Unlikely I can't insert this work in the section "Record News" as it's a Demo CD, and I would ask this question: why you wait a major label while the disc is ready since one year? Il manuale dei piccoli discorsi is a very professional album, it has got defined and incisive features. This band coming from Abruzzo, at their first experience, already shows to clearly posses a veteran-touch. The cover intoduce us to the Magritte's Surrealism. This work is partly inspired to it, and accompain us into a magic sound journey where memory of the seventies (PFM for example) touch us even with special experimentations. The CD is composed by 5 pieces, some in mother language, some other in English, that build a little masterpiece with mediterran sounds. Another "regressive disc"? Yes, if you want, even with violin keyboards, recorder and acoustic guitars. Not for nothing Franz Di Cioccio was personally interested in the group attemping to promote it. Then, usual things? Not at all. Sounds are very topical, the disc seems to be renewed, or at least it is recorded so well that it gives goose-flesh all over…if only the Premiata would play this way… Roberto Cangioli

Probably, this is the very first time for me to receive pure prog rock oriented promo cd from Italy. Stylistically, Distillerie di Malto remindes me a little bit of Banco Del Mutuo Soccorso, PFM, and ther italian acts mostly with some influences from symphonic British prog bands a la King Crimson, Camel, and Jethro Tull on the other hand. Distillerie di Malto basically offers nostalgic and melodic Italian prog rock sounds featuring driving rocking guitars and retro-keyboards with energetic rhythm sections. Fabrizio Pellicciaro's vocal style is quite smooth and giving warmness in the middium range. There are lots of interesting movements: faster tunes, slow and acoustic sections, many retrospective mellotron and analog lush synths/keyboards/organs intertwined with good amounts of flutes, and nice rock guitar tones. In recent years, we find many hot Italian prog rock acts. For example, DFA, Deus Ex Machina, and Finistre. Distillerie di Malto should be also included in the category under new movement of Italian modern-retro prog rock hopes. If you are fans of symphonic prog and Italian prog, then Distillerie di Malto should appeal your tastes. In the case of Italian acts, I usually gets familiar with Italian Prog Metal bands like Madsword, Evil Wings, Arkhe, and Scenario. However, the Italian acts, such as Distillerie di Malto and Deus Ex Machina make me to keep an eye on Italian prog rock oriented bands, because Italy has been known as the country gave a birth to great bands, e.g., Le Orme, Banco, PFM, New Trolls, Area, and such giants. Unfortunately, I have no idea about what they are singing about (since I have no knowledge about Italian language), but their music seems to have its own lyricism and fantasic atmospheres from their music. As far as I see the cover art of Il manuale dei piccoli discorsi, the theme and concept has been something related to "outside scenary" is extremely identical to the painting on the canvas...it is kind of no boundary between painted scenary and outside scenary which is also some kind of in the gallery. While listening to the music with gazing into the art of the jacket, Il manuale dei piccoli discorsi slowly draw the listeners to the imaginary and atmospheric scenes unfolded in their world. Instrumentally, they are quite solid. They know how to play complex and exciting pieces without showing too much redundant technical ensembles. It is quite effective and nostalgic overall sounds. At the same time, I enjoy their combination of thrilling instrumental approach with occasional odd-time signatures and melodic song oriented style in Italian. I wish I could read lyrics and understand Italian explanation liner notes. Really well-done prog rock album from Italy. Tetsu Hamanaka

To my knowledge Il manuale dei piccoli discorsi is the debut album of the italian Prog-Band Distillerie di Malto that play together since the eighties. This album is almost completly inspired by the seventies - accordingly you won't find much innovations on this CD. Nevertheless you find enough well played, emotional and "proggy" parts to satisfy every fan of Finisterre, Pink Floyd and other bands of this genre. For the most part this album is instrumental. The vocals are mostly fair to middling - but on Aria e vento Pellicciaro shows that he can sing very expressive and emotional. This song is also the highlight on Il manuale dei piccoli discorsi - relaxed guitars create a very comfy atmosphere, great harmonies comfort the listener's ears and even the "spacy" parts do not get on my nerves. Melodia di fine autumno is also classical Prog-Rock with psychedlic parts, nice harmonies, complex bass-lines and subtle drumming. All in all a very well played prog album that could easily be taken for a 70ies output - prog rock fans should not hesitate! Nils Herzog

The most elementary marketing rules teach us that a good introduction affects for 80% the total judgment. If you choose to introduce yourself with a beautiful name like Distillerie di Malto and calling your album Il manuale dei piccoli discorsi, it means that you’re a marketing master or that you have a very good taste. But we are talking about music where substance and contents are more important. I think DDM will not self-produce their next album and take a good deal from a clever label. Their music is quite complex, full of different sounds and situations reminding me italian and british progressive rock of the seventies. My favourite songs are Melodia di fine autunno and Aria e vento (absolutely fantastic !!) where Camel influences are clear. You may have the cd for only 10 on www.distilleriedimalto.it with a Magritte paint as inside booklet. Don’t miss it !! Luca Alberici

This 2001 has been a very interesting year for italian progressive rock, with Orme, Moongarden, Mindflower, Germinale and others, there was a thick formation of beginners that makes us trustful for the future. Between these we proudly count Distillerie Di Malto, a young band who have realized a debut-album which is inspired and enjoyable. The cover (a Magritte's painting) reminds to the surrealism and imagination of this work. The sextet behaves with extreme class and distinction. The Genesis/PFM/Banco influences appear melted by formal perfection and strength, by baroque ways and touching melodies. Really remarkable are the plots between guitar, keyboards and flute, the mature voice of Fabrizio Pellicciaro (author of the five songs), the clever rhythm points, precise and creative: near rude atmospheres you can find moments of strong impact alternated to delicate acoustic pastels. All the pieces have a long lenght and DdM even choose the way of the "suite" with Aria e vento and 5/5/1555: two great compositions that testify the good health of the band. Melodia di fine autunno is one of my favourite, a track that shows the complete maturity and the artistic sensitiveness of the group: an intense instrumental song, refind and gloomy, worthy of the best Camel. A wonderful and pleasant surprise. Donato Zoppo

This is an Italian band, and their CD only contains 5 tracks, but still has a playing length of nearly 50 minutes, so I think you know what kind of music the band Distillerie di Malto is playing. The music of this band is Progressive Rock, and then I mean really progressive in a way The Flower Kings also does. They are clearly influenced by 70s Progressive Rock, with all its complex rhythms and long instrumental passages. The best song is definitely Aria e vento, a strong progressive rocker with great lead vocals. The other songs are a challenge for the dedicated Progressive Rockfan, who can explore and find a lot of interesting things happening on this CD. Better check it out for yourself at: www.distilleriedimalto.it and e-mail them at: info@distilleriedimalto.it. Gabor Kleinbloesem

Although Il Manuale dei Piccoli Discorsi was released in 2001, it has all the hallmarks of an album recorded thirty years previously and steeped in the traditions of early 70's progressive rock. There are no major production values on this recording from Distillerie di Malto, but a sense that they have approached the studio recording to reflect how the pieces would be performed in concert. The additional parts serving to embelish those sections that live instrumentation does not allow and all of these elements make this album a refreshing change. Il Manuale dei Piccoli Discorsi contains five tracks which are in the main instrumental, although there are a few vocal sections, two tracks are in English and the remainder in the band's native tongue. All the tracks have complexities within the arrangements, with peaks and troughs, light and shade, and some avante garde freeform sections. There are many notable elements within the musicianship shown by Distillerie di Malto on this recording, particularly engaging were the classical guitar and flute sections and the fluidity of many of the lead guitar passages. Some very Keith Emerson keyboard sounds and textures from Fabiano Cudazzo - check out 5/5/1555, and the empathy between drummer Maurizio Di Tollo and bassman Salvatore Marchesani is very evident. Highlights from Il Manuale dei Piccoli Discorsi was the atmospheric, languid instrumental Melodia di fine autunno - a gentle opening section which gradually develops into an early Camel sounding piece. Aria e vento followed in a similar style with a fluid "Latimer/Hackett" opening solo theme - sadly the following vocal section was a little cliched, however the reprise of the opening passage did help to re-establish the song. Il Manuale dei Piccoli Discorsi reminded me in many respects of an early 70's prog rock, cleverly combining many elements and styles to create an album that has many of the characteristics from the era. Early versions of bands such as Genesis, Camel, King Crimson and VDGG all came to mind, but without sounding like any in particular. So if these bands are in your collection then you would do well to check out this recording Bob Mulvey

Why yes, it’s yet another Italian symphonic band crawling out of the woodwork. Distillerie di Malto has been around since 1988, and this self-produced CDR is their first original output.The line-up is your typical prog quintet voice/g/k/b/d, with the addition of multiple vocal parts and woodwinds (including a guess spot on flute). All the hallmarks of the classic symphonic style are here; toght instrumental interplay (guitar and keys, guitar and flute, etc.), contrasting dynamics and tonal elements, repeating motifs and so on. The band does venture into less clichéd areas, such as with the middle section of Phoebus, a moody atmospheric section with plenty of space, sounding more like a mid-70s Crim improv than a Genesis retread of some sort. Rather than being solely reminiscent of 70s bands (although surely Genesis comes to mind at times), they remind more of other top 90s Italian bands such as Finisterre and Aviolinee Utopia, with sufficient chops to pull off their musical vision and catchy melodies. For once, the do-it-yourself production does not get it the way of the musical presentation, as the band either knew what they were doing or got lucky. It’s almost embarrassing how many great young bands come out of Italy every year that nobody on this side of the pond ever finds out about. With five mid-length tracks totalling just under fifty minutes of playing time, the end of the CD will almost surely leave the listener wanting more. This is a band well worth supporting.  Sean McFee

An Italian production cannot be bad. I often made the experiment with the liking of multiple chronicles. And then, do you remember the groups of the Seventies, of which I will not quote the names, but which became myths?. This new project makes me mouth water when I realized the source: the Boot.In the beginning, Allegro con brio allured me very soon, pointing out to me the intros of King Crimson with multiple and superb breaks in addition. I will hardly classify this disc in the new productions which we receive (almost) all, because Distillerie di Malto make me think of an old group with a speech full of nostalgia. A short passage on the organ reminded me the greatest hours of the progressive baroque that the five musicians must know by heart. The beauty of the nuances is done increasing with the appearance of a flute which alleviates the atmosphere. Let us not forget either to quote the few passages of the organ and the caesuras in the medddle of Phoebus which make nothing but accentuate the oneiric beauty of this disc.  All is connected, without repetitions, between the five parts of the musical-building which seems suitable to last a long time. This CD is a pure head of work and, as one would say at Musea, it will be probably a classic in the future. Melodia di fine autunno is full of magic with a rise of power of the keyboards, then the piece begins finally only after three good minutes.  On this blow, I was surprised because they join with the néo-prog full of synths, but after they are erased to give again the charm with this composition which spell of the good time of the "peace and love". Aria e vento is also extraordinary, with an airy piano and a sharp guitar seeming a razor’s blade. A small reproof: it's a pity that five Italian constantly did not privilege the instrumental because I acknowledge that the voice of the singer, anyhow exquisite, does nothing but increasing the spleen.  Definitely, I will never arrive to be disappointed by our transalpine neighbors. 5/5/1555, the last piece, alas, deserves tons of compliments as it is played with reserve and give us an passionate eleven minutes conclusion which really reminds me the great groups of the past.   A total success. Thierry Larroque

I am not sure what I expected when I received the Il Manuale dei piccoli Discorsi from Distillerie di Malto. Then again, I am never sure what to expect from imports. The rest of the world doesn't have to deal with certain unnamed Mega-Corporations doling out all of the music we are exposed to here in the states. Needless to say, whatever it is they dole out to us unsuspecting Plebes is not very good music, and it's certainly not progressive! All of which means there is a far greater variety of music to be had from most of the rest of the world. Even the CD itself was unmarked, giving me no clue as to what to expect. Upon first listen, my initial impression of this band was that they reminded me of a mix between Supertramp and Deep Purple. Odd, yes, but I don't mean to say they sounded like either of those two bands. It was more the style of writing. These songs are long and flowing. Well written and well played. It's not the kind of music - progressive music - that you hear around the states. This is more symphonic in nature. Although there are only five tracks on this CD, my favorite would have to be track three; Melodia di fine autunno. This is a very cool piece that starts out spacey and moody and evolves into a harder driving song that still remains ethereal at the same time. The production on this CD is excellent. Each instrument stands out clearly. Maybe this seems silly to some but, for me, clarity in the instrumentation is a must. I want to hear what every musician is doing in the song. My only complaint here would be that I think, in Mastering, they could have added just a touch more sparkle to the overall mixes. However, this is purely a minor point. Who would enjoy this disc? Fans of good, symphonic progressive rock. This isn't the flashy kind of musician showmanship of some prog bands. It's just good prog rock worth repeated listens, especially for those who enjoy the meandering, ethereal vein of prog. Rowen Poole

It's kind to know and repeat it to infinity, and this amazes us more: Italy seems to produce progressive bands at the same speed that Paquome Hegisipe, Count of Champignac, had to grow mushrooms. If Finisterre, Germinale, D.F.A. and A Piedi Nudi are slowing down or disappearing, the change is guaranteed by the same verve and by an incomparable latin identity. Distillerie di Malto has got much savoir-faire in treating progressive rock, following the same ways Finisterre had undertaken with its second album (its best?), helped by some other and oldest ways, borrowed from the crimson king. The structure of the album follows an inverse line: the beginning is hard, red and saturated, keyboards are hidden while guitars weaves the musical material with breaks, riffs, flies and dissonances. Keyboards enters the dance with punctilious, deviating and raving virtuosity and sonority. This way for other few minutes: a strong, inventive progressive rock, sung in English, that surrounds, with touches of sinphonicism when the first break arrives, announcing the colour to come: a flute break, Sirs, yes! It exists! Imagine that, after some Fripp-style riffs, a Camel-ish flute grows (under an acoustic arpeggio) to transform itself into a Genesis-style explotion. From now on, insert the self-pilot: the group integrates the experiences and the lyrism of the above mentioned bands to keep them in the seventh heaven. The last three tracks (more than 30 minutes!) are sung in Italian… With the highest peak, the piece 5/5/1555, a real progressive condensed, that begins like Gentle Giant, admits itself on the italian prog of the 70's, emerges on Anthony Phillips and Steve Hackett's Genesis, with a recall to King Crimson, to meet again the flute, Finisterre's lyrism, with a latin-celtic touch, to end in a long guitar solo that I want not to compare to nothing, 'cause I've already enough done, and, if you don't believe, be sure that, if this all continues, I'll leave home with all my sheets and, only if you regret, I'll come back and the whole world will say: "it's the little Dr. that left and we think was a missing, who had said that Distillerie di Malto was a high-class band". This band coming up from nothing, could only go out from where it went out: Italy! Lagardère says it to you, he crocifies you between the eyes! Gilles Arend (Dr Lagardére)

Prologue. Il Manuale Dei Piccoli Discorsi is the debut album of Distillerie Di Malto. Visit their web site for more details on the band. The Album. Well, as you know, there are five songs on the Distillerie Di Malto debut album, two of which were sung in English and three in the band's native language. It is, however, hard to regard all of these tracks as songs, since there are few vocals in each of them. Distinctly original and diverse, (just wonderful), the instrumental arrangements dominate the entire album, as they never turn into chords and sound impressive along with the vocal parts as well. It is unnecessary, in my view, to describe each of the album's five tracks separately because all of them are created within the frame of a unified (monolithic, though!) stylistics, which, in itself, looks very original and fresh. No, I don't want to say the music of DDM (allow me to use the band's acronym as an abbreviation) is kind of indescribable, but this blend of Progressives few genres and sub-genres sounds unique in many ways. It's obvious that these young Italians tried wittingly to refrain from repetitions; avoiding any of the possible influences in the process of creating their debut (!) album. Formally, it represents a blend of Classic Symphonic Progressive, Prog Metal, and Space Rock with the complete set of essential progressive ingredients. It's quite another matter how these guys used all of these known things in still the same process of composing and arranging their songs. While the 'riffing 'n' rhyming' guitarist, vocalist and flautist Fabrizio Pelliciaro (whose vocal parts are mostly dramatic) and both the chiefs of the rhythm section (Maurizio Di Tollo & Salvatore Marchesani) work diverse and virtuosic throughout the album (all of which is on the whole typical for serious progressive bands), most of the parts of the band's main soloists Fabiano Cudazzo and Marco Angelone are unique. While Marco's classical guitar passages often remind me of the sound of medieval minstrels, however, his electric guitar solos are always slow, fluid and drawling - regardless of the tempo of his fellow band mates. In the same way, while Fabiano's piano solos are just slightly unusual, almost all of his variegated (by sound, register, and speed as well) synthesizer solos sound like the howls of ghosts. By playing in this way, both the said main soloists demonstrate a unique, at least very unusual, approach to the arrangements. With typical Symphonic Rock structures, but also with a lot of sudden raises in high speed, heavy, powerful and bombastic parts as well as falls into the 'musical' black holes where there are only some (still the same in some ways, though) ghostly sounds and very silent passages of a classical guitar. All of the music of DDM is actually based on very effective contrasts. In other words, all the pronounced contrasts they use in their music have a powerful effect (impression!) upon the listener. Summary. Despite the fact that the DDM debut album Il Manuale Dei Piccoli Discorsi is quite complex, especially for traditional Neo-fans, I think most of them should find it interesting. I also think that the majority of 'classic' Prog-heads (maybe except those purists who reject any of Prog Metal's manifestations), would find this interesting as well. The point is that although the music of DDM sounds dramatic and even dark sometimes, it also has some indescribable, yet obvious, attraction. I'd say it has positive hypnotic qualities. Being properly promoted and distributed, already the debut album of DDM should reach a relatively wide audience. Generally, the band has outstanding creative potential and they must develop it in the future. Vladimir Menskikov

Distillerie di Malto was formed towards the end of 1988 in a small town in Italy called Ortona from where the band all originate. The idea of the band was concieved by Fabrizio Pellicciaro and Fabiano Cudazzo - band leader Fabrizio sings, plays guitar and recorder and writes the songs: Fabiano is the classically trained keyboard player inspired by the likes of Keith Emerson, Rick Wakeman and Vittorio Nocenzi. The last original band member is Marco Angelone, the guitarist who "prefers essentiality to whimsically". Experienced drummer Maurizio Di'Tollo was the next to join the band in '93, and bassist Salvatore Marchesani completed the band's core line-up in 1995. Since then the only change to DdM's personnel has been the recent addition of the flute playing Luca Latini. All of the band members also have connections with other local groups. Il Manuale Dei Piccoli Discorsi is the band's self produced debut album. Their music is based on 70's prog rock (in fact they play cover versions of songs by Genesis, King Crimson, Jethro Tull etc as part of their live act) and has a strong European flavour. DdM "diligently follow the rules and the grandeur" of the prog genre and aim to "fight the musical and non-musical greyness that surrounds young and non-young generations". The CD opens with Allegro con Brio which begins with an intense feel which soon lightens with a brief 'conversation' between the keyboard and guitar, after which the rest of the band resume playing. The composition, as with all of the tracks here, is continually changing and evolving and this piece ends with a short vocal passage in English. Fabrizio's voice is heavily accented and adds texture to the track's overall convoluted feel. Phoebus starts with a light airy feel, but this quickly gives way to the insistent beat and strong jazzy music that supports the English language lyric. The strongly accented vocal will not be appreciated by everyone but it is certainly true to the style of the number and I find it somewhat reminiscent of the band Fruup. The next part of the track begins as gentle and ethereal and grows richer before easing back to a more avant garde feel. Then it's back to the pulsing rhythms and the last couple of sung verses that conclude the piece. An instrumental piece comes next, Melodia di Fine Autunno has a tranquil atmosphere. This is a beautiful track which fans of the Enid would certainly enjoy. The placid feel continues into Aria e Vento but the pace of the music soon picks up. The vocals here are in Italian and come across much more confidently and clearly. As the piece progresses the music becomes more laid back and subtle - and accompanies a slower vocal sector - this is contrasted against a regal tone that bursts forth providing a counterpoint. Towards the end of the composition the music takes on the more jovial feel that lasts through to the end. The final track 5/5/1555 appears to be an operetta about Carlo De' Barberis who is in love with sixteen year old Griselda, the daughter of the Duke of Parma - but don't quote me on this, I'm afraid that my language skills are minimal! Strong musical sectors separate the vocal passages and a sense of melancholy and doom seeps through the piece. With Il Manuale Dei Piccoli Discorsi Distillerie di Malto have certainly achieved their aim of creating interesting progressive music. Their sometimes experimental sound and intricate sophisticated soundscapes will probably appeal to those who like British bands like the Enid or ELP, or European prog. Marisa Hill

These kind and gentle guys have sent me their first CD some days ago. It has a strong 70's taste. I've listened to it and I must acknowledge that I remained bewitched from the band's sound: some instrumental pieces flow away, together with those songs sung in English and Italian, in an exciting way. In fact, every single note is studied to give the listener strong feelings. There's quiteness everywhere, but furious drawn aren't lacking. The tracks have all a long lenght, and the total time of the Cd is about 50 minutes of great music made by great musicians. The most immediate references are Orme and PFM but some folk sections in a Tull way don't fail. Visit their website www.distilleriedimalto.it to catch their disc before somebody would purchase the copyright!!! Marco Lastri

An excellent new prog band is coming from Italy again. Distillerie di Malto mingles a modern sound with the influences of classic groups as Biglietto per L'Inferno and Semiramis realizing an interesting mixtur of high-class symphonic prog. The only lack, even if negligible, is the english language singing on some songs, but this is typical for almost all italian bands singing in english. Luckily, most of the pieces are sung in italian, then a question come: why not all the songs? In spite of that, this is one of the best prog outlay of the moment. Raimo Eurasto

Distillerie Di Malto are an Italian prog band that have been together since 1988, but released their first album, the live Live In Temple Bar in 1999. Live is Distillerie Di Malto playing Genesis, King Crimson, and Jethro Tull covers along side their own material. They followed this up last year with the all-studio, all-original -material album Il manuale dei piccoli discorsi. The Genesis influence is very much in evidence, though on Phoebus I also thought of IQ and very early Marillion -- think of Grendel basically. Which might make you think I'd be all over this track like...like a Marillion "fan-girl." Well, no. This is the weakest track on the album and is a like a very bad version of IQ/Marillion. They get much better as the album progresses and they stick to Genesis. Though, we do get some of that in Phoebus -- I'd cut out the first three minutes and the last 2 minutes or so, and leave what remains. Like classic Genesis, we get pastoral sections with various chirps and squeaks, simulating nature. The main portions feature a churning, punchy rhythm. The opening piece, Allegro con brio, will, towards the end, make you think of Watcher of the skies (and no, not the mellotron opening). Melodia di fine autunno is a beautifully arranged instrumental piece that doesn't shy away from its Genesis-ness, though here it is more characteristic of the band's post-Gabriel, pre-pop days – Wind and wuthering/Trick of the tail. One of the better pieces on the album. Keyboards and guitar take the lead here, though there are times when drums, percussion and bass come into the mix. Speaking of mix, the production is just a little muddy, so when the full band comes in, there's a bit of sound-bleed, giving everything a hazy feel. Perhaps because of the artwork on the cover (which is one panel of the fold out booklet-poster), I thought of Monet. Though the album cover is much less impressionistic than Monet, there is a similar use of flat, dry colour. The painting used for the cover/booklet is by René Magritte (1898-1967), a piece called La Condizione Umana I (1933) -- Magritte was a surrealist. All this art-talk isn't meant to distract me away from reviewing the CD. One finds themselves of two minds -- do we lament that the band isn't more original, that they have made Genesis (I hardly hear Crimson or Tull, here) the core influence and launching point, or do we cheer that someone is making prog of this nature again? It's a tough call. I have to say that, despite some less than stellar production, this is a pretty good CD. At least, I should say, I like it and enjoyed listening to it. The instrumental pieces are more interesting than the rock pieces, but of the rock pieces, those sung in Italian are more interesting than the one English-language track, the above mentioned Phoebus. Not that I don't like Fabrizio Pelliccaro as a vocalist, as he does sound better singing in his own language, but the instrumentals and instrumental passages give them more to work with and more to present. My saying that about Pelliccaro, may sound like a "un-P.C." thing to say, but he approaches the material differently in Italian, a lighter touch and frankly, he sounds less like Peter Nicholls. Which, I suppose I must add, I like IQ, but not always Nicholl's voice. And no, except stylistically, he doesn't sound like Peter Gabriel -- well, just a little bit, at times. The rest of the band are Fabiano Cudazzo on keyboards, Marco Angelone on electric and classical guitar, Maurizio Di Tollo on drums, percussion and vocals, and Salvatore Marchesani on bass (since replaced by Guiliano Torelli), with Luca Latini guesting on flute. By the way, I mentioned Marillion earlier - the clear, shimmering guitar lines often remind me of what Rothery was doing on Script for a jester's tear. 5/5/1555 is the centerpiece of the album. At 11-plus minutes, this suite of three movements tells the story of Carlo De Barberis, who is in love with Griselda, but who is to be married to the daughter of the King of France. His father's advice is to think with his head rather than his heart. The segments are Mattina (Morning), Pomeriggio (Afternoon), and Sera (Evening). This is the most varied piece, with lots of beautiful moments, most in those that are the most subtle. These are in contrast to some very dark and gloomy passages, involving mainly the bass. Keyboards are very much part of the mix as well, often parpy. I suppose, too, we might mention a hint of King Crimson. One segment, at 8 minutes in, has a more medieval feel. Some of the percussion at this point though has a sort of wet, squelchy sound that doesn't sound quite right. If you liked Selling england by the pound-era Genesis, Wind.../Trick...-era Genesis, then you will like Il manuale dei piccoli discorsi. Stephanie Sollow

The invasion of new metal exploded a big bang of anger, perfidy and aggressiveness that on a side reflects the world (expecially of young generations) but on the other way scatter emotivity, reflection; it lives down the value of fantasy, imagination of feelings. If this is what you're needing, then stop here, to the debut-album of this promising italian sextet, Distillerie di Malto: strictly auto-produced lp, inspired prog rock, distilled with learned wealth and right energy, with skilful ability and joyous imagination. 5 songs with Genesis/King Crimson influences, mixed in a hotch-potch of scents and italian typical essences. The sinuous guitar/keyboard evolutions of Allegro con brio, the powerful rhythmic variations and the unreal atmosphere of Phoebus, the magisterial and touching feeling of the sontuous Melodia di fine autunno, still the symphonic and gloomy walk, the sudden and aggressive changes of the multicoloured Aria e vento, then the vital and pleasant energy of the sinuous suite 5/5/1555. These are little but precious things, that simply you'll not forget. Don't miss this band, they'll astonish you a lot, trust me! Donato Zoppo The Italian progressive rock has a thirty-year tradition now. Besides the historical groups in the 70's have the oven works incredible beauty, we must not forget the work of many artists between last decade and the beginning of the millennium have still high the flag of progressive nostrano. Among the many band affacciatesi scene of recent years, Malt distilleries are without doubt one of those really to be kept an eye. This group abruzzese was one of the revelations of 2001, thanks to album debut titled The Handbook of small speeches, un'autoproduzione surprising, both for the quality of sound, truly remarkable since it is a work "home made", both for the musical value (with a note about that should be done also for the choice dell'artwork presenting a work on the cover of the surrealist René Magritte). The Malt Distillerie are active by the end of the 80s and have a good concert career, but for problems of various -only last year finally managed to record an album itself. It is now awaiting a further leap in quality, should be encouraged by the signing of a contract for a new label interest in promoting the Italian prog, and that sees the involvement of Franz Di Ciocco, historian of the PFM drummer. The hope is that these children continue to better the road,they were certainly learned well the lessons of King Crimson and Genesis, he also does not deviate significantly from the Italian progressive tradition. Going to examine the contents the album, is now feeling the incipit Allegro con brio, denoting explicitly in the vein of Fripp nervosa in almost six minutes of guitar evolution of all respect. In subsequent passages the Distillerie Malt blends better their influences, so that the connotations are additional steps frippiane romantic and instrumental frames that seem to come out from Nursery Cryme. Phoebus is added in an experimental section, which made these figures, represents the situation of Moonchild. In this track and other breakers shows also the presence of flute, which gives a touch of elegance more. A treat for the ears, waiting to be heard, Melody is fine autumn dolcissima beginning to deal with then a crescendo of rare intensity which leads to a flurry of changes of time that can get in a cross-section shows rhythm that manages to combine power, imagination and agility. On the same move along two tracks longer: Air and wind, thanks to its change of atmosphere that so fascinate the fan of prog Symphonic and 5/5/1555, which shows more the legacy of rock Italian progressive passed by PFM and Banco. To add that the vocal, although not excellent (you know, Di Giacomo and Stratos are exceptions!), are good and it is another point in favor of this group, which we are a good luck for a bright future in the Italian prog. If you want more information, the advice is to take a look at www.distilleriedimalto.it their site. Peppe Di Spirito

This is the self produced first album of the italian band Distillerie di Malto, and it shows a very high quality. Not wondrous, because the band plays together since 1988. The cd includes five tracks, sometimes longtracks, with a total playing time from approximate fifty minutes. Over the whole distance, the songs are very "listener-friendly", what means, that in spite of all complex structures everywhere you catch an easy to find red line. That makes fun and is one of the main positive aspects of the music! The band sounds unmistakable italian. The sound is comparably to such big sizes like PFM or Asgard. Guitars and keyboards are present in equal parts. The rhythm section offers an interesting and very variedly work. The vocals are very expressive and never importunately. The lyrics are written in english and italian. Already the almost instrumetal opener shows, that you can expect good food for your ears. The first highlight is Phoebus, and this is too my favorite song from the recording at this moment. Skillfully melody lines and fine instrumental parts make a lot of fun. With an improvised middle- section and a wonderful flute, the band creates atmospheres. Melodia... remembers me in its first minutes to Asgard's Arkana CD. It is an instrumental, which shows the bands greatly ability. Structures or melody lines are not missing. And not to forget that the band never ends in a musical disorder!. Aria e vento is the largest song on the record - and it is surely the most excitingly. My favorites are the beginning pianos, the calm acoustic guitars and the very good vocals. This song lives from many tendencies and harmonies. Too, the last song is not bad. The song comes in three parts and its dramatic grows until the end. But it is difficult to find a fast way into the complex arrangement, because many themes were used. This recording grows up from every listening to the next. At the beginning, it was a "good-to-listen-one" - nothing more. But now I think it is one of the highlights this year. Everyone who loves italian prog-rock sounds won't be disappointed. Please visit the bands Homepage for more information. Hopeful newcomer from Italy with a pretty nice debut!! Thorsten Gürntke

Ah, at last a little bit of healty and pure progressive rock, made as it has to be made! Nothing transcendental but conceived and performed VERY WELL: the 6 italians (coming from a little region -Abruzzo-) took out an excellent debut-album, similar to Genesis, Camel and Yes, with hit songs, synthetical when it urges and emphatic in case of need. One above all, the wonderful Melodia di fine autunno, a delicate pastel, full of inventiveness and colours that give an hope to the future of italian prog. Still excellent is the opener Allegro con brio, with electric temper and full of brio (exactly...). 5 mature and delightful compositions. You have to listen to them carefully. Recommended. Donato Zoppo

To repropose progressive rock music today, does it have a sense? Besides, into a so hysteric national panorama, which isn't disposed to a careful listening and pervaded by the musical fast-food of so many less improved and influenceble listeners? Decidedly not, if you aim at success, and at the "spendability" of the product. Maybe yes, if you want to make an act of love towards this genre, so exacting and circumspect in a cultural way. Surely yes, if, as in this case, you realize a disc that, even without adding nothing new to the already written history of progressive rock, surely reach respectable levels of credibility and intensity. Distillerie di Malto, in proposing Il manuale dei piccoli discorsi, shows the influences of all much important prog bands, both italian and foreign. But, if it's clear that their listenings includes Genesis and King Crimson, they seem to be near Banco del Mutuo Soccorso, not only for the sounds and arrangements, but in a particular attitude in writing lyrics: see the hypotetic story narrated in 5/5/1555, placed in a Renaissance Court with the everlasting fight between the reasons of love and the harsh needs of "realpolitik". Well recorded, good sounds and arrangements, good performed, Distillerie di Malto never exaggerate and succeded in the hard task of keep the musical technique in service of the expression of an idea. Between odd rhythms, changes of time, hard rock rides, acoustic and reflective moments often characterized by the use of flutes, and long instrumental parts, the five tracks, all valid, of Il manuale dei piccoli discorsi flow, creating a credible Time Machine which remind us to the first 70's: for instance, in the last minutes of the long-lenght suite “Aria e vento”, there's an exciting conterpointist thrust and parry between keyboards and guitar that easily stands comparison with some of the best pages of progressive rock. A good work, that we must consider courageous and worthy of consideration. Francesco Saliola

The cover shows a famous surrealist master René Magritte's work; 5 longtracks for a total lenght of 50 minutes; the name? Distillerie di Malto, the title? Il manuale dei piccoli discorsi; it would be enough to unchain an authentic hormonal tempest in each prog-lover! But we use not to stop after the appearance, even if to see a Cd well presented it's always pleasant. Distillerie di Malto is a band coming from Ortona, born on 1988, with a long experience and a solid live reputation: after contests and concert (the covers are legendary: Supper's ready, Redand many others!), only in the Summer 2001 they come to the (auto)production of this work, debut-album that gives new hopes to the sextet leaded by Fabrizio Pellicciaro. In fact, DdM proposes a modern and fresh sound, renewing, as possible, the progressive rock, thanks to a personal and interesting view. The pieces range from the nervousness of King Crimson, to the solemnity of PFM, from the kaleidoscope of Genesis, to the insanities of Gentle Giant, passing across the obscure entities of italian pop, without falling down the easier copying, avoiding to follow the conventional solutions of a certain new-prog, but, on the contrary, giving a remarkable place to the lyrical appearance and to a certain concreteness. The Allegro con brio's intro deeply hits, thanks to an electric riff of the guitarists Marco Angelone and Pellicciaro (very good voice too!): guitars reminding Rovescio della Medaglia and the numerous rythmic variations are exciting as the presence of the Hammond and the daring evolutions on keyboard of the good Fabiano Cudazzo! Still excellent is the twisted and curious Phoebus, where we can appreciate Maurizio Di Tollo on drums and Salvatore Marchesani on bass, the first powerful and pyrotechnic, the second funambulist but precise. Here the young flautist Luca Latini appears. Thanks to him the song get rich with kind or much marked files, till arrive to a strongly rarefied sperimental intermezzo. DdM really don't disfigures near recent italian bands such as Malibran and Divae, with whom there are many common points, as the versatility and the concreteness, the recurring hard-rock soundings and an enexcepionable tecnic and executive preparation. You can listen to Melodia di fine autunno, a long instrumental moment where, with Genesis recalls and shades of italian pop (Orme and Locanda delle Fate amongst all), the band shows sensitiveness and maturity in composing: the beginning is sweet and elegiac, we pass across an intense choral crescendo till a liberator fugue where the "distillers" prove theirselves real fore-runners of romantic but intelligent rock, Camel-style to get clear. A great and memorable song. The long and thoughtful Aria e vento, with shades of Banco, Crimsonian heritages and Canterburian suggestions, confirm an inspired and touching gloomy vein, that becomes more evident by the limited space given to the solistic passages to give the piece a more compact sound. 13 minutes built by changes of time and theme, however fluent and winning, where Distillerie di Malto shines and the powerful voice of Fabrizio Pellicciaro pollards. The "suite" don't lack: 5/5/1555 is an ironic (but not frivolous) excursus in XVI century that reminds the best Rush songs, the flash-rock of some Yes and the darkest visions of Pink Floyd, showing again the cleverness of the group in painting moments of strong impact alternating them to delicate acoustic and medieval pastels. A very good debut that obviously makes us trustful for the future of Italian progressive. Donato Zoppo

Hört man sich manche Produktionen vorbehaltlos an, ohne eine Ahnung zu haben aus welcher Zeit sie stammen, so kann die Raterei ganz schön nach hinten losgehen. Gerade in den momentanen Zeiten von Post Rock und vielerlei Retro Strömungen, aber besonders natürlich im Prog Rock, der ja sich ja Jahren schon den Vorwurf gefallen lassen muss, nur alte Sachen wieder neu aufzuarbeiten. Und so geht es auch mit Distillerie di Malto nicht anders zu Werke, sie rühren kräftig in der 70er Prog Suppe, um dabei nach altbekanntem Rezept ein schmackhaftes Gericht zuzubereiten. Viele Zutaten wurden bestens verrührt, doch gibt es zwischendurch auch ein paar eigenartige Zwischennuancen, die einen schlucken lassen. Damit zuerst zum Schwerverdaulichen: es ist mal wieder stellenweise der Gesang, der, wenn auch nur sparsam eingesetzt, einige Ideen negativ verfärbt. Besonders fällt dies beim einzig englischsprachigen Titel auf, wo sowohl die Tonlage extrem schräg es, der Textinhalt nur beim Lesen desselbigen überhaupt verstanden werden kann. Völlig unverständlich vor allem deshalb, weil ansonsten, besonders beim dreizehnminütigen "Aria e vento", richtig guter Gesang in Landessprache erklingt Doch nun zum Positiven: der musikalischen Vielfalt, die aber dennoch stimmig und passend wirkt. Neben jede Menge 70er Flair mit wilden Keyboardläufen und mal härteren, mal verträumten Gitarren, jeder Menge südländischem Temperament, gibt es neben diesem typischen Italo Prog, folkloristische Momente mit Flöte, ebenso kurze Ausflüge in jazzige Gefilde, selbst vor recht schrägen und experimentellen Passagen macht die Band nicht halt. Des weiteren kommen zu den schwungvolleren Parts auch einige verträumte Momente, die im richtigen Augenblick der Seele Platz zum Träumen lassen. Beim ersten Anhören wirken vor allem die ersten beiden Titel noch brüchig und sperrig, was beim mehrmaligen Anhören doch an inhaltlicher Stärke gewinnt. Doch gerade der zweite Teil der CD schlägt mit voller emotionaler Breitseite trefflich herzlich zu. Leider klingen die Keyboards zu Beginn an einigen wenigen Stellen zu flach, vom Sound her irgendwie billig. Komisch eigentlich, denn die Großteil der Klangmuster wirkt stimmig und gerade im verträumten, grandios spannungsaufbauenden Instrumentaltitel "Melodia die fine autunno" perfekt auf die Gitarre abgestimmt. "Il manuale dei piccoli discorsi" hat somit jede Menge gelungene nostalgische Momente, die den Italo Prog der 70er wieder aufleben lassen. Und wenn die Italiener das nächste mal einfach auf englischen Gesang verzichten, dann gibt's sogar noch einen Punkt mehr bei der Benotung. Kristian Selm

De Italiaanse prog is er één met een rijke historie en een grote verscheidenheid aan bands. En diezelfde rijke historie blijkt een goede voedingsbodem te zijn in deze moderne tijd. Bands als bijvoorbeeld Deus Ex Machina, DFA, Finisterre of La Torre dell’ Alchimista putten allemaal uit die geschiedenis om er vervolgens ieder zijn eigen ding mee te doen. Dit debuutalbum van Distillerie Di Malto doet een poging zich bij deze groep te voegen en dat doen ze absoluut niet onaardig. Het muzikale vakmanschap van de muzikanten staat buiten kijf, zonder dat overigens één van de leden echt de hoofdrol opeist. Iedereen is ondergeschikt aan het zo goed mogelijk voor het voetlicht brengen van de composities van zanger / gitarist Fabrizio Pellicciaro. Opener Allegro Con Brio blijkt na beluistering eigenlijk een beetje een buitenbeentje te zijn op dit album. Dit betrekkelijk simpele semi-instrumentale stuk (tegen het eind word er nog even redelijk onopvallend gezongen) is behoorlijk gitaargeoriënteerd en gebaseerd op een aantal aangename gitaarriffs, waarover door gitaar en ook toetsen gesoleerd word. Het heeft een beetje een neurotisch, onrustig sfeertje. Phoebus opent met een soort dronken kermismuziekje alvorens een zelfde soort gitaarrifje als in het openingsnummer opduikt. De zang is hier wat prominenter en in het Engels en dat is jammer. Want nu valt eens te meer de matige uitspraak en oninteressante tekst op. Gelukkig vervult de zang niet echt een hoofdrol op dit album en voor we het weten zitten we dan ook in een lekker akoestisch duet tussen gitaar en fluit. De nu volgende passage laat eens te meer horen waar deze band veel naar heeft geluisterd: Locanda Delle Fate en PFM. En dit typeert ook tevens nagenoeg het hele album: goed uitwerkte symfonische rock in een warm jaren ‘70 jasje. Na een atmosferische gedeelte, waarin wel goed de spanning wordt vastgehouden, keren we weer terug naar de opening van dit stuk. De volgende track mag gerust tot de kroonjuwelen van dit album worden gerekend. Relaxt openend met tokkelend gitaarwerk en een melancholieke synthmelodie heeft dit instrumentale werk een lekker, herfstig sfeertje. Het vlotte middendeel van Melodia Di Fine Autunno is overigens het enige gedeelte waarin de toetsenist wat meer in het voetlicht treedt met flitsende sololijnen. Over het algemeen beperkt deze zich tot heel stemmig spel met een nadruk op mooie toetsentapijtjes. Zo ook in het slotdeel waar een lage gitaarmelodie het heft van hem overneemt. Diezelfde -bijna klagende- gitaar opent ook Aria E Vento. En gelijk moet ik hierbij denken aan een zelfde soort gitaarpartij in het nummer Mariner van de Rocket Scientists (te vinden op hun tweede album "Brutal Architecture"). Als de zanger zijn intrede doet, horen we die typische Italiaanse zang zoals we die al zo vaak hebben gehoord: vol overtuiging en een tikkeltje dramatisch. En net als in Phoebus is ook hier weer ruimte voor een korte akoestische interlude. Het is die mooie afwisseling tussen gedragen passages en drukker werk dat duidelijk de charme van Distillerie Di Malto is. Een zelfde charme die ook afstraalt van het afsluitende 5/5/1555. Dit nummer, maar ook de twee die hier aan vooraf gingen, hebben allen iets vertrouwds zonder dat het overigens direct jatwerk van illustere voorgangers is. Het is misschien ook wel de warme productie die aan dit vertrouwde karakter debet is. Deze Italiaanse band, die overigens al heel wat jaren bij elkaar is maar zich nu pas gerijpt genoeg vond om het eerste materiaal voor een breder publiek beschikbaar te stellen, heeft een goed debuut afgeleverd. Een duidelijke keuze voor de Italiaanse taal en misschien af en toe wat meer gepassioneerd spel van de muzikanten zou er maar zo toe kunnen leiden dat we in de toekomst een potentiële klassieker van hun kunnen verwachten. In de tussentijd zal ik nog regelmatig van dit album gaan genieten. Christian Bekhuis