ALIENATURA

Here is a band from Genova that addresses the test of the second album, the Italian progressive rock's golden registered in his genes ... (sic). With alieNatura, has Il Tempio Delle Clessidre managed the same feat that with their surprising debut album in 2010? The band of Elisa Montaldo (keyboards) and Fabio Gremo, the 2 main songwriters, has been joined by a new singer to replace our biggest regret veteran Stefano "Lupo" Galifi (formerly Museo Rosenbach ). alieNatura is the album of the change, but this change is letting us doubtful! The young singer Francesco Ciapica doesn't leave us indifferent, but despite a stamp similar to that of voice Lupo, it seems too inexperienced and too used to achieve proper tone, emotion, ease, fluency in risk-taking, and the subtle intensity of its predecessor. Another disappointment: Elisa, who signed explosively half of the compositions of the first album, (e.g. the excellent "Danza Di NNatura Esoterica" and "Faldistorium"), here seems less involved (she has only brought three titles for a total of 20 minutes, too small for my taste), including at the level of orchestration and keyboards arrangements, less varied than before (many harmonies on piano and Hammond organ, few synth solos ). Besides this, she seems more interested in singing, accompaniment or soloist ("Onirica Possessione"). Perhaps less involved but especially less inspired: at any time, songs reaches the exceptional level of her brilliant "Antodoto Sottile" in 2010. Posing on the photo as a enthusiast young priestess of the god Pan, Elisa has beautiful reminders of how the esoteric aspect of nature draws ("Onirica Possessione" between pagan and gothic Sabbath carousel, à la Tim Burton), but musically Elisa has more trouble convincing us. His "Notturna" solo piano, yet short enough (2:30), is charming even partially missed, bringing too little emotion and mystery. Fortunately, the true revelation of this album is the perfect Fabio Gremo whose compositions have gained relevance in Beauty (crafted melodies on "Fino Alla Vetta") and complexity. Gremo starts by surprising us in the introduction ("Kaze") who looks like playing by a young Japanese group, quite far from progressive music sponge cake. Continuing with a tempo between Ange at his best and the dark bolted metal Black Sabbath ("Senza Colori"). And culminating in the achievement of the final bravery piece, a fantastic epic ride "Il Cacciatore" (14:50), driven by the singer who finally seems to have filled gaps and adjusted its approximations, traversed by a huge organ Hammond solo, leaving the way for an exquisite concert piano piece (wonderful arpeggios, a real piano lesson), where we finally found the great Elisa Montaldo. Mainly due to the compositions of Gremo and talent of the musicians, alieNatura remains a globally successful album and enjoyable but with one or two tracks below the precedent. Tirelessly, as the sand slipping away in the precious hourglass, I will await the next album with tenfold increase by the slight disappointment due to alieNatura.