LA MASCHERA DI CERA

Fabio Zuffanti has always been bold in his projects. But this time he went very high! The new La Maschera Di Cera album, Le Porte Del Domani (2013) is not just big by having an English version too (The Gates Of Tomorrow) but also by shooting really high in the Prog World.

I can't review Le Porte Del Domani (2013) without going into the original story. Exactly forty years ago one of the biggest Italian bands, Le Orme, released their masterpiece called Felona E Sorona (1973). That album is still named as one of the finest Prog Rock albums, not only from Italy, but worldwide. Felona E Sornoa (1973) is a conceptual album with a story of two planets which revolve one around the other, without ever coming in contact. One planet's called Felona and it is shiny and flourishing, the other planet is called Sorona and it is dark and home to all kinds of bad things. Then on the second part of the album/concept the fate of the two planets is inverted. The original concept was left unresolved at the end of the album so, forty years later Fabio Zuffanti (bass & writer), Alessandro Corvaglia (vocals and 12 string acoustic guitars), Maurizio Di Tollo (drums and percussions), Agostino Macor (keyboards) and Andrea Monetti (flutes) decided to continue that story.

I did play both albums back to back and I have to say that this is quite an experience. Not that Le Porte Del Domani (2013) is an exact continuation in terms of sound, cause it is not. After forty years, of course, things change, especially in the 'kitchen'. To me the drums sound in Le Porte Del Domani (2013) is a bit poor and the bass sound is absolutely out of place, especially after listening to Aldo Tagliapietra's bass in the original Felona E Sorona (1973). For the listener's luck Fabio Zuffanti is a great composer and he keeps the same line of the original album with memorable melodies. Two names must be mentioned here, Agostino Macor and Andrea Monetti. Agostino plays some awesome synths and keyboards while Andrea makes La Maschera Di Cera have a unique sound with his flutes.

Le Porte Del Domani (2013) couldn't start better. 'Ritorno Dal Nulla' makes you remember Felona E Sorona (1973) immediately. 'La Guerra Dei Mille Anni' brings the acoustic sound of both bands and then we have a new album and a new band, not just a Le Orme's copy. Smart move! 'Ritrato Di Lui' is more like a big intro for 'L'Enorme Abisso', and then things turn out to be better and better. 'L'Enorme Abisso' has the kind of synths that make every Prog lover jump and even shake their head. Again, the drums are the flaw in terms of sound. Cause Maurizion Di Tollo can drum, that's for sure. But the recording doesn't help. A pity cause this is a fabulous track!

'Ritratto Di Lei' opens the second part of Le Porte Del Domani (2013) as a mini intro and is followed by 'Viaggio Metafisico' and it's not quite what I expected. Drums once again on a lower level of sound. 'Alba Nel Tempio' follows the same path but 'Luce Sui Due Mondi' returns to the Folk sound with a high symphonic edge. 'Alle Porte Del Domani' closes the album with a hard rock feeling. But a weird one, full of flutes. A completely Space Rock journey as the story asks for.

I didn't really listen carefully to The Gates Of Tomorrow (2013) (the English version), cause I think Italian is a beautiful language to listen to so I cannot say a thing about that album. What I can say is that Le Porte Del Domani (2013) is a bold attempt of a hard working guy (Fabio Zuffanti), the bar was settled very high and La Maschera Di Cera almost did it! It's just a pity that the album drums sound is not that good, that would make Le Porte Del Domani (2013) go really high in my chart.

3.5 really.

Fabio Zuffanti is truly a modern Italian progressive icon. His prolific output has included this project La Maschera Di Cera (five albums in and counting), the atmospheric Hostsonaten, Finisterre, the Goblin/horror influenced L'Ombra Della Sera, his solo rock operas, as well as overseeing numerous acts such as heavy psych rockers Oxhuitzan and the sublime solo album from his drummer Maurizio Di Tollo amongst many others. This year, together they are responsible for one of the most high profile and controversial Italian releases, `Le Porte Del Domani', a lavish and stylish production available across a number of formats and variations.

For those unaware, this album is a follow-up or continuation of the classic Le Orme album `Felona E Serona'. Whether this has come about through a true affection and respect for that beloved 70's release, or using it as a notorious way to draw extra attention I'm unsure - possibly both! It shares the same cover artist, alternate English and Italian language versions of the album, 8 tracks ending on an epic instrumental, and occasional moments that borrow particular themes or musical passages from the original album. I don't know if this album was made with Le Orme's blessing, or why for that matter they never got around to making a proper sequel themselves!

There is a case for the point that not only is Fabio blatantly taking advantage of another band and albums' status, but he's shamelessly putting out product that lazily provides every Italian RPI cliche - a `paint by numbers' approach without much in the way of originality, if you will. Some will definitely see it that way. There are other exciting bands emerging or currently establishing themselves in the modern RPI genre that deserve just as much praise, attention and status as this one, who are offering more daring and truly progressive work. However, there is no denying the sheer quality of the production and the playing of the outstanding musicians involved here (keyboardist Agostino Macor and flautist Martin Grice really shine), and they should be proud of what they achieved. Repeated plays thankfully reveal an album that very much stands on it's own identity, and it certainly isn't just a tedious rehash or lazy remake of the Le Orme original.

The darkly psychedelic `Ritorno Dal Nulla' opens Side A of the Italian vinyl copy, Fabio's slinking bass murmurs around Agostino Macor's eerie phasing and shimmering keyboards, gentle percussion gradually growing in tension and tempo before a bombastic Mellotron and flute explosion! This is one of the few sections that features an exact reprise of the opening track on Le Orme's `Felona'. Vocalist Alessandro Corvaglia soon comes in singing accompanied only by a quavering Mellotron, his gruff voice standing out with conviction and power. After the marching drum and chime introduction, the driving acoustic `La Guerra Dei Mille Ani' has all the right RPI ingredients - fiery guitar strumming, passionate vocals, classical grandeur and magical flute, with a real chest-beating and stirring chorus. It's a lovely affectionate track that shows a lot of heart. The interlude `Ritratto Di Lui' is all mystical ambient mystery, before the driving and angry `L'Enorme Abisso' attacks the listener with swirling Wakeman-influenced blaring Minimoog and intimidating Mellotron choirs, pouncing bass, bashing drums from Maurizio and wailing guitar soloing from guest Laura Marsano amongst a whirlwind of hazy sax, flute and electronics. During the grand finale, Allesandro's gravelly tone even takes on Marillion's Fish-like spitting qualities! This piece reminds me so much of that first unpredictable Banco album, and what a way to wrap the first side!

Side B opens with the sedate mystery and beauty of `Ritratto Di Lei', with gothic Mellotron veils, tiptoeing electric piano footsteps and Allessandro's hoarse and passionate voice, with a booming church organ and spiraling piano middle that's so full of RPI classical bombast - again reminding me in particular of Banco. It's soon obliterated by the smashing and sinister `Viaggio Metafisico', Fabio's relentless bass grooving and punching away in the background like he's just stepped in from a Krautrock album, Agostino's keyboards a dreamy blur. `Alba Nel Tempio' slows things back down for a more reflective and placid number, a lush romantic piece with Allesandro's voice full of longing and a majestic and heartfelt guitar solo again from Laura that soars to the heavens. The reflective mood continues initially with the very personal acoustic guitar sounds and introspective flute of `Luce Sui Due Mondi', a real positive vibe dancing all around! We soon get a dynamic reprise of the powerful chorus of the opening track with a bursting imperial keyboard outro. It's then full throttle to the album finish, a dazzling senses-shredding disorientating instrumental. Fuzzy bubbling electronics, crashing 70's Nick Mason-styled percussion, glistening electric piano, shimmering synths, imposing Mellotron walls, all played at varying tempos back and forth with a finale brief salute to the mighty Le Orme at the tail end. An absolute winner.

So is `Le Porte Di Cera' one of the most exciting and must-buy recent Italian progressive releases? Maybe not. Is it well written, beautifully performed and impeccably produced? Absolutely. This album has caught a lot of attention from either curious, lapsed or half-hearted fans, as well as new listeners, so if it serves as an opening to look further around for what's currently going on in the modern RPi genre, that can only be a very good thing. Fabio Zuffanti and his cohorts should be immensely proud of what they've achieved here, and they've definitely set the bar high for the next La Macchera Di era release as well as rasing their own status in the genre.

Four stars - and treat yourself, buy one of stunning vinyl copies!

Le Porte Del Domani is the fifth album from Italian symphonic proggers La Maschera Di Cera and it's one that sure to raise an eyebrow or two amongst the RPI loving community. Not on a musical level but because they've took the brave or foolhardy step, depending on your point of view, of writing a follow up to Le Orme's classic Felona E Sorona. The band have made the point that Le Orme never finished the story and so presumably with Le Orme's blessing have decided to do so themselves. Like Le Orme they've chosen to release it in Italian and English vocal version's and I believe there's one or two minor musical differences between the two though I haven't compared them, this review being based on the Italian version. Some may feel it's a bit of cheek to do the follow up to such a classic but I have to say they've pulled it off with considerable aplomb.

On a musical level despite a solid 21st century production they've clearly gone for a sound that's in keeping with the original and made it keyboard heavy, the electric guitar that became more prevalent in their sound on 2010's Petali Di Fuoco taking a back seat for the most part. They've even nicked little segment's here and there from the original Felona E Sorona with key changes to fit them into their own composition's and some tracks though not a copy have clearly been influenced by it with nods to Le Orme. There's enough of their own identity to not make it plagiaristic - it's clear any similarities are deliberate and this is clearly La Maschera Di Cera we're listening to. Anyone familiar with any of Fabio Zuffanti's projects will know exactly what to expect here - Sophisticated and lush symphonic prog that while not groudbreaking or particularly adventurous, makes up for with strong melodies and powerful instrumental work. I know there are those out there who feel that Zuffanti's album's are a bit too slick for their own good, lacking the wilder element's shared by many of the classic seventies RPI bands. Il Balletto Di Bronzo this is clearly not. However on this occasion it perhaps works in their favour, Le Orme being one of the safer exports of Italian prog.

Overall then a nice album, expertly played and executed. If you're already a fan of any of Zuffanti's projects then you'll almost certainly like this too, but if you're not Le Porte Del Domani is unlikely to change your mind.

Éxito!

Giving a little brother to (maybe) the pinnacle of Italian Prog could be a suicide if not done well. But if it succeeds, you definitely have a major gold star on your resumé. I mean, who would like to risk something like this? Ian Anderson did it last year (Brick 2) with great honor I might add, but Eloy (Ocean 2) and Mike Oldfield (Tubular Bells sequels) failed big time. Did the Mask of Wax delivered a sequel to Felona E Sorona?

Well I'll be damned, they nailed it!

And they did not butchered anything from Le Orme's legendary album by recycling melodies or textures, they simply continued the story adding their personnal touch, not too far from what Le Orme gave us almost 40 years ago. The spacey theme of Felona E Sorona is still very present, with even more intensity though. Oh yeah, this is one intense record with grasping vocals and a keyboard palette to die for. I give a special round of applause to Agostino Macor with his impressive arsenal of vintage sounds that kickstarts the album and rides with you until the bombastic finale that resonnates like a space battle. The mellotron has been VERY present in the prog world, many times used for nothing. The mellotron is a dream machine, and the purpose of it's use is to create symphonic grandeur and majesty. I frankly cannot recall when it's been as wisely used as in this record. The mellotron here gives real dimension to the whole thing, creating a true choir of majestic images. Perfect.

My big favorite in this early year and a spectacular show of what La Maschera can do. These guys just passed the test: they are now one of the Greats.

Maravilloso disco! Grazi Mille!

La Maschera di Cera's latest release, Le Porte del Domani (also available in an English version, though I went for the Italian one since generally I find people sound a lot more natural and flow better when they sing in their native language) sports a cover which is more than a little reminiscent of Le Orme's famed Felona e Sorona, though the band do not offer up a mere Le Orme clone here. Instead, they establish a foundation of folky acoustic guitar and flute, embellish it with a range of unusual percussion instruments, and then go to town on it with a veritable museum of keyboards and synthesisers.

Fans of eclectic prog instrumentation will find it a treat, but even if you set aside that aspect of the album the musical approach - wavering at points between extremely proggy passages and very folky sections - is a cut above the sort of nostalgia-dependent 70s throwback retro-prog material which the cover art may make you think of. So, let's forgive La Maschera their borrowings from Le Orme, because in this case they've more than earned the right to compare themselves to RPI giants of the past.

EDIT: I've been told I need to add a correction here - apparently, had I read La Maschera's press release surrounding the album, I'd have known that the album was in fact deliberately conceived as a sequel to Felona e Sorona - hence the cover art. On the one hand, that resolves the cover issue, on the other hand I do wonder whether this won't spark a little controversy - I'm sure some would say La Maschera are being rather presumptuous in trying to craft a sequel to another band's work. I'd actually say the two albums are roughly on a par, though, so I'm not too fussed.

What was it again?

After a dynamic - and very pleasing - start the music changes abruptly when the vocals enter. I first pick up a Gabriel era approach shortly followed by Collins style singing. And that's within the same song. The Collins approach remains more dominant throughout the album.

I see nothing really wrong with the band paying homage to their peers, nevertheless the experience leaves me somewhat confused. The voice is strong and pretty good - if only too much of it overall. It appears that some fine instrumental passages and the vocals just don't blend together to create a decent balance. As if two different bands' efforts were spliced together - randomly. It's hard to tell if the band is the support act to the vocals, or the other way around. Neither here, nor there, the album represents little harmony.

The musicianship is generally good, but I do detect a bit of struggle there. It appears to my ears that they are trying too hard to do more than what they are equipped for. A second spin leaves me with a similar impression of a cart pulled in different directions by the horses. It's still a cart though, a cart that's going nowhere. It's highly unlikely that I would ever have the urge to hear this work again.

La Maschera di Cera are back with a new album , available both with original Italian or English vocals and lyrics, a trick of the tail done in the past with PFM, Banco and Le Orme (The artwork here is somewhat reminiscent of 'Felona e Sorona', no?) . Their previous release "Petali di Fuoco" was a slight deviation from their usual somber mellotron and bass driven sympho-prog. Wasn't a bad album at all, just different most probably due to PFM guru Franz di Cioccio's clean production and Matteo Nahum's occasional guitar.

"Le Porte del Domani" is a heady return to the bombast with the sensational Agostino Macor's arsenal of vintage keyboards back to the forefront, band leader Fabio Zuffanti still leading the charge with his amazing trebly bass onslaught, drummer extraordinaire Maurizio di Tollo bashing monstrously (the two are still one of the finest rhythm sections in prog) and Andrea Monetti's lovely flute decorating nicely, adding sultry sax to the mix as well. All that was needed was to see if lead singer Alessandro Corviglia could continue to hold on to the microphone stand as Italy's leading progressive voice, which I am happy to say, is the absolute case. He is in fine voice (in both English and his native tongue), elegantly gravelly and overpowering at the same time. The material is perhaps some of the strongest LMdC yet, their sabbatical has given the members time to reboot their creative juices while involving themselves with other projects (DiTollo solo album, Höstsonaten, L'Ombre della Sera etc?). Guitarist Laura Marsano stays somewhat in the background, stepping in the spotlight only rarely and when required, leaving the road clear for Macor's baffling talent (I have already anointed him as the next Emerson/Wakeman) to explode all over this sensational release.

The ragazzi waste little time with the whopping "Ritorno dal Nulla" (Back From the Void), reviving the classic LMdC formula of colossal keyboard wooshes, buzzing bass and pounding drums, creating a doom-laden dirge that would make a volcano erupt on cue. The sublime lead synth scours the airwaves amid torrents of repetitive mellotron, piano sprinkles, shriveling flute and guitar adornments finish the deal. Zuffanti's bass is front and center, plowing away like a deranged madman, to the listener's delight. The ambient mid- section introduces Alessandro's temporarily fragile voice, elevating the main theme to glorious heights, deeply fervent and exalted when needed, confirming the depth of the music displayed. Definitely one of the bands greatest compositions.

"La Guerra Dei Mille Anni" (Thousand Year War) begins acoustically inclined, jangly guitar and sweet flute at the head, with a spacious raspy vocal typical of the Italian tradition, strong Jethro Tull hint in many ways, a savvy little ditty that playfully dances with the medieval rhythm and the backing mellotron. Airy, flavorful, considerate and highly enjoyable.

"Ritratto di Lui" (Chant of Him) as the title implies is squarely axed on the voice of Alex Corviglia , easily one of prog's most original voices, fragile and hoarse, overpowering yet delicate and loaded with incredible presence. The mood is exhilarating, at times delirious and hectic, while at others almost imbued with some serious heavy jazz intonations giving it a Canterbury gleam as witnessed on "L'Enorme Abisso"(The Deepest Chasm). Whirling dervish synths, colossal mellotron waves and booming rhythmic structures keep this firmly anchored with a Marsano solo that crystallizes their passion. When the delirious sax settles in to the brewing fray, the atmosphere becomes intense and desperate, witnessed by the one-two drum punch and the grainy guitar fills sounding almost like You-era Gong, obscure, dissonant and hectic. The arching vocal kills this one off beautifully, an 'enormous' highlight track once again!

"Ritratto di Lei"(Chant of Her), the feminine version of the male chant previously played shows some vocal daring by infusing some spectral choir work in a most subtle manner, a somber and melancholic slow burner that seizes the listener by the jugular and does not let go. A tremendous track that shows Corviglia's wider vocal range and tone control! The man can actually sing! Macor's fluid piano is another spectacular highlight.

For those who wonder if I exaggerate the talents of di Tollo, Zuffanti, Monetti and Macor, check out the ominous "Viaggio Metafisico" (Metaphysical Journey), a groove infested bulldozer that rambles brightly, menacing and yet stealthy, sounding almost like classic Hawkwind. Corviglia then decides to stamp this with an ardent vocal finale.

To challenge the expectations, the next track "Albe nel Tempo" (Dawn in the Temple) starts off in ambient dreamland, Monetti's subtle flute fluttering over synthesized waves of unruffled splendor, Corviglia slow delivery showing restraint and immense profundity, blooming into a huge Laura Marsano guitar solo that just exudes shimmer and lace. A Mellotron outro that is both luminous and grandiose shines on brightly even after the music as stopped.

Change of pace once again, "Luce Sui Due Mondi" (A Word for Two Worlds) a slight countrified breeze with relaxed pastoral pastels and a powerful vocal, a never silenced flute in the air that slowly evolves into this mammoth chorus, acoustic guitar carrying the weight, followed by a massive and unrelenting keyboard onslaught. Another tremendous piece of authentic Italian prog!

The all-instrumental title track finishes off this marvel quite nicely; a relentless metronome beat keeps things panting and lascivious, whistling keyboard passages that combine vintage sounds and modern creativity. Screeching guitar phrasings, piano droplets and odd effects only elevate the exaltation, easily their most exploratory track here, showing off their considerable chops within a dense psychedelic/space fog.

I really enjoyed this brilliant return to form, a rather natural prospect when you have such technically stellar musicians at the helm. Fabio Zuffanti and company have brought the wax mask back to the gilded forefront of modern RPI. Fans of the glorious mellotron will reel from the joy exhibited on this album, as it is used and abused all over the arrangements. The overall atmosphere is weighty, bruising and demanding, very little down-time and no pedant saccharine filler at all. Maniacs of heavy prog will just plain LOVE this!

Their best yet! 5 Future passages

The fame (and of course the good music) of La Maschera di Cera finally surpassed the US borders in 2007.The band was invited to participate in the famous NearFest and two years later they revisited the States to have a memorable performance at the Progday in North Carolina.With the help of new Höstsonaten guitarist Matteo Nahum the group entered the studio to record another album, this time entitled ''Petali di Fuoco'', produced again by Franz Di Cioccio and released in March 2010 on Aerostella/Immaginifica.

La Maschera di Cera had always been Zuffanti's closest project to the Classic Italian Prog style of the 70's and ''Petali di Fuoco'' keeps this tradition alive.Very good symphonic-inclined Heavy Progressive Rock with a fantastic Italian flavor and an adventurous sound, scanning the music of JUMBO, OSANNA, MUSEO ROSENBACH and BANCO DEL MUTUO SOCCORSO.This time the album does not contain long, multi-parted compositions, but the arrangements are complicated with plenty of evident vintage references and enough breaks, even if the longest one does not exceed the 8-min. mark.Huge, atmospheric analog keyboards like the Mellotron and the Hammond organ haunt the ten tracks, which additionally contain plenty of heavy flute parts and intense guitar hooks.The sound ranges from romantic and mellow, based on the careful use of pianos and acoustic guitars, to bombastic and quite dark, especially when the Mellotron and flutes are in use, while Corvaglia's rough voice is another reason the band resembles to acts like MUSEO ROSENBACH or JUMBO.Still a more modern aspect is present through the very good production and the intelligent use of synths, blended perfectly with the color of the analog keyboards.

Another memorable album by a band that rarely dissapoints the average Prog fan.Retro-influenced Italian Prog with a couple of fantastic tracks among the good ones like ''Fino all'aurora'' or ''L'inganno''.Strongly recommended...3.5 stars.

La Maschera di Cera's sophomore album, "Il grande labirinto" (The great labyrinth), was released in 2003 on the independent label Mellow Records with the same line up of the previous one featuring Fabio Zuffanti (bass, acoustic guitar), Agostino Macor (piano, organ, mellotron, moog, harpsichord, synthesizer, guitar), Marco Cavani (drums, percussion), Alessandro Corvaglia (vocals) and Andrea Monetti (flute, recorder). During the recording sessions they were helped by some guests musicians as Antonella Trovato (oboe, arrangements) and Nick Le Rose (electric guitar) who added more musical colours to the overall sound and the result is excellent. Although the music draws abundantly on the Italian prog legacy of the early seventies it would be unfair define this album as merely derivative or nostalgic since the sounds here are mixed with poetry and new ideas to conjure up evocative, timeless images and stir emotions and feelings.

In the booklet you can find a quote taken from a poem by Russian Romantic poet Fyodor Tyutchev, "A Dream At Sea", that in some way explains the conceptual thread of the album... "Our boat was being tossed by the storm and the sea. Sleepy, I was abandoned to the full caprice of the waves. Deep within me two immensities met and willfully they played with me... I flew deafened in a chaos of sounds but above the chaos of sounds my dream was borne... Through the rays of my fever it unfolded its world: the earth shone green, the ether grew bright. There were labyrinth-gardens, pillars and halls. And myriads of silent crowds seethed...". The art cover provides another clue to find out more about the subject matter of this album. It's taken from a tableaux by the Dutch-Indonesian painter Jan Toorop, O Grave, Where Is Thy Victory, which portrays a dying man half-hidden behind two young women who are trying to free him from life, while the figures on the right represent his earthly resentment, envy, jealousy, hate, love and conflict. Well, that said, the transcendental journey described in this work can begin. Are you ready?

The opener "Il viaggio nell'oceano capovolto parte 1" (The journey through the upside-down ocean part 1) is a long suite divided into four sections. The first part, "La fine del viaggio" (The end of the journey), has a slow pace and marks the end of your life as you know it and the beginning of a new experience. As you become unconscious you get lost in the sound of the ocean and you can hear a sad song soaring in the winter of your eyes... "Just another moment would have been enough / To hang on life / The effort to resist is finished... I feel so miserable as I face these last minutes of existence / I hide myself and I run away from reality... Alone among the mirrors of the ocean... Beyond any glimmer of the world...". You've just set off on an apparently one-way journey towards the unknown leaving behind you a harbour of malady and now a sweet, violent sleep shakes your soul. A short, dark instrumental section follows, "Il vortice" (The vortex). The third section, "La consunzione" (Consumption), brings back melody and new energies. You can't escape from the vortex of unreality that draws you away, there's no horizon, no moon above you, you're scared, you're just a silent prisoner of your delirium and now you look at a seagull which dives in the ocean... "I look at the sky from two dimensions / I would get lost, I would get worn / I would follow the dream / After having revolved in the dark, in the truth...". But the bitter truth is that death can't set you free yet. Your world is crumbling and you fall down, baffled by the waves. Darkness and gloom are all around you but a dim, ageless light still shows you the way. The last section, "Il cristallo" (The crystal), is a nice jazzy instrumental part that seems to forecast new, complicated developments.

The title track is another complex, crepuscular suite. Now you are like a ghost who can't live and can't die, you would like to live again with your truth but you can't remember what you have lost... "Today is another day that I will lose in the great labyrinth... I've lost everything, I can't come back / Look at me, listen to me / Time is running out... You can't see me / But I feel you in my reality / It's true, you know / You can save me...". There are incredible forces and energies that can heal your soul and melt the ice of an eternal winter and you have to keep on searching for them. The rhythm rises, becomes frenzied while electric guitar riffs and powerful organ rides push you forward. Then the music calms down as you reflect and ask yourself how much strength will be necessary to come back to life.

Next comes "Il canto dell'inverno" (Winter song), a short, evocative track featuring piano and keyboards in the forefront and a disquieting mood. It leads to the cathartic "Ai confini del mondo" (To the limits of the world), another complex track where you become aware of your past and of your errors. Now you can remember your time and you realize that you have betrayed the reasons of your heart. If you could come back you wouldn't make the same errors, you wouldn't heed the wrong people and you would do anything you can to avoid the end of your world... "You see, I've learned to love / I've understood the things that destroy time / To the limits of the world...".

"Il viaggio nell'oceano capovolto parte 2" (The journey through the upside-down ocean part 2) is divided into seven sections and is longest track on this work (more than twenty-two minutes). The music and lyrics conjure up visionary images trying to describe the indescribable, the thin path that crosses the abyss between life and death, between reality and unreality. The first section, "Le probabilità" (The probabilities), is ethereal and takes you up in the cosmos, among star clusters revolving around a perfect center, upside-down in the dark. There's no dimension, you can't see or even conceive the void, reality and dream are blurred now... "You will follow me / And you will perceive our origin / Your soul will raise covering the reality...". The second section, "L'ossessione" (The obsession) begins with a burst of energy and tension rises. You can't find a way out, you are trapped in the icy distance that separates the real world from your heart, you have to stop, you're exhausted but you feel that your pain will pass, you feel that you're slowly waking up as you walk calmly on the snow. The third section, "Il porto innevato" (The port under the snow) is melancholic and soft, filled with emotion. In the silence you can rediscover the traces of your past... "Look for them in the corners of oblivion / In the dust of your lost way / In the waves...". The fourth section, "La ballata del vecchio marinaio, parte terza" (The rime of the ancient mariner, part three) recalls the poetry of Samuel Taylor Coleridge and the surreal image of a ghost ship that takes you back to life. The beautiful instrumental section "L'ultimo giro" (The last spin) leads you to a new life that will appear as a waterfall, now you are waking up! The sixth section, "Il risveglio" (The awakening), celebrates the rebirth of your soul... "In your tearless eyes you show me the come-back... Among the infinite mirrors of the ocean / In the pearly substance of the horizon...". Eventually, the last sumptuous, instrumental section, "L'oceano" (The ocean), leads to a happy end.

A short reprise of "La consunzione", credited as a bonus track, concludes this challenging mix of music and poetry. On the whole, this is a very good album although not the best one from this very talented band.

La Maschera di Cera began life in Genoa in 2001 with a line up featuring Fabio Zuffanti (bass, acoustic guitar), Agostino Macor (piano, organ, mellotron, moog, harpsichord, synthesizer), Marco Cavani (drums, percussion), Alessandro Corvaglia (vocals) and Andrea Monetti (flute). Their aim was to re-discover the sounds and the dreamy atmospheres of the Italian progressive rock from the early seventies writing new original stuff with a vintage taste. In 2002 La Maschera di Cera released an eponymous debut album on the independent label Mellow Records with a beautiful art cover taken from a drawing by Jean Delville, a Belgian symbolist painter, writer and occultist. It's a concept album built upon a science-fiction plot: under the ruins of an ancient garden an archaeologist discovers a mysterious mask of wax dating back to 10.000 years B.C. Then, in a near catacomb he discovers an armour of tin...

The opener, 'La maschera di cera' (The mask of wax) is a long suite divided into six sections. It begins softly, the atmosphere is dreamy and full of mystery... 'Face of wax / I saw you in the wide garden / On the day of the beginning / I couldn't hear your voice / But there was something in you that was telling of a thousand hopes...'. The warm voice of Alessandro Corvaglia perfectly interprets the feelings of the protagonist in front of the astounding discovery of the ancient mask of wax and something magic happens... 'Now I'm here / I'm walking on a tightrope suspended on the void / I can't go on...'. On the second part the rhythm rises, there's tension in the air. There's a kind of empathy between the archaeologist and the mask, he can learn from the mask something about his own life, he can see through it many things but he mistrusts these visions... 'Your people wear strange masks / I look at them / I can hear them / I can feel them inside of me...'. The third part is more relaxed, in the dark silence of a catacomb the protagonist discovers an armour of tin. As under a spell he can't wait, he has to step into his visions, in this new world... 'I looked at my soul / I couldn't come back...'. The fourth part features an acoustic guitar arpeggio and a dreamy mood, the protagonist has made up his mind and at dusk an unknown peace pushes through his heart... 'I'm trying to learn / I'm trying to understand...'. Then the rhythm rises again, there are organ rides and fiery flute passages while the mysterious mask becomes the master of a new reality, a guide that the protagonist has to heed and trust to walk along the ways of this unreal dimension... 'In your silence I chose something that does not exist / You will show me a new ego, a different world / But different from what?'. On the last part there's a reprise of the initial theme, the protagonist can't go on while burning dreams blend with reality... 'I can clearly see your face / Now I know who are you / The future is in your hands...'.

'Del mio mondo che crolla' (Of my world that is crumbling) begins with a nervous, pulsing rhythm section and a swirling flute solo, then the synthesizers bring on a sense of an uneasiness. The world of the protagonist is melting and what is left is nothing but the dark game of Death... 'Everything has been written / Everything has been told / And I have lost your light...'. He's drawn in a fiery vortex of shadows and lights, he's in a nameless desert now, his heart becomes numb, he can hear the voice of the mask fading out, he does not recognizes it any more, he feels like a nocturnal animal trapped in the house of the rising sun... 'My wide wings have vanished / I want to see my fate...'.

'Del mio abisso e del vuoto' (Of my abyss and of void) is divided into three sections. It begins with bass and flute in the forefront, there's an electric calm all along and you can perceive an impending turn of events. The protagonist looks at the sundown, he can still feel the breath of the mask on him, he feels lost, tired, defeated. He has been looking for that lymph inside himself for years and now realizes that he has burnt his freedom in the wind, crying. On the second section the atmosphere becomes darker and you can imagine figures of bronze dancing in a game of shadows on a lost island while the protagonist falls down in the abyss. Here the female vocals provided by the guest Nadia Girardi add a touch of colour to some passages. Then the rhythm rises and brings back a bit of optimism. Suddenly the protagonist can see that the world is changing, the face of wax has melted and now it is shapeless, he can see a light in the dark, reflected in the eyes of some statues, something is shining down in a deep well and above him in the cosmos. Now he feels weightless and he's able to come back up from the abyss... 'Maybe it's late / Maybe I've lost / Please, wait still for me / I can walk / I can see / I can fly...'.

The conclusive 'Del mio volo' (Of my flight) begins with a delicate acoustic guitar arpeggio and soaring flute notes... The atmosphere is dreamy and Alessandro Corvaglia's vocals seem to emerge from the early fogs of a September morning. The protagonist has wasted all of his words in pointless speeches, deceived by the flames of a false love, but now he's ready for a new start... 'A sudden light reveals the truth / I wake up as a little child / In a circle that will never be broken...'. Well, a magnificent album where the lyrics, art work and liner notes provide suggestive imagery and the music flows away without weak moments compounding beautiful melodies and complex arrangements. Even if it's a throwback of early seventies Italian progressive rock I think that this work should be a must for every prog lover!