All Prog From Italy Appreciation Thread

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

Campo di Marte was one of the many one-shot bands of the Italian prog scene of the early seventies. It was mainly the brainchild of composer and guitarist Enrico Rosa who gathered around him a bunch of talented and "classical trained" musicians like Alfredo Barducci (horns, piano, organ, vocals), Richard Ursillo aka Paul Richard (bass, vocals), Mauro Sarti (drums, percussion, flute, vocals) and Carlo Felice Marcovecchio (drums, percussion, vocals). They were based in Tuscany and the name of the band was inspired by a suburb of Florence. Campo di Marte means Field Of Mars, and Mars was also the Roman god of war so, according to Enrico Rosa, "the name was used as an excuse to write lyrics on the stupidity of wars, and a picture of Turkish mercenary soldiers stabbing themselves with any kind of weapons to demonstrate their strength and receive higher wages was chosen for the cover" (from an interview with Enrico Rosa on the site Italianprog.com).

The original concept was in some way distorted by the label in 1973 and the band had to change the titles and the order of the tracks for commercial reasons. The remastered re- release by AMS Vinyl Magic (BTF) (AMS 101 CD) in 2006 restored the original project and the result is wonderful. The sound quality is excellent and the original project is explained in the booklet through comprehensive liner notes in Italian and in English...

On the restored version, the album opens with the instrumental "V Tempo" (originally named "Prologo Parte I") where you can find a pastoral atmosphere that could remind of bands like Amazing Blondel and Gryphon. The piece is introduced by acoustic and flute and the mood is peaceful and joyful...

On the second track "VI Tempo" (originally named "Prologo Parte II"), the sound of the electric guitar and an heavy marching beat try to evoke the effects of a marching army with horns and drums "playing war anthems". Peace is broken and war is raging on but on this piece there's also a short lyrical interlude where dreamy vocals invite you to search for the truth and to give credit to the people: "You will touch with your hands / Days full of sweetness / You will discover in everyone else / Another one like you...". The "black magic" of war keep on storming on the third track, the long instrumental "VII Tempo" (originally named "Prologo Parte III"), where frenzy rhythms and gloomy atmospheres prevail...

The fourth track, "I Tempo" (originally named "Riflessione Parte I"), begins with the electric guitar in the forefront and heavy rhythms, but after a while the "storm" gives way to a tense and bitter reflection about the effects of war... "I remember that lawn / Covered with flowers / I was happily running / In the light of the sun... Now I can see that place again / Thousands of crosses / Cover the lawn / Blacken the sun... Unaware men / Get the bones / The only harvest / Of so many crazy sowings...".

"II Tempo" (originally named "Riflessione Parte II") is a short, soft and dreamy instrumental that leads to "III Tempo" (originally named "Epilogo Parte I"), where hope seems to born again along with the vocals soaring upon a delicate piano pattern... People fed up with war is moving war to war: "Listen, a scream is rising / Look, the crowd is already moving / They're calling you...". The rhythm becomes frenzy again while revolution starts... The classical inspired organ fugue of "IV tempo" (originally named "Epilogo Parte II) and the final acoustic guitar arpeggio that marks the restored peace concludes a great album...

A must for every Italianprog lover!

Talk about a perfect title, an all white album (just like the Beatles dared!) and just to confuse matters a bit more; a mellotron-sated pastoral Italian School of Progressive classic to boot (the shape of Italy from way up in satellite land!). While many boldly orate about RDM, Banco, Le Orme, PFM , Museo Rosenbach and company, this little fragile gem continues to dazzle, proving that there are fundamental reasons why most Italians cook so fabulously! They know how to combine natural products so well: juicy and ripe tomatoes, crisp and crunchy red onions, grandiose acidy capers and the most delectable cheese you can think of. Put them all together, a little salt and pepper, then a sprig of fresh basil and Ecco il Paradiso! On "Principe di Giorno" the musicians emulate their mammas in the cucina by adding magical flute, divine acoustic guitar and heavenly blasts from the ubiquitous Mellotron, plus an occasional dash of gentle choir, church organ and those trembling vocals that have inspired many for centuries. This is true music genius, a medicating journey of unfettered bliss, a mature expression of celestial inspiration, placid introspection and dreamy Sunday morning relaxation. That this superlative disc offers genuine panacea is uncontestable as one would be hard pressed to find fault with such splendor. Even the hard rockers need to rest their head banging carcasses on occasion! That there are powerful early King Crimson influences in attendance here should come as no surprise, as Italy was surely one of the first countries to openly embrace the liquid beauty of progressive rock, inspiring a rich musical culture that could add its own folk/classical aromas without too much of a hardship. Hence, an entire arsenal of instruments are presented here, with everything from xylophones, saxes, violins, flutes, assorted percussive implements, blending superbly with the majestic piano, the grinding mellotron (and its local derivative, the Eminent),some electric piano as well as some synths (the good old ARP 2600). The amazing tracks really do not deserve to be served up individually since they form nothing more than an elegant suite of songs that have a continuity that contributes grandly to the overall impression. I cannot help smirking at the oft repeated thought that this may put you asleep, because elevator muzak this is definitely not. It is not inconspicuous, boring, dull or even repetitive. In fact, the finale "L'Imbroglio" even offers up playfulness and humor. It just needs a special time and place for it to be enjoyed properly, like after a rowdy night out drinking, flirting and carousing with your social cronies, nothing is better than this to crash on the sofa and crank up the volume. But it can also be an inspiration to make passionate love to a bella ragazza (or your wife!) and ultimately , a great choice on a Sunday morning between Ant Phillips' Slowdance and Iona's Open Sky, a tasty frittata brunch waiting on the patio , as the birds dance to the sights and sounds of peaceful harmony. This is not just music, its medicine! An absolute necessity in any prog collection worthy of "envergure" (French for depth). This is dedicated to Raff and Micky! I can only imagine them listening to this ! 5 passionate bravos.