Progenesi - Ulisse L'Alfiere Nero (2012)

Hoy, por ser que termina una semana cortita, vamos a dejarles verdaderos discazos (bueno, como siempre). Una catarata de potente rock sinfónico italiano instrumental con un despliegue realmente apabullante, que te deja las neuronas hechas mantequilla para untar. No se pierdan otro gran disco desconocido que les va a volar la cabeza. No faltan los toques de jazz fusión, las melodías desencadenadas, la potencia del hard rock, la dulzura de los violines y la nostalgia del chelo, ni la experimentación sonora de vanguardia, en fin, otro disco imperdible en el blog cabezón.

Artista: Progenesi

Álbum: Ulisse L'Alfiere Nero
Año: 2012
Género: Rock progresivo sinfónico italiano
Duración: 48:51
Nacionalidad: Italia

Lista de Temas:
01. La Gioia della Pace
02. La Strategia
03. Il Blue della Notte
04. Il Rosso della Notte Pt. 1
05. Il Rosso della Notte Pt. 2
06. Un Grande Eroe

Alineación:
- Giulio Stromendo / Piano, Hammond, Keyboards
- Dario Giubileo / Bass
- Patrik Matrone / Guitars
- Omar Ceriotti / Drums and Percussions
With guests
Eloisa Manera / Violin
Issei Watanabe / Cello

Vamos ahora con el disco debut de otra banda tana que la rompe. Discazo, por cierto, que alguien, no sé si por mail, por el chat, por la lista de correo, por el foro, por el face o porque donde carajo me lo presentó y quedé fascinado.
Una cascada de rock sinfónico caracteriza a este genial disco conceptual e instrumental, una nueva y joven banda italiana dirigido por su experto tecladista, compositor y arreglista de todo el proyecto. Nos encontramos con un grupo que basa su sonido en elementos típicos de la escena italiana (Le Orme, PFM), y también referencias a los grandes dinosaurios del género (sobretodo Emerson Lake & Palmer), en menor medida al jazz, y reminiscencias de música docta y clásica (no falta la inspiración tomada de la Suite Op.14 de Bela Bartok, nada menos) que se combinan con un potente rock progresivo, creando una mezcla no muy original y muy adictiva.

El proyecto es bastante ambicioso. Partiendo que la base del concepto es la historia homérica de "La Odisea", el disco está basado en el famoso episodio del caballo de Troya de Ulises. Más precisamente, un cierto sentido de la línea épica, llevada a cabo desde una visión puramente instrumental de la historia de nuestros héroes (una característica poco común por unos artistas mediterráneos, generalmente abocados con pasión al canto).
El Hammond de Giulio Stromendo dicta las directrices de cada tema, pero ojo que lo acompaña un gran guitarrista, excelso e imaginativo, brillante y virtuoso, haciendo que su sonido logre sobresalir en todo el trabajo, más una potente capacidad de la sección rítmica, músicos enérgicos y calibre.
El disco tiene de todo: progresivo, épico, talentoso, melodioso, potente, denso, llena de aristas e ideas como pocas veces sucede que escuchar en un disco debut,en un remolino prog duro, mucho hammond, pasajes clásicos y atmosféras llenas de gracia. un disco que parece rendir homenaje a la época dorada del rock progresivo, con el cierre digno de una gran obra, lleno de patetismo y pomposidad. Les aseguro que más de un cabezón quedará con la boca abierta.
En resumen: un excelente acto artístico, un tremdo disco que le volará la cabeza a más de un cabezón, y uno de los desarrollos progresivos más importantes de todo el año 2013.
En definitiva, un disco impresionante que no se pueden perder.
Vamos con algún otro cometario que pueda encontrar en la red, casi no hay comentarios en castellano... veremos que dicen.

Se acaba de publicar el debut de los italianos Progenesi, un grupo culto que incluye músicos de formación clásica -algunos de sus miembros han salido del Conservatorio Verdi de Milán-, y otros más bregados en la escena local de su tierra. El resultado es este excelente disco instrumental, que aúna elementos determinantes de la escena progresiva de la década de los setenta, con evidente influencia de grupos como ELP, Genesis, Le Orme o PFM, con lejanas exploraciones psicodélico-progresivas estilo Pink Floyd o Porcupine Tree.
Evidentemente, la formación clásica se ve manifestada en estructuras musicales que reflejan una música apasionada de clara referencia a Beethoven, combinadas con un estilo romántico acusado por la obra de Chopin o con ideas que provienen directamente de Bartok. Además, el grupo no esconde su gusto por momentos característicos del jazz (Coltrane, Brubeck o Rusell), con lo que nos podemos hacer una idea de la riqueza expositiva de este combo italiano, que nos ofrece una música totalmente descriptiva, de arreglos bien construidos y ejecuciones progresivas de grandísima calidad.
Inmersos, como digo, en complejos arreglos, los temas se nos presentan directos y contundentes, claros de ideas y de ejecución, pese a su complejidad compositiva, profesional y emocionante. Un conjunto de temas de innegable factura clásica que hacen las delicias de aquellos enamorados de intrincados ritmos, incisivos pasajes a la guitarra y extraordinario uso de teclados, en sintonía perfecta con unos primeros Banco del Mutuo Soccorso o Nuova Era, por ejemplo, dando como resultado una música llena de matices, que mezcla sabiamente las lecciones de los clásicos británicos con la música sinfónica mediterránea característica de Italia. Una joya deliciosa.

Jose Luis Martínez

Vamos ahora con la sección de comentarios en inglés, vean un poquito todo lo que dicen de éste disco para que me crean de que está realmente buenísmo.

Another great 2013 RPI release
In what is becoming a banner year for Rock Progressivo Italiano, another excellent entry is new band Progenesi. Their debut is a concept album centered around Ulysses, entitled "Ulisse: L'Alfiere Nero" (the Black Bishop). This ambitious album is entirely instrumental, but surprisingly the narrative stays strong throughout the work, even without words. But regardless, the music is special--as my friend and RPI team member Aussie- Bird-Brother commented, "there's never a weak moment." And it is true! The heart of the work is 1970s RPI (the band states on their website that Le Orme and PFM are influences, but I can also surely catch Banco in there), mixed with the work of 1970s English bands (specifically ELP and Genesis, with some Pink Floyd). But there are also classically inspired themes (Bartok especially plays a role on the second track) and jazz passages-- but despite the great musicianship of the band members, virtuosity never eclipses melody and theme on this album. And the melodies are strong--like any great RPI band. All of the musicians share the stage, with no one in particular dominating--and guest musicians provide violin and cello to wonderful effect, greatly enhancing the mood and feel of the album. Perhaps two contemporary references that come to mind are Ego (especially their "Evoluzione delle Forme" album) and the recent debut by Soulengine (as pointed out by my friend and RPI team member seventhsojourn). But in my opinion, Progenesi is a few steps ahead of those worthy bands, particularly on the strength of the melodies and themes.
Visit the band's website, where there are links to YouTube videos of several of the songs on the album, as well as photos on Facebook that are contained in the CD booklet, photos that add to the narrative sense of the work. Enjoy this wonderful band! Four solid stars, and climbing! (Gnosis 12/15)

Todd

Progenesi are a young prog band hailing from Milan and formed by four musicians coming from different musical backgrounds. In 2013 they released an interesting début album titled "Ulisse l'alfiere nero" (Ulysses the black bishop) with a line up featuring Omar Ceriotti (drums, percussions), Dario Giubileo (bass), Patrik Matrone (electric guitar and acoustic guitar) and Giulio Stromendo (piano, Hammond, synthesizers, keyboards) plus two guests, Eloisa Manera (violin) and Issei Watanabe (cello). Their aim was to blend progressive rock, jazz and classical music and among the influences they boast you can find Premiata Forneria Marconi, Le Orme, Emerson Lake & Palmer, Genesis, Pink Floyd and Porcupine Tree along with jazzists as John Coltrane and Dave Brubeck or classical composers as Bela Bartok and Chopin.
According to the band, Ulisse l'alfiere nero" is a concept album freely based on Homer's epic verses about the fall of Troy in the Iliad. The album is completely instrumental and the story is told just through the music and the nice pictures that you can find in the booklet. Your imagination has to fill all the gaps but I'm sure it won't be difficult since the overall sound is rich and full of evocative colours that will help you.
The opener "La gioia della pace" (The joy of peace) recalls PFM and is a lively piece celebrating the end of the siege. The picture describing this piece portrays a chessboard with a black knight in the forefront that is facing alone all the white pieces. Now imagine the joy of the inhabitants of Troy dressed up in white dancing around the deceiving, threatening black wooden horse on the beach at a tarantella rhythm while in the sky a light bird goes...
The music of the following track, "La strategia" (The strategy), was inspired by Belà Bartok's "Suite op. 14". It features more aggressive passages, some jazzy touches and a martial marching beat in the middle section. The picture describing this piece portrays a chessboard with a black bishop in the forefront that is observing the battlefield and planning a subterfuge to defeat his white enemies. Well, if you like an album such as "Il passo del soldato" by Nuova Era I'm sure you'll be delighted by this amazing piece.
"Il blue della notte" (The blue of the night) begins softly, with a delicate passage for piano and strings. The city is asleep and there' no one but the wind who is talking in the streets. Then the rhythm rises bringing a sense of impending tragedy. In the picture describing this piece you can see a black bishop in the dark leading his pawns toward the chessboard while the knight is in the rear.
"Il rosso della notte" (The red of the night) is divided into two parts. The first one begins in an aggressive way with dark chords and frenzied organ rides. The slaughter begins and the city is put to fire and sword while the dreams of the inhabitants turn into nightmares. The first part ends in a surreal dirge. In the second part the sound of a gong introduces a more relaxed passage with a mysterious flavour but then the rhythm rises again while the raging fire still paint the night in shades of purple and other deep colours.
The last track, "Un grande eroe" (A great hero), is a long, complex celebration of the victory. In the picture describing this piece you can see the black bishop observing from a shelf a heap of black and white pieces scattered on the ground. The war is over but home is still far and the music seems to suggest that the journey will be long and full of surprises.

Andrea Parentin

I've lost count of the amount of times I've mentioned lately `There's been so many amazing instrumental albums recently', and `There's been so many good Italian albums recently', but I like it even more when both of those things come together on a truly superb album such as `Ulisse: L'Alfiere Nero', the debut work by Progenesi! This is not a slavish recreation of typical 70's Italian grandiosity, rather a collection of six dynamic compositions that blends progressive rock, classical influences and jazz to very exciting results. The band mix the instrumental dexterity of DFA, the stomp of P.F.M, the searing violin of Quella Vechio Locanda and Arti e Mestieri, with the rollicking playfulness of Fruupp, Genesis, ELP, Camel and even Porcupine Tree. Despite the occasional darker flourishes, this is one of the most uplifting and positively charged albums I've heard in a while, yet it's never too sweet or schmaltzy. It's dynamic and action packed, yet rarely bombastic and bloated. Prog fans are in for a real treat with this one.
Giulio Stromendo's keyboards literally hum with warmth, plied over so much of the album. His Moog has that classic whirring vintage prog sound, his piano glistens with jazzy lightness, and his sparse contributions of Mellotron are used in just the right moments. Omar Ceriotti's drumming is varied, punchy and changes direction frequently, Dario Giubileo bass is confident and fluid, and Patrik Matrone's reaffirming guitar playing is majestic and beautifully melodic. Eloisa Manera and Issei Watanabe on violin and cello provide an exquisite touch of drama and sophistication to the arrangements. You couldn't ask for a more talented bunch of musicians for bring the story of `Ullysses: The Black Bishop' to life, only through their instrumental skills with no vocals or narration to carry the story forward.
Opener `La Goia Della Pace' charges at the listener in the same peppy and bouncy way that the P.F.M track `E Festa' does, with swirling Moog and snappy drumming, it will have your foot tapping in no time! `La Strategia' will keep you guessing with it's numerous tempo changes, jazzy piano diversions and psychedelic keyboard explosions. There's a slightly foreboding sound to parts of it, very unpredictable and varied, with lots of manic and maddening twisting electric guitar runs. Giulio is all over `Il Blue della Notte' with a million ideas! Despite the downbeat cello introduction, he finds time for some Jordan Rudess-like synths, a very catchy strident and purposeful repeated keyboard melody, Mellotron washes, blaring Hammond and a wide range of different emotions and moods weaving through his various piano touches. I even detected just the slightest touches of the Ozric Tentacles and Dream Theater worked into this piece, even if just for a few seconds here and there. There's also heaps of gutsy electric guitar grunt from Patrick and lovely sadly romantic violin in the finale from Eloisa too.
Eliosa also tears through the main violin theme of the aggressive `Il Rosso della Notte pt.1', searing playing that cuts through intimidating church organ, manic gothic piano and unhinged drumming for an unpredictable and dramatic atmosphere as good as Banco from all those classic 70's Italian releases. Lovely murmuring bass playing, short bluesy stabs of electric guitar and maddening loopy synths top it off nicely, as well as the cold ambient outro that brings an unsettling chill to the air. `Pt.2' continues with a sad and weeping violin melody, that quickly turns reflective and uplifting as it's soon joined by a triumphant synth solo and punchy drumming. Although very uptempo in the middle with some highly energetic and joyous electric guitar soloing and driving bass running amok, the glum opening is reprised in the finale to wrap this two part epic in a thoughtful and moving manner.
To bring things back around full circle, the band return to an extended and improvised continuation of the galloping P.F.M-like melody of the opening piece, with added cheeky strolling bass, infectious keyboard overload, rumbling drum solo and stirring violin bringing a very grand and near- orchestral grandiosity to wrap the album on.
Make sure to add `Ulisse: L'Alfiere Nero' to your `Must Buy' list straight away. Many of my fellow team members on the RPI team were instantly blown away by the quality of this work, and it's one of my personal favourite albums this year so far. I play it over and over and still keep discovering new exciting moments on it, in addition to constantly being thrilled by the terrific playing and dazzling diversity. Along with recent vocal-free albums by Carpe Nota, Il Giardino Onirico and PTF, instrumental progressive rock simply doesn't come any better than this, and I hope we get a follow up album in the future.
I'm giving it four stars, but I really think I may come back soon and bump it up to the full glorious five!

Michael H.

Progenesi was a labour of love, as I had to listen to it many times, including the 'car torture test' before the qualities of this all-instrumental affair came to the forefront. The reason is that upon initial audition the record comes across as being a bit of a show-off technical skills extravaganza, something I personally do not always cherish. This anathema stems from having a lifelong odd appreciation for ELP, in that they (especially Emerson and Palmer) like to over-prove their talent with regular chopzilla.
Progenesi is perhaps closest in style to legendary fellow Italians D.F.A (whose splendid career ended with the untimely death of their keyboardist in a 2011 car accident ), a lofty compliment to say the very least. This talented Milan quartet plays hard and fast, as per the opening blitzkrieg that gives keyboardist Giulio Stromendo the platform to lather up the proceedings with a brittle display of slithering Hammond organ regalia, slammed with suave synthesizer shavings. The track is humorously entitled 'La Goia della Pace' and also provides guitarist Patrik Matrone to shine in a style that is part ELP and part Booker T and the MGs. The sweet mid-section introduces delectable piano rippling in alliance with some pastoral strings before rejoining the RPI autostrada. Both bassist Dario Guibileo and drummer Omar Ceriotti keep a tight rein on the rather blistering material.
Case in point, the vigorous rhythmic explosions that kick off 'La Strategia', a colossal track that takes you by the throat and does not let go, where the seamless infusion of jazzroom piano noodlings, pulsating to a bopping bass combine with some serious soloing by Stromendo and Matrone. This is stormy, bold, vivacious, petulant and frightening progressive rock.
But where this debut really starts pushing one's buttons, is on the tremendous classically- injected 'Il Blue della Notte' where the mood just erupts in a shivering 11 minute cocktail of resonating material, cello and violin on one hand and buzzing interplay that reminds me of Triumvirat's finest moments, particularly how Stromendo masters layers of organ, piano and synth. Insinuating that Giulio is anywhere near J'rgen Fritz's talent is quite a stretch but this man really slays the ivories! The underlying theme is heavy and saturated with booming riffs, until the arrangement evolves into a brief electronic mood (Like APP's 'I Robot') that then segues into an organ, bass and drum onslaught that will knock your dentures out! Furious, carnal and sizzling is the subsequent guitar solo before that intoxicating theme returns a final time, these are absolutely highlight reel moments! The mood swings are smooth and creative, keeping the listener on constant edge. The extended violin fade out is simply heart stopping.
'Il Rosso della Notte' resumes the torrid pace, like some heavyweight pugilist unafraid to pound out more rounds, Matrone's fretboard now taking over the raging dialog with piano/organ. This is thumping stuff, as the extended organ flurry combines with some pipe organ interjection, giving the piece a very strong Trace/Ekseption feel. When the hard rock guitar slides in, with its Robin Trower-ish bluesy screech, the whole thing just burns brightly. Nothing here is soft and gentle, or even sentimental. Quite to the contrary, the pulse is ecstatic, frenzied, manic and delirious. This is why the initial impression was so 'technical' as the band prefers the 'assault and battery' approach to the 'Lets mix it up with contrasts' method. Now, that does not prevent them from very occasionally diving into more spectral moments, as the final minute here is full of doomed sonic gloom. Wow!
As if that was not enough to convince, 'Il Rosso della Notte 2' suggest a slightly more symphonic translation of the same melodies, boldly pursued by a strong bass anchor. The upward spiraling orchestral introduction just lays down the foundation for Matrone to unleash a gritty solo, followed by some tauter group interplay that serves to continually edify the arrangement. They finally pause for a few minutes, luxuriating in a neo-classical, violin- led pool of orchestral sound that gives their raunchy music even more credibility. The sonics suddenly evolve into an effects-laden fade away that is unexpected yet brilliant.
The pungent finale 'Un Grande Eroe' is a reprise of the opening rambler, just like the bookends of a mythological book of intrepid travels (Ulysses- The Black Bishop) and this is where the clincher ultimately occurs. The band sets down a captivating and mellifluous groove and the inspired players just weave musical magic of the very highest order. Stromondo's piano work is again to be commended, the man is surely among the new breed of RPI keyboard maestros (together with Scherani, Macor, Liberati, Tarasconi and company). Fantastic pace, tremendous talents and incredible delivery.
As per their website description 'There is the experience of the classic 70s prog-rock (ELP, Genesis, Le Orme, PFM), the research in the psychedelic path of Pink Floyd and Porcupine Tree's contemporary style, a passion for symphonic music by Beethowen, the romantic lyricism of Chopin, the compositional ideas of the first '900 (Bartok in particular) up to the sounds of jazz (specifically Coltrane, Brubeck and Russell). Thus the music of this album has a strong descriptive and narrative character, which is combined with a set of photographic pictures, both functional to the portrait of Ulysses in the famous episode of the Trojan horse.'
5/5 Trojan horses

Thomas Szirmay

"Homer's words have granted eternity to Ulysses and his story: is it possible to tell it with images and sounds...?" "Ulisse l'Alfiere Nero", the debut concept-album of Italian band Progenesi, was born with this clear ambition. The group includes members with very different backgrounds, from the reality of the Verdi Conservatory of Milan and the ferment of the local music scene: this mixture leads to a highly original blend of musical flavors. There is the experience of the classic 70s prog-rock (ELP, Genesis, Le Orme, PFM), the research in the psychedelic path of Pink Floyd and Porcupine Tree's contemporary style, a passion for symphonic music by Beethowen, the romantic lyricism of Chopin, the compositional ideas of the first '900 (Bartok in particular) up to the sounds of jazz (specifically Coltrane, Brubeck and Russell). Thus the music of this album has a strong descriptive and narrative character, which is combined with a set of photographic pictures, both functional to the portrait of Ulysses in the famous episode of the Trojan horse.
In this Website You can find informations about Progenesi and musicians.
Stay Tuned!!
Some of my friends (all "prog maniacs") said to me "I think that I've already heard something like this before " and I answer "... me too ... but I liked so much !!!" In fact soon in the track 1 "La Gioia della Pace" the PREMIATA FORNERIA MARCONI's influence appears in a incontestable way; the mix from Progressive and the traditional Italian tarantella... but this opening track sounds very strong !!! The track 2 "La Strategia" is a meeting from styles - crossover/symphonic/jazz prog and reminds bands as for instance RETURN TO FOREVER, KANSAS,KING CRIMSOM, with ( both very well linking) different passages. The track 3 "Il Blue della Notte" shows the almost the same profile, the main contrast in relation to previous track is a less jazzy presence and a certain ( as said in the title) bluesy "touch" ! The track 4 "Il Rosso della Notte pt. 1" possesses a powerful riff as a main theme , which approximates the band to more heavy prog ! The track 5 "Il Rosso della Notte pt. 2" due some moments guided by the special guest Eloisa Manera's Violin interpolate more "soft" passages with a natural sequence of heavy prog present in pt 1! The track 6 "Un grande Eroe" seems like a recall from all musical "nuances" from whole album, starting by the main theme from the first track ! In spite of my first considerations from the strong and so evident influences from the monsters of prog... even so my rate is 5 stars !!!

Maryes

Born from the chambers of the music conservatory in Milan, Progenesi comprised of keyboardist/pianist Giulio Stromendo, bassist Dario Giubileo, guitarist Patrik Matrone and drummer Omar Ceriotti with the first becoming the main composer of the band.With E.L.P., Genesis and Italian Prog legends as their basic influences and having a background in Classical, Jazz and Modern Music, they decided to dedicate an album to the adventures of hero of the Greek mythology Ulysses.They visited the Lacchiarella comune, where the Raffinerie Musicali were based and with the help of Eloisa Manera on violin and Issei Watanabe on cello they recorded their debut ''Ulisse l'alfiere Nero'' for the studio's label, released in 2012.
To present a story with an all instrumental sound is quite an achievement and Progenesi revisit the story of Ulysses with various moods, instrumental density and shifting tempos in an album, characterized by its evident vintage influences and the instrumental and stylistical diversity.The young group plays music with flexible inspirations.Strong Classical nuances, Jazz Fusion techniques and Heavy Prog pounds are all present here, which is both a good and a bad thing.Good, because the album is never boring, contains some excellent stylistical switches and becomes a seminar of varied instrumental Prog Rock.Bad, because it's not overly cohesive plus I have the feeling that some vocal parts could have exploded its value.Even so the combination of analog keyboards and piano with the flaming electric guitars and the modern sound of synthesizers is pretty charming and convincing with lots of impressive rhythmic parts, symphonic overtones and jazzy interludes in the process.Stromendo appears to be a lover of the Hammond organ, as this one dominates the whole album in a very 70's style.Complicated time signatures, technical efficiency and a raw power are all over the place next to some lovely piano arrangements and themes, on the other hand the melodies are rather absent, I think they would definitely add some cathartic lines if displayed.
Not quite there with the most excellent efforts of the modern Italian Prog scene, but the instrumental and composing talent of the band are things we should not deny.Plus there is some huge background for a potential masterpiece in the future, if there is any, as the updates of the band have slowed down. Recommended.

apps79

Progenesi are a young prog band hailing from Milan and formed by four musicians coming from different musical backgrounds. In 2012 they released an interesting debut album titled "Ulisse L'Alfiere Nero". Their aim was to blend progressive rock, jazz and classical music and among the influences they boast you can find Premiata Forneria Marconi, Le Orme, Emerson Lake & Palmer, Genesis, Pink Floyd and Porcupine Tree along with jazzists as John Coltrane and Dave Brubeck or classical composers as Bela Bartok and Chopin. According to the band, "Ulisse L'Alfiere Nero" is a concept album freely based on Homer's epic verses about the fall of Troy in the Iliad. The album is completely instrumental and the story is told just through the music and the nice pictures that you can find in the booklet.
What a wonderful record! The Italian group "Progenesi" has released their debut record this year and "Ulisse: L'Alfiere Nero" maked me shiver through the whole listening. There is something out standing in this subgenre. I think it's the thought of the 70s which is still in them and who wouldn't listen then. There is still not a form of retro rock, for me it sounds modern. Actually this is more heavy than a lot of the prog from the earlier times. I would say this record expresses that a four man band can do big, surrounding music. In many bands I think it's an additional instrument that makes the wonder but here prove a rock band what it can. Guilio Stromendo's piano, hammond and keyboards, Dario Giubileo's bass, Patrik Matrone's gutar and Omar Ceriotti's drums do the work in this record with a tame cover.
You won't hear vocals on this record and I think that is good. I have heard so many bad vocalists on prog records so I'm afraid it's dangerous to sing. This music speaks to us without words; the words are laid within the notes. On these fourty eight minutes(which is enough for a record) we travell through a beautiful world. The clavier man does a great job and all the others too. Every track is worth listening but my favourites are "Il rosso della notte pt.1" and "Il rosso della Notte pt. 2", parts of a wonderful suite. Progenesi is most symphonic but it also has jazz influences.
This is a complete prog album, a perfect album to pick and show infidels when they confused ask: what is prog?, and as this complete album of course it's easy to hear their forefathers. It happens things all the time so you won't be disappointed. It feels like the only modern prog I really can love is Italian, it may be so too. A modern masterpiece!

Adrian Drömmaren

Thanks for setting up the thread, Todd! ★An unbelievably flawless album, considering the production age★ At first listening, one would inevitably think of ELP, obviously from their keyboards. But if you listen to this album more than three times, you would come to discover the diverse musicial elements and the depth of this concept album. (ELP didn't use the guitar and strings as effective than these guys...) The arrangement is excellent for a new emerging band. Yes, they adopt much from Baltok, but don't forget this is an Italian band! The joyous opening number 'La gioa della pace' clearly demonstrates the uplifting spirit of the band. (This number has been my recent music in the morning. Makes me so happy on my way to work!) The 'Notte' series could be called a suite in a way. Elegantly flows, but occasionally spiced with modernism. Virtually, it is difficult to find any major flaw in this album...just perfect!!! Maybe some additional explanation is needed for those without the knowledge of Ulysses. Still, I would prefer they continue this instrumental way, with no vocals. One of the rare uplifting album this year!

YoshiPK

Progenesi are a traditional guitar, keyboards (analog of course), bass, and drums quartet with guests on violin and cello. Progenesi took the unusual step, for an Italian band that is, to go without vocals. There are 6 tracks in all, averaging about 8 minutes each. Perhaps the most surprising aspect of this is that the band doesn't rely on loose jams or heavy repetition in order to achieve the extended length. Nor is it "overly composed" such as the Avant Prog bands would have it. And there's not even a hint that this is jazz rock fusion. No, this is just good old fashioned mid 1970s instrumental symphonic rock - and not something you hear much these days. Or in those days to be honest. Progenesi seem to have done a good job of absorbing the influences as the 1970s bands did, rather than being influenced by the 70s end product. One aspect of Progenesi that I really appreciate is their willingness to break into a good old fashioned blues rock jam, with impassioned leads and chunky organ (but never overstaying their welcome). Very few bands do that now, and usually they come from the stoner metal crowd, which has a different musical purpose. So now I have to come up with a comparison don't I? (Thinking, thinking). OK, here goes: Some Clearlight Symphony, classic ELP, a dash of Finch, King Crimson, Cherry Five (minus the vocals of course), PFM, Crucis, and SFF/Spektakel. How's that - did that help? Yea, probably not. For a modern comparison, I think SoulenginE is operating in similar territory, though they are much more geared towards Genesis than Progenesi (ironic given the name isn't it?).
This album comes highly recommend. I hope we hear more from them soon!

ashratom

Progenesi is another new Italian band that has released an incredible progressive rock album in 2013. Yawn. It’s not like Italian artists haven’t already peppered us with almost a dozen albums this year ranging from “Very Good” to “Potentially All-Time Great”; the purists might not want to admit it, but this year might be directly comparable to 1974 in terms of quality Italian releases, and just a step down from the hallowed releases of 1973. So yes, Italy is playing for their place in history this year, which also means that they’re working over the other countries like a speed bag. Step up your game, nations of the world!
Back to Progenesi. It’s a new group, as “Ulisse L’Alfiere Nero” is their debut album. It’s a quartet of drums, bass, guitar and keyboards, with lots of piano, organ and lead synth coming from the ebony and ivory department. It also has guest musicians playing violin and cello, which I will always support with the enthusiasm of a teenaged boy at a wet t-shirt contest. What it ALSO has is a cover featuring a chess piece, the Bishop to be specific. As well as a title that translates to “Ulysses, the Black Bishop”. As well as a booklet of pictures of chess pieces.
And yet... the album is based on the fall of Troy, as told in Homer’s Iliad. Also, the story is told only through the music (as there are no vocals) and those chess piece pictures. Which means we have a meeting of great Italian instrumental prog and allegory. My deliciously pretentious radar is starting to buzz!
So in the spirit of allegory, I’m going to use quotes from shamed former Italian Prime Minister Silvio Berlusconi to help me tell the story of my review of Progenesi’s debut.
I’m a man of honour, a truthful person, a gentleman of absolute morality.
Remember that this quote came from a dude who paid a minor for sex. Just let that sink in for a little while. But you know what’s really honorable? A great first track on an album. “La Gioia della Pace” is a fantastic, in-your-face introductory track featuring a trifecta of excellent organ, synth and guitar work. You’ll hear motifs presented here a little later in the album, which is exactly what any good intro track should do in a concept album. Pretty little section at around the 3:00 mark, with piano and cello interplay.
Only Napoleon did more than I have done. But I am definitely taller.
At least Napoleon managed to win a few battles. The battlefield genius was also undoubtedly a master of strategy—and I’m sure Progenesi were trying to emulate that line of thinking in “La Strategia.” A very rhythmically interesting track from the outset, I especially appreciated the drum work in this RIO/Symphonic/Jazz fusion piece. The piano solo around 2:00 is very tasty, and for some reason I totally got into the string section at the end, the one with the seemingly drug-induced arpeggiator.
An Aids patient asks his doctor whether the sand treatment prescribed him will do any good. ‘No’, the doctor replies, ‘but you will get accustomed to living under the earth’.
They have lost their minds; they really have come to the end of the line, indeed they have gone beyond it. I would advise them, too, to undergo sand treatment...
A tasteless Berlusconi joke followed by his response to the public response to said joke. What does it say about me that I had a good hearty laugh when I read that? The former Prime Minister was obviously feeling particularly brash those days, maybe even as brash as “Il Blue della Notte.” The longest song on the album, it doesn’t suffer from the compartmentalized feeling of some lengthy tracks, and manages to retain a cohesive sound throughout. What the track lacks in exceptional, unique sections it makes up for in being a damn well written and complete composition. Wait, it still has exceptional and unique sections? The little section after the first set of solos (at 6:38) was really, really fun to listen. Those little organ parts gave me the chills.
I am the Jesus Christ of politics. I am a patient victim, I sacrifice myself for everyone.
This insane quote reminds me of “Il Rosso della Notte, Part I,” in that it probably elicited from Christians the same reaction that this fourth track elicited from prog fans. Brutal. Passionate. Heavy. These are the words that best describe this intense and frantic piece. Those violin runs at the beginning are simply incredible. I love the time changes, I love the general mood, and I really can’t get enough of the Hammond throughout this album. They keep it interesting throughout without losing any momentum.
In absolute terms, I am the most legally persecuted man of all times, in the whole history of mankind, worldwide.
The most absurd quote, easily. Let’s pair it with “Il Rosso della Notte, Part II,” a sad and beautiful track with (at least right now) my favorite chord progression on the album and more great string work. It’s like they’re playing the saddest song on the world’s smallest violin for anyone who feels like “the most legally persecuted man of all times.” Don’t worry, things pick up before the 3:00 mark with some rockin’ solo sections. Progenesi has managed to successfully fuse their jazz and classical influences with good ‘ole 70’s rock, and the sound definitely works.
I’m getting out to mind my own fucking business, from somewhere else, and so I’m leaving this shitty country, of which I’m sickened.
“Un Grande Eroe,” the grand hero. But let’s quickly take a look at the other side. Somebody had to lose the war (sorry, Troy), so let’s allow Berlusconi to represent the side of the defeated. This final track begins with a grand entry of earlier motifs and builds up into more fabulous solo sections, including some great Hammond work. At around 3:30, you’re treated to maybe my favorite jazz/rock fusion section; I won’t spoil it, but suffice it to say that strings and pads have seldom been combined in such a marvelous texture. One big surprise from the track was how they chose to end it (in true 70’s rock fashion) with an extended drum solo. It brought memories of the first time I heard Bonham’s solo on Led Zeppelin’s “Rock n’ Roll.” You just don’t hear this stuff anymore, and the throwback was appreciated over here. Then, just as it ends… you get the big finish. And they end it with a Major/Minor 7th chord! A perfect ending to a perfect album.
All kidding and former Prime Ministers of Italy aside, this album blew my socks off. There are no weak moments, the musicianship is exceptional, the composition is elite, and the overall sound and execution leaves this as one of the best albums I’ve heard in a long time. Progenesi deserve this five-star rating, and I encourage everyone to check out this progressive gem.

Markus Cueva


Otro imperdible, no lo dejen pasar, son esas cosas geniales que aparecen en el blog cabezón y si están atentos se lo llevan y lo disfrutan como corresponde. Recuerden que el link está en la base de datos de la lista de correo.