Cio' Che L'Anima Non Dice is the first album of Italian progressive and perhaps experimental rock band Furyu. In fact, the experimental parts come from the unusual musicians in the band, instead of a keyboard player Furyu has Damiano Storelli, who uses samples to create his sounds. On the other hand, they don't really have a vocalist for the spoken or softly sung parts have been manipulated by the aforementioned I guess, into spherical parts that suit perfectly the diversity in music of this young talented band. After the band started in 2000, there were some line-up changes and the band developed toward an experimental kind of progressive metal.
The album only clocks in a bit over half an hour, so it can be called an EP. I think this album is more than just thirty minutes of music. The variation and intensity make it music that continues spinning in your head, even when the album is done. Just listen to the album's opener; Illusione Dei Miei Giorni. You get hit in the face by an outburst of instrumental power, which immediately flows into a relaxed part with the vocals in the background. The two guitars; Giulio Capitelli and Federico Melandri perfectly play all the difficult parts simultaneously, or individually, competing for the “best performance award”. The music evolves to a heavy King Crimsonic part with tremendous drums over it. Drummer Riccardo Grechi is a prominent player on the whole album, his powerful and adventurous drumming put quite forward in the mix, giving you an opportunity to hear some stunning drumming all over the album. Heavy guitar parts in the vein of Dream Theater are commonplace as are parts played together in an Iron Maiden mood finish this first piece of art. There's no time to rest, because the next explosion already awaits. E Poi La Luce has a strong combination of guitar riffs with power drumming and slightly softer bass. Founder and bass player Michele Zappoli uses a nice slapping bass to set the accents in this second song. In the mid-section, we have an emotional, but technical guitar part, which shows the profiency again. The song ends nice and metallic. The album's shortest song; Un Momento: Vado A Fuoco, uses a lot of samples to create a cool atmosphere, where the guitars constantly switch speed, a bit of a Rush feeling at that point, but with a straight metal drummer. A great melody on guitar, with the contrasting bass and drums mark the next song; Finalmente Io Sono. Power drumming sets the base of the guitaristic intensity and I have to say, this guitar sound is super- heavy, clear and played very well. In the second part of the song, there are some Arabic influences, but the powerful combination that started the song takes over again, to finish another impressive composition. Finally time to relax? La Vastita Del Mio Tempo is the last song on the album, starting slower than the others with nice guitars working together and putting up some speed to create something special-even Rage Against The Machine comes to mind at certain places, but the Italian spoken parts give the song also something from the old Italian movie scores. There are great combinations that always keeps you discovering new elements that you did not hear the first listen. Then after some bass and guitar highlights, the music abruptly stops... to continue acoustically just with a guitar. It gives you the time to think the album is over......don't think, push repeat.
Furyu succeeded in combining everything a progressive album needs: powerful drums, great guitars and a bass that supplies the contrast. The samples replace the keyboards in a good way, but never really are in front. Furyu creates the progressiveness by using elements from metal, fusion, even movie scores, together with pieces of funk and alternative rock.
These five songs together stand for great quality and perfect craftsmanship. A new wave of Italian progressive rock is born and I am glad I heard the first baby cry.
**** Pedro Bekkers (edited by Robert James Pashman)
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