BIGLIETTO PER L'INFERNO

1. "Ansia" (4:16) a kind of standard, nothing special rock'n'roll song. Even the melodies here are nothing memorable. (7.5/10)

2. "Confessione" (6:32) opens like a DOORS song but then in the second section becomes more like a hard rockin' ZZ TOP "La Grange." The vocal section in the second and third minutes is kind of URIAH HEEP and THE BEATLES. The fifth minute with its flutes and electric guitar lead bring the song into the heavy side of JETHRO TULL. Great effects used on the guitar in the final two minutes. Awesome! (9/10)

3. "Una strana regina" (6:12) opens with an unusual sound: slow, distant low end organ chords--over which is added a speedier mid-range arpeggiated chord progression and distant drums and electric bass. The vocal that enters in the second minute sounds a lot like the voice and stylings of Uriah Heep's David Byron. At the three minute mark the song suddenly jumps into fast-pace J TULL territory. For 35 seconds! Then, just as suddenly, it reverts back into ultra soft and plaintive URIAH HEEP territory before lifting itself up into a nice moderate pace for a brief stretch before bang! another shocking shift--into a kind of FELA/Afro-pop guitar solo leading to . . . the next song! (8.5/10)

4. "Il nevare" (4:37) bleeds over from the previous song as the band continues its string of totally unexpected and unpredictable dynamic shifts: moderate to loud and fast to soft and delicate and back and forth within seconds of one another, over and over. How odd! A little disconcerting upon the first few listens but once used to it, one can appreciate the nice sounds and performance challenges pulled off here. (8.5/10)

5. "L'amico suicida" (13:20) opens with another bluesy, PROCUL HARUM-like chord and sound progression, performed slowly with great dramatic effect--especially coming from the keyboards and drums. Nice first two minutes. Then a frenetic and confusing section begins around 2:05 but then is just as suddenly cut off as we move into a vocal section supported by funereal piano chords and sustained squeals from a synthesizer. Definitely conveying sadness, anger, overwhelm, frustration in this powerfully emotional rendering. Quite a mature and devastatingly powerful composition in the expression of this topic. Even the oddly pretty Latin-infused acoustic guitar strummed section that begins at 6:31 seems fitting. Easily the best song on the album--worthy of hundreds of listens as there are so many sections and nuances to take in. Kudos to these musicians for the amazing performances realized here. (10/10)

A near-masterpiece of classic progressive rock music.

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