THE LOST TALES

The works of fantasy writer J.R.R Tolkien, most recognized as the author of `The Hobbit' and `The Lord of the Rings' trilogy, have certainly influenced a number of progressive music artists over the years. Swedish keyboardist Bo Hansson was inspired on his `Lord of the Rings' LP, modern symphonic masters Glass Hammer offered `Journey of the Dunadan' and `The Middle Earth Album' early on in their discogrpahy, and Marillion themselves were initially named after a less widely-known known Tolkien tome, `The Silmarillion'. Also taking inspiration from that particular work even further is an Italian collective known as Ainur, a group that boasts no less than 18 musicians and singers. `The Lost Tales' is a compilation of both reimagined earlier pieces and unreleased tracks, yet it works perfectly well as a standalone album all its own. Every one of the thirteen compositions on offer here present a kind of light symphonic/medieval/folk and Rock Progressivo Italiano prog based around Tolkien's worlds with accessible arrangements, tasteful (frequently acoustic) instrumental playing and always pleasing male and female vocal melodies. Brief vintage prog sounds of the Moog, Mellotron and organ weave blissfully between violin, cello and harp, and it all comes together with evocative and sumptuous taste.

Looking at some of the standout moments, right from opener `Welcoming of Eriol', Gianluca Castelli's piano delicately and subtly dazzles, as a mix of charmingly Italian- accented English vocals (perhaps bringing to mind a less stuffy and grandiose version of Hostsonaten's `Alive in Theatre' live album) swoon around a haunting melody with restrained power and conviction. Violin, cello and harp weave magically together with warm group harmonies in the chorus of the madrigal `Mourning - The Coming of Nienor'. Tracks like `The Beginning of Days' are sweet and joyous, the droning group harmonies of the finale of `Verge of the Forest' is hypnotic, and the album closer `Lorien' is refreshingly upbeat and softly romantic. More ambitious and lengthier pieces impress even more and hold the most interest to progressive music listeners. `Yavanna's Song' begins with softly stirring horns and violin and careful jazzy drumming, before taking an uneasy, more up- tempo darker acoustic guitar turn alongside groaning cello.

But best of all is when the group moves closer to a more traditional Italian prog/RPI sound. `The Fall of Gondolin' features a passionate and raspy theatrical male vocal, melancholic flute, and a dashing range of exotic acoustic guitar flavours with wilder jazzy and classical piano outbursts. `Glaurung's Death' includes dirtier huffing flute and a pompous operatic vocal with a fiery Mediterranean acoustic guitar, violin and piano extended instrumental finale. The first half of `Hirilorn' has a lovely extended instrumental build on clarinet and acoustic guitar before sprightly piano, flute and violin duel in the finale, and `Return from Death' has a sprinkling of maniacal classical piano and tricky murmuring bass throughout. The symphonic drama of the almost ten minute `The Time Beyond' incorporates everything from operatic vocals, sweeping orchestration, glistening classical piano, heavenly violins that rise into the sky and the most sly of tiny Mellotron wisps.

Admittedly thirteen tracks equalling seventy four minutes mostly in a similar style becomes a little repetitive after a while. I'm not sure if the band would even fully identify themselves as a full-blown progressive rock band, but they should definitely consider incorporating longer instrumental breaks more often into their music, as many of the pieces here are loaded almost beginning to end with vocal passages that become a little tedious from time to time. However, this is immaculately performed with great conviction, and looking over the photos of the group all dressed in medieval garb inside the CD booklet reaffirms what a true sense of community these performers share together. Tolkien fanatics who will connect closer with the lyrical themes and book references will be the ones who really cherish `The Lost Tales', able to appreciate it on so many more levels than more general progressive rock and RPI listeners. But so much love, passion and devotion has gone into this work from the Ainur collective that the sheer talent on display cannot be denied.

Three and a half stars, rounded up to four.