BIGLIETTO PER L'INFERNO

Nightfly has already done a thorough review of this album and I refer to his review for more info. My review is more my own opinion of this radical album.

Don't be fooled about this "a collection of old songs" tag on this album. This album is essential a brand new album. The old songs has been stripped bare and an acoustic folk rock sound has replaced the old songs. It is what Bruce Springsteen did with his classic song Born To Run when he stripped the song bare and did it acoustic. The result was a brand new song which still retained the majestic greatness of the old Born To Run.

That's too is exactly the case with Tra L'assurdo E La Ragione too. Great songs like Una Strana Regina and Confessione from their first two albums has been stripped bare and acoustic instruments and some excellent female vocals has been added. Which proves that great songs never dies. In particular Una Strana Regina is excellent in it's new version. It was also an excellent song in it's electric version from 1974.

Throughout this album, Biglietto Per L'Inferno's identity is never in doubt. You can hear their DNA throughout their very radical adaptations of their old material. I am not the biggest fan of this band. But their sound is not possible to mistake for another band. Electric or acoustic. With or without a .folk appendix at the end of their name; Biglietto Per L'Inferno makes a lot of noise with their album. Accordion, female vocals, flute, bagpipes and violin has replaced the electric guitars. But this is still the same noisy band.

I was not the greatest ever fan of their first two albums, I have to admit. I am not the biggest fan of Tra L'assurdo E La Ragione either. But I really admire Biglietto Per L'Inferno's guts and willingness to take their great old songs, rip them to pieces and then put them together again with acoustic instruments. Biglietto Per L'Inferno has rightfully earned both my attention and admiration for Tra L'assurdo E La Ragione.

All those who liked their first two albums is really in for a big treat with this album. Don't regard it as a cheap re-recording of their old stuff. Tra L'assurdo E La Ragione is indeed a brand new album which will make your jaw drop to the floor. Just like my experience when I was listening to it for the first time.

I am not able to decide which version of this band I like best. Biglietto Per L'Inferno from the 1970s or Biglietto Per L'Inferno.folk. I have decided to enjoy their music and that's all.

Three or four stars ? Three and a half stars for the music and one star for their bravery. I also suspect this is an album I will listen to a lot during the next forty years of my life. Goodness me, this is a radical album !

4 stars

Biglietto per l'inferno is an italian symphonic prog band who release a single album in the '70's selftitled. Il tempo della semina must've been their second album, but due to some problems with their label Trident, this album was issued only in 1992 by Mellow records. If this album were released in the '70's for sure would been much better recognize as a solid album in italian scene. Then in 1992 and aswell now this album is considered only as a good release, nothing really impressive, but enjoyble most of the time. I find it very catchy, with some fantastic moments, for ex title track, Solo Ma Vivo or the last tune to be very worthy listning. The voice, Claudio Canali sounds to me on couple of pieces like the guy from Ange, very theatrical. Alternating from beautiful key passages to some intristing guitar work, this album , at least for me is a good one for sure. The most intristing elements here are the instrumental passages, very catchy, well done, typical for symphonic prog, organ and keys who interlude great with flute and guitar. The voice is ok, even very good like on Solo Ma Vivo. So, a good album, nothing really fantastic but strong in places.3-3.5. One of the albums who doesn't get the credit he desearve, and is not so bad as the rating shows here.Is not considered one of the major albums from italian scene, but I think this album worth to be investigated.

This band deserves better than a bootleg quality album, released as an official live album. There must be better recordings than this out there ?

I have never been a dedicated fan of this band either. But this Italian band have some good songs. They always played on the contrasts between soft Italian prog and hard rock. Their music is like waves on a on ocean. Up and down the whole time. Very slow one minute and then full hard rock blast the next minute. Una Strana Regina is still a fantastic song, even on this album. But this album is still a waste of money and time. If you want to know this band and get yourself a great Italian prog rock album, get their first album. Avoid this live album because it is for collectors only.

2 stars

The suffix Folk has been added to the end of the bands name as although a folk element could be heard in the earlier incarnation the new Biglietto is a much expanded band with a more diverse range of acoustic instruments being used than before. As well as the obligatory flute which was always a key element of the bands sound we also have Accordion, Bagpipes, Ocarina, Mandolin, Violin, acoustic guitar, stand up bass, fife and recorder. Don't get the idea that this is an acoustic album through and through though as there's still plenty of heavy electric guitar work, another key element and the keyboards though now playing a less important role and now down to one player as opposed to two originally. Giuseppe Cossa is here, one of the original keyboard players, the other was Giuseppe "Baffo" Banfi who is present in a production capacity. Also present from the original band is drummer Mauro Gnecchi and vocalist/flautist Claudio Canali, who retired to a monastery, makes a small guest appearance.

The most noticeable difference to fans of the band will undoubtedly be Canali's replacement, female vocalist Mariolina Sala. She's certainly got a good dramatic voice and it puts an interesting slant things but may be a bit of an aquired taste for some people. Personally I'm very happy with her performance here. The rest of the new members all fill their rolls with admirable aplomb with guitarist Franco Giaffreda playing with a more modern metal style when in his heavier moments than the heavy and raw style of Marco Mainetti.

Moving onto the compositions; as mentioned earlier the album consists in the main of reworked versions of their two seventies studio albums. While some don't stray too far from the original arrangements, the most obvious being Confessionne which retains it's hard rocking status, others sound considerably different. The diverse range of folk musicians/instruments brought in not surprisingly has had considerable impact. Il Nevare now starts with a jazz inflected double bass and vocal led start before accordion leads in the rest of the band and turns it into much more of a folk tune. It has also increased by a couple of minutes in length to make room for more instrumental interplay with a suitably powerful yet tasteful electric guitar solo. The same however can't be said for the epic L'amico Suicida. When I say epic I refer to the original version which has now been reduced from the symphonic behemoth that it was into less than three minutes. Now it's a short accordion and bagpipes dominated instrumental and a shadow of its former self.

Where they don't stray too far from the original arrangement, the most obvious difference between these versions and the originals, apart from the change to female vocals of course is the songs now have a more refined feel, played with more finesse and do sound great but I do have a preference for the rawness and fire of the originals which was an important part of their charm. The large use of acoustic instrumentation has also reduced the important role the keyboards played originally too. Fans of the highly regarded Il Tempo Della Semina (the song, not the album), depending on your point of view, may be relieved to know it hasn't been tampered with too much. Perhaps though, that misses the point as if you're going to revamp material that was pretty much spot on the first time around then it's worth going all out to do something different. Fortunately I think they've got it just about right here; there's enough difference to make it worthwhile without cries of sacrilege coming from the Biglietto faithful.

Before closing I must mention the new composition, title track Tra L'assurdo E La Ragione which has a folk/jig feel. Suitably upbeat it's played with gusto and quite enjoyable, though not an album highlight.

The return of Biglietto per L'inferno, or should I say Biglietto Per L'inferno.folk is most welcome and despite the lack of new material they've turned out an excellent album. I hope we can expect more from this great band in the future with an album of totally new material. Welcome back!

This band continues on from their debut album. The same formula of hard rock and lyrical pastorial symphonic prog is still here. The contrasts in everyone of their songs is massive. It is like being hit by thunder and sun in a matter of five minutes. Several times, in fact.

This formula worked on their debut album because they had some great tunes there. The problem with their follow up, this album, is that the source of good tunes has dried up. There is some sparkles of good tunes. Viva Lotta Pensa is a superb song. But this is the only true great song on this album. An album dominated by a lot of sameness and repetitions. It is still a good album and I really like it. But this is not a great album.

3.5 stars

This album have been reviewed here in in PA by far more intelligent people than myself so I will be brief.

This band from Italy made complex progressive rock full of contrasts. You will find elements of early Rush, Deep Purple and Uriah Heep together with the likes of Gentle Giant, Genesis and the Italian giants like Le Orme, PFM and Banco. Most of all; this album reminds me about a cold windy autumn day where the trees are being thrown around by the wind....... with some eerie silence between the gusts. This album a lot of pretty epic and calm pastorial parts inbetween some hard rock parts too. It is the pastorial parts I will remember most fondly. They are almost like church music. There are some really stunning music on this album. The vocals are good. The tangents parts are excellent. The music is so full of contrasts that it is easy to get into unless you give it time. Which I have done. I dismissed it out of hand when I listened to it for the first time though. The very heavy pieces here put me off. But they are an integral part of this album.

This album is almost a proto type Italian Progressive Rock album in it's elegance, complexity and beauty. Quality wise, it is among the better albums. As usual, I miss the really killer track here. But this is still an excellent album and a worthy investment for all symphonic prog lovers.

4 stars

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.

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.

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