U RIGIRU

Hailing from the island of Corsica, Rialzu delivered such a beautiful musical work in the realm of avant-prog back in the later 70s, just when the RIO and zeuhl movements had already set their respective standards in the European musical scene. Sometimes listed under the band's namesake title, but mostly entitled "U Riguru", this sole effort combines clear traces of the Magma archetype with jazz-tinged enthusiastic musical flows, plus some melodically defined motifs that clear out any possibility of turning sinister or tense to a level more common to other Francophone avant-garde acts such as Art Zoyd, Magma, etc. Actually, the overall style that impregnates Rialzu's offer is more in tune with Potemkine, Le Grand Nebuleux and the preferential jazzy side of Zao (second album onwards). An especially noticeable feature in Riazlu's music is a particular obsession to enhance the drummer's role, to the point each track from the album's original repertoire comprises a drum solo that, in general, emulates the gymnastics of Billy Cobham. Another important aspect in the band's offer is the nonnegotiable use of the Corsican language in the sung parts, a Nationalist trademark that Rialzu took to heart gladly. The album kicks off with 'U Riguru', whose ceremonious intro theme announces the arrival of majestic colors. Once the full ensemble is set out in a recognizable accord, the band indulges in an intense jam where the keyboard input surpasses that of the guitar ? the Potemkine reference seems quite clear to these ears. Next is a calmer passage, lyrical yet with enough traces of (subtle) power as to keep itself from becoming straightforward ethereal. The synth ornaments lead to somewhat epic textures, without getting too flashy, so the momentum's delicacy could be properly preserved. The drum solo creates a free-form moment, in this way preparing the adequate room for the exquisite coda (a faster reprise of a previous slow motif). 'I lagramanti' bears an inverted structure: it starts eerie and tenuous, propmtly expaniding on almost-tormented chorale that culminate in a powerful fusion-instilled extroverted section. By this time, we can find mysterious passages where the organ takes center stage, in this way, confronting the amazing violin lines that go flowing by. 'A mubba' closes down the original 3-track list with an enhanced fusion vibe, whose warm moods may somehow remind the educated prog collector of Arti + Mestieri and the lighter side of Weather Report. While the presence of choral parts adds an aura of mystery to the whole scheme, it is the imperative swing that consistently remains the track's core. As cohesive and mature as this track appears to our ears, it was actually penned by the band's guitarist along the way in order to complete the album's repertoire. And so ends the album in its original shape, but the digital edition includes two bonus tracks - 'U sterpamondu' and 'A man di Diu', with the former prolonging the calculated density of tracks 1 and 2, and the latter indulging deep in contemplative ambiences (not unlike the majestic side of Pink Floyd and King Crimson in their good old days). This album and this band have attained some sort of cult status among prog collectors, and I agree that it is very well deserved: despite the sound quality imperfections (it was recorded in a one-day session by a band whose extreme youth was at odds with their talent), this album is real lost treasure waiting for its marginal crowd to grow.