"I
have just received this CD via amazon.com the other day and I am
immensly impressed with this album. It is no understatement to call
Osanna's "Palepoli" a masterpiece, and deserves 10 stars out of 5.
Though this CD is a little pricy, it is no different than purchasing
vintage Italian wine. The music never lets up and doesn't sit still
long enough to invite boredom. Movement after movement, the band
relentlessly dazzles the listener with virtuosity, and those heaven-sent
melodies that can only be found in Italian Prog.
"Oro Caldo"
opens up with a bass drum, acoustic guitar & flute before turning
into a festival. The band fades in and sounds like there ready to take
the world by storm. What amazes me about this song are the varying
degrees of fidelity in it. As the bands parties on, they sound like
they're playing outdoors at a festival. It really starts the album off
with a BANG - very positive vibe. This song, and the rest of the album
just moves effortlessly from one idea to the next, rarely returning to
earlier themes. It's almost like a stream-of-consciousness method to
composition (although I think it's called "through-composed").
The
second song is untitled and has the same opening as "Oro Caldo", but
includes the backwards samples from the previous album Calibro 9. This
is a nice break in the action before the atonal onslaught of "Animale
Senza Respiro" enters to shake your foundations. This tune is EPIC in
every sense and highly entertaining. There are so many incredible
moments in this song that it still blows me away as I write in silence.
There is an incredible mellotron passage in the middle that just sends a
massive rush through every fiber of my nervous system (my hair is still
standing on end). Other passages just simply rock with total abandon.
I really couldn't say enough about this song let alone the entire world
that is "Palepoli".
As I have said, the mellotron work is
downright superb. This album reminds me alot of King Crimson's "Lizard"
album as far as the angular baritone sax riffs, insane swells of
mellotron & the overall fidelity that bears such a mystical quality.
The 12-string passages remind me of Genesis' "Trespass" LP as well.
These comparisons, however, are totally irrelevant because Osanna have a
truly authentic sound and "Palepoli" is a truly authentic & unique
experience (yes, this album is an 'experience').
The money I
spent on this Japanese reissue was well worth it. I also enjoyed the
mini-LP layout (the inner fold-out is really mind-bending!!), though I
don't understand a lick of any of the liner notes, both in Italian &
Japanese. Either way, this did nothing to diminish the enjoyment I got
from this CD. So, if you got some spare change and are a hardcore
amazon.connoiseur, then I couldn't recommend "Palepoli" high enough.
Truly awe-inspiring!!"
and against the mighty Palepoli..
They blew it. They made their major artistic breakthrough with H to He,
got greedy, went for the universalist jugular, and absolutely blew it.
There are three songs, none of which are even as good as "The Emperor
in His War Room." The production has gone back to suck - it's not the
same suck as on Least, but Peter's magnificent voice is once more
relegated to a supporting role instead of receiving the starring role
it deserves. None of the riffs are anywhere as magnificent as those in
"Killer" or "Pioneers," none of the vocal parts are as beautiful as
those in "Lost" or "House with no Door," almost none of the instrumental
parts approach the brilliance of those in "Killer" ... what a
disappointment.
That said, I do not want to give the impression that the album is
worthless, because that's simply not what I think. You see, each of
these three tracks has something I like a lot, and to be perfectly honest, on some days I like this album slightly more than I do Least
(even if it gets a lower grade here). It's just that built around
these ideas is a whole ton of material that simply irritates the hell
out of me. Many repeated listens (I've definitely listened to this
album more times than I have any other album with a comparable or worse
grade) have brought the positive features clearly to the forefront of my
mind, and I've always liked a few parts of the suite that makes up side
two, but certain parts have only gotten worse and worse for me as the
number of listens I've given this has gone up.
At first, track number one, entitled "Lemmings," actually gets the album
off to a fairly promising start. The "soft" vocal melody that Peter
sings is quite cute, and I particularly enjoy it because the little
spike up in the middle of each repetition easily brings to mind the
image of little lemmings jumping up off a cliff and then tumbling to
their dooms. The harder riff, with a vocal melody sung in unison, is
also intriguing - I'm bugged by the echo on Peter's voice, but the riff
is very interesting, and Peter really sounds majestic as he sings lines
like "We have looked upon the high kings." Of course, every time he
breaks the vocal melody from mirroring the riff, he starts to fall back
into declamation instead of a singing mode, but still, it's tolerable.
Unfortunately, while the track works until about 3:20, the remaining
eight minutes of the piece make it very difficult for me to stay
focused, and don't forget, I can keep my mind laser focused while
listening to Yes' "The Remembering." The noodling just keeps going and
going, Peter occasionally reprises the beginning vocal melodies but
mostly just mirrors the jamming, and basically the sound loses all of
its apocalyptic tension by making itself so freakin' low key and boring
(well, except for a fairly brief passage where the band goes into an
extremely angry-sounding bit). I mean, I really don't see how I can
keep myself from falling asleep during the last minute of quiet
sax/keyboard noodling.
Up next is "Man-Erg," which starts out as a piano-ballad in the vein of
"House with No Door," but while the atmosphere is quite nice, Peter has
trouble here matching the majestic approach of his singing with an
equally resonant and memorable vocal melody, and that hurts quite a bit.
The sound is nice, but it's getting mushy again, which I'd hoped they
fixed once and for all with H to He. The "I'm just a man ..."
section, reprised several times, has some strong emotional power, and
would have worked well as an actual climax, but it feels rushed to me,
without enough buildup to make it work as any kind of real climax.
Anyway, the song also features a fairly cool mid-section with some
fierce sax/organ jamming, along with some solid Fripp guitar lines.
Peter's singing sounds especially dumb during this part, but while the
instrumental parts kinda veer towards the pointlessness that bugged me
so on Least, they're also very fast in parts, so whatever. Of
course, Peter comes back and starts singing another soft part, this time
using cliches like "acolytes of doom," and it doesn't do much to raise
my opinion of the track too much. Concluding with the initial melody,
along with the mid-section popping up amidst it from time to time, does
give the track a nice epic sweep, but when the individual parts don't
impress me that much, it shouldn't be difficult to guess that I'm not
totally thrilled.
And then there's "A Plague of Lighthouse Keepers," which those who hate
the band often use as Exhibit 1 of why they hate it so. Strangely
enough, though, I've actually come to enjoy several parts of it, though I
doubt I'll ever go sufficiently loony to consider it the peak of VDGG,
like many fans do. The general gist of the piece, best as I can tell,
is that it's about a lighthouse keeper going nuts from a combination of
loneliness and all of the ghosts, real and imagined, that are are
inherent to the mythology of sea travel. He goes batty, jumps into the
sea to kill himself and escape the madness, and muses over various
philosophical things. Fine, decent concept, whatever. What does matter
to me, though, is that there a few parts that I enjoy a great deal, even
though I consider the suite as a whole to be a moderate failure. I
actually think the opening "Eyewitness" section is incredible, combining
decent lyrics with an eerie vocal melody and a gloomy atmosphere that
sets the lighthouse backdrop well. Furthermore, the lyrics also do a
fine job of establishing the gradual paranoia of the protagonist - I
particularly like the line, "When you see the skeletons of sailing-ship
spars sinking low You'll begin to wonder if the points of all the
ancient myths
are solemnly directed straight at you..." I don't even mind the
occasional dissonant backing harmonies as Peter sings the melody - they
do a good job of depicting the various ghosts fluttering around.
So that's part one. Alas, the next couple of minutes, entitled
"Pictures/Lighthouse," are devoted to a bunch of "atmospheric" blaring
sax noises over blaring keyboard noises, followed by some atmospheric
organ chords. Enough said. Part three is a reprise of part one
melodywise (and thus is also called Eyewitness), and depicts the
protagonist reaching the very edge of his sanity. Just as it seems
things are starting to get obnoxiously repetitive, we enter section
four, "S.H.M.," where images of sea spectres start assailing the
protagonist's mind. I actually find the lyrics here quite image-laden,
despite the nonsense that appears at first glance when one glosses over a
line like, "'Unreal, unreal!' ghost helmsmen scream and fall in through
the sky, not breaking through my seagull shrieks ... no breaks until I
die: the spectres scratch on window-slits - hollowed faces, mindless
grins only intent on destroying what they've lost." Call me nuts, but
it's not difficult at all for me to imagine a nightmare to go with this
passage; a bunch of translucent ghosts whirling all around me, screaming
seeming nonsense, set upon my destruction solely because they
themselves have been destroyed. So anyway, as the lyrics go on, the
protagonist is leaning on the wall to support his wilting self, looking
out upon the sea and seeing ghosts of ships long gone, crashed upon the
rocks. Not bad so far.
Unfortunately, in part five, divided into "The Presence of the Night"
and "Kosmos Tours," the suite starts to come unraveled. The first part
works nicely, a quiet reprise of the S.H.M melody with appropriately
epilogue-ish lyrics, and the later sorta-jazzy melody that comes up
after some noodling is amusing (though the hooks aren't very sharp), but
then the rest of the part goes into a bit of self-parody. Hammill's
screams go with a melody that really strikes me as jerky discord for its
own sake, a bit of a vocal freakout for no good reason other than
having a bit of a vocal freakout. It ends with the hero jumping out of
the lighthouse, presumably into the sea, but while I might have cared
for his fate before, the detachment presented immediately before this
managed to preemptively undo any resonance I might have had from this.
And what's with that random dissonant keyboard-layers part that pops up
after that cold melody has finished? This sucks, Beavis.
The next section, "Custard's Last Stand," tries to be one of the band's
cathartic anthemic ballads, but the melody is so flaccid that it doesn't
warm or inspire me at all. Just Pete's voice with lots of echo and not
approaching the grandeur of "House with no Door." Then we have "The
Clot Thickens," where everything just goes nuts - it's actually fairly
amusing, since it's insane and twisted and weird beyond recall, but
given that it uses an "ANNHILATION"-like trick when Peter sings "..one
more haggard DROWNED MAN," it's not about to get a total free pass from
me. Whatever.
At least the piece ends on a nice note. "Land's End" and "We Go Now"
actually base their majesty around a lovely piano chord sequence instead
of seemingly random organ splurts, and despite the amount of crud I've
just waded through to get here, I actually feel a twinge of catharsis
listening to this. Plus, let's be fair, the majestic guitar parts
coming through the layered vocal and keyboard harmonies (as well as all
the sputtering radio static, which works well as a symbol of the
protagonist slowly slipping out of his life conciousness), had they come
with a better overall piece, would be recognized as near the same level
(though in a different way, since this is Robert Fripp and not Steve
Hackett) of the brilliant instrumental passages at the tail-end of
Genesis' "Supper's Ready." Go Robert!
So there you go - a loooooooong review given that this is only gets a 7
from me. It's just as I said in the band's introduction - even the
songs that are dreadfully flawed overall still have chunks of solid
quality, and it takes a lot of effort and explanation to separate those
chunks from the overall chaff. In any case, Hammill apparently decided
he couldn't do anything else with the band at that time, so they broke
up for a few years. It's just as well - I shudder to imagine how a 1972
followup would sound.