PROGRESSIVA DESOLAZIONE URBANA

I have to quote my dear friend Michael Hodgson above as his comment from the bio was dead on the mark. I'm rather stunned that this now nearly decade-old album did not catch fire and become a favorite with the vintage symphonic and vintage RPI fans of ProgArchives. Maybe it's the rather depressing album cover and band name. Perhaps the mix of geographic flavors---combining British and Italian prog influences---was a bit too British for the RPI crowd and a bit too Italian for the British crowd. Nah, probably neither. More likely it's just another case of a great gem flying under the radar of music fans with far too many choices tugging them to and fro. A nice problem to have, eh?

Michael gives the band's history in his bio on our artist page, but Disequazione is a band that goes way back to the early '80s when they were covering the classic English prog in live performances. But like so many other bands of similar modus operandi, they didn't get to record their own "song for the ages" until decades later. Progressiva Desolazione Urbana is an album that comes with a rather bleak appearance in cover image, in the band name, and even some of the titles, but the music is ironically far from bleak. What you'll hear musically sounds more like classic mid-late '70s symphonic from the likes of Rousseau, Novalis, Orme, and Camel to name just a few bands that popped into my head while writing this. Vintage keyboard sounds, highly melodic, tight Camelish jamming on guitars, bass, and drums, flutes, easygoing vocals, and unapologetically "proggy-pleasing" songwriting that seems determined not to offend the listener. Perhaps only fans of a more discordant harsh-rock could object to the approach.

That's not to say they don't rock---oh, they do rock. The opening of "Inutile" will pounce from your speakers boldly before dropping into a smooth groove with the pleasing variable of Italian vocals rather than English. (I love considering vocals just another musical instrument rather than a lyrical delivery device.) Soon comes an almost folky acoustic guitar section that builds with mellotron-sounding keys to the melodic guitar solo. No waiting for payoff on this album---this is more like instant prog-rock gratification. The beginning of "Il Vaso di Pandora" features Radi's stellar and emotive bass over acoustic guitar, very moody and cinematic. The title track is the star of the show, a grand three-part suite clocking in around 18 minutes. An epic piece filled with one creative escapade after another, the side-long track could fit as comfortably in 1976 as it does 40 years later upon release. The beguiling flute and acoustic guitar section is so lovely and is soon joined by smooth and melodic electric leads again.

This album has a bit of a nostalgic vibe for me as it seems to capture the sound that made me fall for progressive rock in the first place so long ago. I like that the production is somewhat relaxed and warm compared to a lot of new releases that can be so loud and digitally cold. This album is much more "crackling fireplace at ski lodge" than "mega-crisp stadium show on flatscreen" if you catch my drift. The only possible complaint one could lodge here is that the songwriting doesn't attempt to break new ground, that it leans too much into the classic sound, too comfortable for the listener. I don't feel that way, but I wouldn't be surprised if some do. I would heartily suggest giving yourself permission to kick back and enjoy a sound that doesn't come along often anymore, a gift from Prog Nirvana to you. The band still perform live and there was work on a second album, but covid and other issues resulted in delay. But should Progressiva Desolazione Urbana prove to be the one-and-only release from this band, they can be proud of an album that will eventually find its way to those who will adore it. Don't miss it!

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