IL BACIO DELLA MEDUSA

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*)

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.

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*)

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).

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!

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.

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.

Well well, our friends of Il Bacio Della Medusa are back with their follow-up to "Discesa agl'inferi d'un giovane amante", the album which stunned the 2008 Collaborators poll by finishing 2nd and nearly upsetting Opeth. Following an album like "Discesa" is a tall order and I was pretty certain there was no way I could like the next one better. Well I'm happy to report that you need not be afraid to test your expectation. "Deus Lo Vult" is a punchy spitfire of an album that finds BDM in no mood to rest on past success. There have been changes for many folk's favorite post-2000 RPI band and it sounds like there are out to prove themselves all over again. They sound ferocious and battle-ready so the sword on the cover is appropriate.

The first change you might notice is that they have severed ties with Black Widow Records. They have also parted ways with violinist Daniele Rinchi, more on that later. And then there is the length which my good friend Paul discussed in his review. "Deus Lo Vult" is only 34 minutes long, almost unthinkable in today's world of unending CDs and digis. But I personally LOVE the fact that they did this! First, it harkens back to the classic 1970s RPI tradition of incredibly short albums when the 30-35 minute range was common and even quite a few that dipped below 30 minutes. This made for pure excitement because most of the bands were putting everything they had into that window of time. The same is true here. The band is succinct and putting every bit of gut they can into a short, sweet listening experience. There is never a second of boredom, this thing is alive and kickin' front to back. While there are times when I want a long drawn out affair, these days especially I value the approach taken here.

The material here, composed by Petrini and Cecchini, is as good as before and the performances have improved. While there are undeniably beautiful passages on Discesa which I have on my RPI brain loop, Deus has just as many while being more economical. There is a nice balance of intense, heavy rocking with poetic pastoral RPI, and a few of those quirky surprises as well. Sometimes there is a medieval feel, and this time around they flirt with prog-metal in a few spots. Not intentionally perhaps, but in these sections the speed and aggression are kicked up several notches. The band have all improved as performers as well. I sense a tighter core band seemingly more in tune with each other's musical dialogue, creating some very nice interplay, while Cecchini's vocals are fantastic. I love Diego's keyboard choices and aggressive drumming. Everyone is robust, passionate, and just kicking ass. I will say though that I miss Rinchi's presence on the album and that loss of an independent strings man is noticeable and not for the better. Coming from the world's biggest QVL fan this should not be surprising. But that is really my only criticism of Deus. Though the upside would be that it leaves more room for Eva Morelli who does not disappoint here, great flute and sax just like on Ornithos.

"Invocazione alle Muse" is such a stunningly beautiful opener, pure RPI, grandiose, majestic, romantic, with the first of many Eva flute solos. "Urbano II bandisce la Prima Crociata" has a patriotic march feel with Eva playing piccolo over these gregarious group vocals, you can almost see the guys with their arms around each other belting it out as if a pub sing-along! "Simplicio" is the change-up, an inspiring ballad with Cecchini and Morelli just breaking your heart, so damn beautiful is the vocal and flute with great guitar leads as well. The title track is amazing and powerful, great timeless riffs and memorable melodies. The other tracks are just as impressive and feature more of the heavy prog/symphonic/rockin' side of the band whose influences feel like Purple and Tull yet filtered through the RPI experience with highly theatrical vocals and loads of drama. Don't worry about comparing the album to its predecessor or to Ornithos. Both this album and Ornithos should be on your list if you enjoyed the previous BDM album. It comes in a nice book styled digipak with lyrics, photos, and artwork.