IL PASSO DEL SOLDATO

I must confess to not having listened to much RPI over the years, aside from the rather obvious and somewhat stereotypical PFM and Banco "standards". Indeed, quite some time ago, I was absolutely rightly castigated by my friend Finnforest for disparaging comments I made about all RPI being was essentially Italian Symphonic Prog.

My interest was piqued recently when, as part of my Birthday Thread, I commented on Walter Pini, the keyboardist and major composer for Nuova Era. He is at the heart of everything on this album.

In listening to this remarkable work which discusses war, I have put aside all of the all too obvious prejudices. Firstly, this album sounds absolutely nothing like classic Genesis. For a start, there are no guitars here whatsoever, and given that Phillips and Hackett were integral to the sound of Genesis, that is a pretty big clue. There are definite shades of ELP/Emerson influence in Pini's keys work, but this album cannot be described as anything other than rather unique in this veteran's listening experience.

The vocals by Claudio Guerrini are relentlessly strong throughout, and the rhythm section of Enrico Giordani on bass and Gianluca Lavacchi on drums is thunderous.

The opening track, All'ombra di un Conflitto, in all its grandeur, sets the scene perfectly. There are many highlights, but I especially appreciate the quirkiness of the short instrumental piece, La Parata dei Simboli, and the brass on Epitaffio, both of which really sound like nothing I have heard before, always a huge plus for me. I thrive on new music, and this sounds as fresh to me as I am sure long-standing fans of this band must have thought when they first heard it 16 years ago.

The title track itself is the longest, weighing in at over 12 minutes, and starts with a delightful piano piece, before the main section commences what can only really be described as a rather dark and menacing operatic story. Full of mood, key, and signature changes, it grips the listener from start to finish. The closing section makes you imagine vividly the march of soldiers to battle. Similar feelings are wrought on the truly atmospheric Armicrazia which details the thoughts of a sniper, an extremely foreboding piece which, in a state of contrast, has an altogether lovely vocal section mid-track before the dark keys and relentless pushing of bass and drum take centre stage, before ceding to a far more thoughtful reflective synth.

Throughout this album there is intelligence, playing and singing of the highest order, and a story which you really do not have to be able to understand Italian to appreciate (take Riflessi di Pace, or Reflections of Peace. You know from the sunshine and lifting beauty of the song that this is different from the battlefield songs without really needing to be told). It makes you visualise, as, of course, the finer operas will do. Clearly, the album and its composer has its influences, not least of which is a classic 70's feel, but these are transposed into a definite 90's production and some really lovely passages of music.

If, like me, you have shied away from the Italian scene, then you really could do a lot worse than have a pop at this excellent album, and use it as a springboard to not only explore this fine outfit, but others to be found on PA.

There, after nearly 13 years as a contributor to this wonderful site, my first RPI review. It will not be the last. A highly recommended, wonderful, album.