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Consorzio Acqua Potabile - Nei Gorghi Del Tempo CD (album) cover


Consorzio Acqua Potabile


Rock Progressivo Italiano

3.96 | 47 ratings

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5 stars This is one review I have been deliberately holding back, mainly out of some perverse strategy of always firing reviews on all cylinders (ah, quality control!). I got a tape from a pen-pal and I fell in love with this masterpiece immediately. I scoured high and low to find a copy anywhere, all doors shut in deleted regret. How did I get my CD, especially since I already owned the delightful "Robin Delle Stelle", you ask? I went straight to CAP leader Maurizio Venegoni's e-mail address via the good old Ethernet. In a pleadingly elegant letter, I implored him to burn me copy and a month later I get this package from Italy, not only with his personal copy of "Nei Gorghi del Tempo" but also a yet unreleased new album "Il Bianco Regno di Dooah"!!!!! I was simply put, blown away! Not a year went by when I met Mau and guitarist Massimo Gorlezza in one of the most momentous prog nights ever! In 2003 Milan, in scorching hot and humid weather, I dissected all three albums, all my notes in hand, track by track with various comments and clucks of delight much to their utter astonishment! To these prog-loving businessmen (Mau owns a salami factory and Massimo is an architect!), that a total stranger from Canada is grooving to their musical craft , knowing each inch of sound was hard to grasp, so deep was the bewilderment. What a night of fine dining, vino rosso, limoncello and coffee on a floating restaurant on a canal, singing "Lontana Lucia" from Robin, playing full-blast from the open-aired Volvo, racing down the autostrada. Mind blast time! So why do I consider this timeless marvel so precious? Even though I still can't wipe the grin off my face from that night in Milan, the music within is spellbinding at a time when prog was still budding, waiting for the Marillioned white knight to revive the spirit of Prog! First a disclaimer: this is not the best produced recording known to man, far from it. Rather grainy (which only adds to the charm) is closer to the truth. That being said and stamped, the joyride begins with "Il Mercante", a symphonic stew chock full of criss-crossing slashes weaving guitars, keys that morph into a senselessly gorgeous main theme , a melody of aching beauty that explodes with a Spanish guitar motif adorned by some fabulous trumpet , slowly growing in intensity as all instruments unite in divine fanfare. The drop-dead operatic voice of Paul Rosette only adds further drama to the proceedings as the tortured lead guitar combines with the various synth flights. The main vocal aria is chillingly gorgeous, slithering into the deepest recesses of the pleasuredome, amid the swirling arrangements, driving eagerly towards the checkered flag. "In Un Vecchio Castello" is an epic excursion into initially quirky expanses, with subtle almost classical orchestrations that eventually bloom into a vast symphonic chasm where the background strings rule supreme and a sizzling guitar conspire to create quite a complex tapestry of sound, closer to Gentle Giant than Yes, chugging along nicely until the main polyrhythmic theme reveals itself in all its hypnotic splendor. The ornate piano of Romeo Bolla decorates with unabashed passion and sound technique, pounding home the exultation of a musical piece that needs only an exuberant synthesizer lead to take this into the bejeweled prog galaxy. This is about the most complex symph prog you will ever hear, laced with some softer passages where the vocal parts are one of sheer beauty, Paul Rosette singing his heart out with a masterful bellow, alternating power and subtlety , one of the finest prog vocal performances ever recorded. Things actually get even more intense with the phenomenal "Arnaldo da Chatillon Crociato", a supple crescendo of unmitigated medieval-tinged majesty, with massive sweeping orchestrations and a lead air that is overflowing with ardor and an immense vocal lead that chills the spine and adds goose bumps to the deal ("O signore"). When the gentle clouds finally part, the mood shifts into high gear with a propulsive theme that shatters everything in its wake, zooming towards some mythical zone where music becomes pure bliss, alternating contrasts, a smart section with tubular bells signaling a return to that glorious aria and then abruptly back to the pulsating synth-led theme, swaths of mellotron only adding to the conspiracy. "Vivendo un giorno.." is another clear display of their incredible talent in composing suave and inspired symphonic prog , zipping synth lines dueling with gruff guitar slashes, rolling organ tossed into the melee , each jousting fiercely for dominance. The elegant piano returns with avid confidence veering the proceedings toward a gentle mid-section that then decides to give way to the fury once again. The rhythm section does its best to keep apace in such a luxuriant musical environment, constantly on the alert and prepared for the next sideway loop. Exhilarating and awe- inspiring this is, with another superb vocal part that scorches the outer core and releasing another synthesized tangent of prog adventure, complete with storm effects and a final section that relies on savvy acoustic guitar to totally alter the mood . This is the essence of symphonic prog, always churning, forever creating and incredibly lush with leafy ideas at every corner. A sad spoken part shuts the gate on this timeless jewel. "Traccia" closes the deal with a Banco-penned excursion that highlights all the bands characteristics, an up-front piano that guides the way towards some imaginary island of unreal infatuation, a main melody that is so achingly catchy it will remain locked deep in your mind for evermore. The trumpet MIDI patches are simply astounding, elevating the relentless theme to epic fanfare-like proportions, an absolute classic RPI showcase that begs to be heard and adulated by us fans. The huge impression this album leaves is hard to describe, becoming a must. My personal Mau copy has a bonus track that features female operatic vocals that merge nicely with the male voice. Having met two of the members on that summer day in Milan only idolizes further the utter joy I experience each time I think of this record, let alone listen to it. I return to this CD every time I need some inspiration. Certainly among my top 10 albums all time. Any prog collection worthy of its weight needs this phenomenally precious and original RPI masterpiece. 5 water jugs
tszirmay | 5/5 |


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