Homunculus Res are an Italian Progressive Rock band from Palmero that carry the sounds of both Avant-Rock and the Canterbury scene like a flaming fire that refuses to burn out. The sound in their music reminded me of Picchio Dal Pozzo, Henry Cow, Soft Machine, Moving Gelatine Plates, Hatfield and the North, and Gong. The band is centered from composer, guitarist, and keyboardist Dario D’Alessandro.
And alongside Dario, the band considers; Davide Di Giovanni on Keyboards and Vocals, Daniele Di Giovanni on Drums, Percussion and Vocals, and Domenico Salamone on Bass. The collaborators feature Dario Lo Cicero on Wind and Flute, Federico Cardaci on Keyboards, Mauro Turdo on Guitar. Not to mention the special guests including Paolo “Ske” Botta (Yugen, Not a Good Sign) on Keyboards, Giovanni Di Martino on Microkorg, and Toto Puleo on Trumpet.
This is the band’s debut album released back in 2013 on the AltrOck label entitled, Limiti All’Eguaglianza Della Parte Con il Tutto. This feels almost like a trip down to memory lane of the Canterbury scene as if this was recorded back in 1974 and you could imagine Homunculus Res recording this back in time and showing how much appreciation of their love of the bands and carrying it with the mighty sword and not letting it go.
There’s also a quirky sense of humor in them also. Take for example, the swirling electronic synth improvisation of Sintagma. It’s very futuristic and off-the-wall that gives you a touch of between Marc Hollander’s Aksak Maboul and The Faust Tapes-era while the opener Culturismo Ballo Organizzare gives the band a chance to shine for a lot of fun with the vocals singing the title track, and the improvisations between keyboards, guitar, glockenspiel, and drums, give it a Gong meets Matching Mole vibration.
The Rhodes for a laid-back Coltrane-sque in a darker alleyway gives it a haunting feel with the fuzztone and moog of Jessicalaura but then the tempo changes up a bit in a Rock-In-Opposition ascending tone that you can imagine the Henry Cow momentum thrown in of Leg End before going back into the waltz in a haywire mode of the synths closing it out.
The vocals on (che ne sai tu di un) Cerchio nel Grano, resembles the wonders of The Northettes, and not to mention the Flute, and Piano. But then I love where it changes into a guitar improvisation of Phil Miller as if he did the improvisational solos with Egg! Very spectacular ideas! Rifondazione Unghie is an increasing driven beat between guitars, flute, and drums that almost reminded me of Kraftwerk’s Ruckzuck before the unexpected stop-and-go moment as wah-wah moog’s kick into the mix.
Puk 10 is where the keyboards of the Memotron, Moog, and Piano combined as one for a haunting momentum. I love how the ominous and moody-jazz flavor gives it a kick for that spooky vibration to see where they want to take the synth ideas for a sonic-surrounding and nailing it at the right moment.
I have a love of the Italian Progressive Rock and a little dosage of the Canterbury scene. Homunculus Res’ debut album is for me one of their best and their whimsical to show the fun and weirdness they bring to the table on how much homework they have done. I can’t wait to hear more of their music. So if you love the Canterbury Scene, then check out Homunculus Res’ Limiti All’Eguaglianza Della Parte Con il Tutto.