LA FINESTRA DENTRO

La Finestra Dentro really isn't what you'd call mainstream RPI, but rather a twisted, reclusive and mysterious offshoot from the generally more outgoing and flamboyant Italian scene.

The collection of songs carries elements of folk with strong acid tendencies, while never leaving well-known RPI sounds out of reach. They're quite a fascinating bunch, all cast in the same eerie, suggestive and hypnotizing mold. Listening to this album always distracts me from whatever I'm doing, only due to the power of its atmosphere. At times it may feel like a soundtrack from a dark and shabby medieval tavern, just as frightening as it is fascinating, and it's never light enough to break that spell.

Compositions are seemingly simple on the surface, featuring little more than acoustic guitar, stripped percussion and a simple bassline, with emphasis on patiently dragging you in to the aforementioned atmosphere rather than stun you with complexity and contagious melodies. The result is songs with relatively few rhythmical and structural changes, instead biased towards minute tweaks (often via guitars) - which makes you listen even more closely - and reinforcing feeling and imagery through bleak keyboard runs and effects.

When breaking out of the introvert folk 'rut', the bigger picture is immediately discernible. As soon as on the second track, a quite warm piano-driven track that contrasts nicely against the vocal and emotional onslaught of the first one, it's hinted that there is more than first meets the...ear on La Finestra Dentro. Symphonic qualities lurk behind every corner and are most notable towards the final songs Un Fiume Di Luce and Il Regno dell'Eden. However, they're never really dominant or up-front enough to really distract or take over the music. Absolutely there, but still not. Very tough to explain, but very neatly done. The producers must have done something right (amongst which you find Franco Battiato, who also plays VC3 synthesiser here). You'll never be hit by a colourful array of keys like from Le Orme or in-your-face virtuosity à la Banco, but rather learn to appreciate the subtle possibilities of these instruments.

Leaving difficult hair-splitting aside, this is first and foremost a vocal album. Juri Camisaca has a very distinct, very 'Italian' voice far from the angelic tones of the Jon Andersons of this world. It is often a little rough, and Un Galantuomo's angst-ridden effort may be successful in delivering emotion, but will need a couple of spins before you accept it for what it is. Other than that, it's a great pleasure hearing him. Gladly experimenting with tone, style and other vocal possibilities besides actually singing or speaking leaves a lasting impression more thrilling and rejuvenating than I would have thought after first judging on track one.

A solid, emotionally fractured effort, captivating just as much because of what is there as it is because of what's lacking. I'm torn between three and four stars, but because of La Finestra Dentro's peculiarity and limited appeal for a casual fan of the sub, I guess the first choice is more appropriate. This is not for everyone, but well worth the time I've invested so far.

//LinusW

Italian vocals = Excellent

Probably one of the things that guided me to my love for RPI, was the language, and the distinctive flavor that RPI singers provide with their vocals, though there are different kind of voices inside the same realm, let´s say Stratos, Tagliapietra or Camisasca, three awesome voices but very different. I personally love them all, but I believe that I should warn you regarding Camisasca vocals, since they are not that accessible to everyone's ears.

So Juri Camisasca was another great singer and composer that came from Italy, probably one of the things I should mention is that he became friend of Franco Battiato, so the latter helped him with his music and albums, they have a strong relationship somehow. That may make you think that Camisasca's music is experimental as well, but not really, here we will find some folkish-RPI with symphonic hints and just a slight passage of experimentation.

His album released in 1974 with the title of "La Finestra Dentro" features 7 songs and a total time of over 35 minutes. The first song is "Un Galantuomo" which slightly starts with the sound of a keyboard, little by little the song creates a desperate atmosphere, the vocals are very acid and even the music gives you some acid folk tendencies, there is some flute and a nice percussion work. I believe it's important to point out the importance of the vocals, because it will determine if you either continue listening, or better change to another artist, that´s why I said Juri Camisasca's vocals are not accessible for everyone's ears.

"Ho un Grande Vuoto nella Testa" has a different rhythm and feeling, it is a calm song with delicate piano sound, there are some string instruments, and it is more like a ballad than a prog rock song.

With "Metamorfosi" the album returns to the folkish moment, percussion, some guitars, a soft synth background and softer vocals, at the half of the song there is even a softer moment, the volume of the vocals slows down a bit and a delicate acoustic guitar is playing along with those percussions and wind-like effects.

"Scavando con Badile" , the first seconds are a doubt, I mean you don't really know what's coming next because it starts very slow, but fortunately the song begins to elaborate some stronger passages and very nice instrumentation made by piano, acoustic guitar, percussion and of course those unique vocals. Up to minute 2 there is a great passage created by the synthesizer, the sound is excellent but lasts just some seconds, later, the song turns softer and melodic, but in the very end, it becomes experimental, this is one of the best songs here in my opinion.

"John" lasts more than 6 minutes so it is not an epic or nothing alike, the first minute is boring, some vocals and synth effects, but later acoustic guitar, percussion and a better structure appear to mark the song's road. Moments later, it changes a little bit into a more delicate piece, but as you can imagine, it returns to its original form and the acid folk element is evident again.

"Un Fiume di Luce" beings with some organ sound and vocals, while the seconds are passing there is a very nice atmosphere created by both, synthesizer and percussions and in moments reminds me to Futuro Antico, so there is an indo element which is noticeable despite being a very short song, pretty nice track.

And it finishes with the longest song called "Il Regno dell'Eden" could perfectly fit as the second part of Un Fiume di Luce, its sound is pretty alike to the previous song, and it could be the best example of Camisasca's music, since it sums up what this albums offers. It is a very nice composition that goes from folk moments to some experimental passages.

La Finestra Dentro is a very nice album, not really representative of what RPI is, but it gives you an idea of some of its elements, and a very interesting journey for those who love Italian language, and acid vocals. My final grade will be 3 stars.

Enjoy it!

Roberto ''Juri'' Camisasca was born in the small town of Melegnano in 1951.His career is straightly linked with famous Italian composer Franco Battiato,with whom he is been collaborating since mid-70's.Reasonably his musical preferences were close to the avant/experimental style of Battiato.This fact was taped on Camisasca's debut ''La finestra dentro'',released on Bla Bla in 1974.Here Camisasca is helped by Battiato on synths and various musicians from Battiato's crew on the instrumental section,as well as Aktuala's percussionist Lino Capra Vaccina.

The album has nothing to do with Classic Italian Prog sound,yet it sounds quite progressive for the time,falling into the Experimental Rock section written in a singer/songwriter style.''La finestra dentro'' was arranged more for the sake of Camisasca's vocal experiments and less for any compositional ground,so it is a work heavily based on singing and whispering with music only as a background.There are plenty of instrumental diversity with various keys,piano,violins,acoustic guitars and strong percussion parts,some passages are even interesting,however all this stuff is sacrified for Camisasca's vocal exercises,which are of course interesting but very boring along the way.Influences come from Avant-Garde field,Italian Folk and Rock,but we will have to wait till the long ''Il regno dell'Eden'' for some really good music.This track is still very poetic and lyrical,but there is a nice musical approach with shifting moods and changing climates,from synth-driven passages to dreamy folsky parts and back.

Camisaca's story is really interesting from now on.He released a couple of singles and was a member of Avant-Garde supergroup Telaio Magnetico around 1975,but then he entered the Benedictine convent for over a decade.By late-80's he returns to discography again in the experimental field,continuing his collaboration with Battiato even in the new milenium as well as other Italian bands like PFM on ''Serendipity''.

''La finestra dentro'' is an album with little to no actual interest for a fan of Progressive Rock music or Italian Prog.It comes very strictly recommended only to those interested on weird vocal experiments under background music or anyone into obscure experimental material.