MIT

OK probably the weak vocals should make it deserve an inferior score, but this recent concept album (released in 2000) is built on delicate passages at the piano, the romantic arpeggios at the guitar and a "sweet" symphonic approach too, which is delicious...their tones are always gentle and the arrangement well refined. Paolo Paroni at the keyboards has performed a very good job, instead Roberto Sgarlon is always leading this quite prolific band all along his music carrer (I hope that's his main task also in the next years, because the other excellent bands in the same vein, like Il Trono dei Ricordi and Aufklarung, unfortunately broke their line up and were missed ever!!).

Clever symphonic work, without any great peek of invention, but always pleasant and at the end well worth checking out, at least!!

What an exquisite package from this talented group from Italy! We are given a mammoth booklet (almost a libretto!), gorgeous cover artwork as well as a superb set of operatic Italian Symphonic prog that mixes the traditional elements of the genre with some new ingredients that give "Mit" a unique flavor. As with fellow countrymen Minstrel, the vocals here are strongly in the classical Italian opera vein, with the rich voice of Marco Bertolissi escorting the "sopranesque" input from stunning female singer Annalisa Malvasio. A string quartet adds to the classical feel with great effect. There is also a slight almost imperceptible zeuhl feel at times that is very welcome. The core band is composed of guitarist supreme Roberto Sgorlon, fluid keyboardist Paolo Paroni, bassist Paolo Maestrutti, drummer Fabrizio Morassutto and acoustic guitarist Fabio Giacomello. "Secretum" is a fantastic introduction of moody synths, whispered chanted voices, roving bass, marshalling drums, and building up to classic orchestral crescendo. The second track, the first "A" is a very brief and simple melody duet, introducing the two singers with a sprawling piano arrangement, deft fingers rolling over the keys. "Le Refuge du Temps" is the first outright gem, the acoustic and electric guitar constructing a web of melody, with an initial Annalisa scat-singing aria providing the platform for a furious Sgorlon guitar foray that sweeps sideways as much as it burns forward. She then unleashes a spirited rock lead vocal that soars over the mournful cello (ah, what brilliant instrument!) and then a more operatic solo that precedes the glorious rocking main theme, a masterpiece of mood and feel. The first of brief acoustic/string quartet interludes only adds more sheen to the grandeur. "Words in the Shadow of Life" is the second jewel, an English language male vocal highlighted by a masterful electric guitar solo that is pure melody incarnate, the acoustic playing foil. The second "A" is Annalisa doing her super-lung aria thing again, piano accompanying her on a towering flight, her powerful voice squeezing out emotion with impunity. "Panna's Dreams" retains a tender and breezy lilt, almost country-style acoustic folk, with a sweet air. The 7 minute + "The Search" is the third marvel, a gruesomely atmospheric assault, with steamroller rhythmic guitars and immense church organ howls, sudden acoustic guitar interjections passing the torch to a trio of sizzling Sgorlon leads, some bluesy masculine vocal work with the incredible Malvasio wailing with passion (a wink at the Great Gig in the Sky?), a zipping synth solo and some fine pinpoint drumming by Fabrizio. The string quartet provides another sorrowful interval that constantly keeps the music flowing, avidly awaiting the next surprise. "The Lord of Fire" is the fourth diamond, a violin-led musical mountain of absolute utter beauty, a goosebump provoking lead vocal plaint from Marco, more wailing from Annalisa and an imperial piano outro. "Flowing Down the River" is a classical guitar and piano collaboration that seeks to express the majestic flow of a watercourse as it meanders emphatically towards its destiny. "The Glance of Giada" is another 7 minute + piece that finally encapsulates all the ingredients that makes this such a terrific album, this time opting for a rockier mood, with more huge guitar and synthesizer follies and a middle section that reintroduces all the acoustic constituents, including the orchestrations that add all the mystery to the overall feel. A fiery, unrestrained Sgorlon blast puts this to rest perfectly. "Happiness", like the title implies is a brief musical smile. The disc ends with an uncredited acoustic guitar goodbye, gentle, almost infantile, utterly peaceful. 4.5 quasars

The vocal department from this band has always been a problem. Roberto Sorglon was really poor and he is this time associated with Annalisa Malvasio who already sung in one song on their prior album. This is for the best of this work, because she is more involved and to be honest, Roberto also sounds better here (but it was easy).

This being said, this album is a suite of short pieces which leaves me a bit hungry. The first A song (from a total of three) features a fine vocal from Annalisa. The tone is quite usual here: her voice is truly powerful on this jazzy piano oriented song. But it sounds as unfinished, cut down.

Le Refuge Du Temps starts with a fine and very high pitched vocalize part and switches to some neo- prog flavour (it won't be the sole example). The highlight is the work from Annalisa.

There are lots of classical touches (there is a string quartet invited as guests) like during A (the second one) but not only. When you add this feature to the fact that Annalisa has a brilliant but opera oriented voice, it only completes the picture (Le Refuge Du Temps or the short The Voice of the Highland for example).

My favourite track is also one of the longest from Mit: The Search holds all the elements of a neo- symphonic song: strong synths with moving and at times furious guitar. It includes again English lyrics which is a tradition for this Italian band.

As usual, some instrumental passages are brilliant like in The Lord Of Fire but these can't raise the level of this album to a four star rating as far as I am concerned. This album is fine to listen to; there aren't any annoying parts (which was the case in their previous albums, but it was due to the vocals).

It is an album that doesn't captivate though: you listen to it, it is fine but you won't remember any great piece of music. As soon as it ends, it is already almost forgotten. My favourite instrumental is the sweet and melodic Flowing down the River but The Silent Breath is pleasant as well: a smooth blend of acoustic guitar and strings. A bit sad, perhaps.

The music represented during Mit is a very soft symphonic one. Even if Glance Of Giada is a bit more upbeat. The synthesizers are providing some neo-prog touches to this longer than average tune (over seven minutes).

This album is a good companion for a moment of tranquillity during your week-end. Quite alright actually on this Sunday morning.

Three stars.

After the previous magnificent work by Quasar Lux Symphoniae expectations were really high.The main core of the band (Roberto Sgorlon, Paolo Paroni, Fabrizio Morassutto along with Fabio Giacomello and Annalisa Malvasio) remained the same, but bassist Paolo Maestrutti would leave to be replaced by Mauro Chiapolino.New member Marco Bertolissi contributed vocals on the upcoming work and Ulisse Tonon was there to help Paroni on the keyboard parts.The new album of the band ''Mit'' sees the light in 1999, this time on Mellow Records.

Why the band abandoned the unmet THE ENID-inspired grandiosity of the previous work is beyong my understanding.''Mit'' is an album with some nice pieces and great performances, but Quasar Lux Symphoniae sound less tight and inspired.Among the Symphonic Rock and Orchestral Prog parts the band decided to throw some Pop Opera elements, some easy-listening Jazz cuts and a huge amount of Folk-sounding acoustic guitars with some sort of Classical/Medieval approach.The later are not necesarily bad, the smooth atmosphere created by these soft acoustic pieces and the violin strings are more than welcome, often supported by Malvasio's operatic vocals.But the more accesible parts of the album do not help its consistency at all, a nice symph-inclined piece of music is followed by a cheap ballad to make the album fully incoherent to say the least.Still some lovely minutes of great musicianship are present.The longer tracks contain all the right things Quasar Lux Symphoniae are known for: Massive organ waves, floating synths, awesome guitar work and bombastic arrangements.And even the more Classical-influenced pieces in the vein of NEW TROLLS with the extensive string sections are pretty nice.

The result?Rather too much is going on.Hard Symphonic Rock, Classical Music, Pop Opera and Folk seem often too much to handle.Focus on the best pieces of this album and you won't regret it.Recommended, despite being a step backwards for the band.