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Quel Che Disse Il Tuono - Il Velo Dei Riflessi CD (album) cover


Quel Che Disse Il Tuono


Rock Progressivo Italiano

3.73 | 70 ratings

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3 stars Review originally posted at

Since I was a young prog rock neophyte, I have crossed with statements such as 'prog rock is dead' 'there is no good 00's prog' and other strange thoughts from people who got stuck in the 70's. Of course, we all know and love old school prog and will always thank them for seeding the roots, however, there is a huge amount of new projects that incorporate that history to brand new compositions and concepts, such as new Italian outfit Quel Che Disse Il Tuono.

I have always been a big RPI lover, its symphonic driven music, its pastoral sounds, its theatrical compositions, its cultural inspirations, and a long etc. Fortunately, in this 21st century I have witnessed the born of new talented bands that clearly deserve attention, such as Unreal City or Cellar Noise, which I mention on purpose because members from those bands are featured in this new project.

Well, last March the band released its first baby entitled 'Il Velo dei Riflessi', just after one year the band formed. It is a concept album in which themes like schizophrenia and acceptances are pointed out. It comprises 5 tracks, the first four are mirrors and the last one is a catharsis. It opens with 'Il paradigma dello specchio (primo specchio)' -if you know RPI, then you are aware of the importance of track number 1 in its history- a great track that has that vintage feeling produced by keyboards and that typical Italian voice. Lush keyboards, mellotron, a dynamic guitar, instrumental passages that change from minute to minute creating a diversity of emotions, from chaos to tranquility.

Impossible not to move the head with 'Figlio de'll Uomo (secondo specchio)', its rhythm got stuck on my head and since the first listen it entered deep in my veins. It is like one minute and a half until it stops and becomes a ballad- like track for a minute, just before it explodes with a guitar solo first and then a moog solo that could be featured in any 70's RPI record or even in a 00'S Ayreon record. I like the mood changes on the song, the band knows how squeeze their capacities, which is why it sounds so natural and creative. Just before reaching the 7th minute, I thought the band would make a kind of tribute to Le Orme (maybe the did, I don't know) but it was probably just my mind's association.

'Chi ti cammina accanto (terzo specchio)' is a beautiful song, the shortest of the album and why not, the catchiest. The mood is so soft, relaxing and even introspective. I love the sound of the flute at minute two, just before Bernasconi's voice enters. Later Zanetta's vocals join and the two of them create a brief but heartfelt passage. The las minute is incredible deep, Gallani's colorful keyboards produce countless emotions, while Del Ben's drums create nice figures that complement the music.

'Il bastone e il serpente (quarto specchio)' starts with a bass slap and then guitar and drums join. Honestly, I didn't like the start of this track, it sounds a bit raw and dirty, maybe it was a matter of the production. After one minute the passage get more interesting, with a wonderful moog solo first and then Hammond, mellotron and piano creating countless textures. When vocals enter a theatrical mood appears, working as a fishhook for the listeners. There are several cool passages on this track, to be honest, but this time I tended to enjoy the most the one at minute 7, so soft and emotional, beautifully crafted by piano and vocals, and then amazingly complemented by mellotron and guitar. But wait, that's not the end, later there is an explosive ending.

The album finishes with its most ambitious track: 'Loro sono me (Catarsi)', a 14-minute rollercoaster of sounds and emotions. Here we will be taken to a trip to different points of the 70s, the names of King Crimson, PFM, or Museo Rosenbach might spring on your mind. It is in fact a cathartic track full of nuances, an immersion of the senses. The band did a great job in this particular track, an example that they started with the right foot and are on the right direction. Seems they get along so positively, and since their first child was a challenging album, I am sure they will give us more news in the future.

Is prog rock dead? Never!

memowakeman | 3/5 |


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