CASTRUM ZUMELLARUM

We are truly in the magical area of prog reunifications, many after decades of near or total silence, and certainly not limited to the mega artists. In the case of the folk-RPI fusion of FAVERAVOLA, work began on this 2nd album not long after the brilliant "Contea dei Cento Castagni" from 2006, but various misfortunes intervened, and the project was shelved for many years. Luckily, between 2010 and 2014, we were treated to three previously unreleased tracks from various artists compilations that were every bit the equal of their prior work, but since then, not a peep, until this year!

"Castrum Zumellarum" recounts the legend of a still standing castle in Italy's northeast, and the sadly fraught relationship between a knight and a townswoman. Yes, another fairy tale from FAVERAVOLA. As always, the Hammond organ is omnipresent, with hearty arrangements on violin, flutes, other keyboards, and acoustic and electric guitars rounding out the romantic atmosphere as only a select few can achieve, with most of those being from Italy. At least half the original members are back for this spirited affair, that recalls LE ORME, ANGELO BRANDUARDI, OLOFERNE, IL CASTELLO DI ATLANTE, NUOVA ERA and many others from other lands but saves most of its nostalgic hit for those who have despaired of ever hearing from them again.

I haven't mentioned the vocals but, although Franco Violo is not here anymore, Alessandro Secchi carries on without a hiccup; I would have guessed he was the same singer. While the first album did include female vocals, here Bianca Luna sings lead on "Atleta", offering more effective diversification, if not name recognition, than ALDO TAGLIAPIETRA's overlong narration on the weakest track on "Contea...". On the longest cut, it took me a while, but the primary melody seems, er, borrowed from KERRS PINK's "Linger a BIt Longer". If I have a criticism, it's that some of the magic of "Contea.." was in the concise and distinct shorter tracks, vs the somewhat more brocaded and yet paradoxically similar longer cuts here, much as has happened over the years with IL CASTELLO DI ATLANTE whom I love to this day but whose first album will always remain a favorite.

This was absolutely worth the wait and then some. While fans of the grittier less melodic prog forms might balk, if you love the Hammond and its place in the glorious history of rock and prog rock, I'd say it's worth crossing the moat, where the folk and RPI audience will already be waiting for you within.