Progarchives, the progressive rock ultimate discography

IL BACIO DELLA MEDUSA

Rock Progressivo Italiano • Italy


From Progarchives.com, the ultimate progressive rock music website

Il Bacio Della Medusa picture
Il Bacio Della Medusa biography
Founded in Perugia, Italy in 2002

IL BACIO DELLA MEDUSA (Medusa's Kiss) is a contemporary Italian group. The members Diego Petrini, Federico Caprai and Simone Cecchini founded it in 2002. The group consists of Simone Cecchini (vocals, acoustic guitar, saxophone), Simone Brozzetti (electric guitar), Federico Caprai (bass), Diego Petrini (drums, organ, piano), Eva Morelli (flute, piccolo) and Daniele Rinchi (violin). The music is very much in the seventies Italian tradition. Of the seventies Italian scene there is similarities to groups such as PREMIATA FORNERIA MARCONI but even more to the hard rocking groups like OSANNA and DE DE LIND.

The self-tiled debut album was released in 2004. It is an own production but the Black Widow label started to distribute it later. The music in this debut album can be considered art-rock. The keyboards are used sparingly but the sound is still refined due to the successful use of flute, saxophone and accordion. There is a renaissance/baroque tinge in some of the songs and this creates some personality to the group's overall sound. This is a good and promising debut album and showing that they have some originality as well.

IL BACIO DELLA MEDUSA is an interesting new group that should appeal to fans of the more hard-edged Italian progressive.

: : : Markus Mattsson, FINLAND : : :

Updates: In 2008 the band released their second album "Discesa agl'inferi d'un giovane amante" which was hailed as a masterpiece by many fans and reviewers. The album finished 2nd place in the ProgArchives Collaborator poll of 2008, nearly beating Opeth for the number one slot. In fact they got more number one votes than Opeth but lost on overall points. Any way you look at it, it was a feather in the cap for modern RPI. Live festival dates followed the album and in 2010 there are plans to release a live DVD of one of the shows.

In Summer 2012 the band release their third album "Deus Lo Vult."
[Finnforest]

IL BACIO DELLA MEDUSA Videos (YouTube and more)


Showing only random 3 | Show all IL BACIO DELLA MEDUSA videos (4) | Search and add more videos to IL BACIO DELLA MEDUSA

Buy IL BACIO DELLA MEDUSA Music


IL BACIO DELLA MEDUSA discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

IL BACIO DELLA MEDUSA top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.58 | 101 ratings
Il Bacio della Medusa
2004
4.22 | 361 ratings
Discesa Agl'Inferi d'un Giovane Amante
2008
3.84 | 114 ratings
Deus Lo Vult
2012
3.73 | 59 ratings
Seme*
2018
3.56 | 25 ratings
Imilla
2023

IL BACIO DELLA MEDUSA Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.60 | 5 ratings
Live
2015
3.83 | 12 ratings
AnimAcusticA
2020

IL BACIO DELLA MEDUSA Videos (DVD, Blu-ray, VHS etc)

IL BACIO DELLA MEDUSA Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

IL BACIO DELLA MEDUSA Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

IL BACIO DELLA MEDUSA Reviews


Showing last 10 reviews only
 Imilla by BACIO DELLA MEDUSA, IL album cover Studio Album, 2023
3.56 | 25 ratings

BUY
Imilla
Il Bacio Della Medusa Rock Progressivo Italiano

Review by Jay Taylor

3 stars I was immediately drawn to this album by the cover art, an agit-prop meets spaghetti western image that reminded me of John Zorn's "The Big Gundown", itself a musical homage to Ennio Morricone. I had never before heard this band so I decided to start here.

Il Bacio Della Medusa (The Kiss of Medusa) formed in Perugia, Italy in 2002 around the vocals and acoustic guitar of Simone Cecchini, the drums of Diego Petrini (who also plays piano, organ, mellotron, synth, melodica, and typewriter on this album!) the sax and flute of Eva Morelli, the bass of Frederico Caprai, and the electric guitar of Andrea Morelli. They quickly gained the attention and appreciation of fans of Italian progressive rock for their devotion to the sounds and style of 70's Golden Age RPI (favoring the heavier rock approach of classic bands "New Trolls" and "Osanna") yet with a modern take of their own. "Imilla", their fifth studio album, was released in 2023 and, according to pre-release press is a concept album about Monika Ertl (alias "Imilla") who was a combatant with the Bolivian militia in the 60's and 70's and who eventually died at their hands. It also informs that this work began as a purely acoustic guitar / vocal demo by vocalist Cecchini before receiving a band arrangement spearheaded by drummer Diego Petrini. Track 1: Un Visto per la Bolivia (A Visa for Bolivia) A typewriter begins the album, as if we are in for a musical novel. A tarantella emerges rhythmically from the typing and we find ourselves in the midst of a folkish romp complete with a melody played thru a kazoo, giving it a tinge of Zappa! Heavy guitar chords begin to augment the rhythm and Cecchini ? with the gruff and gritty vocals of Museo Rosenbach's Stefano 'Lupo' Galiffi mixed with the maniacal zaniness of Ange's Christian Decamps ? joins in with a "Ya-Ya-Yi-Yi!" that reminds me of early Mr. Bungle, another band that specialized in mixing the silly and zany with the ominous and heavy (and who had a considerable influence on later-era Italian progressive) As an opener it is short and interesting, but not much to it.

Track 2: Amburgo 1 Aprile 71 (Hamburg) This track ups the energy with a heavy riff that quickly goes into Italian Melody, something familiar to all experienced listeners of Italian folk and progressive, but this is a slightly odd melody and it's oddness is something I cant pin down but which I suspect comes from a more "pantonal" approach to the progression; whatever it is these sections have a curious lack of energy to them and leave me wondering "where is this going?" before a more insistent acoustic-strummed tarantella cuts in to liven thigs up, then goes back to the weirdly lackadaisical melody, which I assume they are using purposely to contrast the heavier sections and make them more intense. Lead vocalist Cecchini keeps the show rolling throughout with a style that earns the words "histrionic" and "dramatic" and "unusual"; without a doubt his vocals will be a point of contention for many but I find them to be interesting, entertaining, passionate, occasionally annoying, yet often exciting; indeed his voice and style is a major element of the band's sound.

Track 3: La Dolorida (The Sorrowful) Here the album kicks in for me with a melody for voice and acoustic guitar full of yearning and dark melancholy. Cecchini's vocals escalate into demonic pronouncements as heavy guitar augments the melody, the sax of Eva Morelli adding a touch of grandeur to the spectacle (a sound that reminds me of early King Crimson, also 70's Italian band Rocky's Filj) The music breaks into a fast groove racing down a highway at night; a metallic guitar riff with sax drives it forward yet the lead is taken by a mean sounding Hammond organ solo that resolves into a Black Sabbath "War Pigs" type riff - tension-charged gaps filled with jazz hi-hat - before the music becomes suddenly a gorgeous wash of acoustic lounge-jazz as the opening melody returns to crush me emotionally and make me weep at its sorrowful beauty. A guitar solo takes us out with an otherworldly yet meaty tone.

Track 4: Zio Klaus (Uncle Klaus) Another one of my favorites, this track opens with heavy organ and synth and a processional march over which Cecchini declaims things contentious and violent sounding, and I wish I understood Italian better to know what he is going on about! This is a standard mode for this album however and the song is at first in danger of being just average until around the 3 minute mark it goes full "New Trolls" with heavy guitar and distorted flute. For a few seconds we are teased by Wagner's "Ride of the Valkyries" (Kill the Wabbit! Kill the Wabbit!) before a tricky and precise little stumble of notes down some stairs deposits us back with the opening section for a reprise.

Track 5: Dentro Monika Qualcosa Non Va (Something is Wrong with Monika) Set to a reggae beat with an organ- driven late 60's Jazz-pop mood, this song is vocal / lyric heavy and obviously pushes the story forward, but not knowing the language (Italian being my favorite language to hear spoken and sung) I remain in the dark.

Track 6: Ho Visto gli Occhi di Inti Virare a Nero (We See Inti's Eyes Turn Black) Comes in with a Jazzy shuffle highly reminiscent of Colosseum's "Elegy" featuring tasty sax and wah-wah guitar. Cecchini's double-tracked vocals add energy and a magisterial touch before a vintage 70's rock guitar groove takes us on a quick jaunt then, at long last, drops us into the full-on Lounge-Jazz the album has been flirting with throughout. Regardless of your position on lounge-jazz it is well worth the wait for ? under the spell of Sea Hag flute by Morelli - it is an exquisitely beautiful section of music.

Track 7: Senior Service. The Jazzy movie soundtrack atmosphere continues but gets groovy with ominous sax conjuring VDGG. Flute and sax are the stand-out elements here.

Track 8: Lo Specchio di Hans Ertl (The Mirror of Hans Ertl) A smooth yet emotionally rowdy ballad with gentle acoustic guitar, lilting flute, and Cecchini's passionate and histrionic vocals over every second of it, so if his vocals are not your thing you might skip it! If you enjoy his voice it is a great performance.

Track 9: Colt Cobra 38 Special. Gunfire and squealing tires take us into a Tull-meets-Camel hybrid with lead guitar exposition that becomes a reprise of themes heard throughout the album and ends with a dreamy rendition of the "La Dolorida" melody ending the album on a note of melancholic beauty.

 Deus Lo Vult by BACIO DELLA MEDUSA, IL album cover Studio Album, 2012
3.84 | 114 ratings

BUY
Deus Lo Vult
Il Bacio Della Medusa Rock Progressivo Italiano

Review by VianaProghead
Prog Reviewer

4 stars Review Nº 587

Il Bacio Della Medusa is an Italian prog rock band. The genesis of the band started in September 2002 on the initiative of Simone Cecchini, Diego Petrini and Federico Caprai. The last two played in the band Ornithos since 1999. After several changes, in 2003 the formation stabilizes with the entry of Eva Morelli, also from Ornithos and Simone Brozzetti. In the following year Angelo Petri joined the band. In 2004 they recorded their self-titled debut album independently, with a hard prog sound based on the sound of the 70's, but without losing their originality. In 2005 Daniele Rinchi joins the band, which adds to the sound new instruments such as violin, organ and piano. In 2006 the band started working on their second album, released in 2008, 'Discesa Agl'Inferi D'Un Giovane Amante'. This is a conceptual album that shows a mature, sophisticated and fascinating band, mixing in the right amount of progressive rock, jazz, folk, hard rock and even hints of heavy metal, with a dark and melancholic sound that, in some parts, reminds King Crimson but always with a visible originality of the band. In 2012 they released their third album 'Deus Lo Vult', another conceptual album.

But, while the concept of 'Discesa Agl'Inferi D'Un Giovane Amante' was based in a story told by Dante in his 'Divine Comedy' about the forbidden love between two lovers Francesca and Paolo and their descent to hell, 'Deus Lo Vult' (which means 'God wills it' in the medieval Latin) refers to the rallying cry of the people when the first Crusade was declared by Pope Urban II at the end of the 11th century. Still, rather than with the bigger picture, the album deals with the story of a young lordling, Simplício (whose very name hints at a na've, trusting nature), who joins the Crusade in search of fame and fortune, but that only was able to meet bitterness and disappointment upon the return to his home.

'Deus Lo Vult' places a strong emphasis on vocals and narration. In a drastic reversal of the current trend for endless, filler-packed releases, the album concentrates only in a mere 33 minutes. Even though 'Deus Lo Vult' has drawn some criticism on account of its supposedly 'incomplete' feel, it's refreshing to see a band managing to describe a complete story arch in barely over half an hour, without relying on the gimmicks that often give to concept albums a bad name.

Il Bacio Della Medusa on 'Deus Lo Vult' strikes a near perfect balance between the lyrics and the music, allowing the music to convey as much emotion as the vocals. All members of Il Bacio Della Medusa are superb instrumentalists, and the music runs the gamut from gentle, folk-tinged balladry to no-holds-barred heavy prog. Simone Cecchini's extremely versatile voice firmly rooted in the great Rock Progressivo Italiano tradition, at times blends with the instruments, at in some other times completely dominates them, performing two or more roles at once in thoroughly convincing fashion.

The album opens with a short track 'Invocazione Alle Muse', an homage to classical epic literature in the shape of an invocation to the Muses, a soothing, pastoral-sounding piece with a melodic voice accompanied by acoustic guitar, Mellotron and flute. With 'Indignatio (Infedeli in Terra Santa)' the album immediately dives into the thick of things with its lengthiest track, with about the 8-minute long. The music on the track reflects the tone of the lyrics, an invective against the Muslim presence in the Holy Land conveyed in almost visionary terms. 'Urbano II Bandisce La Prima Crociata' is a march-like, with its trumpets, drums and the martial chanting, strikes a half-serious, half- comical note, allowing Cecchini to interpret two different characters with effectiveness. 'Simpl'cio' is a kind of a folksy ballad where Cecchini's voice displays its melodic potential, well complemented by the guitar and flute. In 'Deus Lo Vult', the band delivers a great track. After a deceptively mellow intro, the track leads into a hard rock feast with no less than three guitar solos, raging Hammond organ runs and aggressive sax and flute works. 'Verso Casa' relates Simpl'cio's journey towards his home with a lively, a waltz-like pace and very expressive, but with slightly histrionic vocals. In the last track 'La Beffa (Non Un Trono, Non Un Regno...Solo Sdegno)' the story is dominated by Cecchini's suitably deranged vocals, followed by a galloping, exhilarating flute-guitar section and ending with the ominous sound of a crackling fire.

Conclusion: 'Deus Lo Vult' is a mature album, direct and full of details, a human journey full of passion and blood with a really explosive finale. Compared to their previous album the lyrics are much rawer and the sound is hard and tends to rock, sometimes heavy but tinged with shaded songwriting and sometimes ironic. This variety of solutions allows the music to fit the plot. The pressing structures of bass and drums support the acrobatics of flute, guitar, sax and organ, while the histrionic and powerful voice goes from mellow tones to those crackling in a wide range of interpretations in timbre. Besides the outstanding quality of the music, which successfully blends a vintage feel with a thoroughly modern allure, the band should be commended for the painstaking attention devoted to the lyrics. 'Deus Lo Vult' is undoubtedly and especially recommended for fans of bands of the heavier Rock Progressivo Italiano spectrum.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Il Bacio della Medusa by BACIO DELLA MEDUSA, IL album cover Studio Album, 2004
3.58 | 101 ratings

BUY
Il Bacio della Medusa
Il Bacio Della Medusa Rock Progressivo Italiano

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars Heavier rock-based music similar to the approaches taken by the great rock-oriented acts of the 1970s RPI, such as, Biglietto Per L'Inferno, Quella Vecchia Locanda, Panna Fredda, Osanna, and even Museo Rosenbach.

1. "Requiem Per I Condannati A Morte" (Incl. "Sogno Post Mortem: Fine D'Un Inverno") (8:55) A classic rock classic. The highlight for me are the harmony vocals. Well recorded and produced. (17.25/20)

2. "OrienteOccidente" (5:24) opens like an AREA song before turning classic blues rock like the early 1970s. (8.5/10)

3. "Scorticamento Di Marsia (I,II,III,IV)" (14:54) a little more delicate blues rock using flute and acoustic guitars for the opening section. At times bluesy, at times hard rockin', at others jazzy-rock, this suite/epic is worthy. (26/30)

4. "Il Vino (Breve Delirio Del Vino)" (6:50) definitely an folk-infused Italian drinking song. With the presence of the accordion, syncopated rhythm, and call-and-response type of party vocals, there is quite a little LES NEGRESSES VERTES feel to this song. I really like the passion and pride coming through in this song. (13.75/15)

5. "Cantico Del Poeta Errante (I,II,III)" (8:23) another flute and acoustic guitar opening. The rest of the band joins in for the second verse in a kind of JTULL way. Once vocalist Simone Cecchini enters, he gives the song that same colloquial feel as the previous song. The second section is noted for its raucous multi-voice vocals despite the bands choice to remain mostly acoustic and slower in pace. The third section is defined by the presence of two fiery electric guitars. A cool Italian song that grows on you with repeated listens. (17.75/20)

6. "De Luxuria, Et De Ludo Et De Taberna (I,II)" (12:02) slow, plodding heaviness with great drumming and potential drama in the guitar play turns up a couple gears in the second minute to race across the landscape. Again, the classic instrumental jams of the early 1970s come to mind. But then vocals enter: two: one in the right channel alternated with another in the left, talking to one another. Great percussion! The shift in the third minute gives the song an even stronger South American feel to it--like something by LOS JAIVAS. Organ takes over above the fiery drums and percussion for the second half--that and the incidental operatic "lo-lo-lo-lo" male vocals. Then, just when you think it's ending, it turns into something altogether different: more soloing from the bass, drums, and percussionist. (21/25)

Total time 56:28

While I respect the retro-rock sound the band aspires to, it is the more colloquially-infused Italian traditional music that attracts me to their sound. More of this, less of the classic early 1970s rock sound, please.

B-/3.75 stars; a nice addition of Italian-infused retro-"1979s classic rock" to any rock lover's music collection.

 Discesa Agl'Inferi d'un Giovane Amante by BACIO DELLA MEDUSA, IL album cover Studio Album, 2008
4.22 | 361 ratings

BUY
Discesa Agl'Inferi d'un Giovane Amante
Il Bacio Della Medusa Rock Progressivo Italiano

Review by VianaProghead
Prog Reviewer

5 stars Review Nº 180

Il Bacio Della Medusa is an art-prog-rock group which was born in 2002. The band released three studio albums until now. The first, of the same name, was released in 2004, the second 'Discesa Agl'Inferi D'Un Giovane Amante', a conceptual album, was released in 2008 and the third 'Deus Lo Vult', another conceptual album was released in 2012.

The band embraces the 70's progressive rock style. The progressive facets of the band touch both the Anglo-Saxon side and the Mediterranean, a facet that characterizes the style that is now known today as Rock Progressivo Italiano. Refined texts, long winded titles and imaginative covers for a baroque style are typical of a certain type of progressive rock of bands like Banco Del Mutuo Soccorso, Premiata Forneria Marconi, Le Orme and Area which are some of the best representative Italian bands in the 70's. It seems the old tradition continue in our days with bands like Il Bacio Della Medusa, Universal Totem Orchestra, Finisterre, Hostsonaten, La Machera Di Cera and Ingranaggi Della Valle.

'Il Bacio Della Medusa' (The Kiss Of The Medusa), riding the wave of inspiration of the first album, immediately begins the work of what will be, so far, their most popular album, 'Descent Agli'Inferi D'Un Giovane Amante' (Descent To Hell Of A Young Lover) . It's a real rock opera, a mature, passionate and dramatic, conceptual album inspired by the V canto of the Inferno of 'The Divine Comedy' written by the great Dante Alighieri. In short, we can say that the concept of the album is about two lovers, Paolo and Francesca and and their thoughts when they follow their path of descent to Hell.

Musically, the sounds are more elegant than the previous one, thanks to the presence of the Rinchi violin and the Petrini keyboards. The work is masterful and full of intensity and density, and the arrangements of the band are excellent. Times and styles are perfectly and harmoniously alternated, between bloodless and dreamy ballads, classical accompaniments typical of symphonic prog and hard-folk incursions. The interactions between the instruments are numerous. The courtly and poetic texts host copious rhetorical figures and are written and interpreted with emphasis, also thanks to a broad ductility of the song that perfectly transmits the emotions experienced by the narrated subjects.

The tracks flow together without breaks, adding to the sense that it unfolds like a grand play. An often obscure music, conducted by the omnipresent organ and a guitar also hard, often embellished by a delicate flute and, to underline, the most touching moments of the story, a poignant violin and a guitar. Here and there we can hear some valuable folk insertions, which soften a little the subtle restlessness that hovers between the notes and the lyrics. The notes of the sad and romantic 'Preludio: Il Trapasso' lead us into the esoteric atmosphere that will accompany 'our souls' for the whole journey among the underworld. The 'Confessione D'Un Amante', sustained by the expansive melancholy of the instruments, is that of the suffering of Paolo. With 'La Bestia E Il Delirio' the rhythm is raised immediately thanks to a low flute unison, which we will often find throughout the album. In 'Recitativo: ' Nel Buio Che Risplendono Le Stelle' the flute, marching with the other instruments, opens to a marvelous and at the same time disturbing poem. A detachment and a change of rhythm introduce 'Ricordi Del Supplizio', one of the grittiest pieces of the album. 'Nostalgia, Pentimento E Rabbia' initially relaxes us, through sounds of medieval appeal, and then reinvigorates itself. Following is the instrumental 'Sudorazione A Freddo Sotto Il Chiaro Di Luna' where at a certain point the rhythms subsided, leaving room for more rarefied atmospheres. Then, let's go through the verses of Cecchini on the epic 'Melencolia', where we estimate the acoustic sounds of a guitar that we find partly in 'E Fu Allora Che Dalle Fiamme Mi Sorprese Una Calda Brezza Celeste', with the kaleidoscopic Cecchini at the tenor sax. We continue instrumentally in the following tracks, 'Nosce Te Ipsum - La Bestia Ringhia in Noi', in which violin and percussion alternate with keyboard rides. We want to end with sad, melancholic and solemn atmospheres, guided by the Rinchi violin that is enhanced in this final. Mere vocalizations without words accompany 'Corale Per Messa Da Requiem' and in 'Epilogo: Conclusione Della Discesa Agl'inferi D'un Giovane Amante' the main theme is taken back, soaked with sadness.

Conclusion: The second studio album of Il Bacio Della Medusa is a mature work, refined and enthralling at the same time. They made an album in which not only the sounds, they pass from the melancholic and dark atmospheres to the purest prog sound or symphonic with an astonishing ease, but also the same voice by Cecchini, they seem to come directly from the 70's. The strong bond with the past is not a question of pure imitation, but a respectful appeal, like the deferential relationship of a believer with his own God. This has to be up there with the best of the retro-Italian prog rock I've heard in the last years with 'Mathematical Mother' of Universal Totem Orchestra. With these albums we can see the prog rock is very alive and why Rock Progressivo Italiano is responsible for some of the best prog albums ever.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Discesa Agl'Inferi d'un Giovane Amante by BACIO DELLA MEDUSA, IL album cover Studio Album, 2008
4.22 | 361 ratings

BUY
Discesa Agl'Inferi d'un Giovane Amante
Il Bacio Della Medusa Rock Progressivo Italiano

Review by MELNIBONÉ

3 stars This may not be Il Bacio della Medusa's latest release, but nevertheless it remains their best yet as far as I'm concerned. Granted, "Discesa Agl'Inferi D'Un Giovane Amante" isn't the RPI album I've been playing extensively lately (that privilege being awarded for now to Faveravola, Unreal City, Logos and Il Cerchio d'Oro albums), but that doesn't undermine in no way its qualities. On this particular album, IBDM is S. Cecchini (vocals & choirs, 6 & 12 strings acoustic guitars, classical guitar, tenor sax), S. Brozzetti (electric guitar), F. Caprai (bass), D. Petrini (drums, organ, keys, piano, vibraphone, percussion), E. Morelli (flute, piccolo) and D. Rinchi (violin, viola). My understanding of Italian being quite limited to say the least, I can only suggest that the title of the album could be translated as "A Young Lover's Descent Into Hell" (but then, I wouldn't bet that this translation is foolproof). That said, as the liner notes and the booklet are written solely in Italian, it would be most risky on my part to even hint at the translation of the lyrics and titles of the pieces. And I regret not being able to read Italian, since the centerfold of the booklet presents a long article penned by a certain M. Sannella, in which some famous names pop out, such as Keith Tippett, David Sinclair, Caravan, Egg, Soft Machine, (Robert) Wyatt and (Daevid) Allen, (Ian) Anderson and Bill MacCormick ; I presume it was written to deliver a (favorable and extensive) description from the outside of the musical influences and works of Il Bacio della Medusa.

The album is divided into 12 pieces (about 56 min total time), half of them being instrumental and amounting to almost 25 min. I'm pointing that out to emphasize the fact that even if there are six songs on the album, some with extensive lyrics, the music always takes the lion's share. So, whatever the story or whether you understand Italian or not, this album focuses mainly on the music. Which is good news by any standards. Also, since every piece is meshed seamlessly into the next one (if there's a gap, it's so minute that it's hardly noticeable), the album sounds more like a unique 56 min long track. Now, the funny thing about some tracks, especially the instrumental ones, is that their titles are about has long as their respective length, the ex æquo winners being "E fu allora che aalle Fiamme mi sorprese una calda Brezza Celeste" and "Epilogo : Conclusione della Discesa agl'Inferi d'un Giovane Amante", with three runner-ups following close behind. In the late '60s and early '70s, some bands did the same thing, among them Banco, Caravan, Pink Floyd, Soft Machine, Yes, etc. Influences work their way through in quite mysterious fashions !

"Preludio : Il Trapasso" (3:44) is an almost pastoral or medieval evocation of death, with a certain lushness underlined by emotional vocals given depth and grandeur, when a brief choir- like stint kicks in. One might wish (or fancy) that death was as serene a thing as this track seems to suggest it is...

"Confessione d'un Amante" (3:04) creates a very classical chamber music-like atmosphere at first, then the singer comes in, sounding quite dramatic or pathetic, while again choir-like synths rise in the background.

"La Bestia ed il Delirio" (5:09) is faster-paced than the preceding tracks, but don't expect it to propoel you to the moon. It kicks in, but mildly, the organ beginning its swirling while drums follow staccato. Then, as is often the case in RPI, comes the unmistakable « circus-like » phase (it will be back a bit later on) mixing traditional melody and rythm with a Fellini-esque trait that is quite appealing, complete with sardonic laughter, always on the keys, before the tempo picks up speed. But the accelerating impression is somewhat muffled by the organ lead. Which is something that will come up in other pieces, as if IBDM couldn't let go for once and reach for the stars (why would descending into hell preclude aiming for the highest achievable goal, whatever that goal may be ?...).

"Recitativo : È nel buio che risplendono le stelle" (3:59) Martial intro with marching drums, but also sinuous keys as if some Dark Lord was making its entry. The narration is a bit nasal, but without much theatrics, or declamatory tones, except towards the end. Heavy pounding beat, but still with that martial tone, bringing forward a sense of menace, if not inescapable doom.

"Ricordi del Supplizio" (6:27) rocks from the start : Camel mixed-up with some Jethro Tull from the "Benefit"-era. The singer is much more high-pitched on this one (he will be harsher, raspier later on). There is a duet/duel between flute and keys, which is quite a feat/feast. This track really sounds like some rock piece of the '70s. There are even some jazz-rock tones reminiscent of Brian Auger's Oblivion Express days.

"Nostalgia pentimento e Rabbia" (6:58) Very medieval sounding start, then the band moves in with flute as leader. But there's no frenzy here, it's rather mid-tempo (accelerating in the latter part of the song) with a light touch of drama before vocals pitch in. Again, there's a definite Tull-like atmosphere prevailing throughout.

"Sudorazione a Fredda sotto il Chiaro di Luna" (6:03) starts like a rocking piece with swirling keys, fuzzy guitars, coming suddenly to a stop for a complete serene soundscape, that evolves into a melody driven by keys and bass and guitar. Then there's another lull with spacey sound and sound samplings à la Pink Floyd, until the bass and guitar fire all things up again. Keys pick up and lead the way, but the climax seems out of reach and we're back to a slower and heavier tempo.

"Melencolia" (5:40) starts slowly, in very evocative way, with a delicate Mid-Eastern touch, before the voice gets in, which is joined later on by a choir-like background. The singer is at his best here. There is an overall mood, nurtured by a slow but articulate folk beat, that brings to mind Magna Carta's "Lord Of The Ages".

"E fu allora che dalle Fiamme mi sorprese una calda Brezza Celeste" (3:21) starts with guitar and sax over a slow drum beat, before the keys move in. It's a slow crescendo that takes its time to build up, the sax providing the incentive to go on, but to no avail, because the tempo decreases before having reached the end of the ramp.

"Nosce Te Ipsum : la Bestia ringhia in noi" (5:28) Violin and piano at first, before speeding up with keys leading the way. Most up-beat track of the album. Powerful, yet reined in somewhat. It's as if IBDM were not confident they could pull it out anyways if they were to loosen a bit their (too ?) tight grip on the musical structure. Lots of different time signatures in this one.

"Corale per 'Messa da Requiem" (3:54) More like a suave nostalgic gypsy waltz of sort, with strings and keys, and choir. The crescendo at the end is quite dramatic, offering an Italian finale that's quite post-Romantic in flavor.

"Epilogo : Conclusione della Discesa agl'Inferi d'un Giovane Amante" (1:48) is a concise mix of medieval, folk, gypsy and traditional ballad, with violin and piano? ending with a sort of spacey whisper.

All in all, "Discesa Agl'Inferi D'Un Giovane Amante" is pure RPI. But, in this particulat case, purity isn't synonymous with excellence. To be a masterpiece, the vocals would have needed someone with a better voice throughout ; and the production would have gotten rid of some muffled tones ; and the music would have benefited from a more rigorous structure that would have led the tracks to a definite "breaking point", instead of backtracking without reaching any significant musical "level" within most of the pieces, whether songs or instrumentals. In other words, this is no masterpiece (and not even close to being one). Now, don't let me be misunderstood, as the song goes, this album is good and worthy of any Prog collection, but its merits do not excede that of a good RPI album. Period.

3.5 kisses? rounded down to 3, in view of what it is vs what it could have been (easily or not).

 Deus Lo Vult by BACIO DELLA MEDUSA, IL album cover Studio Album, 2012
3.84 | 114 ratings

BUY
Deus Lo Vult
Il Bacio Della Medusa Rock Progressivo Italiano

Review by andrea
Prog Reviewer

5 stars 'Deus lo vult' is the third album by Il Bacio della Medusa, a band from Perugia that was formed in 2002. It was self-released in 2012 with the help of Glare Art Communication and features a beautiful packaging with an art work by Licia Marino mixing photographs and drawings. Violinist Daniele Rinchi left the band after the excellent second album and now the line up is reduced to a quintet featuring Simone Cecchini (vocals, acoustic guitar, harp), Diego Petrini (drums, percussion, mellotron, organ), Federico Caprai (bass), Simone Brozzetti (electric guitar) and Eva Morelli (flute, sax, theremin). The overall sound is harder than in the previous work but in my opinion the music perfectly fits the storyline and the final result is magnificent. In fact, 'Deus lo vult' is a concept album inspired by the first crusade where sarcasm and irony prevail upon epic tones. It tells the story of an unfortunate, naive lord from Umbria who leaves his land and wife in search for glory and richness in the Holy Land. Well, if I had to compare this work to a film I would say that it's definitely closer to Brancaleone To The Crusades by Mario Monicelli than to Kingdom of Heaven by Ridley Scott!

The short opener 'Invocazione alle Muse' (Invocation to the Muses) sets the atmosphere with Simone Cecchini who here plays the role of a minstrel... 'Let the wind blow strong / And as for magic / Let it suggest the song / Of the young Simplicio...'. On the following 'Indignatio (Infedeli in Terra Santa)' (Indignatio ' Infidels in the Holy Land) the rhythm rises while the music and lyrics weave a sense of organized delirium. This piece describes the atmosphere of mystic fanaticism and hysteria that leads to every religion war. The Earth seems to give birth to dark, venomous scorpions while infidels plunder and celebrate their pagan rites in the Holy Land. You can hear curses and invocations to the divine wrath... 'Hurry up! Hurry up! / The whole Christianity has to rise and fight...'.

On 'Urbano II bandisce la Prima Crociata' (Urban II summons the First Crusade) Simone Cecchini plays the role of the pope blessing Godfroy of Boullion and his army in an almost ludicrous way and there's a strong sense of parody. Next comes 'Simplicio', a beautiful ballad which describes the protagonist of the story on his way to the Holy Land and his meeting with an attractive girl who reads his hand and predicts him a gloomy future. She offers him shelter and love but our hero turns her down and rides on... 'When he gave up counting so many suns and too many moons / He attained his destination...'.

'Deus lo vult' (God wills it) begins softly with exotic flavours in the air, the music here recalls the score of Lawrence Of Arabia by Maurice Jarre. Then the rhythm suddenly rises and you can hear the battle raging and see the blood flowing in deep purple colours... 'Shoot the arrow and run / Towards those towers... God wills it! / Beyond those gates / Death is waiting for you... God wills it...'.

'Verso casa' (On the way home) tells of a sad return. Simplicio is disappointed, for him there's no glory nor land nor richness since the leaders and the most powerful knights make the rules and for him there's nothing left but pain. So he comes back home with no booty but, at least, the hope to find again his faithful wife cheers him up. The final track reveals a nasty surprise... 'La Beffa (Non un trono, non un regno... Solo sdegno)' (The prank ' No throne, no kingdom... Only outrage) describes the moment when he finds out his spouse cheating on him. She's in bed with the local priest and Simplicio goes mad. In his final explosion of rage he's merciless and burns them alive... 'Get ready the stake...'. Well, a real flamboyant finale!

 Discesa Agl'Inferi d'un Giovane Amante by BACIO DELLA MEDUSA, IL album cover Studio Album, 2008
4.22 | 361 ratings

BUY
Discesa Agl'Inferi d'un Giovane Amante
Il Bacio Della Medusa Rock Progressivo Italiano

Review by Memo_anathemo

5 stars A man and a woman go to hell and they are reflecting about their deeds, the reasons of why they as a couple are there. This is what I understood from the album, I don't speak italian but a little bit got this idea, if it's not, pardon me, this what the titles of the track and the music made me figure out. A perfect album from beginning to end, with excellent changes of mood from one song to the other, wonderful instrumentation all the way through, and of course maintaining all the classic elements of italian progressive music: the use of flute, keyboards, violins, acoustic guitars and a powerful bass guitar. This album is worthy to be considered among the best albums in progressive rock in history!
 Discesa Agl'Inferi d'un Giovane Amante by BACIO DELLA MEDUSA, IL album cover Studio Album, 2008
4.22 | 361 ratings

BUY
Discesa Agl'Inferi d'un Giovane Amante
Il Bacio Della Medusa Rock Progressivo Italiano

Review by VOTOMS

5 stars Wonderful RPI! This is one of the best symphonic prog rock albums that I have heard in years. The progression is on the right place, they know how to change the mood of their music, and how! Discesa Agl'inferi D'un Giovane Amante is the second album from Il Bacio Della Medusa, released in 2008. The first time I saw the album, it captivates me by the cover art. The dark environment is really great. The concept of the album is about a man with his women in hell and his feelings. The album includes macabre laughter and overlapping whispers sometimes, but don't be afraid, the darkness of the music is very well balanced with the beautiful classical and folk songwriting.

The 3:44' minutes Preludio has a beautiful symphony by piano, violin, flute and vocals. The symphony reaches the second track, Confessione D'un Amante, the vocal and piano melodies are pretty good. The progression goes on falling into La Bestia Ed Il Delirio, where the drummer awakes. The flute at the beggining of the track reminds me of Tull dark passages, like A Passion Play. The organ solo with the background clean rhythm guitars is awesome. At the middle of the track, you will find a song in the italian typical folk way, and for real, it reminds me of a greek old song. The second half of the track features another organ and keys solo, with funky groovin guitar bases. And a short guitar solo after an evil laughter. The fourth track has infernal narrations. And the symphonic instrumental behind carries a heavy atmosphere, slowly turning into a prog folk. The Tullish prog becomes definitive at Ricordi Del Supplisio, very funny flute work, and the organ is beautiful. Well, any hammond organ or keys solo is fanservice made exactly for me, since I drown into prog in itself after some keith emerson video tapes. At Nostalgia, Pentimento e Rabbia, Cecchini really sings with his soul. Some evil riffs here. A good guitar solo too, I like when the guitar riff fuses with the flute. Sudorazione A Freddo Sotto Il Chiaro Di Luna starts as a stylish jazzy blues, where the first highlights are the excellent drums and bass. So the organ strikes again until the song slow down beautifully. The calm flute and clean guitar solo is deep and cool. The ending of this track seems to be a shapeshifter, between slow and fast rock. But the slow rock wins, starting Melancolia, an acoustic mellow, brilliant and atmospheric track. I like the ending of this one, with that keys and percursion. The following track, E Fu Allora Che Dalle Fiamme Mi Sorprese Una Calda Brezza Celeste (wow, that's a huge track title), it's calm and features some fine sax playing. The grand finale, the peak, is Nosce Te Ipsum: La Bestia Ringhia In Noi, the most progressive track of the album, and my favorite one! After te calm intro, some tribal drums advertises the musical changes. The keys, guitar and sax, and all the rest, are all working together here. The cool tempo changes and the organ leading an apocalypse seems the best passage of the album. The freak ending riff of the track rules. So we have two closing tracks, Corale Per Messa Da Requiem and Epilogo: Conclusione Della Discesa Agl'inferi D'un Giovane Amante. Both track are working like the first twin symphonic tracks.

Reccomended to everyone into symphonic, folk prog or RPI.

 Discesa Agl'Inferi d'un Giovane Amante by BACIO DELLA MEDUSA, IL album cover Studio Album, 2008
4.22 | 361 ratings

BUY
Discesa Agl'Inferi d'un Giovane Amante
Il Bacio Della Medusa Rock Progressivo Italiano

Review by b_olariu
Prog Reviewer

3 stars Il Bacio della Medusa is one of the most popular italian bands from prog rock realm with 3 albums released so far. Discesa agl'inferi d'un giovane amante is their second offer from 2008. This album got a lot of big aplauses world wide, is considered one of the masterpieces of our days, but really to me was an only fair good album, nothing more, nothing less. When I first listen to this release I said what the heck, this sound like it was released in 1973 or around that period not in 2008. Vintage symphonic prog is all about here, ok is well played , typical for italian school with romantic passages with a folkish atmosphere combined with more edgy ones, but all sounds very familiar to my ears. No ground breaking arrangements, only ok . So, no particular pieces is in front, all has same value, all are good but far from masterpiece status as many saw in this release, I know many italian symphonic prog bands that are far more intresting. 3 stars.
 Il Bacio della Medusa by BACIO DELLA MEDUSA, IL album cover Studio Album, 2004
3.58 | 101 ratings

BUY
Il Bacio della Medusa
Il Bacio Della Medusa Rock Progressivo Italiano

Review by apps79
Special Collaborator Honorary Collaborator

3 stars One of the recent products of the Perugia scene, Il bacio della medusa came together in the autumn of 2002 under the leadership of drummer Diego Petrini, bassist Federico Caprai and singer/guitarist Simone Cecchini.Many line-up changes would follow and a stable line-up would occur in 2003 with Eva Morelli on flutes and Simone Brozzetti on guitars.Over a year of preparation led to the band's self-titled and self-produced debut in 2004 with the participation of Angelo Petri on sax/accordion and Daniele Rinchi on violins.

The words that describe generally Il bacio della medusa's debut are energy and passion with the band delivering in a very dynamic Hard/Psych Prog style with many retro influences from the classic period of Italian Prog.The sound is based around the powerful guitar work of Brozzetti, featuring hard lead guitars and soulful soloing, and Cecchini's incredibly theatrical and sharp voice, perfect for the band's overall style, not unlike bands like IBIS or OSAGE TRIBE.These guitar-based crescendos are supported by a number of nice breaks with romantic acoustic passages and also the delicate flute interludes of Eva Morelli, as the sound reaches the legendary approach of PREMIATA FORNERIA MARCONI.The composition are full of guitar/flute interplays and shifting moods between soft acoustic textures and attacking guitar parts, showing a wide range in the decibel scale.''Il Vino'' shows even a great Mediterrenean-inspired attempt by the group to explore more traditional paths with accordion and acoustic guitars in evidence, a fantastic offering indeed.

A very good debut by a group with a bright future.Passionate Italian Prog, where straight-to-your-face rock music has plenty to offer among the proggier moments.Strongly recommended...3.5 stars.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — jazz music reviews and archives | MetalMusicArchives.com — metal music reviews and archives

Donate monthly and keep PA fast-loading and ad-free forever.