AVENOTH

Though we do live in a fast paced world, sometimes shipments take time to arrive, first from artists and then suppliers which makes top album listings for one specific year difficult as the release date can be November or December. "C'est la Vie" as the departed Greg Lake used to sing. I was really pining to include Universal Totem Orchestra's "Mathematical Mother" in but I just received it yesterday. Along with this glorified release that has found itself a hero among many prog reviewers out there. La Bocca della Verita is a fabulous former cover band from Rome, the Eternal City, that finally took the plunge and released this 77 minute and 39 second masterstroke, a riveting package that will keep me enthralled for many years to come. My esteemed friend Aussie-Byrd-Brother is never wrong in my book and his elaborate description should be salivating enough for any fan of RPI to hunt down and possess. I know, I did! As he correctly states, not since Logos' tremendous "L'Enigma della Vita" (a 2014 album of the year for me) has Italy dropped such a masterful RPI/Symphonic jewel and we should all be in awe, as the Boot keeps on giving all the time (In my package, I also received Promenade, Il Rumore Bianco and the UTO album, they are all Italian bands). Another reason I craved for this release was the presence of master bassist Guglielmo Mariotti and his trademark Rickenbacker bass whose style impressed me with stints in Tapobran, Daal, Nuova Era, the Watch and Fufluns). Add to that a dual keyboard line-up of Jimmy Bax and Massimo Di Paola, rekindling fond memories of double ivories attacks perpetrated in the past by groups like Banco, Goblin and the afore mentioned Logos. Then a tremendous prog drummer (Italy has no shortage of that either) in Ivan Marziani, a strident and volcanic guitarist in Roberto Bucci and finally, a token gravel-voiced vocalist: Fabrizio Marziani (Ivan's bro?). Yes, this is a colosseum-sized release containing 5 massive epics and 6 complimentary pieces that are dense, chaotic, soothing and thrilling. Some prefer their RPI short and sweet, in the 40 minute range, so perhaps it would be wiser for them to accept this as a double vinyl album then. The influences range from the obvious Italian ones (PFM & Banco) to the classic ones (Genesis, Floyd, KC and ELP) but LBdV are a symbiosis of progressive rock in its most universal forms, delivering inspiring slabs of genius, though it must be said that such a huge banquet (il Banchetto) will take a long time to digest as its quite an intimidating album.

A couple of short introductions , firstly sound effects and voice snippets (MLK, John Paul II, Armstrong, among many others) which then flows into the "Ouverture", which serves to announce all the instrumentalists , finally blending into "Contro Luna e Luce" in order to present Fabrizio's naturally eloquent voice. The Hammond is front and center, bullied along by the Rickenbacker growl and Ivan's massive beat. The anesthesia is done and time to get to the first and biggest bad boy "La Suite dei Tre Planeti", an admiring homage to Le Orme's Felona e Sorona? I guess they just added one planet! This nearly 18 minute whopper has all the trimmings, beginning with a gentle and soft spoken entrance that gradually grows into a majestic whirlwind, reverts to a Floydian ambiance with a languorous sax thrown in for good measure and really hits overdrive when Mariotti starts scolding his 4 strings, while Marziani bangs his skins without any pity. Guitarist Bucci enjoys using his pedals, including wah-wah, as he boldly challenges the two ivory ticklers to go beyond the threshold. The tsunami-like pace is bruising, ruthless, dogged and frankly, quite intimidating, with tons of emotion and power intertwined. And mostly, it just keeps on giving with a monstrous mellotron outro and a light Beethoven memento.

The 8 minute title track is a rollicking and enjoyable event, a clear melodic foundation is established before dipping into a pastoral setting that vintage Genesis would be proud of: a bouquet of flute, acoustic guitar and a classic Rutherford-ish bass surge (he had a Rickenbacker too, ya know!) that escorts Fabrizio's lalala voice, it's all lovingly rustic, effortless and delicate. In classic "Trespass" mode, a Banks-like organ enters the fray, aided by the booming bass rumble, manic drumming and bluesy guitar that paints a lyrical romance, more Ant Phillips than Hackett for sure. It gets hot and heavy in a hurry. Wow!

The brief "La Festa" (no, not the PFM or Logos tune) is a vigorous affair, phosphorescent sonic illuminations that are playfully intricate, synths looping crazily in the night sky and complex polyrhythmic insanity. Contrast that with its companion piece, more like alter ego, "Antico" a shorter acoustic guitar piece that slows down the racing heartbeat and brings surreal calmness to the fore. What this does is nothing more than prepping the listener for arguably the finest moments on this stunning release. The final four tracks just kill it ?

1- The classic "La Deportazione" is a shocker, a brooding, muscular onslaught that has the fires raging, everything seemingly running on all cylinders, the howling mellotron burning up the sky, expertly motored by the grim bass guitar that carves hard and fast. The effect-laden guitar certainly winks at classic Hackett, caressing, cajoling, urging and comforting, as the Hammond churns in the background. A fast and furious piece of chugging prog.

2- The heart is pounding ? "La Rivolta" just keeps the sonic orgy going into harder realms, pulsating bass, binary drum cannonades and a raging organ that certainly winks at Deep Purple, a fireball roller coaster that sears and scorches like no other, alternating very soft and very hard on the turn of a dime, displaying a musical prowess that is quite eye opening. Fabrizio sings as if possessed by some demon and the band thrashes on merrily, finishing off the 13 minute allotted slot, aided by a doomsday piano treatment, a sweltering synth flutter, a smoldering organ charge and capped by a long, slithering and spectral electric guitar solo, blanketed in pillows of mellotron. Absolutely spellbinding. I need to breathe.

3- My favorite track here, "Perduto Avenoth" keeps the urgency unbroken, a majestic, ultra-symphonic lullaby, sailing on luxuriant orchestrations, a sublime saxophone and a romantic disposition that would fit on any soundtrack, then turning lovingly into a Moody Blues-inspired prog arrangement, bass, drums and orchestra. The angelic choir mixed in with the violins is enough to draw tears but it's the bluesy and painful guitar solo that slays the unrepentant into submission. Crystalline and pure, this is utter and complete bliss.

4- Not too far behind is "Reprise", a 10 minute 'arrivederci' that reflects like a mirrored, sun-lit lake, combining aural prettiness, gentle guitar phrasings, then a rolling organ corralling the band into bombastic expanses, drums hammering carefree, huge squalls of choir mellotron (my weakness) and an acrobatic guitar intervention. The dual keyboard connection alternates organ, piano and synth with incredible flair and emotional gusto. Sheer perfection and constant bated breath at what may happen next. Bravo.

This is a debut album, I rarely give top marks for such a burgeoning future (we hope) project but like my Ozman said so succinctly, if this must be the one and only, well, what an achievement! Gorgeous artwork, sound, production, compositional ability, inspiration and technical effort. More please.

5 Gates of veracity