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PROG ARCHIVES intends to be the most complete and powerful progressive rock resource. You can find the progressive rock music discographies from 9,915 bands & artists, 52,778 albums (LP, CD and DVD), 1,400,868 ratings and reviews from 58,255 members who also participate in our active forum. You can also read the new visitors guide (forum page).
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 The Battle by APERCO album cover Studio Album, 2016
3.89 | 17 ratings

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The Battle
Aperco Eclectic Prog

Review by HAL

4 stars Aperco from Tel Aviv, Israel presents themselves with their self-released debut album "The Battle". The CD comes in a very nice digipack cover with embossed details on the front, and a nicely crafted booklet with lyrics and credits. Aperco is Tom Maizel (guitar and vocals), Tal Maizel (keyboards), Yuval Raz (bass) and Dor Adar (drums).

"The Battle" presents itself as sort of a concept album with repeating themes from the instrumental, almost symphonic "Intro" to the closing track "Awaken". The second track "Focused" is of course heavily inspired by Dutch band Focus, but still could be pulled off Camel's "Snow Goose" or any early Camel album for that matter. Great flute playing from guest artist Eran Teicher opens the track and ups my expectations for the rest of the albums. "Another Day to Live" continues its Camel inspiration with a beautiful guitar solo opening, before acoustic guitar introduces the first vocal part of the album, and this reveals for me the biggest downside of Aperco's music. The vocals are weak and feels partly very strained and too often offkey. The instrumental parts with more guitars, and even a sax solo from guest artist Neil Kalman, very much weigh up for the poor vocals, as the overall song writing is quite good, even if they bring very little new to the fold.

"A Call for submission" open with different voices floating in and out, before the tracks falls into the same category as the previous track with rather weak vocals and long instrumental guitar passages.

The 11 min. title track is much more varied, with more instrumental passages, incl. piano and synths. Another highlight of the album! Next follows two instrumental pieces, with "Euphoria" kicking off in up- tempo fashion, before slowing down into almost ambient territory, slowly building into a Camel inspired tune with flutes once again added. Overall, a bit dull. "Delirium Before Lunch" is more experimental with more syncopated sticks and riffs, jazzy parts and sound collages. Tracks opens and closes with a solo piano, with a short acoustic guitar added at the end. This doesn't do much to me, I am afraid.

"Dissonant Sound Within" open with a rather lacklustre vocal part, before some very nice guitar soloing from the frontman kicks in and makes the track an enjoyable experience.

"Horizon" is a short instrumental piece with flute and acoustic guitar deeply rooted in Camel territory, before the grand final "Awaken". Similar only in name to the famous closing track from Yes' "Going for the one". Getting past the vocals in the opening section, an instrumental feast with flutes, guitars and keyboards unveils, culminating with a new take on the opening theme from "Intro" and "Focused".

Comparisons with Camel is inevitable, and obviously, Gilmour-era Floyd comes to mind. I would also like to mention Norwegian band Airbag among the closest references, especially on "Dissonant Sound Within". Front man Tom Maizel performs very well on guitars, but his vocals are sadly inferior to his instrumental performance. Production is not top notch, but still decent. Somewhere between 3 and 4 stars for this one, but "The Battle" ends on a high with the closing track, which leaves me in good mood and makes me probably play this album several more times. Rounded up to 4 stars!

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 Halloween by PULSAR album cover Studio Album, 1977
3.97 | 142 ratings

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Halloween
Pulsar Symphonic Prog

Review by Matti
Prog Reviewer

5 stars France produced several symphonic prog bands in the 70's, and PULSAR were among the best. Some have called them the French Pink Floyd, and it's pretty poignant if one doesn't take it too literally. The spacey debut (1975) has elements of psychedelia reminiscent of the Saucerful-era Floyd, as well as some electronic music flavours. The instrumentally oriented, wonderfully atmospheric second album The Strands of Future (1976) increased symphonic prog elements and shifted the band's style just a bit closer to Genesis. Thanks to its success, the band were signed to CBS and given the best studio equipment available for the third album Halloween. It has been hailed as one of the masterpieces of European symphonic prog. Undoubtedly the feelings of disappointment that some critics here have felt is due to all the hype they have seen on this album. Revealingly, many ratings (with the review included) are either five or three stars.

The 39-minute album has two side-long parts, both featuring titled movements that follow each other seamlessly. Part One starts with a girl vocalise in the melody of 'Danny Boy', backed with piano only. The longest movement 'Tired Answers' is at first very delicate and slow-tempo instrumental prog with synths, acoustic guitar and flute in the main roles, until the darker, horror-like mood sets in and the intensity grows. The keyboards dominate, reminding more of the Tangerine Dream between '74 - '79 than British bands such as Genesis. The third and fourth movements feature male vocals, sung tenderly in English. The perfectly produced sound is a beautiful combination of the acoustic and the electronic. The mood remains restrained, semi-creepy at best, in a rather mellow and romantic way, and perhaps some listeners would expect more edginess from a horror-themed work.

The second part is equally elegant, starting with a slow tempo delicacy with vocals. The vocals are even more central on the melodic and symph-prog structured second movement 'Dawn Over Darkness'. The flute makes a beautiful appearance. 'Misty Garden of Passion' is a mellow instrumental interlude, followed by a more intense, synth-oriented 'Fear of Frost'. One may think of the most prog-rock albums of Tangerine Dream (Cyclone and Force Majeure). The slow and majestic final movement has ethereal vocals and synths.

When I started this review I didn't know my rating. I've had the CD for four years but haven't listened to it often. Halloween may not be as unforgettable symph prog masterpiece as the certain British classics from Genesis, Yes, Renaissance, Camel, etc., but I can't really spot any faults in it. If you're in a suitable mood -- not expecting more edginess and originality -- you will most likely find a lot to enjoy on this excellently produced and coherent concept album.

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 ZePTO by NEBELNEST album cover Studio Album, 2006
3.82 | 39 ratings

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ZePTO
NeBeLNeST RIO/Avant-Prog

Review by Progfan97402

4 stars This was the third album by this French band, released in 2006. It's now 2017 and they became one of those "Whatever happened to them" kind of bands. It seems their website was last updated in 2008, although still running. It sounds like when they were recording Zepto, they were having trouble with keeping guitarists. They started with Cyril Malderez, who was the original guitar and played entirely on their previous releases, and then there were Sebastien Carmona and Vincent Boukera. With a four year gap between albums, there surprisingly little change, despite the guitarists. Olivier Tejedor does appear to have larger reign on his keyboards, other than that, it's the same twisted King Crimson, Magma, and Anekdoten type of RIO. Parts of this are a bit even more "out there", but much of it is the same tried and true formula. If you like what they did on previous CDs, there should be no reason to enjoy this one. On the other hand they probably realize they may end up hitting a brick wall, and probably the reason we hadn't heard from them since. Still, this is a great album if you enjoyed their other, but like RIO in general, it's not for everyone.

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 This by VALDEZ album cover Studio Album, 2017
4.00 | 1 ratings

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This
Valdez Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

— First review of this album —
4 stars Whichever way you look at it, Valdez are a super-group formed by some of the finest of the progressive scene. The singer/guitarist is none other than Simon Godfrey (Tinyfish, Shineback and solo artist) who emigrated to the States in 2014, bassist/singer Tom Hyatt was of course in the much-missed Echolyn, while keyboard player/singer Joe Cardillo is from Cold Blue Electric and drummer Scott Miller (Stone Jack Baller) completes the band. If that wasn't enough, Echolyn's Brett Kull produced it as well as providing additional guitar and vocals. Tom and Simon met by chance at a comedy club in Philly and got on so well that they decided to jam the following evening at an open mic night. The duo were an instant hit with the crowd and as they left the stage, they agreed to form a band that would go on to become Valdez.

It is almost as if Tinyfish have joined forces with Echolyn, and in many ways I guess they have. For many of us following the scene in the Nineties, Echolyn was one of the most important prog bands to come out of America, with 'As The World' making a huge impact on everyone. Simon first made his presence felt with his brother in Freefall, but it was some years later that Tinyfish came to everyone's attention, with two incredibly well-received albums, and now here we have Simon and Tom working together in this new entity. This may also be the first time that Tom is back working with Brett in more than twenty years, given that Tom didn't rejoin Echolyn when they reformed in 2000.

So, enough history, what about the album? Well, it's a masterpiece of course. The worry when well-known musicians get together is that they can rest on their laurels and rely on their reputations to get them through, but here the guys have left their egos at the door and instead have concentrated on as wonderful a piece of crossover poptastic progressive rock as one could ever wish to hear. To say that this is a joy to listen to is to understate it immensely, and Simon in particular is a revelation. I don't think I've quite heard everything he has released, I've certainly heard most of it and based on that I can say that it is easily the best thing he has ever been involved with. It oozes class, has hooks aplenty, loads of space and room to breathe, and is just awesome.

I refuse to pick a favourite, as whatever song I am listening to is the best, whether it is the melodramatic or bouncy and vibrant, there seems to be nothing that these guys can't excel at. It really is an album that is packed full of songs, no over the top soloing or unnecessary note density here, it is all about what is best for the music as a collective whole. And I love it (in case you hadn't guessed). Truly essential.

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 Yesterlife by MELODY album cover Studio Album, 1977
4.00 | 1 ratings

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Yesterlife
Melody Crossover Prog

Review by Progfan97402

— First review of this album —
4 stars I'm happy to finally see Melody included in Progarchives. I bought Yesterlife on a recommendation, and glad I did. OK, so the cover is terrible, it's the main reason the album isn't known to a larger prog audience. In 1976 they released Come Fly With Me on the Pole label, which were more of demo quality (although be careful of the Tapioca version as it also contained material from Mahogany Brain). They got a deal with a proper label, Vogue and in 1977 released Yesterlife. A good portion of the album was actually remakes of material from Come Fly With Me, but now benefiting with a professional production. The music is dominated by the vocals of Diana Chase, apparently an American (which I don't doubt, given there is absolutely no accent in her voice, since English is her first language). Basically, nice, song-based prog there's often compared to the likes of Renaissance and Genesis, the latter coming from Gabriel-like male vocals from Patrick Frehner. Nice use of synths used throughout the album. The remakes are pretty recognizable from the originals, although the lyrics were frequently changed. "Merry Go Round" and "Welcome to Wonderland" were accidentally switched in the credits, as the album actually starts with "Welcome to Wonderland", then "Merry Go Round". The music is really nice, perhaps my favorite being the lengthiest one, "Wailing Wall". Not too often to find Jewish themed lyrics in a prog setting, but this is a rare example. Really love that one lovely vocal passage from Diana herself, plus there's some nice use of Mellotron flutes (too bad the Mellotron wasn't used elsewhere in the album).

Whatever the case, don't let the album cover scare you off, this is a nice album of semi-symphonic prog (no wonder it's considered crossover) with really nice female vocals. It probably won't set your world on fire, but worth your time.

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 Voyage by PRELUDE album cover Studio Album, 1979
2.92 | 11 ratings

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Voyage
Prelude Neo-Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

3 stars Considering the `boom' period of what would later become referred to as the `Neo Prog' sound was the early Eighties and encompassed such groups as Pendragon, I.Q, Twelfth Night, Marillion and others, there's earlier examples of groups that were already playing in a classic-period Genesis manner, a band all those above mentioned groups used as a starting point. The first Saga album back in 1978 can now be looked upon as one of the earliest starting points that had that sleeker sheen, so too Austrian band Kyrie Eleiyson and their rough-as-guts 1976 Genesis-modelled `Fountain Beyond the Sunrise', as can this Belgian band Prelude and their debut from 1979. `Voyage' mixes symphonic keyboard-heavy arrangements and harder- edged metallic guitars with both English and French semi-theatrical vocals, all presented with a lo-fi `do-it-yourself' production that makes for a humble but enticing little work.

The band's statement of intent is clear right from nine-minute opener `Mox', a grand symphonic stunner of Vincent Fis' serrated guitars that also move through regal crisp runs, Benoit Van Der Straeten's bouyant chunky bass, Leon Paulus's peppy drumming and Michel Crosset's serene wisps of keyboards constantly rising in stature. David Piron's put-on theatrical snarl doesn't really come close to matching Peter Gabriel's charisma (if anything, in its worse moments it resembles Michael Schubert of the above mentioned Kyrie Eleiyson whose impression kind of sounded like Gabriel's `special' little brother!), but the reprising group chorus sung in French is catchy and easy to enjoy, and the piece holds a superb and dignified I.Q-like instrumental stretch in the middle. `Life After the Life' opens with chugging heavy guitars over sparkling electric piano and a strident beat, with the piece contrasting energetic little bursts with more dreamy interludes and even a brief spoken word passage. Both the spacey electronics swirling all around and David's charmingly accented English vocal remind of a band like Eloy, and the cool uptempo sprint in the finale with spiralling breakneck synth soloing will instantly raise a smile! Reflective chiming guitars ring throughout ballad `When' that describes a forest setting and long-passed romantic longings, and David's wistful yet delicately melancholic vocal holds a great heart-breaking dignity.

Side two's `Voyage', mellow electric piano and sweetly murmuring bass, dreamy and optimistic - blowing winds, dreamy soothing vocals, - `Life's melody is a mystical symphony', optimistic, lovely chilled-out electric guitar solo in the finale, making the piece resemble the genuine new-age loved-up sentiment of Steve Hillage's `Palm Trees' off his `Green' album. `Jesus, Come Back!' is the repeating pleading group chorus of the spirited track of the same name, loading with plenty of acid-rock wailing as well as being book-ended with runaway `Heart of the Sunrise'-like guitar snarls and wordless Yes-aping group vocal chants. The group ask him to return "to make peace", "for liberty", "to save us", "because you're needed" and, unless it's a misheard lyric, "for drugs!" Hopefully the band meant to fight the drug battle, not coax the good Lord back with the promise of drugs! `Suicided' is then a sombre symphonic closer full of supremely tasteful soloing, a touch of Pink Floyd to the plodding steady beat, murmuring bass and some of the more fiery emotional electric guitar moments, with an unexpected up-tempo burst in the final minute to lift spirits just that little bit more.

Hardly essential but definitely interesting nonetheless, `Voyage' may not always have the most lovable of vocals, the grandest of arrangements, the cleanest production or the most memorable of material, but it's well-performed, unashamedly and proudly `proggy' at a time when there wasn't a lot of attention being given to the style anymore, and it ticks many of the boxes that more forgiving fans of the so-called `Neo' sound should resonate with. The recent Mini LP reissue on the Japanese Tachika Records label offers a much more affordable price than the rare original LP's, so if you're a prog fan that already has all the major and minor essentials and want to start exploring some worthwhile little known obscurities, `Voyage' is waiting for you.

Three and a half stars.

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 Machine Years by TONEV, KALIN album cover Studio Album, 2017
4.14 | 5 ratings

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Machine Years
Kalin Tonev Heavy Prog

Review by Replayer

5 stars Having previously been the main force behind Bulgarian instrumental prog outfit TravelHouse, keyboardist Kalin Tonev recorded Machine Years as his first solo album, which I find to be a very impressive effort.

Machine Years is an instrumental prog album, the only vocals present being in the form of short samples. The album's cover is indicative of its retro-futuristic sound, blending 70s style riffing with electronic and contemporary influences. Kalin has developed a style of his own and the compositions' style is very cohesive, while also showcasing variety. The entire album is drenched in Hammond organ, drenched I say! However that is not to say that the album is dominated by the organ, which is often relegated to the background. Kalin also uses Mellotron string samples on several tracks in a sparse, but effective manner.

In addition to Kalin, who is responsible for keyboards, samples and programming as well as composing the music, the album notes credit three guitarists. Two of them, Biser Ivanov and Daniel Eliseev, had previously played with Tonev in TravelHouse. However, it is Nenko Milev who plays guitar for the bulk of the album. The bass and drums are programmed, but this is no slight on the quality of the album, as they sound real and they're played in a very natural manner, so that I didn't even notice until I read the album credits.

I'm not going to describe every single track, since there are thirteen of them, but rather cover a subset to provide an idea of the album's sound.

Human Not Machine sets the tone for the album, a heavy but joyous track loaded with Hammond organ, guitar riffs, and Minimoog.

Beings is the only track that features contributions from two different guitarists, namely Milev and Eliseev. The track alternates between heavier guitar-dominated sections and spacier synth sections.

Eliseev also appears on the next track, Dust, which abandons the heaviness of the previous tracks and is a spacy and mellow instrumental featuring an ethereal synth pad accompanied by acoustic guitar. A lovely composition.

Mad Dancer is the album's most diverse track, featuring an electronic intro and outro, wordless female chanting samples, distorted guitar riffs, frantic organ solos, and even Baroque organ fugues.

I particularly enjoy Kalin's Minimoog solos on on News from Nowhere, the album's longest track.

Garden is a introspective track, centered on a melancholy bass line and electric piano.

I must say that I enjoy Tonev's organ playing very much and that he has developed his own unique style that does not bring up comparisons with Keith Emerson, Rick Wakeman, Jon Lord, Tony Banks, Ken Hensley, David Sinclair, Peter Bardens or other notable rock organists I'm familiar with.

As a side note, I was offered a free review copy of this album. However, upon listening to the first track, Human Not Machine, on Bandcamp, I immediately decided to buy the album on the opening track's strength alone. It's albums such as these that make me optimistic about the future of prog and remind me that it's still alive and kicking. 4.5 stars rounded up.

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 Atom Heart Mother by PINK FLOYD album cover Studio Album, 1970
3.87 | 1936 ratings

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Atom Heart Mother
Pink Floyd Psychedelic/Space Rock

Review by mike1259

5 stars After reading many of the reviews posted here I feel compelled to add my own. I am no huge Floyd fan yet I've always felt the band created this difficult masterpiece for me alone, although expressionism such as this is open to wide interpretation. For example, upon receiving the Nobel prize for 'The Old Man and the Sea' Hemingway was asked about the many metaphors it contained and what they could have represented. His answer was words to the effect that it all depended upon what the reader brought to the sitting! With that we understand reviews are only opinions and are neither right nor wrong. That being said I must say a lot of our fellow enthusiasts disqualify themselves by publishing negative reviews on albums that they just don't understand. They don't 'get it' so it must be a turd. Atom Heart Mother is a fine example of this. As far as accessablilty, the 'AHM' suite can indeed become very difficult. I personally feel the theme is the seeming cruelty of nature and as we delve deeper into the piece one concedes that since humans themselves are 'natural' their cruelty is natural as well. The music translates this so very well. The heavy, lumbering 'Father's Shout', the nurturing 'Breast Milky' and alluring 'Mother Fore' all challenge the listener to their limits and then comes 'Funky Dung', a kick-in- the-head effort to associate food with fecal matter. That deserves some meditation. Pink Floyd is well known for their so-called 'FreakOut' sections and 'Mind Your Throats Please' should be recognized as their most formidable. Never has humanity been served up such beautiful dissonance. I will maintain at this point that most of this album side was a freak of nature, yes, only by accident could a music group convey something so difficult. I digress - the band themselves didn't 'get it'. Thank You God

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 Mindscape by TRIVIAL ACT album cover Studio Album, 1997
3.97 | 12 ratings

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Mindscape
Trivial Act Progressive Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Mindscape" is the debut full-length studio album by Norwegian progressive metal act Trivial Act. The album was released through FaceFront Records in 1997. Trivial Act was formed in 1992 as Cemetary Gates but changed their band name to Trivial Act in 1993. In terms of output "Mindscape" is their only official release, but they did actually record a second full-length album, which was released as a demo in 2001. At that point bassist Steinar Krokmo and drummer Stian Kristoffersen had however begun a new adventure with the subsequently more successful Pagan's Mind. None of those two play on "Mindscape" though where the bass is handled by Svend Ole Heggedal and the drums by Erik Wroldsen (the latter would join Red Harvest in 1998 for a longer stint.

The music on "Mindscape" is guitar/vocal driven progressive metal or in other words 80s influenced progressive metal without keyboards. There is a strong power metal influence in the music too and especially the vocals and the occasional use of choirs in the choruses lead my thoughts in that direction. The material on the 10 track, 69:34 minutes long album (the Japanese version features two bonus tracks), are well written and very well performed. Itīs obvious that these guys are both skilled composers and even more accomplished musicians. The vocals are powerful and delivered with great conviction (reminds me slightly of Dio at times), the guitars are both hard and edgy, and more melodic and intriguing, and the rhythm section are tight and deliver an impressive precision attack.

While there are technically complex sections on the album, the music is not as such focused on that aspect of playing music. Instead "Mindscape" is generally a very melodic oriented album (examples of the most melodic tinged material on the album are found in tracks like "Rainbow Valley" and "Vanish"), where the technical playing is a means to an end, instead of being forced technical noodling. There are no odd sections put in for the sake of it, and when the band put in progressive parts, itīs always done in a tasteful manner.

"Mindscape" is a self-produced affair, and taking that into considering, the album is well produced, featuring a both powerful and clear sound. Weīre so used to hearing keyboards on almost every progressive metal release these days (and back when this album was released too), that the soundscape sometimes feels a bit "empty", but itīs actually refreshing to hear a progressive metal release with some "room" in the mix.

Overall "Mindscape" is a quality release, but the fact that the bandīs brand of progressive metal arguably sounded a bit old fashioned in 1997, probably sealed their fate, and the release of the album more or less went unnoticed by most fans of the genre. If you enjoy melodic progressive metal with strong power metal leanings (and no keyboards), this might be the release for you. A 3.5 - 4 star (75%) rating is deserved.

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 Il-lūdĕre by TEMPIO DELLE CLESSIDRE, IL album cover Studio Album, 2017
4.00 | 12 ratings

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Il-lūdĕre
Il Tempio delle Clessidre Rock Progressivo Italiano

Review by progpromoter

4 stars ITDC is Back!

After three years from "AlieNatura" the wise band from Genoa, now enriched with the (not only) drummer Mattias Olsson (ex-Anglagard, Necromonkey, White Willow), is out with its third studio album.

As the preceding album, also in this case the title is a word game. The union of latin verb "ludere", that means 'the act of playing', with the italian article "il" generates a dualism between "il giocare" (the act of playing) and the verb "illudere", that means 'to deceive' or 'to generate expectations that will never be satisfied'

Actually, along the lyrics find place the sweet illusion to have the world at your feet when you're very young, the sad reality to face when you're adult, the tricks, the games, the consequences of love and the need to come back to act and think as a child, to go beyond obstacles otherwise insurmountable, if faced with an adult mind.

All is supported by ITDC's Music, every time rich and refined in arrangements, but here a bit different with the respect of past albums: now all the musicians are involved in composition, not only Fabio Gremo and Elisa Montaldo. This leads to more heterogeneus sounds, more rock oriented, though the lovely presence of Gremo's classic guitar works moderates the effect. There is more electric guitar, but Giulio Canepa takes away the usual RPI jazzy polite register, substituting it with more opened and distorted effects, very near to heavy rock. In the meantime Elisa Montaldo's great work of searching new fascinating sounds, unusual harmonizations and atmospheres sometimes ethereal, sometimes sumptuos and anxious takes place. The searching of new effects is extended also to vocals: always worm and emphatic the one from Francesco Ciapica, always sweet and touching the other from Elisa Montaldo, helped in the chorus line from Canepa and Gremo. Also Mattias Olsson, with his huge amount of percussion and samplers has given his contribution to the new aspects of ITDC sound.

In my opinion the best moments are "La Parola Magica", "Prospettive", "Nuova Alchimia" and "La Spirale del Vento", while "Manitou", with its evoking melodic line and the wise Olson's drumming, gives me a pleasant sensation of ethereal melancholy. I've heard both versions of this song: one sung in Italian by Ciapica (on CD) and the other sung in Japanese by Elisa (Live) and I prefer the second one because feminine voice and Japanese language render it more evoking and ethereal. You may find the Japanese version of this song only on CD Japanese edition. "Spettro del Palco" is the single come out to anticipate the album. The lyrics, the music and the video pay their tribute to Tim Burton and Danny Elfman and has the virtue to be quite catchy, but not too easy. "Gnaffe' " is the bonus track: it's inspired by Boccaccio's Decameron novels. It's a music trick, as to refer to album title.

Track by Track shivers

"Le Regole del Gioco" The album opens with sounds and atmospheres which bring you away, a nice piano arpeggio that seems to anticipate something unnamed, and footsteps with english conversation...

"La Parola Magica" Powerful track, but what has given me shivers is that crazy synth effect which jumps from right to left at the beginning of the second verse! If I know a bit Elisa Montaldo, she could have lost her sleep until she has found it in the right way!

"Come nelle Favole" It's an heavy rock song, quite unusual for ITDC. Here Francesco Ciapica shows his great vocal range. Great strong ending with two powerful solos: guitar and keys.

"Dentro la mia mente" It has a long coda (ending part), widely used in RPI. In this case it's enriched with histrionic Ciapica's vocalism who experiments a double voice effect as in the second track.

"Spettro del Palco" It's a good single song. It takes place in your mind even if it's not easy-listening as well. Once more I have to remark Ciapica's great interpretative vein. Please notice how does it change the sense of the words "nella mia mente" in the two different situations: in the first he is sweethearted in love, in the second he is hoplessly desperate! The piano coda anticipates the main theme of "La Spirale del Vento" ... and also this means "to play with music"!

"Prospettive" Starting from this song until the end of "La Spirale del Vento" in my opinion there's the best part of the entire album. Starting with an intro with classic guitar and piano, after the keys crescendo (with that bass chords I truly love!) the music seems to spirally close into itself to give space to Canepa loud screaming guitar, very inspired along the whole track. After the 6/8 bridges his solo is powerful and full of feeling. The coda is heart breaking. Very beautiful!

"Manitou" is ethereal, spiritual and sweet. The continual but suffused Olsson's percussion and his almost tribal drumming render this song a priceless musical pearl.

"Nuova Alchimia" is the track less easy to bear in mind. It practically hasn't an intro, almost showing an urgency of expression. The up-tempo singing, the solemnity of keys and the unbelievable atmosphere that lingers in the whole track find their fulfillment in the opera-symphonic ending, with the astonishing Elisa's choral which give us pure emotion. Great!

"La Spirale del Vento" Beautiful piano intro with Olson's delicate cymbals work. The lyrics are almost autobiographical and talk about the choices we make, that seem crazy to others. The powerful synth solo opens the incredible epic and overwhelming ending. I must confess that I'd have preferred that the album would come to end with this track, because the bonus track misrepresents the fulfilment sensation that lets you to play the entire CD another time.

"Gnaffe' " It's almost a goliardic game, as mentioned before. Well played in mediaeval way, as it is. At the end, "il-ludere" is a very good album. It takes a bit distance from typical RPI stylistics (we don't find long epic songs and continuous tempo variations) but still chained to it by the enriched arrangements (instrumental and vocal) and the search of unusual rhythm solutions and in something new or unexpected, which is the vital lymph for music REAL lovers. ITDC original and characteristic sound remains almost untouched, even if it pays a great tribute to past glorious prog bands

Please don't miss to listen to this album, you would bitterly repent!

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