I am not much of a reviewer but I will give this album my best shot. I suspect readers already know that Murple was one of many one-shot italian bands in the 70's to release a fantastic album and then disappear for lack of money and/or interest. After 35 years, they are back again with the original lineup. It's hard for me to not continually compare their classic 73 album to this one but I have listened to this one several times with an open mind and must say that it has grown to be an excellent album to my ears. My 4-star rating may confuse others or what have you but I have my reasons for it:

1. They seem to have continued where they left off in 1973. They're still using the tasty analog key sound of the 70's.

2. There's enough classical influences in the music and it does not seem they have tried to go with the neo sound of the plastic keyboard. Kudos to them for this. There are some terrific el-piano pieces albeit short.

3. I do not hear repititous droning drum beats that seem to be a fixture in today's music. Instead, the drummer seems to be experimenting either with high hat sections, snares, etc.... All too often in today's music, it almost sounds like many bands employ a drum machine or a drummer who's afraid to wander outside of the 4/4 | bass drum boom boom boom | bass drum boom boom boom.... The drums do not sound digital on this album. Another reason I prefer the 70's sound is due to hearing more experimentation with the drummer

4. Some really nice choral sections in a few pieces.

5. The bass player plays some really nice melody lines.

6. There's some really nice relaxing melodic music on this album including a classic accoustical guitar piece.

Yes the album is under 34 minutes long but I've never had a problem with that. I strongly feel that I'd rather have a 33 minute album of quality material thruought rather than a 79 minute album that has 50- 60 minutes of filler on it.

Murple does not sound uninspired or like they came back to the studio just for business. Rather I feel they decided to pick up where they left off with Io sono murple. That album (as does this album) employs quiet sections as well as bombastic sections sprinkled with nice keyboards/drums and bass.

In my opinion, one of the much better reunion albums from 70's italian prog acts. To my ears, maybe the best. I recall being disappointed with Metamorfosi's paradiso and still feel that way and each additional listen to that one confirms my disappointment as Inferno was just so much better. This one is different. After several listens, it sounds better and better and I have to say parts of this album are in check with Io Sono Murple. You could do worse to play Io Sono Murple and this album together. They're really both like part 1 and part 2 and the songs could actually be interchangable.

Great job Murple. Welcome back. I can only hope that you don't wait another 35 years. But if you never release another album again, I'm grateful you all came back in the studio to release this.

Thank you!!!

— First review of this album —

A dreamy experiment for fans of the avant-garde

Do you like Ummagumma’s studio side? How about “Alan’s Psychedelic Breakfast?” If you answered No you can probably stop reading. But if you like that kind of weirdness you may enjoy this super rarity from late ‘70s Italy that is being released by BTF for the first time ever on CD. Carlo Barbiera, keyboardist and composer of this group begins his description of the project as follows:

“To wrap up sculptures in a cloak of sounds, in search of tri-dimensional music…”

“Nascita della Sfera” (Birth of the Sphere) produced this sprawling conceptual work based on the life of Italian sculptor Luciano Ceschia (1926-1991). Barbiera wrote the piece and assembled a large troupe of musicians to record it. In the ‘70s the LP was a very limited private pressing, but BTF/AMS have remedied that with a tasty gatefold mini-lp sleeve CD release. I have seen the results described as “experimental electro-acoustic progressive” and also “proto-folktronica.” ItalianProg.com says the work reminds a bit of early Battiato. In general there are just enough flavors of the ‘70s RPI scene to appeal to its fans and the rest should be fans of the avant and electronic genres. It is a product of its time and a bit rough around the edges so be aware of that. If you like your prog polished with top notch production values and linear sensibilities, this is not for you. This is a home-made sounding project that pays no lip service to any commercial conventions, something that not everyone will appreciate but only adds to the fun for me.

It is charming and absolutely successful progressive music to my ears. While the CD is chaptered 32 times, the pieces are connected and this album plays like one long daydream. You move from one short sound experiment to the next: some are beautiful, some are dissonant, some are fairly traditional, some are totally musically insane. In short, just what the adventurous listener craves. To give a bit more description I’ll describe some of the more common track scenarios. One track will be an acoustic guitar just frittering away like Gilmour does during Psych Breakfast, very soft, nostalgic, beautiful. The next track will be short flute or sax solo that drifts off down a dark hallway. Then you might have cacophony of hideous loud clanging noises over voices. Then a piano solo or clocks ticking or running water. Then spoken word vocals. Then a variety of synthesizers creating a wall of sound. Then a child’s laugh. You get the point? It’s the kind of album one either loves or hates, which is why I referenced the two widely known Floyd pieces. This album is even a bit more “out there” and frankly a bit more sincere than the Floyd works I mention—Ummagumma sound a little contrived in places whereas this album feels more natural. The guitar playing is quite frequent and very enjoyable as the players try out several different styles from spacey acoustic to blues to jazz to even a brief bit of hard rock. The acoustic guitar of “Campenelli” literally sparkles with effervescence to great effect and are back by strange piano and synth sequences. The saxophone excursions near the end are like a person coming apart…beautiful at first but descending into some chaos. What I really like about this album is the complete freedom from the chains of a rhythm section. So much music is a slave to having constant drums thumping away—this album allows musicians to play free-form without being constrained by that. Like a situation comedy that is brave enough to not use a laugh track there simply are no rules here. This is about sound and the moods the sounds conjure, it is not about “songs.” Overall I find this album enchanting and perfect for a rainy day. My guess is that some fans of today’s more hard-core avant-garde projects may find this album a bit “quaint” as it doesn’t pack the in-your-face edge of someone like Toby Driver. But that doesn’t mean it isn’t viable. This album is interesting to me musically, historically, and has the charm of its creator coming through via boundless enthusiasm.

The BTF reissue is even more generous than usual with two separate, thick booklets, one in English and one in Italian. The liner notes written by Barbieri are some of the most heartfelt and humorous I’ve ever read. He recalls moments of his life in a sort of stream-of-consciousness burst which fits well with the music here. Great detail is given about other contributors also, their backgrounds, and what they are doing now. The sound is taken from the original master tapes and while not exactly awesome it is certainly acceptable to me. Barbieri and his 13 year old aspiring musician son worked together on processing 13 additional bonus tracks adding more than a half-hour to the dream sequence. There is some real bang for the buck here for the experimental music lover but it requires a listener with patience as well as an open mind about what “music” really is.

Rating:7,5/10

Extreme obscure band and release. But this "Dietro La Finestra" is one of the best reborn of RPI albums. It is true, in this album I listen echoes of Yes, Rick Wakeman solo career (Marino Baccini is a very Wakeman adept), Genesis, Quella Vecchia Locanda, Maxophone, Banco Del Mutuo Soccorso, Locanda Delle Fate. also the guitars a la Steve Howe are extreme good (is the instrument of the band) and good also the bass line (see "Un Minuto Solo", in particular) and technical also the drum partiture (but the sound is atrocious). In general the songs are mid tempos that emphatizes the romantic flavour of the songs but with intermezzi A la Rick Wakeman that they enliven everything. So this is one of the more ISP/ RPI albums of the 90's but also one of the more normal of the 90's. The recover of the Italian progressive tradition cannot pass, however, in second plan. Courious that, in the same time, this band have a high personality. In 1992 it will debut a similar band, Il Castello Di Atlante. And the RPI finally reborn.

Good LP. One of the albums of the reborn of the ISP/ RPI. Recommended for all who that they research the darker things. Even if, then, it goes well for all.

Oh oh, got to be very careful with this review, as it has garnered rave reviews from all the PA glitterati and I have no stomach to be viewed as a party pooper! I have not heard the previous album, so this is a totally virginal adventure, judging solely on what my trusted and storied prog sensors will pick up going through this sophomore recording by “the kiss of the medusa”. My knees are trembling in anticipation, my ears firmly cleaned with cotton swabs and properly oiled and lubricated, phone is on mute, TV as well. From the opening kick-off and aptly named “Preludio”, the much discussed prime BDM characteristics come to the fore: the radiant almost operatic vocals courtesy of the genial Simone Cecchini are stupendous (what a voice,!), the keyboard work from drummer Diego Petrini is heart stoppingly intricate and ornate, first on piano and then on the effusive Hammond organ, some spectacular violin forays, wailing voices in full support. I am overwhelmed by the sheer scope of the arrangements, seasoned to titillate and inspire, as evidenced by the magnificence of the poignant “Confessione d’un Amante”, that suddenly dives into the fiery, searing “La Bestia ed il Delirio”, again perfectly describes as a deliriously beastly workout, Hammond whirring unabated, giving guitarist Simone Brozetti the opportunity to rip through a few frets and blaze incandescent. Out of the blue in typical Italian prog style, the piece evolves into an almost folkish, violin-led mid-section and mercifully capped off with a bluesy organ solo. And they even find time for a laugh, wow! Disturbingly tasty, BDM segue into the next track dreamily, ready to explode at anytime (and it will soon), gently stretching out the theme until the narrative kicks in (the Italians proggers seem to love this, tossing in some spoken words into their music!). The raging “Riccordi del Supplizio” dives into the dark core of the album, buzzing guitars fighting off the rippling flutes, the beat heavy with Tullian exuberance and Cecchini’s powerful voice urging the beast along. A series of succulent “classic” guitar solos bridge nicely and make this a highlight reel track that is sure to please, a true ISP nugget that will set well with fans of all colors and stripes. The longest piece here at nearly 7 minutes , “Nostalgia Pentimento e Rabbia” offers up a pastoral contrast to the previous eruptions, with more effusive flute and raw wah guitars slowly churning into a bubbling frenzy, proving without a doubt that these musicians have it together. Cecchini sings again with utter conviction and frenzied control, drawing easy comparisons with Ange’s revered Christian Décamps. The flow into the next track is seamless, giving the instrumentalists more than enough stage to let their chops fly while keeping the theme tight to the vest, as organ, violin and guitar provide all the ingredients with outright bluesy aplomb. The famed contrasting pastoral and fiery recipe is at its acme here, clearly showcasing this band’s ability to turn anything into something spectacular, throwing in gloomy effects at unexpected moments and keeping the listener on permanent edge. The supremely intoxicating “Melencholia” fulfills the need to chill, with spectral flute gently parading through the mist, soft vocals pleading for some understanding, dripping in angst laden beauty (I am such a sucker for heart stopping melodies, I tell you!). This piece remains imprinted as a scintillating jewel, full of impressive feeling and atmosphere, especially vocally. The next track reinitiates the mood by judiciously exhibiting an unexpected sax solo (a woefully underused instrument in prog, unfortunately), giving the guitarist another opportunity to show off some bluesy, bruised licks that exude pain and power , dueling with the serene optimism of the saxophone, another kick ass piece on this marvelous disc. “Nosce Te Ipsum” proposes a violin directed instrumental that shoots for the stars, the organ also returning to the front stage, the entire band cooking up a storm, even daring a few Crimsonesque oblique stunts, with a dash of Canterbury tossed into the mix (You wear them well). The “Corale” is a piano/violin showcase that evokes strong classical leanings that blend so well with the otherwise heavily blues influences. The final “Epilogo” puts this masterpiece to rest and I am converted! No wonder finnforest was so gaga for this recording , I suspect he is still under the spell of “the kiss of the medusa”. What a revelation and totally deserving of its glorified reputation! 5 sultry smooches.