UN MILIONE DI VOCI

--This is an Auto-Review by P.D.M.--

Our last album "Un Milione di Voci" ( A million voices ) is the continuation of the previous album "In Ogni luogo, In Ogni Tempo" (2000) and it's develope as an "ENSEMBLE" of musicians and music stiles, joined "AS ONE" by our experience, perception and immagination. So the basic line of this work, can be searched on "expression" instead of a particular music style. Any track can be read such a part of a "AT ONCE" work, but also as a "STAND ALONE" composition, and the result of that, can evoke, on the listeners, remembers of already know sonorities, and also (we hope) new and/or inusual images. The feedback reviews (from the musical global village) had commit that our feeling, and, a lot of band names and music stiles (a bit contradictory too), were used for desrcibe our music; so, we want let to the listener, the words choosing job, to describe it, without bound his immagination. Good listening from PERIFERIA del MONDO.

This double LP set is the latest release from the Italian progressive rock giants PERIFERIA DEL MONDO. This is such a beautiful set to have in your collection. The striking artwork really pops out on the traditional gatefold LP sleeves, which opens up to several black and white stills of the band. I am not trying to impress upon you that this band is a commercially successful world-renowned band; they are far from falling into that categorization. They are a big fish in a small pond, that pond being the progressive rock genre. Keep in mind that the loyal and close following of this type of band far outweighs album sales or anything else that equates with success in today's business climate. Therefore, in a matter of speaking, they stand tall as giants in their own particular musical niche.

As far as I am concerned, groups like this define what progressive is. By combining elements of 70's prog-rock with a modern twist using horns, lush strings, and everything at their disposal, both technically and musically, a definite progressive mindset prevails on every track offered on this bountiful collection of tracks. If you are thinking that getting the LP will weaken the sound and compromise a listening experience that you would get from a CD, think again, it sounds just as good on vinyl. I cannot say that about all the music I hear on vinyl, in this case it does apply. This is progressive rock in all its glory with stunning artwork to summon thoughts of mysticism and science fiction movies, virtually everything this particular type of music seems to every time without fail. Although I cannot fully appreciate when the group sings in Italian, I certainly can enjoy and soak up all of the great music that is continuously presented on this recording.

Mauro Pagini and Banco's Vittorio Nocenzi guest - ed.

This is the second album from the interesting Italian Roman ensemble (by excluding the live album), after their important debut-work in the vein of Banco and Arti e Mestieri-entitled "In Ogni Luogo , In ogni Tempo"-.nowadays They have partially changed route, sometimes in the direction of such a usual classic rock (listen to the first track), passing through a funky-oriented tune of the second track. Well anyway They haven't forgotten their "progressive" roots: for example you can find echoes from Banco in "Incanti e Perplessità", thanks to the Hammond-solo of Vittorio Nocenzi, but also the virtuosic violin of Mauro Pagani (ex PFM) inside "Can Stop", with a "fusion" mood, and even the prog-jazz music genre ( a bit Perigeo-like) of "Un Borghese Piccolo, Piccolo" (without forgetting their title track in the same style.). Naturally the most interesting parts regard the severe arrangement of "Monologo" and "Io Brucio" too, where the sound of the strings creates a contamination of classical music, this time in the vein of another versatile band like Quintorigo, always from Italy; and from these latter They are learning to compose easier tunes, suitable for a bit wider crowd, not for the fans of the progressive or fusion jazz-genre only.at the moment PFD have not reached this aim, but perhaps one day They could support Quintorigo all over Europe, trying to emulate the same fairly good commercial success!!

Another interesting work, after all!!

Second album from this modern Italian "symphonic" prog band, which records on the Akarma label and gives it a chance to issue their albums in the mini-Lp format. Too bad the group did not take advantage of it as it had done for their first album. I had remembered PDM's debut album as a fairly disjointed album, not really knowing which direction to take, but this was only an impression, since I had only heard some 20 minutes of it at my usual record shop hang-out and had opted out.

The least we can say is that this album is much stronger, but not anymore focused than its predecessor. Having taken a definitive turn towards jazz-rock, PDM is not exactly breaking new ground, but who is nowadays? After two short introducing tracks, the group attacks a good three-piece mini-suite, where the nonchalant Italian spirits marry the cool jazzy laid back fusion that had succeeded to a dynamite first movement where the sax, the guitar and the violin had traded licks. However the next track comes way too abruptly and fails to capitalize on the delicate ambiance previously built. Incanti is actually trampling everything with its wooden clogs and metallic guitars and uninspired pop-vocals, where an organ solo is thrown in there "au petit bonheur la chance", (half- hazardless? Where the hell is that dictionary when you need it? ;-) Wind-player and lead singer Papotto is all over the place, but I suspect that he a big partake into this involuntary/messy/unorganized/unthought chaos.

An average acoustic guitar piece precedes another rocky jazz-rock (EvaLuna) track, but unfortunately it resembles a bit too much the previous Incanti. The succession of tracks much different from one another is a bit perplexing and disconcerting as to what they are trying to pull: the classic clarinet track (Cercanda) preceding the Santana- plagiarized Can Stop then followed by a harpsichord-flute classical ditty (Espresso), abruptly changed into an Arabian-laced jazz-fusion, reminding Ponty or Colosseum II. This goes all over the place a bit too carelessly for my tastes. An average ELP-like Foglie is transformed into a surprising title track with a rapping section (yes, rap!!). However the last track Io Brucio, with its short intro, is the second highlight of the album. What can be said about an album where the third best track is a Santana rework?

Don't get me wrong, aside the weak Incanti and EvaLuna, I haven't heard one track that is less than good, if not very good on this album, but PDM completely lacks a sense of constructing an album. And this thing is way too long, also. A bunch of talented individuals that have problems melting in a single unit, is this writer's prognosis.

Just a month after the release of Periferia del Mondo's debut the Italian band was among the names to participate in Demetrio Stratos' tribute album ''Omaggio a Demetrio Stratos'', a work of Mellow Records, covering a track by one of their favorite influences, Area and ''Arbeit macht frei''.The recordings of the second album ''Un milione di voci'' took place at Elefante Bianco Studio in Rome between November 2001 and April 2002.The album was again released via the Akarma label.

Yet another versatile album by Periferia del Mondo, mixing Jazz Rock with Psychedelic Rock tunes and echoes from the Classic Italian Prog era, the question was if these sounds combined would result a consistent album.The band grew well in time and, despite avoiding any attempts on long tracks, they came with a beautiful work, dominated by the pronounced violin runs of Alberto D'Annibale, the interesting keyboard work of Bruno Vegliante and the edgy electric guitars of Max Tommasi.They did not fall in the trap of resembling to vintage groups, presenting a modern production and they blended nicely the old stylings with contemporary sounds.I name the band as the Mediterrenean answer to FROGG CAFE, Periferia del Mondo play a flexible Prog Fusion, which respects the melody of Italian Music, explores the complex Prog territories and displays plenty of intelligent, virtuosic parts.Tons of organ, synthesizers and electric piano sit next to the fiery but also crying violin strings, the acoustic guitars add the appropriate folky enviroment, the rhythm section is pretty solid and the electric guitars burst some good amounts of energy.The arrangements are absolutely convincing with some poppy flavors around, powerful breaks, laid-back orchestrations and flashy, instrumental solos, wrapped up in very tight packages.Alessandro Papotto's wind instruments are rather downgraded and his main contribution comes in some nostalgic, dreamy, almost symphonic soundscapes of the legendary past.

Definition of Progressive Fusion.Elements of Jazz, Classical, Pop and Psych/Folk, offered through complicated but very consistent pieces.Nice work, strongly recommended...3.5 stars.