STORIA DI UN MINUTO

The main reasons for which PFM rhymes and proliferates with the Italian Symphonic movement can be various, focusing on the strength and the fascination of the genre's language,and reasoning (incontestably) with music being a spiritual isolation, a beautiful act class and, given the band's primary ideal, a valorous and distinctive value. PFM surprise even nowadays, through music and concept, but, mainly, they share three albums, classically stamped, which reflect a giant movement's most popular and grand expression, by a small delicacy of interpretation. Does PFM, knowingly one of the best bands, torment themselves into getting an entire extent of fabulous rock and art? Absolutely not, though they do play and seek, intentionally, a clear-obscure personality, an endless caprice, fully bathed in essences, and a gullible mild sublimeness and nostalgia, on the real edge of rock and complexity.

To my shame, a imagined a lot of softness and biased ardor in Italian Symph's regular inspiration, only for one of the best such expressions (and, incidentally, one close to being my first ever experience from the entire universal-lengthen catalog) to prove me wrong. The italienesque sapience comes indeed with linguine morphs of passionate, sweet-ceramic or soporifically suave, otherwise the accent would fall on gainful dappers or gigantic tones. But PFM finds a different approach, with no stop at it, combining the sweet candor (and a quite original candid warmth) with notch and fruitful hard arrangements and artistic challenges, much to complement dynamic and suspense, under empathies and lucid vocalities. In rest, the band (and most awarding Storia Di Un Minuto plays and sings under genuine and basic treats of excellent music and extra-viral emotion. The music vibrations of this album are deceitful at times, but always masterful. The dependency is pure progressive, but also aspires and supports originality.

A work like Storia Di Un Minuto, not that heavy at all but surely more shaped than within a "minute"'s veritable splendor, is profoundly something of genius, but most especially of a major sensibility. It has most of the classic prog puzzling instrumentality, describing it with an indulgence of a careful expression. The art sounds simple, in terms of fantasy and numbness, colors and serenities. The band here consists of musical poets, who are also aggressive melomans. With a huge effort of mixing the traditional rock band weight with instruments of finesse and radical expressions (mandoloncello, ottavino, clavicembalo!!) and a contrapuntal vocal spirit (almost all the artists know to sign a bit from the tale), Storia Di Un Minuto is an album of very good inspiration, drying a lot to signal a suple supreme progressive act. My personal hero is Mauro Pagani, playing wonderful flute macro-arrangements and ample sonorities - somehow, I am also sure many will love the piquant guitar frenzy, interpreted by Franco Mussida, and di Cioccio's vocal ethereal lead. All the rock passions and lyrical impressions conserve PFM's out stand and show a soul conditioned musical act; there are full caprices of all the beloved dynamics and symphonic dialects, sensing and scoping the artistic embrace and the full demise of imperfections.

The walkthrough that follows is the easiest impression yet, since the entire album burns under a clever light of ingenuity. But it is true that each piece enchants specifically. Introduzione is a "prelude-simfonietta", with a hard climax. Impressioni di setembre is agil and tasteful, a first melodic fantasy in the album, with a grand tumultuousness of a prog deep rock rhythm, by scenic keyboards grave choruses. E' Festa is absolutely sensational, as an embalming musical play, going from sensibility till plenitude. Flawless, really, if only the vocals wouldn't oscillate so darkly. Dove...Quando... is a bipartite compositions (disturbingly cut between the two sides, if you have the LP or the vinyl), which overwhelms, under a mini-fantasy of music and complete fragrances, the surreal, the corpulent and the "tempestuoso" of the music. La Carozza di Hans is unnaturally splendid and charming, mostly loving crazy and eclectic rock fireworks, under a mindful melody and beloved heartbeat. Grazie Devvero ends with another full effect, in a constrict ensemble of movements and a graceful freedom; the orchestral-touch beholds the simple guild of the final flair.

Storia Di Un Minuto is wonderful, as a typical PFM magic-clasp, and as a simple and hallucinating classic album motive. I'd hate to say that this wouldn't be a five star grand creation, a strong and charming music and, most gently said, one of the most lucid Italian symphonic dreams, sharing a pretty immortal essence.