I’m still trying to figure out what it is about Italian progressive rock that attracts me the way it does. Listening to Domenicano Bianco, the sixth full length from Il Segno del Comando (The Sign of Command) I’m still trying to figure it out. There’s certainly the accentuation of keyboards and synths, a little more pomp and circumstance in the songwriting, but those things can be found anywhere. Maybe with not understanding the language I’m left to really focus on the timbre of the vocals, the melodies they weave instead of getting bogged down with silly concepts and high fantasy – I’ve always been more of a music guy than a lyrics guy – and the dark, quasi-gothic underpinnings Il Segno del Comando bring to their songs resonate with me. I don’t know if it’s the best modern italian prog I’ve heard (we’ll definitely dig into more) but it’s solid.

Without being closer to either the book or the lyrics, I’ll take at its word Il Domenicano Bianco is based on the novel ‘Der Weisse Dominikaner’ by the Austrian writer Gustav Meyrink, which according to the summaries is a sort of philosophical/spiritual pilgrim’s journey to enlightenment. Okay, fine; what really matters is the music, and after the typical obligatory instrumental intro of “Il Libro Color Cinabro” which I can’t recall even after listening to it twice before writing this sentence, we’re off to the races with “La Bianca Strada”. Not one but two keyboard players adorn the record: Davide Bruzzi and Beppi Menozzi, and their work is strong here in the first real outing of their skills. Likewise guitarist Roberto Lucanato – I mentioned how much I enjoy the analog keyboard work of Italian prog, but without the crunch of some great guitars I tend to get lost, and “La Bianco Strada” has multiple shredding solos that, while not putting Il Segno Comando in any danger of being labeled as “progressive metal” certainly makes them a heavier proposition than many of their forefathers.

The title track rocks as well, and there’s a definite funky groove to the opening verses. I’ve seen mention of the band striving to make their music evoke feelings of darkness and anxiety, and the more aggressive edge and heavy keyboard work do a lot to reinforce that. But it’s also hard to really feel sadness and fear when your bass is laying down some serious boogie – I’m not complaining, mind you. I dig the direction the track takes which Lucanato’s guitar mirroring the keys. Side A ends with the ballad “Ofelia” and with the sparse arrangement the song might be the best example yet of what the band is aiming for, even as it shows the hallmarks of a lot of Italian music in its melody.

Side B is bookended by shorter, instrumental passages, starting with the baroque organ-driven “LasTesta di Medusa”. Again, more prelude than anything else, serving to lead into the epic of the album, “Il Dissolvimento del Corpo con la Spada” which puts out some heavy Goblin vibes. Loosely translated to “The Dissolution of the Body with the Sword” its a massive jam, blending ominous keyboard lines with funky guitar flourishes and some great playing around the beat drumming by Fernando Cherchi. It might be odd to talk about it in its absence, but the vocals of Riccardo Morello are perfectly fine on the songs where he’s featured, but I’d be lying if I said I miss him on this track, certainly (for me) the highlight of Il Domenicano Bianco. “Missa Nigra 2023” (no translation) features a wicked bass intro from Diego Banchero who also looks to be the band’s primary writer and lyricist. But unfortunately this is one instance where Morello’s vocals fail for me. Love the tremolo on the guitars, though. There’s a break halfway through the song where the bass counterpoints with the keys and turns into a rocking extended jam before returning to its primary theme.

By the time “Solitudine” closes Il Domenicano Bianco I’m still figuring out where I stand with Il Segno del Commando. On the one hand this is a solid record, and has the crunch I want in my prog rock. Musicianship is stellar, and there are some great solos and progressive passages that really work on me. On the other hand, it may also be a case where one album is more than enough, providing an overview of everything I would get from earlier albums. I guess time will tell. In the meantime there are literally dozens of other albums vying for my attention, and I’ve been away from this blog for far too long.