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Reviews

The Watch - Vacuum

- Publisher: Sea of tranquility

- Link: http://www.seaoftranquility.org/reviews.php?op=showcontent&id=3264

" If you are in for a Peter Gabriel era Genesis styled fix, then look no further than the latest from Italian symphonic stallwarts The Watch. Vacuum is the second release after their debut Ghost hit the scene back in 2001. Previously, the band were known as The Nightwatch, who played in a similar style but had more King Crimson influences, but after that line-up imploded lead vocalist and flute player Simone Rossetti started up a new gig with Ettore Salati on guitars, bassist Marco Schembri, Gabriele Manzini on keyboards, and drummer Roberto Leoni. This latest CD is a trip down memory lane, as Rossetti and company use the early 70's Genesis format to channel their dreamy and intelligent symphonic prog rock ideas to fruition.
The quick "Hills" starts things off, a short vocal and piano number that sets the tone for the progressive bombast that is to follow. Oodles of Mellotron, Hammond, pulsating bass and drum grooves kick off "Damage Mode", a quirky and fun song that sounds like an outtake from Selling England By the Pound or The Lamb Lies Down on Broadway. Rossetti's vocals are great, and even though he is almost a dead ringer for a young Peter Gabriel, the man is really on top of his game here, adding the right amount of emotion and theatrics to the song. The moody yet symphonic "Wonderland" features some dark guitar and Mellotron riffs, plus a searing solo from Salati that is supported by waves of dreamy Hammond organ and synths. The band gets upbeat and downright playful on "Shining Bald Heads", with plenty of intricate piano, crunchy Hammond and guitar riffs, and Rossetti's expressive delivery.
A lush and pastoral setting is created on the opening of "Out of the Land", which quickly turns to bombastic keyboard led rock, as Manzini lays the groundwork with plenty of organ, synths, and Mellotron. Blistering bass and Hammond riffs kick off the powerhouse rocker "Goddess", one of the heavier pieces on the album, but one that has many layers thanks to Manzini's wall of sound and the tapestries created by guitarist Salati. Rossetti's chilling delivery on the chorus "Voices now, voices now..." is pretty catchy and haunting at the same time. After the brief yet dark "Deeper Still", which ironically sounds more like something from Wind and Wuthering with it's layered acoustic guitars and Mellotron drenched soundscapes for Rossetti to croon over, the band launches into the ominous title track. This is the longest piece on the album, and takes many twists and turns, with Rossetti's most powerful and varied performance and pretty intense lyrics as well. Drummer Leoni pulls out all the stops on this one, flailing about like a jazz fusion veteran, and Salati lays down some nimble fills, textured chords, and plenty of bass pedals. As with the entire album, Manzini provides plenty of vintage and compelling keyboard sounds here, with the Hammond especially sounding bright and commanding, but there's also a good amount of Moog as well.
There are plenty of bands that have come around in the last few decades or so that do the whole Genesis thing, like Citizen Cain, Neuschwanstein, Plackband, Shingetsu, Metaphor, Hamadryad, and Mangala Vallis, but for my money, none give the chills and that warm and fuzzy feel like The Watch does. Sure, it ain't nothing original, but if you love early Genesis and wish they would have stayed together with Gabriel and Hackett on board for a few more years, this might be what they would have sounded like. Drink deep and enjoy! "

	The Watch - Vacuum
	- Publisher: Sea of tranquility
	- Link: http://www.seaoftranquility.org/reviews.php?op=showcontent&id=3264
	" If you are in for a Peter Gabriel era Genesis styled fix, then look no further than the latest from Italian symphonic stallwarts The Watch. Vacuum is the second release after their debut Ghost hit the scene back in 2001. Previously, the band were known as The Nightwatch, who played in a similar style but had more King Crimson influences, but after that line-up imploded lead vocalist and flute player Simone Rossetti started up a new gig with Ettore Salati on guitars, bassist Marco Schembri, Gabriele Manzini on keyboards, and drummer Roberto Leoni. This latest CD is a trip down memory lane, as Rossetti and company use the early 70's Genesis format to channel their dreamy and intelligent symphonic prog rock ideas to fruition. The quick "Hills" starts things off, a short vocal and piano number that sets the tone for the progressive bombast that is to follow. Oodles of Mellotron, Hammond, pulsating bass and drum grooves kick off "Damage Mode", a quirky and fun song that sounds like an outtake from Selling England By the Pound or The Lamb Lies Down on Broadway. Rossetti's vocals are great, and even though he is almost a dead ringer for a young Peter Gabriel, the man is really on top of his game here, adding the right amount of emotion and theatrics to the song. The moody yet symphonic "Wonderland" features some dark guitar and Mellotron riffs, plus a searing solo from Salati that is supported by waves of dreamy Hammond organ and synths. The band gets upbeat and downright playful on "Shining Bald Heads", with plenty of intricate piano, crunchy Hammond and guitar riffs, and Rossetti's expressive delivery. A lush and pastoral setting is created on the opening of "Out of the Land", which quickly turns to bombastic keyboard led rock, as Manzini lays the groundwork with plenty of organ, synths, and Mellotron. Blistering bass and Hammond riffs kick off the powerhouse rocker "Goddess", one of the heavier pieces on the album, but one that has many layers thanks to Manzini's wall of sound and the tapestries created by guitarist Salati. Rossetti's chilling delivery on the chorus "Voices now, voices now..." is pretty catchy and haunting at the same time. After the brief yet dark "Deeper Still", which ironically sounds more like something from Wind and Wuthering with it's layered acoustic guitars and Mellotron drenched soundscapes for Rossetti to croon over, the band launches into the ominous title track. This is the longest piece on the album, and takes many twists and turns, with Rossetti's most powerful and varied performance and pretty intense lyrics as well. Drummer Leoni pulls out all the stops on this one, flailing about like a jazz fusion veteran, and Salati lays down some nimble fills, textured chords, and plenty of bass pedals. As with the entire album, Manzini provides plenty of vintage and compelling keyboard sounds here, with the Hammond especially sounding bright and commanding, but there's also a good amount of Moog as well. There are plenty of bands that have come around in the last few decades or so that do the whole Genesis thing, like Citizen Cain, Neuschwanstein, Plackband, Shingetsu, Metaphor, Hamadryad, and Mangala Vallis, but for my money, none give the chills and that warm and fuzzy feel like The Watch does. Sure, it ain't nothing original, but if you love early Genesis and wish they would have stayed together with Gabriel and Hackett on board for a few more years, this might be what they would have sounded like. Drink deep and enjoy! "

The Watch - Vacuum

- Publisher: Progarchives - Allan Hutchen

- Link: http://www.progarchives.com/Review.asp?id=82768

" This is a fun, fun album. To say that THE WATCH are an early GENESIS clone would be completely unfair. To say they might make a heck of a tribute band well... Though the style is very similar to PETER GABRIEL's genesis ( due largely to Simone Rossetti's uncanny vocal style) these Italians show more power than did the " G-men" back in the day.
DAMAGE MODE is an excellent power prog track and is as haunting as it is melodic. Notice the homage to STEVE HACKETT in the guitar work. This album almost makes me think about what GENESIS might sound like had the best lineup stayed together and were still recording.It is lush with floating keyboards, sonic guitar playing, adventurous and powerful drumming and killer bass work. There is so much of both eras in this CD but it still, at the end of the day, belongs to THE WATCH. They draw from the masters without tipping over into the dark greyness of " cloning". I will say that the one thing that did bug me about this album was Simone's apparent difficulty with certain english pronunciations. At times it was very difficult to (thank god for lyric booklets) understand what he was singing.
I would strongly recommend this CD to anyone who likes above average progressive rock music, a must have. "

	The Watch - Vacuum
	- Publisher: Progarchives - Allan Hutchen
	- Link: http://www.progarchives.com/Review.asp?id=82768
	" This is a fun, fun album. To say that THE WATCH are an early GENESIS clone would be completely unfair. To say they might make a heck of a tribute band well... Though the style is very similar to PETER GABRIEL's genesis ( due largely to Simone Rossetti's uncanny vocal style) these Italians show more power than did the " G-men" back in the day. DAMAGE MODE is an excellent power prog track and is as haunting as it is melodic. Notice the homage to STEVE HACKETT in the guitar work. This album almost makes me think about what GENESIS might sound like had the best lineup stayed together and were still recording.It is lush with floating keyboards, sonic guitar playing, adventurous and powerful drumming and killer bass work. There is so much of both eras in this CD but it still, at the end of the day, belongs to THE WATCH. They draw from the masters without tipping over into the dark greyness of " cloning". I will say that the one thing that did bug me about this album was Simone's apparent difficulty with certain english pronunciations. At times it was very difficult to (thank god for lyric booklets) understand what he was singing. I would strongly recommend this CD to anyone who likes above average progressive rock music, a must have. "

The Watch - Vacuum

- Publisher: ProgSheet - The Online Newsletter For Adventurous Music

- Link: http://progsheet1.hypermart.net/CDReviews.html

" Solid neoprog from Italy in the Arena/Pallas/Galahad vein with a heavy early Genesis influence. I'm loving the drums & bass, and the keyboard textures catch my attention. Some of the transitions in the songs take a bit of adjusting to, but that's minor. Vocalist Simone Rossetti has a very pleasant, capable voice that I grew comfortable with quickly. Keyboardist Sergio Taglioni is fabulous, painting colors uniquely his own. Vacuum has much to offer. Wonderland is an especially nice piece, featuring great drumming from Roberto Leoni. Nice to hear a band discovering its own sound. The Watch have pepped my ears up with this fine release. They pick up the slack that Twin Age left behind. Very European sounding, lush with tons of energy and a theatrical feel. Gotta love it! "

	The Watch - Vacuum
	- Publisher: ProgSheet - The Online Newsletter For Adventurous Music
	- Link: http://progsheet1.hypermart.net/CDReviews.html
	" Solid neoprog from Italy in the Arena/Pallas/Galahad vein with a heavy early Genesis influence. I'm loving the drums & bass, and the keyboard textures catch my attention. Some of the transitions in the songs take a bit of adjusting to, but that's minor. Vocalist Simone Rossetti has a very pleasant, capable voice that I grew comfortable with quickly. Keyboardist Sergio Taglioni is fabulous, painting colors uniquely his own. Vacuum has much to offer. Wonderland is an especially nice piece, featuring great drumming from Roberto Leoni. Nice to hear a band discovering its own sound. The Watch have pepped my ears up with this fine release. They pick up the slack that Twin Age left behind. Very European sounding, lush with tons of energy and a theatrical feel. Gotta love it! "

The Watch - Vacuum

- Publisher: Progarchives - Hibou

- Link: http://www.progarchives.com/Review.asp?id=32921

" I've granted my precious 5 stars to nine albums so far and was starting to doubt of ever finding that elusive number 10. Well, there must be a prog god somewhere for I've found it right here. Although I didn't have access to either the album booklet, the credits nor the lyrics, I’ve had the privilege of hearing the music of "Vacuum" over the last week or so and I can assure you of one thing: it is a work of stellar magnitude. It is altogether exhilirating, disturbing, entrancing, profoundly moving and symphonic to the core. First, let's get some things straight: vocalist Simone Rossetti (who is responsible for most of the work such as concept, music, lyrics, arrangements) does sound like young Peter Gabriel incarnate; Sergio Taglioni's keyboard solos do feel like they came straight out of Tony Bank's head; and some of Ettore Salati's lead guitar passages do sound like Steve Hackett is plucking away. But don't go thinking that The WATCH are yet another god-forsaken "G" clone. Rossetti is an extremely talented composer who uses the early GENESIS atmosphere as a filter to express his own art. The musical themes and phrases on this album are so rich and varied, only in jazz (and from a handful of prog acts) have I heard such an array of strange musical phrases so harmoniously brought together.

The album opens with the minimalistic “Hills”, featuring Rossetti’s gentle voice floating over piano notes and a little synth in the background – a fitting sleeper for the ‘bomb’ that immediately follows.

“Damage Mode” alternately reminds me of the title track from “The Lamb”, “One for the Vine” and “The Cinema Show”, yet it is so uniquely WATCH: a perfect blend of gorgeous melodic prog and muscle-tight rock that can’t be compared to anything. The quiet acoustic guitar passages (reminiscent of Anthony Phillips’) combined with Rossetti’s child-like voice are so poignant they’ll make your heart ache. That is, until the tune explodes with biting guitars riffs, crunching bass and drums, buckets of soaring keyboards and vocals so gripping they’ll tear you apart. The last time I remember having such a rush was when I first heard “The Cinema Show” ("take a little trip back with Father Tiresias" indeed). To top it all, the track contains a killer banksian solo by keyboardist Taglioni that will have every GENESIS fan drooling.

“Wonderland” is an intimate tune that weaves its course in a sweet, melancholy way through an exquisite guitar solo by Ettore Salati. In the manner of "Mad Man Moon", it cooks slowly then becomes larger than life. One of the most exquisite and powerful tracks of the album.

The early cacophony/buffonery of “Shining Bald Heads” winks at you with airs of a certain “Harold the Barrel”. This is perhaps the least romantic (read ‘Italian’) track of the lot but not to worry: Rossetti’s lyricism always seems to get the better of him and before long, you’ll be treated to some exquisite symphonic flights once more.

“Out of the Land” opens on a quiet, reflective theme resembling “The Lamia”, with delicate acoustic guitar notes that mimick the familiar piano from the album “The Lamb”. After a brief hyatus, the bass, organ and percussion roll in and... wham! The doors fly wide open to reveal yet another tapestry of majestic, spine-tingling keyboard passages.

With heavy bass and organ throbs à la Keith Emerson, “Goddess” begins as a head banger but soon takes flight with rolling drums, a wonderful chorus and an incredible array of new colourful themes and time signatures. With cahotic passages not unlike the intro to “Watcher of the Skies”, it alternately thrusts the listener into a rhythmic frenzy then wraps him up with superb, mellow symphonic passages – a pattern I seem to regognize more and more as I keep listening to the album. Gosh, this track is so jam-packed with musical themes, I’ve known entire albums that boasted less than you’ll find on this single track.

“Deeper Still” is yet another exquisite piece of sweet melancholy where Rossetti’s haunting, layered vocals gently hover over a delicate acoustic theme. (Are you taking notes, Mr. Rutherford?)

The closing title track, “Vacuum”, is the darkest and most poignant of the lot. It is so powerful it’s almost frightening. The violence of certain passages (including Rossetti’s vocals), the throbbing bass, the foreboding drums, the menacing organ and the eerie synths alongwith the portentous fury of the theme is so deeply troubling it caught me unawares – I honestly didn’t expect such disturbing moments from Rossetti’s pen. Let’s just say that music is sometimes the best medium for expressing certain kinds of emotions and that Rossetti took full advantage of it. His vocal performance is simply staggering on this one. This is a very, very powerful stuff that hits you smack in the gut – you’ll excuse my vocabulary but I can’t think of a gentler way of describing what this music does to me. The track also showcases the finest moments from everyone involved and is proof that Rossetti is indeed in the hands of a highly capable crew.

Whether you are familiar with THE WATCH’s material or not, you can’t help but be impressed by the outstanding penmanship, the charismatic delivery and the fine musicianship displayed on “Vacuum”. There is not one wasted note, not one dead moment on the entire album. "Vacuum": a true jewel of progressive sound and lyricism, an album you’ll be rediscovering every time you hear it. GENESIS is dead: long live THE WATCH !!! "

	The Watch - Vacuum
	- Publisher: Progarchives - Hibou
	- Link: http://www.progarchives.com/Review.asp?id=32921
	" I've granted my precious 5 stars to nine albums so far and was starting to doubt of ever finding that elusive number 10. Well, there must be a prog god somewhere for I've found it right here. Although I didn't have access to either the album booklet, the credits nor the lyrics, I’ve had the privilege of hearing the music of "Vacuum" over the last week or so and I can assure you of one thing: it is a work of stellar magnitude. It is altogether exhilirating, disturbing, entrancing, profoundly moving and symphonic to the core. First, let's get some things straight: vocalist Simone Rossetti (who is responsible for most of the work such as concept, music, lyrics, arrangements) does sound like young Peter Gabriel incarnate; Sergio Taglioni's keyboard solos do feel like they came straight out of Tony Bank's head; and some of Ettore Salati's lead guitar passages do sound like Steve Hackett is plucking away. But don't go thinking that The WATCH are yet another god-forsaken "G" clone. Rossetti is an extremely talented composer who uses the early GENESIS atmosphere as a filter to express his own art. The musical themes and phrases on this album are so rich and varied, only in jazz (and from a handful of prog acts) have I heard such an array of strange musical phrases so harmoniously brought together. The album opens with the minimalistic “Hills”, featuring Rossetti’s gentle voice floating over piano notes and a little synth in the background – a fitting sleeper for the ‘bomb’ that immediately follows. “Damage Mode” alternately reminds me of the title track from “The Lamb”, “One for the Vine” and “The Cinema Show”, yet it is so uniquely WATCH: a perfect blend of gorgeous melodic prog and muscle-tight rock that can’t be compared to anything. The quiet acoustic guitar passages (reminiscent of Anthony Phillips’) combined with Rossetti’s child-like voice are so poignant they’ll make your heart ache. That is, until the tune explodes with biting guitars riffs, crunching bass and drums, buckets of soaring keyboards and vocals so gripping they’ll tear you apart. The last time I remember having such a rush was when I first heard “The Cinema Show” ("take a little trip back with Father Tiresias" indeed). To top it all, the track contains a killer banksian solo by keyboardist Taglioni that will have every GENESIS fan drooling. “Wonderland” is an intimate tune that weaves its course in a sweet, melancholy way through an exquisite guitar solo by Ettore Salati. In the manner of "Mad Man Moon", it cooks slowly then becomes larger than life. One of the most exquisite and powerful tracks of the album. The early cacophony/buffonery of “Shining Bald Heads” winks at you with airs of a certain “Harold the Barrel”. This is perhaps the least romantic (read ‘Italian’) track of the lot but not to worry: Rossetti’s lyricism always seems to get the better of him and before long, you’ll be treated to some exquisite symphonic flights once more. “Out of the Land” opens on a quiet, reflective theme resembling “The Lamia”, with delicate acoustic guitar notes that mimick the familiar piano from the album “The Lamb”. After a brief hyatus, the bass, organ and percussion roll in and... wham! The doors fly wide open to reveal yet another tapestry of majestic, spine-tingling keyboard passages. With heavy bass and organ throbs à la Keith Emerson, “Goddess” begins as a head banger but soon takes flight with rolling drums, a wonderful chorus and an incredible array of new colourful themes and time signatures. With cahotic passages not unlike the intro to “Watcher of the Skies”, it alternately thrusts the listener into a rhythmic frenzy then wraps him up with superb, mellow symphonic passages – a pattern I seem to regognize more and more as I keep listening to the album. Gosh, this track is so jam-packed with musical themes, I’ve known entire albums that boasted less than you’ll find on this single track. “Deeper Still” is yet another exquisite piece of sweet melancholy where Rossetti’s haunting, layered vocals gently hover over a delicate acoustic theme. (Are you taking notes, Mr. Rutherford?) The closing title track, “Vacuum”, is the darkest and most poignant of the lot. It is so powerful it’s almost frightening. The violence of certain passages (including Rossetti’s vocals), the throbbing bass, the foreboding drums, the menacing organ and the eerie synths alongwith the portentous fury of the theme is so deeply troubling it caught me unawares – I honestly didn’t expect such disturbing moments from Rossetti’s pen. Let’s just say that music is sometimes the best medium for expressing certain kinds of emotions and that Rossetti took full advantage of it. His vocal performance is simply staggering on this one. This is a very, very powerful stuff that hits you smack in the gut – you’ll excuse my vocabulary but I can’t think of a gentler way of describing what this music does to me. The track also showcases the finest moments from everyone involved and is proof that Rossetti is indeed in the hands of a highly capable crew. Whether you are familiar with THE WATCH’s material or not, you can’t help but be impressed by the outstanding penmanship, the charismatic delivery and the fine musicianship displayed on “Vacuum”. There is not one wasted note, not one dead moment on the entire album. "Vacuum": a true jewel of progressive sound and lyricism, an album you’ll be rediscovering every time you hear it. GENESIS is dead: long live THE WATCH !!! "

The Watch - Vacuum

- Publisher: David Parker (Burlington, Vermont - United States)

- Link: http://www.amazon.com/gp/cdp/member-reviews/A39CLUEZN0XIPY/102-8250687-5664962?ie=UTF8&display=public&page=3

" If you are into Genesis-style progressive bands, this is the real deal - an Italian five-piece with a singer that sounds exactly like a young Peter Gabriel, playing complex arrangements that sound like Gabriel-era Genesis. Yeah, I know all prog bands fall into three categories: Genesis-like, Pink Floyd-like and Yes-like. But within the familiarity of this bands' sound lies the one thing that so many of these clones do not possess: songwriting talent, melodic sensibilities and vision! No overdone chops and "I'm-a-schooled -musician!" noodling here - just great music, with a singer who actually does perform the role of leader, guiding the ever-shifting arrangements away from the self-parody that so many progressive groups today fall into. One reviewer said this was "the album that Genesis never made". While I won't go that far, it is still one of the best this often-boring genre has to offer. "

	The Watch - Vacuum
	- Publisher: David Parker (Burlington, Vermont - United States)
	- Link: http://www.amazon.com/gp/cdp/member-reviews/A39CLUEZN0XIPY/102-8250687-5664962?ie=UTF8&display=public&page=3
	" If you are into Genesis-style progressive bands, this is the real deal - an Italian five-piece with a singer that sounds exactly like a young Peter Gabriel, playing complex arrangements that sound like Gabriel-era Genesis. Yeah, I know all prog bands fall into three categories: Genesis-like, Pink Floyd-like and Yes-like. But within the familiarity of this bands' sound lies the one thing that so many of these clones do not possess: songwriting talent, melodic sensibilities and vision! No overdone chops and "I'm-a-schooled -musician!" noodling here - just great music, with a singer who actually does perform the role of leader, guiding the ever-shifting arrangements away from the self-parody that so many progressive groups today fall into. One reviewer said this was "the album that Genesis never made". While I won't go that far, it is still one of the best this often-boring genre has to offer. "

The Watch - Vacuum

- Publisher: Kirk Lott

- Link: http://www.amazon.com/gp/cdp/member-reviews/A1FPJ1FIQ1752P/102-8250687-5664962?ie=UTF8&display=public&page=5

" If you like Gabriel-era Genesis, this album is for you. Lots of mellotron and organs, tasteful guitars, and terrific & tricky time signatures and tempo changes. And while so many newer prog bands suffer from weak singing, The Watch features awesome lead vocals that are indeed very similar to Peter Gabriel. As an added plus, compared with early Genesis, the music is much better recorded, and it packs a satisfying dramatic punch - the music here leans toward the heavier side. The best music of its kind since Citizen Cains' "Somewhere But Yesterday". Highly recommended. "

	The Watch - Vacuum
	- Publisher: Kirk Lott
	- Link: http://www.amazon.com/gp/cdp/member-reviews/A1FPJ1FIQ1752P/102-8250687-5664962?ie=UTF8&display=public&page=5
	" If you like Gabriel-era Genesis, this album is for you. Lots of mellotron and organs, tasteful guitars, and terrific & tricky time signatures and tempo changes. And while so many newer prog bands suffer from weak singing, The Watch features awesome lead vocals that are indeed very similar to Peter Gabriel. As an added plus, compared with early Genesis, the music is much better recorded, and it packs a satisfying dramatic punch - the music here leans toward the heavier side. The best music of its kind since Citizen Cains' "Somewhere But Yesterday". Highly recommended. "

The Watch - Vacuum

- Publisher: Rate Your Music - Hibou

- Link: http://rateyourmusic.com/release/album/the_watch/vacuum/

" Well, well... there must be a prog god somewhere because I've just found perfection in the latest album from The WATCH. After three decades of prog sampling, I still find it amazing that what passes between my two ears can reach me so deeply as to melt my innards the way this album does. Vacuum is a killer album, a work of stellar magnitude obviously created most painstakingly, with love and utmost professionalism. It is altogether exhilarating, disturbing, entrancing, profoundly moving and symphonic to the core. An incredible blend of passionate energy and emotion that consistently induce the goosebumps and legendary lump in the throat so familiar to CAMEL, ARENA and GENESIS lovers. We are talking Nursery Cryme, Foxtrot and Selling England by the Pound caliber material here. An album that features (among so many other goodies) keyboard solos and guitar passages that would not only make Tony Banks and Steve Hackett pale with envy, but will have every GENESIS fan drooling. Ok, Simone Rossetti's vocals do sound like Peter Gabriel's; the keyboard solos do feel like they came straight out of Tony Bank's head; and the lead guitar does sound like Steve Hackett is plucking away. But don't go thinking that The WATCH are yet another god-forsaken "G" clone. Rossetti is an extremely talented composer who uses the early GENESIS atmosphere as a filter to express his own art. His musical themes and phrases on Vacuum are so rich and varied, only in jazz (and from a handful of prog acts) have I heard such clever and moving musical phrases so harmoniously brought together. Indeed, I've known entire albums that boasted less themes than you’ll find on any one of these tracks. And you won't find a single wasted beat or note on this cd, which continuously thrusts the listener into rhythmic frenzies then wraps him up with superb, mellow symphonic passages that are simply to die for. And what a vocal performance by Rossetti himself - simply staggering. Vacuum is a true jewel of 70's progressive sound and lyricism served up à la moderne. An album that provides an insight as to what GENESIS would have sounded like had they pursued their art as a 5-man unit. "

	The Watch - Vacuum
	- Publisher: Rate Your Music - Hibou
	- Link: http://rateyourmusic.com/release/album/the_watch/vacuum/
	" Well, well... there must be a prog god somewhere because I've just found perfection in the latest album from The WATCH. After three decades of prog sampling, I still find it amazing that what passes between my two ears can reach me so deeply as to melt my innards the way this album does. Vacuum is a killer album, a work of stellar magnitude obviously created most painstakingly, with love and utmost professionalism. It is altogether exhilarating, disturbing, entrancing, profoundly moving and symphonic to the core. An incredible blend of passionate energy and emotion that consistently induce the goosebumps and legendary lump in the throat so familiar to CAMEL, ARENA and GENESIS lovers. We are talking Nursery Cryme, Foxtrot and Selling England by the Pound caliber material here. An album that features (among so many other goodies) keyboard solos and guitar passages that would not only make Tony Banks and Steve Hackett pale with envy, but will have every GENESIS fan drooling. Ok, Simone Rossetti's vocals do sound like Peter Gabriel's; the keyboard solos do feel like they came straight out of Tony Bank's head; and the lead guitar does sound like Steve Hackett is plucking away. But don't go thinking that The WATCH are yet another god-forsaken "G" clone. Rossetti is an extremely talented composer who uses the early GENESIS atmosphere as a filter to express his own art. His musical themes and phrases on Vacuum are so rich and varied, only in jazz (and from a handful of prog acts) have I heard such clever and moving musical phrases so harmoniously brought together. Indeed, I've known entire albums that boasted less themes than you’ll find on any one of these tracks. And you won't find a single wasted beat or note on this cd, which continuously thrusts the listener into rhythmic frenzies then wraps him up with superb, mellow symphonic passages that are simply to die for. And what a vocal performance by Rossetti himself - simply staggering. Vacuum is a true jewel of 70's progressive sound and lyricism served up à la moderne. An album that provides an insight as to what GENESIS would have sounded like had they pursued their art as a 5-man unit. "

The Watch - Vacuum

- Publisher: Prog Archives - Gatot Widayanto

- Link: http://www.progarchives.com/Review.asp?id=43392

" During the years when I enjoyed Genesis in the seventies I got no problem when Peter Gabriel left the band (don’t get me wrong, I love Gabriel’s theatrical singing style and voice quality) and Genesis continued with excellent follow-up “A Trick of The Tail” with Phil Collins as front man. I did get problem only when Hackett left the band after “Wind and Wuthering” because the music direction changed. So, basically I love Genesis because of the music especially those with Hackett as guitarist and contributing songwriter in the band. When I knew bands like Citizen Cain and The Night Watch in the nineties I was so happy that the early Genesis sounds were still alive in the nineties. Simone ROSSETTI, the front man and excellent flautist of The Night Watch, went on with his new band The WATCH. What’s unique here that the vocal quality of Simone Rossetti is very similar to Peter Gabriel and is better than Cyrus of Citizen Cain. This album gives me full satisfaction as I have been so longing for the music which is similar to early Genesis. In a nutshell, “Vacuum” is what the Genesis would sound like if Hackett did not quit and Gabriel rejoined the band. It’s like the follow-up album of “The Lamb Lies Down on Broadway” released right after “Wind and Wuthering”. What a great idea, isn’t it? Let’s have a look the album in detail …

Hills (1:26)
Opens the album featuring accentuated vocal by Rossetti accompanied with electric piano work by Gabriele Manzini augmented with soft howling guitar by Ettore Salati in the vein of Hackett. Even though this short prolog track is performed without drum and bass but it’s energetic in style and it sets the whole atmosphere of the album. Great opening. This track continues seamlessly to the next track.

Damage Mode (7:17)
Starts off with a full blast of the music with all players contribute with their own instruments. The opening part is really upbeat with riffs and dominated by powerful mellotron sounds. The music turns into slower beat with intersecting powerful vocal and combined again with the mellotron work. Keyboard then follows up with a background music to form a symphonic nuance. Rossetti performs his flute work on quiet passage with guitar fills reminiscent of early Genesis music. The ending part is really amazing: mellotron and electric guitar solo give a stunning sound. It’s a wonderful and masterpiece composition.

Wonderland (7:05)
Begins with powerful Gabriel-like voice by Rossetti “Bright lights and street signs wonderland …” accompanied with soft keyboard sound in slow tempo. The music moves steadily into an uplifting mood and I especially like when Rossetti sings “Chain reaction on the razor’s edge ..”. The guitar work this time is played with different style when the vocalist sings but it returns back to typical Genesis guitar fills especially during quiet passages with vocal. Keyboard and mellotron give symphonic nuance.

Shining Bald Heads (5:55)
Brings the music in medium/fast tempo with dynamic singing style combined with rhythm section comprising keyboard and guitar. Some segments of keyboard section during singing verse sounds like “The Lamb Lies Down on Broadway” (the song, not the album). The band puts a variation especially during piano and vocal line that reminds me to Supertramp’s style. The song is rich in style and composition.

Out Of The Land (6:05)
Starts with a wonderful combination of voice line and guitar fills augmented with a very soft mellotron sound, continued with keyboard work. Halfway through the band performs this track in mellow style and in the middle of the track the music moves in crescendo and brings the music into a faster upbeat tempo with soaring keyboard, drums and electric guitar solo.

Goddess (5:48)
Is an upbeat track with riffs and organ-drone work. The composition reminds me to the music style of Genesis “Nursery Cryme”. It has inventive keyboard work combined with guitar and dynamic drumming. The ending part of this track sees beautiful arrangement integrating the key instruments: keyboards, guitar with vocal.

Deeper Still (3:24)
Is a mellow track where some voice lines are done with distant vocal style. Having enjoyed with some complex arrangements, it’s good having this track featured at seventh track as it provides a musical break. Not only that providing musical break, this song is melodic and for my personal taste it’s much better than having “More Fool Me” in Genesis’ “Selling England By The Pound” album.

The Vacuum (10:59)
Concludes the album with multi-mood song combining mellow style at the opening accompanied with guitar fills and segments with upbeat / high register notes. The music immediately moves into higher register notes through the voice of Rossetti. This last song contains excellent composition which integrates soaring organ sounds, dynamic drum and powerful vocal. The music turns into fast tempo with long sustain keyboard followed with wonderful guitar work and dazzling drum by Roberto Leoni. Vocal singing style seems like a theatrical acts with excellent punctuation strengthen with inventive organ / keyboard work.

What can I say about this album? Wonderful. Definitely, the band is heavily influenced by early Genesis – plus a bit influence from King Crimson – music with lead singer voice quality and power that are identical with Peter Gabriel. But The Watch music is not something called as derivative as their compositions are mostly different and not ripping off from the older band; especially when I look the album track by track and segment by segment. Some compositions may have similar structures but the overall composition is different. For me personally, I’m glad that now I have at least three bands which still carry the torch of early Genesis sound: Citizen Cain especially through “Somewhere But Yesterday” album, Hamadryad especially the new album “Safe in Conformity”. How can I recommend you, my dear readers of this site? It depends. If you are early Genesis music lovers and you don’t mind other band carries the torch of early Genesis music style then this album is really for you. Otherwise, you might say that this is a rip off. Keep on proggin’ ..! "

	The Watch - Vacuum
	- Publisher: Prog Archives - Gatot Widayanto
	- Link: http://www.progarchives.com/Review.asp?id=43392
	" During the years when I enjoyed Genesis in the seventies I got no problem when Peter Gabriel left the band (don’t get me wrong, I love Gabriel’s theatrical singing style and voice quality) and Genesis continued with excellent follow-up “A Trick of The Tail” with Phil Collins as front man. I did get problem only when Hackett left the band after “Wind and Wuthering” because the music direction changed. So, basically I love Genesis because of the music especially those with Hackett as guitarist and contributing songwriter in the band. When I knew bands like Citizen Cain and The Night Watch in the nineties I was so happy that the early Genesis sounds were still alive in the nineties. Simone ROSSETTI, the front man and excellent flautist of The Night Watch, went on with his new band The WATCH. What’s unique here that the vocal quality of Simone Rossetti is very similar to Peter Gabriel and is better than Cyrus of Citizen Cain. This album gives me full satisfaction as I have been so longing for the music which is similar to early Genesis. In a nutshell, “Vacuum” is what the Genesis would sound like if Hackett did not quit and Gabriel rejoined the band. It’s like the follow-up album of “The Lamb Lies Down on Broadway” released right after “Wind and Wuthering”. What a great idea, isn’t it? Let’s have a look the album in detail … Hills (1:26) Opens the album featuring accentuated vocal by Rossetti accompanied with electric piano work by Gabriele Manzini augmented with soft howling guitar by Ettore Salati in the vein of Hackett. Even though this short prolog track is performed without drum and bass but it’s energetic in style and it sets the whole atmosphere of the album. Great opening. This track continues seamlessly to the next track. Damage Mode (7:17) Starts off with a full blast of the music with all players contribute with their own instruments. The opening part is really upbeat with riffs and dominated by powerful mellotron sounds. The music turns into slower beat with intersecting powerful vocal and combined again with the mellotron work. Keyboard then follows up with a background music to form a symphonic nuance. Rossetti performs his flute work on quiet passage with guitar fills reminiscent of early Genesis music. The ending part is really amazing: mellotron and electric guitar solo give a stunning sound. It’s a wonderful and masterpiece composition. Wonderland (7:05) Begins with powerful Gabriel-like voice by Rossetti “Bright lights and street signs wonderland …” accompanied with soft keyboard sound in slow tempo. The music moves steadily into an uplifting mood and I especially like when Rossetti sings “Chain reaction on the razor’s edge ..”. The guitar work this time is played with different style when the vocalist sings but it returns back to typical Genesis guitar fills especially during quiet passages with vocal. Keyboard and mellotron give symphonic nuance. Shining Bald Heads (5:55) Brings the music in medium/fast tempo with dynamic singing style combined with rhythm section comprising keyboard and guitar. Some segments of keyboard section during singing verse sounds like “The Lamb Lies Down on Broadway” (the song, not the album). The band puts a variation especially during piano and vocal line that reminds me to Supertramp’s style. The song is rich in style and composition. Out Of The Land (6:05) Starts with a wonderful combination of voice line and guitar fills augmented with a very soft mellotron sound, continued with keyboard work. Halfway through the band performs this track in mellow style and in the middle of the track the music moves in crescendo and brings the music into a faster upbeat tempo with soaring keyboard, drums and electric guitar solo. Goddess (5:48) Is an upbeat track with riffs and organ-drone work. The composition reminds me to the music style of Genesis “Nursery Cryme”. It has inventive keyboard work combined with guitar and dynamic drumming. The ending part of this track sees beautiful arrangement integrating the key instruments: keyboards, guitar with vocal. Deeper Still (3:24) Is a mellow track where some voice lines are done with distant vocal style. Having enjoyed with some complex arrangements, it’s good having this track featured at seventh track as it provides a musical break. Not only that providing musical break, this song is melodic and for my personal taste it’s much better than having “More Fool Me” in Genesis’ “Selling England By The Pound” album. The Vacuum (10:59) Concludes the album with multi-mood song combining mellow style at the opening accompanied with guitar fills and segments with upbeat / high register notes. The music immediately moves into higher register notes through the voice of Rossetti. This last song contains excellent composition which integrates soaring organ sounds, dynamic drum and powerful vocal. The music turns into fast tempo with long sustain keyboard followed with wonderful guitar work and dazzling drum by Roberto Leoni. Vocal singing style seems like a theatrical acts with excellent punctuation strengthen with inventive organ / keyboard work. What can I say about this album? Wonderful. Definitely, the band is heavily influenced by early Genesis – plus a bit influence from King Crimson – music with lead singer voice quality and power that are identical with Peter Gabriel. But The Watch music is not something called as derivative as their compositions are mostly different and not ripping off from the older band; especially when I look the album track by track and segment by segment. Some compositions may have similar structures but the overall composition is different. For me personally, I’m glad that now I have at least three bands which still carry the torch of early Genesis sound: Citizen Cain especially through “Somewhere But Yesterday” album, Hamadryad especially the new album “Safe in Conformity”. How can I recommend you, my dear readers of this site? It depends. If you are early Genesis music lovers and you don’t mind other band carries the torch of early Genesis music style then this album is really for you. Otherwise, you might say that this is a rip off. Keep on proggin’ ..! "

The Watch - Vacuum

- Publisher: Music Extreme

- Link: http://www.musicextreme.com/cd0409b.htm#t

" The Watch amazes on this album due to their excellent musicianship. And the first thing that will strike you here are the technical skills of this guys The band plays progressive rock with amazing arrangements through all teh songs. The main instrument here is the keyboard that orchestrates everything, while the guitars add energy with riffs and phrases that add even more complexity. As I said, things are complex here but at the same time the songs are not complicated to listen to. The vocals are really good fitting the mood of the songs with a good middle range work (I prefer this type of voices in this style of music). There are some early seventies influences of bands like Yes but taken to a more modern sound,a dding more dynamics and energy to the music. This si pure musicianship and you will have to lsiten to this album over and over again to fully appreciate all the ideas. "

	The Watch - Vacuum
	- Publisher: Music Extreme
	- Link: http://www.musicextreme.com/cd0409b.htm#t
	" The Watch amazes on this album due to their excellent musicianship. And the first thing that will strike you here are the technical skills of this guys The band plays progressive rock with amazing arrangements through all teh songs. The main instrument here is the keyboard that orchestrates everything, while the guitars add energy with riffs and phrases that add even more complexity. As I said, things are complex here but at the same time the songs are not complicated to listen to. The vocals are really good fitting the mood of the songs with a good middle range work (I prefer this type of voices in this style of music). There are some early seventies influences of bands like Yes but taken to a more modern sound,a dding more dynamics and energy to the music. This si pure musicianship and you will have to lsiten to this album over and over again to fully appreciate all the ideas. "

The Watch - Vacuum

- Publisher: DPRP - Bob Mulvey

- Link: http://www.dprp.net/reviews/200512.html#watch

" The burning question here is - do you like Genesis? Or more specifically the classic Gabriel period Genesis? If the answer to this question is no or not really, I suggest you move on to the next review. The second all important question would be - do you believe that it is possible for a band to recreate Genesis' music so closely without it sounding like plagiarism? Again if the answer is no or unsure, press on to the next article. Still with us? Good. So for those unfamiliar with The Watch (me included until this album), a stroll around their website will further strengthen the Genesis comparisons. For lurking within the Live Pages are photos of large and elaborate stage settings, theatrical costumes, double neck guitars, vintage keyboards, in fact the full armoury is there. All well and good but tell us something about the band and the music! The Watch comprise of five gifted musicians starting with the tight and dynamic rhythm section of Roberto Leoni (drums and percussion) and Marco Schembri (bass, electric and acoustic guitars), who handle the changes in tempo and dynamic with great precision. Sergio Taglioni displays a multitude of vintage keyboard sounds including Mellotron and Moog synths, organ and piano. The combination of Taglioni's technique and these wonderful sounds recall Tony Banks at his creative best. Ettore Salati takes on the guitar mantle with an array of electric and acoustic six and twelve string guitars as well as producing the bottom end rumble with the bass pedals. Perhaps a little under used certainly in the solo department, however the blending of guitar and synths is wonderful. Certainly the textural side of his playing is undoubted. Last but not least is vocalist Simone Rossetti, who's voice so befits this music. Like Gabriel he drifts effortlessly from the stronger "grittier" vocal sections to the softer falsetto tones with consummate ease. These subtle variations in timbre are nicely complemented by the highs and lows produced by the band. Oh yeah, and to cap it all Simone Rossetti plays the flute. I was not surprised to learn that The Watch had performed as a Genesis tribute band, this level of understanding would certainly require the painstaking process of learning many tracks from the bottom upwards. So under the name of The Night Watch the band paid their dues and in fact released their first album Twilight under this name. Not having heard the first two albums it is difficult to determine what progress the band have made, but on the evidence of Vacuum, I would hazard a guess at substantial. To undertake a track by track overview I fear would be nigh on impossible with this level of complex arrangements, ever changing moods and tempo changes - best think Genesis at their most complex and inventive and you have Vacuum. I would add that certainly The Watch have benefited from the 30 year (plus) time span that has elapsed and therefore the production values are very good. Along with the production values is the meticulous attention to detail, allowing the band to capture the innumerate musical, lyrical and melodic nuances that go to make this a fascinating and studied album. I suspect that many staunch Genesis fans might well be sceptical or even opposed to The Watch and to this album, deeming it as mere plagiarism, much as they did with the advent of 80's neo-proggers Marillion et al. But as it was then, each new generation of progressive music lovers need their own heroes. However unlike their 80's counterparts who saluted the masters, The Watch have endorsed and embodied the music, unashamedly recreating "new" music very much in the style of Genesis. Whether or not Vacuum will stand alongside such revered gems as Nursery Cryme, Foxtrot or Selling England By The Pound only time will tell. I can tell you though, as with the previously mentioned albums, each listening of Vacuum reveals something new and interesting - and a familiar growing kudos is emerging. With the chances of a Genesis reformation being as likely as me seeing in the next Millennium, this may well be as close as you will ever get to rekindling the music of the classic Genesis period. Granted you may be fortunate enough to see one of the ever growing tribute bands - some excellent like The Musical Box, but there will be no "new" material on offer. Therefore if you have an open mind and are a fan of classic Genesis, then I can recommend you buy this album unreservedly. Conclusion: 8 out of 10 "

	The Watch - Vacuum
	- Publisher: DPRP - Bob Mulvey
	- Link: http://www.dprp.net/reviews/200512.html#watch
	" The burning question here is - do you like Genesis? Or more specifically the classic Gabriel period Genesis? If the answer to this question is no or not really, I suggest you move on to the next review. The second all important question would be - do you believe that it is possible for a band to recreate Genesis' music so closely without it sounding like plagiarism? Again if the answer is no or unsure, press on to the next article. Still with us? Good. So for those unfamiliar with The Watch (me included until this album), a stroll around their website will further strengthen the Genesis comparisons. For lurking within the Live Pages are photos of large and elaborate stage settings, theatrical costumes, double neck guitars, vintage keyboards, in fact the full armoury is there. All well and good but tell us something about the band and the music! The Watch comprise of five gifted musicians starting with the tight and dynamic rhythm section of Roberto Leoni (drums and percussion) and Marco Schembri (bass, electric and acoustic guitars), who handle the changes in tempo and dynamic with great precision. Sergio Taglioni displays a multitude of vintage keyboard sounds including Mellotron and Moog synths, organ and piano. The combination of Taglioni's technique and these wonderful sounds recall Tony Banks at his creative best. Ettore Salati takes on the guitar mantle with an array of electric and acoustic six and twelve string guitars as well as producing the bottom end rumble with the bass pedals. Perhaps a little under used certainly in the solo department, however the blending of guitar and synths is wonderful. Certainly the textural side of his playing is undoubted. Last but not least is vocalist Simone Rossetti, who's voice so befits this music. Like Gabriel he drifts effortlessly from the stronger "grittier" vocal sections to the softer falsetto tones with consummate ease. These subtle variations in timbre are nicely complemented by the highs and lows produced by the band. Oh yeah, and to cap it all Simone Rossetti plays the flute. I was not surprised to learn that The Watch had performed as a Genesis tribute band, this level of understanding would certainly require the painstaking process of learning many tracks from the bottom upwards. So under the name of The Night Watch the band paid their dues and in fact released their first album Twilight under this name. Not having heard the first two albums it is difficult to determine what progress the band have made, but on the evidence of Vacuum, I would hazard a guess at substantial. To undertake a track by track overview I fear would be nigh on impossible with this level of complex arrangements, ever changing moods and tempo changes - best think Genesis at their most complex and inventive and you have Vacuum. I would add that certainly The Watch have benefited from the 30 year (plus) time span that has elapsed and therefore the production values are very good. Along with the production values is the meticulous attention to detail, allowing the band to capture the innumerate musical, lyrical and melodic nuances that go to make this a fascinating and studied album. I suspect that many staunch Genesis fans might well be sceptical or even opposed to The Watch and to this album, deeming it as mere plagiarism, much as they did with the advent of 80's neo-proggers Marillion et al. But as it was then, each new generation of progressive music lovers need their own heroes. However unlike their 80's counterparts who saluted the masters, The Watch have endorsed and embodied the music, unashamedly recreating "new" music very much in the style of Genesis. Whether or not Vacuum will stand alongside such revered gems as Nursery Cryme, Foxtrot or Selling England By The Pound only time will tell. I can tell you though, as with the previously mentioned albums, each listening of Vacuum reveals something new and interesting - and a familiar growing kudos is emerging. With the chances of a Genesis reformation being as likely as me seeing in the next Millennium, this may well be as close as you will ever get to rekindling the music of the classic Genesis period. Granted you may be fortunate enough to see one of the ever growing tribute bands - some excellent like The Musical Box, but there will be no "new" material on offer. Therefore if you have an open mind and are a fan of classic Genesis, then I can recommend you buy this album unreservedly. Conclusion: 8 out of 10 "

The Watch - Vacuum

- Publisher: Progress Rec - Hansi Cross

- Link: http://www.progressrec.com/webshop/reviews-tuvw.html

" Despite of the high Genesis clone factor, I truly enjoyed the first album from this 70's sounding Italian outfit. On their debut album "Ghost" we heard a band who easily was described as "If Peter Gabriel never left Genesis and if they continued playing symphonic rock which grown darker as time went by it would most possibly sounded like this". The Watch was at that point a true Genesis clone who, shamelessly, borrowed chord changes and melodies from the aforementioned band. They even took vocal lines from the "Wind and Wuthering period" and transformed them into how it could have sounded if they had been written and performed during the "Foxtrot era". On top of that The Watch has a flute and tambourine playing lead vocalist who sounds (and feels) like a young Peter Gabriel. "Ghost" is one of the albums to which the word "clone" truly applies and, of course, it could have been a ridiculous and embarrassing fiasco. But it was not so because these guys do it with 100% love, a vast portion of talent and for a debut delivered the absolutely best "Genesis album that Genesis never made". And I, who am not very often into clone bands, definitely loved it and it was with great interest I received the follow up named "Vacuum". Would it be a second clone album? If so, could there possibly any more to "steal"? Or had they actually managed to draw their music further into something more of their own? And, if so, would I then like it? The answer to that is quite interesting. They have now gone from being a clone to being a band who makes music in the Genesis tradition and chord changes are no longer identical with how Genesis themselves wrote. They are in the manor of what Genesis' compositions very well might have developed into if they had chosen a different direction and followed a more symphonic line rather than blending their music with more and more pop elements. And the way in which The Watch does it is not only interesting, it is also very emotional and definitely to my liking. It has a considerable amount of dynamic interplay between punchy majestic pompous parts and enchanting atmospheric moments moving up and down on an emotional scale ranging from darker to more light feelings. It is touching and creates an emotional impact all the way throughout. "Vacuum" is so damn good that I even doubt that Genesis themselves could manage to do such a brilliant album even if they decided to reform and again create symphonic rock music (but it would be very nice to be proven wrong on that statement!). "

	The Watch - Vacuum
	- Publisher: Progress Rec - Hansi Cross
	- Link: http://www.progressrec.com/webshop/reviews-tuvw.html
	" Despite of the high Genesis clone factor, I truly enjoyed the first album from this 70's sounding Italian outfit. On their debut album "Ghost" we heard a band who easily was described as "If Peter Gabriel never left Genesis and if they continued playing symphonic rock which grown darker as time went by it would most possibly sounded like this". The Watch was at that point a true Genesis clone who, shamelessly, borrowed chord changes and melodies from the aforementioned band. They even took vocal lines from the "Wind and Wuthering period" and transformed them into how it could have sounded if they had been written and performed during the "Foxtrot era". On top of that The Watch has a flute and tambourine playing lead vocalist who sounds (and feels) like a young Peter Gabriel. "Ghost" is one of the albums to which the word "clone" truly applies and, of course, it could have been a ridiculous and embarrassing fiasco. But it was not so because these guys do it with 100% love, a vast portion of talent and for a debut delivered the absolutely best "Genesis album that Genesis never made". And I, who am not very often into clone bands, definitely loved it and it was with great interest I received the follow up named "Vacuum". Would it be a second clone album? If so, could there possibly any more to "steal"? Or had they actually managed to draw their music further into something more of their own? And, if so, would I then like it? The answer to that is quite interesting. They have now gone from being a clone to being a band who makes music in the Genesis tradition and chord changes are no longer identical with how Genesis themselves wrote. They are in the manor of what Genesis' compositions very well might have developed into if they had chosen a different direction and followed a more symphonic line rather than blending their music with more and more pop elements. And the way in which The Watch does it is not only interesting, it is also very emotional and definitely to my liking. It has a considerable amount of dynamic interplay between punchy majestic pompous parts and enchanting atmospheric moments moving up and down on an emotional scale ranging from darker to more light feelings. It is touching and creates an emotional impact all the way throughout. "Vacuum" is so damn good that I even doubt that Genesis themselves could manage to do such a brilliant album even if they decided to reform and again create symphonic rock music (but it would be very nice to be proven wrong on that statement!). "

The Watch - Vacuum

- Publisher: Progressive World - John "Bo Bo" Bollenberg

- Link: http://www.progressiveworld.net/watchthe2.html

" Looking at the huge success the Canadian band The Musical Box has by simply copying vintage Genesis material, one most certainly can’t say the few bands who craft their own compositions in the same way Genesis did in the seventies are committing a crime! I very much understand that there are people out there who still feel Trespass, Nursery Crime and Foxtrot were the best albums ever made, so when a young band delivers brand new original material in the same style, I’m sure many, many Genesis fans worldwide will embrace this with open arms. Let’s be honest here: without forcing himself, singer Simone Rossetti simply sounds like a very young Peter Gabriel whilst the rest of the band surely have studied the Genesis arrangements and sounds to the fullest in order to create a kind of music that gets ever so close to the "real" Genesis from the seventies. If you listen to the keyboards, it’s as if you are listening to Tony Banks; if you listen to the guitar, you see Hackett in front of your eyes; when you hear the drums, you find yourself in Phil Collins territory, whilst the main ingredient remains the fantastic Simone Rossetti, who even plays some flute, making "Damage Mode" sound like an outtake from the aforementioned three albums. His voice even contains that slight harshness that made Gabriel’s voice so typical and original. Towards the end, Ettore’s guitar briefly sounds a bit like that of Gary Chandler, adding a slightly more direct approach to the whole. Contrary to a lot of contemporary prog acts, The Watch has the power to include catchy melodies within their music, which of course is a very strong point. I’m referring to the end section of "Wonderland" here, which for my liking could go on and on forever! I’m convinced that when Genesis freaks listen to "Shining Bald Heads" (great title by the way!), they will come across lots of elements they have heard before in the impressive Genesis output. Personally, I can’t really point the exact finger on it, but the resemblances surely are there. "Out Of The Land" sees guitar fusing with synths forming the backbone for Simone’s superb singing. Again the chorus is mighty strong, enabling listeners to sing along after only hearing this one for a couple of times. This for me proves the quality of the compositions more than anything else. "Goddess" is probably the most energetic of the tracks, containing some superb drumming as well as great guitar and keyboard work, featuring powerful mellotron that blends ever so well with the guitar. It becomes boring when once again I have to say that the quality of the melody is again outstanding during the shorter "Deeper Still." In fact, throughout Vacuum, it sounds like a lot of time has gone into composing the right kind of music so as to still sound like authentic vintage Genesis, but without bluntly copying their music. All The Watch has done is adapt the Genesis style, whilst remaining loyal to their own songs. Although large chunks of the title track once again sound like long forgotten recordings from the Charterhouse boys, the hard riffs, which almost sound like Zeppelin material, most certainly put a firm original mark on the whole. The ending of the second part of the title track, and also of the entire album, is a little abrupt and strange, as you will hear for yourself. Throughout history there have been painters and writers who delivered their own original work based on that of others before them. If you look at the current charts, then most of the songs are either covers or songs that one way or another are largely based on existing music. The Watch simply delivers original music, but with the vintage seventies Genesis atmosphere as main ingredient. Since the original Genesis came to life, all over the world many bands became inspired by them and introduced Genesis flavours and elements into their music. Based on the many bands there are, spread over the last thirty years, I can clearly say The Watch is the absolute best, with Vacuum for sure being their absolute highlight. In a recent interview Mike Rutherford said how much he enjoyed seeing The Musical Box, who for his personal taste should’ve played a little louder. Loud or soft, if Mike gets the opportunity to hear Vacuum, he will be ever so impressed. Pleased to hear that not only the music but also the "joie de vivre" and the original Genesis atmosphere not only have survived, but have become part of the lifestyle of a bunch of enthusiastic Italian youngsters. Italy, where many, many years ago it all began for the one and only, real, Genesis. "

	The Watch - Vacuum
	- Publisher: Progressive World - John "Bo Bo" Bollenberg
	- Link: http://www.progressiveworld.net/watchthe2.html
	" Looking at the huge success the Canadian band The Musical Box has by simply copying vintage Genesis material, one most certainly can’t say the few bands who craft their own compositions in the same way Genesis did in the seventies are committing a crime! I very much understand that there are people out there who still feel Trespass, Nursery Crime and Foxtrot were the best albums ever made, so when a young band delivers brand new original material in the same style, I’m sure many, many Genesis fans worldwide will embrace this with open arms. Let’s be honest here: without forcing himself, singer Simone Rossetti simply sounds like a very young Peter Gabriel whilst the rest of the band surely have studied the Genesis arrangements and sounds to the fullest in order to create a kind of music that gets ever so close to the "real" Genesis from the seventies. If you listen to the keyboards, it’s as if you are listening to Tony Banks; if you listen to the guitar, you see Hackett in front of your eyes; when you hear the drums, you find yourself in Phil Collins territory, whilst the main ingredient remains the fantastic Simone Rossetti, who even plays some flute, making "Damage Mode" sound like an outtake from the aforementioned three albums. His voice even contains that slight harshness that made Gabriel’s voice so typical and original. Towards the end, Ettore’s guitar briefly sounds a bit like that of Gary Chandler, adding a slightly more direct approach to the whole. Contrary to a lot of contemporary prog acts, The Watch has the power to include catchy melodies within their music, which of course is a very strong point. I’m referring to the end section of "Wonderland" here, which for my liking could go on and on forever! I’m convinced that when Genesis freaks listen to "Shining Bald Heads" (great title by the way!), they will come across lots of elements they have heard before in the impressive Genesis output. Personally, I can’t really point the exact finger on it, but the resemblances surely are there. "Out Of The Land" sees guitar fusing with synths forming the backbone for Simone’s superb singing. Again the chorus is mighty strong, enabling listeners to sing along after only hearing this one for a couple of times. This for me proves the quality of the compositions more than anything else. "Goddess" is probably the most energetic of the tracks, containing some superb drumming as well as great guitar and keyboard work, featuring powerful mellotron that blends ever so well with the guitar. It becomes boring when once again I have to say that the quality of the melody is again outstanding during the shorter "Deeper Still." In fact, throughout Vacuum, it sounds like a lot of time has gone into composing the right kind of music so as to still sound like authentic vintage Genesis, but without bluntly copying their music. All The Watch has done is adapt the Genesis style, whilst remaining loyal to their own songs. Although large chunks of the title track once again sound like long forgotten recordings from the Charterhouse boys, the hard riffs, which almost sound like Zeppelin material, most certainly put a firm original mark on the whole. The ending of the second part of the title track, and also of the entire album, is a little abrupt and strange, as you will hear for yourself. Throughout history there have been painters and writers who delivered their own original work based on that of others before them. If you look at the current charts, then most of the songs are either covers or songs that one way or another are largely based on existing music. The Watch simply delivers original music, but with the vintage seventies Genesis atmosphere as main ingredient. Since the original Genesis came to life, all over the world many bands became inspired by them and introduced Genesis flavours and elements into their music. Based on the many bands there are, spread over the last thirty years, I can clearly say The Watch is the absolute best, with Vacuum for sure being their absolute highlight. In a recent interview Mike Rutherford said how much he enjoyed seeing The Musical Box, who for his personal taste should’ve played a little louder. Loud or soft, if Mike gets the opportunity to hear Vacuum, he will be ever so impressed. Pleased to hear that not only the music but also the "joie de vivre" and the original Genesis atmosphere not only have survived, but have become part of the lifestyle of a bunch of enthusiastic Italian youngsters. Italy, where many, many years ago it all began for the one and only, real, Genesis. "

The Watch - Vacuum

- Publisher: Prog Nose - Claude 'Clayreon' Bosschem (Translated by Jennifer Summer)

- Link: http://www.prog-nose.org/engels/albums_2004/watch_vacuum.htm

" It’s probably never been researched, but it is likely that Genesis is the most imitated band in the prog world. Plackband, Neuschwanstein, The Musical Box and The Genesis Project are just a few groups that name Peter Gabriel and company as their biggest role model. You have to be good to be original in that way. The early material from the band The Watch (‘Ghost’ from 2001 and ‘Twilight’ and ‘Night Watch’ from 1997) was not very convincing. The vocals, especially, didn’t make a big impression on me. But with this latest CD, they solved this problem. The vocals of Rossetti are better than ever and can compete with Gabriel. What is very noticeable on ‘Vacuum’ is the over abundance of keyboards: the mellotrons, Hammonds and other pianos create a whirlwind of sounds, unfortunately at the expense of the guitar. You can hear Ettore here and there and he can really play some fantastic Hackett solos, but there could’ve been more. The somber piano playing on the laid back song, “Hills”, gives you the feeling that you’re listening to a youthful Peter Gabriel. The color of the voice even sounds like his did. The music goes full throttle in “Damage Mode”. You feel like you’re completely in the Lamb zone with the use of melodious prog interchanged with heavy parts. Even more, you’re treated to Rossetti’s flute playing. The mellotron sounds are assured to give goose bumps to every prog fan and there’s a Hackett style intermezzo at the end as dessert. What makes ‘Vacuum’ better than the first three CDs is that The Watch has now found a balance between the complexity of the music and the recognizeability of a song. The track “Wonderland” has an incredibly catchy chorus. But there are consequences for the length of some of the songs. There seems to be no place on this album for epics such as “Firth of Fifth”. “Shining Bald Heads” is the outsider. Apart from the usual influences, other references come to mind, such as Kayak, 10CC (even Act…listen to the piano) and E,L & P. It’s a very interesting song and proves that the band can branch out into other directions. “Out of the Lands” starts off with very calm singing accompanied by an acoustic guitar and a synthesizer. Soon after that, the other instruments chime in and it then becomes the usual Watch type song. There’s heavy drumming throughout the whole album. The sensitive play on the hi-hats and cymbals is fantastic. “Goddess” is a relatively short song. It has lots of tempo changes, twists and turns, a memorable chorus and excellent keyboard playing (Wakeman, Emerson). This song is one of the high points on ‘Vacuum’. The melodramatic “Deeper Still” is followed by the title track. It’s a perfect synthesis of all what has been mentioned above. The Watch still follows the source of their inspiration, but it’s certainly not a copy of it. This album exhausts its strength through the use of keyboards and vocals. They definitely demanded their leading role on the CD. I bet that the other instruments will be spotlighted on the next album and that The Watch will gain its own reputation. This album is a pleasant surprise for me. "

	The Watch - Vacuum
	- Publisher: Prog Nose - Claude 'Clayreon' Bosschem (Translated by Jennifer Summer)
	- Link: http://www.prog-nose.org/engels/albums_2004/watch_vacuum.htm
	" It’s probably never been researched, but it is likely that Genesis is the most imitated band in the prog world. Plackband, Neuschwanstein, The Musical Box and The Genesis Project are just a few groups that name Peter Gabriel and company as their biggest role model. You have to be good to be original in that way. The early material from the band The Watch (‘Ghost’ from 2001 and ‘Twilight’ and ‘Night Watch’ from 1997) was not very convincing. The vocals, especially, didn’t make a big impression on me. But with this latest CD, they solved this problem. The vocals of Rossetti are better than ever and can compete with Gabriel. What is very noticeable on ‘Vacuum’ is the over abundance of keyboards: the mellotrons, Hammonds and other pianos create a whirlwind of sounds, unfortunately at the expense of the guitar. You can hear Ettore here and there and he can really play some fantastic Hackett solos, but there could’ve been more. The somber piano playing on the laid back song, “Hills”, gives you the feeling that you’re listening to a youthful Peter Gabriel. The color of the voice even sounds like his did. The music goes full throttle in “Damage Mode”. You feel like you’re completely in the Lamb zone with the use of melodious prog interchanged with heavy parts. Even more, you’re treated to Rossetti’s flute playing. The mellotron sounds are assured to give goose bumps to every prog fan and there’s a Hackett style intermezzo at the end as dessert. What makes ‘Vacuum’ better than the first three CDs is that The Watch has now found a balance between the complexity of the music and the recognizeability of a song. The track “Wonderland” has an incredibly catchy chorus. But there are consequences for the length of some of the songs. There seems to be no place on this album for epics such as “Firth of Fifth”. “Shining Bald Heads” is the outsider. Apart from the usual influences, other references come to mind, such as Kayak, 10CC (even Act…listen to the piano) and E,L & P. It’s a very interesting song and proves that the band can branch out into other directions. “Out of the Lands” starts off with very calm singing accompanied by an acoustic guitar and a synthesizer. Soon after that, the other instruments chime in and it then becomes the usual Watch type song. There’s heavy drumming throughout the whole album. The sensitive play on the hi-hats and cymbals is fantastic. “Goddess” is a relatively short song. It has lots of tempo changes, twists and turns, a memorable chorus and excellent keyboard playing (Wakeman, Emerson). This song is one of the high points on ‘Vacuum’. The melodramatic “Deeper Still” is followed by the title track. It’s a perfect synthesis of all what has been mentioned above. The Watch still follows the source of their inspiration, but it’s certainly not a copy of it. This album exhausts its strength through the use of keyboards and vocals. They definitely demanded their leading role on the CD. I bet that the other instruments will be spotlighted on the next album and that The Watch will gain its own reputation. This album is a pleasant surprise for me. "

The Watch - Vacuum

- Publisher: Progressive Rock & Progressive Metal

- Link: http://www.progressiverockbr.com/monthjanuarythewatch2005.htm

" After some years, the Italian band The Watch finally returned with new album, more emotive than previous albums, with fantastic instrumental works. The album is wonderfully produced, with rich layers of keyboards, decorated by amazing guitar sounds. The musical style played by the musicians is a Symphonic Progressive Rock, where the sounds from all the instruments become strong and audible, with powerful arrangements. The main highlight are, the impressive vocals by "Simone Rossetti", he has an extraordinary abilities as a singer and also like an actor, basically because of the characteristic sound of his voice, that it is very similar to the vocal tones from Peter Gabriel. In fact The Watch is the band that represents the "Genesis" feeling at the present day, and is a specially work for all Genesis fans, where the songs contain references from memorable albuns as "Selling England By The Pound" and "Foxtrot". Brilliant and an indispensable work, highly recommendable...
After some changes in the line up, the band begins working in a more professional way and in 2001 comes Ghost, whereby the band becomes largely known. The Watch's music seems in some way inspired by artists of 70's period, first of all by Genesis. This is also due to an incredible similarity in Rossetti's vocals that very sound like an early Gabriel. But in the meantime the band shows his own style, alternating a sprinkling of modernity with old sounding atmospheres.
In many interviews the guys have been asked to tell how they could reach that kind of result and the importance of classical music approach in composition but every time they like to say that they simply try to do nice songs and nothing else.
In 2004 November, comes Vacuum, the last Watch effort, in the pure mood of The Watch style, that is soon extremely well reviewed. 8 traks that are already be defined as a future classic indeed. Like done before a particular attention is given also for the production and in the use of original instruments.
In the future plans a live album and a DVD that will catch this incredible band performing his theatrical and unique show on stage. "

	The Watch - Vacuum
	- Publisher: Progressive Rock & Progressive Metal
	- Link: http://www.progressiverockbr.com/monthjanuarythewatch2005.htm
	" After some years, the Italian band The Watch finally returned with new album, more emotive than previous albums, with fantastic instrumental works. The album is wonderfully produced, with rich layers of keyboards, decorated by amazing guitar sounds. The musical style played by the musicians is a Symphonic Progressive Rock, where the sounds from all the instruments become strong and audible, with powerful arrangements. The main highlight are, the impressive vocals by "Simone Rossetti", he has an extraordinary abilities as a singer and also like an actor, basically because of the characteristic sound of his voice, that it is very similar to the vocal tones from Peter Gabriel. In fact The Watch is the band that represents the "Genesis" feeling at the present day, and is a specially work for all Genesis fans, where the songs contain references from memorable albuns as "Selling England By The Pound" and "Foxtrot". Brilliant and an indispensable work, highly recommendable... After some changes in the line up, the band begins working in a more professional way and in 2001 comes Ghost, whereby the band becomes largely known. The Watch's music seems in some way inspired by artists of 70's period, first of all by Genesis. This is also due to an incredible similarity in Rossetti's vocals that very sound like an early Gabriel. But in the meantime the band shows his own style, alternating a sprinkling of modernity with old sounding atmospheres. In many interviews the guys have been asked to tell how they could reach that kind of result and the importance of classical music approach in composition but every time they like to say that they simply try to do nice songs and nothing else. In 2004 November, comes Vacuum, the last Watch effort, in the pure mood of The Watch style, that is soon extremely well reviewed. 8 traks that are already be defined as a future classic indeed. Like done before a particular attention is given also for the production and in the use of original instruments. In the future plans a live album and a DVD that will catch this incredible band performing his theatrical and unique show on stage. "

The Watch - Vacuum

- Publisher: Feedback - UK

" Vacuum' is the third album from Italian progsters The Watch it would be very easy to write a one sentence review of this album which would be most unfair. All the average punter needs to know is that these guys have been listening to 'Trespass', mixed in some 'Nursery Cryme' and possibly 'Selling England By The Pound' and there you have their influences. So we have five guys, not only with a singer who can easily pass for a young Gabriel but in particular a keyboard player who is Tony Banks reincarnated. Some of the shuffles and changes that he comes up with underneath the guitars is the original sound perfectly recreated. Ah, but there is the rub, unlike bands such as Regenesis who see fit only to attempt to reproduce songs note for note, these guys have taken the influences and proudly display them for all to hear but then go off and create something that is very new indeed. Yes they have been influenced dramatically by one group, but for them that is the starting point and none of these songs contain passages that one could say has been lifted from a Genesis song, but rather the stylings and tones are very similar to what that band created thirty years or more ago. In many ways this is refreshing as no-one plays music like this any more if Genesis were going then one could guarantee that they wouldn't sound like this, and Gabriel has long moved on so why shouldn't they? If you enjoy Gabriel-era Genesis then you will love this, so why hesitate? Go and get it! Everyone who has heard this seems to be of the same opinion, this really is a very enjoyable album indeed. "

The Watch

- Publisher: New Gibraltar Encyclopedia of Progressive Rock - Fred Trafton

- Link: http://www.gepr.net/w.html

" There are those who disparage The Watch is "nothing more than a Genesis clone band". They play original compositions, but they sound so much like the old Peter Gabriel era Genesis that you might as well call them a tribute band. Look, I understand that it's traditional for prog fans to turn their noses up at such unoriginal behavior. But I love the old Peter Gabriel era Genesis, and I miss them. So when somebody comes along who can imitate them as perfectly as The Watch, I'm not going to complain. I'm going to enjoy it. These guys are fabulous.
Besides, to hear The Watch's vocalist and frontman Simone Rossetti tell it (in a Progression Magazine interview by John "Bo Bo" Bollenberg), "All of the band loves Genesis , so of course we want to create that kind of atmosphere if we can. But although few people believe us, it all comes naturally. The way we compose and arrange our music results in a '70's-like feel, which gets ever so close to authentic Genesis. We are all very proud of that." Well, if they're just doing what they want to do, and it results in very Genesis-like music that I enjoy, why in the world should I complain about it?
On Ghost, vocalist Simone Rossetti imitates Gabriel's vocal mannerisms with perfection, and even plays flute and wears makeup. The band seems to need three keyboardists to make up for Tony Banks, and these are Gabriele Manzini, Sergio Tagiloni and Gino Menichini, though Menichini seems to be more involved as a sound designer than a player. Their synth soloing, Hammond work and Mellotron chorales sound just like what Banks sounded like circa Nursery Cryme through Selling England By The Pound. Guitarist Valerio Vado imitates Steve Hackett's sustained, soaring, sliding electric guitar style. And so on. The music is compelling in its own right, even where it blatantly echos some particular Genesis tune in some aspect. And they do sometimes break free of the mold for awhile and do something Genesis might have done if only they had progressed in their progressive mode instead of becoming a pop band, and this is great. I thoroughly enjoy Ghost, and recommend it to anyone who likes Genesis and doesn't need everything they hear to be new and different all the time.
For Vacuum, guitarist Vado has been replaced by Ettore Salati. The band here stretches out from their early Genesis sound and into a more modern sound, especially in the recording quality, which has moved from "good" on Ghost to "crystalline clarity" on Vacuum. This coupled with Salati's less Hackettish guitar approach and some digital keyboard timbres mixed with the "vintage" analog keys make them sound a little bit less like Genesis, though there are still plenty of Genesis stylings on this album. "Out of the Land", for instance, has very Lambish chorused arpeggiated guitar and "Taurus pedals" bass with the soft, plaintive Mellotron strings playing behind Rossetti's vocal ... it's nothing if not vintage Genesis. Still, on other parts of the album, the guitar is swallowed up by the symphonic keyboards and you have to really listen to hear it in the mix at all. This isn't a bad thing, it just sounds less Genesis-like, which works well for the songs where they break free of the mold a little. The bottom line is that I think Vacuum is even better than Ghost, and I can recommend it easily "

	The Watch - Vacuum
	- Publisher: Feedback - UK

	" Vacuum' is the third album from Italian progsters The Watch it would be very easy to write a one sentence review of this album which would be most unfair. All the average punter needs to know is that these guys have been listening to 'Trespass', mixed in some 'Nursery Cryme' and possibly 'Selling England By The Pound' and there you have their influences. So we have five guys, not only with a singer who can easily pass for a young Gabriel but in particular a keyboard player who is Tony Banks reincarnated. Some of the shuffles and changes that he comes up with underneath the guitars is the original sound perfectly recreated. Ah, but there is the rub, unlike bands such as Regenesis who see fit only to attempt to reproduce songs note for note, these guys have taken the influences and proudly display them for all to hear but then go off and create something that is very new indeed. Yes they have been influenced dramatically by one group, but for them that is the starting point and none of these songs contain passages that one could say has been lifted from a Genesis song, but rather the stylings and tones are very similar to what that band created thirty years or more ago. In many ways this is refreshing as no-one plays music like this any more if Genesis were going then one could guarantee that they wouldn't sound like this, and Gabriel has long moved on so why shouldn't they? If you enjoy Gabriel-era Genesis then you will love this, so why hesitate? Go and get it! Everyone who has heard this seems to be of the same opinion, this really is a very enjoyable album indeed. "

	The Watch
	- Publisher: New Gibraltar Encyclopedia of Progressive Rock - Fred Trafton
	- Link: http://www.gepr.net/w.html
	" There are those who disparage The Watch is "nothing more than a Genesis clone band". They play original compositions, but they sound so much like the old Peter Gabriel era Genesis that you might as well call them a tribute band. Look, I understand that it's traditional for prog fans to turn their noses up at such unoriginal behavior. But I love the old Peter Gabriel era Genesis, and I miss them. So when somebody comes along who can imitate them as perfectly as The Watch, I'm not going to complain. I'm going to enjoy it. These guys are fabulous. Besides, to hear The Watch's vocalist and frontman Simone Rossetti tell it (in a Progression Magazine interview by John "Bo Bo" Bollenberg), "All of the band loves Genesis , so of course we want to create that kind of atmosphere if we can. But although few people believe us, it all comes naturally. The way we compose and arrange our music results in a '70's-like feel, which gets ever so close to authentic Genesis. We are all very proud of that." Well, if they're just doing what they want to do, and it results in very Genesis-like music that I enjoy, why in the world should I complain about it? On Ghost, vocalist Simone Rossetti imitates Gabriel's vocal mannerisms with perfection, and even plays flute and wears makeup. The band seems to need three keyboardists to make up for Tony Banks, and these are Gabriele Manzini, Sergio Tagiloni and Gino Menichini, though Menichini seems to be more involved as a sound designer than a player. Their synth soloing, Hammond work and Mellotron chorales sound just like what Banks sounded like circa Nursery Cryme through Selling England By The Pound. Guitarist Valerio Vado imitates Steve Hackett's sustained, soaring, sliding electric guitar style. And so on. The music is compelling in its own right, even where it blatantly echos some particular Genesis tune in some aspect. And they do sometimes break free of the mold for awhile and do something Genesis might have done if only they had progressed in their progressive mode instead of becoming a pop band, and this is great. I thoroughly enjoy Ghost, and recommend it to anyone who likes Genesis and doesn't need everything they hear to be new and different all the time. For Vacuum, guitarist Vado has been replaced by Ettore Salati. The band here stretches out from their early Genesis sound and into a more modern sound, especially in the recording quality, which has moved from "good" on Ghost to "crystalline clarity" on Vacuum. This coupled with Salati's less Hackettish guitar approach and some digital keyboard timbres mixed with the "vintage" analog keys make them sound a little bit less like Genesis, though there are still plenty of Genesis stylings on this album. "Out of the Land", for instance, has very Lambish chorused arpeggiated guitar and "Taurus pedals" bass with the soft, plaintive Mellotron strings playing behind Rossetti's vocal ... it's nothing if not vintage Genesis. Still, on other parts of the album, the guitar is swallowed up by the symphonic keyboards and you have to really listen to hear it in the mix at all. This isn't a bad thing, it just sounds less Genesis-like, which works well for the songs where they break free of the mold a little. The bottom line is that I think Vacuum is even better than Ghost, and I can recommend it easily "

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