ROCK PROGRESSIVO ITALIANO

According to the liner notes, the first suite, "Giovane figlia" (Young daughter), was inspired by the figure of a suicidal girl, Serena Zanimacchia, and is dedicated to her memory. It is divided into six parts but, despite its complexity, is well structured and flowing. The first part, "A ritroso" (In reverse), begins with music and lyrics evoking the image of an empty, very particular swing hanging from a tree, a girl floating in the air like a kite without string. Then the music and words take us back in time conjuring up the images of an unexpected pregnancy and of a girl in a hospital fed by syringes and nurses. She feels helpless, as if she were put on trial for her sins and condemned even by her own mother... The following section, "Il giro del cappio" (The turning of the noodle), marks a change of perspective, the atmosphere is calm and reflective, the mood melancholic. The narrator tries to understand the reasons for such a tragic, extreme action. There's pity and mourn, the memories of the deceased girl emerge from the shadows, with all her efforts to change and the sense of impending tragedy that slowly grows. What did they do to her? She lived in darkness even during the day, but who forced her to hang herself, who knitted the fatal rope? The vortex of memories becomes a hurricane in the third section, "Libero pensatore" (Free thinker), where the narrator draws the image of one of his friends and of his brilliant girlfriend, a bit crazy but friendly and tenacious, now lost forever... In the next part, "Quiete apparente" (Apparent quiet), comes back the image of the girl swinging in the air like a kite while the light chases the shadows along the walls at dawn. A short instrumental part, "Impromptu pour S.Z.", leads to the last part, "Lenta discesa all'Averno" (Slow descent to Avernus) which attempts, once again, to investigate the reasons that pushed the unfortunate girl to take her own life. She couldn't overcome her crises, some evil persecuted her like a slithering serpent. What follows is a long, scary journey throughout the holes of the soul, where our hell simmers, a gloomy place that only the wise or the madman dare visit. The last verses of the suite are sung in French by the guest vocalist Simona Angioloni and are taken from a traditional ballad that tells, in a very poetical form, of a terrible family crime. The ballad is "La complainte de la blanche biche", in the past interpreted, among others, by bands such as Malicorne and Tri Yann...

The second suite, "Madre antica" (Ancient mother), is divided into four parts and is dedicated to Bianca Orsi, one of the most important Italian sculptresses and to Sfefano Agnini's father, Gregorio, who during World War II lived in the Po Delta area. Born in Salsomaggiore Terme, Emilia, Bianca Orsi trained in Milan at the Brera Academy of Fine Arts and in the first half of the 1930s frequented artistic and intellectual circles. Later she experienced the horrors of World War II first hand taking part in the Resistance as a partisan relay and a profound trace of that experience remains in her works. The first part of the suite, "Il paese ferito" (The wounded country), describes fake scenes of normality in a country ravaged by war: a little girl playing in the street, an old man smoking tobacco, two lovers kissing passionately, two stray cats on the run... The second part, "Cavanella", takes us in a village of the Po Delta and conjures up the image of the young Bianca walking barefoot on the bloodstained sand while some boys amuse themselves throwing stones with their slingshots at some corpses in uniform floating on the river waters. Mercy seems to be vanishing in war times and violence rules... The third part, "La staffetta" (The relay) depicts Bianca as a partisan messenger in Salsomaggiore Terme. In fact, the most common task for female fighters was the staffetta. The staffete brought or collected weapons and sent messages between the various fighting groups. They were women, in most cases very young, who perfectly knew the territory and moved on foot or by bicycle. The risks they faced were very high... The last part, "Come statua di dolore" (Like a statue of pain) evokes images of the concentration camps in Germany and tells of how Bianca managed to overcome that horror: now her blade cuts into the wood generating statues that recall death, statues of women pierced by pain...

On the whole, an excellent work!

While there are many moody adornments on the silky opener "Sogni Infranti", the arrangement does eventually veer away from the initial Floydian atmosphere into a crosscurrent of conflicting dissonant melodies that certainly add drama so as to herald the rather operatic vocals from Francesco, who seems to be in very good voice, a set of voluminous lungs that are both expressive and effusive. The windy synths, the churning organ, and the tense mellotron seek only to follow the ardent bass undercurrent and the stabilizing drumbeat.

The cavernous choirs rise and fall on the sombre "L'Illusione dell'Obilio" catapulted forward by an elastic bass line and then exploding into a howling hurricane or organ-fuelled rage. The transitions and tempo changes are expertly navigated, as if bathing in some cosmic nirvana. Francesco scours the sonic crests like a pro, as the slashing guitar riffs pound the valley below (the Rogue poet). A colossal mellotron wave puts this one to bed. The magnificent "Catarsi" takes aim at a more atmospheric realm, eventually settling into an elegant groove (that thumping bass again) as the piano meanders a sorrowful lament, heightened by the pleading voice. Nello's bluesy axe rant shivers and trembles, up and down the intensity scale, propelled along by some majestic keyboard colorations. The piano (which was there all along) re-engages with even more concentration, honing further the direction of the arrangement, which reaches celestial heights as the operatic voice brings down the velvet curtain onto the stage floor.

The impressive "Apologia di Reato", with its flickering wrist guitar is another sombre bass-led reptile, slithering along menacingly as the voice flings itself vigorously beyond the pale, until some well-intentioned keyboard wavering obfuscates the impending doom, synthesizers effervescing like blinding phosphorous, gradually the voice crawls out of the abyss, to finally collapse into silence. Magnifico! The lovely retro sound of "Isolazione" showcases the wonderful osmosis of old school RPI with a more contemporary sound, but very much in keeping with their style of rising levels of thrusts and contrasts, the rifling guitar and the swirly synths being a pure delight, all well anchored by some deft drumming. The relentlessly painful fretboard solo is a showstopper. The passion expressed in the vocal department is equally outstanding. Adventurous and impeccably done.

The mighty organ takes center stage on the wild and at times manic "Madri di Niente, Figli di Nessuno", an obvious wink to Uriah Heep, a track that seeks to blitz intimidatingly with no mercy, a whirlwind of raging voices, Middle Eastern synth sax motifs in a jazzy sandstorm and even some hypnotic psychedelia. The devilish voice spits venom and thankfully gets shown the door and cleared out by a bass security guard.

The final track is the longest one here, clocking in at 7:39 and as such is a perfect finale, a remote mirage of sweltering dunes of sound, perfectly encapsulating their rather unique style. The bass guitar once again flows along like a river of consistent tranquility, leaving the passion to be delivered by the residual instrumentalists and the madman's declaration. The extended finale is a shimmering wave of exalted guitar shadings, keyboard flourishes galore, manic, and relentless drumming and an apotheosis of vocal expression.

I was totally captured by the overwhelming natural rawness of it all, namely the theatrical vocal deliveries, the solid rhythmic pulse, and the fascinating keyboard interventions and the gritty guitar work. This is a band that should have a fascinating career, which I fully intend to follow and to promote as best as I can. By the way, the cover art is absolutely eye catching and luxuriant.

4.5 Squaring Circles

Taking things to the next level of sophistication on many levels, the band not only enjoyed the technological advantages of the newest and swankiest recording opportunities but also adopted a greater inspiration of classical musical scores most notably the chaconne of Johann Sebastian Bach as the introductory phrasing that opens "Una Dolcezza Nuova." Graced by the same poetic prose of chief songwriter and lyricist Aldo Tagliapietra, the Italian lyrical delivery offers a varied roster of tales about "a woman" but not always in a flattering or desired manner despite the dreamy romantic lyrics narrating in a display of controlled softness. Despite existing as a mere trio at this juncture LE ORME featured super competent musicians who delivered all the goods with gusto and a prog sophistication that only the top dogs of the era could unleash. The contrast between Tagliapietra's subdued vocals and the heavy percussive workouts along with the oft raucous keyboards offered a tension unlike the much larger Italian prog bands of the era.

The album featured seven tracks that only added up to a mere 32 minutes but UOMO DI PEZZA doesn't waste a moment delivering highly catchy melodic song constructs accompanied by crazy demanding instrumental workouts allowing the musical flow to meander from soft airy passages to wild turbulent rides fueled by frenetic drumming wizardry and varied keyboard techniques that shifted from elegant slow oozing flows to unhinged and even offered violent virtuosity especially on tracks like "La Porta Chiusa." The album seems to thrive on the battle between placidity and organized chaos. As far as Italian prog of the era goes LE ORME delivered all the goods with romantic vocals delivered with a dynamic range and a heavy reliance on the world of classical music for its compositional crafting. Add to that all the heavier elements of rock and an unbridled passion to erupt into frenetic outbursts of virtuosity and hairpin turns all elegantly structured in amazing efficiency.

Despite the moments of energetic eagerness, the album retains its mellow flow throughout its run as even the virtuosic wizardry sounds relaxed and in good taste no matter how raucous. The sounds Antonio Pagliuca manages to eke out of his organs, synthesizers and mellotrons is no less than breathtaking with classic vintage sounds existing next to heavy fuzz-laden passages as well as Bach inspired tones and timbres from his most famous works. The use of accent instruments such as the clavichord and celesta add brilliant spices to an already enriched menu of pure Italian prog. While the guitar has never been a dominant instrument for Le Orme, the use of plushly strummed acoustic guitars and the occasional electric and bass offer more diversity to the sound palette but it is by far the various keyboards sounds and the drumming prowess of Michi Dei Rossi that offer the most dynamic musical performances on the album.

While LE ORME can certainly be too dreamy and pastoral for its own good, UOMO DI PEZZA delivered the perfect amount of contrast via the varying percussion performances as well as the wide range of organ and mellotron dynamics. The album would bring the band great success which would only grow for another two albums before the so-called trilogy was concluded. While many cite the band's following "Felona e Sorona" as LE ORME's top achievement, personally i find UOMO DI PEZZO to be the band's masterpiece as it just flows perfectly from beginning to end and offers everything that is great about Italian prog in a very unique way that made LE ORME stand out. This album rightfully belongs in the top releases of 70s Italian prog as it is flawless in how it comes together in a beautiful display of contrasts and mastered the perfect recipe for an Italian prog paradise that doesn't miss a beat until the the closing all-instrumental perfection of "Alienazione" closes the album's run. Best of the best! One of those albums that blows me away every time i hear it.

The nightmarish opening track, "Sogni infranti" (Broken dreams), starts with a spacey atmosphere and slowly draws you into a menacing illusion you can't get rid of. All around you there's nothing but a dark cosmic void, then a heavy sheet of metal appears in the sky weighing you down. Your energy is running out, your strength is fading and you are chained to this new, gloomy reality made of broken dreams...

"L'illusione dell'oblio" (The illusion of oblivion) alternates bursts of energy with calmer parts. It describes in music and words raging waves that drag you into the vortex of a dark reality and make you desperately fight against the tide to survive. Many questions haunt your mind but there is no answer and you end up to dream of forgetting everything to rest and slowly slip into oblivion...

"Catarsi" (Catharsis) is an introspective piece that tells of a surreal oneiric experience: an inner journey through the labyrinth of a man's mind, the consequent meeting with his soul and the return to the centre of his real ego. The protagonist flies above the shadows of his steps under an enchanted rain, he can smell strange perfumes and hear thundering thoughts. Eventually he wakes up in the forest, under the branches of some beautiful trees. Now the clear sky is just the canvas where he can paint new flights in a dream of purification and rebirth...

"Apologia di reato" (Apology of crime) begins with a tense atmosphere that could recall Goblin. The music and lyrics tell of a very particular, paradoxical crime. A man is put on trial. What sin did the defendant commit? What crime is he charged of? What did he do that was so bad? What wickedness stains his soul? He did something that wears your soul out and tears it apart. But what he did was nothing other than telling the truth. He killed falsehood causing infernal pain and now he is proud of his crime...

"Isolazione" (Isolation) describes in music and words a strange sense of solitude, the feeling to be helpless and out of place in the world, disconnected from an oppressive reality. The protagonist feels alone even among of millions of people who have lost their critical sense and keep on talking without saying anything. He has been given a number and a role but he refuses to comply. He feels like as if he should die without reacting...

"Madri di niente, figli di nessuno" (Mothers of nothing, children of no one) is another track full of dark energy and nightmarish atmospheres. The lyrics here paint disquieting visions on the musical canvas and every now and again the narrative vocals might recall Pholas Dactylus. The protagonist perceives obscure plots to manipulate him. There's someone who wants something from him that he doesn't have, someone who wants him telling something he doesn't know. Then, theatrical vocals evoke metal bars falling from above to imprison him and the protagonist feels that now he's chained to his eternal scaffold: his existence. Hypocrisy, lies, deception, extreme fanaticisms and distorted conceptions of life are represented with vivid colours on this crazy tableau...

The last track, "Miraggi remoti" (Remote mirages) begins calmly, the pace is slow and evokes a long, tiring journey across an undefined desert. The protagonist is plunged in a kind of collective hallucination among figures of non-existent men surrounding him and strange faces all around observing him. How long will his trip last? How many mountains will he have to climb before he can see the sky above the sea? Ha can't tell and calls for help...

On the whole, an excellent work!

What strikes the listener immediately is not the power of the band, but the vocals of Lanzetti. He has lost none of his range, and in many ways is singing as well as ever, but he sounds every minute of his 75 years. Some singers somehow never seem to age at all (step forward Bob Catley for example), but others not so, and that is the case here in that he very much comes across as an old man, which in fact he is. Once one gets past that, one realises that this is another interesting album from the Italian proggers. Goblin will always be my favourite Italian band, but I have always rated PFM incredibly highly and always enjoyed these guys as well, and while this may not be as immediate and potent as the last one it is still an interesting listen. While they are Italian, they have never fitted into RPI for me as they are not as symphonic as what I expect from that genre, with less bombast, plus they sing in English as opposed to Italian. This album is one which can be listened to and enjoyed on the first time of playing, and there are some depths to be uncovered, but possibly not as many as one might expect.

Whether this is an album which will attract new fans I am not sure but is one which people who have enjoyed their career will find quite interesting while not essential.

This band has rather a unique style, I would say it is slightly more complicated, unpredictable and "twisted" in comparison with many other contemporary and earlier Italian proggers. A particularly important component is Mario Moi's voice and the way he uses it in many instances, it is lively to say the least.

My initial impression of this record was that it somehow totally lacked the easier smoothiness in melodies which allured me in the excellent debut Nostos (2005) and in my other favourite Ubi Maior record Incanti Bio Meccanici (2015). Instead it occasionally felt like too "full-packed" and lacking in breathing space. But after repeated listens I would say this is a decent grower and all the songs - except the instrumental Nessie, which I tend to skip - have at least a few excellent passages and moments. My two favourites of them are probably Wendigo and Fabula Sirenis.

It is remarkable to note that this "Dei ricordi, un Museo" (Memories, a museum) is the first solo album of Stefano Lupo GALIFI, singer of the legendary MUSEO ROSENBACH who published in 1973 the no less legendary "Zarathustra", the one of the greatest opuses of Italian progressive rock, all decades combined, almost half a century! Stefano has since returned to the stage and recording studios as singer of Il TEMPIO DELLE CLESSIDRE and the reformed MUSEO ROSENBACH. We can consider that our man wanted to take stock through music of everything he has experienced in fifty years of career, remarkable will and stubbornness on his part.

One of the last musical flashes of the year 2021 comes to us from ITALY, not too surprising some would say, as the transalpines have offered us quality releases for years and which for the most part age well.

The musical highlights of this album are the inaugural title "Cuore" (first part of the piece divided into three) with a magnificent instrumental introduction before Stefano lays down his slightly abrasive velvet voice worthy of the best Italian progressive rock (9/10) then the second part of the eponymous piece, more peaceful with beautiful symphonic nuances embellished with acoustic guitar (9/10) and finally the third phase of this famous "Dei ricordi, un Museo" divided into three, more classic in its conception, imbued with a brilliant "Italian" symphonism with layers of mellotron to die for, in short you understood it fans of progressive flights this is for you (9/10).

The remaining pieces are not to be condemned for all that, they are overall more songlike and therefore less able to satisfy our demanding ears of progmaniacs, I do not skip them while listening, rather an encouraging sign, they are therefore at least listenable without difficulty.