The second album comes a decade later, after the well received and critically acclaimed self titled debut from the Livorno band, proving that patience is definitely a virtue, especially when the end result is so satisfying. They did however put out a covers tribute of Italian classics “Translunaggio” in 2018. Same crew of Stefano Onorati on guitars and keyboards, bassist Luciano Tonetti, Marco Santinelli on the drum kit and finally, Mauro Pini on vocals, aided once again by the famed Alessandro Corviglia (of La Maschera di Cera) and a few guests on backing vocals, flute, and bouzouki. Although my preference is for albums that span at least 45 minutes, that can be easily waived when the material grabs my entire and immediate attention, as the case with this 34 minutes long sophomore recording.
Something of a rarity and not exactly a common ability, Stefano Onorati is equally proficient on guitar as on keyboards, and he shines brightly on the opener “Oltre La Fredda Aurora”, a rousing piece that is elevated by the driving rhythmic duo as well as Mauro Pini’s exalted Italian language vocalizing. Moody electronics slowly peel away any restrictions, setting the proper mood for a bouncy inflection that will stay until the final note. When the dramatic vocals enter, we are clearly in classic/modern RPI territory, with lots of instrumental movement, freshly delivered and ultimately entertaining when things get bombastically symphonic.
Two shorter tracks present a temperamental atmosphere, as on the quietly romantic “La Vita Sfiorata”, the soft voice colliding with the choppy percussion, and the melancholic mood, the bass guitar keeping light on the path ahead. Its close companion piece, “L’Eterno Varco” just keeps the feet on the pedals, a denser disposition with gloomier tendencies from the rousing organ and the pressure packed rhythmic foundation, showing some savvy twists, turns and pirouettes. When the vocals begin snarling, helped along by some toothy guitar work, the pace transitions wildly from one end of the emotional spectrum to the other.
Now as scrumptious as all the previous tracks were, the excellence leaps up a few notches on the title track, a 6 and a half minute of melodious discovery. Essentially a glorious vocal lament that cleverly uses the female vocals of Rafaelle Izzo as a duet, the clanging and shifting guitars, sweeping keyboards, a rubbery bass guitar and hard nose thumping on the drums add fuel to the fire. Tossing in some swift Gianluca Milanese flute only adds to the general excitement. Onorati really goes off on a couple of synthesizer tears, with the voices intertwined in raucous splendour. The velvety outro is pure genius.
Chaos, mystery, or fright, call it what you wish, “Parafolia” is experimental, disturbing, and testy, a platform for the frantic piano, bellicose bass and nasty beats all aligned, with the flute showing sweet restraint. The synth work is Kafka-esque, to the point of delirium, a sensationally rebellious foray into sonic insanity.
Peaceful horizons are restored on the highly cinematographic splurge of “Alla Fine del Niente”, an ideal juncture for some of Onorati’s finest contributions on both instruments, crowned by an exquisite and powerful vocal (Corviglia) that needs only a superb melody to reach glorious status. Definitely a highlight track among all the other great ones here.
The album is finalized by an elegant piano in a reflective mood, a sorrowful voice dripping with sensitivity, in almost hushed tones. As the theme progresses, the vocal raises its intensity, egging along the crew with sizzling electric guitar slashes, churning organ and fluttering synth in the stream, the bass and drums pounding relentlessly. The male /female voices elevate the passion to celestial heights before kneeling once again at the shrine of sonic humility, as a final piano pinch says “Arrivederci”.
Needless to state, this was a most enjoyable release that deserves a wider audience and added reviews, as I had a hard time finding any on the www.
4.5 bronze medals
