CAUTION RADIATION AREA

Area lose two virtuous musicians in one fell swoop: Patrick Dijvas with his vigorous bass (which betrayed them for Premiata Forneria Marconi) and Victor Busnello who, with the vicissitudes made with sax, had indelibly marked their debut album. They suffer a serious blow that could kill them but in a short time they decide to do without the sax and manage to find another fabulous bass player, Ares Tavolazzi (who plays even double bass and trombone), already famous for his work with the father of the Italian songwriters Francesco Guccini.

The result is a new group, with a different sound, which decides to experiment totally, not only in the context of jazz rock and avant-garde. The first song, "Cometa rossa", has an electronic intro with an electronic rhythm and then becomes a Mediterranean acoustic folk sung in Greek by Stratos (but with arabic accents), to return to electronic. Remarkable song, sophisticated although perhaps too close to the exercise of style. Rating 8.

ZYG (Crescita zero) is an instrumental piece with an industrial beginning- The only words, spoken with an electronic voice,, are: "L'estetica del lavoro, dello spettacolo, della merce umana." (The aesthetics of work, entertainment, human goods) Great work by Tavolazzi on the bass, Fariselli on synth and by Tofani on the guitar. We are in the free-jazz field, mixed with electronic and avant-guarde. Rating 8+.

Brujo starts with a piece of cacophony, then the music becomes almost ambient, and Tavolazzi shows his cleverness to the double bass. We are listening to an almost completely instrumental album, where Demetrio Stratos participates with the voice rather than with the vocals: the voice used as an instrument. The sound remains more cacophonous than free-jazz, the lack of the sax that traces the line of a melody leaves space for the other instruments, which are free to totally improvise, here in particular we have Fariselli's piano and Capiozzo's drums that are enhanced in long solos; the sound acquires a free-jazz form that has nothing to do with Italian Progressive Rock. Around 6 minutes the music stops, the double bass remains and Stratos' voice finally appears to sing "Ossigeno" and then vocalises, onomatopoeic sounds, the music becomes dissonant, pure avant-garde, Stratos finally sings and closes the first side with a crescendo fantastic. Rating 8,5/9.

End of a difficult but eceptional A-side.

"Mirage" is a mini-suite (ten and a half minutes) that begins slowly, but there is a good progression and with an almost space-rock sound, here we are near a radioactive area, then around 5 minutes and 45 seconds the music stops and we hear polyphonic voices that say nonsense sentences, then voices of worthy spirits of a horror film, all with a very theatrical taste, we reached the maximum of experimentalism, it could be the soundtrack of an absurd theater show, which then becomes dissonant, only the double bass seems to follow a line, all the musicians they are intent on improvising. Experimentalism and avant-garde, perhaps less pure musical content. We always fly on very high quality levels. Rating 8.5.

"Lobotomia" is the last piece. The beginning is hysterical, overpowering, irritating, pure sound experiment, the sound of the second side has become very arduous. The title, which alludes to the operation of a part of the brain, serves to indicate the setting for the music, which wants to be repellent, annoying, unbearable, traumatizing. The problem is that the listener is rejected, it is the ear that hurts. This song in my opinion lowers the quality (rating 6+) of the album which is still excellent, a masterpiece. It could have been a great masterpiece, but so it is only a small masterpiece.

Rating 9. Five stars.