ROCK PROGRESSIVO ITALIANO

Marina Larcher's hissing chants and gothic priestess wail weaves around Vinz's weary vocal that's seemingly carved from a cursed altar stone throughout opener `Tema di Gilgamesh'. Heavy slab guitars and sprinkles of organ ploddingly lurch along until spacey swirling synths flitter around strangled electric guitar soloing in the climax. The slow burn bluesy/acid rock guitar strutting that quickly turns wailing throughout `La Terra Trema' over spectral church organ instantly calls to mind Antonio Bartoccetti's Antonius Rex, and Diego gets some playful jazzy bass soloing before Fernando Cherchi's drumming erupts to life with fiery purpose. Lusty foot-tapping guitar grooves saunter through the hallucinogenic synths and ghoulish female beckonings of `Il Viaggio', the most subtle of jazzy flavours dancing throughout, and a rollicking piece originating from one of Diego's side projects Egida Aurea, `Odore di Benzina', offers frantic dark funk, his relentless bass purring with wicked delight.

`I Giorni della Memoria Terrena' is a dramatic and dreamy reinterpretation of German band Eloy's `Appearance of the Voice', Vinz's distorted spoken vocal (with new Italian lyrics) groaning over reflective and tasteful guitars replacing those shimmering synth lines of the original. A further cover of Italian legend Franco Battiato's `Areknames' is given a frantic new-wave punky sprightly pop/rock makeover. A ranting narrated introduction over rising church organ builds a brooding mysterious menace throughout `Omega' before the band twist it into a devilish Black Sabbath stomp, and the band close on Ya Ho Wa 13's acid-rocker `Fire in the Sky', where endless scorching electric guitar soloing burns with hellfire intent, the repeated chanted chorus crushes your precious hold on sanity and a repetitive bass-line smashes down on your skull over and over for all eternity!

`Live Studio' is limited to just over a hundred copies, and despite it being a CD release, it comes in a glossy fold-out 7" LP sized sleeve, with the disc carefully placed in a plastic pocket inside. It's a beautiful presentation for a special little live document that, although not essential, offers a frequently exciting live performance with plenty of spontaneous fire and rough intimidating gloom from a fascinating darker Italian band. It's meant as a friendly gesture of thanks to fans for supporting the band, and while it's definitely recommended, the March 2015 release of their next studio album, `Soundtrack for an Unreleased Herzog Movie' promises to surely be even more exciting!

Four stars nonetheless.

This is a case of a rather flawless album, a clean production, a powerful, bombastic and grandiose symphonic sound with enough twists and turns to satisfy even the most demanding Prog fan and very good Italian vocals, split between hard and warmer singing.Moreover the tracks are quite long with thematic variations and rhythm alternations, the music is both romantic and dramatic and the composing level remains pretty high.The main problem with La Coscienza di Zeno's second album is the more pronounced use of the synthesizers and acoustic piano over the analog keyboards, showing the band moving slightly from the retro aesthetics of their debut, plus this album is executed with perfect performances on instruments and vocals, but seems to lack the pair of killer compositions and atmospheric intelligence of the first work.It strangely sounds however a bit more balanced with a tight and confident sound, passing through soft and dynamic arrangements, showing some love for Classical Music and jumping in the same wagon with LA MASCHERA DI CERA.Very Italian-sounding with evident inspirations from P.F.M., BANCO DEL MUTUO SOCCORSO, MUSEO ROSENBACH, CORTE DEI MIRACOLI (propably the best comparison here) and IL BALLETO DI BRONZO, featuring extended instrumental variety, flavored by some strings and flute and even some slight theatrical edges.

It would be unfair to compare this work with the band's debut, because such masterful albums come out once in a while.''Sensitivita'' is a great work of Classic Italian Prog, the vocals are simply fantastic and the arrangements are mostly very interesting with series of impressive and inspiring moments.Strongly recommended...3.5 stars.

The great thing about this record is that there are no weak or out of place elements to it. Aldo Tagliapietra's voice is as emotional and moving as ever (my not knowing the Italian language does not hamper me in appreciating his fine vocal delivery), and instrumentally, the band is firing on all six cylinders; inventive drumming by Michi dei Rossi, who always has that perfect sense of timing and dramatics, the well crafted and executed bass and six-string guitar of Aldo's, and of course great, classically inspired to the fore keys playing by Tony Pagliuca, all co-existing to make a wonderful recording. And the resultant atmosphere created by these musicians is unique in it's way, despite comparisons with Emerson, Lake and Palmer's sound.

This album is the perfect transition from the previous "Collage" to the next one, "Felona e Sorona". No look at, or appreciation of, this band would be complete without "Uomo di Pezza". Actually, no seventies prog collection, period would be complete without this masterpiece-it is that essential. 5 stars, no less.

Not only was Puddu fascinated by the progressive trend of the time, but he apparently made on attempt on the more difficult side of Prog Rock, composing long tracks with multiple influences.His self-confidence as a composer and player are evident already from the opening 19-min. ''Flash'', an excellent take on soft Symphonic/Jazz Rock with slight psychedelic elements on the organ-drenched parts and the singing lines, a loose feeling on the instrumental parts and obvious Classical inspirations on the flute/keyboards interactions.A very nice long epic with some dramatic keyboard and guitar work, smooth lyrical moments with a mellow jazzy background and good pastoral soundscapes with lots of flute.''Museo galattico'' is about 15 minutes long and comes closer to the dark Prog vein of VAN DER GRAAF GENERATOR and compatriots OFFICINA MECCANICA, it's mostly jazzy Prog Rock with again some singing psychedelia and a vastly more experimental sound.Symphonic elements are not absent either, especially during the synth-led atmospheric passages with the romantic vocals, but the major length is dedicated to mid-tempo instrumental flexibility with lots of sax, organ and guitar.The 14-min. ''Sensitivita'' closes the album in a more symphonic style with discreet jazzy elements.The music is somewhere between ALPHATAURUS and IL VOLO, jazzy-spiced Symphonic Rock with the standard Italian romanticism, based on great organ parts, lovely guitar work, melodic saxes and peaceful synthesizers, the atmosphere is absolutely great and the arrangements sound more refined than raw.

An archival, almost classic work of 70's Italian Prog.Excellent document on how many unsigned bands were playing with a free spirit around the time, this is some serious Jazz/Sympho Rock with elegant sax and flute work and numerous guitar and keyboard dominations.Strongly recommended...3.5 stars,

The first suite, "Chapter One: Immersion", is divided into three parts and begins softly, with the narrative vocals in Greek and the mysterious atmosphere of "EvapZis". The second part, "Immersion", begins by a dreamy acoustic guitar arpeggio and floating vocals to bid farewell to reality... The one way journey to the unknown begins while colourful psychedelic images appear and melt during the long dive into the submarine kingdom of Poseidon... On the third part, "Caronte's Ship Imponderability", the rhythm rises while frenzied keyboards waves and rough, nervous bass lines take you across the Styx to a kind of blue hell...

The second suite, "Chapter Two: Suspension", is divided into four parts and begins by the surreal calm of "Riding in Posidonian Fields" that depicts in music and lyrics the meeting with a strange creature. A strummed acoustic guitar pattern reminds you that the ocean is like a desert with its life underground where you can find nameless seahorses and other creatures riding into the blue... The second part is the instrumental "Entwinings" that conjures up the image of a mysterious dance into the deep and fades into "Suspension" where you can hear the echoes of a choir of submerged voices coming from a world that you can't reach. Then you relax, you get lost in your dreams, among corals and fishes you become someone or something else in a kind of new Genesis... The fourth part, "Octopus!", suggest what could be the result of this metamorphosis...

The last suite, "Chapter Three: Oblivion", is divided into three parts and begins by the dark, nightmarish "Uncontrolled Dreams", where you risk to get trapped behind a series of doors corroded by time... The rhythm is frenzied and the tension is higher and higher while you seem unable to climb out from the abyss... Well, an altered state of consciousness is a condition which is significantly different from a normal waking beta wave state and the expression describes induced changes in one's mental state, almost always temporary... But beware! Sometimes there's no way out and the following part "No Return" marks a new awareness while you realize that you can't turn back and that it's too late to escape from the fog of your subconscious. The mystical final part, "Farewell (including Rebirth)", marks the beginning of a new journey towards the eternal mystery of the afterlife while your soul spreads beyond the infinite...

On the whole, an interesting concept and a very nice album, although I think that's a pity that the band did not exploit their mother language for the lyrics as in their previous works.

In my humble opinion this is how italian progressive rock should sound like, what it is all about. The albums contains just about a ton of great melodies with lots of twists and turns, tempo changes and influences from a wide range of musicial styles. Although everything is all about italian progressive rock and everything is 100 % La coscienza di zeno.

Comparing to the previous albums I'd say this albums is a little more mature and more well balanced, it all flows better together, not just that most of the songs really do fit together, it's like two long suites. The first suite "Giovane figlia" contains songs 1-6 and the second "Madre antica" contains songs 7-10. The albums sounds a little more keyboard oriented than before and the violin is more dominant than before. Maybie it's just a feeling but I also feel it's a little more vocals than previous albums, with this great singer that can only be a good thing.

It all starts of really great and it just keeps getting better, my favourite songs is the second and third wich both has a great melodies and lots of beautiful melodic parts.

This is what progressive rock is all about and you'll better run to get this brilliant CD. I dare to say this is essential.

Musically New Trolls stands in both classical elements and hard rock, creating a wonderful brew of progressive rock that spans across the universe. Quite evident is their love of jazz and folk, which adds to the great flavor of the album. I would say, however, that the music is less challenging on this one, compared to 'UT', but ot the other hand it feels more cohesive and held together. The good thing is that the songs are presented in a sort of uniform state, the problem is that the songs actually are similar to each other, resulting in an album of great material but nothing really stand out.

There is an abundance of marvellous instrumentation on this album. The title track is an electronic sounding, pulsating thing with an overly classical reference which works great. The massive amounts of keyboards, not to mention organ, is a treat and being a fan of keyboards I cannot be anything other than amused. There is a delicate feel to it all that is at times abruptly interrupted by outbursts of heavy rock. That is very enjoyable and one is kept on ones toes, actually.

As far as individual tracks are concerned, every song is great and better. When I listen to the album I really nod my head in recognition. 'This is so great', I find myself saying, and I mean it. The music is really great in all it's jazzy progressive rock. It is wonderful. But I cannot really pick any one track out, apart from the title track. I cannot hum them. That is a shame, because the songs are really good. Maybe it's the similarities they share that is to blame? I don't really know. Or perhaps this album marks a decline in the fortunes of the New Trolls? Whatever the reason, I find that 'Night on bare mountain' is really enjoyable and well performed, simply not outstanding. I wish for it to be released on CD, some day, because then I will buy it. If you haven't listened to New Trolls, start with 'Concerto grosso' or 'UT'. Save this one for later.

New worlds indeed, as "Mondi Nuovi" scoots into earshot, Alfio's sparkling piano at the helm, as the roaming Aiolfi bass takes the spotlight (a brilliant technical player who has dexterity down pat!). The melody is spectacular, a fabulous opener, egged on by a 'dirty' guitar style that I particularly enjoy, rekindling memories of that amazing one shot 1996 RPI wonder Foglie di Vetro (who sadly, got little love from the community). "Viva Ancora" features the same scenario, the intrepid bass carving a masterful path for the others, flirting with the hard blues-stained guitar of Stefano Piazzi and winking at Alfio's various ivories, be it organ, piano or synths. Laura modulates her voice in fine fashion, showing off some great pipes.

Things get appropriately spooky (a trait well m mastered with Daal) and more developed on the longer "Guardando dentro Te", a nearly 8 minute bubbly joyride that has everything sparkling like vintage Prosecco. An astonishing melody, an extraordinary vocal that takes the jugular firmly and some seriously addictive atmospherics all reign supreme, again led by that fluid bass and slick guitar licks. The strings add a huge orchestral depth that clashes nicely with the tingling guitar motifs, while the piano outro seals the deal. Classic track.

A tribute to Mother Nature, "La Danza di Matre Natura" follows right in the preceding track's genius, with an effect-laden background of warbling birds and Laura's spangled voice, multiple mellotron flashes where it matters most (which is often) and a mature coalescence of ensemble playing, the adventurous bass is always a delight to follow. Alfio whips out his dynamic synths in order to deliver some sweeping flurries to the mix, then switches over to shimmering Hammond organ as the e-guitar provides backbone. Another great one. The pastoral "Melaquadro" is more concise, a medieval acoustic guitar adorning the canvas, Laura's light nasal delivery becoming even more appealing as one gets used to it. A whistling melody is the crowning moment. Simple.

"Giovane Falco" is a more brooding affair, armed with a Jon Lord-like organ passage, though very far from "Space Truckin'", the piece is way more redolent and gentle than any Purple song. The suave, slow-handed guitar solo brightens up the piece with deliberate finesse and a promise for another loop around the track. The big revelation is the singing Native American cameo that defies description and again saves the track from an otherwise predictable outcome. "Capriccio in A" is the accompanying keyboard spot, showing off Alfio's classical heritage.

Things revert to melancholia on the spectacular "Ultima Notte", slowly building up to a raging guitar fest , with little winks at Clapton's "Layla" and Laura's ongoing vocal expertise, the feel resolutely more blues-based with little dabs of psychedelic fervor. Piazzi does some tough work on his axe, Alfio enjoying his piano immensely. The last few minutes incorporate faraway thunder and a circus-like dirge, slamming door and bizarre street noise.

The epic 10 minute+ "Disordinaria" represents the high-point here, as there is little haste in building up the main theme, a simple riff that has Gothic appeal, binary drums and a ghostly sheen. The piano and the cello congeal as a masterful union, a definite eerie feel, especially in the stark guitar lines and the somber fret-less bass furrow. The following searing axe solo is intense, volcanic and expressive to the max. This is a clear masterstroke, a dream within a dream, a sonic voyage that keeps its feet on the ground as the head soars among the clouds. In my humble opinion, the disc should have ended with this masterpiece.

The album is finished off by a tired soldier ("Soldato Stanco"), essentially a voice and piano duet lamenting the pain of life and death, highly expressive orchestrations enter the fray as well as a spastic guitar splash before reverting to a mid-tempo piano-led ballad. The explosive guitar solo catches you by surprise, full of verve and spite as the reverb slithers out of range. This is a tasty album that has a few outright winners and a few lesser gems, certainly not a classic RPI album but a great addition nevertheless.

4 Modern worlds

Time Log: Jesus Christ is crucified. Place: Jerusalem. The preparatory "Introduzione" sets the tone with typical Middle Eastern serenity and empirical Roman bombast , setting a time and place for the story to unfold , as the annual Jewish Passover holiday is set to begin, amid great tumult between the local populace and the invader legions. The glorious melody on harpsichord settles as the freshly baked matzah emerges from the oven, and the last supper has finally arrived (Supper's Ready), the sound alternating between historic narrations, massive choir arrangements and titillating keyboard flourishes. The melody on "Ultima Cena" is achingly poignant, revealing a glimpse of the upcoming tragedy. The bread and blood of the alliance refers to the benedict sharing of wine and sustenance, forged by a gentle acoustic guitar phrasing that elevates the soaring vocal, escorted by a gliding lead guitar that weeps and cries with splendor. Sweeping mellotron ushers in colossal choir work that veers closer to opera, another Italian 'trouvaille' that has lived on. Celestial synths adorn the arrangement as the story unfolds.

As with the original, "Getzemani" remains that thunderous melody with a masterful arrangement that elevates the sound to heavenly heights, generally marshaled by a sublime synth foray, this continues to be a highlight that can only surpass the loftiest hopes. Stirringly emotional and densely spiritual, the pure sounds blur the line between musical genres, with that blasted harpsichord seducing the soul once again. Alfio Vitanza's drums are crisp, bold and riveting, providing the foundation for the intense choir section, fueled by both the blissful mellotron and the parping synthesizers. "I Falsi Testimoni" only enhances the flow, with roiling organ, narration and huge choir interventions. The ELP-like instrumental section gets a guitar impulsion that only temporarily hides the moog solo, straight out of Emerson's Lucky Man.

"Il Pianto" is a direct lift from the former USSR anthem (same as the current Russian anthem with different lyrics) written by Alexander Alexandrov, a drop-dead gorgeous melody that is too short for my tastes and segues into the more somber dramatics that edge closer and closer to the intolerable finale. "Il Prezzo del Sangre" slings a sizzling guitar into a maelstrom of orchestral strings as the price of blood becomes self- evident and the fate of a precocious Christ is sealed by both the occupiers and the occupied, another young prophet brought down for daring to shake the tree. A brief nod to "Giuda"'s weakness dwells only briefly, the voice being the main focus here, swelled by Lacagnina's slippery synth and a regal guitar solo from Dellacasa. The option of Barrabas or Jesus comes up as a collision of choirs entangled, the spectral church organ finding its place in the score with cavernous appeal ("Toccata per Organo"), all leading up to the painful Calvary where the Romans had prepared the cross.

"Il Calvario" is a hurricane of emotions, imagine if you will dark choral clouds that loom above the Mount of Olives, distant thunder and occasional lightning crawling the flesh, as the massed voices exult in pained distress. Agonizing guitar bursts and distraught mellotron rule the stage, as the point of no return arrives. The tears of blood stain the cross of Roman punishment, the future consequences impossibly divine for future billions of souls. The "Aria della Croce" remains strangely upbeat for those reasons. Things get tumultuous with dense orchestrations that flirt with wild dissonance a la Orff, with hard guitars and raging chorale, a reprise of the Il Pianto" anthem, gentle as the warm wind is meant to provide hope and perhaps even salvation.

The deed is done, the moment when history has been forever altered for better or worse, the music highlighting the importance of his being still venerated by many worshipers. The work does not come across as a religious artifact but a rather well-crafted re-working of a classic story that no one can deny. Latte e Miele is another fine example of the 'resurrection' of progressive rock music, a genre gaudily crucified in the late 70s as pompous and elitist by primitive music scribes who somehow seized power of the journalism world and prepared the nails that slammed through prog's arms and legs. Needless to say, the entire package is first class, artwork, booklet, production and sound.

5 revivifications

The opener "Il viaggio" (The journey) begins by a short acoustic guitar intro. The guitar is played with a bottleneck and this is rather unusual for an Italian prog album... Then the other instruments come in and conjure up the black and white images of an old railway station. The lyrics compare life to a metaphorical journey where everyone has a train to take. There are so many rails, stations, connections, the other passengers are ever changing, someone gets out while others come in... No one can know where his journey will end but one day you will hear your train slackening and you'll arrive in a black and white station lost in the mist, from where you won't set off any more...

Next comes the beautiful, mysterious "Alejandra". The title seems to refer to a charming woman of Hispanic ancestry while the music blends dark keyboards passages with more solar parts where electric guitar and synthesizer bring a touch of joyful lightness evoking the suggestive evolutions of a dance under the full moon.

According to the band, the following "Nani e clown" (Dwarfs and clown) was composed in 1973 and performed live at the Be-In festival in Naples. Starting from an old tape, the band re-arranged and properly recorded it in the studio breathing a new life into this piece that describes in music and words an acrobat who walks on a tightrope during a circus show. Dwarfs and clowns are his only family and he enjoys the spotlight when he puts his life at stake for the delight of the public... The music goes through many changes in mood and rhythm underlying the acrobat's feelings and the emotions of the crowd gathered below him... Excellent!

Next comes the calm, dreamy "Angelika", an instrumental track that could make you think of a wonderful woman in the ethereal, breathtaking atmosphere of a Nordic landscape. It leads to the melancholic "Per una volta" (For once) where the music and lyrics depict a proud, vain man without ideals who is wasting his days looking for something that does not exist... The charming voice of Claudia D'Ottavi warns him to change and to break down the wall that he has built around him before it's too late.

Then it's the turn of "La battaglia" (The battle), a sumptuous instrumental track with baroque echoes and a lively pace that conjures up the image of an army on its way to the battlefield... Then the ironic "Sirene" (Sirens) ends the album. A beautiful voice warns you that nowadays sirens are not half-women and half-fish as in the old lores and legends but they can still threaten and kill evil men with their spells. They were born from a beautiful woman in love, cheated by her husband who pushed her from a high cliff. Instead of dying into the sea, the woman was transformed into a siren... Now her spawn look like every other woman but they're hungry of vengeance: beware! If you listen to their singing you'll die!

On the whole, this is a very nice album that's really worth listening to (despite the dangers evoked by the final song!). The art cover by Cesare Pietroiusti portrays the shapes of three men, three ghosts coming from afar but still able to give us some excellent music. I really hope that this will not be the last leg of their journey and I'm looking forward to Murple's next work.