ZAUBER [AKA: IL SOGNO]

A highly underrated Milanese band that certainly has got its place in prog history. Whether their music is spectacular or not, the proposal is very clear though, to make every instrument sound off individually wonderful. The folkloric Italian elements flourish beautifully for almost 42 minutes, acoustic guitars flying through compassed chords, a piano striking exceptionally intertwined (difficultly arranged to my concern), flutes intromissions all around and whenever the synths let there be interludes in between. ZAUBER fits perfectly into any type of mood, it's got harmonious entwined passages and randomly executed moments that will make you stick around until the album is over. Then, you'll play it all over again.

The first two tracks are instrumental, so you can allow yourself to pay more attention to each one of the instruments separately. "Valzer su BACH" takes off very well orchestrated with an impetuous piano and a rather dark violoncello (played by guest musician Giulio ARPINATI), that as the songs moves on, enlighten a better view to crafted sounds out of rhythmic synths and quietly clattered drums. "Liliana" has this peculiar dialogue between acoustic guitars where almost unperceivable bass tunes break in between the strings conversation making the song even easier to digest.

"Canzone per un' amica" starts rather the same as its couple of predecessors, but with a flute variation that turns the song into a quite enjoyable experience. Liliana BODINI's voice is mellow yet paused, and it sort of slows down the process of the interpretation all along the lyrics that happen to be insignificantly corny and freakishly short. There's a three minute guitar prelude named "Glockenturm" to get to "Dietro la Collina", that to my concern, is the best piece in this late seventies album. The song is inexplicably aggressive in the beginning, and it kind of brings out the beautiful in Liliana's voice, making what is left of the track sound incomparably great to the rest of the album. The constant struggle between both piano and percussions is marvelous, Liliana's grand finale throughout deep and dark vocalizations is remarkably outstanding. A great song undoubtedly.

It took me quite few sessions of constant listening to "Il Sogno" to realize I had to dissect this album in two separate parts. The first half, which I have just described to you; is plagued of assorted emotions and instrumented improvisations, while the rest of the album is magically orchestrated, where the same piano and guitars sound off spectacularly different. It is impressive, almost pure. "Spleen" keeps up the battling spirit of that piano and percussions I just told you about, but there's this strange, almost pleasant twist, that changes the panorama instantly into a whole new kind of music that makes you wonder if you're still listening to the same band. "Id" is a soft piece that roams through melodic guitars and a sweet flute that keeps the good company of a schmaltzy piano. In the other hand, we have the unmistakable psychedelic touch every seventies respectable production had to have, represented throughout "Deimos", another instrumental piece that claims for absolute attention when listening to it. Skilful pianist Anna GALLIANO proved she could take it on here.

ZAUBER is an interesting band that proposes constant feedback when being listened to, it's the kind of unknown band to you that will get to earn a spot between your prog preferences, making every time you pop the CD in an incomparable experience. This music challenges the most adventurous prog listeners not to compare sounds through the usual channels, but to enjoy and relax. If you're into constant prog rock rediscovery, ZAUBER is the band for you.