Except on the weak production, this album is remarkable and characterized by a clever use of Mellotron keyboards, Hammond Organ and analogical synthesizers at times, quite powerful. The long title track is very "FLOYDian" in the mood and in other circumstances resembles the style of ELP in the lighter vein; nevertheless there's not much of the grandeur which instead characterized the albums by BANCO, Le ORME and early PFM , above all the mellow parts, and for this reason you can completely appreciate this album if you are fond of the most accessible "classic prog" (a style similar to that one of LANDBERK, naturally in their best - actually a few ones - moments!!
). Recommended, it can complete your Italian prog collection of the seventies, even though it is not a masterpiece. Posted Saturday, April 03, 2004, 12:01 EST |
What a wonderful way for me to get started on the Italian prog scene.
It was 1993, I was 20, I was getting pretty much fed up with anything mainstream. This was still before the Internet (or at least, I never heard of the Internet in '93, although it did exist, but was more of a "techno-geek" sort of thing), and trying to get info on obscure prog rock was rather difficult. I was given a blank tape that had MUSEO prog rock, and knew that I wouldn't just casually step foot in a record store and find an LP of this.
I have since bought the Italian BMG/Ricordi CD reissue. the more heavy, agressive end of the prog spectrum, not unlike IL BALLETTO DI BRONZO or BIGLIETTO PER L'INFERNO. Lots of great organ and Mellotron, aggressive guitars, and powerful vocals.
Plus you can't beat that mystical atmosphere. The lyrics Zarathustra". Nietzsche was also greatly admired by those with far right-wing views, and because of that, prevented Museo Rosenbach from getting the attention they deserved (although how the band stood on political issues is anyone's guess, as Nietzsche did have lots of admirers of every political stripe).
Right-wing or not, the band really knew how to dish out some truly killer Italian prog, as the side length title and "Dell'Eterno Ritorno" are all of the same quality, and I really can't seem to find any much as I did back in '93. Yes, some might think there are better Italian prog albums out there, some might not like the production (many of these heavier Italian prog albums I've heard, like BIGLIETTO PER L'INFERNO, OSANNA, CERVELLO, and SEMIRAMIS all don't have the best production), but to me, this is a totally essential album. Posted Wednesday, May 05, 2004, 20:24 EST |
Quite heavy, dark progressive music this, but melodic nonetheless.
It only really guitar, bass and drums in the fore, with some good Mellotron and Hammond work supporting it and taking the lead in several places. How to describe the music? A dash of BANCO DEL MUTUO SOCCORSO, THE DOORS, DEEP PURPLE and JOE COCKER, perhaps?
! (It's cleverer and more complex than the music of the last three though.) and pop singers; perhaps that's why his nickname is Lupo (Wolf)!
In my opinion his voice is not as pleasing as that of some of the other Italian prog rock bands' singers. I wish I could understand Italian better though, because the singing is full of passion and Taken as a whole the album does feel very slightly like a classical symphony, despite the electric guitar and drums; it's cleverly constructed music. The ending of the last track, 'Dell'Eterno Ritorno', while being totally modern instrumentally, reminds me of the ending of a fourth movement and nicely rounds off the album.
Perhaps it's no movements of a symphony). This may all sound like pretentious babble I know, but the more I listen to the album, the stronger this impression becomes. This is another album In my opinion "Zarathustra" is not the masterpiece claimed by some.
However it is very good, sophisticated, heavy progressive music, and I am pleased to have it in my Posted Thursday, May 06, 2004, 17:41 EST |
Here's another gem from the annals of 70s Italian prog- this time with a slightly grittier feel. Despite the symphonic structures and accents, this is a notably heavy album for the time; I The title song is broken up into distinct movements, all of which feature excellent transitions, pacing, and stylistic continuity. One of my favorite prog (and classical) intro that, then drops into a beautiful mellow verse for a while.
Just when you think it's safe, album. "Il re di teri" makes the atmosphere a bit more eerie with a reverb-drenched piano and a Mello solo over organ and tremolo guitar before launching into a rocking section. "Al di la.
.." gets even heavier, with chanted vocals over a fuzzed-out backing.
"Superuomo" has some chilling electric piano sounds and the fastest tempo on the album, which then series of permutations featuring organ and fuzz guitar leads. The conclusion, "Il tempio "Della natura" gives us more of the same, with a little Mellotron (using the same tapes as and guitar work, verging on fusion territory. The tremolo electric piano is shiveringly effective, like a restrained Ray Manzarek, although the scatting vocal refrain is a bit disturbing.
The finale of the song picks up the pieces and wraps it up with another FLOYD "Dell'Eterno Ritorno" is almost SABBATH-heavy at times, but also contains some nice flute here are simulated. There's even some rare acoustic guitars on this track, but they are buried a bit in the mix. Galifi gets to let loose a bit near the end, and the ragged vocal works well.
The rolling conclusion sounds a little tacked-on, though. This is a grittier sound than most of the 70s italian proggers, and not just because the production was a bit murky; Stefano Lupo Galifi is a less operatic, more natural singer and way, with a thick fuzztone that approaches Brian May's sound. The organ is the main focus, a big cathedral sound here and a dirty B3 lead there; the playing is great on all the constant from beginning to end- no odd stylistic changes, just the occasional reverb- soaked quiet segment to increase tension.
The downside is that the band's sound can wear on you just a little by the end of the album, and their transitions sometimes lack cohesiveness. But if you're a fan of harder-edged 70s prog with plenty of tasty moments like me, you'll have no problem. Posted Tuesday, June 22, 2004, 07:14 EST |
I am notoriously stingy with 5-star reviews.
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