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Delirium - Lo Scemo E Il Villaggio CD (album) cover




Rock Progressivo Italiano

3.66 | 73 ratings

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Cesar Inca
Special Collaborator
Honorary Collaborator
4 stars Not unlike many Italian prog bands in the 70s, Delirium's origins were part of the beat movement (in the shape of the band I Saggitari). "Lo Scemo e il Villagio" is the band's sophomore effort, which allows Delirium to evolve from its initial pastoral trend. Well, the Mediterranean pastoral factor remains powerfully present in the band's sound, but now the band has grown to be an authentically prog act with augmented elements of symphonic prog, jazz and folk. Influences from jethro Tull and Genesis are easy to notice, although the jazz element should not be dismissed at all, especially since sax/flute player Martin Grice is so featured in the instrumentation and he happens to be an enthusiastic jazz lover when he's not focused on bucolic ambiences. His labor builds a perfect complement for the keyboard harmonies and layers and for the rhythm section, as well. You can tell that the keyboardists, the drummer and the wind player are the main architects of the whole ensemble's sound. The most energetic pieces can remind us of compatriot bands Raccomandata Ricevuta Ritorno and jumbo, while the most relaxed pieces may lean closer to Celeste and "Storia di un Minuto"-era PFM (without equaling their notable academic trends). The final result is a repertoire full of serene beauty and subtle magic, with an abundant colorfulness that shows recurrently, plus an obvious finesse in performances - this particular point keeps Delirium one stage above Jumbo, who prefers to give a rougher approach to their acoustically-oriented prog. 'Villaggio' kicks off the album with an agile combination of pastoral prog and jazz, with pronounced cadences on piano and pertinent sax/flute lines. 'Gioia, Disordine, Risentimento' starts pretty much in the same vein, although the development includes some playful variations with a certain lunatic twist - this may remind us of the jolly passages of BMS's first two albums. This is a well-ordained sonic collage, and it certainly is one of the album's highlights. 'La Mia Pazzia' goes on with this celebratory vibe, while 'Sogno' retreats to calmer moods, albeit preserving that explicit sense of joy provided by the fruition of pastoral and jazz. The delicate sweetness of the ballad 'Tremori Antichi' and the romantic spirituality of 'Dimensioen Uomo' make them oases of reflectiveness in te halbum's repertoire. 'Culto Disarmonico' is yet another special highlight, heavily focused on complex rhythmic patterns in the jazz vein, with the piano and sax alternating polished solos. As a definitive contrast, the following track 'Pensiero per un Abbandono' brings a stylish example of classicist melancholy, perhaps similarly to Procol Harum's most sublime classics. This is a perfect closure for a very beautiful album.
Cesar Inca | 4/5 |


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