel are delivering that level of excitement with this music.

This is a very good debut album showing amazing potential and featuring some real highpoints. While it falls just a hair short of the 4-star mark for me, I do recommend this album to any prog fan. It is a must-listen for fans of RPI who wish to hear the influences of Italian prog rock moving overseas and what it sounds like, in this case, in Mexico. The influence is there in sound and arrangements, but also I believe in mood, in spirit. A very enjoyable debut, I can't wait to hear more from this band in the future. 3 ½ stars.