TAPROBAN

The second album from this Italian band.

Neither this album or the other outputs from Taproban is Rock Progressivo Italiano if truth is being told. They are most definate within the Symph Prog genre. But that is splitting hairs (and in the case of the RPI team; spitting feathers) and an uneccesary debate.

Taproban's music is pretty close to Emerson, Lake & Palmer on this album. Though with a small Italian twist. I am not only referring to the Italian vocals here. But they also have a lot of Premiata Forneria Marconi in them. A blend of these two above mentioned bands and you more or less get this band. Which is both a compliment and an observation.

The music on this album is keyboards dominated. Gianlucca De Rossi's keyboards, that is. He is also the vocalist here and the vocals is great. Alessandro Papotto from Periferia Del Mondo is here as a guest saxophonist. His sax is brilliant on the main track on this album; the excellent title track. A track also dominated by lush keyboards, sax and vocals.

The rest of the tracks is also great and that makes this a great album and a great addition to anyone's collection.

Taproban began life in Rome in 1996 on the initiative of keyboardist Gianluca De Rossi and drummer Fabio Mociatti. The name of the band was inspired by the ancient name of Ceylon or Sri-Lanka where Italian philosopher Tommaso Campanella (1568 ? 1639) settled his imaginary "City of the Sun". After many troubles and line up changes, in 2002 Taproban released their debut album, "Ogni pensiero vola" (Every thought flies) on the French label Musea Records with a line up featuring founder member Gianluca De Rossi (keyboards, moog, synthesizers, acoustic guitar, vocals) along with Davide Guidoni (drums, percussion) and Guglielmo Mariotti (bass, acoustic and classical guitar, mandolin, vocals). The mainly sources of inspiration of the band are Emerson Lake & Palmer and Le Orme but the music is not too derivative and perfectly fits the concept. Music and lyrics, in fact, were inspired by a very peculiar place, the Garden of Bomarzo, near Viterbo, also known as the park of Monsters of Bomarzo. It's a monumental complex created by the prince Pierfrancesco Orsini in the XVI century and composed of small buildings and a wooden park populated by strange sculptures. It was built not to please but to astonish and its symbolism is arcane, according to the liner notes, the band tried to transpose in music the ideal dimension behind this artistic creation, that consists of "non-conformist and parodistic overturning of the Renaissance stylistic principles of balance and harmony, proposing instead a horrid and grotesque version of classical mythology and chivalric epic". Well, it's high time now to visit the park following a musical path between mythology and fantasy...

The opener "Prologo" (Prologue) starts with dark sounds and hypnotic percussive patterns, then tension melts in an dreamy acoustic passage... The prince Pierfrancesco Orsini from a window of his castle seems still to be observing the statues of his garden... "You, who are coming in, leave out every thought / Until you'll reach your goal...".

"L'enigma della Sfinge" (The Sphinx enigma) is full of vibrant energy and exotic excitement. In the middle section you can listen to echoes of bolero and oriental touches... At the entry of the garden there are two mysterious sphinxes, one of them has an enigma carved in its stone... "You, who are coming in, put you mind part to part / And tell me whether so many wonders are made for deceit or for art...".

"Orlando che squarta un pastore" (Orlando quartering a shepherd) is a very short instrumental that was inspired by a sculpture portraying Orlando, the protagonist of the poem "Orlando furioso" by Lodovico Ariosto, quartering a shepherd who had bothered him. It's a kind of warning against the excesses of passions leading to blind rage...

The dreamy and ethereal "La Tartaruga e la Fortuna" (The Turtle and the Fortune) was inspired by a sculptural group representing the contrast between Virtue and Fortune. The Turtle symbolizes the prudence necessary to follow the instable proceedings of Fortune, a female winged figure walking on a ball and playing two horns. "Blind and instable ruler of the world / I must pay attention to second her balance...".

On "Pegaso il cavallo alato" (Pegasus the winged horse) rhythm takes off for a ride on the wings of fantasy. This track was inspired by the statue of one of the best known fantastical creatures in Greek mythology, a winged divine white horse... "Look at his wings, the wings of freedom / Look in his wings, the wings of freedom...".

"La casa pendente" (The little inclined house) is a kind of surreal psychedelic track featuring strange filtered recitative vocals and evocative experimental sounds. It was inspired by a strange building that lies in the Garden of Bomarzo, a small leaning house apparently bent by adversities but never falling down...

"Il signore del bosco" (The lord of the wood) starts with dark organ chords. It's a short instrumental inspired by the statue of an old man sitting on a throne, the God of Hell as depicted by the Italian poet Torquato Tasso in his poem "Delivered Jerusalem", first published in 1581, which tells a largely fictionalized version of the First Crusade.

"La ninfa dormiente" (The sleeping nymph) is another beautiful instrumental, an idyllic interlude that begins with a delicate acoustic guitar arpeggio setting a dreamy atmosphere. It was inspired by the statue of a woman lying backwards...

"L'Orco (Lasciate ogni pensiero voi ch'entrate)" (The ogre ? Lay out every mind who enters here) is a long and complex track featuring a dark atmosphere. It was inspired by an enormous and ferocious mask representing the door of Hell and portrayed on the album cover. "Infernal monster mask, into your gaping maw there's a room carved into the rock / I go cautiously in / The light is low, it filters from the holes of the eyes / It carves the table, and on the walls...". Well, listen to the music and imagine the rest!

The last track "Il tempio araldico" (The heraldic temple) is an amazing instrumental with a strong Renaissance touch. It was inspired by a memorial to Giulia Farnese, Pierfrancesco Orsini's wife, located at the top of the garden. It's also called heraldic temple and represents the victory on death and oblivion and the achievement of a spiritual purification releasing from anxiety..

Indeed dear reviewers, first track is really special. Maybe striking like lighting from clear sky, but is one of the most prog intros I've ever heard (mostly because these first tracks are here usually for setting the mood, slowly preparing listener for what will come next). And right next track is epic of this album. Well, it's epic, that explains everything.

But in these tracks, there's one thing I can't take much. Do you know Cher's electronic voice modulator I suppose, so it's used here to from time to time. It's absolutely terrible and brings this music to its knees. Maybe I'm too much old-fashioned, but this shouldn't be used this way in prog music. But OK, keyboards counterweights it. And this concept story, when you allow them to influence your mind and judgement, it really helps to feel the entire story.

4(-) for average way of doing prog in new RPI style. With some better parts.

TAPROBAN's story starts in 1996 in Rome as a bass/keyboards/drums trio,influenced by the 70's progressive rock legends and recorded two demo tapes,before disbanding at the end of the decade due to direction's disagreement.A new line-up was found around 2001 led again by keyboardist Gianluca De Rossi,which finally recorded ''Ogni pensiero vola'' in 2002.Not far away from their early style,the album contains basically keyboard-dominated progressive rock with a romantic mood and just slight presence of guitars (note that most of them are acoustic).''Ogni pensiero vola'' is characterized by the lush keyboard sounds of De Rossi,reminding of LE ORME's style,while the most atmospheric vocal parts resemble to bands like IL CASTELLO DI ATLANTE or CONSORZIO ACQUA POTABILE.The band isn't static at all,as I recognize some light ethnic influences through the listening,while there are some nice effects making the listening somewhat more personal.TAPROBAND are a very talented act,which I would suggest of following and spending some of your time listening to them.

Well...how should I say 'bout them...neo-Italian prog? I can't decide it's not appropriate...

At first, the picture of the sleeve is weird. To tell the truth, I've never known about the place Ogni Pensiero Vola. Surprising and amazing that pictures of the place impress and inspire me severely.

Of course, I was more amazed with the sounds by them. Whoa, I see...it's weird, either. Lots of inspiration and horribleness...but there's an excellent Italian flavour. As every progger says, good ancient taste of Italian progressive rock world...they keep the tasty taste. Added to it, current rock wave they have so we can say it might be in the category of NEO-ITALIAN PROG.

I wanna they could keep the weirdness...Included my expectation, 3.5 stars I wanna give to them.

I am glad that this band was switched from the eclectic genre to the Italian Symph one to which it fully belongs (maybe that I got heard.).

This is the third album of this very good band, widely keyboard oriented. The influences of Gianluca De Rossi are no less than Banks, Emerson and Wakeman (according to their web site).

While "Genesis " was the major influence on their first album, here and there some ELP & Crimson sounds could be heard as well. The ELP mark was stronger on their very good "Outside Nowhere" and this album is even closer.

The first trio of songs is fully bombastic and the link is very obvious. Inspiration is present as well, especially during Immersion.

Suspension is an ambient track, mostly instrumental. Soft keyboards, until the vocals comes in. Fully Gabrielesque, melancholic and a little bit sad.

While their first album was almost instrumental, their second featured some Italian lyrics and I wrote already that the band sounded so much better, more convincing while doing so. On this one, songs with lyrics are all in English. Again, it is OK, but this release would have been better in an Italian version IMO. The relation with Peter's voice has never been so close.

This album is less personal, but these musicians are very skilled and this album is enjoyable. "Uncontrolled Dreams" which is the longest track (almost nine minutes) is almost a tribute to "Genesis". For the first time, a very good guitar solo can be noticed. In this ocean of keys, it was welcome; but don't get me wrong, Gianluca is brilliant in his role. You'll get the confirmation just after during a strong synth break (hi, Keith). One almost believe that Chris Squire is holding the bass during the finale. A very good song, probably the best one from Posidonian Fileds.

The closing number is the weakest one. A mellow ballad, a blank and some folkish notes to finish...

I would have expected something better from Taproban after their excellent second album. I can't go higher than three stars in the rating.

What a pity that the opener only lasts for seventy five seconds. It is a jewel of a symphonic intro and could have last for ever.well almost.

I'm not really into the jazzy moods but it is amazing how this band can still please me during the long and fully jazz oriented start of the title track and epic of this album. Probably because they had the great feeling to mix it with symphonic sounds. "Outside Nowhere" opens on a "Bolero" type of mood and is a strong combination with spacey and tranquil passages (Floyd), some dynamic and strong synth ("Marillion) which lasts for just over nineteen minutes of the most elegant music.

The whole sensibility of the Italian symphonic genre is held in the short and acoustic "Broken Shell". Sung in English (infortunately) it is a so sweet and melodic part that I just can be disappointed that it only last for less than two minutes.

The mood is different during "Il Difficile Equilibrio Tra Sorgenti D'Energia". A bombastic demonstration of ultra gifted keyboards play combined with a fantastic bass line. If I add that the drumming is on par, I guess that the same reference will come to your mind. "ELP" of course. How pleasant is it to be brought in this wonderful world but played by a modern band! The last section is absolutely wonderful. This time vocals are in Italian. So poignant and backed up by fantastic and symphonic keys. The best track from the album, IMO.

The band remains in the "ELP-ish territories with "Ves Ml' Tahghach" which is another great orgy of mighty synthesizers. Somewhat uniform and predictable but still enjoyable. But I used to like these early "ELP" sounds so much that I am probably biased and some other listeners might call this "regressive" prog which is a negative concept that I particularly dislike.

"Pieces Left Behind" is a melancholic track just perturbed in the middle part with a short and scary instrumental break. After a short and not so good short instrumental number "In The Deep", this CD closes on the ambient and rather convincing "Nexus". Again, the Italian vocals are excellent. I wonder why the band is trying to sing in English during some of their songs. They are so typical of the Italian symphonic music that they should just stick to their native language IMO.

Four stars for this very album.

Frightening cover for this debut album of "Taproban". A modern Italian band.

Strangely enough, while several bands are featured in the Italian symphonic genre while they should better sit in the neo or even jazz-rock one, I have the impression that it is the reverse situation with "Taproban".

Most of the music available on this album is deeply influenced by the sumptuous Italian symphonic music than some of us like so much (and I am one of them). During the complex "L' Enigma" and its Cinema Show oriented rhythmic and keyboards for instance or in the short La Tartaruga....

Songs are on the short edge (except one) and leaves little space for development. Nevertheless, "Pegaso." is one of my fave. It holds a splendid melody (it is one of the rare track with vocals) and rocks alright. Synth work is also particularly well achieved. But I could have had another slice of it though.

One of the most chaotic "song" from this album is without any doubt "La Casa Pendiente". If it were not by some "vocals" it would fully remind me of "The Waiting Room" on "The Lamb". Same structure and same opacity. You can easily skip that one.

If there is a track which notably emulates "ELP" on this work , "Il Signore Del Bosco" will be the one. Not deeply passionate but close enough to remind us the shadow of Keith Emerson. And the good work goes on with the pastoral and subtle "La Ninfa Dormiente". Sure that this song will bring her rest and tranquillity (the sleeping nymph is the title.). A warm and fully symphonic little piece.

A good introduction to the pièce de résistance. The epic of this album : "L' Orco". A complex and intriguing song which combines nice interplay between keys and drumming (almost during the whole song). The first part is more joyful (probably thanks to these sweet piano notes) while L' Orco sounds dark and repetitive in the second half. During the closing section it flirts between Crimson and Genesis which is a pretty good combination...

This number should have been an ideal closing number, but instead we'll have to bear the medieval and useless Il Templo Araldico. Maybe the second blunder of this album; after La Casa Pendiente of course.

This album is not a jewel but a pleasant Italian album. Do not be afraid by its inclusion in the eclectic genre. It holds a lot of symphonic parts and should please most of the fans form this beautiful genre.

Three stars.

I had high expectations for this release in view of the quality displayed on their sophemore "Outside Nowhere" which was a most enjoyable ride. With its drop dead gorgeous cover, "Poseidonian Fields" was to be the crowning recording of this talented band, but I must state that we have a knuckleball , hard to catch or even fathom. The first 5 cuts are rather ordinary (even after a dozen auditions), where only Guglielmo Morietti's develish Rickenbaker rules , contrasting with rather poor vocals in heavily accented English and just plods like a ho-hum tractor. Then from nadir to zenith, the band suddenly decides to kick the proceedings into overdrive , divebombing like a Stuka into a sea of mellotron and a standout melody onthe 6th track : "Suspension" . Next tracks, "Octopus" and the brilliant" Uncontrolled Dreams" keep the pace majestic and passionate (check out the riffing bass lines, amazing!). As if to pound the nail further into the surrender coffin, "No Return" proposes a velvety array of moods, propelling the buzz to heavenly heights, tinged with native Indian (?) chants. On the 6 minute "Farewell" , the hypnotic magic meanders for 2.5 minutes and suddenly slides into silence!!!!Where are the remaining 4 minutes? Did I get a bum copy or did the venerable musicians revert to sloppiness? Can someone let me know? Disappointment reigns where jubilation was scheduled to sit . Rats!!!! Consistency is the key to posterity , signori! 3.5 stars awarded to the bassist .

This is the third album from this Italian trio (bass,drum,keyboards) with English vocals (with a little Italian accent=but not so bad).They resemble an early Le Orme but not so refined.It took me a few spins to get into their music (it's sometimes the case with prog music) but it's good,really good not a masterpiece but a good addition to any prog collection So 4 stars for Tapbroban Posidonian Fields who will be a great discovery for fans of ELP and LE ORME and any serious proggers who likes Italian groups.POTS