FELONA E SORONA

The concept album "Felona E Sorona" by the Italian band Le Orme is considered by many as a masterpiece, with its passionate fusion of Genesis and especially ELP, placing it at the top of Italian prog in the 1970s. In my opinion, this album is indeed the numero uno from the land of the boot. The fourth studio album by the Venetian trio is a short one, lasting only 33 minutes and 33 seconds. This was not uncommon at that time, unfortunately, including for Le Orme. However, this has resulted in an incredible density of creativity. There are no weak moments on "Felona E Sorona". It showcases the immense compositional talent of Le Orme.

Compared to their previous album "Uomo Di Pezza", there is a greater coherence in the material, with all the musical elements perfectly aligned. Aldo Tagliapietra's full-bodied bass guitar not only provides support but also contributes to the melodies. The fact that the album is a concept has brought out the best in the three musicians. Tagliapietra, as a singer, has truly outdone himself. With his velvety voice, he sounds like an incredibly inspired John Wetton, only higher. The lyrics are in Italian and it's best to let the music speak for itself in terms of their meaning. The concept itself is quite dusty. The story revolves around two opposing planets. Felona is a pleasant place, while Sorona exudes a somber atmosphere. Initially, the planets revolve around each other, but eventually, harmony is achieved between the two. Blah blah blah.

The musical ambiance in which this story unfolds feels rounded, especially since the band's keyboard-driven symphonic style lacks the angularity of an electric guitar. This feeling is further enhanced by the rolling, often exhilarating drumming of the masterful Michi Dei Rossi, as well as the galloping organ play and chirping Moog lines by Toni Pagliuca. The keyboardist demonstrates more control on this album than on any other Le Orme release. His themes are relatively manageable and they serve the compositions along with his underlying chords. Nevertheless, his playing still possesses flamboyance and adventurousness.

From the orchestral seconds of the album's intro to the accents in the frenetic finale, there is a comfortable foundation that allows for infinite possibilities. In the opening track, Sospesi Nell'Incridibile, Le Orme incorporates classical passages, spacey sounds and psychedelic blips, all intricately woven into the band's magnificent prog tapestry?exuberant and ethereal. If there's one thing the band excels at, it's being seamless in their intricate musicality. The album, with all its twists and turns, forms an emotionally artistic whole. There are moments with acoustic guitar, mysterious sounds and melancholy, but there's also grandiosity and euphoria.

"Felona E Sorona" is not the type of album where individual tracks are discussed, but let's highlight one strong song: L'equillibrio. The Moog synthesizer delivers some awe-inspiring goodness in a way that we've admired for years within our beloved genre. There's also a successful integration of jazz elements in this case. The piano ventures into that territory with its chords, without the band losing their way. And while I'm at it, the end of All'Infuori Del Tempo features a beautifully composed moment that builds up to the album's closing track, Ritorno Al Nulla, which serves as the grand finale of the entire work.

Le Orme is often mentioned alongside the bands Premiata Forneria Marconi and Banco Del Mutuo Soccorso as the triumvirate of Italian prog in the 1970s. In my opinion, this status is well-deserved. Le Orme has earned it entirely through their refined body of work. It's clear why "Felona E Sorona" is considered by many as the pinnacle of their achievements.

Orginally posted on www.progenrock.com