CAP. 7 - TRA LE ANTICHE MURA

"Suddenly, through the early morning biting fog, I saw a castle. The large portal was open. I left my heavy burden and I came in gingerly. Once inside the wide court, I felt a sensation of peace and stillness . . . "

So begins the Prefazione to Il Castello di Atlante's new album, "Tra le Antiche Mura"-Among the Ancient Walls. There are five beautifully crafted long songs (the shortest 8:20) which are flanked by a Prefazione and an Epilogo, which are nice atmospheric pieces with some spoken narration (in native Italian-the excerpt above is the band's translation).

Il Castello di Atlante has been around since the mid 1970's, but their recorded output consisted of private affairs until 1992. (Although 1994's "Passo Dopo Passo" consists of some of their earlier efforts, including some live material from the 1970's.) If you're not familiar with the band's style, they are firmly entrenched in 1970's RPI, with some modern coloring. But they would sound perfectly at home in the 1970's. They are a keyboard driven band, with strands of beautiful violin from Massimo di Lauro. Their guitarist, Aldo Bergamini, partakes of the David Gilmour/Nick Barrett school of singing atmospheric soli, as opposed to shredding. The band members are all excellent instrumentalists, if not virtuosi. Like typical RPI bands, they show a great sensibility for melody and song creation. They do not favor complex arrangements or time signatures, although there is enough variability in their compositions to never bore. But most of all, they play with great passion, also typical of RPI.

For this, technically their fifth studio album, original bass player Dino Fiore has returned, joining the other four members who have been around for many years, three of them since the very beginning. The title track is immediately striking, with excellent organ and keyboard choir playing against a great rhythm from the bass, drums, and guitar. As with all of the main songs, there are some faster sections juxtaposed with more atmospheric, slower passages, which usually flow together nicely.

My favorite song seems to switch depending on which I'm listening to-usually a good sign that the album is a winner. However, two deserve some special mention. "Malebolge" is a 19 minute song that takes its text from Dante's Inferno. (In fact, a truncated version of the song is found on the most recent Collosus Project compilation, "Dante's Inferno." If you don't have it yet, you really need to get it. Four CDs packed with great music!) The song is haunting, as befits a circle in hell, replete with otherworldly choir sounds and organ. They have created a wonderfully gripping atmosphere and captured the sense perfectly. "L'Uomo Solo" (Lonely Man) is another fascinating study in atmosphere. The piece begins with somewhat hard music, suggesting nicely the anger of a lonely man. At the 2:14 mark, there is a beautiful passage with piano and violin, joined by a rich vocal and then a singing guitar. Tasteful drums and subtle bass enter in a gradual crescendo, as the guitar begins to grow more emphatic. The whole ensemble then flows into a keyboard drenched passage, weaving a perfect musical tapestry depicting a lonely man. Excellent craftsmanship!

All in all, although not quite up to the level of the masterpieces of the 1970s, this is nonetheless an essential piece of current RPI. For this reason, and because (like their peers CAP) they need more exposure on this site and elsewhere, I'm awarding five stars. Bravo!

So far Capitolo 7 - Tra Le Antiche Mura remains my one and only encounter with Il Castello Di Atlante so I can't compare this with past albums. Nevertheless I found it an enjoyable enough listen to make me curious about their past work and will in time get round to checking out at least some of their previous 5 albums.

Overall it's a beautifully crafted album of Italian symphonic prog. The first couple of listens I was left a little underwhelmed by the experience, perhaps down to the fact that it moves along at a fairly subdued pace lacking highs and lows, no in your face bombastic moments to speak of. After a while though you realise therein lies its charms as the gentle melodies get under your skin, particularly second and third tracks, Malebolge and 19 minute epic Ancora Suonare Ancora Insieme which are superb pieces. The music is largely keyboard dominated ( including some nice organ work) with a generous helping of violin, electric guitar coming to the front occasionally too, more slow sustained note soloing than riffing. A competent rhythm section whilst never in your face keeps the mostly mid pace material moving along nicely. Even when the pace picks up a bit the music still retains a lazy flowing vibe lacking explosive dynamics. The vocals of Aldo Bergamini, not surprisingly sung in Italian are adequate though lacking the emotional qualities of say Francesco Di Giacomo of Banco for example.

In all an album worthy of the attention of Italian prog lovers but lacking the excitement of more recent RPI releases of the last year or so in my collection by the likes of Pandora and Il Bacio Della Medusa. 3 ½ stars.

It was Todd's review of this album some 4 months ago that led me to track "Capitolo 7" down. It's not that I was unfamiliar with this band as I have their previous album "Quintessenza" from 2004 which I enjoy very much. All vocals are in Italian but the band gives us both the English and Italian lyrics in the liner notes which is pretty cool. And it's a good story with well thought out lyrics. I'll focus on the music though.

"Prefazione" is the intro track of course with deep spoken words with background music. "Tra Le Antiche Mura" sounds so good with the keyboards and drums turning quickly into a fuller sound with what sounds like mellotron. A change after 2 1/2 minutes as the guitar, piano then vocals take over. Contrasts continue as the synths return. Reserved vocals, piano, then violin before 6 1/2 minutes. A change after 8 1/2 minutes as it becomes uptempo. An earlier theme returns to end it. Just a fantastic song ! "Malebolge" is the longest track at 19 1/2 minutes. Water sounds to open before we get haunting sounds and whispers and people crying out.This is a place within hell. Choirs come in then piano, violin then vocals. A melody arrives after 2 1/2 minutes with vocals.This is good. Some nice bass here with synths and drums. Great sound 7 1/2 minutes in with guitar, bass, piano and organ. Vocals are back after 11 minutes. It pretty much stops after 14 minutes before piano, violin and almost spoken words come in. It kicks back in about a minute later as themes are repeated. Great sound from 17 1/2 minutes to 19 1/2 minutes.

"Ancora Suonare Ancora Insieme" features prominant vocals, guitar, drums and bass early. Violin before 2 minutes as the drums pound. Organ after 3 minutes then vocals.It settles with piano before 6 1/2 minutes before picking back up again late. "Leggi E Ascolta" is one of my favourites along with the next track. Piano to start as vocals join in. Love the guitar after 1 1/2 minutes, nice bass too. Vocals and violin after 3 minutes. It kicks in heavily 4 1/2 minutes in then settles back. I like the passage 8 minutes in with guitar, piano and drums. "L'uomo Solo" opens with vocals then a full sound.The guitar is excellent a minute in as the organ floats along. It settles with violin,piano and reserved vocals 2 1/2 minutes in. Lots of synths after 6 minutes as bass and organ support. It's heavier a minute later then vocals return. Synths are leading again 8 1/2 minutes in. "Epilogo" is the conclusion. Similar to the intro really but with piano as spoken words come in.

A solid 4 stars and a must for RPI fans.

I remember I gave another ICDA album a 5-star rating once - I was too excited I guess :)

I like band's GENESIS-influenced RPI, extremely melodic and enjoyable, with obvious echoes both from JETHRO TULL and LOCANDA DELLE FATE. It would be unfair to ignore this new album, and I'm happy I got it! ICDA didn't get worse with years, they play the same way melodic and accessible Neo-(dare I?)-Italian Prog, and I was close to give them 5 stars again this time. But to be fairly honest, this album won't be anyone's favourite, it's definitely not essential and it would hardly make a sensation like new PHIDEAUX or PORCPINE TREE can, it's just a neat Symphonic Prog/Neo-Prog/RPI miracle, and I dare to recommend it to a pretty narrow circle of prog fans. Check this out, you won't regret!

If Kansas were an Italian band, they would be Il Castello di Atlante. The compositions are quite similar, and the music relies heavily on synthesizer, organ, piano, electric guitar, and a bittersweet violin. The instruments work together to form rich melodic textures rather than filling all instrumental passages with mere solos. One big difference, however, is in the vocal department- the lead singer has a thick baritone, and often sings alone. Each composition is a masterful string of jewels, one precious rock leading right into the next, and worthy of the lengthy pieces of string upon which they are held. Although my exposure to Rock Progressivo Italiano is admittedly limited, I daresay this is presently my favorite album of the genre- a monument of modern symphonic music.

"Prefazione" The album begins with the deep, Italian narrator and stately music.

"Tra Le Antiche Mura" A stark piano and drums enter to begin the first song proper. A grand organ joins, followed closely by the main theme of the piece, blasted by a synthesizer. The music features heavier passages interspersed with sweet, quieter fare, lead by a gorgeous piano and violin. Eight-and-a-half minutes in, the music becomes very similar to the synthesizer-drenched music of post-Gabriel Genesis. Thereafter, the violin sounds comparable to the masterful playing of Robbie Steinhardt. This is the best the album has to offer, but it by no means overshadows the grandeur that is to come.

"Malebolge" The horrific noises that begin the epic of the album are unsettling to say the least, but they lead into a sinister piano and violin theme, followed by almost maddening vocals. Both the organ, which effectively handles the rhythm, and the bass, which is sometimes more of a lead instrument, are praiseworthy aspects of an amazing piece. The violin and synthesizer interplay is spectacular. At once, the music is delicate and intense, yet generally remains upbeat and uplifting throughout. I must move on, lest I exhaust myself of superlatives?okay, one more- this is glorious, especially for something named after the eighth circle of hell.

"Ancora Suonare Ancora Insieme" After a full and powerful introduction, the electric guitar comes to the fore, delivering a heavy and straightforward riff for the vocalist to work over. When the guitar takes over for a solo, it is economical and effective. Just prior to the halfway mark, the music changes pace, with a nice jaunty piano and organ-led rhythm that's very similar to "When the World Was Young" by Kansas. The back two minutes consists of layers of vocals, regal piano, fanciful instrumentation, and a marching snare, all followed by a final guitar moment.

"Leggied Ascolta" A slightly jazzier chord progression on piano begins this one. The singer sounds quite a bit like Fish of Marillion, while the synthesizer lead reminds me of Patrick Moraz's solo on Yes's "To Be Over." Still, these are but comparisons- the band is in no way imitative. The guitar has a lengthy solo over the introduction piano chords, interspersed with bass bits. A brilliant conclusion follows.

"L'Uomo Solo" A cappella vocals serve as the introduction of the final proper song. In spite of these interruptions, the music is fairly straightforward, with a static guitar riff over a basic chord progression. In this respect, the composition is rather similar to Camel, yet that violin sets it apart. The subsequent section is nothing less than gorgeous. Midway through, the music picks up and assumes a mood rather similar to The Flower Kings, with powerful a powerful synthesizer lead and peppy bass work. Once again, there is a fabulous ending.

"Epilogo" The album ends as it began, in a way, with spoken words- almost a benediction.

Il Castello Di Atlante's most recent release is set out as a literary concept with the five main tracks representing different books or adventures. As is the case with their previous albums, it's firmly rooted in the symphonic traditions of the 1970s so it probably won't hold any real surprises for RPI fans. Actually the only unexpected thing here is the nod to Procol Harum on MALEBOLGE, which pays more than a passing resemblance to ''Pandora's Box''. In Dante's ''Inferno'', MALEBOLGE (Evil Pouches) is the name given to the eighth circle of Hell and this track is a 20-minute multi-part tour de force that lives up to its title, complete with eerie sound effects and chant-like vocals. L'UOMO SOLO (The Lonely Man), inspired by the Italian dramatist Pirandello, deals with the despair of losing your greatest love. It's basically a melodic rocker with a couple of contrasting slow sections and it includes some wonderfully emotive violin and guitar in the style of Andy Latimer.

The remainder of the songs aren't based on actual books but they fit in well with the overall concept of an allegorical journey. Drummer Paulo Ferrarotti has stated that the band is more than a musical project and that ''Il Castello is the place where we can find peace and stillness''. TRA LE ANTICHE MURA (Into The Old Walls) is a tribute to that philosophy and is arguably the most memorable track on the album. It begins with heavenly choral effects set against a backdrop of sustained organ, and is embellished with a to-die-for synthesizer lead. Each time the main theme is repeated the violin doubles the synthesizer line to striking effect. After some vocal sections the synthesizer/violin combination trades phrases with the guitar, which in turn leads to a subdued section where the violin takes the lead with piano accompaniment and more vocals. All in all it's an outstanding track.

ANCORA SUONARE ANCORA INSIEME (Playing Together, Again And Again) celebrates the return of co-founder Dino Fiore to the band after a 10-year absence. It's a fairly straightforward mid-tempo rocker and even includes some bluesy organ swirls. It provides a nice change of mood but still manages to incorporate some tempo changes and nice layering of instruments and vocals. LEGGI E ASCOLTA (Read And Listen) deals with the band's desire to share with the listener the emotions they associate with writing a new song. After a slightly agitated piano and vocal introduction, the song is carried forward mainly by soaring guitar and angst-ridden violin twin leads. The closing section features a plaintive melody that repeats with guitar, violin and synthesizer in unison. You might think this device would have worn thin by this point, but the effect is simply exquisite.

Essential for the RPI guys and recommended to fans of BJH, Genesis and Camel.

After a miraculously mature debut that blended RPI, symphonic and folk, IL CASTELLO DI ATLANTE altered their sound somewhat by largely eschewing the folk side and aiming for extended if not necessarily more ambitious compositions. Mostly it worked, but the material wasn't as uniformly captivating, as lovely emotive passages juxtaposed not always harmoniously with more technical aspects. Here on their most recent album they appear to have embraced their inner RPI as never before, and, while I can lament the continued emphasis on electric guitar and keyboards over acoustic guitar and violin, I cannot argue objectively against claims that "Tra le Antiche Mura" is their most impressive offering to date.

Bracketed by two short spoken pieces, this disk consists of 5 long tracks, every one of which represents a salve for the embattled aural consumer. Probably the strongest is the title cut, as the organ and guitar themes reach into a Gothic past more than we have heard before, and not one but two vocal melodies are developed. Then there is the centrepiece, "Malebolge", which doesn't just recall METAMORFOSI's "Inferno" because it too is about hell. The violin is used in a completely different manner than we have come to expect, fueling a suspenseful theme on which the whole piece leans. Some of the synthesizer motifs make me think of space sci fi movie theme music, which is not an entirely favorable assessment but is evocative. The second half of the piece is more reflective and melodic both in its new vocal and instrumental passages, until the original themes return. One of the aspects that I enjoy is the continuity of the driving organ themes in both of these two tracks.

The remaining 3 principal tracks do not really let down at all, but continue the established pattern of alternating lush and relatively more rocking passages, with plenty of fine keyboards including piano facsimiles, vocals, and CAMEL-like guitar solos. "Ancora Suonare Ancora Insieme" includes one of the best of these divine inspirations from Andy Latimer, and it happily materializes on a couple of occasions, never malingering. The hymn like vocal break just before its final bow, and integrated into it, is one of the most emotive and fully realized moments on the disk. "Legge E Ascolta" has the most impact from the outset, with a pleasing piano theme underneath plaintive harmonized vocals and wrapped up in a stringed keyboard blanket. The second vocal theme is even lovelier and is elevated by gentle violin and more keys. In the break is an uplifting synthesizer solo over raunchy rhythm guitar, before we return to the original "song" within the song. The original theme way back at the start of this 11 minutes of bliss is reprised with a few sweet alterations including blended lead guitar and bass. "L'Uomo Solo" is also wonderful, with another heartfelt vocal melody which naturally turns into an opportunity for guitar and synth excursions - you get the picture.

While this group's first album had "it", the magic that transforms a collection of great songs into a 5 star masterpiece, I can't quite award the same accolades to "Mura". Every track here is different, but their patterns tend to converge. To call them contrived would be unfair and inaccurate, because they are nothing if not genial. But together they are little better than apart, at least musically. This is still a superb effort suggestive of a band that won't be running into a creative wall any time soon. 4.5 stars.

No less than six would pass before another Il Castello di Atlante studio album becomes available, but the band was always a regular live entry with numerous gigs in their calendar.Then in 2006 comes ''Concerto Acustico'', an attempt by the group to bring up an unplugged version of their songs.This was also the last contribution of Franco Fava with the band, but marked also the return of orginal bassist Dino Fiore in the line-up.Things start to heat up in 2008 with a new song composed for the Musea multi-band compilation ''Dante's inferno: The divine comedy part I'' and the following year the new album ''Capitolo 7-tra le antiche mura'' sees the light.Of course Electromantic was once again the label to publish another album by the Italian veterans.

With four out of the seven tracks exceeding the 10-min. mark, this is another goodie by Il Castello di Atlante, a smooth experience of Italian-flavored Symphonic Rock, filled with refined melodies and deep atmospheres, colored by Mediterrenean brushes and traditional shades, performed by a veteran group, which is not afraid of attempting quirky, demanding moves and very long instrumental ways.The new album contains also one of the longest compositions ever recorded by the band, the 20-min. ''Malebolge'', a shorter version of which appeared in the aforementioned Musea concept compilation.The inspiration of the band seems just endless.The compositions contain excellent poetic singing, dramatic tunes with sharp synths supported by crying guitars, bombastic instrumental themes with symphonic tastes and folkier textures with great violin work.There is still a certain emphasis on modern keyboards by Roberto Giordano, an instrument that dominates the album, with only sporadic organ parts but lots of calm piano lines throughout, there is always a feeling that they could reach a higher level with the use of analog keyboards.Nonetheless, the album is no empty of impressive arrangements and elaborate melodies, not to mention the comfort on switching moods.Classy Prog Rock with an intense, symphonic sound in the best Italian Prog tradition.

You simply can't go wrong with an Il Castello di Atlante album.All of their works range from good to great and this one lies somewhere inbetween.Strongly recommended...3.5 stars.

A seasoned group of very competent, creative Italian prog musicians, inspired, here, by much of their own peninsula's great history and artists.

1. "Prefazione" (1:56) narration and mediæval fanfare set the stage for the story that follows. (Not worthy of a rating.)

2. "Tra Le Antiche Mura" (12:46) solid RPI Neo Prog using classic prog instrumental and sound palette over the first 90 seconds--nice organ base. The music shifts to a more bouncy, theatric, piano-based palette as the first almost-coloratura vocals (male) enter. Operatic with a LE ORME and GENESIS feel. At 5:30 things slow down to a bluesy, melancholy pace and palette. Piano, chunky bass, and violin explore some emotional part of the story. Melodic and pretty. Then, at 8:30, we transition into another uptempo, almost-GENESIS Duke passage--which sets up a section with a simple violin melodic theme before cycling back to the Duke-like theme. At 11:10 we transition back to the opening theme--which is enhanced by Mellotron "o" voice choir. This is powerful! At 12:20 we get another round of the mediæval fanfare "horns" before going into a cave with dripping water and spooky voices--which is the start of the next song. (21.5/25)

3. "Malebolge" (19:52) a song that I'm familiar with from my long-time ownership of the 2008 COLOSSUS MAGAZINE/MUSEA RECORDS commissioned ensemble work Inferno - The Divine Comedy, Part 1, though the "Malebolge" contribution to that album was a mere nine minute excerpt of this one. A lot of the themes of this mostly instrumental song are melodic and dramatically scored, arranged in a very symphonic fashion with cyclical repetitions and recapitulations of several motifs--my favorites being the kind of Paul Desmond/Richard Rogers-like theme that is repeated in the 14th minute and the Captain Nemo-crazed organ dominant theme with which the song finishes. (35/40)

4. "Ancora Suonare Ancora Insieme" (8:46) opens with solo harpsichord before bursting into full rock/classic heavy RPI rock for the vocals to begin the storytelling. Nice little instrumental bridges between the verse singing sections--leading into an instrumental section containing some nice Steve HACKETT-like guitar soloing and violin and keyboard soloing over three different motifs--the last of which is Hammond organ and becomes the base for a new and different vocal section. Very solid song with great sound mixing and professional instrumental performances. But then the,at the halfway point, the introduction of a Van Halen "Jump"-like keyboard motif throws me a little--even when organ and violin get involved. This devolves into a section in which harmony voices sing over a slow soloing piano, but then things pick back up to the horse's pace of a theme from earlier in the song. Inspiration for some La Coscienzo di Zeno, perhaps? (17.75/20)

5. "Leggi E Ascolta" (11:09) TOTO-like solo piano theme opens this one before vocalist enters singing in a very theatric/Broadway style. I think this is where the band really excels--with these kind of stage-like arrangements. This develops into a very engaging full-band instrumental section in which violin, synths, guitar, and bass are all woven together so nicely--so symphonically--as the drums just keep time. Great melodies. When things shift into a more upbeat, uptempo motif, I find myself once again marveling at the similarities to one of my RPI favorite bands from the 2010s, La Coscienzo di Zeno. My favorite song on the album. (18.25/20)

6. "L'uomo Solo" (10:50) opens with harmonized Italian male vocal chorus before music starts up. This one is a little heavier, with more grating guitar sound and a Hammond base and more classic blues-rock structure and chord progression--at least for the first two and a half minutes. Then things slow way down to a violin, electric guitar, and piano three-part weave--again, classic blue-rock chord progression--while the scratch-voice singer sings over the top. return to the electric guitar and violin theme from earlier for the start of the middle section's instrumental passage. Very much like a LE ORME-GENESIS hybrid. I like it. (17.5/20)

7. "Epilogo (2:39) piano and percussion joined by synth and the same deep-voiced narration from the opening "Prefazione." This one is much more musical. Nice synth work. (5/5)

Total time 67:58

Overall, my impression is that I've heard a lot of this music before--especially the sounds and styles. It's all good, very competently composed, performed, recorded, mixed, and engineered, but not giving me much that is really fresh or innovative; merely regurgitating old styles and sounds (again: in a very competent and pleasing way). B+/4.5 stars; a near-masterpiece of progressive rock, Neo Prog, or Rock Progressivo Italiano.

Although I had found their lateat, Arx Atlantis, to be slightly overbusy, I decided to give Il Castello di Atlante another try with Tra Le Antiche Mura, and I'm very glad I did. This release really hits the sweet spot, providing enough intricacy to please any fan of the symphonic side of Italian prog whilst giving each part room to breathe and not overcluttering the compositions. In terms of atmosphere, the band take us on a wild journey through realms of wonder like those illuminated by PFM or Le Orme to more sinister places, with the epic Malebolge opening with some truly chilling sounds. All in all, an impressive achievement.