NEW TROLLS ATOMIC SYSTEM

In 1974 another album credited to New Trolls Atomic System was released on De Scalzi's Magma label.The front cover of course never had the ''Atomic System'' moniker, but the line-up was the same with the previous work of New Trolls Atomic System.The album consists of two sidelong tracks, both recorded live at the Teatro Alcione in Genova.

The opening piece is a huge but propably negative surprise for all New Trolls fans.While in the first album some jazzy elements were already presented, the so-called ''7/4 (Settequarti)'' is actually a long Jazz-Rock improvisation with few structured parts, completely unoriginal yet totally new for these Italians, with endless sax solos by Giorgio Baiocco and constant jazzy hooks by Vittorio De Scalzi.There are little connections between the numerous solos and the tracks ends up to be a long and loose performance by the group, nicely executed but with limited to zero interesting passages.The second track, entitled ''13/8 (Trediciottavi)'', has more in common with the old New Trolls sound, although the smooth jazzy guitar solo at the beginning gives the impression of another totally improvised experience.Certainly the music has again a very loose feeling as a whole, but the approach here is multiple and more interesting with an overall richer sound.De Scalzi & co. blend jamming Hard Rock with Jazz-Rock with also references to Space Jazz and Classical Music.Lots of sax interventions, heavy organ solos, fiery electric piano and crunchy electric guitars result to a nice piece of instrumental music with quite a few great ideas, especially when the pounding rhythm section accompanies Baiocco's spacier sax parts.

The biggest suprise of all though came with the reformation of the old New Trolls after this album with Nico Di Palo demising Ibis and rejoining De Scalzi for a fresh new start.After the story of New Trolls Atomic System ended, keyboardist Renato Rosset joined Nova and drummer Tullio De Piscopo had a succesful career as a session musician, even putting up a few personal albums.

''Tempi dispari'' will find place in any serious Jazz-Rock/Prog collection, especially for the very interesting second track, but do not expect something close to the classic New Trolls sound.Recommended.

Is this really New Trolls? The N.T. Atomic System album from 1973 was recorded while legal wrangling were going under way, basically who should own the New Trolls name. It seems that Vittorio De Scalzi won, as the second album with this new lineup, Tempi Dispari, bears the New Trolls name (OK, so the percussionist and female backup singers had left, but the rest remain). Don't expect a continuation of the New Trolls sound as you expect, like from the previous album, or anything else (UT, Searching for a Land, Concerto Grosso per 1). What you get here is full-on jazz rock/fusion. In fact, had this been their only album, this album would have easily fit in the "jazz rock/fusion" category of Prog Archives, but the group rightfully belongs in the RPI section, for rather obvious reasons (their other, prog-oriented albums). This was recorded live, and unlike the second disc (the last four cuts if you own the CD reissue) of Searching for a Land, there's no disputing that is an actual live recording. Searching For a Land featured a bunch of overexcited crowd cheers sounding more like a soccer game than a rock concert, and rumors that the cuts on the second disc were studio recordings and crowd cheers added on afterwards. At least with Tempi Dispari, the crowd cheering is much more normal and the album does tell you where it was recorded. So, given this is a jazz rock/fusion album, you get a more jamming feel, with saxophone and electric piano dominating. Low key synths occasionally pop up, and even some Hammond organ, but it's never the dominant instrument here. At one part you hear the theme to Concerto Grosso Per 1, and the audience rightfully became excited. I can hardly believe that just a year before the band released N.T. Atomic System, because it sounds nothing alike, just the occasional hint. I can imagine a few bewildered fans who bought Tempi Dispari and hearing fusion. On the other hand, those familiar with the fusion of the time I'm certain warmed up to it. More those expecting a more traditional Italian prog sound might stay away, but if you love fusion, this album is a must!

After the release of the good Ut, the problems started in THE NEW TROLLS, while Nico di Palo wanted to move the bands towards the Hard Rock camp, Vittorio De Scalzi refused to abandon Prog, so the band split and Vittorio along with Giorgio D'Adamo formed THE NEW TROLLS ATOMIC SYSTEM, in order to give priority to the Symphonic sound the band had achieved in the fantastic Concerto Grosso Per I New Trolls.

So almost immediately the release , a very good LP, in which his guys try several different Prog sub genres, including Symphonic, Heavy Prog, Folksy Pastoral and Jazz, and even when the album doesn't have a single weak moment, seems as this guys were never able to find a determined sound that could identify them.

The album is opened by La Nuova Predica di Padre O'Brien (The New Sermon of Father O'Brien), a song that shows the eclectic nature of the album, being that after a short Symphonic intro, they move towards some sort of folksy passage with a JETHRO TULL inspired Prog, Hard Rock and even Jazz. A very good musical piece in which the band combines perfectly so different genres.

Ho Visto Poi (I have Seen Them) begins with a heavy intro in which a strong Hammond in the vein of URIAH HEEP and turns into a precious Power Ballad with some radical changes and great performances with a hint of Psychedelic jamming and a very confuse Free Jazz section.

Tornare a Credere (To Believe Again) starts as a mainstream Rock song with excellent vocals and choirs, but about the mark of the 4:30 minutes, anything can be expected, from jazzy sections to some Symphonic moments with an extraordinary guitar work.

Una Notte Sul Monte Calvo (A Night at the Bald Mountain) is one of the best versions of Mussorgsky's classic, being that the band dares to be innovative and assumes risks, but at the same time they respect the rebellious spirit of the Mighty Handful represented by Mussorgsky. I'm sure that if the composer was alive, this would be one of his favorite versions.

Ibernazione (Hibernation) is a really strange song, after a Medieval introduction they jump to Rock territory with some ELP keyboard based passages, a nice contrast with the melancholic Quando L'Erba Vestiva la Terra (When the Grass Dressed the Earth), without doubt the most Symphonic track of the album with an amazing organ performance.

The album ends with Butterfly, a fantastic Blues oriented song with an obvious influence of the first JETHRO TULL albums, not Prog but who cares, this is simply brilliant.

Even when N. T. Atomic System is not in the level of the wonderful Concerto Grosso Per I New Trolls (Very few albums in Rock history are in this level), we are before an essential release that deserves no less than 4 solid stars.

New Trolls Atomic System was formed by Vittorio De Scalzi as an offshoot of New Trolls, and renamed for contractual reasons. This album maintains the earlier band's tradition of fusing rock and classical music and even includes a reworking of Modest Mussorgsky's ''A Night on Bare Mountain''. UNA NOTTE SUL MONTE CALVO was originally released as a single and is included on the Vinyl Magic disc as a bonus track. Clearly it was an attempt to emulate the success ELP had with Mussorgsky's ''Pictures At An Exhibition''.

The ELP influence is evident throughout the album, particularly on LA NUOVA PREDICA DI PADRE O'BRIEN. In fact, if you were ever curious to hear how ELP would sound with Ian Anderson joining them on flute then this song could just fit the bill. Strange fruit indeed, especially when you add some Ennio Morricone inspired female backing vocals... it might be best just to listen to the MP3/stream to see what I mean. Lyrically, it would seem to draw on themes on the New Trolls' 1968 concept album where they collaborated with poet Riccardo Mannerini.

For me the standout track is the penultimate QUANDO L'ERBE VESTIVA LA TERRA, mainly thanks to its aching synthesizer lines and general air of melancholy during its first half. The heavy second part includes some piercing saxophone overblows so take care if, like me, you listen on headphones. Unfortunately the album goes from the sublime to the ridiculous on the closing track BUTTERFLY, an English-language pop song that totally kills the album's atmosphere. It's just plain bizarre if you ask me. I had actually forgotten about this song since I never listen to it (it's like a very poor Cat Stevens' song, a guy I like a lot by the way). I was going to give this album 4-stars, but I've knocked it down to 3 because this song simply doesn't fit on an otherwise fine prog album.

This is my favourite NEW TROLLS related album. Quite a change in styles from all that has gone before with this band as they wander over to the Jazz-Rock genre on this one.Two side long suites in this all-instrumental recording.

"7/4 (Settequarti)" has some impressive atmosphere early as sax, bass and drums come and go. It kicks in before 2 1/2 minutes. It settles again a minute later with intricate guitar which turns fairly aggressive 4 1/2 minutes in. Nice. Sax is prominant then piano 6 1/2 minutes in. Horns lead before 9 minutes then the tempo picks up with sax and bass leading. It settles with piano and guitar 12 minutes in then the sax and drums join in as it builds. Sax and keys dominate after 15 minutes. Excellent track.

"13/8 (Trediciottavi)" is a more intense track but not to start out as the keys and guitar echo. Bass 5 minutes in as the tempo picks up. Distorted guitar after 6 minutes and it's building. They let it rip after 7 1/2 minutes. Organ before 10 minutes in an intense section with sax and drums dominating. Guitar is back 11 minutes.

This cd will definitely go in my Jazz / Fusion section and for me it's an easy 4 stars.

I guess for legal reasons when the NEW TROLLS split they felt they needed to change their name somewhat. I enjoyed this album quite a bit especially the first two tracks. Thankfully the vocals are in Italian and they style here is Symphonic.

"La Nuaova Predicadi Padre O'Brien" opens with some great sounding keyboards that will come and go. Vocals and a fuller sound arrive quickly. Flute 1 1/2 minutes in followed by vocal melodies. I like the synths before 4 minutes as well. "Ho Visto Poi" opens with organ and synths. Drums follow then it settles with reserved vocals. It kicks in again as the contrasts continue. Sax before 4 1/2 minutes. Two excellent tracks to start.

"Tornare A Credere" features piano early as reserved vocals join in. It gets fuller with backing vocals helping out too. Contrasts continue. Not a big fan of this first part. A change after 4 1/2 minutes as the guitar then piano leads. Synths are next then back to that earlier sound to end it. Piano and vocals are prominant early on in "Ibernazione" as synths come and go. Flute after 3 minutes. Check out the bass after 4 1/2 minutes ! "Quendo L'Erba Vestiva La Terra" is almost orchestral-like to open before vocals and piano take over. Organ joins in. Guitar after 3 1/2 minutes solos away. The tempo continues to shift. Sax 5 1/2 minutes in. "Butterfly" opens with gentle guitar as reserved vocals and percussion join in. Backing vocals too as contrasts continue. This one does sound quite different from the rest. Not a fan.

A good album but it could have been so much better.

Atomic System, the large-scale-named group made an small-collected work...in my opinion.

The NEW New Trolls' work was started then. As everyone does, they might try to make different works. I see...when I listened to this NT Atomic System for the first time. Exactly, they might think Vittorio De Scalzi's strong voice was more important and push HIM on the front of all instrumentals. That's one of good ideas I think. Their play is well refined and polished.

Unfortunately, I consider one of the streams of Italian Progressive Rock is not refinement. As previous New Trolls (not Atomic System), I expected rough, rampant, and of course large-scaled sound and play. The product couldn't have above-mentioned sound and play...So, I've said SMALL-COLLECTED.

I'm glad the 6th track Quando l'erbe vestiva la terra has the previously large-scaled flavour. I wish the album would be finished at the great song...however! On the last song Butterfly I'm shrunken. What a cheap English song...

Their next work Tempi Dispari is very terrific so I can't help saying that's a pity...

Oh, sorry...I have listened to the album again and again, then my evaluation of it has been higher and higher.

At first, I suggest it's just kidding. Pure live album, not partially recorded in the studio? It can be natural that I should think so. The sound is so jazzy and clear, the play is so perfect, stable and improvisational, but amazingly alive. The wave and stream born from these songs are absorbed me strongly.

Several times I have listened and found. Just because this is a live album, this can bear the ALIVE sound with stability and rigidity (of course, it's very important that the quality of this band was very high). I'm glad to meet this ALIVE live album and New Trolls Atomic System.

New Trolls has been a group that has surprised us with its upsets stylistic-musical, throughout all its existence, sensational recordings like the Concerto Grosso n°1, or the first work considered like conceptual by a group of Italian rock Sensa Orario, Senza Bandera, and later their turn towards more commercial musical forms like Aldebarán; but without a doubt this group is one of the historical ones and that contributed very many to generate progressive rock in Italy, also they was characteristic, mainly in the 70's years, that had changes of personnel, but always the duple Vittorio de Scalzi stayed and Nico di Palo, until the year of 1973, (they would return with bumps after 1975), one duple which is most creative and prolific than it has known the rock progressive, to side of Pagliuca/Tagliapietra of Le Orme for example. they created greatest discs and songs of italian progressive rock and with excellent quality; nevertheless when mentioning to the groups most characteristic of the progressive one in italy of 70's always they mention Premiata Forneria Marconi, Le Orme and Banco del Mutuo Soccorso, and one leaves of side several very good groups as Balleto di Bronzo, Osanna or New Trolls, to those who i consider from my point of view, by the amount of discs that removed and the influence that exerted in the first years of the decade of 70's, one of the fundamental groups of progressive the italian scene.

In this occasion the disc Tempi Dispari of 1974, is a recording live registered in the Alcione theater in its natal Genoa, and in this case it is the formation commanded by Vittorio de Scalzi. - guitar, who when separating of the original formation of New Trolls (and specifically of Nico di Palo), forms a group that also knew firstly like New Trolls Atomic System, and that published this work like New Trolls, (without the Atomic System), accompanying it Renato Rosset. - keyboards, Giorgo d' Adamo. - bass (of original New Trolls) and two musicians of the scene of the italian jazz Tullio d' Episcopo. - drums and Giorgio Baiocco.flute and saxophone.

Considered a work from regular to good in general, within the progressive circles i believe that this is one of best live discs than they have been recorded in Italy of those years, the group only register two long suites, excellent and with very many contrapuntist turns, architecture very searched carefully and with an obvious influence by the sounds of the jazz rock, (very cultivated at that time by groups like the Mahavishnu Orchestra and Return to Forever), there is no doubt that the interpretation of these melodies demonstrated the overwhelming one to be able that they had these musicians in those years and i can affirm that it was the group that more good it executed and it interpreted live in that year, and for sample this recording. passages extraordinary of mysterious mysticism, long improvisations that culminated in climax non apt for cardiac people, returned stylistic form unusual and until aggressive and a ferocious execution on the part of all the musicians, demonstrate so that doubt would have of to be considered a powerful force within progressive Italian not has that Vittorio always had genius of symphony as the one of drama and shows clearly in this work, when to be already under control absolute (in New Trolls has to share it with di Palo), it demonstrates that he is able to touch the guitar of all the possible and known forms, from the pure jazz to hard rock, happening through excellent and majestic scales and the freshness of their elaboration, to it enchantment, fantasy, discreet emotion are united and always a vanguards spirit to form new sonorities, without a doubt one of the geniuses of Italian music.

The disc is characterized by a capable structure where melodies reigns and where the musicians are pleased in valorizing the different sonorous planes, the games and the rings of each instrument, also is a series of versicles of decorative style and of rigorous polyphonic, I only imagine towards where they will have taken this group to have persisted in this style; there is doubt that is a disc in which they separate of the sound, net no progressive, that characterized them and they surprise to us with this work, live, that without a doubt is one of the best ones than they have become in progressive Italian and jazz rock.

But di Scalzi he was not alone in this adventure and for this the musicians who integrate this incarnation of New Trolls are from very first division class, Giorgio is one of the best bass players of Italy and the world, when demonstrating as with you send of his under capricious recreates multifacetics rates that I only have listened to in bass players of the stature of Jimmy Garrison or Ron Carter, also with a finished technique, but with indomitable skill, he maintains melody and he marks to the main rhythm of the song, occurring time to create small single of incomparable masters, and the use of the silence that is key in the jazz, elevates to levels excels here creating tension at the algid moments of melodies (and that they are many), excellent bass playing and with a feeling by fine and the emotional thing, that very few have it.

Also Renato that with its range of keyboards (moog, Hammond, Synthesizer, etc.) he demonstrates that this turned in the deep knowledge of the harmony, the tone and the ring, where a powerful temperament affirms, an intellectual who flees from the easy effects, a musician that an aesthetic one applies refined and that know to describe with music the different feelings from the human soul. Creating an incredible atmosphere along with the guitar of de Scalzi, with intense develops dialogues and superior tonalities, to summarize is everything a poet of the sounds. also it is to emphasize the work of Tullio the drummer, one of the best ones of Italy than i have listened, a handling of the combined cadences, a loudness and intelligent use of the multiple resources that include with their deep knowledge of the rhythm of jazz, where is appraised until the aim perceivable melodic lines good and all it with an extraordinary clarity and discretion. touching lyric parts with explosive vehemence.

Finally the precise and forceful execution of the saxophonist Giorgio Baiocco and that is an entertainment to listen to it, with a deep sense by the lines of saxophone touched by John Coltrane or Sonny Rollins, and with the undeniable influence of the music of Miles Davis (although this had played the trumpet), makes a discreet but vigorous balance with the force of the guitar of Vittorio and the keyboards of Rosset, certainly offers an instrumental, ecstatic and intense voice. a rare work that mainly demonstrates the overwhelming power that they had in live and that transmits a magical feeling, in second melody, where it reaches an extraordinary subliming and little times reached about any group of progressive rock.

The only thing that i make notice is that i do not believe that the concert has lasted 33 minutes, and is one hurts that is not had including the complete concert.

The album begins with 7/4 (settequarti). after the obvious applause of the presentation, they begin with a rhythm maintained by a small scale created in the bass by Giorgo, and that little by little is integrated the fragmentary drumming of Tullio with single percutives, to give shades melody, without letting lose the rhythm. De Scalzi, it is weaving a solo of guitar, very in the style of a Al di Meola, and with an unmistakable Mediterranean flavor, coverall the first 2 minutes, and while to the bottom already they are emphasizing pincelades of saxophone and keyboards, very similar to the fact by groups like Soft Machine. as of minute 2:23, they change to a very typical rhythm of the Canterbury School, with duels between the guitar of Vittorio and saxophone of Baiocco, creating an pleasant and melodious structure, of great musical invoice; for minute 3:15 de Scalzi surprises to us with a jazziest solo that remembers a little to me to Larry Coryell, with passages of dark feeling, which dynamism and excellence are touched with, later to prescribe single already more progressive with extensive chromatic scales and the distortion characteristic of the effect overdrive to us, while D'adamo maintains to the main structure of the song which has not varied, and Tullio prescribes rhythmical interludes of great jazziest contrapuntist ability and excels polyrhythms, while the Rosset's keyboards are clarifying all melodies with a reasoned balance. as of minute 6:09, variation one octave lower melody main finely executed and maintained by bass playing the pulsating one of Giorgio and gives space to the a solo keyboard, that shows their animated and colorful style here, using the effect of moog in its synthesizer with a grace and elegant beauty and solid foundations in the improvisation, so as painter in an impressionist picture.

While de Scalzi it goes on a par of the sound of bass with tight and great melodic maturity, whereas the drumming of Tullio is demonstrating what excellent drummer is , with modal notes and rhythmical turns of great knowledge and lyrical spread, in the style of Max Roach, destroying the rate and deconstructing it again of untiring way. Later around minute 8:00, are a interlude very expressive with free notes on the part of the keyboard of Rosset and the guitar of Vittorio, with arpeggiated notes begins and to give to place a solo of saxophone on the part of expressive, evocative Baiocco and with melodies firmly established in polyphonic, and indeed to begin there to touch in a tight style maintained in 7/4, with the genius of the Giorgo in the bass constructing a compass and an excellent scale that has the seal of rare virtuosity, so that Baiocco exhale note multiplicity in his saxophone, of sonata with coltraneish influences and of musical greatness that lies in the germ of free jazz.

Whereas Tullio is creating an alive rhythmical counterpoint that with its security of touch is drawing up an accurate answer saxophone, like in many great quartets of jazz, the call and response. later and as of minute 11:40 interlude comes another one, with the guitar of di Scalzi drawing up those reflecting ones, a little autumnal, that it puts in with his solo of guitar and which they demonstrate to the seal of a splendorous guitarist and accurate improvisator, and that in those mentioned single, is listened to certain zappian influence in its form to touch, whereas the rest of the group is giving an agreed musical colorist with notes distilled by Vittorio; it stops after a brief but exhaustive redoubling in its drums on the part of Tullio, offer a very effective end, very dynamic and where the virtue to construct a rate, to reduce it to its primary note and later to go reconstructing it through an exact range of melodies, harmonies, rhythmical freedom, and deep and lyrical excellence does not have progressive comparison in the Italian; the most eloquent sample is the answer of the audience that it is given completely.

Second and last melody of this excellent concert, is 13/18 (trediciottavi) and where I believe that New Trolls explores to the maximum progressive the jazziest forms at the highest musical level and is evident since here the musicians free themselves of you formulate them traditional and introduce new elements, combined with parts that remember to the disc fact like Concerto Grosso n°1, but amplified of an exorbitant way! melody begins with small solo an evocative one and a little nostalgic synthesizer in charge of Rosset very characteristic of the sound jazz rock of that time, to which in just a short time the guitar of de Scalzi is added, creating and engage in a dialog interesting and full of melodic amplitude, in where and becomes to appear famous call response.

Later they are beginning to delineate one melody that is taking form from a musical landscape and where Vittorio recreates angular notes and with a little effect overdrive in his guitar and where it demonstrates that it is a improvisator completed and masterful of inspiration, texture and matchless energy. from minute 3:00 assistant connects melody to passage known by most of the audience (note in the spontaneous applause) and that is nothing else and nothing less than an extract of the second movement of the disc Concerto Grosso n° 1 (saying), here di Scalzi makes interpretation enough touching of that piece musical where he demonstrates that dramatic quality is until able to transmit with parts that touched Di Palo in guitar and with masters and professionalism incontestable (use of effect delay), while Rosset is weaving agreed precise, full of color and calm that is listened to simply magnificent, to arrive at splendor where both they are weaving notes to the unisonous and then Vittorio closes this part with aggressive an agreed note and an effect of rare mystery in the keyboard of Renato, to report as of minute 4:40 to a sound of the bass that is weaving an agreed one lasts, obstinate and sharp on the part of Giorgio and to the drumming of Tullio that is little by little constructing a rate that indeed takes as title of the musical piece and saxophone of Baiocco where it combs sonority that seemed are entering and leaving melody main, there is no doubt that is wise always careful contrapuntist and of plan of the musical work and of sharp drama and where they affirm his masters in the instruments that they execute. as of the minute 6:00 Vittorio makes agressives chords of its guitar with effect overdrive and wah wah of great heavy modulation, to take step to an increasing acceleration of the compass and where all the musicians enter an increasing ecstasies and that always goes led by the huge guitar of di Scalzi that in this melody reaches its maximum degree of born improvisator and genius of the guitar that does not fear the harmonies and the heavy chords and in where Renato goes adorned and giving those shades shining and of great value and with the use of mysterious the effect that emanates of its synthesizer and that adds a dramatic quality and an extreme vertigo to the execution (around minute 7:00- 7:10) finally to arrive at the first apogee from minute 7:30 where saxophone of Baiocco and the guitar of Vittorio reaches levels of an extraordinary music and in where creates and engage in a dialog dramatic and strong, of great melodies and furious affirmation, while to the bottom the keyboard of Renato creates a mysterious atmosphere and cuasi space and the drumming of Tullio is contra punting the difficult rhythm that begins to do Vittorio and Baiocco.

Later and as of the minute the 8:20 group creates interlude net progressive and that finishes with a series of notes touched furiously by de Scalzi and followed of powerful ones it redoubles of the drums of Tullio that shines by the architecture that has created through all the musical piece. what follows is authentically of anthology, the group changes to a rate 13/18 indeed that is one of most difficult in all the music and that stops those that knows it, is needed to be a composer who truly dominates his instrument to be able to take it with authenticate professionalism and good aim, and the New Trolls of this work make it with a really extraordinary greatness and exemplary, as if one that listens to it go literally on shoulders of giants, under Giorgo begins with a really quick, fast bass execution of and elegant one, that go seated the new balance and that little by little are entering all the others instruments to the musical phantom there is no doubt that the emotion this in the base of its art and the sonorous expression is its supreme aim; Rosset delineates with a very good dose of complexity the keyboards, whereas Baiocco is scattering that sound so characteristic of his saxophone, where prescribes countless notes to the same height of the rate that Tullio is developing, with a surprising complexity, and Vittorio creates of the passages most shining of its musical race with formidable melodies that it develops in this part, with an effect overdrive and wah wah, is putting aggressive and furious intensity more and more, mainly the segment that goes of minute 10:50 to minute 12:00 extracting creative forces that to him their algid moments inspire, all a true epic battle to the purest style Genovese! maintaining this frenetic compass, they are creating a end which truly we must be happy for having recorded it and above confirm the these lines of which the live presentations of New Trolls in that year were of simply colossal a creative force, doing reprise intense of the orgiastic apogee which they did in minute 7:30, with that dramatic force and the musical audacity of high stylistic flights that really are equivalent to a company/signature of this great Italian group.

In order to finalize I recommend to them widely that they listen to this facet of this great group, this is a masterpiece in all the literal sense of the word, here they demonstrate to us that they are musicians who can compete with anyone of the entire world and which they are able of create a superior art and which they are equipped with a complex harmonic conscience and that, in special Vittorio de Scalzi could make a total mutual understanding with the other musicians, to create one of the best discs than they have been made live and that speak of the careful that it was always by the form, the balance and the clarity.

While containing many of the standard ingredients of the classic Italian symphonic mix of its time - rough cut vocals, hammond, synthesizers - this effort by New Trolls Atomic System tends much more to the melodic side of things than most, while not sacrificing any rockability. It is also more song oriented even if it contains some spirited instrumental passages. If you are a fan of Metamorfosi this might also work well for you. The group nods in the direction of the British masters like ELP, Tull and the Moody Blues, but also to some of the Italian contemporaries such as le Orme and Banco. Nonetheless this is far from a knock-off. Tracks like Una Notte Sul Monte Calvo are both embarassingly dated and charming, really showcasing the flair and drama that bands of their ilk had in spades. It could almost be a theme to a 60s spy drama. Flute in the opener and Ibernazione provides additional color. A jazzy vibe can be discerned here or there, which successfully enhances the mix rather than providing a mere diversion. All in all, fans of the time and place would not be trolling to pick up this quality recording by NTAS and have at 'em.