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FINISTERRE

Rock Progressivo Italiano • Italy


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Finisterre biography
FINISTERRE are an Italian progressive rock band that formed in Genoa in April 1993. Their music is an eclectic mix of styles and they have spawned a significant number of offshoots. The original line-up consisted of Fabio Zuffanti (bass, vocals), Stefano Marelli (guitars, vocals), Boris Valle (keyboards), Marco Cavani (drums) and Sergio Grace (flute). During the summer of 1993 they performed their first concerts, then signed to Mellow Records in June 1994. They released their self-titled debut album, widely regarded as a classic of modern Italian symphonic progressive music, in January of the following year.

Cavani and Grace subsequently quit the band during 1995. Along with their replacements, Francesca Biagini (flute) and Marcelo Mazzocchi (drums), FINISTERRE produced their second and arguably best album ''In Limine'' (1996). This is a radical and diverse work comprised of classical, jazz, folk, avant-garde and even electronic influences. Mazzocchi then left to be replaced by Andrea Orlando, the band's third drummer in as many years. Biagini also exited but original flautist Sergio Grace filled in for the group's appearance at the ProgDay 1997 festival in North Carolina. Later in 1997 they performed concerts in Italy and France, followed by further French gigs during 1998 that resulted in their first live album ''Live - Ai Margini Della Terra Fertile''. They then signed to Iridea Records and released their third studio album ''In Ogni Luogo'', which has a fairly modern sound and contains some guest female vocals.

The year 2000 witnessed further live activity by the group in Italy and Spain, singer Raffaella Callea joined, and ''Live At ProgDay 1997'' saw its release in a limited edition of 500 copies for Proglodite Records. Their third live album, ''Storybook'' (MoonJune Records), features the same recording with the addition of their cover of the PFM classic ''Altaloma''. After a 10-date tour of Mexico in 2001, the band took an extended break to allow the members to pursue other musical projects, such as LAZONA and LA MASCHERA DI CERA. Zuffanti had already been involved in projects outwith FINISTERRE since the 1990s and, under the name of HOSTSONATEN, had released a string of what were basically solo albums. After another split in 2007, several members formed ROHMER and released an album of the same name in 2008.

Some of Zuffanti's solo works feature on FINISTERRE'S ''Harmony Of The Spheres'' (2002), a compilation of previously unre...
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LiveLive
Import
Dark Matter Distribution 2006
Audio CD$19.99
$11.98 (used)
La Meccanica NaturaleLa Meccanica Naturale
Import
Btf 2005
Audio CD$19.36
$28.00 (used)
FinisterreFinisterre
Mellow Records
Audio CD$22.31
$15.99 (used)
In LimineIn Limine
Import
Dark Matter Distribution 2006
Audio CD$14.97 (used)
Finisterre - HexisFinisterre - Hexis
Twisted Chords
Vinyl$14.49
In Ogni LuogoIn Ogni Luogo
Import
Ams Italy 2010
Audio CD$21.19
$31.27 (used)
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FINISTERRE discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

FINISTERRE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.72 | 55 ratings
Finisterre
1995
3.75 | 64 ratings
In Limine
1996
3.63 | 47 ratings
In Ogni Luogo
1999
2.41 | 12 ratings
Harmony Of The Spheres
2002
3.62 | 43 ratings
La Meccanica Naturale
2004

FINISTERRE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.17 | 7 ratings
Live - Ai Margini Della Terra Fertile
1998
4.13 | 27 ratings
Storybook
2000
2.91 | 3 ratings
Live at Progday 1997
2000
4.00 | 2 ratings
Memoirs
2013

FINISTERRE Videos (DVD, Blu-ray, VHS etc)

FINISTERRE Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

FINISTERRE Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

FINISTERRE Reviews


Showing last 10 reviews only
 La Meccanica Naturale  by FINISTERRE album cover Studio Album, 2004
3.62 | 43 ratings

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La Meccanica Naturale
Finisterre Rock Progressivo Italiano

Review by apps79
Special Collaborator Neo Prog Team

3 stars Finally, after five years of silence regarding some new material, Zuffanti would get Finisterre back in the studio for the fourth chapter in the life of this interesting group.The band found a new home on Franz Di Cioccio's Immaginifica label and the work started in September 2003, lasting a bit less than six months.The core of Zuffanti/Valle/Marelli is joined by Zaal's and future La Maschera di Cera's keyboardist Agostino Macor and Marco Cavani on drums, another piece of La Maschera di Cera's upcoming future.The band is also helped by Franz Di Cioccio himself on drums on one track, H÷stsonaten's Fausto Sidri on percussion, Luca Guercio on flugehorn and Carlo Carnevali on voices.

This effort by Finisterre shows a switch towards the earlier style of atmospheric Italian Prog with strong references to the 70's with less evident Folk and jazzy vibes and a style heavily relying on symphonic synths, odd Mellotron showering and extremely dramatic guitar moves.A couple of tracks will only escape for the basic rule and show glimpses of a more modern group with heavier guitar moves and very expressive vocals, sometimes offered with a light distortion, I can even detect a slight Post Rock brushstroke in these pieces.The rest of the album though is certainly among the classic lines of the genre with emphatic keyboard waves, even with dual washes of synths and Mellotron, and a tendency towards a singer/songwriter type of music in the acoustic passages.Gears are constantly down but this won't prevent the band from producing rich, instrumental textures, crying electric movements and haunting full-blown orchestral-like pomposity.Excellent arrangements with intense soundscapes, slightly complex themes and heavy doses of instrumental symphonicism.A more downtempo and smoother version of LA MASCHERA DI CERA would be the most accurate description for ''La meccanica naturale''.

Again this is another solid and consistent piece of music art created by Finisterre.Atmospheric, first-class Italian Prog with both vintage and contemporary leanings, performed by a company of talented guys.Strongly recommended...3.5 stars.

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 Storybook by FINISTERRE album cover Live, 2000
4.13 | 27 ratings

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Storybook
Finisterre Rock Progressivo Italiano

Review by kev rowland
Special Collaborator Crossover Team

4 stars This set was recorded at ProgDay in 1997, and was originally released on Peter Renfro's own Proglodite label. As with the DFA release this has been issued as a Digipak, and that is not the only similarity as yet again this is an Italian band playing their first gig in America. Musically there are also some similarities in the way that they can both play ferocious rock that is interspersed with some gentle vocals. The major musical difference in that Finisterre also feature flautist Sergio Grazia, who provides the band with an extra melody element.

The first time I played this was on a long car journey and I was taken with the clarity of the production and the way that the band can seamlessly move from one musical idea to another. There is quite a strong jazz element, and is outside of the 'normal' prog scene, which cannot be a bad thing. This is an interesting album that also contains their cover of PFM's "Altaloma" that was missing from the original release. Worth hearing.

Originally appeared in Feedback #64, Dec 01

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 Harmony Of The Spheres by FINISTERRE album cover Studio Album, 2002
2.41 | 12 ratings

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Harmony Of The Spheres
Finisterre Rock Progressivo Italiano

Review by apps79
Special Collaborator Neo Prog Team

3 stars As Zuffanti steadily moved on to procuce new projects over and over, is was more than apparent that Finisterre was not his main priority anymore.In 2000 the live of the band at Progday 97' was released in two versions, as ''Storybook'' in Europe by Moonjune Records and simply entitled ''Live at Progday 1997'' by Proglodite for the US market.The decline of the band was confirmed in 2001, when Finisterre officially took a break so the band members could focus on their various emerging projects.However in 2002 an interesting double-CD compilation was released on Mellow Records.

This is more than a simple compilation, as ''Harmony of the spheres'' serves a variety of different roles, containing live Finisterre material, unreleased tracks of both Hostsonaten and Finisterre, demo versions of already known tracks, covers of songs by Camel, Genesis and Van Der Graaf Generator as well as personal arrangements by Finisterre's keyboardist Boris Valle and Fabio Zuffanti (under the project Quadraphonic), ending up in a sum of tracks clocking at over 2.5 hours!The live material of Finisterre consists of three tracks from the band's debut in more improvised versions but keeping all the grandeur and deep atmosphere of the compositions, great Italian Prog with plenty of symphonic and Jazz elements.The unreleased tracks of the band are interesting as well, nice and atmospheric Italian Prog with evident psychedelic influences and a tendency towards atmospheric passages.Hostsonaten's bonus material goes from hypnotic Post-Rock to full-blown Italian Symphonic Rock with organ and mellotron in evidence and again holds plenty of interest.

The demo versions of the Finisterre's tracks from the self-titled debut do not differ much from the studio versions.The sound of course is very raw and the production is rather rough, but all the intensity of the music and the great instrumental parts are present.Mr. Zuffanti has also chosen three Classic Prog tracks to be covered by his band, both Genesis' ''Harlequin'' and Camel's ''Nimrodel'' carry the same beautiful arrangements but the surprise comes with Van Der Graaf Generator's ''Refugees'', where Peter Hammill's voice has been now replaced by an operatic female singer and the track is driven exclusively by a string section, ending up to be a very positive whole new experience.

Boris Valle's solo material is much related to Hostsonaten's music.A hypnotic, ethereal and dreamy mix of Ambient music, Folk and Post-Rock with great flute and trombones throughout.Unfortunately I cannot type the same for Zuffanti's Quadraphonic effort.A 20-min. repetitive listening of Electronics and Ambient with mechanical programmed drums and nervous loops, which sounds a bit interesting, but fails to impress included in such a release, not to add that is way too overstretched.

To summarize, ''Harmony of the spheres'' is a good to great - and very different -compilation of tracks not only for Finisterre newbies but also for those deep into both Finisterre and Hostonaten releases.The unreleased material, the powerful energetic live cuts as well as the good cover tracks are likely to please all fans of diverse and flexible prog sounds.Strongly recommended, it is certain you will find plenty to like among these 150 minutes of artistic music...3.5 stars.

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 In Ogni Luogo by FINISTERRE album cover Studio Album, 1999
3.63 | 47 ratings

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In Ogni Luogo
Finisterre Rock Progressivo Italiano

Review by apps79
Special Collaborator Neo Prog Team

3 stars After the brilliant ''In limine'' drummer Marcelo Mazzocchi left Finisterre to be replaced by Andrea Orlando and the band started a US tour during the summer of 97',highlighted by their performance at Progday.The same year their first live album ''Live... Ai margini della terra fertile'', recorded in Italy and France, sees the light,but this was also their last on Mellow Records.The band moved to Iridea Records and released their third studio album ''In ogni luogo'' in 1998,helped by Francesca Lago on vocals,Hostsonaten/ex-Eris Pluvia Edmondo Romano on reeds and future Zaal member Sergio Caputo on strings.

This time Zuffanti & co. searched for a more specific style of playing steeped with a variety of atmospheres and the sound on ''In ogni luogo'' is deeply atmospheric Progressive Rock with Post Rock elements,characterized by crunchy guitars, spacey melodic solos and hypnotic keyboards and pianos.But while every track moves more or less through this path,Zuffanti and Marelli blend it every time with different tastes,like symphonic orchestrations,powerful rhythm sections,folkish tunes and jazzy overtones.Typical examples are the strong, groovy but trully atmospheric dark cut ''Ninive'',the long ''Coro elettrico'' with the nice combination of rock music with driving violins,not unlike P.F.M. of ''Chocolate kings''/''Jet lag''-era,the symhonic folk instrumental ''Le cittÓ indicibili'' or the obscure Post-Rock/Jazz/Prog ''ContinuitÓ dilaraneltempo''.The band uses also the advances of technology with pre-recorded narrations,distorted instrumentation and sound effects to make the album quite unique and personal.

While not reaching the unapproachable level of ''In limine'',the new Finisterre album finds the band crimping into deep waters,establishing a more focused style with an extreme diversity of different, light influences and comes strongly recommended not only for fans of their previous albums,but also anyone searching for some really serious music...3.5 stars.

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 Storybook by FINISTERRE album cover Live, 2000
4.13 | 27 ratings

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Storybook
Finisterre Rock Progressivo Italiano

Review by memowakeman
Special Collaborator Honorary Collaborator

4 stars Excellent performance!

This is the result of a live performance recorded back in 1997 at the Prog Day Festival, and in my opinion, a clear example of the exquisite sound of this Italian band. Finisterre is one of the projects of Fabio Zuffanti, a prolific musician who has given a lot to progressive rock for the last two decades, with several projects full of quality. This band has a special symphonic flavor, with clear influence of those old RPI bands, but with a fresh sound nonetheless.

In this CD which was released in 2000, (in spite as I said it was recorded in 1997) offers excellent performances of eight songs, four of them reaching more than ten minutes length, and six of them shorter ones, all, making a total and truly enjoyable time of 77 minutes. So once you play this album, sit comfortable and enjoy what you will listen. Important to say, that the songs performed here were taken from their first two studio albums (Finisterre, and In Limine), in addition to one cover (Altaloma, original by PFM).

Lush keyboards, wonderful strong bass lines, challenging compositions and a first-class musical execution is what you will find here. Songs such as "In Limine", "Macinaaqua, Macinaluna", "Canto Antico" or "Orizzonte Degli Eventi" will delight you with their great sound, so the music will take you to the ProgDay itself, you will feel like being there listening to this cool symphonic music. Worth mentioning is that in some passages the band made a homage to some older prog dinosaurs, such as King Crimson or Genesis, playing some representative notes, and of course, the most evident homage to their countrymen, Premiata Forneria Marconi with "Altaloma".

Though I really enjoy this live performance and I highly recommend it, it is not what I would call a masterpiece, so my final grade will be four stars.

Enjoy it!

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 In Limine by FINISTERRE album cover Studio Album, 1996
3.75 | 64 ratings

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In Limine
Finisterre Rock Progressivo Italiano

Review by seventhsojourn
Special Collaborator RPI

4 stars Finisterre's second album ''In Limine'' represents quite a departure from their first release. Whereas their debut was a broadly symphonic work, ''In Limine'' is a more eclectic collection of tracks that seem to go through the entire gamut of musical styles. A number of guest musicians appear adding winds and a string section to the band's already formidable armoury, although one area where this does share common ground with the first album is that vocals are once again few and far between.

Fast tracking to the end of the album we find its two big-hitters, which together define Finisterre's non-linear approach to their epic pieces. This is a whole new ball game mind you. The first of these two tracks, ''Algos'', begins with impressionistic piano before going off on a number of tangents that eventually lead to a repetitive electronics passage. This closely resembles Pink Floyd's ''On The Run'' as other reviewers have previously alluded to. It's a surprising twist but Finisterre's music is very much a contrast of disparate elements. They showed on their first album that they were masters of circumlocution but this album's ''Orrizionte Degli Eventi'' takes us to another level via its disorientating procession through numerous overlapping jazz, classical and rock sections.

The jazz/avant influences continue on the atmospheric ''Preludio'' and ''Ideenkleid Leibnitz Frei'', both of which feature saxophone to good effect. The former track also includes some typically fuzzed-out guitar and fans of King Crimson might well enjoy Stefano Marelli's electric guitar tone. Overall though, there's actually quite an acoustic feel to this album. Nylon guitar and flute are prominent on several tracks with ''Hispanica'' and ''Interludio'' in particular displaying a strong Mediterranean folk influence, the latter track even features panpipes.

The many-sided nature of ''In Limine'' possibly makes it a more interesting though less coherent album than its melodic predecessor, but what it lacks in coherence it more than makes up for in progressiveness.

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 Finisterre by FINISTERRE album cover Studio Album, 1995
3.72 | 55 ratings

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Finisterre
Finisterre Rock Progressivo Italiano

Review by seventhsojourn
Special Collaborator RPI

4 stars The debut album by Finisterre has a little bit of everything, and for me it's pretty much the epitome of seventies-inspired modern Italian symphonic prog. It opens with the wan but atmospheric ''Aqua'', a curious choice to get things under way as it's arguably the weakest track on the album. This is followed by its polar opposite ''Asia'', a pithy track that rattles along at a good old pace and features bustling flute and guitar exchanges.

So far so nondescript, but ''Macinaaqua, Maciluna'' hints at some of the goodies in store during the second half of the album. This song has its tongue firmly in its cheek as it juxtaposes Hendrix guitar licks with Mozart and Gershwin piano snapshots, while the singer sounds as if he's not far off the edge of a nervous breakdown. A strange little piece of circus-like music follows but then the guitar kicks in with an absolute humdinger of a guitar riff to finish the track. Now they're talking my language.

''... Dal Caos...'' is a nervous, finicky concoction that tips its hat to King Crimson with yawping saxophone and dissonant guitar licks that seem to leapfrog each other in a race toward the album's centrepiece, ''SYN''. I'm not going to make a vain attempt to describe this maze of musical thoughts, other than to say it overflows with typical Italian spirit and is brim-full of elaborate details. Despite its disorderly nature it never unravels into a mere succession of sonic knots or clusters, thanks to the pivotal use of its many motifs and fragments.

There are precious few vocals on this album and those at the start of ''Isis'' sound like some kind of incantation, which is soon overrun with viscous, visceral guitar riffs. This is very much an album of contrasting moods that draws from a diverse set of sources. For example, the plaintive guitar and flute melodies of ''Cantoantico'' sound like well-ordered infusions of Middle Eastern and folk influences, whereas closing track ''Phaedra'' is a helter-skelter mix of fast and slow passages that alternate between piano in restrained mood and guitar in full cry.

This to me is an essential album for fans of symphonic RPI, although readers might want to take my review cum grano salis since I'm a big fan of Fabio Zuffanti's numerous projects. However, I think I've got more than a grain of salt in my pumpkin and this really is an album to brighten up the torpor of any dull day.

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 Storybook by FINISTERRE album cover Live, 2000
4.13 | 27 ratings

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Storybook
Finisterre Rock Progressivo Italiano

Review by toroddfuglesteg

4 stars Another very nice discovery from Italy.

I have very little knowledge about Finisterre's music before I got this album from Moonjune Records. Well, I also have the In Limine album in my Mount Everest like mountain of albums I want to review for PA before the end of next decade. I think it is fair to say that the Fabio Zuffiani interview and this live album has pushed both that album and the rest of the albums I have from him pretty much to the top of this mountain.

This live album is from their gig in the USA in 1997. I am not sure about the full story......... ProgDay '97 it is, according to the other reviews here. And it is the full performance. Which makes this live album so great. You get the "you are beautiful" comments from the band to the audience too, which is both funny and very charming. I am glad they included this in this live album. The interaction between the band and the audience adds a lot to this live album.

....... Which brings us over to the music........ Finisterre's music has a contemporary feeling, but it is still rooted in the RPI scene. The keyboards is vintage. The same goes for the vocals and the guitars. The sound is also excellent. The performance is top notch.

The quality of the songs is here more or less a reflection of the band itself. I guess they did not travel all the way from Italy to USA to play obscure substandard material from their albums. Hence, I suspect this is more or less a greatest songs package and a reflection of where Finisterre stood at that point. Finisterre has nothing to be ashamed off, to put it like this. Their brand of RPI is at times pretty fusion like and close to the Canterbury Scene. The use of flute enhances their soundscape. The songs itself are all great. The best one is Orizzonte Degli Eventi which alone is reason enough to scramble for the credit card and the rest of their albums. The rest of the songs is excellent too. The inclusion of King Crimson and Genesis songs into one of their songs is excellent too. Finisterre put on a good show that night, I believe.

The great songs aside; this is a live album with a very good live feeling and a lot of warmth. You can melt glaciers with this good humoured live album. My only gripe is the lack of some really killer tracks, but that is my only gripe. This live album is as good as it can get from the RPI scene and Finisterre has found themselves a new fan.

4.5 stars

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 In Limine by FINISTERRE album cover Studio Album, 1996
3.75 | 64 ratings

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In Limine
Finisterre Rock Progressivo Italiano

Review by apps79
Special Collaborator Neo Prog Team

4 stars Second album by Zuffanti's first ever project just a couple of years after their fantastic debut.Compared to their debut,the line-up of the band finds Marcello Mazzoccki behind the drum kit in the place of Marco Cavani,while Francesca Biagini takes a promotion from the choirs section to the flutes,as Sergio Grazia left the crue.The new album was again published by the Italian grand label Mellow Records.

STYLE: A beautiful sum of the sounds coming from 70's Italy is what FINISTERRE have to offer,combining the romanticism with the darkness,the melody with the complexity,the atmosphere with the abstract.This is again a very deep and rich album in sounds with nice approach to Classical and Folk music.Sensitive electric guitars throughout, trully atmospheric sax parts,a good amount of delicate flutes,sensational vocals by Marelli and Zuffanti,elaborated keyboard parts and high-class arrangements.The album is quite melodic,but it contains also some really complicated parts with a jazzy flavor,fronted by a heavy rhythm section and crying sax passages.A few string sections make the music at times even closer to Classical.Notice that vocals are both in English and Italian.The album contains surprisingly a few ambient-like parts with an intense Gregorian atmosphere,which I consider pretty unique.

INFLUENCES/SOUNDS LIKE: As with the first album,the KING CRIMSON influence is more than obvious in the jazzier parts.The more melodic ones have straight references to old Italian Prog,especially PFM.If you are a fan of contemporary prog,then imagine a combination between ERIS PLUVIA/EZRA WINSTON with D.F.A./TRYO/BI KYO RYAN.

PLUS: I admit that combining Jazz- ,Folk- and Classical-influenced Rock music in the same album or even in the same song can be a trap for a band...but this is not the case here.This band is made of pure talent material with great approach to music.Both fantastic sax and flute parts.Folkier parts closer to Medieval music can travel you to another age.Guitars are one of the strongest parts of the album.Most melodic stuff is more than memorable.Jazzy stuff is also very strong with intense Crimson-esque atmospheres.Vocals are pretty cool as well.

MINUS: Not that original music or something I've never heard before,Italian bands already mentioned have chosen more or less the same path in the past.

WILL APPEAL TO: RPI fans should get this album at any cost.A step furhter,I recommend this album to anyone who wants to try something containing a wide spectrum of influences,which defined progressive music in the past and present.

CONCLUSION: The first album of FINISTERRE was really great.This one is a slight improvement over the debut with the band developing a more diverse sound in an excellent way.No more words,this album is stunning and deserves a rate close to a monumental masterpiece.4.5 stars,Fabio have yet to dissapoint me...

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 In Ogni Luogo by FINISTERRE album cover Studio Album, 1999
3.63 | 47 ratings

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In Ogni Luogo
Finisterre Rock Progressivo Italiano

Review by tszirmay
Special Collaborator Crossover Team

5 stars I was fortunate to follow Finisterre's career since day one, enchanted by their 1995 debut and have hopped on board ever since , even venturing into the various Fabio Zuffanti-led offshoots like La Maschera di Cera, Zaal, H÷stsonaten, Aries, La Zona etc?. It's almost always a most pleasant adventure, full of luxuriant melodies and fantastic musicianship, allied with some inventive creativity. "In Ogni Luogo" the lads have chosen a more contemporary tone that surfaces more often than not as the basic principles of RPI are always religiously adhered to. "Tempi Moderni" reflects on these past glories with a gorgeous Camel-like melody, fiddled with Stefano Marelli's magic guitar leading the way. "SnÓporaz" abounds in assorted modern colorations (sound effects with Italian dialogue) and a scorching beat fueled by Zuffanti's growling bass, while the guitar waddles in muddier thrashings, occasionally breaking out in some tense leads, all so exceedingly charming and contrast-laden. "Ninive" has that historical leaning that characterized their debut by travelling back, way back into time and addressing the Assyrian capital's reflective power. A sublime "roll down the carpet" entrance morphs into a forceful Marelli workout, the Andrea Orlando drums keeping it nice and tight and some superlative keyboard tapestries from Boris Valle. This is good, ragazzi! The equally brief title track seduces tenderly with a husky female guest voice, very "Girl from Ipanema" cool that whispers voluptuously, some elegant violin fills in the breaches with some romantic lines and the synths ply their trade symphonically. The colossal 7 minute+ "Coro Eletrico" rages from the onset, a whipper- snapper track with more violin (though way more frenetic), a true romp in the sense of the word, bruising and inexorable featuring a stupendous guitar solo slipping on a mellotron choir slide, some wah-wah tossed in for a little sizzle. The mid-section collapses into a somber affair giving the rhythm section a new groove of raw impetus to play with, hypnotic and yet merciless, escorted by some savvy synthesized bubbles until the Arabic horn caters to the ripping violin, giving this a refined Middle Eastern feel full of quarter tones , masterful slice of RPI. The medieval tones of the achingly beautiful "La Citta Indicibili" has a early hint of Zep's Stairway to Heaven, acoustic guitar in cahoots with violin and each taking their pastoral shot at proggy bliss. Another stamp of approval here, as they show clearly their gilded heritage. The raunch level is raised notably on the next track, "Agli Amici Sinesticiti" the guitar getting murkier and raging in barely restrained frustration, very poignant and European, a melancholic jaunt into storied classicism with a truly whopping guitar spot where Marelli really shows off his substantial chops with numerous solos , each one more effective than the other. The choir mellotron adds the obvious grandeur deliciously. The longest track has a long name too, so I won't bother. The agonizing lady vocal returns to the fray, in that same oozing-weeping jazz style, the sax dancing with the vixen, embracing her and the guitar suggesting some torrid thrashing in the bedroom (hey, they are Italians, okay?). Electric piano (one of my fave instruments) pooling droplets with the sultry saxophone, tick-tock-shuffle drum beat, and that tired female sexy voice, hmmmmm! This is original stuff, very daring and dreadfully creative, kind of hard to describe. A wah- drenched axe goodbye has the head shaking anew, man can he play smart. "Peter's House" is more straightforward a pounding little ditty that encapsulates all the prime qualities that the four musicians wish to demonstrate, a bleeding Marelli solo on that mellotron carpet is hard to resist, biting ravenously into submission (which is what a solo is supposed to do!). "Wittgenstein mon Amour" is a stellar finale, the clarinet doing its romantic best to elevate the breezy mood, a whimsical prog lullaby. Fantastic album not a weak track here, so I cannot see why it doesn't get the penta spurs. Sorry , Johnny! So there it Is = 5 Barolos

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