DEUS LO VULT

Four years after Discesa Agl'Inferi D'un Giovane Amante, the highly regarded second album from Italian's Il Bacio Della Medusa, they return with the follow up, Deus Lo Vult which for a non- Italian speaker like me is thankfully easier to get the tongue round. After such a stunning album that saw them use a template of classic 70's Italian prog and drag it well into the 21st century, it was always going to be a hard act to follow. Have they done it? Well the answer is yes and no.

Let me elaborate. Deus Lo Vult features some stunning music, as good as their last much of the time. There is a problem however and that is that the album is so damn short. Seven tracks lasting less than thirty four minutes, which even back in the days when vinyl ruled would have been considered short. That aside, apart from the disposable Urbano II Bandisce La Prima Crociata, which comes across as a 19th century military style piece for want of a better analogy, it's all good. The classic 70's comparisons are inevitable but there's no doubt that Il Bacio Della Medusa add elements that mark them clearly as a band of our time by injecting a healthy dose of modern sounding metal. Despite mellow moments like opener Invocazione Alle Muse they have much in common with the wilder excesses of RPI bands like Osanna and vocalist Simone Cecchini brings to mind Jumbo's Alvaro Fella with a raw and emotional delivery at times, though capable, which he often demonstrates of a far greater range. There's a theatrical approach here too bringing to mind the little known outside Italian prog circles Officina Meccanica. Prominent is Eva Morelli's sax and flute, an indispensable part of the band's sound, giving the obvious Van Der Graaf Generator and occasional Jethro Tull comparison's and they certainly share the wilder excesses of the former. The band rock out in fine style with some blistering instrumental sections too, making it an exhilarating, if short ride.

So there you have it, Deus Lo Vult doesn't disappoint, apart from its short length, but I can forgive them that as half the band have already delivered an excellent album this year as Ornithos. Il Bacio Della Medusa have reinforced their position as one of the most important Italian prog bands of the last twenty years.

Medusa Returns!

Well well, our friends of Il Bacio Della Medusa are back with their follow-up to "Discesa agl'inferi d'un giovane amante", the album which stunned the 2008 Collaborators poll by finishing 2nd and nearly upsetting Opeth. Following an album like "Discesa" is a tall order and I was pretty certain there was no way I could like the next one better. Well I'm happy to report that you need not be afraid to test your expectation. "Deus Lo Vult" is a punchy spitfire of an album that finds BDM in no mood to rest on past success. There have been changes for many folk's favorite post-2000 RPI band and it sounds like there are out to prove themselves all over again. They sound ferocious and battle-ready so the sword on the cover is appropriate.

The first change you might notice is that they have severed ties with Black Widow Records. They have also parted ways with violinist Daniele Rinchi, more on that later. And then there is the length which my good friend Paul discussed in his review. "Deus Lo Vult" is only 34 minutes long, almost unthinkable in today's world of unending CDs and digis. But I personally LOVE the fact that they did this! First, it harkens back to the classic 1970s RPI tradition of incredibly short albums when the 30-35 minute range was common and even quite a few that dipped below 30 minutes. This made for pure excitement because most of the bands were putting everything they had into that window of time. The same is true here. The band is succinct and putting every bit of gut they can into a short, sweet listening experience. There is never a second of boredom, this thing is alive and kickin' front to back. While there are times when I want a long drawn out affair, these days especially I value the approach taken here.

The material here, composed by Petrini and Cecchini, is as good as before and the performances have improved. While there are undeniably beautiful passages on Discesa which I have on my RPI brain loop, Deus has just as many while being more economical. There is a nice balance of intense, heavy rocking with poetic pastoral RPI, and a few of those quirky surprises as well. Sometimes there is a medieval feel, and this time around they flirt with prog-metal in a few spots. Not intentionally perhaps, but in these sections the speed and aggression are kicked up several notches. The band have all improved as performers as well. I sense a tighter core band seemingly more in tune with each other's musical dialogue, creating some very nice interplay, while Cecchini's vocals are fantastic. I love Diego's keyboard choices and aggressive drumming. Everyone is robust, passionate, and just kicking ass. I will say though that I miss Rinchi's presence on the album and that loss of an independent strings man is noticeable and not for the better. Coming from the world's biggest QVL fan this should not be surprising. But that is really my only criticism of Deus. Though the upside would be that it leaves more room for Eva Morelli who does not disappoint here, great flute and sax just like on Ornithos.

"Invocazione alle Muse" is such a stunningly beautiful opener, pure RPI, grandiose, majestic, romantic, with the first of many Eva flute solos. "Urbano II bandisce la Prima Crociata" has a patriotic march feel with Eva playing piccolo over these gregarious group vocals, you can almost see the guys with their arms around each other belting it out as if a pub sing-along! "Simplicio" is the change-up, an inspiring ballad with Cecchini and Morelli just breaking your heart, so damn beautiful is the vocal and flute with great guitar leads as well. The title track is amazing and powerful, great timeless riffs and memorable melodies. The other tracks are just as impressive and feature more of the heavy prog/symphonic/rockin' side of the band whose influences feel like Purple and Tull yet filtered through the RPI experience with highly theatrical vocals and loads of drama. Don't worry about comparing the album to its predecessor or to Ornithos. Both this album and Ornithos should be on your list if you enjoyed the previous BDM album. It comes in a nice book styled digipak with lyrics, photos, and artwork.

'Deus lo vult' is the third album by Il Bacio della Medusa, a band from Perugia that was formed in 2002. It was self-released in 2012 with the help of Glare Art Communication and features a beautiful packaging with an art work by Licia Marino mixing photographs and drawings. Violinist Daniele Rinchi left the band after the excellent second album and now the line up is reduced to a quintet featuring Simone Cecchini (vocals, acoustic guitar, harp), Diego Petrini (drums, percussion, mellotron, organ), Federico Caprai (bass), Simone Brozzetti (electric guitar) and Eva Morelli (flute, sax, theremin). The overall sound is harder than in the previous work but in my opinion the music perfectly fits the storyline and the final result is magnificent. In fact, 'Deus lo vult' is a concept album inspired by the first crusade where sarcasm and irony prevail upon epic tones. It tells the story of an unfortunate, naive lord from Umbria who leaves his land and wife in search for glory and richness in the Holy Land. Well, if I had to compare this work to a film I would say that it's definitely closer to Brancaleone To The Crusades by Mario Monicelli than to Kingdom of Heaven by Ridley Scott!

The short opener 'Invocazione alle Muse' (Invocation to the Muses) sets the atmosphere with Simone Cecchini who here plays the role of a minstrel... 'Let the wind blow strong / And as for magic / Let it suggest the song / Of the young Simplicio...'. On the following 'Indignatio (Infedeli in Terra Santa)' (Indignatio ' Infidels in the Holy Land) the rhythm rises while the music and lyrics weave a sense of organized delirium. This piece describes the atmosphere of mystic fanaticism and hysteria that leads to every religion war. The Earth seems to give birth to dark, venomous scorpions while infidels plunder and celebrate their pagan rites in the Holy Land. You can hear curses and invocations to the divine wrath... 'Hurry up! Hurry up! / The whole Christianity has to rise and fight...'.

On 'Urbano II bandisce la Prima Crociata' (Urban II summons the First Crusade) Simone Cecchini plays the role of the pope blessing Godfroy of Boullion and his army in an almost ludicrous way and there's a strong sense of parody. Next comes 'Simplicio', a beautiful ballad which describes the protagonist of the story on his way to the Holy Land and his meeting with an attractive girl who reads his hand and predicts him a gloomy future. She offers him shelter and love but our hero turns her down and rides on... 'When he gave up counting so many suns and too many moons / He attained his destination...'.

'Deus lo vult' (God wills it) begins softly with exotic flavours in the air, the music here recalls the score of Lawrence Of Arabia by Maurice Jarre. Then the rhythm suddenly rises and you can hear the battle raging and see the blood flowing in deep purple colours... 'Shoot the arrow and run / Towards those towers... God wills it! / Beyond those gates / Death is waiting for you... God wills it...'.

'Verso casa' (On the way home) tells of a sad return. Simplicio is disappointed, for him there's no glory nor land nor richness since the leaders and the most powerful knights make the rules and for him there's nothing left but pain. So he comes back home with no booty but, at least, the hope to find again his faithful wife cheers him up. The final track reveals a nasty surprise... 'La Beffa (Non un trono, non un regno... Solo sdegno)' (The prank ' No throne, no kingdom... Only outrage) describes the moment when he finds out his spouse cheating on him. She's in bed with the local priest and Simplicio goes mad. In his final explosion of rage he's merciless and burns them alive... 'Get ready the stake...'. Well, a real flamboyant finale!

Review Nº 587

Il Bacio Della Medusa is an Italian prog rock band. The genesis of the band started in September 2002 on the initiative of Simone Cecchini, Diego Petrini and Federico Caprai. The last two played in the band Ornithos since 1999. After several changes, in 2003 the formation stabilizes with the entry of Eva Morelli, also from Ornithos and Simone Brozzetti. In the following year Angelo Petri joined the band. In 2004 they recorded their self-titled debut album independently, with a hard prog sound based on the sound of the 70's, but without losing their originality. In 2005 Daniele Rinchi joins the band, which adds to the sound new instruments such as violin, organ and piano. In 2006 the band started working on their second album, released in 2008, 'Discesa Agl'Inferi D'Un Giovane Amante'. This is a conceptual album that shows a mature, sophisticated and fascinating band, mixing in the right amount of progressive rock, jazz, folk, hard rock and even hints of heavy metal, with a dark and melancholic sound that, in some parts, reminds King Crimson but always with a visible originality of the band. In 2012 they released their third album 'Deus Lo Vult', another conceptual album.

But, while the concept of 'Discesa Agl'Inferi D'Un Giovane Amante' was based in a story told by Dante in his 'Divine Comedy' about the forbidden love between two lovers Francesca and Paolo and their descent to hell, 'Deus Lo Vult' (which means 'God wills it' in the medieval Latin) refers to the rallying cry of the people when the first Crusade was declared by Pope Urban II at the end of the 11th century. Still, rather than with the bigger picture, the album deals with the story of a young lordling, Simplício (whose very name hints at a na've, trusting nature), who joins the Crusade in search of fame and fortune, but that only was able to meet bitterness and disappointment upon the return to his home.

'Deus Lo Vult' places a strong emphasis on vocals and narration. In a drastic reversal of the current trend for endless, filler-packed releases, the album concentrates only in a mere 33 minutes. Even though 'Deus Lo Vult' has drawn some criticism on account of its supposedly 'incomplete' feel, it's refreshing to see a band managing to describe a complete story arch in barely over half an hour, without relying on the gimmicks that often give to concept albums a bad name.

Il Bacio Della Medusa on 'Deus Lo Vult' strikes a near perfect balance between the lyrics and the music, allowing the music to convey as much emotion as the vocals. All members of Il Bacio Della Medusa are superb instrumentalists, and the music runs the gamut from gentle, folk-tinged balladry to no-holds-barred heavy prog. Simone Cecchini's extremely versatile voice firmly rooted in the great Rock Progressivo Italiano tradition, at times blends with the instruments, at in some other times completely dominates them, performing two or more roles at once in thoroughly convincing fashion.

The album opens with a short track 'Invocazione Alle Muse', an homage to classical epic literature in the shape of an invocation to the Muses, a soothing, pastoral-sounding piece with a melodic voice accompanied by acoustic guitar, Mellotron and flute. With 'Indignatio (Infedeli in Terra Santa)' the album immediately dives into the thick of things with its lengthiest track, with about the 8-minute long. The music on the track reflects the tone of the lyrics, an invective against the Muslim presence in the Holy Land conveyed in almost visionary terms. 'Urbano II Bandisce La Prima Crociata' is a march-like, with its trumpets, drums and the martial chanting, strikes a half-serious, half- comical note, allowing Cecchini to interpret two different characters with effectiveness. 'Simpl'cio' is a kind of a folksy ballad where Cecchini's voice displays its melodic potential, well complemented by the guitar and flute. In 'Deus Lo Vult', the band delivers a great track. After a deceptively mellow intro, the track leads into a hard rock feast with no less than three guitar solos, raging Hammond organ runs and aggressive sax and flute works. 'Verso Casa' relates Simpl'cio's journey towards his home with a lively, a waltz-like pace and very expressive, but with slightly histrionic vocals. In the last track 'La Beffa (Non Un Trono, Non Un Regno...Solo Sdegno)' the story is dominated by Cecchini's suitably deranged vocals, followed by a galloping, exhilarating flute-guitar section and ending with the ominous sound of a crackling fire.

Conclusion: 'Deus Lo Vult' is a mature album, direct and full of details, a human journey full of passion and blood with a really explosive finale. Compared to their previous album the lyrics are much rawer and the sound is hard and tends to rock, sometimes heavy but tinged with shaded songwriting and sometimes ironic. This variety of solutions allows the music to fit the plot. The pressing structures of bass and drums support the acrobatics of flute, guitar, sax and organ, while the histrionic and powerful voice goes from mellow tones to those crackling in a wide range of interpretations in timbre. Besides the outstanding quality of the music, which successfully blends a vintage feel with a thoroughly modern allure, the band should be commended for the painstaking attention devoted to the lyrics. 'Deus Lo Vult' is undoubtedly and especially recommended for fans of bands of the heavier Rock Progressivo Italiano spectrum.

Prog is my Ferrari. Jem Godfrey (Frost*)