VERITÀ NASCOSTE

well very underrated album i'sm the first to mke a rewiev. i just get this album of le orme, and its very influenssed by contrappunti. here we find a le orme with a more consistent work in the piano. this is very istrumental work. and something to said its that here theres no violin and cello but the synths put some very atmospheric sound. i like very much this le orme work.- Aldo Tagliapietra its always good he put the symphonic stlye here. a love the lyrics in italian sounds more romantic. and its a leanguage more familiar for me. Insieme al concerto for me its the best song on thsis album but its hard to rate all the songs because its more like a unique piece of music. but you cant hear the differents styles. le ormes seemed to be out of the music thats problaby the succes of PFM. But that doesnt note in this album. it goes to well for le orme. i recomend this for anone who likes contrapuntti and other works of PFM. GOOD LE ORME.

To balance other Le Orme masterpieces global evaluation. In the universe of prog, Le Orme are beginning their decadence phase (which, apart from Florian that is a quite an experimental album, will last nearly 20 years...), here we are only a bit far from their apex... In fact, the album has very good pieces, some top-class ("Insieme al concerto", "In ottobre", "I salmoni"), even though it is very different (and in general easier) than other works from them.

Excellent album registered in London and released by Le Orme in 1976, after the previous and more commercial Smogmagica, which has its interesting moments, yet. Now Tolo Marton is gone, replaced by other guitarist Germano Serafin who stayed with the group until 1982. He sadly passed on in 1992. Electric guitar takes now its own place, a more appropriate and right equilibrium with the mythic keyboards of Toni Pagliuca. Verità Nascoste signed the most high point of glory for Le Orme in Italy.

The opener is the strong 6 mns piece titled Insieme al Concerto (Together at the Concert). It starts with the usual soft acoustic guitar and is well conducted and played to a more strong melodic-prog way from the 2nd minute. "People has already gone away.what a marvellous full-moon evening.".

In Ottobre (At October) is a 6,43 mns track, another favourite of mine, speaking about the time the group spent in London to work on this good release. They commenced October the first and finished October the 31th. Great rhythm session here, one of the best tunes of the album.

Verità Nascoste (Hidden Truths) is a soft and acoustic gem within very nice strings, presage of what would have appeared later, with the excellent 1979 album Florian.

Vedi Amsterdam. (See Amsterdam.) is here the true highlight, in my honest opinion! "Mothers don't know why their sons go to Amsterdam.Never-crying- Venice.". Great keyboards parts, very good drums and bass, it reminds me of Contrappunti album!

Regina al Troubadour (Queen at the Troubadour)...another good 6,44 mns long piece with soft opening vocals: " Queen of the Snow, we're sitting besides you, why you cannot say no? You give to each one the Most Near Good.easy, so easy!".

Radiofelicità (Radiohappiness) is an interesting song, not at the level of the previous tracks, though. Radio frequencies acting during the song.some more commercial keyboards.

Salmoni (not really necessary to translate) is an awesome arranged track with funny lyrics telling all the risks and the dangerous life of these fishes during their river- climbing.

Il Gradino Più Stretto del Cielo (The Most Narrow Step of The Sky) is another excellent track in a very similar Contrappunti vein!

Excellent and surprising 1976 effort! 3,5-4 stars are well assured!

"Verità nascoste" was recorded in London in October 1976 with a new guitarist in the line up, Germano Serafin, who took the place of Tolo Marton. The album should have been produced by Vangelis, but there was no feeling between him and the band, so at length Le Orme chose to work without an "external producer". However the result was not bad and the sound is compact and well balanced.

The opener "Insieme al concerto" (Together at the concert) is a kind of mini suite about the feelings of the public before and after a concert: curiosity, happiness, the magic of the music hanging on the people after the show until dawn. "I'm walking towards the sun / I will keep in me such a sweet night until tomorrow / I will have to half-open my eyes / And let reality driving me away". A good track with an interesting instrumental middle section.

"In ottobre" (In October) is about the time the band spent in London during the recording sessions. Le Orme found London changed since their last visit (different mood, different music, different people, different fashions) and they were very disappointed. "Who carried away the people / from Carnaby Street, from King's Road, from Hyde Park, from Piccadilly Circus? / Music, where are you?...". Anyway the music here is dynamic and powerful and the new guitarist seems to interact perfectly with the rest of the band.

"Verità nscoste" (Hidden truths) is an amazing acoustic ballad, dreamy and poetic. "I would like to gather your world / And set the big dreams free / And colour your drawings / With desperate white nights / And laugh like someone who is winning / His life in a losing game.". You can find here the seeds of 1979's masterpiece "Florian": the music is clearly classical inspired and there's a string quartet interacting with the band .

According to some old interviews of the band, "Vedi Amsterdam..." (See Amsterdam...) is about the problems of heavy drugs addiction. The music is dark, obsessive, in some moments aggressive but there are no explicit lyrics and the impending death is concealed behind the lines like a "hidden truth". "Mothers don't know / Why their sons go / They go back to Amsterdam / Just for another trip / I would like to burn my ticket / But the show runs again / The point where the wind dies is sad / The blades form the big crosses / And the wind comes back / The wheel's still in spin / Obligatory holiday / Please stop someone in time!".

"Regina al Troubadour" (Queen at the Troubadour) is about a runaway girl who left is rich family and went to London where she become the "Queen of the Troubadour Club", losing herself among sex, drugs, dreams and false realities. "Queen at the Troubadour / Queen of the snow / Everybody is around you / Because you can't say no." Well, the snow here is not made of water crystals but it's made of white powder.

"Radiofelicità" (Radiohappiness) is one of my favourite tracks on this album, introduced by simple guitar chords then giving way to a more experimental sound. Lyrics are about the "peculiar feeling" between a man and his radio. "Don't worry if I'm like that / Nothing can change me / I don't run like you, desperate / Following the chances you can find / Don't try to understand / If I spend my days listening to the world / Don't look at me in surprise / There's no room for you among my beautiful things / I have a friend enclosed inside here / And when I'm sad it gives to me happiness."

"I salmoni" (The salmons) is another good track "against the stream", with the members of the band that seem to identify themselves with the salmons. "You know, we have to do so / Keep on going up, against the stream / Up the river, to reach the source / We have to do so / It's an ancient desire that pushes us / And nothing can change our crazy idea / We could jump and fall on the bank / We could hit the head against the rocks / We could be hooked in the back / But we have to keep on going / To arrive where the sky is closer / Because that is the place where our children will come into the world".

The final track "Il gradino più stretto del cielo" (The most narrow step of the sky) features a good performance of Germano Serafin on guitar and alternates "storms and calms". Lyrics are about the risks of happiness. "Do not believe in happiness / She takes away your mind / On the most narrow step of the sky."

In the whole "Verità nascoste" is not the best album of Le Orme and you can't find here really outstanding tracks. Nevertheless the average of the songs is high and in my opinion this album could be an excellent addition to any Italian prog collection.

Despite I'm a huge fan of "Le Orme", I have to say that, in my opinion, this is not their best moment - at all! Even if better than the pointless "Smogmagica", "Verità Nascoste" hits the listener more because it represented a return to a more rocking sound than for its real value. There are just few really precious songs here: the title track is an impressive acoustic song, with a fully appreciable classic feeling to it, very well composed and arranged. "I Salmoni", even if poppier than the usual stuff by Le Orme, is very well arranged and the interplay between instrument is dynamic and tasty. "Il Gradino più stretto del cielo", finally, demontrated how Le Orme understood that the glorious time of symphonic prog was over, and managed to focus on a more straight-forward sound, even aggressive, without renouncing to their "quest" for melody... the song really rocks, and it far better than much contemporary "new wave". As for the rest, well... "Insieme al Concerto" is pretty, but I like its intrumental passages most (ok, and also the last verse, very in the naive and folk vein typical of Tagliapietra), which underline the presence of Germano Serafin, a superlative and too often forgotten guitar player (he was seventeen then), rich in good taste and never intrusive, very discreet and precise. "In ottobre" is messy and very bad arranged (again, I would save it only for Serafin's guitar work). Even Pagliuca's lyrics, usually poetic and very interesting, are here clumsy. "Regina al Troubadour", a huge success in Italy then, is interesting but chaotic, while "Radiofelicità" is a very clumsy and laughable attempt to imitate "Ohm sweet Ohm" by the Kraftwerk. So, if you like Le Orme, I recommend you to skip "Smogmagica" and finding an alternative way to listen to this one than buying it... at least the few good song are really good.

Just like in their previous effort, this album starts really well. "Insieme Al Concerto" is the best track form this work. A wonderful song which brings us back into the best of their repertoire but adding these guitar sounds which are now well integrated into the band's music.

Songs are also longer than on "Smogmagica". At least this allows the band to dig further into the songs and to propose more complex ones. In this respect "In Ottobre" is another highlight. Since the beginning of "Verità Nascoste", vocals are sublime. You could experience the same feeling with the great Giacomo (from Banco).

The title track is another of the good songs from this offering. Very much classic oriented thanks to these beautiful chord work, it is the most delicate part of this album. Almost four minutes of pure beauty completely opposite to "Vedi Amsterdam" which starts as an experimental track with lots of weird sounds. But after this first chaotic minute, the elements are put together and the listener gets another interesting number. Harder at times, it is also more upbeat. Not bad.

I very much appreciate the guitar work in the intro of "Regina Al Troubador". The mood is again more on the rock side but subtle vocal parts also relates this song with their traditional and beautiful style. A joyful and optimistic track. At least it sounds so (but I can't judge the lyrics). Another highlight featuring solid instrumental parts.

This might well be one of the best "Le Orme" album. No weak tracks so far. The beautiful vocal work on "Radiofelicità" contrasts with its electro pop beat reminiscent of their previous work. But these moments are rather short to avoid this song to be ruined by these childish parts but the end is really ridiculous.

The candid "I Salmoni" has also this enjoyable savour so intimately linked with this genre. A simple structure and approach for this straight-forward soft rock song. And the upbeat "Il Gradino Più Stretto Del Cielo" closes this album on a high note again. A beautiful marriage between Italian subtlety and powerful rock beats. Very strong synth and bass work. A nice way to close this good work.

This album is not a masterpiece but it holds a collection of good songs and no blunder. Just short of the four star rating but would deserve seven out of ten as soon as this possibility will be available (which should be pretty soon now).

Three stars.

For 1976, Le ORME, had recorded their better discs by much, presents/displays this titled work Verità Nascoste, in where the trio becomes to expand to quartet with the inclusion of guitarist Germano SERAFÍN in substitution of known Tolo MARTON and with: Toni PAGLIUCA (keyboards, piano, Mellotron, Hammond organ and sintetizher), Aldo TAGLIAPIETRA (bass, vocal and Fender piano) and Michi Dei ROSSI (drums, percussion, eardrums, glockenspiel, tubular bell and gong); as usual, it is the duet PAGLIUCA/TAGLIAPIETRA that compose most of the subjects of this album, the last one of a stage where rock and melódic tendencies combine progressive rock with tendencies hard, and I consider that until a little within the pop rock, but also with appearances from which it would come in albums like Storia or Leggenda and Florian. Speaking of the album, I consider a very good in some parts but very mediocre work in others, but in general it is a work that does not have to lack in any collection that boasts of complete. Aspect unfavorable is production of disc, that does not do justice to him to the sound of the drumkit of Dei ROSSI, that is listened to dull in all the disc, as if towels in the patches had put him, in the style of Ringo STARR. Until in the power parts the battery it is listened to dull, but in short, therefore it was recorded and it was published. With respect to music, they net mix progressive sounds and in its better tradition, mixing some classic parts very (for example, Veritá nascosté, Vedi Amsterdam), with others of more pop sound (Regina at troubadour, that in fact it was published like single). And thus one goes away, with a structure based on short songs, tending bridges towards a rock a little more accessible like the one than I suppose was in that then.

Far already they are the days of Felona and Sorona, Collage and Uomo di Pezza, where they boasted of the masters of its instruments and experimental sounds; I believe that with this trilogy the band reached the total maturity and that, being left little already to demonstrate, instead of continuing experimenting with progressive sounds, preferred to begin to touch this type of music; in fact, note that felt like to taste touching these pieces, melodic accessible, is well composed, solid, with the compasses and rates that LE ORME dominates to perfectly, like masterful consommes that are. Although it is certain that to that they no longer like the first stage of the band they feel so to taste with this work, for me represents one of jewels nonrecognized of this great group.

The album opens with Insieme al concierto arranged, a typical song of Le ORME, with good voices of TAGLIAPIETRA, the low one very well, contrapunting to the keyboards and the acoustic guitar, with some pastoral passages and a little distortion in the electrical guitar, giving shades to the song. For some reason, that species of bridge in the minute 2:35 seems to me well-known, that is repeated in minute 3:21; I create it to have listened before with another group, progressive with flavor to heavy a rock of that then, but to have touched of a very fine way in this case. Good beginning of album.

In Ottobré is a song very similar to first, with emphasis in the influences more pop of TAGLAPIETRA and company, but even so pleasant; pity that the sound of the drums is listened to so dull, since the work of Michi is excellent here, following melodics instead of maintaining the rate; PAGLIUCA surprises to us with some good keyboard work of their Hammond, because in the first song he was than absent more. Good work in the department of the guitar, but nothing memorable; I insist, if the production had not been so sparing... in the end the group accelerates a little and presents/displays a series of melodic flashes very good to finish with this song.

Verità nascoste is most representative of the disc in general, a true jewel of discografía of Le ORME and of the progressive rock, the letters are everything a poem, without a doubt a reflective song, with very pastoral rate, acoustic guitars creating sound walls, paraphrasing to John COLTRANE and the sound of mellotron created by PAGLIUCA would cause envies it of FRIPP. With no doubt, the best song of the disc.

The site of analysis ALLMUSIC maintains that this song derives from a style type DEEP PURPLE, but I do not think I grasped, because the song has a rhythmic rate and a little fast, but nothing has to do with the English band, beginning by characteristic sound of the keyboards on the part of PAGLIUCA and later the guitars with little effect overdrive, to cause the effect of a ghost guitar that is listened to very suitable for the atmosphere of the musical piece. Lyrics, within my limited knowledge of language Italian, not are memorable, so this one is a piece which I consider of filling, not by bad, but because I believe that LE ORME can do more.

Regina at troubadour can be considered a paradox in the canon of the group, is but the pop one of all the songs of this disc, with strictly commercial adjustments; it seemed that ORME wants to enter that market, own of another class of much more commercial groups (already I mentioned that it was sent like single, although with his more than 6 minutes of duration, I doubt that they have passed it in its original version through the Italian radio). Returning to the subject that occupies to us, this song has a line that seems very good to me and to grief that you are a song that she very little has of progressive in his structure, this rythmical phrase has left in the head:

"Capito Non hai, nessuna thing più poteva farmi felice, rubato Io l'ho nel regno più prezioso Che mai proverai, resterai"

Summarizing, the song is enjoyable to moments, some passages with acoustic guitar and the keyboard of PAGLIUCA sounding very, but very commercial, the simple letter, speaking obvious of Regina at troubadour, and they do not wait for more of the experimental and hallucinated Le ORME, are listened to here like almost Italian AOR, if that definition exists.

Another one of the songs that I consider of filling is Radiofelicità, although also it has its moments, with the piano that is heard very suggestive, trying to heartype Uriah Heep (although it does not obtain it). The disastrous thing is when they try to mix rare sounds, background noise, voices and melodíc that the truth do not go with music, in addition to the sad sound of the drums. Many melodies more pop that, unlike Regina... , is listened to here pale and without joke, single saved by the keyboard and the perfect voice of TAGLIAPRIETA. The end of the song is not of the best ones, so that he is perfectly do without.

We continued with I Salmoni, song that seem inspired of some of the album Love Beach of ELP (although this one it left a year later), some progressive passages, random rates through the song, and a good bass playing on the part of Aldo TAGLIAPRIETA, that really safe the song of being a true disaster. Luckily last only 3:00 last minutes.

The song that closes the disc titles Il Gradino Più Stretto of the Cielo that improves much after the disaster of the two last songs, again we listened to the electrical guitar of SERAFÍN, that had gone away of vacations the two already mentioned. The voice and under Aldo again shines by the stop, taking the baton of the song (and of the disc if it is possible to be said thus...) and Michi maintaining the song in their shoulders with a precise rate. The end is excellent, making mini jam and SERAFÍN showing that can do a single one of excellent guitar, and although it is surprised much to PAGLIUCA, finally it is a good song the one that closes this disc and the stage 74-76 of Le ORME.

3.5 stars. I wouldn't say that the music on this record is very proggy, in fact it's quite commercial sounding at times. But as long as Aldo is singing i'm happy, and there are no instrumentals on this album.

"Insieme Al Concerto" opens with a one minute uptempo melody before the vocals and a calm arrive. Man when he sings when the full sound returns, it just makes me smile. Guitar and drums are both prominant. Some nice organ late. "In Ottobre" opens fairly powerfully with drums and organ before the vocals come in. Tempo continues to change. Great organ 2 minutes in followed by some excellent guitar a minute later as drums pound. A calm before 5 minutes followed by a catchy percussion / drum led passage. "Verita Nascoste" opens with gentle guitar and vocals. Beautiful. A string section helps out as well.

"Vedi Amsterdam..." is experimental sounding to open before organ then an uptempo melody.Vocals after 1 1/2 minutes. A nice heavy sound follows. Organ runs 4 1/2 minutes in as drums pound. "Regina Al Troubadour" is a catchy track with some mellotron. I like the mellow sections, but it's all good. Great sound 5 minutes in and check out the drumming. Organ ends it. "Radiofelicita" opens with strummed guitar before those amazing vocals join in. Synths and drums take over 2 minutes in. I like the heavy beat that comes in at 4 minutes, but I don't like the way it speeds up. "I Salmoni" features fast paced vocals and a good beat. "Il Gradino Piu Stretto Del Cielo" has some really good guitar as vocals come in. Guitar returns 4 minutes in ripping it up to end it.

Not as bad as the previous album of course, but a far cry from their earlier classic albums. Not quite 4 stars but still an enjoyable record.

After the commercial departure of "Smogmagica", one might have expected LE ORME to poppify itself even more as the middle of the decade past. Instead what they produced with the help of new guitarist Germano Serafin is a superb rock album informed by 1960s enthusiasm and 1970s sophistication, with progressive overtones. The rhythm section and Serafin are so formidable that "Verita Nascoste" should have been required listening for the "masters" of prog in 1976, most of whom had long since abandoned any pretense of caring for their rock roots.

For those who felt betrayed by "Toni Pagliuca" on "Smogmagica", rest assured he is back and an equal partner. In particular his synthesizer work sizzles on vibrant cuts like Regina al Troubadour", and the closer "Il gradino più stretto del cielo" before the equally exultant guitars lead the way out. The organ is more ubiquitous but employed chiefly for colour. Among the more commercial cuts that shine, "Radiofelicita" is as good as it gets, which is to say excellent, particularly in the vocal department, and the tubular bells of Michi Dei Rossi tap out a deceptively simple tune. Again the synth passages are wonderful. Some dissonance in the form of other voices and an oddly sped up ending demonstrate the group's continued wish to experiment even in a more conventional setting.

The title cut is the most mellow, and tugs at the strings be they orchestral or cardiac. Again Tagliapietra is at his best, and this might be the album that showcases his strengths better than any, but that is generally true for the whole group on "Verita Nascoste". The two opening tracks are also strong, with plenty of imaginative shifts in service of a loosely unified whole, and rich acoustic dimensions. Only "Vedi Amsterdam..." and "I Salmoni" lack originality and verve, sounding somewhat strident and more like a group following a trend than setting one.

I have made few comparisons to anyone in this review, because the energy level on "Verita Nascoste" is beyond what one might expect from a pre-punk mid 1970s product, but also far superior to what followed in the punk and new wave genres. Still, I hear in the more aggressive passages some of the angst of the best rock groups from the late 1970s, such as THE CLASH. I shudder to place too much emphasis on this, because those groups were shackled by the 3 minute tune and plowed a singular furrow, albeit well. LE ORME set the pace using a multidimensional strategy, and that's the hidden truth as I see it.

Why reminding you of an interesting poppy turning point of their career, with this Verità nascoste" it's so important, in spite of appearing more simplistic? Perhaps because the band in 1976 was able to maintain the old spirit, like within "Contrappunti", even though by changing their way to compose the songs...well of course their approach became less proggy and more song-oriented, as the present act brought about a certain criticism all around the media in the late seventies, especially regarding of a reduced contribution by T. Pagliuca at the organ...in fact, unlike inside "Felona e Sorona" and naturally "Contrappunti", where the instrumental numbers, enriched by means of some "epic" analogic effects, seemed to be the unique and true essence of the Italian prog ensemble, here the synths were less used and the music approach completely diverse as well...instead, in spite of lacking some typical and strong elements of a certain "symphonic prog rock", which were so important in the early seventies, the output was good, thanks to their music taste (think of the opener "Insieme al Concerto", with its memorable melody after the good intro at the acoustic guitar); then thanks to the rhytmical tune "In Ottobre" (note: the sessions at the Recording Studio in London began and were completed on October, 1976 ); and the third track- the title-track- which remained a good song, being aligned with the previous two songs!

Probably their effort in creating something more mainstream (a certain commercial rock) was driven by their music producer; otherwise in the period between 1977 and 1980 the Punk music was able to destroy one decade of great British art and prog rock, as for the policital rebellion, which made a disturbing invasion also in the world of music; so Le Orme were careful, in order to avoid their typical sound in the vein of ELP, and to earn new fans...nevermind if the other tracks are not always inspiring and sometimes more simplistic, in comparison to their glorious past.

A different album from a quite remarkable band (one of the best ones in Italy- especially during their executions live on stage- and for me that's enough!!).

Non-essential but anyway important example of mainstream music, by Le Orme.

After the disappointing Smogmagica, Le Orme rebounded in 1976 to release a much improved album in Verità Nascoste. While still not achieving the legendary status of their 1972-1974 output, Verità Nascoste is quite good and a worthwhile addition to any robust RPI collection. That being said, you will want to fill out your Le Orme catalog pretty thoroughly before purchasing this one; there is just not enough extraordinary content that deserves repeated listens. Highlights include the title track, "Radiofelicita," and the biographical "In Ottobre." While Smogmagica was famously recorded in Los Angeles, Le Orme returned to Europe to produce their next album in England. Though the sound quality is not nearly as good, the songwriting is leaps and bounds better on Verità Nascoste. This consistency would continue on the following Storia O Leggenda, although this would mark the beginning of the end of the golden era of Progressive Rock music.

The playing of newly recruited guitarist Germano Serafin is the focal point of "Insieme al Concerto." The song features a heavier tone than most Le Orme fans will be accustomed, but this edge is balanced nicely with spaces of acoustic guitar and the instantly recognizable voice of Aldo Tagliapietra. The last minute of the track hints at prior glory, particularly in the keyboard work of Toni Pagliuca. "In Ottobre" recounts the band's time in London, and again recalls the classic Le Orme sound while incorporating the new ideas of Serafin (whom would fully come into his own much later on Florian). The titular "Verità Nascoste" is by far the superlative track here, and probably the group's most beautifully simple song since "Gioco di Bimba" in 1972. The melancholy strings suit the melody well without becoming sappy or overbearing. "Vedi Amsterdam..." closes out the first side with an aggressive tinge, driven by Pagliuca's organ and Michi Di Rossi's powerful drumming.

A more commercial sound abruptly introduces "Regina al Troubador," which wouldn't sound out of place on Smogmagica. This forgettable tune pales to the wonderful "Radiofelicita." Another ballad in the vein of "Immagini" from Collage, "Radiofelicita" has a very symphonic and timeless quality. The short "I Salmoni" is a fun little piece with some quirky playing all around and does a better job at mixing the commercial elements with the classic Le Orme brand. Finally, "Il Gradino Piu Stretto del Cielo" flamboyantly closes out the set. I'm not sure who plays the 12-string guitar (possibly Tagliapietra?), but it adds a lovely touch to an otherwise mediocre finish. Verità Nascoste may not be a complete return to form, but it certainly tries to capture the magic period of RPI and does a pretty decent job.

With the ambitious ''Smogmagica'' Le orme tried to approach a wider audience,but the album was very flat and uneven.So the band decided to change some of the negative points,starting with recruiting new guitarist Germano Serafin instead of Tolo Marton and continuing by writing material closer to their earlier style.These facts were taped on their work ''Verita nascoste'' from 1976.

The presence of the guitar has now a more distinctive role and is added where needed and not for the sake of the guitar dominated grooves.The sound is softer,closer to works like ''Uomo di pezza'' or ''Collage'',but there are also plenty of rhythmic parts as in ''Smogmagica''.The delicate organ sounds and the atmospheric synths of Tony Pagliuca in the classical style return to offer moments of untold beauty and Tagliapietra voice continues to be very romantic and warm.Mellow vocal-led acoustic passages are again a basic ingredient of the band's style.Serafin has also his personal moments with a couple of really good solos.The result is a typical Le Orme work:Rich musicianship full of classical influences,romantic vocals and deep ethereal soundscapes.

''Verita nascoste'' is another trully good album in Le Orme's discography,this work fails a bit compared to masterpieces like ''Collage'' or ''Contrappunti'',but it contains a mass of inspiring moments to please any fan of Italian Prog.Strongly recommended...3.5 stars.

Whenever I go record collecting, I usually go for album I've heard before. It's usually the safer option for me, however, on occasion I get a record that I never even once heard before, making me experience something totally new. And at a record store the other day, I decided to indulge a bit, try something entirely new, fresh, and something I have never heard before, and I wanted to get more into Italian Prog, so I figured this album would be the perfect fit for me. I did not know what to expect, but I had a feeling I'd like it, and I did.

Let's start with what I like about this album. I really dig how tight the sound is. It's super crisp and nice. The songs aren't too long but not too short, and they take their time to truly make for great music. The album also flows pretty well, it sort of makes every song feel like they are in one giant suite of music. The vocals are also pretty good too, and with the combination of the instrumentation, especially the drums. The drums are snappy and gets a great beat down for all the songs. I do not feel like my time is being wasted with how tightly knit these tunes are, and they truly show their worth with their playing style. They definitely have an established sound going on and I am all for it. It makes me kinda want to listen to more of their albums. It wastes zero time establishing itself and cementing itself a great Prog record.

But, it has it's fair share of issues. For one, the songs while good, do not feel like they progress or improve on themselves, in fact they kinda sound the same. While that isn't the worst thing, but it doesn't do the album justice. Plus, when the songs get weird, they are more annoying then interesting, heck sometimes they feel like spoofs of the Prog rock genre as a whole, and not that good Thick As A Brick kind, instead just dumb teasing that just make for kind of a poor time.

So this album is pretty good. I am glad I picked it up at the record shop. It is fairly good, but definitely requires improvement in a good chunk of areas. I definitely liked this release though, and definitely would recommend for a good listen for anyone new or old to progressive rock.