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Le Orme - Veritā Nascoste CD (album) cover


Le Orme


Rock Progressivo Italiano

3.52 | 148 ratings

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Alberto Muņoz
4 stars For 1976, Le ORME, had recorded their better discs by much, presents/displays this titled work Veritā Nascoste, in where the trio becomes to expand to quartet with the inclusion of guitarist Germano SERAFÍN in substitution of known Tolo MARTON and with: Toni PAGLIUCA (keyboards, piano, Mellotron, Hammond organ and sintetizher), Aldo TAGLIAPIETRA (bass, vocal and Fender piano) and Michi Dei ROSSI (drums, percussion, eardrums, glockenspiel, tubular bell and gong); as usual, it is the duet PAGLIUCA/TAGLIAPIETRA that compose most of the subjects of this album, the last one of a stage where rock and melódic tendencies combine progressive rock with tendencies hard, and I consider that until a little within the pop rock, but also with appearances from which it would come in albums like Storia or Leggenda and Florian. Speaking of the album, I consider a very good in some parts but very mediocre work in others, but in general it is a work that does not have to lack in any collection that boasts of complete. Aspect unfavorable is production of disc, that does not do justice to him to the sound of the drumkit of Dei ROSSI, that is listened to dull in all the disc, as if towels in the patches had put him, in the style of Ringo STARR. Until in the power parts the battery it is listened to dull, but in short, therefore it was recorded and it was published. With respect to music, they net mix progressive sounds and in its better tradition, mixing some classic parts very (for example, Veritá nascosté, Vedi Amsterdam), with others of more pop sound (Regina at troubadour, that in fact it was published like single). And thus one goes away, with a structure based on short songs, tending bridges towards a rock a little more accessible like the one than I suppose was in that then.

Far already they are the days of Felona and Sorona, Collage and Uomo di Pezza, where they boasted of the masters of its instruments and experimental sounds; I believe that with this trilogy the band reached the total maturity and that, being left little already to demonstrate, instead of continuing experimenting with progressive sounds, preferred to begin to touch this type of music; in fact, note that felt like to taste touching these pieces, melodic accessible, is well composed, solid, with the compasses and rates that LE ORME dominates to perfectly, like masterful consommes that are. Although it is certain that to that they no longer like the first stage of the band they feel so to taste with this work, for me represents one of jewels nonrecognized of this great group.

The album opens with Insieme al concierto arranged, a typical song of Le ORME, with good voices of TAGLIAPIETRA, the low one very well, contrapunting to the keyboards and the acoustic guitar, with some pastoral passages and a little distortion in the electrical guitar, giving shades to the song. For some reason, that species of bridge in the minute 2:35 seems to me well-known, that is repeated in minute 3:21; I create it to have listened before with another group, progressive with flavor to heavy a rock of that then, but to have touched of a very fine way in this case. Good beginning of album.

In Ottobré is a song very similar to first, with emphasis in the influences more pop of TAGLAPIETRA and company, but even so pleasant; pity that the sound of the drums is listened to so dull, since the work of Michi is excellent here, following melodics instead of maintaining the rate; PAGLIUCA surprises to us with some good keyboard work of their Hammond, because in the first song he was than absent more. Good work in the department of the guitar, but nothing memorable; I insist, if the production had not been so sparing... in the end the group accelerates a little and presents/displays a series of melodic flashes very good to finish with this song.

Veritā nascoste is most representative of the disc in general, a true jewel of discografía of Le ORME and of the progressive rock, the letters are everything a poem, without a doubt a reflective song, with very pastoral rate, acoustic guitars creating sound walls, paraphrasing to John COLTRANE and the sound of mellotron created by PAGLIUCA would cause envies it of FRIPP. With no doubt, the best song of the disc.

The site of analysis ALLMUSIC maintains that this song derives from a style type DEEP PURPLE, but I do not think I grasped, because the song has a rhythmic rate and a little fast, but nothing has to do with the English band, beginning by characteristic sound of the keyboards on the part of PAGLIUCA and later the guitars with little effect overdrive, to cause the effect of a ghost guitar that is listened to very suitable for the atmosphere of the musical piece. Lyrics, within my limited knowledge of language Italian, not are memorable, so this one is a piece which I consider of filling, not by bad, but because I believe that LE ORME can do more.

Regina at troubadour can be considered a paradox in the canon of the group, is but the pop one of all the songs of this disc, with strictly commercial adjustments; it seemed that ORME wants to enter that market, own of another class of much more commercial groups (already I mentioned that it was sent like single, although with his more than 6 minutes of duration, I doubt that they have passed it in its original version through the Italian radio). Returning to the subject that occupies to us, this song has a line that seems very good to me and to grief that you are a song that she very little has of progressive in his structure, this rythmical phrase has left in the head:

"Capito Non hai, nessuna thing pių poteva farmi felice, rubato Io l'ho nel regno pių prezioso Che mai proverai, resterai"

Summarizing, the song is enjoyable to moments, some passages with acoustic guitar and the keyboard of PAGLIUCA sounding very, but very commercial, the simple letter, speaking obvious of Regina at troubadour, and they do not wait for more of the experimental and hallucinated Le ORME, are listened to here like almost Italian AOR, if that definition exists.

Another one of the songs that I consider of filling is Radiofelicitā, although also it has its moments, with the piano that is heard very suggestive, trying to heartype Uriah Heep (although it does not obtain it). The disastrous thing is when they try to mix rare sounds, background noise, voices and melodíc that the truth do not go with music, in addition to the sad sound of the drums. Many melodies more pop that, unlike Regina... , is listened to here pale and without joke, single saved by the keyboard and the perfect voice of TAGLIAPRIETA. The end of the song is not of the best ones, so that he is perfectly do without.

We continued with I Salmoni, song that seem inspired of some of the album Love Beach of ELP (although this one it left a year later), some progressive passages, random rates through the song, and a good bass playing on the part of Aldo TAGLIAPRIETA, that really safe the song of being a true disaster. Luckily last only 3:00 last minutes.

The song that closes the disc titles Il Gradino Pių Stretto of the Cielo that improves much after the disaster of the two last songs, again we listened to the electrical guitar of SERAFÍN, that had gone away of vacations the two already mentioned. The voice and under Aldo again shines by the stop, taking the baton of the song (and of the disc if it is possible to be said thus...) and Michi maintaining the song in their shoulders with a precise rate. The end is excellent, making mini jam and SERAFÍN showing that can do a single one of excellent guitar, and although it is surprised much to PAGLIUCA, finally it is a good song the one that closes this disc and the stage 74-76 of Le ORME.

Alberto Muņoz | 4/5 |


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