DISCESA AGL'INFERI D'UN GIOVANE AMANTE

Oh oh, got to be very careful with this review, as it has garnered rave reviews from all the PA glitterati and I have no stomach to be viewed as a party pooper! I have not heard the previous album, so this is a totally virginal adventure, judging solely on what my trusted and storied prog sensors will pick up going through this sophomore recording by "the kiss of the medusa". My knees are trembling in anticipation, my ears firmly cleaned with cotton swabs and properly oiled and lubricated, phone is on mute, TV as well. From the opening kick-off and aptly named "Preludio", the much discussed prime BDM characteristics come to the fore: the radiant almost operatic vocals courtesy of the genial Simone Cecchini are stupendous (what a voice,!), the keyboard work from drummer Diego Petrini is heart stoppingly intricate and ornate, first on piano and then on the effusive Hammond organ, some spectacular violin forays, wailing voices in full support. I am overwhelmed by the sheer scope of the arrangements, seasoned to titillate and inspire, as evidenced by the magnificence of the poignant "Confessione d'un Amante", that suddenly dives into the fiery, searing "La Bestia ed il Delirio", again perfectly describes as a deliriously beastly workout, Hammond whirring unabated, giving guitarist Simone Brozetti the opportunity to rip through a few frets and blaze incandescent. Out of the blue in typical Italian prog style, the piece evolves into an almost folkish, violin-led mid-section and mercifully capped off with a bluesy organ solo. And they even find time for a laugh, wow! Disturbingly tasty, BDM segue into the next track dreamily, ready to explode at anytime (and it will soon), gently stretching out the theme until the narrative kicks in (the Italians proggers seem to love this, tossing in some spoken words into their music!). The raging "Riccordi del Supplizio" dives into the dark core of the album, buzzing guitars fighting off the rippling flutes, the beat heavy with Tullian exuberance and Cecchini's powerful voice urging the beast along. A series of succulent "classic" guitar solos bridge nicely and make this a highlight reel track that is sure to please, a true ISP nugget that will set well with fans of all colors and stripes. The longest piece here at nearly 7 minutes , "Nostalgia Pentimento e Rabbia" offers up a pastoral contrast to the previous eruptions, with more effusive flute and raw wah guitars slowly churning into a bubbling frenzy, proving without a doubt that these musicians have it together. Cecchini sings again with utter conviction and frenzied control, drawing easy comparisons with Ange's revered Christian Décamps. The flow into the next track is seamless, giving the instrumentalists more than enough stage to let their chops fly while keeping the theme tight to the vest, as organ, violin and guitar provide all the ingredients with outright bluesy aplomb. The famed contrasting pastoral and fiery recipe is at its acme here, clearly showcasing this band's ability to turn anything into something spectacular, throwing in gloomy effects at unexpected moments and keeping the listener on permanent edge. The supremely intoxicating "Melencholia" fulfills the need to chill, with spectral flute gently parading through the mist, soft vocals pleading for some understanding, dripping in angst laden beauty (I am such a sucker for heart stopping melodies, I tell you!). This piece remains imprinted as a scintillating jewel, full of impressive feeling and atmosphere, especially vocally. The next track reinitiates the mood by judiciously exhibiting an unexpected sax solo (a woefully underused instrument in prog, unfortunately), giving the guitarist another opportunity to show off some bluesy, bruised licks that exude pain and power , dueling with the serene optimism of the saxophone, another kick ass piece on this marvelous disc. "Nosce Te Ipsum" proposes a violin directed instrumental that shoots for the stars, the organ also returning to the front stage, the entire band cooking up a storm, even daring a few Crimsonesque oblique stunts, with a dash of Canterbury tossed into the mix (You wear them well). The "Corale" is a piano/violin showcase that evokes strong classical leanings that blend so well with the otherwise heavily blues influences. The final "Epilogo" puts this masterpiece to rest and I am converted! No wonder finnforest was so gaga for this recording , I suspect he is still under the spell of "the kiss of the medusa". What a revelation and totally deserving of its glorified reputation! 5 sultry smooches.