THE MOON IS A DRY BONE

In these precarious days, it's reassuring that accomplished professionals continue to prioritize art over glory, cooperation over isolation, and authenticity over spuriousness. When a besieged Italy is the source, it is all the more heartening. But could we have expected less from Riccardo Prencipe's long lived project CORDE OBLIQUE?

"The Moon is a Dry Bone" is CORDE OBLIQUE's 7th album of previously unreleased material after a rare 4 year interval marked only by stopgaps "I Maestri Del Colore" Vol 2 EP and "Back Through the Liquid Mirror", the latter a live in the studio rerecording of earlier favourites. Prencipe gained momentum in his balancing of classical, folk and pop sensibilities until it peaked on "A Hail of Bitter Almonds" in 2011, after which he nurtured his inner introvert for 2 offerings. This retreat was profound on "I Maestri Del Colore" in which voiceless introspection asserted itself as much as it ever does. While the transformation was diffidently courageous, it also initiated the inevitable speculations about what the matrimony of the various CORDE OBLIQUEs might sound like, perhaps bolstered with a bit more of a rock edge, forged tastefully of course. Thankfully, Prencipe has indulged us yet again.

Surrounding himself with past, present and future collaborators, Prencipe has returned to his earlier blend of ethereal folk, augmenting the workload of stalwart vocalist Caterina Pontrandolfo's for the type of classical-folk pieces in which the group excels. These include "La Grandi Anime", "Il figlio dei Vergini", and the accordion sated "Herculaneum". He has also included two related and haunting instrumentals to initiate and send off the performance, proximal to what we have enjoyed before but with a little more electrification. Collaborations continue with kindred spirits like IRFAN on the Eastern Euro-tinged "Le torri di Maddaloni" and ASHRAM on aforementioned "Il Figlio" and impart a welcome familiar quality to the proceedings.

Luckily, as hinted above, this is far from a rehash of bygone successes. First, an infusion of a traditional rhythm section lends a new-ish rock aspect to "The Moon". Second, masculine voice has returned after too long an absence and Prencipe has called upon two notable performers for a couple of the brassiest and accomplished numbers here, the consummate ballad "La Strada" graced by ANDREA CHIMENTI, and the split personality "Il Terzo Suono" offered with sensitivity and panache by former new wave singer MIRO SASSOLINI which morphs from acoustic ballad to breathlessly paced rocker without apology and is over far too soon. Finally, newcomer Rita Saviano wrests the microphone for the bizarre screech fest of a title cut that is at the very least a head turner, and on a resplendent cover of ANATHEMA's "Temporary Peace. The enlisting of famed stage actress Maddalena Crippa merges music and performance art like only CORDE OBLIQUE can.

"the Moon is a Dry Bone" is that rare release that navigates to fecund new soundscapes AND persuades long term fans to climb aboard. Highly recommended!

Riccardo is stepping way outside his usual sound and style palettes with this panoply of "nufolk" songs, most of which contain layers of heavily-treated (electrified) instruments. Even some of the vocals are more rollicking and quirky than anything I've ever heard from a Corde Oblique album before.

1. "Almost blue" (3:01) I was not ready for this heavily-effected instrumental, but I like it! (8.75/10)

2. "La strada" (4:24) aside from the male vocal in the lead, this could come from any other Corde Oblique album. Great song base, violin display, and background vocal. (8.75/10)

3. "The moon is a dry bone" (3:04) She was a momur! Factor in some cabaret Burzaco and you might get what it is I feel I'm hearing. I like it! (9/10) 4. "Le grandi anime" (3:48) discordant guitar chords somehow conveying a very familiar Corde Oblique melody. I swear: Caterina Pontrandolfo could sing the clothes off of a monastery of monks. A wonderful addition to the great Corde Oblique catalogue. (9/10)

5. "Le torri di Maddaloni" (4:12) opens with 90 seconds of lute-like guitar play with subtle accordion in the background. Then it switches to hand drum over which a coven of witches led by Rita Saviano chant their pagan chant. At the end of the third minute after nylon string guitar enters, there is a lull and tehn an evening out and beautification of the music. Feels deeply antique. (9/10)

6. "Il figlio dei Vergini" (4:30) classical guitar and accordion (beautiful!) with the one and only Caterina Pontrandolfo singing a over the top. In the second minute there is an awesome wordless vocalise and b-vox chants as the guitar and accordion dance beautifully with each other. Then, in the third minute, there is a amped up fast rhythm (led by hand drum) over which Caterina returns to the original melody. The song then finishes with an an unusual right turn with Sergio Panarella lending his vocal talents to sing wordlessly over first a bare-bones section and then a full band. Interesting--and very different--song. (9.25/10)

7. "La casa del ponte" (5:39) like a film soundtrack with spoken word vocal and both fast and slow dynamics and moods. At 3:40 the coven of witches returns to sing their curses or dirges (in Italian, of course) over the band (with some damned fine drum and bass play). Another interesting and wonderfully fecund song. (9.25/10)

8. "Temporary peace" (4:58) Another Riccardo interpretation of an ANATHEMA song from the 2001 album, A Fine Day to Exit). Lead vocal (in English) from Rita Saviano and piano from Luigi Rubino. (8.75/10)

9. "Il terzo suono" (2:14) another off-beat m'lange of styles that is very unlike anything I've heard from Riccardo before. All-male vocals, performed by Miro Sossano. (4.5/5)

10. "Herculaneum" (3:18) any chance to hear the sublime voice of Caterina Pontrandolfo--here with accordion, strummed acoustic guitars, and hand drums--is welcome, a highlight. Lovely to hear the accordion expressing itself so fully and prominently. (8.5/10)

11. "Almost Blue part two" (3:41) a multi-guitar instrumental with effects rendering a kind of shoegaze sound to it. Pretty, melodic, but nothing very new or exciting here. (8.5/10)

Total Time: 42:49

B+/4.5 stars; a near-masterpiece of Progressive Folk music--one that truly spans the full spectrum of Prog Folk, musica antica to modern NuFolk.