PER LE STRADE RIPETUTE

Riccardo Prencipe is to be commended for diligently performing and recording for the last 8 years as the leader of ethereal folk group CORDE OBLIQUE. Every other year he offers a meticulously and lovingly prepared disk of finely aged yet ageless beauty. "Per La Strade Ripetute" is no exception, yet it is not necessarily what I would have expected after 2011's "Hail of Bitter Almonds".

Indeed the group had been slowly, steadily and classily incorporating pop elements ever since their 2nd release, yet here we find a retrenchment of sorts into the more downbeat gothic sentiments and tempos of their debut. One of the aspects I really enjoy is the greater variety of violin phrasings, which is notable from the very first note of the first track, and carried to its fitting climax on the stunning instrumental "Uroboro". Conversely, Prencipe has decreed that the males retreat entirely from the lead microphone, which is disappointing given hypnotic performances on tracks like "Together Alone" and "My Harbour", among others, on prior collections, counterbalancing the feminine beauty. Some other highlights are "My Pure Amethyst", where I continue to discern a ponderously strummed CRANBERRIES influence, and the grand guitar instrumental "Requiem for a Dream".

While the resplendent sound is intact, "Per La Strade Ripetute" generally lacks the excitement of prior works by CORDE OBLIQUE. The project synergy, in which one's listening pleasure is enhanced from tune to tune and peaks from the cumulative effects, is not reaching me. While it's lovely background music this time around, I crave a bit more from even my mellow prog. 3.5 stars rounded down.

Riccardo takes a step back to his mostly acoustic and antique roots. Whereas A Hail of Bitter Almonds saw his musical palette increasing its infiltration of electronic instruments, here we see CO returning almost exclusively to an all-acoustic selection. As a mater of fact, Riccardo even advertises it: "No samplers, no synths, no keyboards"! With even more flawless vocal performances than usual, this album may be Riccardo's masterpiece.

1. "Averno" (6:03) fast-picked with electrified acoustic guitar adding notes and the voice of Floriana Cangiano guiding us into Averno with her words. In the second minute, the band launches into full gear with strumming, etc., while Floriana begins to sing. The addition of bass and strings accents at 3:25 is so powerful! What a start! (9.5/10)

2. "Il Viaggio Di Saramago" (3:22) Caterina Pontandolfo, my favorite, returns for another song about some historic landmark. I swear, Caterina could sing, talk, cajole, or vibrate me into doing whatever she wanted of me! What a singer! (10/10)

3. "My Pure Amethyst" (5:05) Analisa Madonna gets a turn at the lead vocal (with Riccardo offering some background support with the title words in the choruses). Guitars, cello, drums, bass. Very nice. (8.5/10)

4. "In The Temple Of Echo" (1:55) solo guitar at its classical finest. (4.5/5)

5. "Bambina D'oro" (6:18) Riccardo and Floriano open alone before being joined in the chorus by drums, double bass, and violin. Another wonderful vocal performance. After 90 seconds, the full band really kicks in, and the music becomes very proggy in the instrumental passage following the second chorus of "oh-ho"s. At 3:10, then we settle back down with a return to the opening format--plus a few more instruments ready to add their flourishes and embellishments. Floriana hits some notes! Then things quiet way down at 4:30 for an amazingly delicate vocal and guitar duet. The band slowly starts to rejoin at 5:25 but never to the levels of that third minute--never spoiling the perfect intimacy that Riccardo and Floriana have established. (10/10)

6. "Heraion" (3:15) Caterina returns for some ghost-like vocalise behind the folk hand drums and theatric whispering narration of Spyros Giasafakis. Eva Steriou assists Caterina in the second half. Cool. (8.5/10)

7. "Due Melodie" (5:45) it's time for newcomer Lisa Starnini to have a turn at lead vocal. To be honest, she sounds pretty much like a clone of Caterina or Floriana. The music behind her is more throughly textured with lots of instruments offering chords and multi-note contributions. Until the lively instrumental passage at the end of the fourth minute, the song is rather dull and "typical" for Riccardo/Corde Oblique. Still: Welcome Lisa! (8.5/10)

8. "Le Fontane Di Caserta" (4:10) a gentle instrumental that almost sounds as if it could be a lullaby with steel-string guitar strummed and arpeggiated while violin solos in the lowest registers. After 90 seconds, Edo climbs out of the sonorous bass notes and approaches upper octave domains. Riccardo's playing is surprisingly simple and subdued- -even when he's soloing. Again, "lullaby" is all I can think of for a rationale. Still, there is an undeniable simpiosis between the two that is charming, endearing--makes you want to get up and hug them when they're done. (8.75/10)

9. "Requiem For A Dream" (2:26) an instrumental demonstrating an absolutely stunning display of virtuosity from multiple instruments--and it's beautiful and emotional! (10/10)

10. "Ali Bianche" (6:47) Floriana sings her heart out with this unlikely and challenging structure and instrumental grouping. Unbelievable vocal--one that provides the glue to make everything work. I will go so far as to even assert that I don't think the music would have worked alone. (14/15)

11. "Uroboro (8:01) whoever Edo Notarloberti is, he is incredible! After four minutes of violin solo (with some support from bowed double bass), there is a significant gap before we get a solo guitar piece with outdoor garden noises--as if an improvised piece was being captured live, as it developed. (A continuation of or variation of song #4 "In the Temple of Echo"?) What a guitarist! We are so fortunate to have his music! (14/15)

Total time 53:07

It's so difficult to assess Riccardo's music since it's always of such superior quality, always a demonstration of a virtuoso at the peak of his playing, compositional, and delegating powers. I LOVE this album and its timeless music. I LOVE the "modernized"-thinking of A Hail of Bitter Almonds.

A-/five stars; a minor masterpiece of timeless Prog Folk and truly a treasure for any music lover--prog or no.