IL MADRIGALE DEL VENTO

For this one, Calliope went for a slight shift in their musical direction, lowering their hard aspect while increasing their softer facet: the compositions are now based on more subtle and delicate musical motifs, and the performances are more clearly focused on the interplays than in their previous albums. The incorporation of a female lead singer, Annalisa Gastaldo, is also a relevant factor in favour of this re-direction. So, generally speaking, "Il Madrigale del Vento" is a typically melodic-oriented neo-prog opus, that turns out to be quite impressive due to the fact that the compositional ideas are very attractive and the overall performances are solid. The opening three-part suite 'Terra di Maggio' is really lovely, and so is the closing suite 'La Visione della Dolce Pioggia'. In fact, the latter is richer in terms of varied musical motifs and more accomplished in terms of cohesive arrangements - the Renaissance stuff brought in it reminds me of what Minimum Vital used to do in the good old early 90s. IMHO, this is the album's apex, but still there's more to comment about in this review. Track 2 goes to melancholy places, displaying a charming air of reflectiveness, while tracks 3 and 4 kind of take us back to the times of Renaissance nobility entertained by glamorous musical ensembles - the latter turns out particularly colourful in a pompous yet not excessive manner (once again, the similarities to early 90s Minimum Vital come to mind). 'Il Tempo sei Tu' brings back the overt melancholy that had been introduced earlier in 'La Nascitá della Luna', if only a bit more captivating. This just shows you how far the guys and girl of Calliope were willing to go in order to explore their softer melodic side, making it the basic leitmotif for the album. 3½ stars for "Il Madrigale del Vento".

Calliope is "in Greek mythology, the Muse of epic poetry, one of the nine Muses believed to inspire and nurture the arts". It is coincidently also "an organ that generates sound by the release of steam or compressed air through pipes, with tunes often played mechanically, as on a player piano. Calliopes are usually found in fairgrounds or circuses." In our particular case, Calliope was definitely a new ISP band in constant progression, evolving from the jubilant "ripping" excesses of their first albums towards a more thoughtful approach, simply by having the 2 core members (drummer Gianni Catalano and keysman Rinaldo Doro) invite some fresh blood into the fray. No one more so than the splendid vocalist Annalisa Gastaldo , ably assisted by new fretman Aldo Mari , bassist Lele Tosches and second keyboardist Enrico Perrucci. This double ivory arsenal certainly can remind one of Greenslade but the mood is completely different, way more pastoral, medieval-tinged and dreamy. The disc kicks off with a 16 minute epic, "Terra di Maggio", a valiant prog delight , loaded to the gills with various ARP, Moog, Roland and Akai synths, organs, pianos and mellotrons. I am disappointed that the bass (a huge up- front feature with the previous band incarnations) is deeply buried in the mix but that is just me whining about my fave groove conductor not getting enough of a spotlight. Nevertheless, this colossal piece gets a real ride, up, down and sideways, flowing with tortuous fluidity, best exemplified with a fanfare outro that is sheer pleasure, as the choir mellotrons growl in the background. "La Nascita della Luna" is almost "cathedralesque", an echoing plaintive lament that evokes a simple fragility, a guest violin (Andrea Sibilio) gently guiding the way, where Annalisa gets to stretch out her considerable vocal skills with washes of numerous keyboards coloring the atmosphere. Definitely the serene facet of Italian prog, with massive doses of emotion, restraint and melody! Next up is the masterful traditional/renaissance classical piece , a Helvetic (Swiss) piece , "En Haute de Crete" , with choir-trons wooing intensely the fluid synth flute lead on, a touch of violin spark to add even more grandiose effect, gliding into almost vintage Oldfieldian territory. This is a highlight track that is way too short but devastatingly adroit. "La Bionda Treccia" continues on the road of reworking medieval themes, with an overtly Middle Age feel that is hard to resist, Calliope morphing into expert modern troubadours. Annalisa's speed reading is certainly a highlight. "Il Tempo Sei Tu" prefers a return to the dreamier vanguards of their style, with soaring violin (what a sound!) and a mesmerizing vocal that floats with a grandeur that perniciously abducts the senses. The finale is another gigantic four part suite, "La Visione della Dolce Pioggia", which ultimately defines the musical conscience of this band, where the classical meets the Renaissance while injecting a modern technical instrumental touch. In this, the blessed union of violin and the arsenal of keyboards provide indescribable emotions, sweeping themes with strong impressions, deft playing and a true desire to propel the listener into a distant realm. The main theme is repeated often with utter conviction and gives way to a serene introspection. The more rambunctious sections seem to push the whole piece forward, including some interesting guitar-synthesizer incursions, with great consequence. While not a masterpiece by any stretch, this album is a dedicated companion and a more than worthwhile listen. 4 Clowning Jesters.

This is CALLIOPE's third album and my least favourite of those three. Quite a change here as they've become more pastoral and added a female singer. It's hard to tell if it's the same band actually. The album opens and closes with two epics with four short tracks in between.

"The End Of May" opens with atmosphere until synths and drums arrive 1 1/2 minutes in. The tempo picks up then mellotron rolls in as it settles again. It kicks in again quickly. Nice guitar before 5 minutes. Vocals and mellotron follow. More prominant guitar after 7 1/2 minutes then the synths start to lead the way. It settles before 12 minutes. Flute and piano a minute later. Vocals are back 15 minutes in. "The Birth Of The Moon" again opens with atmosphere as vocals join in. A change 1 1/2 minutes in. Violin, drums and vocals before 3 minutes. Mellotron follows and the bass becomes prominant. Violin again late.

"En Haute De Crete (Swiss Traditional)" features flute and acoustic guitar early. Bass, drums, violin and mellotron all eventually join in. "The Fair Plait" sounds almost like a jig with vocals. "The Time Are You" is mainly vocals and violin. "The Vision Of The Sweet Rain" is led by violin and drums early. Piano takes over 1 1/2 minutes in. Flute joins in then drums.Violin is back and a full sound 3 1/2 minute in. Vocals come in as it settles a minute later with piano and flute. Themes are repeated. I like the flute after 15 minutes.

A good album but a far cry from their debut.

The third album from Calliope is a small backwards step.

Calliope is one of the new RPI bands who are more symphonic and lyrically than bombastic and heavy. There are a lot of RPI bands who plays on the contrast between melodic and bombastic. Calliope is only soft and melodic. Their music is drenched in keyboards. Two keyboards to be more precise.

Il Madrigale Del Vento is no exception from their formula. It is their most melodic effort ever. It also have a lot of references to Italian folk music in addition to references to the likes of PFM. The music on this album is very good though throughout. There are some excellent melody lines here. Most of them led by flutes and violins. This gives their sound an extra dimension.

But I also have my gripes with this album. The female vocals does not suit the music, in my view. Calliope's sound on this album needs an edge. Annalisa Gastaldo's vocals does not provides this edge. The end result is a very nice, but also slightly wishy-washy album which is good to the ears, but does not offer the brain much food for thought. But this is still a good album, but barely that. This album is a backward step for Calliope, I am afraid.

3 stars

The couple of years following ''Città di frontiera'' were pretty busy and groundbreaking for Calliope.Only drummer Gianni Catalano and keyboardist Rinaldo Doro remained on the band's line-up, while a female vocalist named Annalisa Gastaldo became the lead singer.The new Calliope prepared the third CD of the band ''Il madrigale del vento'', based on Moro's compositions and lyrics written by previous vocalist Massimo Berruti.The album was released in December 95' on Vinyl Magic.

Calliope abandoned the Heavy/Symphonic Prog style of the previous releases for good and ''Il madrigale del vento'' marks not only a fresh start for the band but also a completely different musical direction.The opening 16-min. track ''Terra di maggio'' is fully Neo Prog with endless keyboard flashes and solos, interesting melodies and a good performance by Gastaldo on vocals, recalling YLECLIPSE.The next four shorter tracks are typical Italian Symphonic Rock of the 90's with epic keyboards, light violin passages, delicate flutes and expressive female vocals with some very nice arrangements and a fair amount of orchestral passages, somewhere between MALIBRAN, IL CASTELLO DI ATLANTE and SITHONIA.The closing romantic 17-min. ''La visione della dolce pioggia'' is definitely the band's most ambitious composition to date.Sensitive light Symphonic Rock with crying violins and soft pianos on the forefront, floating synths, symphonic melodies and great vocals by Gastaldo, a nice highlght for a band finally seeming to find their style.

No more or less ''Il madrigale del vento'' deserves a place among the good works of 90's Italian Prog.Epic, romantic emotional yet fully demanding, this is an album which will please all fans of the characteristic Italian-styled Progressive Rock.Strongly recommended...3.5 stars.