ROCK PROGRESSIVO ITALIANO

Lanzetti always sings very well with a depth which seduced me, the orchestration is therefore more rock and honors Anglican prog rock, perhaps their transalpine friends will hate them for precisely that? The album has less classical wind and string instruments and allows to give musical pep, musical novelty which should keep them in the ears of today's progues.

After acquiring the fiery guitarist Marco Zoccheddu freshly out of Nova Idea and bass guitarist Bob Callero who would go on to play with Duello Madre and Il Volo, the band existed as a power trio only packed a serious punch with Zoccheddu handling not only the scorching guitar duties but offering smatterings of keyboards and harmonica as well as significant songwriting duties. The band engaged in an active albeit live presence in their day and found their sole album ARROW HEAD coming out on the Bla Bla label in 1972 which while focused primarily on the nascent head banging proto-metal effects of early 70s hard rock, still pulled out enough progressive punches in the form of extravagant jazz moves and time signature deviations and elegant use of dynamic mood shifts.

ARROW HEAD featured five heavy tracks and in many emulated the sounds of the heavier sounds of Led Zeppelin as well as displaying the eye-catching album cover art of a Native American woman tempted by the modern world's lure for money just outside the relative freedoms of her traditional lifestyle which seems to have referred to the band's pop single being used for a popular TV quiz show of the day. With catchy pop infused hooks OSAGE TRIBE certainly delivered a punch with not only instantly exhilarating melodic ear worms but also with a bluesy guitar style that was reminiscent of Cream and the psychedelic rock giants of the 60s including some Hendrix inspired wah-wah moments. The album's use of dynamics is its strongest suit with not only pounding hard rock heft thundering like a stamped of American bison roaming the plains but also for its slower contemplative parts as well as the competent vocals performed exclusively in the Italian language.

Also notably different from other hard rockers of the day was Zoccheddu's use of Native American drumming techniques which made use of the album cover art theme and the deftly blended use of heavy psych in a jazz rock context thus the reason why OSAGE TRIBE despite its hard rock leanings has been indoctrinated into the halls of prog rock as well. Four of the five tracks extend beyond the 7-minute mark and despite some jamming liberties displayed a much wider repertoire of musical ingenuity. The most progressive tracks are expressed on the final tracks "Soffici Bianchi Veli" and "Orizzonti Senza Fine" which gracefully meander through the intricacy of more subdued progressive rock and the more frenetic propensities to let loose into a head banging hard rock banter-fest. In many ways OSAGE TRIBE sounded like the Italian version of what the Canadian band Rush would formulate on its first two albums before Neil Peart took the band into the progosphere.

After the release of ARROW HEAD both Zoccheddu and Callero formed Duello Madre in late 1972, leaving Cucciolo with the name OSAGE TRIBE and a new line-up with former Capsicum Red singer/guitarist Red Canzian and bassist Giampiero Marchiani coming from Forlì. This short-lived lineup was doomed once Cucciolo himself was drafted into the army. Despite this only release seeing the light of day during its initial run, OSAGE TRIBE did find two non-album tracks and "Hajenhanhowa" appearing on the 1972 "Tarzan Compilation" also on the Bla Bla label with Capsicum Red and Black Sunday Flowers. While the band seemed forever lost to circumstance, apparently Cucciolo kept the candle burning and unexpectedly resurrected the band with a completely new lineup and released the 2013 album "Hypnosis." While many seem to piss all over this one, i actually find it exhilarating! Sure it's not the proggiest prog of the lot but it's certainly a very well constructed album and peaks my interest.

Surprisingly, the preliminary seduction is outright jazzy in its groove, the suave guitar and piano breezing along like two tanned lovers on the beach, until the warm mellotron arrives like a zephyr to thrill the skins' senses. "Pigmenti" is a gentle lilt, with a piano, bass and drum mid section that adds a mid-afternoon pace of calm reflection. Soon after, a relaxed vocal line paves the way for a glorious mellotron chorus, where a crowning sax takes the arrangement straight into the sky above, a liquid lead guitar solo adding just the right splash of intensity to the theme.

The lengthiest track appears next on "Sottili Armonie", a nearly 11-minute fluffy musical tapestry with a myriad of 'subtle harmonies' that titillated the senses to no end. Restrained pace, a focus on serenity and an unhurried buildup, still steeped in a jazzy mold, a platform for Francesco Bertone on bass and drummer Enzo Cioffi to set the atmosphere that would be ideal for any kind of introspective reflection, where flute and sax can conjure various pleasant sonic images. A delicate electric guitar solo from Mauro Vero seals the deal, inspired by a sensual Sergio Caputo violin cameo. This could have been Sade without her singing a single note.

Though the title might hint at a more experimental flip side of the coin, "Aspetti Astratti" (Abstract Aspects) actually seeks only to maintain the casual tempo, though a magnificent fretless bass solo is featured front and center, just in time for another radiant brass flight. The mighty 'tron enters the fray briefly, in partnership with the flute, just in time for Bertone to take an additional rubbery flex on his 4 stringed monster. Needless to state, I am gaga over this.

Another 10 minute+ composition, "Attese Sottese" (Underlying Expectations) has the acoustic guitar, flute and piano on the forefront, weaving a filigreed melody of pastoral beauty (a Celeste trademark after all), with an unforeseen saxophone solo blasting through the lace and elevating the tempo as the rhythm section revs up their engines, with Cioffi in particular hitting all the right beats. Bubbly Arp 2600 additions within the massive string synthesizers, give this piece that grandiose orchestral feel unique to Celeste.

Change of pace on the beguiling "Misteri Evoluti" (Evolved Mysteries), again forging a unique arcadian setting with a predominant acoustic guitar immersed in a kaleidoscope of sonic mosaics, before a brash sax takes the lead in flinging the track into a flute and bass romp in the rustic garden. The comfortable jazzy groove is delectably alluring, especially when all the instruments fuse in perfect harmony.

The crushing exquisiteness of "Madrigale" is heart wrenching, the most delicate music one could even dare to imagine, with a timeless melody that squeezes the arteries with loving affection. It has everything, a lingering passion that is skin deep, yet fragile, as expressed by the operatic female aria from guest Ines Aliprandi and a whopping saxophone outburst, one of the most emotionally charged one I have witnessed in ages. Utterly gorgeous.

The outstanding "Circonvoluzioni" (Convolutions) finalizes this melodious masterpiece with the mighty mellotron taking its rightful place as the leading feature, though the Hammond flirts temptingly when called upon, carving a massive symphonic wall of sound. Ines does another appearance on the microphone, adding more sophistication to an arrangement already moored in contemplative intricacy. A playfully whimsical saxophone fades into the celestial horizon.

All keyboards are handled by founding member and composer Ciro Perrino, while the piano was played by Marco Canepa, who also did all the mastering and engineering. A delightfully cohesive assembly of tracks that literally flow into the next one with nary a hint of boredom or rehash, this was quite the revelation, as I perhaps need to revisit my other 2 Celeste albums Il Risveglio del Principe (2019) and Il Principe del Regno Perduto (2021). Definitely candidate for Top album from Italy in 2024.

5 heavenly resonances

This is made all the more amazing since JUMBO formed in Milan as far back as 1969 and only released its rather average proto-prog blues rock in the year 1972 when the genre had more than come of its own having delivered some of the most accomplished albums of the entire prog 70s. While the band's second effort "DNA" was a competent display off tertiary Italian prog, it still lacked the overall sophistication of a true classic however it would only take one new drummer and a year for the band's musical DNA to activate and take their musical performances into the stratosphere.

The sudden burst in musical mojo was the result of original drummer Vito Balzano relieving himself of his drumming duties and simply quit the music business altogether. By chance the band had witnessed a phenomenal drummer named Tullio Granatello playing at a local concert. His skills and unparalleled style simply blew band leader Alvaro Fella away with his virtuosic displays of jazz-infused drumming techniques. After a request for him to fill the slot of the band's freshly vacated percussionist's post, Granatello gracefully accepted and single-handedly inspired the band to up their game in every possible way.

After a month of intense rehearsals with the newly established drummer, JUMBO emerged a completely new band that went for the prog jugular with a unique stylistic approach that remained distinct from the burgeoning symphonic prog sounds of PFM and Banco and equally distinct from the more folk-based Le Orme. VIETATO AI MINORI DI 18 ANNI? ( translates as "Forbidden to Minors Under the Age of 18") was then recorded with the help of cutting edge gear such as the amazing VCS3 oscillators lent to the band by Franco Battiato as well as Aktuala percussionist Lino Capra Vaccina's wide assortment of bells, chimes and unique percussive contributions.

To make things even more bizarre the band recorded in a makeshift studio setting that served as Mussolini's press meeting lecture hall during the years of the brutal dictatorship, an unusual circumstance shared only by Latte i Mieli in those days. The lightning speed progression of the band's style gave them the confidence to experiment with not only the wildly avant-garde but also to explore taboo subject matters such drug addiction, prostitution, social injustices, religion, alcoholism and other non-puritan topics that got the band censored by national radio and television broadcasts. The title of the album refers to the unsavory subject matter that wouldn't be considered appropriate for children. Unfortunately the album came out boeuf the free radio broadcast movement caught traction. Minors who do not speak Italian are presumed to be safe however.

VIETATO AI MINORI DI 18 ANNI? was a leap in ingenuity on every conceivable level with stronger melodies, utterly unpredictable transitions between folky lush acoustic guitar led passages, psychedelic excursions, energetic hard rock outbursts and unorthodox compositional creations. Add to that all the wild experimental production techniques offered by the slickest and newest technological breakthrough courtesy of Franco Battiato's appreciated participation. The album wastes no time getting to business by starting things off in full vocal-led song form before transmogrifying through varying styles all delivered by unusual instrumental interplay, over the top catchy melodies and call and response intensity from the instruments.

The opening "Specchio" alone features a bizarre shapeshifting formula that allows hitherto unthinkable juxtaposition of stylistic differences to coincide, yet organized into such a manner that the phrasing finds a logical reprise for each musical motif only decorated in completely new colors. There album continues with one completely original track after another with each offering a distinct personality of its own. The following "Come Vorrei Essere Ugulae A Te," the ONLY track that found any trace of airplay starts off as a feisty piano roll before morphing into a trippy psychedelic folk number only to be overturned by a raucous heavy rock performance. The ending features an interesting tape speed increase which showcased the band's ingenuity in the recording process as well as the superior songwriting skills. Even the short 2-minute instrumental "Il RItorno Del Signor K" showcases an impressive display of flute and guitar tradeoffs before morphing into a bizarre and even hilarious Mediterranean cafe music silliness.

The majority of the album never loses the element of surprise nor the instant hooks of a memorable excellently ever-changing melodic procession. "Via Larga" continues the process however it's the 7-minute plus "Gil" that really stands out as the oddball of the album. Initiated by lead singer Alvaro Fella after the recording process left about 8 minutes of time to fill. The result was a psychedelic jam that featured an acoustic guitar and dreamy mini-moog with the help of Battiato's VCS3 space machine.

The addition of the chimes and bells made it sounds like a comic trip in the spirit of raga rock only drenched is freaky lysergic psychedelia making it one of the most unexpected curveballs that entire album had to offer. While originally a 20-minute cosmic free floater, the band was forced to edit it down to just over 7 but unfortunately didn't think of keeping the entire piece for future posterity. The track is accompanied by Fella's contemplative lyrical prose only this time semi-narrated. The freeform folk style evokes the freewheeling 60s communes much more than what JUMBO dished out on the previous tracks!

The final three tracks: Vangelo?," "40 Gradi" and "Noi" jump back into full on progressive mode with endless variations in drumming techniques, stylistic approaches, instrumental interplay and of course controversial lyrical delivers which of course were only sung in the Italian language. Church organs melded with psychedelia, jazzy interludes ceded to hard rock heft and stop / start ostinato elegance traded off with light breezy flute solos. The band had mastered the art of dynamics shifting and thus featured many alternating motifs within a fairly uniform rhythmic and melodic framework. No other band can i think of mastered the art of soft lush folk one minute and then raucous filthy guitar hard rock the next only followed by classical piano virtuosity and then who knows what next! Remember! This was WAAAAY before Mr Bungle :)

It goes without saying that JUMBO not only crafted its best album but also delivered one of the absolute pinnacles of progressive rock period. The album is flawless in execution, groundbreaking in its approach and startling in its unique delivery system all without sacrificing those attributes that cemented it firmly in the world of Italian progressive rock. Despite existing for another couple of years before the band ceased to exist, JUMBO never recorded again leaving this one prog rock legacy from 1973 behind as its' crowning achievement and one of the most memorable moments of classic Italian progressive rock. This is easily one of the top 10 Italian prog albums of all time and a personal all time favorite of any musical genre. Perhaps i'd even dare to say one of the best albums ever recorded in the entire history of recording music at all. Yep, it's that good and it only gets better every time you give a listen. While it's an instant four star love affair, time will only reveal the subtle genius on multiple levels.

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!