IL RISVEGLIO

How do you improve upon the eclectic fantasyland of 1970s RPI? You start by not trying to, but instead distilling its essence and embellishments while eschewing its excesses. After all, 2000 is not 1972. Add in modern production and a nutritious dollop of period vocals and instrumentation, both acoustic and electric, and you have a disk that I had first viewed as a lost masterpiece from that long shrouded decade, only to discover its relatively recent eminence.

The group is aptly named at least in the sense of being a cooperative, with an accent on ensemble playing. Keyboards tend to take the highly melodic lead role, particularly vintage organs and bass in tandem, but delicate acoustic guitars lay an organic surface below. "Contemplazione" is the longest cut and illustrates most of these strengths, highlighted by ponderous and sensitive vocals by Sergio Contin enhanced by Pierluigi Piccoli's atmospheric backing, and is an enjoyable listen from start to finish.

"Notte volante" is a lovely flute and acoustic guitar oriented piece with alternating pastoral and more upbeat sections. "Il respiro dell'alba" is even mellower, with divine piano work, more flute, and hushed vocals. It ends in a carousel of scratchy vinyl, a clear and respectful homage to the group's many ancestors.

The album closer sounds like it owes as much to folklore - it reminds me of Quebecois folk of the 1970s - as it does to the prog movement, thanks to a haunting traditional styled tune, and harpsichord-sounding keys and more flutes. While it's one of my favourites, some might find it a bit too slow moving and not heavy enough for their tastes. But if you enjoy the more sunny propositions by HOSTSONATEN, but wish for a more spirited take, this is yours.

The most 1970s sounding piece is "Tentazioni", and leaves me the coldest, although enough is happening to save it from getting sucked into the recycle bin, chiefly in the ever tasteful vocal work. The album opener is taken down a notch by its verbatim theft of a passage from "Musical Box". I know they are not trying to hide it, but why bother at all?

RPI is a style that I would expect to love from its description; I more often end up enjoying it well enough while feeling somewhat disappointed by a seemingly deliberate highbrow attitude. "Cooperative Della Latte" sets me at ease from the first, and is one of my recent musical "cash cows", one that I plan to milk for some time to come.