Alessandro Corvaglia - Out of the Gate (2021)

“Out of the Gate” is the first solo album by Alessandro Corvaglia, the unmistakable voice of various bands and projects related to the Italian and international progressive rock such as Delirium, La Maschera di Cera, Hostsonaten and Mr. Punch. His career is full of records that contributed to define the coordinates and the sound of the third millennium Italian prog, but all this still lacked a fundamental piece that would allow him complete artistic freedom, an exit from those metaphorical ‘gates’ that until now had limited its expressiveness.

Alessandro Corvaglia has always lived music in a passionate and visceral way, and this aspect fully emerges in this 10-piece collage, written over a 15-year time span (2006-2020), parallel to his usual singer/songwriter activity. Therefore, this is Corvaglia’s definitive opportunity to let off steam on some current issues, such as the tragedies of migrants who died at sea (“Promised land”), the absurd conflicts affecting humanitarian institutions by destroying hospitals or other building structures (“White Ghosts”), cultural and social barbarism fed by ‘bloggers’ (“Preaching on line”), all mixed with autobiographical elements (“Where have I been?”, “… and the Lady Came in”, “Out of the Gate”) and a short visionary journey (“The Night of the Eyes”).

“Out of the Gate” sounds like a ’70s record conceived by musicians who, while capable of composing the most complex of prog-rock suites, concentrate on melody, the power of simplicity and the strength of the arrangements instead; it is no coincidence that the album contains two tributes to guitarist Gordon Giltrap (the unreleased “A Deed within a Dream” and the arrangement of “12 Towers”, a song that Giltrap himself has given to Corvaglia on the occasion of this album): the essence of his compositions is clearly evident here, as well as the influence of the most immediate and ‘catchy’ cuts written by progressive rock bands such as King Crimson, Genesis and Caravan, combined with the expressive charisma of the ex-Marillion Fish; all of that exceptionally blends in the eleven minutes of the ending title track, closing a work full of shades that surprises with every new listening!