От Michael Baryshnikov (2:5023/24.3243) к All
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Hello All!
Залиты Melting_Clock/(2019)_Destinazioni
Интересная прогрессив-рок-группа из Италии.
Чем интересная? Во-первых, там женский вокал. Во-вторых, очень интересный вокал - никаких тарий или диамандгаласов, но при том - аккуратный, в меру чувственный, красивый и с неплохим диапазоном. В-третьих, его не слишком много. В-червёртых, почти в равной мере присутствует и неплохой мужской вокал, вплоть до дуэта. В-пятых, интересные композиции, скорее со склонностью к британскому фолк-року и Олдфилду, чем к "классическому РПИ". Ну, вот как-то так. Заинтриговал?
РЕКОМЕНДУЮ!
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Melting Clock biography
Melting Clock released their debut album Destinazioni (Black Widow Records, BWR 224) on CD and 2LP in October 2019 having put together a 4 track studio demo to get gigs a couple of years earlier. Their first gig was the 2017 Porto Antico Prog Fest in Genoa (organised by local shop/label Black Widow Records) where their brand of symphonic prog was very well received
The origins of Melting Clock can be traced back to the Department of Physics at the University of Genoa in 2001. Guitarist Stefano Amadei explains that the original objectives of a small group of friends was to have fun making music, describing the attempts of the fledgling group to play covers from the bands they loved but "were so bad that we were off beat on the various section of the songs". This prompted Alessandro Bosca (bass) to apply the Italian slang "ci sciogliamo il tempo" ("we are melting our time"), meaning "we are forgetting/loosing the rhythm/beat" and sparking the connection with the melting clocks in Salvador Dali's 1931 masterpiece The Persistence of Memory that some have suggested was inspired by Einstein's theory of General Relativity. According to Stefano they adopted the moniker Melting Clock as a private joke: a comment on their musical skills and a pretentious link to the nerdy background of the line up at the time
Four of the original line-up remain: brothers Sandro and Stefano Amadei (keyboards and voice, and guitars respectively); Alessandro Bosca (bass); and Francesco Fiorito (drums), while the current sextet is completed by Simone Caffe (guitars) and Emanuela Vedana (vocals). It's somewhat surprising that their coherent, largely symphonic style should result from a wide range of influences because Francesco and Stefano are metal-heads, Simone is a David Gilmour fan, and Sandro listens to Scandinavian jazz, though he has played with Daedalus, a Genoese prog-metal band alongside Fabio Gremo of Il Tempio delle Clessidre, and was a huge fan of Jordan Rudess, lending Rudess his Kurzweil K2600 when the Dream Theater keyboard player was on holiday in Italy and agreed to perform for the Italian Dreamers. The influence of contemporary acts like Porcupine Tree, Riverside, Opeth and Ayreon that the band say have shaped the direction of their sound is tempered by a critical understanding of the cultural significance of the music that came out of Italy in the 70s along with an appreciation of classic UK progressive rock; accompanying them to a gig reveals the depth of their knowledge of Italian prog, and they included a classic-prog cover in their set every time they perform live
Not only has the material has matured since the original demo and the original live performances, the compositions on Destinazioni are thematically linked by the representation of different aspects of a journey. Though the music is largely credited to Simone and Sandro, with a good proportion of the lyrics provided by Emanuela, the process of structuring each piece is dependent on rhythmic arrangement by Francesco and Alessandro and colour and mood supplied by Stefano. Having originally begun recording the album in November 2018, the time spent in Genoa's Studio MAIA under the direction of Andrea Torretta was used wisely, settling on the most satisfying arrangements that capture the drama of each individual story. Stefano explains that he wasn't interested in music that he found unchallenging, describing their style as being characterised by evocative and engaging sounds which belie the compositional complexity, drawing in the listener
Massimo Gasperini of Black Widow Records sanctioned the release of the double vinyl format with the medley Alla Corte del Re Cremisi taking up side four. This is a pretty faithful recreation of the original King Crimson material, down to the Wetton bass trills on Starless and the role of David Cross covered brilliantly by guest violinist Hanako Tsushima on 21st Century Schizoid Man. Massimo has overseen some of the brightest names in contemporary Italian prog and hints at great things for Melting Clock, saying that he enjoys seeing the band?s excitement about their own music.
(c) Rivertree, PA
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(c) Review by Matti, PA
MELTING CLOCK is an Italian prog band originating from the early 2000's. Their debut album Destinazioni was finally released last winter by the Black Widow label. The CD version is 61 minutes long; the 2LP edition contains a 16-minute medley of the material of King Crimson's debut In the Court of the Crimson King as a bonus (I haven't heard it). The band page is packed with information, so I'll concentrate on the music. The album has some conceptualism, dealing of a journey or something. Both Italian and English words are printed, but all singing is in Italian.
A good female vocalist definitely isn't too common in RPI. Emanuela Vedana has a nice, clean voice and her expression is elegant, free of over-dramatization but not without emotion. She would suit in a lyrically oriented vocal music as well. The band sound is also pretty sophisticated and mellow, featuring elements from classical music and folk. Keyboardist and additional vocalist Sandro Amadei and guitarist Simone Caffè are the main composers, and neither of them is pushing their playing in the centre of attention in a virtuotic manner. All the musicians in the group are technically good, they just aren't head over heels to show it off. Does this polite democracy and the lack of more notable soloing result as a mild degree of progressive rock flavour? Well, perhaps a little on some songs, but if you want to listen to intense, ELP-influenced RPI, there are myriads of bands in that style. Melting Clock is a fresh exception, closer to being a cross between Renaissance and the most artistic Dire Straits than edgier prog such as King Crimson that they have covered. Moreover, I think the majority of recent Italian prog bands with a female vocalist have more or less been oriented to hard rock, which is very minimal here. Yes, the electric guitar occasionally speeds up, but the acoustic guitar is often more essential in the sound.
The melodic style is a relatively accessible combination of vocal oriented, calm pop rock and 70's inspired symphonic rock. Even the least proggy songs are enjoyable, and none of them actually is following the verse/chorus structure. Album highlights include 'Antares', which is one of the tracks to feature beautiful vocalise singing, and the three-part title piece which is clearly the proggiest track. This is a band worth keeping an eye on!
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Enjoy!
WBR, Michael Baryshnikov.
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