- IO pages 03/06/15 by Paul Rijkens
- artistsandbands 10/05/15 by Valentino Butti
- DRPR 05/07/15 by Thomas Otten
- shelidon 17/05/15
- Profil La Radio Progressive a Quebec 29/04/15 by Richard Hawey
- Progstreaming 01/04/15 by Raffaella Berry
- Kareco 27/03/15
- Autopoietica 23/03/15
- GARDEN SHED (Digital Review)
- Btf (Home of the Italian Progressive Rock)
Incanti bio meccanici is het derde album van ubi Maior, de Italiaanse band die onvervalste "rock progressivo itaiano" (RPI) maakt.
De eerste twee albums nostos en Senza Tempo werden terecht goed otvangen. Deze retroproggers hebben namelijk een geluid dat zich kan meten met de beste groepen uit het genre.
Daarbij valt mij vooral het klassieke toetsengeluid van Gabriele Dario Manzini(ex-the watch) op.
Het samenspel met de gitaren van Marcella Arganese en vooral de viool van zanger mario moi, levert een bijzonder klankpatroon op. Persoonlijk vind ik het geluid van de (elektrische) viool erg goed passen bij progrock.
Moi heeft tevens een vrij gedistingeerde, beetje schelle stem die je moet liggen, maar ik vind dat die stem wel goed bij de muziek past. incanti bio meccanici bevat pure retro van hoog niveau, die men etaleert in vier lange nummers, varierend tussen de negen en 21 minuten.
De muziek can Ubi Maior is behoorlijk episch. Neem het openings nummer Teodora, waarop de tempo-en sfeerwisselingen je om de oren vliegen.
De band heeft dan ook de capaciteit om te schakelen tussen stevig, licht jazzy en ingetogen. Tijdens de ingetogen stukken klinkt de band soms bijna als het vroege Genesis. manzini zet daarbij een behoorlijk arsenaal aanantieke toetsengeluiden in.
I Cancelli del Tempo begint bijvoorbeeld met een heerlijke MiniMoog-solo. Het gitaargeluid van Arganese houdt het midden tussen Steve Hackettachtige neoprog en David Gilmour, zoals in Alchemico fiammingo te horem is. Oosterse invloeden kruipen in de muziek in de opening van Lo Specchio di Mogano waarin Arganese sitar speelt, ondersteund door mellotron-koren. ubi Maior behoort naar mijn mening tot de top van de italiaanse prog. Ik zou de band graag eens live aan het werk willen zien.
http://www.artistsandbands.org
Il progressive italiano si dimostra in ottima salute anche nel 2015 ed il terzo lavoro degli Ubi Maior, “Incanti bio meccanici” è qui a dimostrarlo. I precedenti, “Nostos” del 2004 e “Senza tempo” datato, invece, 2009, erano caratterizzati da un ottimo hard-prog sinfonico che riprendeva con buona personalità ed altrettanto gusto, le sonorità anni '70 rivestendole di un piacevole “abito” moderno con testi rigorosamente in italiano.
La stabilità della line-up ( quattro componenti su cinque presenti sin dall'esordio ci sono anche nel nuovo album, con la sola eccezione del chitarrista Stefano Mancarella sostituito da Marcella Arganese) ha inoltre un peso fondamentale, dando continuità al progetto e definendone l'ormai riconoscibile sound. Con il nuovo full length , inoltre, sembra che la band abbia deciso di “saltare il fosso” ed abbracciare più compiutamente la componente sinfonica senza dimenticare o, peggio, rinnegare le dinamiche “hard” degli esordi. “Incanti bio meccanici” è composto da solo 4 brani, legati dal sottile fil-rouge dato dal rapporto tra uomo e città (immaginarie) e prende liberamente spunto da opere di Calvino, Brecht e Weill, ringraziati per l'ispirazione nelle brevi note del booklet.
A “Teodora”, la prima di due lunghe suite, l'onore di introdurci nel mondo Ubi Maior. Il violino di Mario Moi stempera gli interventi decisi e graffianti della nuova arrivata Marcella Arganese che squarcia, sovente, il tessuto creato dal duo Gorreri (basso) e Di Caprio (batteria). Notevoli e velocissimi i “solos” di Manzini con il suo importante set di tastiere. Ben gestiti i momenti più tranquilli, dettati da piano ed ancora violino. Da segnalare, con piacere, le doti canore di Moi che conferma che anche il prog italiano si sta dotando di ottimi vocalist ( pensiamo agli “storici” Corvaglia o Baldini Tosi o ad i “nuovi” Pancaldi, Calandriello, Leone solo a titolo di esempio).
La suite continua tra pieni e vuoti ed i 20 minuti scorrono via con piacere estremo ed in modo molto variegato con intrecci strumentali raffinati e una voce davvero notevole.
“Lo specchio di mogano”, l'altra pièce de resistance, è situata invece a fine lavoro.
L'inizio soffuso e d'atmosfera è tanto breve quanto emozionante con violino e sitar a ricamare dolci note.
Il ritmo si fa incalzante per qualche attimo, poi ancora pause guidate dal violino, dal piano e dalla voce di Moi. Ottimamente calibrati gli interventi solistici della Arganese, talvolta “gilmouriana”, in altre occasioni più dura e spigolosa.
Importante l'apporto di Manzini all'organo ed in genere con sonorità un poco vintage. Un breve intervento della tromba (ancora Moi) “colora” di ulteriori sfumature il pezzo.
Finale tutto della sei corde di Marcella che ci regala un altro saggio delle sue notevoli doti. E nel mezzo? Nel mezzo la band mette due brani più brevi ( 13 e 9 minuti....) altrettanto validi.
“Alchemico fiammingo” dall'inizio languido per poi fluire in un crescere di intensità.
Ancora la nuova chitarrista alle prese con un bel “solo” e l'ugola di Moi a raggiungere vette importanti. Un intermezzo acustico, scandito da chitarra e violino, poi l'umore cambia ed il fare diviene più aggressivo. La presenza di Manzini è qui più consistente e l'apporto della sezione ritmica degna di nota.
L'alternarsi di elettrico ed acustico segna poi la composizione ,ora più sinfonica che mai con grande dispiegamento di synth.
“ I cancelli del tempo”, ultimo brano in programma, si apre al new prog con svariate digressioni tastieristiche che dominano la prima parte, mentre l'elettrica della Arganese si affaccia nella seconda. Un brano riuscito pure questo.
Abbiamo, per concludere, un'ora circa di validissimo progressive e la consapevolezza di avere riscoperto l'ennesimo bel progetto “made in Italy” che, colpevolmente, avevamo un poco dimenticato (non agevolati peraltro dalla poca “prolificità” musicale della band...). Speriamo che noi, come loro, si possa recuperare il tempo perduto augurandoci al più presto un seguito degno di “Incanti bio meccanici” che per ora ci godiamo appieno. E non è poco.
Ubi Maior hail from Milan. I can only speculate where the band's name comes from. Possibly, it is the first half of the Latin proverb Ubi maior minor cessat (Where there is the major, the minor is neglected). According to the band's website (which is quite informative), Ubi Maior were formed in 1999. Incanti Bio Meccanici is their third release (the first to be reviewed by DPRP) and follows Senza Tempo (2009) and Nostos (2005). Thus, the band apparently takes some time releasing an album, something which has definitely been to the benefit of quality.
The current line-up consists of Gabriele Manzini (keyboards – mainly vintage-sounding ones such as Hammond, Mellotron, grand piano and mini Moog), Mario Moi (lead vocals, violin and trumpet), Marcella Arganese (electric and acoustic guitars and sitar), Walter Gualtiero Gorreri (bass and backing vocals) and Alessandro Di Caprio (drums). This line-up seems to have been quite stable over the past decade, with three of the founding members still being there (former guitarist Stefano Mancarella left the band in 2011 and was replaced by female guitarist Marcella Arganese.
All of the band members have a long-lasting experience in the Italian progressive rock scene, having worked with other Italian bands and musicians or in solo projects. Gabriele Manzini, whose keyboards clearly influence Ubi Maior's music and whose ideas three of the four songs on this album are based upon, has worked with Italian progsters The Watch for a number of years.
Can you expect another Genesis-clone, therefore? Clearly not! Is this symphonic rock inspired by the Italian masters of the 70s and along the lines of Rock progressivo italiano (RPI)? It surely is, though with its own distinctive features.
The album consists of only four tracks and clocks in at over an hour. All the songs take the form of suites, but only by following the lyrics in the booklet does one realise which part of each song one is actually listening to. It starts with the epic Teodora. I believe it is ambitious to open an album with a long track, because there is no possibility for the listener to cautiously approach the band's music. One is encouraged to get into it, right from the beginning. In the case of Teodora, this works!
Teodora is one of the hidden cities described in Italo Calvino's novel Le Città Invisibli. Right after opening with a few guitar arpeggios, a distinctive feature of Ubi Maior's sound becomes apparent: the use of Mario Moi's violin as the lead instrument, playing a beautiful melodic theme that is repeated later during the song.
Mario Moi's voice varies from theatrical to gentle, depending on the atmosphere the song displays. Lush keyboards (Mellotron, piano, Hammond, mini Moog) dominate the music, but they alternate nicely with the guitar and violin. The song reminds me a bit of what CAP has done in Il Bianco Regno di Dooah.
Alchemico flammingo gets its literary inspiration from Marguerite Yourcenar's L'Oeuvre au Noir. The song is a bit less complex than the previous one and puts the violin in the foreground, especially in the first half. Starting as a gentle interplay with the acoustic guitar, the violin playing and the accompanying strings get more and more intense, developing into something hymn-like. The second half of the song has slight jazz rock influences, with fluid bass lines, lively rhythms played by the Hammond and a nice Moog solo towards the end. Mario Moi's voice comes across clear and warm. References that come to my mind are PFM, CAP (again) and Il Castello di Atlante.
I cancelli del tempo is probably the most symphonic song of the album. It opens (and ends) with a melodic theme played on the mini Moog, and has a somewhat spacey middle section, comprised of a Pink Floyd-like guitar solo. It is the song where reminiscences to La Maschera di Cera and Mangala Vallis are the most obvious of the entire album. Strong melodies, Hammond and Mellotron dominate this song.
Lo specchio di mogano is the other epic of this album. The song is based on Bertold Brecht's Rise and Fall of the City of Mahagonny, which also served as a libretto for Kurt Weil's opera. It is a strong closing song. The opening consists of new age choir-like Mellotron and violin, before the Hammond heavily kicks in, accompanying Mario Moi, who is singing rather dramatically, a bit comparable to Calliope. The roaring Hammond sound is present on various occasions during the song. The last third is more quiet and mellow, with a short trumpet theme played by Mario Moi and dreamy piano lines. The song fades out with a Moog and a guitar solo.
In producing this review, I have listened to this album more often frequently, over a relatively short period of time, than I do with most of my other CDs. It was a very enjoyable exercise. Ubi Maior's music is accessible, but not too polished so that one quickly gets bored with it.
It is symphonic and melodic, but with a couple of rough edges here and there. It is varied, but not unduly complex, and a blend of various styles – rock, jazz, folk - but still quite cohesive. It is keyboard-oriented, but with enough space for the other instruments, especially the violin. The production is flawless.
It is amazing what has come out from Italy in terms of prog over the past years. RPI is strong and lives on! This one will appeal to the fans of PFM, CAP, Il Castello di Atlante, La Coscienza di Zeno, La Maschera di Cera and Calliope. But also listeners just wishing to test the waters concerning RPI, should definitely give this album a try.
Well, I’m no Progmistress and that’s a fact. I understand very little about music and therefore I’ll be breaking one of Nanni Moretti’s golden rules by talking about Greek Epigraphy (i.e. things I don’t understand).
But Heaven knows I’ve been waiting for this and when it finally got here… well, I was just too damn busy with not being unemployed and everything, and I missed it.
That should teach me not to be too busy with things, and that’s one thing I will never learn. Anyway, since it seems we have half a day on our hands, let’s just take a deep breath and take our time to review a long awaited album:
Ubi Maior‘s third endeavour, Incanti bio meccanici.
Now, everyone knows a friend is still a friend, even if we haven’t been in touch for years, so I might be partial to this. But still, I haven’t been partial in admitting that I didn’t like Senza Tempo so much.
Then again, I understand nothing at all about music and I’m strictly expressing my personal taste when I say that Incanti bio meccanici is a delightful album. And let me just be clear: I didn’t like Senza Tempo probably because it was too difficoult for my ear, but that doesn’t mean Incanti bio meccanici is simpler, or less ambituous.
Still, it speaks to certain cords of mine which are more sensible (or should I say less unsensitive) than others. First of all, Incanti has epic and literature and magic and playful word tricks just as much as Ubi Maior’s previous works, but in a way is more similar to that glorious unparallel ballad that was Nostos‘ title track. And yet it has been said to be less dark, more symphonic, less traditionally Italian prog.
Well, I don’t know about that, but still… Teodora, the first track, opens with soft, romantic and malinchonic sounds, in a straight connection with Nostos and speaks about Calvino’s Invisible City.
Teodora is one of the hidden cities of Chapter 9, along with Raissa, Marozia, and Berenice. Teodora’s citizens have been at war for centuries and they have triumphed against every invasion: birds were extermined only to leave a prolipheration of snakes, and when snakes were killed the city was overflown by spiders and flies, and insects and thermites. And then there were mice, the most vicious of them all. And this song brings them to light with extraordinary passion around 7:40, probably my favourite passage of this extraordinary suite.
«Siamo i bastardi, siamo i reietti, siamo i colpevoli, i maledetti, bestie da marchio, catene, tortura ma non abbiamo paura di voi con le vostre divise stirate, occhi di plastica senza pietà adesso ascoltate: noi restiamo qua».
You’ll not be able to hurt us, they scream. And then the song comes around, reprises the themes of its second section. It’s no more time to hide in order to survive. Teodora’s citizens were victorious and the city stands tall, with only books to remember the extermined fauna. People are celebrating (15:30). It’s time to rebuild the city to reign and shine again. Or maybe not? Previous species were chased away in an ancient time and they are now awakening, stirring underground, ready to take over the city. «Occhi curiosi nel buio che guardano, occhi rabbiosi di cani che cercano me». They carry an antique name. They are sphynxes and dragons, chimeras and hydras, but Ubi Maior’s song twistes the meaning of the novel (or at least chooses one of many possible intetrpretations): are they invented, and will another enemy be enough to keep the city united?
Alchemico Fiammingo is significantly less lenghty, but nonetheless equally intense. Violin and guitar, equally scathing, prelude to an unexpected sound. Its literary inspiration is Marguerite Yourcenar‘s L’Œuvre au noir or, more specifically, another city: the city of Bruges, ravaged by religion, war and plagues, where the old Zeno sets his feet.
«Ha i capelli più bianchi, gli occhi più stanchi, nella sua mente ha un mondo intero, è uno strano straniero tra la sua gente».
In alchemical treatises, the formula L’Oeuvre au Noir, designates what is said to be the most difficult phase of the alchemist’s process, the separation and dissolution of substance. It is still not clear whether the term applied to daring experiments on matter itself, or whether it was understood to symbolize trials of the mind in discarding all forms of routine and prejudice. Doubtless it signified one or the other meaning alternately, or perhaps both at the same time. It’s the nigredo, death and decomposition from which alchemy believes to be able to create life. The city of Bruges in Yourcenar’s novel is this: death, stirring. The main character seeks to elevate himself in an alchemic process but ultimately fails, after studying too much, learning too much, and too much for nothing.
He is condemned, and Mario Moi takes the role of his accuser.
«Sotto terra, in mezzo agli angeli, o fra i diavoli, su nel cielo. Cos’è giusto e cos’è vero è difficile. Voi sapete che cosa dire, ve l’ho detto che cosa fare: condannare con un pollice è più semplice. Siete forti, siete tanti, siete tutti qui davanti. Decidere è un attimo, ormai».
Instrumentally extraordinary, with an unparallel violin. I cancelli del tempo talks about a hidden city, a magic parallel world where an immortal beloved awaits. «Se ho calcolato giusto, tra poco mi apparirà: una città intera, non sembra vera e invece guarda, eccola qua. Ieri non c’era. Domani non ci sarà». It’s probably the most depictive song of the whole album, with a fresh sound and Mario’s voice dancing a clear path above guitar, keyboard and drums. Day by day, the city is described as a place without time, where eternal guests are living in joyous stillness, and it is said to be a homage to the legendary Kitezh, a Russian legend probably more famous because of Pavel Ivanovich Melnikov‘s In the Forests and Rimsky-Korsakov’s opera. And if you haven’t heard it yet, I highly recommend you at least listen to the Battle of Kerzhenets.
Lo specchio di Mogano closes the disc and, being another 20 minutes suite like Teodora, gives symmetry to this musical journey. Another city awaits us: it’s Mahagonny of Bertold Brecht‘s Rise and Fall of the City of Mahagonny. and the musical opening is literally enchanting, probably the best minute of the whole album. Mahagonny is a city of gold, where there are no prisons and work is unnecessary: the singer puts on the hat of Jimmy Mahoney, lumberjack longing for this city of wonders.
«Venite tutti quanti. Venite tutti. Venite ad assaggiare donne e banchetti. È davvero la città dell’oro: cosa aspettate ancora? Cosa aspettate? È qui per voi».
But of course Mahagonny is a scam: it’s a city where love is for sale, just as liquors, and everything is legal as long as you pay. Even a hurricane can’t hurt her. Until the mahogany mask falls, the entrapped Jimmy Mahoney sings for the sun not to come up, ending his last night. The world is always beautiful, if seen through a wooden mirror, but it just cannot last. It was beautiful to pretend to sail on a pool table.
It was beautiful not to have money: just love, just true friends, just weed to smoke. But to be broke in Mahagonny is a crime, possibly the worts crime of all. Still, the song doesn’t tell us that and fades away, with jazz flavours that Kurt Weill would have appreciated. And so have I. note: the digital version of this album has no booklet and I couldn’t find official lyrics anywhere online, therefore I sincerely apologize for any misheard or misquoted lyrics. Still, nothing is more hilarious than a misheard lyric, so I’m hoping you’ll enjoy anyway. If you don’t know Ubi Maior, please take your time to sit back and listen. Nevermind the reading.
Incanti bio meccanici is their third album.
Their second work, Senza Tempo, was inspired by Neil Gaiman‘s Sandman. If your ears are unrefined and filled with travertine dust as much as mine, I recommend you at least listen to Desiderio (per cosa si uccide) and Distruzione (il mercenario). And then of course you should support them.
En 2008 le groupe est très occupé à composer et à réaliser le second album « Senza Tempo » qui parait en 2009. Juste après la sortie du second album, le guitariste Stefano MANCARELLA quitte le groupe et en 2011 Marcella ARGANESE est accueilli pour le remplacer. L’influence musicale du groupe vient surtout des formations phares du progressif italien comme PFM, BANCO, Il BALLETTO Di BRONZO et quelques autres mais aussi de quelques gros bonnets britanniques.
Six ans après la sortie de «Senza Tempo », ce quintette démontre à nouveau son amour pour le rétro-prog, et cette dernière sortie confirme les influences nommées plus tôt.
Publié en février 2015 par le label AMS Records, « Incanti Bio Meccanici » nous montre un répertoire ambitieux de quatre pistes dont la longueur mérite que l’on s’y attarde. Deux des quatre chansons jouent dans les vingt minutes tandis que les deux autres oscillent autour des dix minutes et plus.
L’ouverture se fait avec « Teodora » qui est le plus long morceau de l'album, un peu plus de vingt minutes. En introduction une séquence d'accords de guitare simple et douce suivi du violon poignant ouvre élégamment ce titre. Le chant de Mario MOI est expressif et dramatique, l’accompagnement musical est majestueux. La seconde partie me fait penser à MUSEO ROSENBACH, le chant, la mélodie, la présence du mellotron et le piano ajoute à cette section une fluidité appréciable. On assiste à une augmentation de l’intensité avec le travail du piano et du mellotron, suivi d’un court moment langoureux qui permet au groupe de revenir à la première partie.
Le second titre « Alchemico Fiammingo » commence par un bref prélude doux de guitare et violon avant que le groupe aborde la première partie de façon assez joyeuse. Le deuxième partie offre un beau paysage instrumental avec la présence du violon qui traverse cette section. Personnellement j’aime beaucoup cette pièce.
« Il Cancello del Tempo » est la chanson la plus courte de l'album qui nous révèle une spiritualité romantique : l’orchestration des claviers est fabuleuse et la finale est superbe et poignante.
« Lo Specchio Di Mogano » clôt l'album avec une autre exposition sonore ambitieuse, une sorte de synthèse des deux premières chansons savamment mélangée avec les airs modernes de la troisième.
Il est à noter le travail gigantesque de l’instrumentation avec en particulier sur ce titre, la trompette, le jeu bien équilibré de la guitare et bien sûr les claviers. Et une généreuse mention à Mario MOI pour son chant totalement magique.
UBI MAIOR relève avec brio le défi avec « Incanti Bio Meccanici », le groupe s’est imposé un haut degré de difficulté surtout en raison des vastes voyages musicaux qui composent l’album. Ce « Incanti Bio Meccanici » est le disque idéal pour tous les collectionneurs de rock progressif qui se sentent nostalgiques de cette époque magique.
Totalement recommandé ! Cote 4.5/5
Weekend 55: A Progstreaming Special with Taylor's Universe, Midnight Rain, Cailyn, Ubi Maior, Not A Good Sign & Krakow
The third album by Milan-based quintet UbiMaior is an ambitious, yet well-balanced slice of classic Italian prog with a modern attitude, that will delight the many aficionados of this sub-genre.
The four epic-length tracks featured on Incanti bio meccanici offer interesting arrangements, rich with lush keyboards and edgy guitar, enhanced by vocalist Mario Moi’s career-defining performance.
Incanti bio mecannici – U.B.I. Maior
The third album of UBI Maior, a relatively new Italian rock band who were influenced by P.F.M., B.M.S., Le Orme and Il Balletto di Bronzo. The second album was released six years ago.
Edgy heavy toned rhythm guitar and Moog that is reminiscent of Genesis created a heavy symphonic part at the core, topped by acoustic guitar and classical piano, harpsichord, with occasional touches of sunny fantastic parts.The characteristic dynamic ensemble is impressive.
The soft sounding violin is mellow even in the heavy rhythmic section.
The very typical Italian vocal with theatrical feature is worth mentioning. The Mellotron added some flair to the light and dark shadows in the ensemble.
The guitar following the melody is very good.
Overall, the fine contrast of ‘darkness’ and ‘brightness’, ‘stillness’ and ‘mobility’that are appearing one after another with overloaded musical elements very much sound like the 70s Italian rock.
Their love and respect to the 70s Italian rock is this attractive good album.
thanks very much to Yoshiko Kase for translating for us
El abundante encanto progresivo de UBI MAIOR
by César Inca Mendoza Loyola
UBI MAIOR vuelve a la carga y lo hace a lo grande, aportando un disco fascinatemente épico titulado “Incanti Bio Meccanici”. Seis años después de su disco anterior “Senza Tempo”, este quinteto da rienda suelta hasta niveles estratosféricos a su amor por la línea de trabajo retro-progresiva que le engarza con los paradigmas de ALPHATAURUS, BIGLIETTO PER L’INFERNO, MUSEO ROSENBACH y PREMIATA FORNERIA MARCONI, además de los obligatorios guiños a la faceta rimbombante del sinfonismo británico a lo EMERSON, LAKE & PALMER y YES. Publicado en febrero por el sello AMS Records, “Incanti Bio Meccanici” nos muestra un repertorio rutilantemente ambicioso que fue trabajado en varios momentos de los años 2013 y 2014, armándose así un tema que supera los 20 minutos de duración, uno que llega casi a los 10 y dos que los superan. La alineación que concibió y grabó este álbum está conformada por Mario Moi al canto, el violín y la trompeta, Walter Gualtiero Gorreri al bajo y los pedales bajos, Gabriele Dario Manzini a los teclados, Alessandro Di Caprio a la batería y la nueva integrante Marcella Arganese a las guitarras y el sitar: destacamos en esta última su manera de reciclar los paradigmas de STEVE HACKETT dentro de su propio estilo, logrando así que sus interacciones con los siempre ambiciosos arreglos de teclado de Manzini sean equilibrados y sugerentes, independientemente de cuán pomposas sean algunas de las atmósferas más llamativas del repertorio. De hecho, la talentosa Marcella entró a la banda poco después de la publicación del mencionad osegundo disco. Podemos adelantar que con “Incanti Bio Meccanici”, los UBI MAIOR han logrado afianzar su posicionamiento en lugar preferencial dentro de la inagotable avanzada retro-progresiva italiana. Pero vayamos ahora a los detalles del disco para aclarar nuestra opinión tan positiva sobre este disco, ¿vale?
‘Teodora’ es la pieza más larga del álbum, durando 20 ¾ minutos, y justamente es la que abre el disco. Una sencilla y suave secuencia de acordes de guitarra dan inicio al tema con un aura de sobria serenidad, la misma que al incorporarse los demás instrumentos se torna dueña de una elegancia pastoral conmovedora: ése es el poder evocativo que tiene el violín del frontman Moi. Una pena que este pasaje introductorio no dure más de 105 segundos, pero es que el primer pasaje cantado irrumpe con todo para explayarse en una expresividad dramática señorial. A través de una ilación elaborada con pulcra fluidez, la siguiente sección vira hacia una espiritualidad más ceremoniosa, logrando así concretar una vitalidad melódica tan propia de sus legendarios compatriotas de MUSEO ROSENBACH como de otros más jóvenes como SITHONIA y MALIBRAN. En algún momento alrededor del decimoprimer minuto, las vibraciones melódicas aumentan de intensidad y la actitud reflexiva se ahonda más: los arreglos sucesivos de piano y mellotrón sirven de base para que el grupo en bloque articule el desarrollo temático en curso dentro de pautas sinfónicas bien definidas. Acto seguido, una inesperada variante tiene lugar y empieza a imperar un recurso de psicodelia lánguida que posiblemente porte algunos aires de familia con el viejo legado de VAN DER GRAAF GENERATOR: se trata en realidad de un interludio antes de que el grupo recupere el espíritu de la primera sección cantada, y lo hace con una estrategia sigilosa, con un crescendo inicial basado en las cadencias tribales provistas por la dupla rítmica, y luego, creando un pasaje rotundo donde el ensamble da rienda suelta al típico boato sinfónico. Tras un hermoso diálogo desafiante entre la guitarra y el violín que constituye el núcleo del clímax grupal, la suite se cierra con un breve reprise de un motivo de voz y piano: ¡a lo grande!
Todo un viaje ha sido la primera pieza del álbum… pero recién estamos comenzando. ‘Alchemico Fiammingo’ es la siguiente canción, durando casi 13 minutos. Comienza con un suave preludio breve de guitarra y violín antes de que el ensamble íntegro aborde el primer cuerpo central con una aureola alegre y extrovertida, más bien de tendencia neo. El segundo cuerpo melódico es un hermoso paraje instrumental que transita por el área de la estilización bucólica de BANCO DEL MUTUO SOCCORSO, cimentando así el terreno para que una nueva sección cantada (mayormente en 5/4) se explaye en un nuevo ejercicio de colorida gracilidad. La parte final baja un poco los decibeles rítmicos para asumir una ceremoniosidad relativamente dramática. ‘Il Cancello Del Tempo’ es la pieza menos extensa del álbum, y tal vez, la que más revela una espiritualidad romántica: a veces nos recuerda a SITHONIA en lo relativo a las fabulosas orquestaciones de teclado, pero otras veces donde el grupo juega con sonoridades etéreas e intimistas, el ensamble se explaya ingeniosamente en su talento para elaborar ingeniosas sutilezas melódicas como ha venido haciendo en sus discos precedentes (especialmente el segundo “Senza Tempo”). La construcción del clímax conclusivo es simplemente perfecta. ‘Lo Specchio Di Mogano’ cierra el álbum con otro despliegue de grandes ambiciones sónicas, sintetizando la grandiosidad retro-progresiva de las dos primeras canciones y los aires modernos predominantes de la tercera. Algunas menciones especiales deben ir para el fantástico solo de trompeta que anticipa la sección final, así como para el electrizante solo de Moog que coloca la bandera en la culminación del ascenso a la cima del desarrollo temático: este tipo de resoluciones melódicas dignifica a lo grande los legados de PFM y BMS.
Una misión difícil se puso sobre sus hombros la gente de UBI MAIOR cuando gestó la ingeniería artística de “Incanti Bio Meccanici”, y gracias a las Musas, el grupo enfrentó exitosamente el desafío y salió airoso de cada uno de los extensos viajes musicales que conforman el álbum. Un disco ideal para todo coleccionista de rock progresivo que se siente perpetuamente nostálgico de los tiempos de la primera generación de rock sinfónico: ¡totalmente recomendado!
Muestra de “Incanti Bio Meccanici”.
The 2015 album of deep matured Italian heavy symphonic.
The singer has some 'wandering' atmosphere, and plays the violin.
The new guitar player who plays the double neck guitar is surrounded with the Hammond, Moog, piano and the Mellotron as if they are wandering the labyrinth. You hear the Italian mood of BMS being mixed with some Genesis and neo prog elements that make UBI Maior so unique with this essential album.
The introduction of the acoustic piano, 12-strings guitar, and nylon guitar enhance the lyricism. A new touch is added with the trombone in the last track.(translated by Yoshiko Progrena K)
A 5 anni di distanza gli Ubi Maior tornano con il loro terzo album "Incanti bio meccanici".
La nuova chitarrista Marcella Arganese ha spostato la dinamica della band da un hard prog a tinte scure verso un più canonico rock sinfonico di stampo italiano. Ma se già il precedente "Senza tempo" si evidenziava per la sua unicità di fondo, evitando i troppo facili paragoni con i giganti del passato che scaturivano dal buon esordio "Nostos", questo nuovo lavoro manifesta una chiara ricerca di originalità sia a livello tematico che musicale.
Le due suite "Teodora" e "Lo specchio di mogano" (più classica la prima, più sorprendente la seconda) che aprono e chiudono il disco se da un lato riprendono una forma consueta del rock progressivo dall'altro presentano una notevole carica melodica che rende l'ascolto piacevole e avvincente.
Il suono è più aperto rispetto al passato e il tastierista Gabriele Manzini (principale compositore della band) è riuscito a ottenere un ottimo bilanciamento di suoni utilizzando sonorità classiche che vanno dall'organo Hammond al minimoog passando dal pianoforte e dal mellotron.
Il cantante Mario Moi (impegnato anche al violino e alla tromba) interpreta perfettamente, con passione ed energia, i suoi testi ispirati a storie di città immaginarie trattate in letteratura. I due brani centrali "Alchemico fiammingo" e "I cancelli del tempo" rappresentano forse l'aspetto più sorprendente di questo grande album presentando un'alternanza onirica e suggestiva di cambi d'atmosfera, da delicate e soffuse riflessioni a potenti e magiche progressioni. Quattro brani per quattro storie affascinanti e musicalmente ambiziose.
Album imperdibile per gli appassionati di rock progressivo italiano.