THE SEDUCTION OF MADNESS

If you ever dreamed of a fiery combination of modern King Crimson, 75-76 era VdGG and prog metal, in an amalgam both explosive and captivating. well, all you have to do is pay a close listen to Garden Wall's third album "The Seduction of Madness". After a debut album that was leaned closer toward the current lines of neo-prog and a second album that was mostly epic and grandiose, Garden Wall is determined to show off with full vengeance the dissonant angst that previously had remained somewhat deterred. Saravalle's aggressive guitar playing and neurotic singing are now the main focus in the production and arrangements of the new repertoire, though his (still by then) partner Olivo manages to assume a significant role on his keyboards with skill and full inventiveness: the orchestrations, chord progressions and counterpart solos fill spaces and create a solid bridge between the guitar riffs and the rhythm section. Speaking of which, it would be unfair not to state that the amount of energy dispensed to the complex rhythm patterns by Zidarich and Colleluori prove to be quite effective in terms of enhancing the potential power inherent to the compositions. The conviction and commitment are so obvious in the band's overall performances that the listener can easily notice that this is the prog trend that the band feels most related to: they're past the turning point and now they're enthusiastically engaged to a road of no return. The Hawkins-inspired 'Horizon of Events' kicks off the album as a direct manifesto of what Garden Wall is all about, and the next two numbers follow in the same path of dissonance and harsh pyrotechnics. But there comes the bittersweet ballad 'Noia', on piano and voice only: special guest Kikko Grosso - of Asgard fame- delivers a heart-felt tenuous cadence to this number, pouring out his melancholy until he feels "empty as a stage when it's all over". As a ballad, 'Noia' serves as a momentary relief, but lyrically the tension of souls is carried on. Later on, 'Strange Appetites (Pornopazzia)', 'La Chateau Fou' and 'Blurp' exhibit the most bizarre and accomplished passages in the album, with Olivo adding some occasional colours on flute. In all three cases, the emergence of carnival-like atmospheres in the synth layers and tempos give a certain air of macabre playfulness to the overall sound - irresistible! On the other hand, the band stretches out their sonic power in 'The Doll', focusing steadfastly on their metallic side. Finally, 'All the Best Years' sounds like a tribute to 80s KC, while the closure 'Sedation (of Madness)' sees the band drawing a bit closer to symphonic realms, thus allowing the album to be closed down with a touch of extravagant solemnity. In conclusion: "The Seduction of Madness" is a perfect musical paradise for lovers of the most delirious side of prog rock, and generally speaking, one of the best prog recordings of the 90s. 4 and a half stars for this one, indeed.