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Locanda delle Fate - Forse Le Lucciole Non Si Amano Pił CD (album) cover

FORSE LE LUCCIOLE NON SI AMANO PIŁ

Locanda delle Fate

 

Rock Progressivo Italiano

4.10 | 364 ratings

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BrufordFreak
4 stars A very polished album of piano-based progressive rock music with a kind of combined RENAISSANCE-GENESIS Foxtrot/SEbtP-era feel to it.

Line-up / Musicians: - Leonardo Sasso / lead vocals - Alberto Gaviglio / electric guitar, 12-string guitar, acoustic guitar, vocals - Ezio Vevy / electric guitar, 12-string guitar, acoustic guitar, vocals, flute - Michele Conta / piano, electric Piano, synthesizer (Polymoog), harpsichord, clarinet - Oscar Mazzoglio / Hammond organ, Fender electric piano, synthesizers (Moog, Polymoog) - Luciano Boero / bass, Hammond organ - Giorgio Gardino / drums, vibraphone

1. "A volte un istante di quiete" (6:31) opens as an up tempo, piano-based rock song sounding quite a bit like a peak-era Jon TOUT-led RENAISSANCE song. The band plays quite nicely together--nicely tight band. The synth lines in the fourth minute are almost straight out of the finale of GENESIS' "Supper's Ready" and the guitar sound that joins in later is also quite Steve Hackett-esque. The fast-paced jazzier section that takes over at the 4:40 mark returns the band more to a RENAISSANCE/ "MacArthur's Park" sound. (9.5/10)

2. "Forse le lucciole non si amano pił" (9:48) opens with a piano and vibes duet, establishing melody that the vocalist soon uses. By the end of the first minute the full band has joined in, establishing a fairly slow, methodical pace and sound. The instruments amp up into a little harsher ground at the 1:40 mark before falling back into support for the husky-voice male singer (Leonardo Sasso). Chunky bass (think John Camp) with well-integrated drums lead into an instrumental section with electric guitar 'power' chords and harpsichord in the lead. The more aggressive, jazzier section in the sixth minute feels a little discombobulated from the multiple vocal lines--very theatric--but it's working in a dramatic way. (8.5/10)

3. "Profumo di colla Bianca" (8:25) opens with a collection of sounds and riffs that make it sound like it comes straight off a YES album--Relayer or later. When things calm down for the vocal to enter at the one minute mark it feels all Italia(--all Banco). The next sections--instrumental and vocal--magically blend themes and sounds from the early years of both GENESIS (Gabriel era) and KING CRIMSON (ItCotCK). A more piano-based section returns to the beautiful realm of Italian melodrama--which is then carried forward and enhanced by an interesting section that feels like a blend of THE ALLMAN BROTHERS and STARCASTLE. Very interesting and deftly crafted song. (9.5/10)

4. "Cercando un nuovo confine" (6:41) opens delicately, beautifully, like the "play me a song" part of Genesis' "The Musical Box." In the second minute, piano, mellotron and background singers are added to the foundational acoustic guitar and electric guitar arpeggi. Then the song bursts into full rock dynamics in an almost ELTON JOHN way but then quickly settle back into more Genesis-Renaissance domains. An new theme is introduced at the three- minute mark that is piano-led, enriching the dimensionality of the song in a Tony Banks kind of way. The vocalist becomes more forceful but it sounds strained and makes the song suffer (in my opinion). And then the song quiets down, moving more toward the opening in its delicacy--though the piano continues tinkling away for a bit. The vocal harmonies in the final minute are nice. (8.5/10)

5. "Sogno di Estunno" (4:41) opens with flute and piano playing melody line in unison while bass and drums build in support. When Leonardo's vocals are introduced, the mood becomes more assertive, even aggressive. But then a delicate Genesis-like section ensues before it, too, is absorbed in the aggression of the next vocal-lead section (verse 2). The instrumental section that follows is peppered with soli from Arp synth and piano before Leonardo returns. It is my opinion that his voice is just to gruff for these beautiful instrumental weaves. I also believe that the piano is too dominant. One can see how these songs were created (and could be performed solo) by the piano, but it should have been mixed down a bit in the final mixes--to allow the weave of instruments to seem more even keeled. (8.5/10)

6. "Non chiudere a chiave le stelle" (3:34) opens with a pretty multiple guitar- and all-arpeggi-based weave which is soon joined by the gentle voice of a different male singer than the previous songs. Nice, gentle background harmony vocals used as well. Thought the song never really 'goes' anywhere, it is nice--and probably would mean much more to me if I knew what he was singing about. (8.5/10)

7. "Vendesi saggezza (9:37) is another piano and chunky Jon Camp-led song with Leonardo's gruff, aged-sounding voice in the lead vocal spot. The instrumental section in the third minute is quite nice--even powerful--and helps the next singing section by bringing in quite a sophisticated weave with it--or could it be that Leonardo Sasso's voice is mixed a bit further back in the soundscape? Whatever, this is the first time on the album that the instrumental dynamics has felt perfectly mixed! The GENTLE GIANT-like section that opens at the 6:20 mark is a nice twist--and then the next section at 7:10 is pure GENESIS perfection. (9.5/10)

4.5 stars; A near-masterpiece of progressive rock music.

BrufordFreak | 4/5 |

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