APOCALYPSE NOW

It's a very tough task to be a symphonic prog group nowadays, because it is the most explored style on the wide range of the musical genre. Bring some originality on this area may be one of the greatest challenge for musicians. Of course, there are people who can have the same favorite colour for his/her whole life, or even the same favorite dish for decades. Which is not a demerit or a limitation, it can be considered as fidelity and/or coherence. This group just wants more of the same, and they will find it fresh and stimulating.

But I know many boys and girls, men and women that at a certain point will want to diversificate its personal taste, or add more options to relish. So, this album can satisfy both groups. For the first one, the musicallity is magnificant, reminding some Banco and Museo Rosenbach passages.

For the second group, before they listen to this work, they can argue that the concept of composing around a theme isn't new. And they are absolutely right. However, on this album there's something different. Let me explain. Generally, in the cases when a book or a poem or a painting is the subject, the composer doesn't stand to far from the history and/or the images associated with it. That is a linear and easily understandable kind of development of the motif. Ranestrane takes a more complex task - choose the parts or elements of the film that are the most interesting and/or impressive. IMO they largely succeed on that. And for the group of people (I'm in it) that has seen the film, I suppose that all or almost all will naturally remember at least some of the images of Apocalypse Now during the audition. That gives some of the tracks a unique dramatic load. Besides, I think most of the people will agree on the idea that visual images have a more emotional impact than only words (no critics here to books, they can be incredible to stimulate our imagination and capacity to absorb and analyze stories). And now I'll comment the cherry on the top of the cake. The use of some sounds and narrations from the film gives more theatrical density to the album than it already has instrumentally and on the italian vocals. Martin Sheen's narration is very engaging, and Ranestrane selected only some short parts,which therefore do not compete with the instrumental. complements it. This artistic choice may not resist to the streaming, and the fact that this film is form 1979 brings some restrictions to those who will hae a full access to this experience. It's really a shame; that's why I'm trying to spread this review on other prog rock groups. For the artistic conception and corpus of this work, I give it a 4,8 star. For the musical aspects, 4,3. Well, this is closer to 5 than to 4 stars.