Issue 2025-018
I Sincopatici ft. Claudio Milano — Decimo Cerchio (L'Inferno 1911 OST)
Jan Buddenberg
I Sincopatici from Italy are Francesca Badalini (piano, synth, zither), Andrea Grumelli (fretless bass, electronics, soundscapes), and Luca Casiraghi (drums and percussion). In their aim to rediscover masterpieces of silent cinema, in this case the historic Italian film L'Inferno from 1911 which is directly connected to Dante Alighieri's Divine Comedy, they in real time accompany these movies with live performances to bring them back to life.
Featuring a guesting by vocalist Claudio Milano, the release of Decimo Cerchio (L'Inferno 1911 OST) marks their original soundtrack recording of their joined concert as performed in 2021 at Teatro Nuovo in Varese.
Stylistically, the above may sound somewhat familiar to the cinematical methods of RanestRane. But don't expect anything remotely similar from a musical point of view. Because I Sincopatici's expertly make avant-garde veins vividly throb with experimental improvisations, minimal chamber music, classical abstractness, and the alienating characteristics of RIO. Fairly out of my depth this concoction demands full attention. And I even haven't mentioned the compelling Gothic and demonic zeuhl performance art that Milano charismatically devilish injects into the enigmatic soundscapes.
Intriguingly fascinating and intensely commanding from start to finish, all I can come up with for the mysterious and eerie atmospheric soundtrack in terms of references is the unfathomable antics of Henry Cow and Universe Zero merged with early dark Italian prog (Il Balletto Di Bronzo, Goblin), VDGG, and the haunting jazzy environments of Hermetic Science. Loaded with suspense, drama, theatrics, ghoulish density, and unsettling cacophony relieved by ambient bliss, the absorbing experience of Decimo Cerchio becomes even harder to pinpoint thanks to the astonishingly flexible tormenting emotional elasticities of Milano's passionately expressive voice.
Ranging from whispers and melodic phrasings to operatic falsetto and everything gutturally possible in between, his voice at selected times reminded me of Andy Sears during his take on the Twelfth Night composition We Are Sane, as well as conjuring up memories of Geoff Mann's frightful deliveries in The Creepshow and Euan Lowson's psychedelic madness as portrayed in Pallas' The Ripper. Next to this Milano's jugular noises frequently invaded my brain with visions of Tolkien Orcs and left behind impressions of a demon possessed Linda Blair during her exorcism ritual in The Exorcist. All of this voiced, at least for me, in the additionally alienating Italian language.
By now everyone will likely have understood that this often melody-defying album by I Sincopatici and Claudio Milano barely passes for the musical masses. Let alone that I personally find it fairly impossible to rate it in accordance to DPRP's rating system because it I find it as contently exhausting as that is repulsively beautiful. Hence, my lack of a rating. The happy avant-garde few can however look forward to one helluva night with the extraordinary theatre totality of Decimo Cerchio (L'Inferno 1911 OST).
Several nights in fact. Because not only does the overall performance fully request this, there are also several additional tracks to be found on Bandcamp. And the physical package comes along with a QR code that gives full downloading access to the official video recordings as immortalised during their, even more absorbing, Piacenza performance of May 2023.
Phonya — Heli1025
A new instrumental progressive rock band from Belgium, Phonya was founded by Eric Vanderbemden and Bernard Piette who were also the founders of the band Ken's Novel back in the nineties. The lineup for Phonya is completed with Gautier Delco. All three of them are playing keyboards, Eric and Gautier also do the bass guitar and Eric is the only one who recorded the guitar tunes. I think the drums are programme: no drummer is mentioned anywhere. The music of Phonya is mostly atmospheric instrumental with a lot of keyboard sounds. The album has many great guitar melodies, but always on a layer of keyboards.
The title Heli1025 is from an old radio Eric found, and it can be seen on the album cover. The album starts with Evolution, a ten-minute song and at the beginning of the song the music indeed slightly evolves. Over its duration, Evolution flows from one melody into another. At a nice pace, guitar and keyboard alternate in providing the melody in the sound and all is done in a very natural flow. Each song on this album has a slightly different character but Phonya never steps out of the ambient electronic atmosphere. Let Me Out! has a firmer pace and Breathless has a more techno vibe with industrial noises. Trans-HUMAN-ce is the slowest song and the album and really dreamy. Lunar Sun has the vibe of the opening song and even has an up-tempo part where it becomes a bit more poppy. The Infinite Game has a very long intro and after about five minutes the song comes alive. It flows from more ambient parts to heavier guitar orientated bits but all within the boundaries of the atmospheric sound of Phonya.
As ambient instrumental music goes, Phonya created a wonderful album. Even if this style is normally not your thing, I still recommend you give this one a try. Heli1025 is just a very fine album that is filled with good music with beautiful melodies. All musicians play keyboard but there is certainly enough room for some nice guitar parts. Phonya is not a continuation of the sound of their previous band Ken's Novel. If you step into the album wishing for that, you will hear something very different, but you will not be disappointed. Heli1025 grabbed me, and somehow I ended up listening to it over and over.
PRP — Red Binding Nights
Finnish progressive rock project PRP originated from the band Grus Paridae. Petteri Kurki and Rami Turtianen were not completely satisfied with the musical path that was taken, and wanted a more rock sound and so PRP was created. In 2021, they release their debut album No Pristine Rubbery Perception. Red Binding Nights is a continuation of that album with progressive rock with a slightly raw edge.
A nice melodic guitar opens the album in the instrumental Act 1, after which PRP provide that promised heavier raw sound. A lot of tunes and influences are stuffed in this intro track. It Bends has the same raw kick, but in this case it borders on being messy. You can hear the guys are still in control, but this album is clearly not for the people who like their music polished and shiny. Revelation Of The Dark Agitbra goes a bit further and borders on progressive metal. Gates Of The Golden Cage (Act 2) revisits some of the melodies on the opening track, but now with vocals. The vocal lines do not really appeal to me, and overall I prefer the instrumental parts, not bound by vocal melodies. In contrast, Nights (Act 3) is a more dramatic song with more restrained playing.
Red, Green, Blue is a turning point on the album. It sounds like a war-up routine. While the first half of the album was exiting and steaming, here it rather lacks energy and pace. Probably done deliberately to keep some balance but I for sure miss the energy after the first half. On Amortization Of The Blazing Vitriol (Act Finalé) the main theme returns again, but it does not sound as convincing. Some of the energy levels are turned up again, but it sounds a bit messy again. Closing song Gallery does not reinstate the energy.
So while the first half of the album has energy and I heard some interesting parts, the second part of Red Binding Nights had the energy levels gradually decrease. The review for the previous album said that the album grows with each spin, but unfortunately that did not happen for me with this new album.
Sequester — Cosmic Considerations
Once again I find myself with Sequester, a one-man-band from Canada that is heavily inspired by gaming, books and various styles of rock, goth and metal. After thoroughly enjoying the last full album (Hermit), it seems like a good a time as any to delve into what Ryan Boc (the man behind the band) has been up to in the last six years.
Starting off, Universal Cycle brings in some more of that gothic, rock that I've come to enjoy, with touches of video game style electronics adding texture to the sound. The Hill follows a softer and mellow introduction, introducing a more melancholic vibe to the music. Utilising synths and effects on the guitars, a light yet sad atmosphere is created.
The sounds of the 80s shine through on Venus By Tuesday, as the old school atmospherics, reminiscent of the likes of Depeche Mode or Joy Division meet contemporary tones and darker lyrics. But then we get lifted by Egg and its more theatrical sound. Still retaining the dark presence found elsewhere, but it adds a bit of a bite to it.
Into Perspective is another driving rock track, backed by playful and almost sinister electronics and guitar work. Sombre fuzz prepares the curtains for closing in Heartsbeat as the track pushes us onwarwards with a steady pace that is both coercive and lamenting. And then Pillars of Eternity, the 9-and-a-half-minute instrumental, lets the curtains close. Like the cast of a theater production joining on stage for a bow, here we have every facet of the album being showcased. The powering drums and punchy riffs, atmospheric synth and sorrowful keys all weaving together to create a dazzling show to finish the evening.
The comparisons to Ghost still remain, particularly due to Boc's vocal delivery being very similar to Papa Emiritus/Cardinal Copia (depending on the album). But I feel the 80s gothic/synth influence is far more present this time round, and is used to very good effect. For a one-person-show, Boc continues to do a superb job. With just a touch higher quality production, I could see this doing well.
For fans of Ghost, Gary Numan, Host, Perturbator and Gunship
Duo Review
Solstice — Clann
CD bonus track: Earthsong (7:12)
With the release of Clann, Solstice have rounded off The Sia Trilogy in fine style. The trilogy began in 2021 with Sia disliked by my colleague Stefan, but very well regarded elsewhere. It was joined in 2023 by Light Up which received a recommended rating from Geoff. Now Clann is with us, and it sees Andy Glass' collective pulling out all the prog stops and more.
The well-bedded in line up remains the same as for the other albums in the trilogy, except for the addition of two more vocalists (Ebony Buckle and Dyanne Crutcher) and a guest vocalist Nick Burns on Twin Peaks. Clann sees Solstice continuing to bring a joy to music making.
Solstice move effortlessly between symphonic prog on Firefly, cross-over prog on Life a track that wears its folk elements lightly. While Plunk and Frippa see Robin Phillips (bass) and Pete Hemsley (drums) bring the funk with delicate and twisting rhythms that add pace and space for the horns (samples or real I can't tell) and Steven McDaniel's organ playing. The less intense Frippa gives space for Jenny Newman's wonderful violin solo, then a synth solo before Andy Glass's scorching guitar solo. I'm not sure that he's been better than he is here.
The closing new song Twin Peaks is a long form piece in two halves. The first section starts with gentle Hackett-like guitar and a delicious violin melody building leisurely into a powerful ballad with singer Jess Holland, who is no slouch on the rest of the album incidentally, absolutely shining. She is supported brilliantly by the other vocalists with beguiling harmonies. These come to the fore after the hallway point where sequenced synth and atmospheric instrumentation brings to mind the opening bars of Yes' Close To The Edge. The vocals evolve into harmonised chanting, summoning something wonderful from the ether. A return to the opening melody rounds this off beautifully.
There is a CD-only bonus track Earthsong. It is a re-recording of the song that featured on Solstice's debut album Silent Dance from way back in 1984, reviewed in these pages on its 2007 re-issue. The song feels new and refreshed with this line up and the superb production values that cover the whole album with a sparkling sound.
Solstice's Clann sees a band that keep giving their fans headaches trying to work out which of their albums, from Circles onwards, is now their best. Newcomers can start here too as the album stands by itself as well as being part of a trilogy. Clann's songs are a joyous commendation of the power of love and connection.
As a long time fan of progressive rock, I am embarrassed to say that this new release by Solstice was my introduction to the band. There is no logical explanation as to why it took me forty years to give them a listen, but as the saying goes, 'better late than never.' With its deft blend of classic prog, folk, pop and Celtic influences, the album proved to be a great starting point.
This current line up was cemented in 2020, and they've certainly been prolific. Clann is the third in a trilogy of studio albums released in just over four years. There is a Neo-Prog element to their sound, but also a modern approach that is refreshing. Founding member Andy Glass, has clearly recruited talent with the intent of bringing fresh perspectives to the band's output. A key example is lead singer, Jess Holland, whose edgy & contemporary leanings bring a welcomed spark to the more traditional musical surroundings.
The vocal harmonies and instrumentation throughout are outstanding. Guitarist Glass has a soloing flair that is reminiscent of peers such as Steve Hackett and Steven Rothery. The relatively compact album runtime (45 minutes), flies by in large part due to the diversity and strength of the material. Highlights include the upbeat, FireFly, the timely and socially conscious Frippa and the vibrant mini epic, Twin Peaks.
So abundant in riches is the world of prog, that it sometimes takes a while to discover even established bands. The enchanting Clann was a real find and will definitely have me digging deeper into the discography of Solstice.
Verstärker — V
Bavarian trio Verstärker release their fifth album which, for those who remember the Roman numbering system, is handily called V. The roots of the band stretch back to the earliest years of the 21st century and a band named Die Kleinen Phopeten, a quintet that featured guitarist Roberto Cruccolini. By 2005 the band had changed their name to the current moniker and had been joined by drummer Wolfgang Walter. The group underwent a hiatus in 2011 but Cruccolini and Walter reunited in 2020 with new bassist Alexander Gilli releasing Themes & Variations that contained some lengthy and dynamic pieces that placed the band firmly in the post rock/ Krautrock camps. The latest album maintains the dynamism of previous years but generally speaking the new material is more compact with a greater emphasis on memorable melodies. Which is not to say they have changed into a pop group, the basis of the group's music resting firmly in the instrumental post rock camp.
Gadd kicks things off with some thundering bass and sparkling guitars but with less of a sonic assault than one might expect any abrasiveness tempered by a jaunty little tune. A nice switch up towards the final 90 seconds of the tune gives a jolt to the listener before a heavier ending. Fliegender Fluss, or 'Flying River' if Mr. Google is to be believed, has an initial gentility and peacefulness to it, rather like a meandering stream if you will. The drum beat is rather uniform but that is not an issue as it allows the interplay between guitar and bass, which act very much in harmony, to come to the fore. The guitar has plenty of echo which fills out the sound.
By the time we get to Echoes In Motion things are starting to sound rather too similar with the guitar sound in particular lacking in any great diversity between songs. Having said that Gilli plays some lovely bass runs and when Walter is not pounding the snare the toms have a lovely sound. The final couple of minutes are played at a slower pace, although the melody and song structure remain the same. Elephants starts with a very pedestrian solo drum pattern and for me, really doesn't take off. The short percussive break and quiet solo guitar that sees out the final minute of the composition don't seem to serve much purpose. The solo guitar continues into Hazarai providing a length introduction that slowly builds over the first four and a quarter minutes. It is not until the six-minute mark that things start to kick off properly but this is only short-lived and we are soon back into a rather more sedate and quite monotonous musical pattern.
Overall I was rather disappointed in the album as a whole, although I am in two minds as if that is the fault of the band or of me not being in the right receptive frame of mind. I am sure that in a different situation Hazarai might be a perfect accompaniment to have playing when doing something other than write a review, but I have to say in this instance it did not captivate me. Still worth checking out if you are interested in post-rock and want to explore something a bit different.