BIGLIETTO PER L'INFERNO

Il Tempo Della Semina is the second album from seventies Italian prog rockers Biglietto Per L'inferno. It's failure to be completed and released at the time was to shortly lead to the band splitting up and it didn't see the light of day until 1992 unfortunately. Not surprisingly it's a bit rough round the edges.

After their classic debut Il Tempo Della Semina is a bit of a disappointment but still contains some fine moments. Biglietto Per L'inferno occupy the heavier end of the RPI spectrum though less so here in comparison to their debut. While echoes of their debut are present there are less symphonic leanings and the sound is more varied. Clearly the band didn't want to produce part two of their debut and have made obvious effort to move forward and try something different. The result is an overall less cohesive and inspired effort though. Particularly noticeable is vocalist Claudio Canali's singing style which has changed I have to admit, not for the better. It's less refined lacking the more histrionic moments on their debut, having a rawer sound.

The title and opening track is excellent however, if not reaching the heights of their first album then not far off. Over the course of 10 minutes the music constantly shifts on this largely instrumental piece with only a short spoken word vocal part. Pleasing dual keyboard work against powerful guitar and a dynamic rhythm section and flute adding the icing on the cake, an instrument semingly prevalent in much Italian prog.

Mente Sola - Mente shows a few cracks appearing and is the least satisfying moment here as a horn honks against a background of all sorts of strange sounds until a synth takes over. Thankfully it's short lived at less than 3 minutes.

Viva Lotta Pensa is much better seeing the band back in symphonic vein on this keyboard dominated piece. L'arte Sublime Di Un Giusto Regnare has a Jethro Tull vibe and Solo Ma Vivo sees them fitting in a number of moods and changes on a relatively short song. Finally another longish song to close, La Canzone Del Padre doesn't work as well as Il Tempo..... but is still worthwhile, once again going through many changes.

So Il Tempo Della Semina while not being in the same league as their excellent debut still has enough of interest to make it a worthwhile purchase for RPI lovers though not essential listening by any means.

Never heard a band with such a lot of emotion, nice movements between elegant melodies and heavy parts. You can hear that they love to make their music, that will probably be the main reason why I love it so much to listen to thier music. A lot of the songs on this album will be considered as heavy prog but when you have a close listen you can hear that there is a lot more. In several parts you can hear them play with the melodies and instuments and there is even a lot of humor in the melodies and the way the voice is used. For me, absolutely 5 stars!

Seemingly typical of a number great bands in the Italian prog scene Biglietto Per L'inferno released just one studio album in their existence; a second was recorded but not released until many years later. That's a real shame because their eponymous debut is one of my favourite albums in the RPI genre.

Biglietto Per L'inferno are at the heavier end of the RPI spectrum with plenty of powerful guitar riffs well to the fore. Their vocalist, Claudio Canali is well suited to the powerful style, coming across like an Italian version of Uriah Heeps David Byron in his more histrionic moments. In fact the parallels don't stop there as Biglietto Per L'inferno occupy a similar place in that heavy prog area even though they don't particularly sound like them. It has to be said though that Biglietto Per L'inferno are a band with a more complex style and greater dynamics than Uriah Heep, even though of course Heep weren't averse to moments of subtlety. Between the riffy guitars are plenty of sections of subtle restraint and beauty. In fact it's these moments that much of their strength lies where a haunting keyboard part contrasts so well against the raw guitar sound of the heavier moments.

It's an album with no weak tracks getting off to a great start as the Hammond organ and guitar arpeggios introduce Ansia until things take off on this excellent piece. It's not far off being an instrumental as the vocals don't come in until the 3 minute mark and it's only just over 4 minutes in total.

Confessione is the band at their most explosive with a strong vocal performance from Canali but it's the exciting closing instrumental part that is its greatest strength. Excellent dual keyboard work from Giuseppe Cossa and Giuseppe Banfi, with the heavy guitar work of Marco Mainetti riffing over the top of this constantly shifting passage. Incidentally the instrumental section of this track is used again to close the album so it's just as well it's so good! Still I can't help feeling a little cheated that it's used in such an identical way.

The rhythm section of Mauro Gnecchi (drums) and Fausto Branchini (bass) have the necessary skills and power to deal with the musics dynamics perfectly illustrated on the diverse Una Strana Regina. They're equally at home where delicate understatement is required.

Likely to attract the most interest is the albums epic track L'Amico Suicida. The melancholy start is particularly beautiful where eerie keyboard textures, dark swirling Hammond and guitar arpeggios lay the foundations for a full frontal distorted musical assault; the dirtiest flute sound I've ever heard. Even not knowing any Italian the song title clearly has references to suicide and the forlorn vocal tone clearly indicates a person in despair. It's a wonderfully dramatic song, again the music constantly shifting through many sections. Not necessarily the best track but at least the equal of anything here.

For anyone finding some of the more challenging RPI bands a little difficult to get into could do no better than to give this brilliant album a listen. It's very accessible by prog standards and one of the very best in the Italian genre, in fact any genre. An incredible album well worthy of 5 stars.

Another happy marriage of beauty and untamed rock, Biglietto Per L'Inferno soars through uplifting keyboard-driven passages, symphonic richness in full blossom and straight-forward edgy riffing. As a result this is an album that just as often feels naked and desolate as it feels warm and safe.

Ansia's keyboard-laden beginnings, with lovely guitar chord work to back it up, makes for a mysteriously clouded, watery beginning, perhaps fooling you into believing this is another sweet, melodious and romantic RPI ride. The idyllic 'first scene' is soon interrupted by sturdier sounds, as a dramatic flute-piano-guitar combo roars in like a menacing, still-to-be-discovered force.

The clear, ringing (as well as unnaturally piercing) piano dashes that interrupt the otherwise driving rocker Confessione (featured as a shortened instrumental as well), and the sense of despair and sacrifice they conceive becomes even more entrancing seen in the light of the soul-searching and exposed vocals that accompanies the music. Climactic as it may be, it only serves as an emotional launch pad for what follows. In a stunning display of what RPI is all about, the next minutes are simply spectacular. Some baroque sensibilities à la PFM, merciless churning guitar and rhythm section attacks, tasteful soloing from both a Tull-ian, madly dancing flute and guitar as well as the very best rollicking piano passages, adding depth and fragility to the sometimes appealingly cacophonous soundscape.

Energy goes down and presence goes up in the transition to Una Strana Regina. In general a very relaxing and soulful piece, softly escorting you through a flowing and transient keyboard-dominated sound, quite tastefully lined by curious electronic effects and a tense and personal performance by Claudio Canali. It's hard to pinpoint its atmosphere correctly, as it spans a lot of emotions along the way - introvert reflection, vague hope, glimpses of happiness as well as sorrow. Another one of those sparkling passages with rumbling Hammond organ, guitar and flute tears the atmosphere to shreds in a dynamic flip-flop, but quickly passes to make way for more of what preceded it. Given the now established formula of compositional disposition, the song concludes with a dense, kind of freak-folk-jazz segment. Nervous playing from especially the guitar, with intense but delicate drumming and excellent keyboard wizardry work to fill in the gaps. Weirdly unsettling.

The jump to Il Nevare is still a subtle one, given the circumstances, picking up with a lonely guitar, but soon back on track with punching all-instrument clashes. Reminding me of Il Rovescio della Medaglia's La Bibbia, the spasmodic changes between full frontal assault and charming (as well as well executed) smoother part with that delicate guitar and oh-so-tasteful array of keys sadly becomes somewhat grating after a while.

L'Amico Suicida is the album's "epic". This one has a fine dramatic build-up, with great texture provided by acoustic guitar to a background of weird (or rather standard, when talking about RPI) synth sounds, melodies and fitting cymbal clashes. Believe it or not, but this part is actually brought to its natural conclusion before all hell breaks loose in a bit of concentrated brutality, where the guitar lays it on thick with slamming chords, the keys with dark, propulsive runs, the drums with booming bass - and a flute sounding like it desperately wants to escape the stranglehold of all this. Flick-of-the-switch dive back to a suffering vocal bit with accompanying instrumentation (strings and piano truly pierces the soul here), which grows into a local climax. Rollicking piano with Baroque overtones once again. Definitely got some drive in it, with a puritan, God-fearing frustration to enhance that. Efficient, borderline comic electronic strangeness accentuates and contrasts before another impulsive twist in the song. And it'll continue down that way, blending numerous styles, moods and presentations. There is a flute solo, some Gentle Giant and Battiato-esque unpredictability and definitely more than one climax and a handful of experimental free-wheeling ideas until the curtain fall, for the song as well as the album.

Seldom is an album this short so desperate to display the colourful secrets that wait inside. Passion, energy and ideas are overflowing, but not necessarily in a bad way. You still get the feeling that this is two, or even three, albums more than one, and that is one of my points of criticism. There are underdeveloped ideas, whimsical collages of sound that just as much fuels the music as they hamper it. Individually they may be great, but when a song like L'Amico Suicida deteriorates into fragmented creativity at the end, I sometimes just get tired. There is no doubt that the hard-hitting Italian hard rock sounds of '74 may sound dated when I'm in that mood. And sometimes that Moog is just laid on painfully thick.

But.

There is absolutely no question that some of the best RPI you can find is found right here on this album, with mind-blowing, tight performances both on the rough side as well as on the beautiful side. What's more important is that it's an album full of fun. It just is. Alive, breathing and brimming with honesty and raw passion.

This fun factor easily earns this energy bundle 4 stars.

//LinusW

The classic Italian scene was so very rich. Certainly by 1974 the sky was the limit and things had become so infused with creative energy that the artists were often outdoing their contemporaries in Europe and Britain. It was as if Italy's grand musical tradition had quietly and briefly been reborn in a bunch of longhairs, and it's a pity the smaller groups never really made it across the pond. Thank goodness we live in a time when bygone prog has inexplicably been rediscovered by the world and embraced by a minority determined to revive the bounty of that period. This record was a part of that bounty and though not as edgy as Osanna or polished as Banco, Biglietto per L'Inferno held their own in an arena of giants. There are some dated hard rock moments and a few uncomfortably theatrical vocals, but seems to me that's par for the course when were talking RPI.

'Ansia' establishes a clear prog identity with beautifully antiqued space-age synths from Banfi and Cossa, Mauro Gnecchi's crack army snare flurries keeping things moving. Slightly awkward 'Confessine' involves a Rooster, a dash of Pepper, some Purple coloring and shows a tiny Bit of Finger but still has some grandeur, a very cool prog break, and by the end it actually comes through and finishes well. Dirge 'Una Strana Regina' kicks ass moving between teary-eyed pining and tough Hammond-grinding fleshed out with a surprise pseudoclassical bop, and is followed by the soulful waltz of 'Il Nevare' that peaks-out with a most invigorating vocal phrase repeated by Claudio Canali. Finale 'L'Amico Suicida' proves to be one of the more cutting pieces and bubbles over with power on numerous occasions showing admirable group playing, heavy piano/guitar assaults, light synth accents and weird electronic distractions, and is the emotional and compositinal high point of the album at thirteen minutes.

Enough surprises to make this one worth it and a few moments that make it nearly essential, BpI's debut is like hanging out with an old friend. Recommended.

Going down.

I was listening to that fourth Zeppelin album the other day - the one that no one can decide on a proper name for - and I couldn't help getting all caught up in that bustling hedgerow. They say there are two paths you can go by, but they don't tell us about the other one. Robbie and Jimmy and company took the glorious road to musical immortality, presumably up ; but what about the inmates occupying the ground below?

In the shadows of dark 1970's hard rock, there is many a stray band. Far below the mighty Zeppelin's, Rooster's, and Dickens characters, you'll find blues in Denmark, metal in Iceland, and Deep Purple- clones all over the place. It's a real treat for the adventurous rock fan when one such band climbs up out of the abyss to challenge the heavy-hitters and household names.

I give you Un Biglietto per L'Inferno - A Ticket to Hell

Biglietto per L'Inferno hit the Italian scene with as much moxy as their raucous RPI counterparts, but with overtones more in line with the sludgy DP/Sabbath school of witchery. These guys modified their take on heavy rock with creepy effect-laden keyboards; in fact, there were two keyboard players in the band: Guiseppe Cossa who plays in a classically-trained style, bringing in the few "traditional" influences; and Guiseppe "Baffo" Banfi who is responsible for much of the album's dark atmosphere with his plodding moog synthesizers and organs. The hair-raising intro to "L'amico Suicida" has Banfi's finger prints all over it. Because I've mentioned the keysmen, I might as well include the guitarist - Marco Mainetti. He is the main instrumentalist despite being outnumbered, and his distorted, bluesy leads play counterpoint to the otherworldly keys.

So we have a heavy Italian prog band with two keyboard players and a leslie-happy guitarist. In other words - Banco without the Verdi aspirations or Tull with some black magic thrown in; take your pick. Biglietto had a reputation as one hell of a live band (pun intended), which is something one could easily guess from the passion emanating from their record. The first track, "Ansia" (anxiety), wanders along common territory with unassuming arrangements that only hint at what's to come, and loopy synthesizer sounds that sound a bit cheesy to these ears - one of my only complaints. "Confessione" introduces the prevailing dark atmosphere, and from that point on, there is no escaping the music's grasp. The lyrics reflect social conflict that these young men were witnessing at the time: violence, punishment, sin, consequence.and questions. You don't need to speak any Italian to pick up those vibes. Claudio Canali, the expressive ringleader, screams, begs, pleads, and soars over those perversely distorted guitars and adds some flute to top it off. He tears at you, begs for forgiveness, and then dances circles around you. The sound quality and production are nothing to be proud of, although the bad sound quality adds what seems like an unintentional aura of gloom to the record. I haven't even mentioned the rhythm section thus far because there is NO bottom end here - it's like listening through some kind of murky veil. For what it's worth, the drums and bass do their job adequately - particularly the drummer, though mix does not do him justice.

Biglietto recorded a follow-up album the next year, but it was shelved when their label, Trident, dissolved and the band broke up shortly after. The second album did receive a posthumous release in 1992 and has been subject to mixed praise and disappointment. Baffo Banfi continued in the business with a solo career while Branchini and Gnecci (the bassist and drummer) branched out into pop and jazz projects, respectively. Interestingly, Claudio retired to the hills of Tuscany and became a monk (remember that the track "Confessione" is a dialogue between murderer and priest.).

Recommendation & Rating: If you don't mind a recording that is rough around the edges, and this review interested you, then I say go for it. Biglietto are a good introduction to the Italian prog scene for fans of heavy '70s rock. This record will not bludgeon you with riffs, but it will connect with your sense mysticism if you let it. Four well-earned stars for ProgArchives.

The Jimmy Row Factor : 8.9/10, A-

"Like a scream in a silent monastery"

Having tackled some of the trends of RPI, from the more orchestral and theatrical to the more mellow and melodic, I though it was time to have a go at the harder side of this incredible school of music. My choice fell upon Biglietto per l'Inferno and their self-titled debut album, a sublime combination of melancholic and angry music And even though my Italian remains pretty underdeveloped, it is still easy to identify all the fear, angst and revolt present in the lyrics and so successfully conveyed into the music.

A delicate organ opening complemented by acoustic guitar and a bucolic flute introduce Ansia, the album opener - but this apparent calm is only temporary: the track soon speeds up and we are greeted by one of the rawest guitar sounds I have ever heard. After another calmer section, a wild guitar and keyboards one follows, with some very martial drumming, introducing the rough, yet gentle vocals before the track fades away. Confessione follows (my CD has both tracks cut, but it clearly appears they were originally connected), opened by an organ and cymbals intro, followed by the soothing vocals - but then we get straight into rock. The vocals turn wild, as do all the instruments in a great wall of sound. This formula reprises one more time, but at the end of the second coming of the chorus, we are gifted with some great piano and organ playing, and amazing vocal choirs, that finally go a cappella. But the song does not end there: after a small build up, we are lead into a great hard folk-rock section, featuring some great flute and electric guitar, played in a way that would have Ian Anderson and Martin Barre give up their instruments out of shame. The piano and guitar continue to solo out without restrain, and towards the end we also get a great synth solo. Very climatic ending! The next song, Una Strana Regina commences with an eerie organ opening to which the piano and drums soon add some consistency. The double keyboards employed by the band really work wonders here, one providing an eerie spacey background while the other produces a pleasant rhythm. The mood seems more romantic, courtesy of the church organ a la Procol Harum. Vocals are also more delicate than on the previous track. The music then gets slightly heavier, but still slow - then, out of nowhere, it goes completely wild, with a great flute and organ interplay. The guitar enters the scene, accompanying the now harsher vocals. The quieter initial section then returns, this time a bit more emotional. It ends with an amazing instrumental section, where you can really feel the warmth and richness of the sound. A fast-paced jazzy section appears again out of nowhere, only to fade away very quickly into the next track, Il Nevare. This track has no issues with beginning right away with the heavy stuff, again featuring excellent keyboard soloing and the haunting church organ in the background. The guitar doesn't just sit quietly in the corner, providing some harsh riffs and solos, but the highlight in this track really is the keyboards and the vocals, which shift from the gentle and melancholic to the angry and desperate. The ending is once more very climatic and rewarding, with great guitar and organ backing the desperate screaming vocals. We then proceed to the epic closer, L'Amico Suicida (my CD edition - 2005's BTF/Trident Records CD1005 - features a final, shorter, and instrumental reprise of Confessione, but I believe this wasn't part of the original album, rather a single-version added as a bonus). Once again opened by the eerie keyboard atmosphere, accompanied by acoustic guitar, it is enriched by the funereal drumming and heavy keyboard (sounding almost like Iommi's guitar effects on Black Sabbath songs). An organ solo makes the transition from this slow section into its exact opposite - a wild fast-paced section, with great drumming and spectacular flute and electric guitar bursts, that sadly ends as soon as it appeared. A quieter section follows, with some very sad synth and piano backing the melancholic vocals (very beautiful section). The piano speeds up, and the bass, drums and guitar enter the scene, while the vocals now sound angrier. An instrumental section follows, with excellent interplay between all instruments. Symphonic keyboards compete with heavy guitar for top spot in a great baroque atmosphere. We even have space for a flute solo, in a section also featuring some pretty experimental electronic takes. And it just goes on and on, but not a dull moment in it, as the band explore an incredible variety of themes spanning half a millennium of music. The final third of the song sees the return of the church organ and the vocals, in a quieter and melancholic mood that soon turns into what almost seems a baroque fugue with some great power chords and a swift but pleasant finale.

Biglietto per l'Inferno was one of the results of my one-time trip to Italy, and, just like all the others, it is a great one. The vocals are very good, with incredible range and mood variations. There is so much richness in the sound, such power but at the same time such care with having all the right instruments in the right place at the right time, that I don't really see how they could repeat this live (but apparently, they did!). I have no issues with the sound quality, it is great to my ears (my only complaint is the apparent separation of tracks that originally belonged together). Musical influences go from the hard rock of Sabbath, Tull's folk-rock, Palestrina's hymns, Bach's fugues and an array of other musicians from the last 5 or more centuries. One would begin to think that every progressive rock album made in Italy between 1970 and 1977 is a masterpiece. I'm sure with time I will come to realize it isn't so, but until now I haven't found anything to really contradict that line of thought. Biglietto per l'Inferno is just another proof of that.

Sophomore, last and posthumous album by Biglietto per l'Inferno, one of the undisputed masters of the heavier side of 70s Italian symphonic prog, "Il Tempo della Semina" never met its proper vinyl edition at the time. All in all, it happens to be one of those lost progressive rock gems that shouldn't be missed in a good collection. Definitely, the band remains loyal to its roots, formed by a combination of rocking dynamics, creative use of double keyboards by two stylistically different players, an important presence of Canali's vocal deliveries and a tight ordainment of the rhythm duo's foundations. All these are fueled into a harmonizing structure that feels even more robust than on the debut album, a stunning debut indeed. The level of compositional genius and the dose of dramatic musicality may not be as impressive as on the debut album, but you can tell that the arrangements and sonic interconnections among musicians are more accomplished, that is, they reveal a wider range of elaboration. It is such a pity that the sound production is not really in touch with this improved framework, but luckily we've recently got remastered editions of both albums, so this technical flaw does not feel as overwhelming. The original CD was taken from a presumably lost tape, and now we've got a new edition with a modified tracklist. Anyway, I'll comment on the first CD edition. The opener is the majestic 10 minute long namesake track, which follows a set of instrumental deliveries fluidly going through the various motifs: the flow is properly on clever links between sections that are alternately romantic, pompous, syncopated and almost spacey. The whole sung part is actually a soliloquy that trends somewhere between the ceremonious and the humorous, followed by a final instrumental section (Tull-meets-BMS). Once the fade-out end, the listener is left wanting more, and so the record continues. 'Mente Sola - Mente' is a playful theatrical interlude that mixes a circus mood with a mechanical vibrato (not unlike the closing track of BMS' "Darwin"). It is a funny little piece in which the sense of humor provides a light approach to the relevant issues of free thinking and the value of the individual mind. 'Vivi Lotta Pensa' states a very vibrant example of progressive complexity cleverly mixed with the power of rock: it isn't too long but it is well crafted in artsy terms. The same goes for 'L'Arte Sublime di un Giusto Reinare', which brings a Tullian feel to the band's signature approach to uptempo compositions. Believe me, these tracks are so catchy and, at the same time, so true to the spirit of symphonic rock, that perhaps they would have benefited from a longer expansion (a total of 4 or 5 minutes) in order to comply with their potential magnificence. Elaboration and expansion are not problems for the last two pieces. 'Solo Ma Vivo' starts with a slow, introspective section that sounds quite related to the more relaxed moments of the debut album; the final section erupts with power and intensity, with the guitar riffing and the tight drumming leading the way for the other instruments, while Canali sings the closing words. 'La Canzone del Padre' bears a more diverse structure (with featured presence of organ layers and fuzzed bass), less dramatic than the preceding song, with more room for playful passages. I agree with other fellow reviewers that the song lacks the sense of unity that prevailed in the namesake opener and in 'Solo Ma Vivo', but it is a great song anyway, and it makes an effective closure. Great, awesome, colorful - synonyms for Biglietto per l'Inferno and accurate descriptions for this particular album.

A good hard rocking album from 1974.This Italian band featured dual keyboards and flute to go with the traditional instruments.The sound quality is not the best,but i wouldn't say it was poor. "Ansia" has a laid back one minute intro before the tempo picks up and we get a full sound.Vocals 3 minutes in as it settles.It kicks back in again as the contrast continues. "Confessione" is a great rocking track.Strong vocals and aggressive guitar lead the way early.An organ break with vocal melodies 2 1/2 minutes in.Nice.I really like the section starting at 4 minutes as organ,flute and raw guitar dominate.Piano 6 minutes in. "Una Strana Regina" contrasts the mellow and more uptempo sections well. "Il Nevare" features some outstanding guitar and organ.Great sound 2 1/2 minutes in. "L'Amico Suicida" is dark for 2 minutes then it kicks into gear briefly before calming down again with reserved vocals.Again this song(as they all seem to do)contrasts the mellow and heavy sections frequently. "Confessione" is the instrumental version of the opening song.I like the raw guitar in this one.Some nice piano as well 3 minutes in. I think my expectations may have been too high going in to this one,because this was a let down.I normally like this style of music a lot and was quite looking forward to it.It's still good,just not great.I would love to hear a remastered version of this though.

Many reviewer feel this album lower and ugliest respect to the debut album. This is not true. In fat is another type of music those contained in this 'Il Tempo Della Semina', one of the more symphonic album of Prog! Recorded in 1974 but (unfortunately) not published until 1992 'Il Tempo Della semina' is superior in many passages to thair debut album. Claudio Canali in this 'Il Tempo della Semina' not longer sing with anger infancy. Yet the music is not melodic. He uses a totally different approach. Also if the use of flute in 'Il Tempo Della Semina' (the song) is totally a la Jethro Tull, this song is a sort of Banco Del Mutuo Soccorso song but with more aggressive inspiration. Is great the second flute solo because more personal, if you note that is more folkish. But proper for this 'Il Tempo Della Semina' is a great song... An obscure masterpiece of Symphonic Prog, not only of RPI. 'Mente Sola- Mente' is only a scherzo, with strange intro and not serious music. But technically 'Mente Sola- Mente' is a Moog song. 'Vivi Lotta Pensa' is another Banco song. But Banco is from Rome and Biglietto Per L'Inferno is fron Lecco. The difference is, therefore, the different mentality that there is between Lazio and Lombardia. In this sense 'Vivi Lotta Pensa' is few dramatical but with the same pathos. This is the description good also for the rest of the song. Also if 'L'Arte Sublime Di Un Giusto Regnare' can delay the first album for theme, have a music dominated from the flute and the voice of Canali, really exciting. Is also true that 'L'Arte Sublime Di Un Giusto regnare' has in possess of a rage that can not explode, charm of a song without age. 'Solo Ma Vivo' is a song that remaind me Purple's 'Child In Time' but without Blues arrengements, because more... Romanesque (I mean... The pictorial style and architectural style) that transform 'Solo Ma Vivo' in a pure symphonic song. The last song of this obscure masterpiece is 'La Canzone Del Padre', probably a Canali autobiographical song. Is, however, the description of Italian Prog because described the situation of Italian Prog (and Italian music in general) in the 70's. I speak still in pictorial and architectural field... But this song remaind me a great gothic abbey or cathedral. But... The music is dramatic or cheerful? Depends on the timing and lyrics. I would say that the music of 'La Canzone Del Padre' is a mix between dramatic and cheerful.

Pity for that problems outside of the band this 'Il Tempo Della Semina' has been published only in 1992, because today the judgement is too influenced by the debut album. But 'Il Tempo Della Semina' is not inferior respect their debut. Is only another type of album for style. And also more adult.

P.s.: the original producer was Eugenio Finardi, that which then began a solo career where the first 5 album (for Cramps label) are really Prog.