MORTE DI UN AMORE

Nicola Randone was the guitarist/vocalist with the now-disbanded Grey Owl, who struck out on his own in 2002 (bringing along some pieces he composed while with Grey Owl) to record and release Morte Di Un Amore. Riccardo Cascone (ex-Grey Owl) contributed bass, Enrico Boncoragio drums and percussion, and Giovanni Bulbo contributed keyboards, which includes some beautiful piano (or piano-like) accents. Morte Di Un Amore (A Love's Death) could loosely be called a concept album, in that there each piece touches upon similar, broadly drawn themes - loneliness, despair, fatalism, and tragic love. Well, with a song title like "Il Pentimento Di Dio. Dopo La Fine Del Mondo" (God's Repentance After The End Of The World), you know not to expect something optimistically upbeat. This fatalism - the "woe is me" factor - is what characterized many of the Romantic poets of the early 19th Century, namely John Keats. Without diverging into an essay on Keats and the other romantics, I'll just say that Keats ruminated often on death, including his own, which he knew was coming -- Keats died in 1821, at the age 25, of tuberculosis. Randone is an artist who melds progressive rock, rock, pop and ambient music forms to create a slick, slinky, and satisfying whole. This is evidenced by the at first operatic "Visioni" (Visions) transitioning to the reggae styled "Il Pentimento Di Dio. " by means of a swirly ribbons of atmosphere that include lots of keyboard effects and a "suspended time" effect a la Steve Roach. In a very general way, there are aspects that are "typically" Italian about the music - due in part, of course, to the fact that Randone is Italian, but also because at times you will think of latter-day Banco, Le Orme, and other Italian prog bands of a particularly symphonic/operatic nature. And, like much of Italian progressive rock, it's lush and beautiful, richly arranged. But, it isn't until you listen again that what emerges is something more akin to an Italian version of Marillion. That sounds quite misleading, so let me explain what I'm thinking. If you were to take Misplaced Childhood-period Marillion, add some Brave-period Marillion (atmospheres mainly) and then add a great deal of Italian prog rock elements to it (and in the balance more Italian prog than Marillion), then this is what would result (an example being "Amore Bianco" (White Love)). The music on this album is romantic and lush, warm, melancholy, and yet ends with a shred of hope. And into that add that atmospheres, reggae and a bit of pop. and, towards the end, some progressive metal by way of heavy guitars and percussion. Now, that isn't to say that Morte Di Un Amore sounds like MC - it doesn't in any way -- but rather that some of the emotional beats are the same. Another artist we might also mention here is Pink Floyd, and specifically Meddle-period, though I'm thinking of "Fearless" specifically. (Of course, the beating heart sounds that end the album do recall instead, in terms of Floyd, DSOTM). I should also mention that Randone's vocal delivery often reminds me of Fish, though he doesn't sound like Fish in tone. "Tutte Le Mie Stelle" (All My Stars) is a mid-tempo, acoustic textured piece backed with swelling strings; very open and vast sounding. Randone's delivery is upbeat, though not cheery. "Un Cieco" (A Blind Man) is a heavier piece, Randone letting loose with blasts of guitar that are, however, kept back in the mix. In all cases where there are vocals, it is these that are the forefront and rarely are you going to hear any true soloing. That isn't to say Randone doesn't - there's an especially Rothery-like passage on "La Giostra" (The Round-about*) for instance. This is a darker piece lyrically, reflecting upon the Holocaust. Four ghost-men appear on horseback to the protagonist - recalling, I'm sure, the Four Horsemen of the Apocalypse. Audio effects underscore the horrors, darkly tortured voices crying out. This atmosphere is quickly left with the upbeat, rocking "Strananoia" which includes a happily trilling flute or piccolo- like sound (and it may be . I think of Canto Di Primavera period Banco actually. And yet, it is not a cheerful piece either. The heart-breaking delivery of "L'Infinito" reveals a tortured soul, looking to Jehovah for deliverance. Though I have to say, in the English translation, the lyric "Jehova please vomit some love on me too" does spoil briefly the whole romantic feel of the piece (in Italian, though, Randone does sing the same sentiment). Even if you don't understand a word of Italian - and I don't - you can "get" this release on an emotional, visceral, level - those key emotions or themes I mentioned at the outset. That's because, Fish comparisons aside, Randone is an emotive singer with a very pleasant voice. And everything flows together smoothly -- aside from the jarring transition from "La Giostra" to "Strananoia." In some ways, it undercuts the emotional resonance that the former track has. Then again, perhaps it is this good, as it keeps you from wallowing too much in the dark despair of "La Giostra." But, this is a really good release, nicely done and presented.

* by "round-about," I think a spinning top, or child's toy, is meant, rather than a traffic circle, since only the former makes sense.

This four piece Italian band is led by guitarist/singer Nicola Randone. On this album he surprises us with a very varied sound: pathetic vocals and strange sounds with piano and strings in "Visioni", a reggae-rhythm and strong, expressive vocals along fiery electric guitar and organ in "Il Pentimento Di Dio. Dopo La Fine Del Mondo", a beautiful orchestral keyboard sound and acoustic guitar with vocals in "Tuttle Le Mie Stelle", a biting electric guitar solo in "L'infinito", and a bombastic climate featuring emotional vocals and fiery guitar in "Amore Bianco". The final track "Morte Di Un Amore" (15 minutes) is the highlight: first tender piano and warm strings, then a slow rhythm with howling guitar, followed by many several shifting moods featuring wonderful keyboards (strings, orchestral sound), a heavy guitar and expressive vocals.

THIS IS ANOTHER FINE ITALIAN PROGROCK ALBUM!

Wow! Every once in a while, I receive a CD that doesn't fall completely in the prog category, yet manages to blow me away as a total work of art. Nicola Randone's new CD, Morte di un Amore, is such a work. The first thing that every listener will notice about Nicola's music is his voice. He is one of the best Italian rock singers I've heard, and he proves it 30-second into the first track. His instantly likeable voice is somewhat pop-oriented ala Eros Ramazotti, yet it's so rich with melody, feeling, and expression that prog fans will instantly dig it. There is a noticeable theatrical and cabaret influence in the vocals that will especially impress fans of Italian and French prog. What is funny is that a few weeks ago I wrote a review for La Maschera di Cera in which I stated that young Italian singers have lost touch with the beautiful vocal melodies that their parents where singing in the late 60s and 70s while prefering a droning sort of whine. Well, Nicola proves that some young people are interested in continuing the Italian vocal tradition at the highest quality. Instrumentally speaking, Nicola seems to prefer a grandiose symphonic sound that allows his voice to soar. Modern keyboards take care of the symphonic sounds, while acoustic guitar strumming lies deep in the mix. I'm reminded a bit of Dream Theater at their most symphonic, yet Nicola's music is not prog metal. Some ambient, Reggae, and pure-pop influences appear from time to time, but overall this album is mostly artistic symph-rock. I rate this CD one of the top releases this year, and especially recommend it to fans of Italian progressive rock. Don't expect anything complex musically, but the vocals rate up there with Locanda Delle Fate, Banco, and I Giganti. Maybe La Maschera di Cera should hire Nicola for their next album.

Interview with Nicola Randone (08/22/02)

Hegede : Can you tell me more about your origins. Is "Morte di Un Amore" your first CD? Randone : Hello Steve. First of all, thanks for your compliments - in my country compliments are a rarity. Unfortunately, in Italy the universe of music is in a poor condition: the lovers of prog are not numerous... But now to your question. Morte di un amore is my first solo album. Before it - exactly in 1998 - I published an album with my now extinguished band Grey Owl. The release failed to reach a large audience because of the lack of a real promotion and also because, being a debut work, it had been recorded with poor means.

Hegede : You are one of the strongest vocalists I've heard from the Italian scene. Who are your influences? Randone : Very nice appreciation, thank you! My primary infuences are some local prog singers, in particular Leonardo Sasso of the original Locanda delle Fate line-up. I always liked his vocal power. I'm also fond of Le Orme singer Aldo Tagliapietra's mellow style. And it was Francesco Di Giacomo of Banco who has taught to me how to use the explosive loads - yet, Francesco's technical skills remain unsurpassed.

Hegede : Who are your favorite bands from the classic Italian prog scene? Randone : The Italian prog rock of the early 70s is among the best things ever produced in my country. Some of those artists were great, doubtless. They created an original sound, allowing to me to grow in an artistic way. Here I mention the popular groups Banco, Orme and Area, together with quite obscure bands like Panna Fredda ("Cold Cream"), Biglietto per l'inferno ("Ticket to the Hell"), Osanna and Locanda delle Fate ("The Fairies' Inn"). The jazz matrix of prog rock has then found its culmination in the oeuvre of Arti e Mestieri ("Arts and Trades"), whose keyboardist Beppe Crovella is presently managing the distribution of my CD. Crovella will probably involve me in an upcoming short-term production - I hope it!

Hegede : Who composed the music on the CD? How do you start out writing a song? Randone : The integral paternity of this stuff is mine. Only exceptions are L'Infinito and Morte di un amore. L'Infinito I've written in co-work with Giovanni Bulbo, Morte di un amore was realised together with my old band Grey Owl. All the tracks on the CD have been arranged by Gianni Bulbo, who, I guess, has understood better than any other person to interpret my ideas, enriching them with powerful arrangements which fit well to the actual sound landscape. Concerning the birth of a song - it's the result of an uncontrollable impulse that, by the simple aid of my guitar, of a portable recorder, and of a pen and a sheet of paper, leads my hand to freed the emotions which are crummed inside me. A sort of catarsis. I pray that this force will never extinguish, even if at times I'm not able to write anything for months. I would like to have much more time at my disposal...

Hegede : What are your plans now, any tours? Randone : This is a difficult question. As an unsigned artist, I find too expensive to support an own live tour. Beyond it, I had to perform like a god to be able to catch the attention of a larger audience. At the moment I'm just concerned to go on in writing new songs. Sure, if someone - or something - wants to help me to become a professional musician, I could risk and try to realize my dream. But wonders don't happen every day.

Hegede : Thank you, and good luck! Randone : Thank to you, Steve, for having spoken to me about my work in such a friendly way.

I think that non-italian speaking people could meet some difficulties to enjoy completely Nicola R.'s poetry, but yet his high musical sensibility can impress everyone listening. Very similar to Le Orme's early works with modern italian music influences. Now some songs of 'Morte di un amore' keep on swirlin' inside my head, I MUST get all of the other Nicola's works as soon as possible....

The debut album of Nicola Randone is a good collection of songs with a slightly "progressive touch" that every now and again reminds me of the early works of Alberto Fortis (not exactly progressive works indeed, but featuring PFM and Mauro Pagani in the line up). But it would be unfair try to classify this sensitive musician as an "imitator" of someone's else work: in this album you can find suggestive and beautiful melodies well underlined by the music while the lyrics are personal and "drenched with poetry".

The opener "Visioni" (Visions) is a bittersweet ballad where lyrics draw the imagine of an old house in ruin. Melodic vocals soar upon piano chords, intertwined with more experimental sounds. "There was a house on the hill, an old ruined house / Covered with the roots of great pines darkening the sun and the light.". Just a metaphor to describe the time passing by in a world where too often we are not aware of how fast the hours run out.

"Il pentimento di Dio. Dopo la fine del mondo" (The repentance of God. After the end of the World) features a reggae rhythm blended with church choirs and theatrical vocals. The lyrics are ironic and enraged (their mood make think to a short story of the Italian writer Dino Buzzati called "The End Of The World", though the content is not the same). "How much insecurity is hidden behind the ancient mystery of faith / That makes our fears sweeter since several centuries...": an original way to make you wonder about God and Faith and one of my favourite tracks in this album.

"Tutte le mie stelle" (All my stars) is a dreamy and acoustic ballad with beautiful melodic vocals. "I will pick up all my stars and I will sing the most beautiful of my poems / To the music alone I will dedicate my fantasies... / If only the dawn would not arrive / Remembering to me how incomplete is the memory / And swallowing up my last and sweeter word."

"L'infinito" (The Infinite) is more troubled, with a dramatic mood and lyrics about the need to look for God and "Infinite". "And dreaming of her, living for her, only with her / Is not enough, not enough anymore / Because I'm just a man / Therefore I go on searching for the infinity / Wishing the infinity in every occasion / And that's why I, now, die.". Good the electric guitar solo.

"Un Cieco" (A blind man) begins softly with just vocals and acoustic guitar, but then the rhythm goes up, while melodic vocals warn you about the "dangers" of appearances. "I would like you to understand / How useless are the properties / In a world of shadows and sounds / Our ethical values are our real suits / Along with the colours of feelings that dance within us / With memory's infinite greatness."

"La Giostra" (The round-about) is theatrical and dramatic, with a "klezmer" finale. Lyrics are about a man who finds an old round-about in the garbage. Then, four ghosts come out of the fog and begin to ride the horses of the round-about: they're four spirits of inmates dead in Auschwitz during World War II. A good track and an original way to remember the horror of holocaust.

"Strananoia" (Strangeboredom), according to the notes in the booklet is dedicated to "Love": love for a woman, love for life. The rhythm is almost joyful and contrasts curiously with the bittersweet flavour of the lyrics.

"Amore Bianco" (White Love) is a beautiful and original song about a fading love, where "Acid dreams tint the sweet and folly truths of life / A life passing away like sand between the fingers..."

In the long and complex final title track "Morte Di Un Amore" (A Love's Death) Randone's love for progressive music is more evident (Le Orme and BMS). After the melodic and soft beginning there are more aggressive parts featuring a good electric guitar and even operatic-like vocals. After 6:10 there's a vocal passage that reminds me of Biglietto per l'Inferno's "Confessione", but it's just a short break before the long instrumental tail featuring experimental sounds and noises. "Every brick counts in your wall of silence / Because time snatches every passion / Bury your sad heart without hesitation / And tomorrow will be a better day."

In the whole "Morte di un amore" is definitely a good album, although not an essential one in a prog collection.

P.S.: You can find the complete lyrics of the album and their English translation (that is not included in the booklet) on the following site: mortediunamore.randone.com

NICOLA RANDONE is an exceptional guitarist/vocalist (and a graphic designer as well), born in Ragusa in 1972 and currently living in Catania.From early 90's Nicola had been involved in various musical projects and in 1998 his band ''Grey owl'' released a succesful demo (''La parete di ghiacchio'') of 1000 copies.Unforunately this band didn't manage to live on and Nicola decided to focus on a personal work,having fully developed his vocals and guitar work.This would come in 2002 as a private press under the poetic title ''Morte di un amore'' (Death of a love).

RANDONE prooves to be not only a great guitarist and singer,but mainly a fantastic composer and arranger.Drawing influences by the romanticism of vintage Italian Progressive Rock,he presents a work of deep melodies,grandiose musicianship and intense emotions.This is pure Symphinic Progresive Rock filled with splendid vocals,superb guitars (both electric and acoustic) with nice breaks and harmonies,great classical piano passages and full-blown synthesizers with at times an Ambient/spacey feeling.There are also undenieable elements of bands playing theatrical and lyrical progressive rock like GENESIS, ANGE, BANCO DEL MUTUO SOCCORSO, DORACOR or MARILLION,though all are nicely refined under Nicola's own personal way of approaching music.The great thing about ''Morte di un amore'' is that you won't find a single track without a strong dose of high emotions and that is a thing that deserves our congrats!NICOLA RANDONE's debut is nothing more than Italian Symphonic Prog at its best.Extremely highly recommended for being a modern masterpiece of progressive rock!

Debut of will-be multi-instrumentalist (check later albums) Nicola Randone, album that's on borderline of Prog and Rock (but it's Prog nevertheless) with distinct and very emotional Italian vocals. Pompous (or grandiose if you want, but not meant in a bad, arrogant way).

For example second track has reggae elements, but because I never heard Italian reggae, it still more or less sounds good, given its use of trumpet. It's not Prog song, but what the hell, it's good song, especially when later on guitars (real ones). La Giostra is surprising song with dark themed lyrics. Thanks to Andrea who explained it to me (I wondered about it since I clearly heard "Auschwitz"). Last epic track is on the other hand interesting in a different way and I can call it truly Prog here, even with stylish ending (no, I don't enjoy this heartbeat, I don't headbang while listening it, but it fits here perfectly anyway).

4(+), my opinion is not to underestimate this record, it has a lot to offer.

Thanks to Nicola Randone for this wonderful album and also for this album as a gift.

Nicola Randone has a marvelously emotive and expressive voice, not dissimilar from but far more technically proficient than FRANCO BATTIATO in his younger days. He surrounds himself with musicians who are equally potent. Sparklingly inspired passages are strewn throughout this bold debut. The problem is, as often as not, these are isolated and fail to compensate for the decidedly overwrought style.

"Morte di Un Amore" is like a tug of war between the French theatrical school and the overproduced neo movement, played out on an RPI battleground. As a result, the pace is breathtaking, but more as a walk up 30 flights than as a view from the top. The guitars and keyboards try desperately to impose themselves above Randone's incessant wails and, unfortunately, only succeed in cluttering any clarity that might have emerged.

Nonetheless, this is far from a write off, and tracks like the reggae tinged "Il pentimento di Dio", the more reflective and acoustically grounded "Il pentimento di Dio" and "Un cieco", as well as "Amore Bianco", provide a more nuanced look into Randone's world and almost compensate for the glaring weaknesses that dominate the remaining cuts.

A promising debut that might have been more effective if humility had been adopted as a practice, "Mort Di Un Amore" chronicles the birth of a young talent with significant but not insurmountable complications. 2.5 stars rounded down.

'Morte Di Un Amore' - Nicola Randone (8/10)

Beginning his career under his full name, this album is understandably more centered around the talents of multi-instrumentalist Nicola Randone than on latter, more group-oriented releases. While very clearly being influenced by older Italian progressive groups and the likes of space-rock era Pink Floyd, Randone makes an impressive first effort with 'Morte Di Un Amore,' that features a bit more punch than is expected for your average debut, but lacks some of the cohesion and direction that would be found on a masterpiece.

'Morte Di Un Amore' certainly falls within the realm of Italian prog rock, but it ends up pushing the envelope out of the prescribed sound, moreso than any album that Randone would release in the future. The album begins the way it ends; with an extended space rock jam filled with vocal tape loops and a synthesizer sound that makes it sound like it could easily be a long-lost B-Side from Floyd's 'Wish You Were Here.' Beginning 'Morte' on a very mellow note, the album finally kicks off with it's second track, 'Il Pentimento Di Dio.' This is where I (and hopefully, many other listeners to this album) realized that this was a much different creation than other Randone music I have been exposed to. The trademark syncopation and tropical drum patterns instantly brought the label of 'reggae' to my mind, and I can't say that I've heard that style of music ever brought into the lens of progressive rock before. Some upbeat vocal melodies brought about by the pleasing tenor voice of Nicola Randone with the trademarked 'reggae' instrumentation make it a very catchy and pleasant track. Halfway through, I am further surprised by the addition of Gregorian Chants, which seems the strangest combination of styles to make, but somehow, the sounds compliment each other.

The next three tracks are very much in the typical style of Randone; melodic, mellow, symphonic and a bit quirky around the edges. While there's not much out of the blue to comment on these tracks, they are all pleasant to listen to, and don't deter the album at all. With the opening of 'La Giostra' (the sixth track) however, the listener is dosed with a much more memorable piece of music. Nazi speech samples play over a beautifully sombre piece of instrumentation. When that's through, some of the best vocal work on the album kicks in, working very well with the ethereal and melancholic soundscape. Much in a Randone fashion however, the music has short moments of optimism, which keeps the music from getting too depressing. The outro to this track is very unique; featuring an accordion and a fast paced vocal line that sounds a bit too theatrical to be singing about 'Auschwitz' (the context of the word however, remains a mystery to those who do not speak Italian!)

'Strananoia' (the next track) is a very poppy and upbeat track that is very theatrical and one of the more memorable tracks on the album, featuring a slower tempo epic middle-section. After that comes 'Amore Bianco,' which once again won't surprise anyone who has heard the symphonic prog stylings of Randone before, but it is a very calming and heartfelt listen before the final track.

The final track (self titled as 'Morte Di Un Amore') might appear at first glance like a full-blown epic with it's sixteen minute time length. However, about half of that time is devoted to a reprise of the space jam that was introduced in the first track. For what it's worth however, the first seven minutes (the actual song) of the track are among the best on the entire album. Beautiful symphonic flourishes abound throughout this track, leading up to an energetic and proggy climax before petering out into silence and the ensuing spacy ambience. While I do find the soundscaping at the end enjoyable, it passes me moreso like the music to the album's 'ending credits,' so to speak; the sort of music that people would listen to as they left the theatre; if this album were treated like a film.

At first, 'Morte Di Un Amore' sounded to me like it was a bit stretched out and lacked the cohesion that a really great album would have. With further listens however, it becomes very possible to disregard some of the flaws the album might have, and take 'Morte' for what it is; the inaugural work of a very talented artist trying to find his proper sound. As it stands, 'Morte Di Un Amore' is the most song-based, yet most experimental piece of music that has been released under the Randone title. A fantastic debut album.

Nicola Randone´s first CD was a big surprise to me. I didn´t know what to expect and initially my impressions were not very good. This is by far the most different and experimental work I heard by this talented musician until now. However, by the third spin onwards I found myself enjoying more and more its content. Ok, it does not have the sophistication of his latter work specially last year´s brilliant Linea Di Confine. He had yet to find his personal vocal style too. But that does not mean all the right elements weren´t right there since the very beginning. In fact, he proved to be a terrific songweriter early on.

Morte Di Un Amore is certainly dense and less accessible than much of his work, and still is quite melodic, interesting and daring. For exemple, while I liked the opener Vision (a good prog song, by the way) at first I didn´t like a track like Il Pentimento Di Dio. Dopo La Fine Del Mondo. I mean, have you ever heard a reggae tune sung in italian? And it does have a gregorian chant at the last part! And the most interesting thing is that, after a few listenings, this stuff works! And so goes on. Some tracks offers a glimpse of his future compositions, like the beautiful ballad Tuttle Le Mie Stelle. But mostly this CD requires some atention to be fully appreciated. Then the whole 50 minutes of its duration seems very short, a sure sigh of a fine record.

His vocal parts are a bit awkward on some parts, but in general he puts his beautiful and emotional voice in good use. The instrumental is more subtle than most prog bands and while his vocals are deeply rooted in the tradition of the italian popular singing, the music has a strong prog base that reminds bands like PFM, Locanda Delle Fate, Le Orme and others. Morte Di Un Amore also proves that his songwriting skills were already in great shape when he recorded his debut. There are no weak tracks nor fillers. All made better by the use of the right production and fine performances ofl the musicians involved.

Conclusion: a nice surprise! And a very good start for one of Italy´s most important prog artists to appear in the new millenium. Rating: four strong stars.

I tried to like this album, but I obviously failed in the attempt!

The style of this album is like some kind of strange mixture between romantic Italian pop with some elements of progressive, symphonic and electronic rock. The production of the album is very good, and every instrument sound just fine. That what's my problem with this record? Let's talk about the songs.

Visione introduces the mood of the album, where the voice of Randone is the protagonist. The song contains good arrangements of keyboards, giving some symphonic feeling to the composition. I personally do not like the voice of Nicola, I find it just too strident and even annoying sometimes. He sings with passion his good lyrics, but I just can't bear his singing in this album! Sorry. The ending of the song has a fine atmospheric work with synthesizers, in the vein of Tangerine Dream but with tons of sound effects (wind, wolfs, cats?)

Il Pentimento Di Dio Dolo La Fine del Mondo is a reggae/ska song with not much to comment about beyond the weird vocals and ecclesiastical choirs. Tuttle le Mie Stelle is a romantic acoustic song with beautiful neo-prog keyboards after the chorus. Not really special, but one of the best tracks of the album nevertheless. L'Infinito is a bit darker, but pretty forgettable as well despite the fine guitar solo.

Un Cieco starts with the dolphin's cry, and it contains a good acoustic melody and strong and uplifting chorus. It's one of the most progressive songs of an album that's not really progressive, and also one of the stronger in songwriting. La Giostra is another dramatic song, which talks about the horrors of Auschwitz and contains one of the best instrumental works of the album, especially in the beautiful accordion section.

Strananoia is pure folk-rock with some influences of celtic music. It remembers me to the great Spanish band Celtas Cortos, but very far from their quality. Nevertheless, it contains an interesting final electronic-influenced section. Amore Bianco is another Italian pop-rock song with some fine guitars with slide, but which is not really interesting, leave alone progressive.

Morte di Un Amore is stronger since the beginning, containing some symphonic arrangements and good vocal melodies (despite the singing is so annoying as always) This time even the reggae is good, because it leads to a great electric guitar work and more instrumental and symphonic passages. This album is obviously better when Randone is not singing! And that's maybe the reason Morte di Un Amore is my favorite song of the album. Is the longest one and with the fewer proportion of sections with vocals. The long final atmospheric section bring back the melodies and the Tangerine Dream influences of Visione.

Conclusion: if you like romantic Italian pop, and acts like Franco Battiato, maybe you'll find Morte di Un Amore interesting. But don't expect something like Premiata Forneria Marconi or similar groups, because this album is not so progressive and it's also very far from the quality of this classics.

It's interesting and times, and I consider that Randone had tons of potential despite it's improvable singing. For this reason, I'm eager to hear more albums of this man. But I can't really recommend Morte di un Amore apart from Italian prog completionists!

Best Tracks: Un Cieco, La Giostra, Morte di un Amore.

My Rating: **