CAP. 7 - TRA LE ANTICHE MURA

If Kansas were an Italian band, they would be Il Castello di Atlante. The compositions are quite similar, and the music relies heavily on synthesizer, organ, piano, electric guitar, and a bittersweet violin. The instruments work together to form rich melodic textures rather than filling all instrumental passages with mere solos. One big difference, however, is in the vocal department- the lead singer has a thick baritone, and often sings alone. Each composition is a masterful string of jewels, one precious rock leading right into the next, and worthy of the lengthy pieces of string upon which they are held. Although my exposure to Rock Progressivo Italiano is admittedly limited, I daresay this is presently my favorite album of the genre- a monument of modern symphonic music.

"Prefazione" The album begins with the deep, Italian narrator and stately music.

"Tra Le Antiche Mura" A stark piano and drums enter to begin the first song proper. A grand organ joins, followed closely by the main theme of the piece, blasted by a synthesizer. The music features heavier passages interspersed with sweet, quieter fare, lead by a gorgeous piano and violin. Eight-and-a-half minutes in, the music becomes very similar to the synthesizer-drenched music of post-Gabriel Genesis. Thereafter, the violin sounds comparable to the masterful playing of Robbie Steinhardt. This is the best the album has to offer, but it by no means overshadows the grandeur that is to come.

"Malebolge" The horrific noises that begin the epic of the album are unsettling to say the least, but they lead into a sinister piano and violin theme, followed by almost maddening vocals. Both the organ, which effectively handles the rhythm, and the bass, which is sometimes more of a lead instrument, are praiseworthy aspects of an amazing piece. The violin and synthesizer interplay is spectacular. At once, the music is delicate and intense, yet generally remains upbeat and uplifting throughout. I must move on, lest I exhaust myself of superlatives?okay, one more- this is glorious, especially for something named after the eighth circle of hell.

"Ancora Suonare Ancora Insieme" After a full and powerful introduction, the electric guitar comes to the fore, delivering a heavy and straightforward riff for the vocalist to work over. When the guitar takes over for a solo, it is economical and effective. Just prior to the halfway mark, the music changes pace, with a nice jaunty piano and organ-led rhythm that's very similar to "When the World Was Young" by Kansas. The back two minutes consists of layers of vocals, regal piano, fanciful instrumentation, and a marching snare, all followed by a final guitar moment.

"Leggied Ascolta" A slightly jazzier chord progression on piano begins this one. The singer sounds quite a bit like Fish of Marillion, while the synthesizer lead reminds me of Patrick Moraz's solo on Yes's "To Be Over." Still, these are but comparisons- the band is in no way imitative. The guitar has a lengthy solo over the introduction piano chords, interspersed with bass bits. A brilliant conclusion follows.

"L'Uomo Solo" A cappella vocals serve as the introduction of the final proper song. In spite of these interruptions, the music is fairly straightforward, with a static guitar riff over a basic chord progression. In this respect, the composition is rather similar to Camel, yet that violin sets it apart. The subsequent section is nothing less than gorgeous. Midway through, the music picks up and assumes a mood rather similar to The Flower Kings, with powerful a powerful synthesizer lead and peppy bass work. Once again, there is a fabulous ending.

"Epilogo" The album ends as it began, in a way, with spoken words- almost a benediction.