RANDONE

An RPI rock opera penned by Nicola Randone after he stumbled upon some kind of local history (or legend). The "suite" contains a series of interconnected pieces with many, many themes and styles used to tell the story.

1. "Preludio (Hybla)" (2:27) (4.5/5)

2. "Guardia alle mura" (1:30) fast-paced gorse race guitars. (4.5/5)

3. "Guerra Agli Invasori" (1:06) Norse-like sea shanty feel to it. Fun and different. (4.5/5)

4. "La resa" (1:06) smooth, beautiful music over which operatic female vocalise and metal (and jazz) guitars solo. Impressive! (4.75/5)

5. "Le invasioni" (1:23) (4.25/5)

6. "La regina di Cipro" (2:30) female singing in English over similar music to "La resa"--then joined by antiphonal male repeater and then Russian basso profundo. (4.5/5)

7. "Infuria la battaglia" (2:16) great male operatic vocal over heavy prog (4.75/5)

8. "Enrico VI e la corona di ferro" (1:23) more rock opera action. (4.5/5)

9. "Veglia funebre per il conte Guglielmo" (2:01) a bit of a MAGMA feel to this one. Nice lead guitar play. And Jew's harp! (4.5/5)

10. "La principessa triste" (4:19) more gentle palette with picked 12-string guitar, Mellotron, delicately sung male vocal. Gets heavier and more theatric in the second minute. Another big shift at 2:20--all instruments go soaring-- before coming back to acoustic foundations for the final minute and a quarter. (9/10)

11. "Manfredi Chiaramonte" (2:50) carries forward the more acoustically founded palette from the previous song, letting violin and harpsichord take the leads above harmonized voice choir vocalise and synths. This all twists and turns until it becomes a kind of parade-like march for its final minute. (8.75/10)

12. "Ballata in onore cel conte" (1:38) using some kind of folk melody, the music takes on a more cheerful, flippant path before a seering electric guitar solo splits the Sgt. Pepper's Hearts Club Band-like song. (4.25/5)

13. "Un genitore afflitto" (0:36)

14. "Giovanni Chiaramonte" (1:07) back to more aggressive Hammond and Martin Barre-like guitar rhythm sound & style with rough vocals and violin soloing. (4.25/5)

15. "Giovinastro e Lucsia" (1:47) smooths out with Mellotron and more smooth vocals (lead and choral). (4.25/5)

16. "Simone Chiaramonte" (1:08) up and down instrumental (4.25/5)

17. "La solitudine di Venezia" (3:40) opens with a theme familiar to me from La Coscienzo di Zeno songs, and then some Felona e Sorona themes. When the two-voiced vocal enters, the music shifts to a more RUSH-rock palette. (8.5/10)

18. "La Fine Dei Chiaramonte" (3:51) a party-like radioplay takes place over some steady music before switching to previously explored styles (one with a Paganini-like guitar solo, the other two slower in the LCdZeno fashion). (8.75/10)

19. "Rimpianti" (1:40) uses the music from the previous song to segue into a simple but effective male tenor aria. Nice. Powerful and beautiful. (4.75/5)

20. "Bernardo Cabrera" (1:31) opens with a pop sensibility. When the male vocalist and violin enter in tandem, the storytelling continues, being taken over by female vocalist and synth before just as quickly turning into a kind of Flamenco display. (4.75/5)

21. "Cospirazione contro i giudei" (1:13) instrumental hard rock similar to Trans Siberian Orchestra with violin lead shifts suddenly to a soft, emotional minor key. (4.25/5)

22. "La caccia" (4:39) takes on a STEREOLAB/TALKING HEADS-like palette and style before morphing into more standard "horn"-led RPI and then heavy RPI styles. Vocals enter around the halfway mark leading into another kind of wild party section before the music goes BANCO beneath a soloing saxophone for a bit before turning a sharp left into a short andante 4/4 song with a RICHARD WRIGHT-like saw-horn solo over the top. (8.75/10)

23. "Gian Battista Odierna" (3:53) andante continues with another PF tactic (echo- and decaying snare hits) over which high-pitch male voice sings in operatic style. Collective voices bridge into another MARTIN BARRE-like section over which several vocal stylings pass. (9/10)

24. "Il terremoto" (2:49) sounds like something from ALFONSO XII's contribution to Odyssey: The Greatest Tale. (8.5/10)

25. "Epilogo (crevit Ragusia Hyblaeruinis)" (0:42) an emotional little piano finale.

Total time 53:05

I must admit that if I knew more about the story being told here, it might make some impression on my final judgment. But, as you all know, language and lyrics are not my strong suits in music, so, here you have it.

I know it is unfair of me to use more recent musical examples for references, but my reactions can't help but be based on the totality of my listening experiences. La Coscienza di Zeno must have heard Randone's music.

I really like the way the electric guitars and synths are mixed so far forward and, thus, given a more prominent and crystal clear sound--not unlike Al Di Meola and Chick Corea on the Return to Forever albums. The theatric format with its frequent twists and turns (too frequent) is fun--and very well arranged and orchestrated--but some of the cycles become too predictive and, thus, wearing over the course of the whole album.

B+/4.5 stars; a near-masterpiece of theatric storytelling within the heavier and more dynamic styles of Rock Progressivo Italiano.

Second effort of the talented Italian musician Nicola Randone and his band!

And this time, with the incorporation of the fine guitar player Marco Crispi the quality of the music increased dramatically, despite faithfully continuing the romantic symphonic prog style of its predecessor Morte de un Amore. The production of Nuvole di Leri is also good enough to enjoy every detail and the Cascone's drums are especially powerful.

However, the best is that the songwriting has also improved a lot since Morte de un Amore. The songs structure in the track list is a bit confusing because Nuvole Di Leri is really one 43 minutes long song. Epic, deep, full of variations and beautiful moments. Only the song Partenza is better than the entire previous album of the band.

Why am I only giving three stars to this album, then? Mainly because Randone's voice. His high-pitched, nasal, over dramatic and affected tone is still a bit annoying for me and it subtracts quality to the otherwise very good music. What a pity!

Best tracks: as I said, the album is really only one long and epic song! And a very good one indeed.

Conclusion: Nuvole Di Leri is much better than Morte de Un Amore. Is better structured, funnier and with a much more compelling songwriting and playing. Sadly, Nicola's voice spoils a bit the otherwise great musical work that this album contains.

Nevertheless, if you are into Italian prog-rock you must check this good album out!

My rating: ***

Randone is the musical brainchild and multi-instrumentalist Nicola Randone. Their previous effort Hybla Act 1 sounded wonderful with exciting vintage keyboards (by Nicola and legend Beppe Crovella), but to me a bit too fragmentic in some tracks.

On this successor from 2009 Nicola Randone and Beppe Crovella deliver again a splendid vintage keyboard sound in more mellow oriented progrock:

a lush symphonic rock sound with Hammond organ and a violin-Mellotron solo in the opener S.I.B. (Prologo),

a pleasant blend of soft Hammond , warm Italian vocals, soaring Mellotron and finally a howling guitar solo in Promesse,

a slow rhythm with acoustic guitar runs and classical orchestrations in the titletrack,

Grand piano, intense vocals and majestic choir-Mellotron eruptions in Preghiera Di Un Re

and impressive violin ? and choir-Mellotron waves in Ritorno.

But don't get the impression that this is music to get asleep because on the right moments Randone delivers some surprising and exciting breaks like in Speranze (catchy synthesizers and fiery guitar), Buona Notte (cheerful climate and female vocals) and Ritorno (blistering guitar work and delicate choir-Mellotron). My highlight on this pleasant album is the final composition Epilogo: it starts mellow with acoustic rhythm guitar, fragile electric guitar and wonderful piano, then the music slowly culminates in a compelling grand finale featuring breathtaking vintage keyboards and a sensitive guitar solo with howling runs, this is Prog Heaven!

My rating: 3,5 star

I tried to like this album, but I obviously failed in the attempt!

The style of this album is like some kind of strange mixture between romantic Italian pop with some elements of progressive, symphonic and electronic rock. The production of the album is very good, and every instrument sound just fine. That what's my problem with this record? Let's talk about the songs.

Visione introduces the mood of the album, where the voice of Randone is the protagonist. The song contains good arrangements of keyboards, giving some symphonic feeling to the composition. I personally do not like the voice of Nicola, I find it just too strident and even annoying sometimes. He sings with passion his good lyrics, but I just can't bear his singing in this album! Sorry. The ending of the song has a fine atmospheric work with synthesizers, in the vein of Tangerine Dream but with tons of sound effects (wind, wolfs, cats?)

Il Pentimento Di Dio Dolo La Fine del Mondo is a reggae/ska song with not much to comment about beyond the weird vocals and ecclesiastical choirs. Tuttle le Mie Stelle is a romantic acoustic song with beautiful neo-prog keyboards after the chorus. Not really special, but one of the best tracks of the album nevertheless. L'Infinito is a bit darker, but pretty forgettable as well despite the fine guitar solo.

Un Cieco starts with the dolphin's cry, and it contains a good acoustic melody and strong and uplifting chorus. It's one of the most progressive songs of an album that's not really progressive, and also one of the stronger in songwriting. La Giostra is another dramatic song, which talks about the horrors of Auschwitz and contains one of the best instrumental works of the album, especially in the beautiful accordion section.

Strananoia is pure folk-rock with some influences of celtic music. It remembers me to the great Spanish band Celtas Cortos, but very far from their quality. Nevertheless, it contains an interesting final electronic-influenced section. Amore Bianco is another Italian pop-rock song with some fine guitars with slide, but which is not really interesting, leave alone progressive.

Morte di Un Amore is stronger since the beginning, containing some symphonic arrangements and good vocal melodies (despite the singing is so annoying as always) This time even the reggae is good, because it leads to a great electric guitar work and more instrumental and symphonic passages. This album is obviously better when Randone is not singing! And that's maybe the reason Morte di Un Amore is my favorite song of the album. Is the longest one and with the fewer proportion of sections with vocals. The long final atmospheric section bring back the melodies and the Tangerine Dream influences of Visione.

Conclusion: if you like romantic Italian pop, and acts like Franco Battiato, maybe you'll find Morte di Un Amore interesting. But don't expect something like Premiata Forneria Marconi or similar groups, because this album is not so progressive and it's also very far from the quality of this classics.

It's interesting and times, and I consider that Randone had tons of potential despite it's improvable singing. For this reason, I'm eager to hear more albums of this man. But I can't really recommend Morte di un Amore apart from Italian prog completionists!

Best Tracks: Un Cieco, La Giostra, Morte di un Amore.

My Rating: **

Italian project RANDONE is the creative vehicle of composer and musician Nicola Randone, and first appeared on the scene in 2002 with the album "Morte Di Un Amore". Since then Randone has been a stable and active creator of music, with one collection, a DVD and 6 studio albums released under this moniker to date. "Ultreia (Canzoni Sulla Via ? Atto 1)" is the most recent of the latter, and was released through Italian label Electromantic Music in 2014.

When dealing with Italian artists exploring progressive rock, you are bound to encounter the expression RPI at some point. This three letter expression is short for Rock Progressivo Italiano, and signifies that for at least some people, there is a marked difference between at least some progressive rock made in Italy and progressive rock made in other parts of the world. There has been calls for similar subsections in some progressive rock environments of course, but so far Italy stands alone as a nation in being given their very own subgenre in progressive rock, and one that only applies to some rather than all artists originating from that nation at that.

Those who are in favor of this specific description, and that has an understanding about what it signifies to them, should treasure this album by Randone, as it does fulfill most if not all of the criterias I have been quoted will make an artist or an album to be placed under this niche umbrella. Stylistic variety, clear and distinct references to vintage progressive rock and, most important of all, the use of the Italian language for the lead vocals.

This is an album that orients itself firmly towards keyboard driven progressive rock, where both the organ and the Mellotron are used liberally throughout, with splendid support from what mainly sounds like other vintage keyboards. Occasional jazz-oriented instrument details have their place here, and an even more frequent detail added to the proceedings are folk music, both by way of instrument details and vocals, but also with some key arrangements having a more firm folk-oriented direction. That there's space and room for dramatic, operatic type lead vocals here isn't all that surprising, and that occasional orchestral touches are added in is also a good and somewhat expected but still effective detail of note. That some beefy and occasional fiery electric guitar details are used liberally as well, up to and including some guitar solo runs with more of a shred style touch, is perhaps a bit more unexpected I guess. The use of what sounds like electronic instrument details, at times in a rather dominating manner, may be another detail that isn't as common on productions of this kind, but by and large they work well in this setting.

What may be a bit more detrimental, at least for those not fluent in the Italian language, is the cinematic nature of this album. A feature increasingly more dominant are interludes of spoken voices, in form coming across as sampled dialogue of the kind you'll find in movies where ordinary people are talking to themselves, to others or with others, with appropriate daily life sound effects. Not just at the start and end of songs, but also as interludes within the songs. I get a strong cinema movie feeling at times with this album, and as this is the first of what presumably is a series of albums, there is a concept explored here and a story being told that will remain hidden for those not fairly well versed in Italian I guess. Presumably this perhaps not so slight detail will be a strong positive for any Italian progressive rock fans, but as I am not fluent in that language myself I just have no way of knowing how well this is executed.

All in all I find "Ultreia (Canzoni Sulla Via ? Atto 1)" to be a well made and versatile production, in substance and style adhering fairly closely to my understanding of the elements needed for residing inside the progressive rock subgenre RPI. Besides those who have a specific interest in this subset of progressive rock, I would guess that symphonic progressive rock fans with a fairly versatile and liberal taste in music of that orientation might want to have a go at this one.

The name "Randone" is the name of the Italian musician Nicola Randone which has made some records now and his sixth one came last year, a little more than exact a year ago and it is called "Ultreia". His first record was released 2002. This record has a nice cover with a stone formation on a field somewhere on the countryside.

The musicians are Randone on vocals, guitar and keyboard, Livio Rabito on bass and jew's harp, Riccardo Cascone on drums, Marco Crispi on guitar, Maria Modica on vocals, Beppe Crovella on keyboards, Carmelo Corrado Caruso on opera vocals, Massimo Sammito on flute and harmonica and Enrico Giurdanella on crystal singing bowls. The provide us an odd album which mixes styles from rock music and metal to folk songs and opera. I won't argue I understand what the lyrics and the story is about but I guess it's a story that goes from the beginning to the end.

"Ultreia" is an interesting record with songs of high quality and it starts good with the title track "Ultreia" which I also think is the album's best(9/10) and the great standard and the big interest the music gives me follows further in the five following songs La Cabra Negra, I Canto della Vita, Mariposas, Soy Peregrino and Qui Ed Ora(8/10) amongst which many are long(or short) and contains much of interest for prog lovers. Unfortunately I think the standard of the second half of the album is a bit less interesting and more mainstream. But over all this is very good music. One of the best aspects of the music is the opera involvements in some songs. They lift the music together with the folk songs and the talanted instrumentalists.

I especially recommend you to listen to the albums first half but the whole record deserves respect and I look forward to hear more from this artist. Four stars from me(3.63)

I am unforgiven, I know - this review comes with great delay but time seems to be running with great pace, even if you are on the Camino de Santiago. Randone's "Ultreia" is my first experience with the band and one of the few with modern RPI. It is based on Nicola Randone's experience of the Camino de Santiago, a pilgrimage of which I was largely unaware. "Ultreia" is part one of three of a series of albums that Randone are preparing.

The concept of the "Way of St. James" is inseparable from the music, the lyrics and the vocals on this album. The very personal experience of Nicola Randone is embroided on every aspect and I would recommend reading the lyrics to fully understand the expression of this record. Irrespective of this, the theatrical and passionate character of the vocal performances (male and female) are driving the quality here, along with the plethoric and diverse use of a number of keyboard sounds and different instruments, including flute, harp and harmonica among others.

"Ultreia" sounds like tradtional RPI but played in a modern way and examples of this can be found in "Mariposas" with the hammond sounds and fusionesque clean electric guitars or in "Qui ed Ora". The remake of the traditional "Soy Peregrino" with the operatic vocals of Carmelo Corrado Caruso and heavy guitars makes it a total, but rather short, highlight of the album. The influence of classical music on Nicola's guitar playing is evident and this blends nicely with the very optimistic, even if at times melancholic, atmosphere. This optimism primarily appears at the opening and closing stages of the album with more dynamic tracks, while the middle part generally hovers around lower tempos. Symphonic prog metal makes its appearance on "Hasta la vista Diego", another highlight, and the middle part of "Rosa", proving the diversity of the music, making it an album with no obvious weaknesses but perhaps an acquired taste...

Symphonic, operatic, vintage, modern and optimistic, "Ultreia" is worth going the way to explore it, even for those not very acquainted with RPI, like me.

4+ stars

This Italian Progressive Rock Band (from Sicily) is led by singer / main songwriter /acoustic guitarist/ keyboard player / programmer Nicola Randone, who some months ago sent me a private message in the Prog Archives Forums with an announcement of the availability of this, their new album called 'Ultreia', which was released in 2014. I could download a digital copy of the album from a link which was included in that private message so I could listen to this album. Fortunately, the downloaded files included scans from the booklet of the album, with some of them having the notes, the credits and the lyrics of the album translated to the Spanish language (and to other languages too, including English). So, it was easier for me to understand the concept and the lyrics of this album because I don`t speak, write or read in the Italian language. The booklet was designed by Nicola Randone himself, and it also has some very good photos taken by him (Nicola Randone is a graphic designer too).

This is the first album that I have listened from this band. The band consists of Nicola Randone , Marco Crispi on electric guitar, Livio Rabito on bass, Maria Modica on vocals, and Riccardo Cascone on drums, plus other four guest musicians.

The full title of this album is "Ultreia (Canzoni Sullavia Atto 1)". So, as the booklet notes say, this is the First Act of a trilogy.

This First Act is a narration of a Spiritual Journey experienced by Nicola Randone while he was travelling (he did it twice) along the 'Pilgrim`s Way to Santiago', a way which takes nearly 1000 kms. and goes from France to Santiago de Compostela in Spain. Nicola Randone narrates with his lyrics and with the music (mostly written by him with some help from some members of the band) his experiences along this journey while having contact with nature and also with other human beings. It seems that this journey leaves in the pilgrims some very good spiritual and personal experiences which makes them grow as persons. The journey took him about three or four weeks until he finally arrived to Santiago de Compostela in Spain. The lyrics are mostly written as poems and I liked most of them.

Musically, this album has very clear influences from the Italian Progressive Rock style, with the lyrics being written and sung in the Italian language (but sometimes also including some lyrics written and sung in the Spanish language). It also has some influences from Italian and Spanish Folk music and even some Classical Music influences in some parts, with some 'Operatic' vocals. Nicola Randone is not the only lead singer in the band as Maria Modica sings lead vocals in some parts. There are some influences from other Italian Progressive Rock bands like P.F.M. and Banco del Mutuo Soccorso, and the electric guitars playing also has some influences from some Heavy Metal bands, with some guitar parts sounding very influenced by artists like Yngwie Malmsteen, sounding very well. The band also uses some vintage keyboards like the Mellotron and maybe also a Moog Synthesiser, giving to the music some influences from the early Progressive Rock of the seventies. Some songs also include the use of some flute, harmonica and jew`s harp. They also include some sounds from nature and some voices in conversations (some in the Spanish language).

I think that the album as a whole is very good, very well produced, recorded and mixed, and it has very good contributions by all the musicians who participated in its creation. I think that the creation of this album really took them a long time and it really was a hard work, as it has a continuity reflected in the presentation of song after song without interruptions. I also have to say that I like the cover and booklet design very much as it illustrates very well the content of the music and of the lyrics of this concept album.

In 2012 Randone released independently the archival album ''Single and unreleased'', containing the three cuts, with which the band participated in various prog compilations, plus two cover songs from the repertoire of Le Orme and Peter Gabriel.Nicola Randone started working on a trilogy called ''Canzoni sulla via'', the first part of which was to be titled ''Ultreia'', inspired by Randone's pilgrimage in Santiago de Compostela.He added Marco Crispi on guitars and Maria Modica on female vocals and with the help of some guest musicians (yes, Beppe Crovella was again among them) the band launched the new effort in early 2014 on Electromantic.

''Ultreia'' practically defines the long journey of Nicola Randone and his band through time, it contains hints from his early works as well as more recent echoes by his following albums, which had a slightly operatic view.Great arrangements overall, farily falling into the Symphonic Rock genre, with occasional folky colors and a strong vintage attitude, washed by the use of Hammond organ and the Mellotron.''Ultreia'' is an album full of rich sounds and attractive orchestrations, balanced between energy and calmness and containing all these elements every prog fan loves in Italian Prog: Warm vocals, Classical influences, complicated structures, a thematic development and dense musicianship.I love the irritating male vocals of Nicola and his premature effort on revisiting P.F.M.'s and LE ORME's unique sounds, but the modern touches are more than welcome, the clean production and the intelligent display of grandiose synths in the process.The atmosphere is a bit similar to I GIGANTI's legendary ''Terra in bocca'', passing through dynamic plays with nice guitar, furious organ and sharp synthesizers to more atmospheric textures with some lovely Mellotron parts and measured use of acoustic sounds.Maria Modica comes as another surprise and his collaboration with Nicola results to series of melodramatic, sensitive and romantic vocal lines, the absolute support to an otherwise extremely well-crafted work, instrumentally speaking.

One of the best releases of 2014 and among the highlight's of Randone's discography.Italian Prog at its best, full of lush keyboards, modern twists and retro references.Highly recommended.

Good music, a skilled band and very good songs, but this time what matters more is the concept. Journey. This is what the first act of this trilogy is about. A bit of history can help the understanding. St. James (Sanctus Jacopus in Latin) becomes Sant'Iago in Spanish. Centuries ago he walked to the actual "end of the world", (Finis Terrae) and watched a spectacular clear sky full of stars so that the place he was is now called "Compostela" (Campus Stellae - Starfield).

Since then thousands of pilgrims have walked from the Pyrenees, the mountains at the border between France and Spain to that remote place at the end of the known world called Santiago de Compostela.

This is why the album is so full of voices, emotions, sounds and the sense of the journey which includes wonder, fatigue, and a sort of spiritual renaissance. I don't know if Nicola Randone, the project's mastermind is a faithful Christian or not, I have personally spoken with people who walked the Way, and there are Atheists and Mulims who have done it.

Now let's go straight to the album. "Ultreia" is a mysterious word that the pilgrims use as "hello". The first song "Ultreia" starts from a traditional song, but as often happens in prog, it also works as Ouverture including some of the recurring musical themes which will pop-up here and there later in the album.

My favorite song is personally "la Cabra Negra". I'm not sure to have correctly interpreted the lyrics, but I think it represents the temptation, the Devil of Fatigue trying to make the pilgrim stop and give up.

"Il Canto Della Vita" (The song of Life) has a very easy musical theme which appeals immediately and persists in your mind after the listening, but the central interlude, sad and dreamy, gives the idea of the rest after an ordeal, the last moments at the end of the day before falling asleep. The flute and the march rhythm mixed with some electronics give me this idea, at least.

"Mariposas" starts from the main theme but in minor chords. The spelling voice describes the sensation of walking, "fixing the colour of Mariposas in your heart". The keyboards (I think played by Beppe Crovetta from Arti E Mestieri) have a big part in setting the mood with vintage sounds in a Wakeman's style. I have also the impression of a Theremin. Very good guitar, too.

"Soy Peregrino" is one of the most rocking tracks. As in classic rock its length doesn't reach 3 minutes, heavy guitar and hammond are the base of a spanish song. In the last seconds this sort of progressive metal turns into acoustic. A very good song.

"Qui ed Ora" (Here and Now) is a connection to the other Randone's work that I know: Linea Di Confine. The melody and the dissonances in between remind to that work. Anyway, the vintage sound of the keys (a Moog maybe?) has a bit of PFM. After 5 minutes, the wind introduces few moments of dark atmosphere, like a n incoming storm, but it's just a moment. The coda has a very positive sound, quite like a hymn.

A dark love song, a moment of rest in the night. Paying more attention to the lyrics, it's not clear if the woman he speaks about is a real woman or if there's anything religious inside. Maybe both the things. The a-cappella singing with an operatic female voice and the sound which seems a theremin are an unusual moment in this album.

"Rosa" (Rose) Seems to be a real character. A woman who helps the pilgrims and likes hearing their stories. "They come to ease the pain and fill the silence inside me" she says. It's a very melodic song which sounds very RPI,

"Hasta la Vista, Diego". It may be somebody met on the Way (The walk of Santiago is also known as the Milky Way). He says something in Italian with a strong Spanish accent. Then comes a good instrumental part which contains a bit everything. This is prog. No other words are needed. Again the influence of classic RPI is evident in the keyboard parts. The guitar instead, may fit in an Ayreon's album. This is the most complex song and one of the best for sure.

"So Close, So Far Away" is opened by acoustic guitar and harmonica, like a Country western song. It's something that was common in the late 60s in Italy, when many artists were strongly influenced by Dylan. But the Country flavor goes away soon. Another melodic song in classic RPI stile. The vocals are not too dissimilar from Ivano Fossati (former Delirium) but the melody can remind to "Le Orme", but the instrumental part is astonishing. A heavy prog interlude and the return to the melody. It represents a moment of doubt "can this Way be only an excuse to proceed far from you" This seems to be the meaning of the song's title.

In a city called "Victoria" there's the church of the White Virgin (La Iglesia de la Virgen Blanca), Is another sort of checkpoint in Nicola's journey. A mystic moment or just when he has finally given up to a lost love? Whatever it is, this song is very dramatic.

"Santiago" is the goal, where both the journey and this album end. We know that it's not the end of the story as this is just the first chapter of a trilogy. Operatic male vocals introduce a song with an unusual signature with several changes. It gives an idea of confusion. Like the pilgrim is asking himself about the true reason of the journey. This complicated song seems to me a bridge to the next chapter which will arrive in 2015: a sort of "to be continued":

I hope Randone will mantain the promise of releasing two more albums about the "camino". If you want to enter a bit more easier into the right mood for the album, give a look to the booklet. It's available in several languages and a photo in particular impressed me: Nicola on a bed with a small window on his back, likely in a hostel, with his guitar close to him. That snapshot says a lot.

Not less than 4 stars for me. 5 if it was for the concept only. The spirit of the Milky Way filters out of the tracks. This means that the music has reached its target.