L'INFINITO

Edited 10/04/05!

Another very good release in the new millenium from this ancient Italian band.Actually I don't know so much the stuff they did in the 80s and 90s but I guess it can't be as good as their releases in the 70s,like "Collage" or "Felona e Sorona" which are real gems in the Italian symphonic rock.This new album here possesses almost the high quality of those ones.The drumwork is excellent,it has nice symphonic parts,but some very good more rocking tracks as well,like "Si Puo' Immaginare".Vocals by Aldo Tagliapietra are very good as usual and they never sound bombastic,like it is often the case with italian or spanish lyrics. I'm admiring very much their albums between 71 and 75,and I have to say after their last two releases,this band becomes interesting to me again.I would recommend it to anyone who's into the 70s Italian symphonic prog (the more mellow and harmonic one).Of course it's not that "progressive" as "Collage" for example,but it's a nice album to listen,relax and dream without becoming boring at any time.Italian Symphonic Rock is still alive! Probably not really an essential one, but I would add an extra half star in fact!

Well the present new effort by Aldo Tagliapietra with "Le Orme" is so close to the spirit of his solo-albums, but it's quite modern in the same time: that's a kind of "New-age", a personal interesting language, inside a "Light Symphonic apparatus", already used within their previous albums "Elementi" and "Il Fiume"...moreover it's a kind of return to their delicious music features contained into some progressive pop albums like "Florian", but according a different music style, a sort of new "Celtic" spirit!! A relaxing mood it is, without any peak of invention, comparable to "Contrappunti" or the early progressive atmosphere of "Collage",but of course it's worth checking out. Besides I like to remark its diverse atmosphere, in comparison for example to the dark mood of "Felona e Sorona", probably their best album,which makes this new album a quite recommended work... By completing your personal collection regarding Le Orme- "L'infinito" is tasteful, as I like listenining to it without being too much involved...it has got a strong personality and cause of all my explanations above it deserves also a major score (another half star at least): after all "Le Orme" are one of the best Italian Progressive Bands of all time, and- even though the present suite is a bit inferior than their best albums mentioned above (but never "dated" anyway...)- check it out !! So you can add an half star in the final evaluation!

My favourite Le Orme album and probably the best album of the year 2004. When I purchased this CD, it literally "lived" in my player for weeks. Songs are memorable and the albums has, at least for me, its magic. The idea of infinity comes through all album tracks: the infinity of roads, infinity of the Universe and the main thing - infinity in human souls. The fact that somebody's still thinking of such "useless" things makes me happy. "L'infinito" sounds similar to its predecessors, "Il fiume" and "Elementi". What, in my opinion, makes this album so different is the feeling of entirety - starting instrumental piece "Il tuono e le luce" (Thunder and Lightning) instantly grabs listener's attention and doesn't release it untill the last sounds of the final track "L'infinito (reprise)". Even Le Orme classics as "Felona e Sorona" or "Contrappunti" don't have such feeling of entirety. I highly recommend this album to those who likes melodic prog (no matter Italian or not) with good vocals.

Well, this is the first new Le Orme I'd laid hands on since, oh....Storia o Legenda, and I cannot believe my ears. Aldo and company have truly grown with the times. This is great stuff, and shows a truly mature band for the 30+ years they have been recording. The transition is seamless from one track to the next, and there's sitar, violin, funky organ jamming, and smooth vocal delivery. For a band that's been around as long as Le Orme, this sounds fresh and inspired/inspiring. Hats off to these lads.

Album released in 2004 "L'Infinito". Three years passed after the work had been released before it was a masterpiece of the throb and symphonic rock. The new work that finally appears is a masterpiece of classical orthodox school symphonic rock to surpass the former work. The feature of the album dramatic profoundness. A melody as lucid as the spring breeze pours down. It is a concept album this time. It is a thrill, romantic, powerful, classical, and pop full loading. I recommends it for every progressive rock fan. The charge of the jacket is painter Paul Whitehead this time. I want LE ORME to come to Japan by all means.

A new cover painted by Paul Whitehead, a new album recorded by Le Orme. Time has changed, though, as the line up did, years ago. Only Aldo Tagliapietra (bass, bass pedal, 12 strings acoustic guitar and sitar) and Michi De Rossi (drums, percussions, glockenspiel and tobular bells) remain of the original line-up.

The newer mebers are Michele Bon (MB3 self-made-organ, keyboards and guitar simulator "alien") and Andrea Bassato (piano, keyboards and violin). Other perople helped to realize this record: a chorus and a strings' quartet. No long tracks, as usual for Le Orme.

Time has changed as the music did. Cannot expect to listen to something similar to their golden age (1971-1974) or to their excellent classical efforts (1979-1980) or to some of their more popish and commercial tunes (as for example their albums Storia o Leggenda and Orme).

Evolution brought its contribution as we see the band mixing the peculiar italian symphonic style with the vast and deep horizons of (melodic) space-rock and even adding little eastern references, the sitar of Tagliapietra, mainly, in the song "La Ruota del Cielo" (The Wheel od the Sky). Yep, the album's title was a sort of revealer, as the nice cover painting. The album is warm and flowing, very often dreamy as the delicate lyrics. A rich use of keyboards, organ and synth. Excellent also the electric guitar, even if is somehow the most "conventionally" played instrument.

All in all, this is not a masperciece. Maybe it's not the best one to start with or, at least, for the Le Orme's newcomers. By the way, it's one of the most interesting albums I have listened to of them. One of the best after their fabulous four (Collage, Uomo di Pezza, Felona e Sorona, Contrappunti).

I always got the feeling of "something missed" when I listened to classical LE ORME's albums from 70s (except for tiny Piccola Rapsodi Dell'ape, what a masterpiece!). Now everything on its own places.

Sounding a lot like IQ's "Dark Matter" released the same year, "L'Infinito" is spacy, pompous (in a good way!) and even more melodical then usually ;-) .I've noticed that so many bands release their best albums during later years - just to mention CAMEL, CLEARLIGHT, IQ and Peter Gabriel! Same goes to LE ORME - "L'Infinito" is just stunning and incredible. It has ballads ("La Voce Del Silenzio", "Tra La Luna E Il Sole"), fiery instrumental pieces (" Shanti", "Come Onde Sull'Oceano") ,mini-epics with breath-taking culminations ("Canto","Si Può Immaginare")even sitar-driven song!(" La Ruota Del Cielo"). The sound of Guitar Synth reminds me of Steve Rothery's sound ("Il Tuono E La Luce"). Honorable mention gets the title dramatic piece - "L'Infinito" has one of the best musical themes I heard last years!!! Impatiently waiting for the new one, because "ETERNITY" (English for "L'Infinito") is endlessly beautiful!

A Masterpiece of Progressive Rock and a Must for every fan of it!

The hazard is really performing great things. Almost the last albums in a row from three great bands that I am reviewing one after the other (the previous two ones were the great "Innuendo" from "Queen" and the good "The Unauthorized Breakfast Item" from "Caravan").

"Le Orme" showed some definite better inspiration with "Il Fiume" but definitely "Elementi" was much better. Still, since the rating is very limited on PA, both ended up with three stars, although I would have rated the former with 2,5 stars and the latter with 3,5.

When I listen to the great opening track "Il Tuono e la Luce", I can't help thinking of their heydays while "ELP" was a major source of inspiration for them. A great piece of music.

I have always been a fan of the subtle and emotional vocals from Aldo. But when one listens to the title track, one has just to admit that he is brilliant. As was the fantastic Giacomo from "Banco". A jewel of a melody, fully Italian and soooooo pleasant. A highlight.

I will probably soon launch a thread on the forum to discuss all these wonderful come backs from major bands who are releasing such very good work after a very long period of lesser albums (this is just a fair wording).

Musicianship has always been excellent of course, but when I listen to such a complex track as "Si Può Immaginare", this core characteristic is even more evident. This is a good "Le Orme" album. Probably in between their latest two albums.

A truly three star one.

Le Orme are finally back and just like PFM, they realized that poppier stuff just won't cut it anymore and that a return to their progressive roots is where their future lies. I guess it's true, the old cliché: as you enter the golden age, the loop tightens and we return to our childhood. The move back started with "Il Fiume" and then with "Elementi", each "progressively" better and more focused than ever. 2004's "L'Infinito" has Le Orme purring on all cylinders with all the hallmarks of a once glorious history, with all the elements that are specific to this storied band: Aldo Tagliapietra's lush voice, arguably one of the finest in Italy and Miki Dei Rossi massive drumming style, as well as bringing new techniques with a dual keyboard approach, including the "Alien", a guitar simulator that sounds just like an electric 6 string sizzling machine! As usual with this band, the songs just flow from one into another as if one long extended piece. The opening instrumental lays down the keyboarded carpet with waves of synthesizer and organ, propelled by that fierce and immediately recognizable drumming. The boys don't mess around as the next opus "La Voce del Silenzio" is sheer harmonious beauty, a gentle pastoral setting with some iridescent crescendos, the Alien kicking in some ivoried lead guitar that just hurls the passion forward, undaunted. An organ propelled romp keeps things on edge, until the title piece kicks in, the overtly symphonic "L'Infinito" has some purist classical tendencies which are most appealing, a luxuriant string quartet cattily playing with the arrangement until some mellotronish mist announces another gut wrenching vocal plea. Just like in the good old "Felona "days, there is a nearly operatic feel to the proceedings that no one can really cop. A fabulous harpsichord leads the most baroque of melodies, the breathtaking "Si Puo' Immaginare", featuring a soaring vocalization that will leave anyone speechless, further compounded by a sweeping synth passage, a searing violin solo courtesy of second keysman Andrea Bassato and a funky MB3 self-made custom organ solo by Michele Bon. Buon Giorno, Maestri! "Il Tempio sul Lago" is a Wakemanesque piano etude that evokes a bucolic temple by the lakeside, elegant and ardent at the same time, complemented with some detailed orchestrations. The aptly titled "Canto" is just a pristine song with assorted effects and Aldo singing his heart out, the Alien making another otherworldly foray into fretdom, bluesing and bruising with unreserved abandon. The trademark Tagliapietra sitar makes an impromptu appearance on "La Ruota del Cielo", ushering in some heavenly fragility, a playful ditty that suggests a distinct sense of joy and serenity. The sitar and the violin conspire to trade some licks and the result is sheer splendor. "Tra la Luna e Il Sole" is an additional impassioned melody that erupts with impunity, funky organ and swirling synths combining in elevating this piece to lofty heights, with a tender return to chorus finale. A brief keyboard-heavy instrumental gambol, including an extra terrestrial keyguit howl, shepherds in the title reprise, an ultra romantic expression of the power of the infinite. 4 Infinite footprints . After such a long time, proof that prog is like a box of chocolates...

So L'infinito is one of these infinite bands, which only death can stop for playing. And I have to say that they still play good. Not that I know their previous work though, yet. I'm just man, no machine, even I'm trying to be fair. But for example, more you listen to Avant, the more you understand it. And more I listen to RPI, the more I feel I like it.

Variable, full of nice guitar solos, as prominent in La Voce Del Silenzio, good vocals, which, because of he sings in Italian, are pleasant for me to listen (well, let's stop here for a while, there are variable types of singing & languages, so if I don't like German singing language and death metal vocals, there's not much I can do with it. It just lowers my feeling about record, because I can't both enjoy it and evaluate it from neutral point of view. But nobody is truly neutral, that's myth. Well, so what if situation is otherwise and I can enjoy it, because I like vocals, like here). And to be frank, this is one of the best classical RPI albums I've ever heard. I just feel these old times here, mastered over the years. Variety, big advantage of this album. You'll just not be bored by this. Canto is another with both melody, skilled music players and feeling tune at all. I'm glad that I can enjoy both optimistic and depressive ones, this is opt for sure. But pessimistic like The Wall, not death metal please. Or indo sounds in La Ruota Del Cielo.

4(+), very pleasant discovery, almost without flaws. Maybe one, I don't like sound editing here from time to time. Well, in first track to be exact, the rest is good. And music standing still on one place, also, only occasionally.

For me, all Italian Progresive bands ( or their albums) are divided to two big groups: one is ROCK bands ( it means ,that the main their music is ROCK, with elements of classic music, jazz, avantgarde, folk,world - whatever you want), and another is different music groups, playing some kind of music ( most often classic or Italian pop) with rock elements.

So, if Le Orme earlier and best works ( at least some of them) are keyboards -driven progresive, this new album isn't.

Here you can hear midtempo pompastic orchestrations, with classic italian pop vocal, theatrical drama and plenty of synth-pop elements. OK, music is still enough complex, but during all listening you feel yourself as by mistake you just came to San-Remo summer festival for rich,fat and lazy tourists.

Many Italian prog bands are always balancing on the edge between prog-rock and classic/church/italian pop music. But if in early 70-th you had big possibility to find something really original and inventive, in XXI century you can get quality pop-rock in best case.

I must admit that there are no Le Orme cd's in my collection between the classically inspired Florian released in 1979 and this 2004 album. I have always been put off investing in their 80's and 90's releases due to the poppier direction the band allegedly took.

There's no doubting that with L'infinito though that we are listening to a band playing symphonic prog again, a reversal towards their classic 70's style which started with their 2 previous albums to this I believe, though I haven't heard them.

2 members remain from the classic 70's line up; the unmistakable and melancholic vocal tones of Aldo Tagliapietra (also bass) and drummer Michi Dei Rossi with his powerful yet subtle drumming style, playing primarily for the song rather than on some muso ego trip to display his chops. The band now boasts 2 keyboard players, Michele Bon and Andrea Bassato who both fulfil their roles with admirable aplomb.

While L'infinito doesn't reach the heights of their early 70's output it is nevertheless a very worthwhile release, well produced though a bit overly smooth. A typically mellow yet full Le Orme sound, alongside the symphonic elements are classical influences though nowhere near the extent of Florian for example. Instrumental Il Tuono E La Luce is a fine start with majestic sweeping keyboards and what sounds like a guitar is in fact simulated on the keyboards. The tracks flow seamlessly together almost giving the impression of a single piece. The music rarely enters the realms of bombast, restraint being the operative word but nearly always enjoyable with strong emphasis on melody, only the sitar dominated La Ruota Del Cielo spoils things a little, an instrument that has never done much for me.

If you're looking for musical pyrotechnics then this is not an album for you, but if well crafted and tuneful symphonic prog is to your liking then you could do far worse than L'infinito. Not a masterpiece but very enjoyable nevertheless. 3 ½ stars.

"L'infinito" and "Elementi" the last two LE ORME albums are the best works they've done since "Contrappunti" in my opinion. Now i'll admit that these two latest albums don't stand up well to those classic LE ORME albums we all know and love, but for me both are solid 4 star recordings. Paul Whitehead once again does a great job with the cover art. By the way this is the final installment of the trilogy.

"II Tuono E La Luce" opens with mellotron-like sounds as drums join in. This drummer is quite bombastic at times. Guitar after a minute as drums and those mellotron-like waves continue. "La Voce Del Silenzio" opens with organ as reserved vocals join in. It starts to brighten a minute in. A full sound follows as the guitar soars beautifully. Solo piano takes over then the vocals return. Melancholic synths replace vocals. It blends into "Shanti" as the organ starts to pulse as piano, bass then light drums join in. Vocals 2 minutes in. "L'infinito" features orchestral keys as drums pound away. Mellotron-like sounds after 2 1/2 minutes as it settles, then vocals arrive. "Si Puo Immaginare" opens with what sounds like harpsichord as vocals join in. A fuller sound 1 1/2 minutes in with drums and organ joining in. Violin after 2 1/2 minutes as drums pound. Organ takes the lead after 4 minutes then vocals return late.

"II Tempio Sul Lago" opens with solo piano for over a minute then these strings (keyboards) take over before the piano returns to end it. "Questo E II Mattino" is a 40 second vocal only track. "Canto" opens with piano as vocals join in. Synths replace the vocals. Guitar and a full sound after 2 minutes. Nice. Solo piano after 3 1/2 minutes as themes are repeated. Great tune. "La Ruota Del Cielo" features sitar and atmosphere. Reserved vocals and drums join in. Violin after 3 1/2 minutes. Spoken words end it. "Tra La Luna E Il Solo" opens with acoustic guitar melodies as reserved vocals join in. Drums and organ after a minute. "Il Come Onde Sull'Oceano" opens with some great organ as drums and orchestral keys follow. Guitar then takes the lead. "L'infinito (Reprise)" is exactly that.Drums, vocals and mellotron-like waves. Just an incredible sound.

Lots of piano on this one while the other keyboardist plays synths and also creates mellotron and orchestral-like sounds. Some emotion in this album as well for me.

As I write these words, it would seem that a 2011 release by LE ORME is in the offing, but it would also seem that Aldo Tagliapietra is away without leave. At least I don't think his fans gave him permission to be absent from a group effort!

But here is the now nearly 7 year old finale of LE ORME's modern day trilogy, one which exudes that rare mix of high moral fiber and heartfelt romance at once. If Aldo's voice is so warmly woven into the band's quilt as to be inextricable, one must acknowledge that the 2 keyboardists succeed brilliantly in capturing the sentiment of the early 70s without lapsing into idolatry or cheap flattery. This combination, along with De Rossi's masterful drumming, holds the listener down for the count, over and over.

The dozen tracks herein blend into each other such that it is truly difficult to discern their delineations, not because it all sounds the same but because the transitions are blended within and between. It's all solid symphonic prog with plenty of arresting melodies and shifts. While it seems like electric guitar is present, particularly on the two deftly juxtaposed openers, the credits would suggest only the presence of a thoroughly convincing "guitar simulator". Who knew this was even possible, let alone necessary, unless they are making guitars as big as church organs these days. No matter, because among the many high points is the lilting ballad "Si Puo' Immaginare" , which awakens to an electrifying violin lead by Andrea Bassato followed by nostalgic organ workouts. "Canto" is oddly similar, just Aldo and piano, with shimmering synthesizers blending in, except this time it's that guitar contraption that ratchets up the ante. The title cuts both utilize martial drumming to augment the sense of urgency.

I'm beginning to sound like a broken record, but LE ORME continues to impress me with their ability to do what they do best, and what we want most, for over 3 decades. Now, if they can succeed without Aldo, they would become that rare entity whose identity is more spiritual than corporeal. From there infinity is barely a stretch.

''Elementi'' was followed by a great tour in South America by Le Orme, visiting Brazil, Mexico and Argentina.In 2002 another tour followed, this time Le Orme played in the biggest Italian cities.2004 sees the Italian prog masters' return to discography with ''L'infinito'', another excellent cover by Paul Whitehead, but the band decided to self-profuce and distribute the album on its own forces.

''L'infinito'' marks one of the most emotional-sounding albums ever composed by Le Orme, partly because Tagliapietra delivered some of his most melodic guitar solos and due to Bassato's 4 years-experience with the band, resulting to some solid atmospheric piano lines.This 17th official studio album by the Italian veterans is split between three particular styles.Some tracks flirt dangerously with Neo Prog, consisting of very melodic guitar solos, emotional vocals and flashy synthesizers, always performed under a very Le Orme-like atmospheric way.Some others are fully orchestrated with dual keyboard attacks, mainly organs and synthesizers, reminding of the band's mid-70's days, and ranging from grandiose passages to light piano interludes.The later part of the album though sees a return to their late- 70's roots, when Le Orme had a huge Ethnic influence in their style, with extended use of acoustic guitars, violins and sitars by the mastermind of the group Aldo Tagliapietra in a very artistic way and always accompanied keyboard parts and a smooth rhythm section, who's voice remains so young and fresh until today.

Another strong, confident, fresh and solid release by a band, who never actually lost the momentum of creating imaginative music.Not the very best album by Le Orme, but definitely a work that many modern bands still struggling to produce.Strongly recommended...3.5 stars.

With "L'Infinito", dating from 2004, the Venetian prog band Le Orme completes its triptych about the origin of humanity. The albums "Il Fiume" (1996) and "Elementi" (2001) have already been released in this context with the aim of making music that appeals to the atmosphere and sound of the albums from their heyday. The concept fits the band like a glove, which means that both imagination and feeling oozes in full glory from these albums, this certainly applies to the "L'Infinito" reviewed here. Yes folks, this is an album that is immersed in endless beauty in a time frame of only 45 minutes.

Since the formation of the band in 1966, Aldo Tagliapietra has been behind the microphone, first as a guitarist, later as a bass player. Over the years his voice has acquired a beautiful warm sound fitting perfectly with the heavenly grandeur of the music. The fact that Tagliapietra left the band a few years after "L'Infinito" in favor of pursuing a solo career, puts a melancholic layer over the album. So we're talking about his last studio album together with the band.

Most songs have vocals, only a few pieces are instrumental like opener Il Tuono E La Luce. It's a mighty track that will make your jaw drop. The guitar solo does not come from a stringed instrument, but from a specially designed keyboard. Michele Bon plays this guitar simulator and it's indistinguishable from the real thing. Even the touch of the right hand is perfectly emulated. Unbelievable. The simulator appears regularly on the album and you should be glad. The simulator in the subsequent ballad La Voce Del Silenzio is very beautiful and not only because the beautifully sung track has a title that appeals to me, but simply because the solo always manages to blow me away.

The splendor of the album flows beautifully from your speakers everywhere in the well-varied whole. Take for instance the strings in the organic title track and meanwhile let yourself be carried away by the magnificent drumming of Michi Dei Rossi in the bolero piece. There is superb quality throughout the entire album, clearly reflected in the many organ pieces which, in addition to the euphoric horn sounds, are extremely characteristic of Le Orme. The absolute culmination of the album is the elegant Si Puo'Immaginare, which is full of keyboard solos on synthesizer, guitar simulator and organ. The instrumental Il Tempio Sul Lago, with its piano and strings, is very reminiscent of an album like Florian. Time and time again you can hear that the performance is the epitome of mastery. La Ruota Del Cielo puts the sitar center stage and it is Tagliapietra who sends these conjuring sounds into the world.

The final three songs clearly form the finale of the piece. From the sweltering and stunning Tra La Luna E Il Sole to the mighty choir in the bombastic reprise of the title track, you will be on the edge of your seat.

"L'infinito" is a great album that has been created with care, love, craftsmanship and taste. This work deserves a place in the hall of fame of fine art, to remain there forever.

Originally posted on www.progenrock.com