Formed in Italy, Zio Crocifisso is a sonic collective blending Progressive Rock, Avant-Garde, and strong R.I.O. influences in a narrative and Experimental framework. Their new album “Campana di Legno + Trappola per Topi,” released on May 10th, 2025 via AMS Records, consists of 14 tracks and presents itself as a dark and symbolic concept album, crafted with intricate arrangements, expressive dynamics, and a theatrical sense of storytelling. The album opens with “L’Acconto,” a brief and haunting introduction. A cavernous voice sets the tone for what feels more like an audio monologue than a traditional song, signaling the conceptual ambition of the project and inviting the listener into a strange, unsettling journey. “Arenicola” marks the album’s first full-bodied track, blending Heavy Prog textures with Avant-Garde twists and brief melodic interludes. Guitars and synths intertwine over complex rhythmic patterns, highlighting the band’s technical skill and compositional boldness from the outset. “Speziale” acts as a short transitional piece, only 30 seconds long, leading seamlessly into “Metaxu“—one of the album’s most atmospheric and dark chapters. Here, organs and synths create an ominous tension, while the structure evolves continuously, moving through instrumental passages that evoke disorientation, introspection, and layered depth. “Il Tramonto dell’Occidente si Avvicina” continues in a more electronic and ambient direction. With a runtime of under two minutes, it functions as a breath between heavier tracks and deepens the album’s immersive, dystopian atmosphere. “Lievito Madre (Pt. I–V)” stands as the conceptual and emotional core of the album. Spanning over twelve minutes, this suite begins with gentle, dreamlike guitar arpeggios and a delicate female voice. As the track progresses, it gains intensity through shifting time signatures and expanded instrumental arrangements. Elements such as saxophone, vibraphone, and strings add richness and dimension, making this one of the most compelling and technically accomplished compositions on the record. “Buone Parole” contrasts sharply with its brevity and aggressive energy. A fast-paced and riff-driven explosion of sound, it showcases the more direct, punkish side of the band’s sonic identity. “E Mele Fradicie” opens with a riff evocative of Uriah Heep, combining Classic weight with modern Progressive flourishes. The piece is structured with care and precision, allowing space for group vocals and instrumental interplay, building towards a cathartic crescendo. Margherita Legge Umberto G. is arguably the album’s most politically charged and theatrical moment. It opens with the voice of a child stating, ‘We all had to start working when we were kids,’ followed by a poignant narrative about a young boy who, despite growing up in poverty, excels in philosophy—only to become a symbol of the broken ideals imposed by society. Musically, the track unfolds as a powerful Progressive Rock crescendo with intricate synth and guitar passages and a dynamic rhythm section. The finale delivers a synth solo followed by sharp, disillusioned lyrics that expose the hypocrisy of certain social myths. This is not just storytelling—it’s a form of artistic dissent. Tracks like this carry emotional and critical weight and, in my view, offer the kind of message we should be hearing more often in today’s music. “La Rivolta dei Servi” takes a more ethereal route, with Experimental electronics and layered female vocals creating a hypnotic, trance-like effect. “La Malabestia di Calafato” returns to a more forceful sound, shifting between ‘70s Heavy Prog and faster, modern sections. It exemplifies the band’s ability to merge tradition with innovation through tight musicianship and inventive arrangements. “Vince” is another brief instrumental, a minute of ambient electronics inspired by Kosmische Musik, serving as a meditative interlude. “Il Cuore si Stanca anche Lui” brings back the deep, spoken-word voice from the intro, gradually transforming into expressive, melodic vocals. This track feels like a convergence of Italian singer-songwriter tradition, dark avant-rock, and Progressive experimentation—at once personal and sonically rich. The final track, “La Malora,” ends the album with grace. A choral female intro leads into symphonic elements that offer a reflective and emotionally resonant close. Orchestral arrangements and delicate harmonies give a cinematic feel, concluding the narrative and thematic circle with elegance. With “Campana di Legno + Trappola per Topi,” Zio Crocifisso deliver an ambitious and thoroughly original record. Fusing Progressive Rock, Avant-Garde, and R.I.O. sensibilities with contemporary songwriting, the album is a rich listening experience—challenging yet rewarding. Highly recommended for fans of visionary and concept-driven Progressive music that dares to explore uncharted emotional and sonic territories.
Tracklist
01. L’acconto
02. Arenicola
03. Speziale
04. Metaxu
05. Il Tramonto dell’Occidente si Avvicina
06. Lievito Madre (PT. I-V)
07. Buone Parole
08. E Mele Fradicie
09. Margherita Legge Umberto G.
10. La Rivolta dei Servi
11. La Malabestia di Calafato
12. Vince
13. Il Cuore si Stanca anche Lui
14. La Malora
Lineup
Paolo “SKE” Botta (Yūgen, SKE, Not a Good Sign) / Keyboards
Dario Magri (Yokoano, Sho) / Drums
Fabio Malizia (Orbe) / Bass
Matteo Serenelli (The Appetizers) / Guitars
With:
Thea Ellingsen Grant (Juno) / Vocals
Andrea “Mitzi” Dal Santo (Christadoro) / Vocals
Simen Ådnøy Ellingsen (Shamblemaths) / Saxophones
Jacopo Costa (Yūgen, Loomings, Oiapok) / Vibraphone
Margherita Botta / Vocals
Elia Leon Mariani (Yūgen, SKE) / Violin
La Miniera / Choir