ROCK PROGRESSIVO ITALIANO

'Città spenta' we adjust the instruments; dark text on the pandemic, death, vocal taking on Meccano or Renaissance. The voice becomes aggressive for a while before returning to a jazzy side with the cascading piano; the romantic ballad which insists on the vocal with the Floydian finale, a real musical waltz in 6/8 too predictable. 'Tramonti di Cenere' arrives with the riff that wakes up, excellent for trying to stigmatize the impotence of politicians to fight against our dying earth. The most accomplished piece of music due to the energy finally deployed with the boiling keyboard; the variation flows naturally between a moment of piano fullness and hard flights boosting advantageously. We find ourselves headbanging on this modern prog as I dream with its torrid keyboard, its captivating crescendo. 'Endurance' ends the album, the story of the explorer Shackleton hence the blizzard and the footsteps on the snow; a case of whisky was found in the boat but I digress, captivated by Emanuela. Ambient piano part followed by the folk part, neo-classical with syncopated jumps, in a tavern telling the story. The symphonic break, oozing tension to follow the evolution of the explorers, the ultimate moment of fusion, the air swelling suddenly with Sandro singing; last warning shot with this heavy solo more than Gilmourian of Simone, giving regrets in view of the intensity and the emotion released.

Melting Clock finally releases its 2nd opus, Emanuela working her voice like an instrument and making forget the typicality of the language, beautiful but targeted in a musical straitjacket. Originelley on progcensor(3.5).

Basically this album is one long suite that divided into four movements all delivered through the traditional prog rock instruments of the acoustic and electric guitars, keyboards, bass drums along with some extra sounds courtesy of a bassoon and even a didgeridoo. Unfortunately the percussion is delivered with electronic drums and even though the tones and timbres of the percussion sound legit, the actually drumming sounds a bit canned for my tastes as there are no "let loose" moments for the drummer. The opening "Sopravvissuti / Survivors" opens strongly with a creeping keyboard and distant vocals covered in static with a very neo-prog sort of tension builder. As string pluck their way into existence the track finally breaks free into rock mode and then unleashes a series of keyboard sounds resembling a theremin reminding a bit of some Rick Wakeman's solo output. The track delivers some nice twists and turns with more energetic key passages evoking and guitar work on the heavier side of rock.

The middle two tracks are bit less convincing though as the drumming begins to sound less convincing and the melodies aren't quite as strong. In other words it begins to sound more like generic prog, perhaps something of a B-grade take on those phenomenal symphonic prog releases by the Colossus Project. It's about this time the need for a talented vocalist becomes apparent as it sound more like karaoke night awaiting a charismatic singer to jump up from the audience to take the mic and blow away the crowd but alas our hero in shining armor never seems to crash the party. The longest track on board the closing "Nuit dans le désert / Night in the Desert" offers more dramatic moments on par with the first track and serves as the epic closer with a 15 1/2 minute run and a series of "soft" prog motifs that allow gentle breezy guitar sweeps and dominant keyboard runs to punctuate the tracks epic sprawl. Once again the track is diminished by the rather lackluster percussion and the over reliance on the same recurring keyboard sounds that dominate the album.

In many ways ALICANTE crafts a memorable album as the style is distinct from other prog bands of past or present yet somehow doesn't satisfy on either front. On the retro side the album is populated by too many artificial sounding moments mostly notably in the percussion department but also in some of the tones of the keys. As for a modern album the band doesn't really go far enough in integrating past and present and at certain moments i just find myself going "why didn't you do THAT?!!!" A decent album that will please lovers of slow, easy listening instrumental prog but for my ears this one comes off as a bit lackluster on my fronts: songwriting, instrumentation (and use thereof), differentials between dynamics and it's just playing too safe for its own good. None of the members really display any particular virtuosity except on rare occasions where the keyboardist shows he can engage in some nice workouts but often the album dips into a proggy form of slowcore. It just seems a bit imbalanced. Nice but not top notch Italian prog.

The album starts with Pista 6, and this was the one that immediately sold me on the album. The song opens with some keyboard ambience and echoing guitar parts, while Franco Giaffreda provides some great vocals accompanied by some background percussion. Before in the distance, a bass line begins to play, and the rest of the band joins in a little after that. They start with a more jazz influenced section, from what I heard, before delving into the RPI sound. Some of the sections of this song sound more like you're in an orchestra pit rather than a rock song. You can also hear music similar to Genesis' The Lamb Lies Down on Broadway in some parts. Overall, a fantastic start to the album and my personal favorite song on the album. Next on the album is another great song titled Viaggio Nel Nulla. It begins with a nice keyboard opening before going into a passage that has more of a rocking sound, with something close to AOR, but not exactly. I also really just love the keyboard parts in this song; they have such an emotion behind them and add a lot more to the song in general. Other than that, not a whole lot to say here. It's just a nice, classic prog sounding song. The next song on the album, Flashback (Apocalisse), takes a much different approach. It kicks off with a futuristic sounding section on the keyboards once again, before the band plays a much more gloomy and complex piece of music. I would argue that this song is the most progressive on the album, with rhythm changes, complete stops, and overall uncommon structures. The song also sounds very serious, with a high level of musicianship made obvious within it. The song has dynamics between heavy prog and softer prog in multiple areas and is all throughout incredible.

  The second half of the album starts with the ten minute long suite, Wormhole. It begins with a generally happy sounding synth part, and the rest of the band turns that happiness into an almost dreadful sounding part. The progressive force these guys had all those years back in 1973 is obvious here, with an extreme technical performance in most of the song. When the band finishes though, they play a gorgeous acoustic section and come close to a crescendo, but immediately stop and return to the beginning playing. The song ends with a refrain of the synths at the beginning. This is probably my second favorite song on the album, being strong in terms of prog and beauty. Similar to Viaggio Nel Nulla, the next song, Meta e Meta, is more inspired through classic rock and AOR. This song feels a lot more upbeat, with normal music compared to other progressive rock music, and more classic rock edge can still resonate with me, but I would consider this to be the weakest song on the album. So, there's not much I can add to the song right now; it's just a great song. The last song on the album has got to be one of the most fitting closings to an album. It's titled E=mc2 and sounds almost entirely orchestral. The vocals are absolutely beautiful, and they are accompanied by an acoustic guitar in the background for most of the song. The way they reach these high points and how the band creates this almost tearjerking experience through this song blows my mind, and the fact that even though only two original members are here, they're all old and yet they manage to pull off. This was definitely the best option they could've taken to end off this fantastic album.  

In conclusion, 2084: Viaggio Nel Nulla is my personal favorite album of 2024. Yes, the band strives away from a normal progressive style of complicated structures and technical musicianship and goes for an elegant mix of RPI and symphonic prog. It achieved such a charming and magical sound that few bands could capture this late in their careers. However, they still managed to capture a highly progressive sound. As for the best songs, Pista 6 and Wormhole have got to be some of the greatest things Alphataurus has made. Even though I've been talking about how great this album is, I have to give it a 4/5 because, as I've mentioned, it doesn't have that progressive punch other albums bring to the table. I'm fine with this divine sound they have with this album (as I love this sound if you couldn't tell throughout the review), but it could be more progressive and probably not an absolute essential or masterpiece of the genre.

4. Wormhole for its piano variation is worth the trip; after that it's RPI again and again, good but a bit saturated to see a movement draw and draw again from their own creations; the guitar arpeggio break catches my ear, well yes a whiff of GENESIS has something to do with it; chorus on 'Your Own Special Way'; good 8 minutes and the drum beat of 'The Knife', too much is too much anyway; I'm going to be told that 2 chords in rock promote similarities but still; a hell of an impression the heavy jazzy prog finale with this keyboard that reminds me too much of... okay I'll shut up 5. Meta e Metà for the most common title, soft, progressive without overdoing it, that is to say basic RPI with energetic vocals, like on a pop song; a riff all at once, the keyboards provided; break and reprise of the dated keyboard solo, yes I insist the fans of the first hour will like it, it's a fact, the others will be a bit disoriented in front of this sound from another era; the final guitar solo is worth the trip with its long tirade 6. E=mc2 for the bucolic, solemn RPI piece, finally a beautiful melody without an aggressive break between the vocals and the instrumentation; the finale on a Christmas tune surprises and makes you want to listen again.

ASTROLABIO continued the friction between Fossatti who was more interested in the rock side of things and drummer Maurizio Cassinnellli who was more interested in the classical meets pop hooks route. This second album is a temporary truce between the two styles before the band splintered for good thus breaking GARYBALDI up despite a recent score on the Fonit Cetrra label which hosted Osanna, Alusa Fallax, Raccamondata Ricevuta Ritorno, New Trolls and many other key players in the Italian prog scene of the early 70s. ASTROLABIO features two very distinct tracks that have little resemblance to one another but both over 20 minutes long and swallowing up an entire side of the original vinyl LP pressing. While the first side swallower "Madre Di Cose Perdute" features GARYBALDI on full prog mode with less emphasis on Hendrix style heavy psych, the second side "Sette?" was presented as a lengthy in studio band jam which revived Fossatti's Hendrix worship in full regalia.

"Made Di Cose Perdute" starts out unexpectedly with gurgling synthesized noises and abstract guitar harmonics slowly percolating into some sort of form as if an abstract Krautrock sound was slowly morphing into a more bluesy space rock aesthetic of Pink Floyd. After a couple minutes of warming up though the musical style takes form as a more traditional Italian prog act with romantic Italian lyrics in a slow plodding space rock format with a Floydian bass line cradling Fossatti's bluesy guitar licks and a pacifying atmospheric backdrop. There are some haunting backing vocals that sort of emulate moments of "The Dark Side Of The Moon" as well. Had Fossatti traded in his Hendrix worship for England's most famous space rockers? At first it seems so but around the 7-minute mark the style jumps back into a more symphonic style of Italian prog with some bluesy guitar gusto. This is the type of track you keep expecting to evolve into something grand given the 20-minute playing time but it never really takes off into an epic prog journey but rather recycles the same licks and motifs ad nauseam until you are left feeling woefully unsatisfied.

The second track "Sette?" is even less satisfying as it was basically an in studio jam session that featured some friends and family who added some audience participation type sounds but basically this is another Hendrix worship sermon with bluesy heavy psych motifs fortified with Fossatti's guitar wizardry along with moments of contrast which allowed some classical keyboard runs to sneak in as well as other styles trying to cast their light through the dominant stature of Fossatti's overpowering guitar prowess. It's a decent track but sounds more like a series of improvisations that early hard rock 70s bands like Deep Purple would unleash in a live setting to distinguish their live performances from the studio tracks. While fine in a live setting it seemed like a big fumble to include this as half the album. Perhaps a decent bonus tracks on future reissues but as the main album? It doesn't offer enough meat and potatoes to give you that satiated feeling and when coupled with the underwhelming performances of the first track it's clear GARYBALDI was not firing on all pistons at this stage.

For whatever reasons this band which was clearly talented beyond belief and had the chops to craft some of the top notch Italian prog of the era seemed to squander every opportunity with substandard decisions that made lopsided albums. On "Nuda" the opening tracks were way too close to the original Hendrix material with The Experience and although the album was redeemed by a spectacular prog closer on the second side, the album would've been much better had the entire album embarked on the same journey. On ASTROLABIO these faulty fumbles are even more pronounced with a rather middle of the road first side followed by a rather head scratching incongruent second track. It's not a bad album by any means but seems to lack any focus or direction that brings it to the top ranks of Italian prog. It seems the band members were too busy butting heads to focus on coalescing their talents into a vibrant expression of unique Italian prog. I actually prefer the debut album to this one but it is a unique nook of the Italian prog scene that no other band followed. And to be honest i actually like the Gleemen album better than both GARYBALDI albums!

This new and improved band that had graduated from a mere heavy psych outfit to bonafide prog band and released two albums with the first NUDA coming out in 1972 which featured one of the most striking album cover foldouts of the entire Italian prog scene. The three panel fold out featured a lovely gigantic naked woman in the jungle with animals like elephants, rhinos, monkeys, big cats and crocodiles using her as their playground! Musically GARYBALDI continued the basic sound established by Gleemen which featured Bambi Fosatti's heavy reliance on Jimi Hendrix inspired guitar performances only with more complex compositions including the side long "Moretto da Brescia" that features three suites. Despite Fossati stealing the show with his guitar tribute to Hendrix, the album features a strong band effort with impressive keyboard performances as well.

The album gets a bad rap for being TOO Hendrix-ish in style and if you judge the album by the first three tracks then you'd be totally spot on as "Maya Desnuda," "Decomposizione, Preludio e Pace" and "26 Febbraio 1700" sound like something off of "Electric Ladyland" and could even be considered plagiarism at times however i look at this more as a tribute to Hendrix done tastefully and with creative input from the band. Starting with the fourth track "Moretto da Brescia" the album sounds more like heavier Italian prog than The Jimi Hendrix Experience however Fossatti never abandons the guitar playing influence as it's woven into the framework of the more progged out second half of the album. This fourth track in some ways sounds like the perfect mixing of Hendrix's guitar playing within a more Italian heavy prog sound such as from Il Revescio Della Medaglia's early albums or similarly the first Procession album. This track is where the more ambitious keyboards are let off their leash as a warm up for the side long closing multi-suite.

"Moretto da Brescia" clocks in at nearly 21 minutes and features the three parts "Goffredo," "Il Giardino Dei Re" and "Dolce Come Sei Tu." Here the Hendrix influences are almost absent and the band sounds like a more traditional Italian symphonic prog band with strong melodic hooks teased out of classical musical interpretations and more romantic vocals. Likewise the use of keyboards dominates as do the many twists and turns that offer a true journey into a sprawling prog behemoth. Even Fossatti's guitar playing which is still prominent at times takes on a more Italian prog sound. This track is quite impressive and ranks up there with the best of the Italian prog bands and actually too bad that GARYBALDI didn't create the A-side to match. Despite the massive prog upgrade the band neither lost its flair for heavy rock nor psychedelic trippiness at times. Likewise despite the classical domination as far this three-part closer goes, GARYBALDI keeps the bluesy rock rumbling as well as adding some improvised jamming moments.

This one is a mixed bag for many with many alienated by the too-close-for-comfort Hendrix references as well as the lopsided nature of the two sides of the album that are very different. In fact they sound like a different band in many ways. This is probably a 3.5 star album for its blatant Hendrix worship but i can't help but love it anyway as Fossatti simply nailed the Hendrix style and took it to the next level. Sure i wish the first couple of tracks were more compositional distinct but overall i actually love the heck outa this album and it's boldness to take Italian prog into a very unique direction. The band however proved unstable and although GARYBALDI would release a second album titled "Astrolabio," only Fossatti and drummer Maurizio Cassinelli would return only as a trio instead of a four piece. Great album despite the overt Hendrix worship. 4 stars

While not quite a crazy complex prog act yet, GLEEMEN were pioneers of Italian progressive pop and crafted some excellent songs on its ten track album that featured Fossati's wild and eccentric Hendrix inspired guitar playing as well as some excellent keyboard and organ performances by Lio Marchi which weren't quite Keith Emerson but much more virtuosic than the average heavy psych band of the era. Bordering on hard rock and hinting at the prog path that Garybaldi would embark on for two albums, GLEEMEN mastered the art of crafting catchy pop infused songs that added the extra edge of excellent instrumental interplay and top notch musicians who were ready for the more complex world of prog but just hadn't gotten there yet.

The album featured that 1970 transition sound where the worlds of 60s beat and heavy psych were morphing into progressive rock and hard rock. GLEEMEN somehow skirted the very middle stages where all those styles intersected. The catchy tunes begin right off the bat with the opening "Farfalle Senza Pois" which features a period Hammond organ and some vocal harmonies before jumping into a feisty funk guitar riffing session accompanied by some excellent 60s psychedelic organ playing sounding like a mix of The Doors and perhaps Shocking Blue! Fossati wastes no time demonstrating his virtuoso guitar playing skills that are clearly out of the Hendrix playbook but with a personality and style all their own. In fact he sort of reminds me of the style Uli Roth would adopt on the Scorpions' first hard rock phase.

The album delivers some excellent harder rock performances but also knows when to turn up the psych with a nice trippy second track "Shilaila dea dell'amore" adding a lysergic touch. Here Fossati demonstrates his ability to adapt his guitar playing to just about any style. The use of echo effects and a solid groovy bass and percussive offers the perfect heavy psych sound of the era made all the better by Fossati's equally impressive vocal style that delivers that romantic Italian language delivery system yet given a bit of a rougher edge to fit the heavier aspects of the album. Tracks like "Spirit" provide the perfect platform to showcase the Hendrix guitar style as well as some of the coolest organ performances in the world of heavy psych. Fossati also shows his ability to sing at a rapid pace and almost sounds like he's ready to rap and roll! The longest track "Chi Sei Tu, Uomo" is a near 7-minute bluesy rocker sounding something like Led Zeppelin's first album but a bit more energetic. The track also features some excellent drum solos.

"Un'amico" features a bouncy even danceable groove that finds the dueling guitar and keyboards that sounds like a Beatles pop song played with Doors-like keys and Hendrix-like guitars. The organ parts get down and dirty on this one. Very cool! The tracks "Bha-tha-hella," "Clakson" and "Dei O Confusione" deliver more of the same with different flavors but once again generate the perfect mix of heavy psych, blues rock, early Italian prog and sunshine pop! The last two tracks are very different with "Induzione Part 1 & 2" more in classical mode with the opening keyboards but then morphs into a guitar riffing heavy psych frenzy with clever song shifts from verse to chorus. The band members were excellent composers. The closing "Divertimento" takes a completely opposite approach and provides the proper meltdown to end the album with an avant-garde performance of improvised soundscapes that are rather nebulous and devoid of melody.

While not quite a prog band yet, GLEEMEN did feature a nice group of excellent musicians who performed surprisingly well and best of all the songs on this one are all instantly catchy and showcased a true creative genius of mixing and melding 60s influences and putting them into the context of Italian progressive pop. The band would continue with this basic formula as Garybaldi but would take it all into a more sophisticated progressive arena. While prog purists may find this album a bit too mainstream for their tastes, for anyone who loves some very well performed beat-inspired 60s pop mixed with the harder heavy psych elements of the 60s rockers, especially Hendrix then you will love this. These guys did an excellent job reinterpreting the classic sounds of the 60s and putting them into an Italian rock context. Add to that i absolutely love the album cover art as its one of the most satisfying and trippy representations of the entire psych era. This album is excellent!

The opener "Re Schiavo" (Slave king) introduces the subject matter. It begins by background voices and a disquieting atmosphere. The rhythm is slow and the lyrics evoke sweet, hard-to-die memories and an old photograph. Then the wind begins to blow, blotting out the dream. The protagonist realizes of being part of a timeless subhuman system, a mountain without a top that will sooner or later crumble. As the rhythm rises you can almost perceive a burst of indignation. Man devastates and ravages his environment night and day without mercy, turning it into a gloomy place. When the rhythm calms down there's room for a melancholic mood and for an epitaph to humanity before a final surge of anger...

The long, complex "Preda" (Prey) is divided into two parts. The first part starts by pulsing bass lines and a funky rhythm, but soon the atmosphere becomes darker, almost suffocating. The music and lyrics tell of an unresting night with the protagonist surrounded by the threatening, oppressive lights of a city that in his eyes looks like a prison. He has to act like everyone else, wearing a mask to hide his true feelings. But now the time has come, he plans to escape and he feels just like a prey... As the rhythm rises the hunt begins and is up to your imagination to follow his efforts. The second part opens with a heavy electric guitar riff and dark organ waves, the protagonist keeps on running and you're left with the image of a mask hanging from the a willow tree as the wind is blowing. A man is really trying to cheat death or is this just a desperate dream of freedom?

"Gabriel" is a melancholic track that evokes faceless shadows and screams drowned out by the noise of civilization. Something is burning without flames and there's room for regret and rage, sweet memories and gloomy omens... Then comes the beautiful instrumental "Xoanon" that seems to take you on an imaginary journey through space and time. The title refers to a wooden cult image of Archaic Greece associated with the legendary Daedalus...

The delicate "L'isola di Sara" (Sara's Island) brings out aching memories and misunderstood words carved into stone, in places out of reach. The music and words evoke burning scars and painful regrets but there are also melodic hints of hope. The bandcamp special version of the album features a track for piano and narrative vocals that you can't find on the original CD, "Isola di Sara Intro". It's an introduction to this song with the guest Benedetta Degli Innocenti playing the role of Sara, composed for the live version of the album in 2012 but never performed. It's the letter of a rebellious daughter to her father who once was an idealist and now is part of the system, changed by his part in the ruling power...

"Sovrano dell'illusione" (King of illusion) is divided into two parts. The first part begins by a delicate piano passage, the atmosphere is dreamy and melancholic. The music and lyrics describe the sad reflections of a man of power who becomes aware that his kingdom is just a world gloomy misery where is weakness what keeps men together. He's alone in his solitude, greediness has turned his rule in a kingdom of tears but now he dreams of a new dawn and turns his eyes to the mountains of the moon, where the illusion is perfect... In the second part the rhythm rises, the sounds are harder but the feeling of confusion and restlessness never goes away...

"Re Schiavo Reprise" concludes the album with a brushstroke of repentance and regret. The protagonist vows to make his best to repair all the errors he made...

On the whole, a wonderful album that is really worth listening to.

This album, 1998: La Storia di Sabazio, is a hidden gem from the Italian progressive rock scene of 1973. Released during a time of political upheaval in Italy?where fascist and communist tensions, student riots, and rampant corruption created a backdrop of chaos?Triade's music offers a rare escape from this turmoil.

Rather than addressing the political unrest directly, 1998: La Storia di Sabazio takes a different approach. It's not a protest record but rather an introspective journey, almost mystical in its composition. The concept of Sabazio might be abstract, but the true essence of the album lies in its evocative music. Vincenzo Cenci's keyboards are central, blending classical influences with rock in a way that feels more like a dream than a manifesto. The album draws you into its own world, where the external chaos seems to recede.

Tracks like Sabazio and Caro Fratello exude a melancholic beauty, offering a sense of peace amidst the surrounding unrest. Il Circo, with its shifting moods, mirrors the disorder of the times but retains a controlled, lyrical quality.

Although some might dismiss Triade as just another Italian clone of ELP (Emerson, Lake & Palmer), this view misses the mark. While they share some classical and keyboard elements with ELP, Triade's sound delves into darker, more obscure territory. It's the minor, shadowy notes that define them, offering a depth and introspection that contrasts with ELP's more grandiose style.

In the context of the Italian prog scene, Triade stands out not for its overt rebellion but for its delicate, almost cinematic compositions. Their production is raw and authentic, reflecting the era's spirit and making the music feel immediate and alive.

Triade's story is a classic case of the "one-album wonder." They released just this one record before vanishing from the scene. It's a phenomenon in music history?where bands create a single, powerful snapshot of their sound and then disappear. This unique aspect of their story adds to the album's allure, making it a fascinating subject of study.

Adding to the album's mystique is the fact that Triade opened for legends like PFM and Le Orme . Imagine the scene: Triade, with their lone album, sharing the stage with two titans of Italian progressive rock. PFM's sophisticated Italian-British blend, Le Orme's maybe the most recognizable prog act in Italy , and Triade managed to hold their own in this prestigious company.

Listening to 1998: La Storia di Sabazio today is like unearthing a time capsule. It captures the essence of a turbulent era while offering a profound, introspective escape. Despite their brief career, this album stands as a quiet, compelling statement amidst a chaotic period.

Moving on, we get to the first song on the album, In Quel Secondo. It opens with a really catchy yet really progressive guitar riff before going into a slightly relaxed sounding mix of keyboard, vibraphone, and acoustic guitar. I'm not sure why, but some of the guitars during this section remind me of 80s King Crimson. The song goes into chaos for the middle sections, transitioning into slightly altered versions of the opening riffs, refrains of the relaxing section I mentioned, and dark yet pretty synthesizers mixed with spoken word. The song now finds its peace and continues with great harmonies from their singer, Giovanni Barco, until ending the song with the opening riff along with some extra chords the band sprinkles in at the end. This is, in my opinion, not only one of the strongest songs on the album but also one of the strongest in Semiramis' small discography. 

Going along with the album, the next song is Cacciatore Di Ansie. It opens with multiple instrumental compositions, some of which I would argue have some fusion elements in them along with RPI. We get a brief vocal section before moving on into a slightly chilling piano piece that goes on for some time before the rest of the band joins in for some lovely playing to finish off the song. While this is a great song, it's not as strong as the opening track, and while I like the ending, it can be a bit more aggressive sounding at some points.  

The next song, Donna Dalle Ali Acciaio, opens with a more folk inspired blend of classical piano and acoustic guitar before going into a pretty normal sounding verse. It quickly changes to a more progressive sound with some excellent chord structures. The song then transitions into a passage sounding like the opening vocal parts of Machine Messiah before ending. Again, another strong song on this comeback album.  

Non Chiedere A Un Dio opens with the soft chimes of bells and a simple acoustic piece, with minimal input from the rest of the band with this intro. When the band does come in, I will admit that while it is good, it's a little bland to say the least. The second half of the song is more interesting, with a lot more progressive playing. This is for me the weakest song on the album, so I don't really have that much to say about it. I could go further into an analysis of the song, but as I mentioned before, some of the parts can get a little uninteresting.  

Tenda Rossa, on the other hand, opens with a much more aggressive and powerful instrumental opening. Semiramis manages to keep this power onto the vocal sections, but I wish Giovanni Barco would've done some more raspy vocals to add to the more darker parts. They then transition the song into a more happy sounding ending where they drop the electric guitar for an acoustic one and include an amazing organ solo at the very end, which has a bit of a breakdown at the end as well.  

To end this great album, we have Sua Maestà Il Cuore. I noticed that this song was much more keyboard heavy and had a much darker tone than any of the other songs on the album. From here on out, the second part of the song has influences that would change multiple times. First, it starts off sounding like Scene Three from Metropolis Pt. 2, then it transitions into just plain heavy prog, and then it moves into the end of the album, which sounds a lot like fellow RPI band Area in my opinion. This was a great song to end the album, and it's one of the best on this album.

  In Conclusion, La Fine Non Esiste was one of the strongest progressive rock albums of 2024 in my opinion. How Semiramis can change from happy traditional rock music to dark and deep progressive rock shows just how well this band can play after a break lasting over five decades. I would also like to quickly say that I also enjoy the album cover, but I will always love the debut album cover better. While I do love this album, it has some flaws. Some of the music can get a little too happy and become plain and I think the songs could've been a bit longer to have room for the more complex music in the album to breathe. So at the end of it all, I'll give this album a 4/5. It's great for anyone listening to RPI or progressive rock, but I see a zero percent chance this will be considered one of the greatest albums of progressive rock. I would still highly recommend a listen to this album and Semiramis' other album if you haven't checked it out already.