MYSOGINIA

Nik Comoglio's Turin scene of RPI pumps out yet another high-quality symphonic album using another cast of all-star collaborators--including none other than Yugen and AltrOck founder Francesco Zago to conuct his orrchestra. Also of note is the presence of my favorite choir in Italia--the same one that played such a integral role in Latte E Miele's stunning remake of Passio Secundum Mattheum--Coro dei Piccoli Cantori di Torino. Quite an appropriate and timely topic--especially with the Elena Ferrante phenomenon spreading like wildfire through the home nation (which might be why there is such a large proportion of women on board to create this album).

1. "Medea" (3:38) Out of a chaotic symphonic opening comes a great prog rocker! (9.5/10)

2. "Red Shoes" (4:00) what also starts out rather chaotic in an avant symphonic way, turns into a piano and organ based blues rocker over which Riccardo Ruggeri really stretches himself out. Not my favorite. Interesting strings arrangement and weird, awkward ending. (8.25/10)

3. "Caterina" (6:38) woodwinds in a gorgeous slow chromatic weave opens this one before piano and a very theatric Riccardo take over. Quite an operatic song--even down to the strings arrangement. Riccardo's performance seems a bit excessive, but, then, since it's being sung in Italian and it's meaning is, therefore, a bit obscured from my comprehension, I'm hardly in a position to comment. (8.75/10)

4. "12 Minuti" (6:00) solo piano opens this one creating a foundation for a very operatic/cabaret-like performance from S. Ruggeri. There's quite a bit of Queen/FREDDIE MERCURY in this performance: incredibly theatric and yet quite possibly tongue-in-cheek comedic, as well. After three minutes of this, a vampy piano bridge takes us to a brief fast-paced section before dumping us out into a dreamy psychedelic place. Here gentle vibes and bass dominate--to the end. (9/10)

5. "Evelyn" (4:22) Riccardo and piano give us another jazzy smoky-lounge start. Then singer Viola Nocenzi joins Riccardo to make this an impassioned duet. Flute and xylophone come to the fore when the singers disappear. I like the male-female duet part the best. (8.75/10)

6. "Mysoginia" (2:58) Female choir and cymbals open this one, chanting the song's title, before organ and jazzy rock band come together for a rousing run through the streets. At 1:30 we slow down for an urban passage through a rough neighborhood with the female choir announcing their displeasure at our presence--and Signore Ruggeri singing as if he's running afraid before leaving from whence he came. Weird song but effective. Another instance in which I felt like I was in Billy Joel's bar. (8.75/10)

7. "Women" (3:49) more jazz-inflected piano rock with xylophone and Riccardo Ruggeri as its two lead instruments. Has a very macho Gino Vannelli-like sound and feel to it. (8.5/10)

8. "No Sin" (6:33) solo Fender Rhodes yields to a very GINO VANNELLI-like vocal performance and soundscape. Vibes agin become the lead solo instrument of choice (until Roland Juno takes over). Once the full band joins in for the second verse the GINO VANNELLI feel is only continued and perhaps even amplified. Even the instrumental passage in the fourth minute feels as if Gino, Joe and Ross are pulling all the strings. The successive orchestrated passage is very cool--very creative--before yielding back to the lush smooth jazzy-scapes of Vannelli-land till the close. Cool song. (9/10)

9. "Amalia" (5:59) solo violin opens this before yielding to solo piano. Orchestra strings join in after the piano's fist exhibition--as it establishes its cinematic "love theme." At 2:42 we suddenly find ourselves in the middle of a church with Riccardo singing some kind of Italian ode to "Amalia." Then we finish with some BILLY JOEL solo piano. (8.5/10)

Total Time 43:57

I'm quite unconvinced that this type of jazz-cabaret music was the right choice for a serious treatment/discussion of the topic of how men have formed the norms for the treatment of women.

B/four stars; an excellent album of theatric lounge prog attempting to address one of the big issues of our times.