IL BIANCO REGNO DI DOOAH

The best album I've heard this year...As beautiful as Locanda della Fate...Forse etc. Very melodic and very driven music. Not only for lovers of Italian prog, but also for the Englisminded... Good vocals...

Okay, call me a party pooper. There are times when reviewers are loath to review albums, for fear of getting hit by flying CDs. I almost don't know what to say, because these guys are obviously trying SO hard. And maybe that's the problem: they are trying way TOO hard. In doing so, they fail in almost every respect. Their influences include Jethro Tull, Marillion, Genesis, Gentle Giant and Rick Wakeman, among others. The problem is that they do almost nothing to "channel" these influences into anything resembling originality. Indeed, it's almost as if they never met an original thought they liked, and simply "sampled" portions (or at least ideas) of their influences wholesale, splicing them together with little or no coherent or cohesive idea or plan. Sections simply start and stop, with absolutely no "flow' of any sort (this is okay a few times, maybe for effect, but these guys do it continuously), and there seems to be no sense of "direction" at all. It also doesn't help that the lead singer has a weak, uncompelling voice. The only reason I didn't completely pan the album is because the musicianship is actually quite good, the group clearly has potential, and the album is worth at least one listen - to learn an object lesson in how NOT to write a prog-rock album.

Maani, it's time to duck, flying (and razor sharp) Cds are aimed at your head, joking... . Time for me to admit that I may, just may be biased in any dealings with CAP, a perennial favorite (their Nei Gorghi del Tempo" is a true prog classic, soon to be reviewed) and who were super gracious in transcontinental e- mailings and mailings (Mau Venegoni sent me a copy of this album as well as his personal copy CD of their debut which I had only on tape, ugh!) and even greater when meeting Mau and Massimo Gorlezza in Milan summer '03! The previous album "Robin delle Stelle" was a true revelation (soon to be reviewed) of the power of their unique formula of grandiose symphonic prog. "Il Bianco Regno di Dooah" is the third superb studio album from these part-time proggers (Mau is a salami factory owner and Massimo, an architect!), clearly exultingly making music for art sake and not to provide for their families! Rock stars they are not, exquisitely dedicated amateur musicians, absolutely ! The group is composed of 8 stellar musicians, with 2 guitarists, 2 keyboardists, bass, drummer, reed player and lead vocalist, who are all committed to the CAP style, a highly operatic formula and typical of the Italian progressive school. The theme is another somewhat Celtic fairy tale story of castles and kingdoms (the Kingdom of Dooah) with massive choruses that return through the course of this disc, starting off with the sweeping majesty of "Opener". By laying down the medieval musical spine, the fabric of the tale is woven tight, the electric guitars giving this a particular bite, marshaled by some solid bass and ripping drums. There are dashes throughout of Tull, hints of Gryphon, wisps of Giant but totally original and in constant effervescence, with countless detailed touches that keep the listener on an unending edge. "L'Illusione della Sfera" is the first major masterwork, the sweeping synths underscore the recurring theme, propelling relentlessly forward until the nimble piano and recorder decide to veer off in a moody direction, setting the table for lead singer Maurizio Mercandino to release his rather soulful take on the matter at hand. Playful, intricate and most satisfying. "Luna Impigliata Tra I Rami" is a fragile acoustic guitar interlude, courtesy of Massimo, that sets up the medieval gavotte of "La Danza", full of petulant reed work and a vigorous main vocal theme that has genius stamped all over it, another high point. "Ginevra" does not release off the accelerator, the mood getting progressively tighter until a delicate flute ushers in another breathless vocal segment, with sultry piano melancholia as a backdrop, elevating this piece to heavenly heights with a spirited wah-wah guitar exit. "Grande Ombre Gentile" is keyboardist Romeo Bollea's cameo, offering up some funky organ, odd piano winks and a little dissonance that hints to the Gentle Giant (the title is a loose translation!). Good idea, because the next piece is the pearl of the recording, the drop-dead beautiful "Pastelli", a melodic hook so gigantic, it may be a musical ring around Saturn! Passionate vocals, delicate pastels of various instrumental colorings and a chorus similar to "The World became the World" by PFM. Obviously, understanding the language improves the impact but the melody is just too close to perfection, highlighted by a bombastic lead guitar solo that takes this straight to the stars. Prog heaven as our Erik would say! The disc closes out with the 22 minute grand epic "Il Regno", an 8 part suite that has all the usual prog suspects, each smilingly guilty as charged, totally absorbed in squeezing out all kinds of feelings from their instruments (a fluttering and strident synth solo sets the early tone), some lavish mellotron/guitar melodies, meshing with Mau's patented (and unique to CAP) Midi Wind fanfare-like trumpet sound, corkscrewing the theme into a crescendo of agony and "passione". A breezy little jazzy ditty, with slinky guitars and slippery synths keeps the tension going unabated, opening the door for another return of the main recurring melody with an ever increasingly grandiloquent delivery. The pressure is mounting just like Pompeii's volcanic Vesuvius, ready to erupt with uncontrolled fury. The constant contrast between soft melodies and booming crescendos really is beguiling, with Mercandino's continued brilliance on vocals an ongoing highlight. The kindergarten child choir returns again, with some repeated "Uh-la-lah", weaving the by-now familiar theme to its rightful finale, curtsying with an ultimate manic synth/guitar explosion. They have been around for 30 years and have 3 studio albums. They are the paragon prog- loving amateur fans. For that precious asset alone, they are deserving of the loftiest praise. Cinque Stelle.

Il Bianco Regno Di Dooah is an enjoyable enough album from Consorzio Acqua Potabile which once again reaches for the classic RPI sound of yesteryear - and yet again doesn't quite present the creative breakthrough CAP seem to constantly be on the verge of making. In this case, whilst the compositions are really decent, the production values on the album detract from it startlingly - in particular, there's too many points where the synth sounds are weak, dated and cheesy in a way which snaps me out of the seventies nostalgia reverie the album is otherwise more than capable of putting me in. It's another good effort, but I still think CAP have yet to make an album which fully realises their potential.

Another half decade had to pass before Consorzio Acqua Potabile returned with a third studio album.Propably a reason for this fact was the demise of their supporting label Kaliphonia.In the meantime the group was part of the excellent Progday compilation album ''ProgDay Encore?'', released in 2001.Through this time the line-up remained just about the same compared to ''Robin delle stelle'', only keyboardist Fabrizio Sellone left and was replaced by female flute player Silvia Carpo.2003 sees finally the band self-releasing the long-awaited album ''Il bianco regno di Dooah'', based on a concept story about a fantastic kingdom in the small Irish village Dooah.Keyboardist Maurizio Venegoni wrote the concept back in the 70's during a travel to Milan university, when the city was blown by a terrible snow storm.

Maybe the concept has a strong reference to Irish grounds, but the music of C.A.P. has nothing to do with the Irish culture, it is still strongly rooted in the Classic Italian Prog of the 70's with PREMIATA FORNERIA MARCONI as the influential guide, followed by notable BANCO DEL MUTUO SOCCORSO vibes in the more Classical-inspired parts.The atmosphere is again split between romantic and dramatic moments, obviously driven by the respective instrumental parts.The first ones are mostly based on sensitive vocals, smooth symphonic textures, light organ waves and more melodic guitar and flute solos.The later show the band in full collaboration.Tons of interplays between the two keyboardists, including long synthesizer runs, dominant organs and dark piano lines, and more effective guitar moves.The same occurs with the musicianship, which is filled with changing moods.From mellow symphonic parts to rich textures, the rapid changes are always in the band's menu.Structurally ''Il bianco regno di Dooah'' moves a bit away from the previous release of the group.It contains nine short- to mid-length tracks, but the suprise comes in the end with the grand, 22-min. epic ''Il Regno'', which epitomizes the Classic Italian Prog style of the 70's with no fillers at all, just smooth and elaborate Italian Symphonic Rock, very consistent and well-played.

From this point and on Consorzio Acqua Potabile only appeared in the various concept albums, for which Musea Records is responsible, and a fourth studio album is still desired.

Definitely one of the most consistent groups of Italian Prog.''Il bianco regno di Dooah'' is another great example of Italian Symphonic Rock by this underrated group, not very original of course, but solid and well-executed.Strongly recommended...3.5 stars.