GIARDINO DELLE DELIZIE

— First review of this album —

Excellent new keyboard-driven RPI!

"Ritratto Di Ballerina" is the new album by GAN EDEN/IL GIARDINO DELLE DELIZIE, which is basically the artist Angelo Santo Lombardi. On this, the third release from the artist but officially second from the band, the sound continues in a similar vein as his previous work, "Lavori in Corso." The formula is lots of keyboards, very enthusiastic drums, strong melodies, and great arrangements and instrumentation, mixed with some very occasional Italian vocals.

This album was initially based on the concept of the emerging artist struggling for recognition, but in the end not getting much reward for all the effort. In Angelo's words, "the affliction an artist proves in his fight to emerge." But during the work on the album, his father passed away, which lends the work a special kind of gravity.

In terms of points of reference for the work, if you're familiar with the last album, this one is the logical extension of that, showing more mature composition and musicianship but keeping with the same style. If you're not familiar with it, then think of keyboard-driven progressive with strong melodies--I'd say a modern METAMORFOSI but without the operatic vocals, or perhaps a more melodic, less riff-oriented ELP. Angelo is an amazing keyboard player! There are many passages that would fit well in 1970s RPI, although with better production. Occasionally the music reminds me of THE TANGENT (although more personal), and even Angelo's vocal quality is similar to that of Andy Tillison. The influences though are far-flung--the introduction of the title track even sounds like ANGLAGARD! The album contains a heavy emphasis on church organs, supplemented by thick mellotron choirs, Moog runs, and synth solos. My favorite track is "Reazioni a Catena," which is an 18 minute tour-de-force of progressive composition, stretching from solo piano to full-throated ensemble, choirs, and sudden shifts in mood and intensity. I particularly love the powerful organs accompanied by bombastic drums and keyboard ensemble.

Overall, this is a solid modern RPI album, more developed than Angelo's prior work. If you like passionate, engaging, keyboard-driven prog, especially with the kind of twist that comes with RPI, this is for you! Four enthusiastic stars.

Another wonderful packaged CD from the Italian label Btf. featuring a cover that stimulates your fantasy and a booklet with lots of information. This new Italian band 'with the long name' is a project by Angelo Santo Lombardi (vocals, Hammond organ, Minimoog synthesizer, pipe organ and synthesizers) along with musicians on acoustic- and electric guitar, drums, bass and vocals. The music is obviously rooted in the 24-carat symphonic prog tradition of the Seventies, mainly because of the frequent use of vintage keyboards like the Hammond and the Minimoog. After a few listening sessions I noticed a huge difference of composing quality between the first and final track! The opener Dolce Brezza starts in a pleasant atmosphere but goes on and on without any tension or musical ideas, only the final part delivers a sensitive electric guitar solo and a fluent shifting mood with tasteful piano and organ but 10 minutes is way too long for this track. The final composition I Take All The Way showcases Gan Eden Il Giadino Delle Delizie at their best: lots of variety and dynamics and exciting work on guitar and keyboards: sparkling Grand piano, fat Minimoog flights, a sensitive electric guitar solo, a fluent rhythm-section and organ play that strongly reminds me of famous Le Orme (Collage-era). The other four songs sound pleasant and melodic with a tasteful colouring by the guitar and keyboards like warm Grand piano, fat Minimoog runs and a pipe organ interlude in the titletrack, slow and fat Minimoog flights, howling guitar and sparkling piano in La Canzione Della Bimba and mellow Hammond runs with fiery guitar in E Dopa Il Vento. The Italian vocals on this album sound warm and inspired in the typical Seventies Italian prog tradition like Metamorfosi and Le Orme. Apart from the first composition I enjoyed this wonderful symphonic prog album and I hope this is not another Italian one-shot-band, especially recommended to fans of Seventies Italian Symphonic Prog!

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