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Franco Battiato - Sulle Corde Di Aries CD (album) cover


Franco Battiato


Rock Progressivo Italiano

4.09 | 107 ratings

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4 stars Out of sync and out of robustness within a general movement and shine, Battiato's music, at least by his most splendid creations, have the rhythm of a fascinating expression, a pretty decent art and...a progressive fling, questionable only by its burst of excitement and over-grown sensation. It's reckon that the most surprising things in his way and joy of music also mean something more suitable, conventionally, than you can imagine. Otherwise, the trick is simple: as much blend as possible, but also a clearness (owning almost to the artist's pure heart and golden creator's peels) in all shapes and sizes, moments and fractures.

Sulle corde di Aries is mostly in line with Battiato's sweet on surprising classic progressive taste, though, just like hit bit more unfocused inventiveness belongs to more abstract colors of the genre, this sort of an album could also expand or entice a music's completely different harmony: just to be safe, it seems this one relates to more artistic albums and more restless brinks of imagination, like Clic or Foetus are also composed. In style, opinions are also broken in many ways, but don't harm the music itself: classic and affectionate rock, minimal conceptual lyricism, rich or acoustic instrumentality, eclectic beginnings of some free music, riddles and chants of peculiar tones and attracted sense, a debuting swing into avant-garde and esoteric orientation, experimentalism by the pound and artistry by some you can't feel more close and more absorbing. To not forget, the songwriting is an impediment to easy music, there are folk atmospheres personalizing the lack of fluidity and mesmerism, and there is an entire feeling of very simple electronics, synths and analogies, part of a full vision, but of a blackout of strength and intelligent uniqueness.

The album, short in its pedantic compositions, has four roots of creativeness and long appasionata animations. Aria di rivoluzione isn't spectacular, but has such a suave mirth of harmony vocals, mixing a more weird and dramatic German narration. The piece is of pure simplicity, but forgets nothing in its dolce grave contrast. Da Oriente Ad Occidente is also suggestive, the piece is again short, but the blossomed music goes on folk guitar patient improvisation, ethnic sensible language and figurative, though tad cemented, transcendence. Sequenze e frequenze" is my favorite, a long, juicy but also artistic-dissolving dark piece, eccentric on experimentalism, synth sequence and minimal atmospheric conception; the middle-part has a shrill, through a sort of glass-sound play tune, on astral or harsh-vibrating pulses. The piece, so steamy yet contemplative, seems of a very pleasing and intense satisfaction. Mellow on the art (though is it really inartistic?), ravishing on the sound, one almost independent and circulant. The last piece, Aries, is finally neither vociferating (notice the "voice" inflexion), nor ambient and not even close to elegantly experimental, it has a passionate symphonic sound and it is more like a tranquil deep blend of instrumental influence on shady onirical slow rock moves. Dripping percussion, caramelized guitar, synth-ethic keyboards and a chorus line of typical sostenuto. But, wow, a quirk sax-jam right at the very end of the piece.

The album, primarily insatiable, difficult, progressively unaccommodating and pluri-artistic, is yet enjoyable and full of a brightness that settles its gifted eccentricity in milder acceptations. For this being my first RPI album...ever!, I was impressed and melted away with the best moments. After deeper listens, the style pales from being referential, but that doesn't happen to the beauty inside.

Ricochet | 4/5 |


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