OMNIA SUNT COMMUNIA

Waiting 25 years (a quarter of a century) to record your debut album, is alone worthy of the highest praise, proving that patience is the greatest virtue. Then, raising the bar even higher, the end result is this 2021 rather spectacular offering! Why, may you ask? Not only have they incorporated the vintage delicacy of classic RPI with a more contemporary sound, but the players are impeccably talented, throwing into the mix all kinds of instruments that are integral to the Mediterranean culture (Bouzouki, mandolin, flute and sax). The players clearly understood that melody, emotion and structure are the pillars of creative prog and each and every note has a purpose. Claudio Barone is a typical RPI storytelling singer with that slightly raspy voice, though this is a mostly instrumental offering, the two keyboardists show off highly developed interventions, the guitarist providing tasteful acoustic and electric motifs, Valter Bono keeps the rhythms nice and tidy with occasional up-front blasts from the bass guitar. The injection of medieval tones suave synth flights, constantly evolving variations to keep the fascination burning are to be found all over this 50 -minute recording.

Major highlights include the stunning opening salvo of "Alice Springs", "La Regina" and the two "Preludio" tracks, setting the foundation for the pleasure ride to follow, unabated until the very end, with the epic title track. "Il Sacco di Bisanzio" is a historical reflection on the fall of Constantinople in 1453, a story told with the necessary conviction and consequence of brutal combat between the Ottomans and the Byzantines. This is where the Renaissance began, as the Greeks fled into Italian exile. The perfect showstopper is the magnificent three-part "Beatrice", a 9 minute + stretch of beautiful sounds, starting out very traditional folk with mandolin and bouzouki causing impressionable images and a sweltering synthesizer flutter that hypnotizes effortlessly. Acoustic guitar and flute announce a heartfelt vocal, a very PFM/Le Orme melodic section that urges to astound. The third section has an insistent organ a la Toni Pagliuca that rages forth like a Roman Legion on the march, relentless, bombastic and exhilarating. A playful bass veers the theme into a loftier realm, before a lullaby flute takes the comp to a dreamy level that builds up steam, arriving at the destination with a spiralling guitar solo.

The volatile, somewhat jazzier instrumental "Il Richiamo della Sirena" has that PFM vibe, lots of spirited Thomas Cozzani synths volleying between the polyrhythmic Bono syncopations, before settling into a more melodic groove. The calmer, more ambient colorations are spellbinding. The contrastive sections is what makes this track so completely attractive, such as the blaring and urgent saxophone entering the fray and seducing like only that instrument often can. Darn brilliant!

The title track suggest another epic battle, this time involving the Reformation and the power of the church, engaged in lethal conflict for the right to control the destiny of mankind. Naturally starting out like a soundtrack composition that relies on an altar of liturgical prayers, pipe organ echoing gravely between the colonnades, and sombre Gregorian choirs whirling in the air, a spirited organ-led theme carves out a persistent call to arms, sliced by a lighter synth counterattack. The vocals are appropriately angry, rousing and rebellious. Suddenly sullen and despondent, the emotions are palpable with the church organ bellowing sadly, and the chorus howling the title in desperation. The final part underlines the finality of capitulation and defeat in the most solemn manner possible.

An excellent and highly recommended addition to any prog collection. I see that there is a live in Mexico album available as well. I will definitely seek that out. 5 Free team players