Whenever some unknown (to me) artist contacts me for a review, I almost feel empowered to say yes because I understand the need for acknowledgment of one’s artistic worth. Giorgio is a Venetian multi-instrumentalist who has honed his craft for a very long time and “Fossils” is his first foray into an outright prog environment. What made my decision so immediate is grounded around the originality of this musical concept, wrapped around archeological ecology, (centered around 10 fossil plants that have withstood eons of often punishing conditions to survive to this day), a rare occurrence as far as my 55- year study of progressive rock is concerned! Throw in a luxuriant album cover as well as a modern sonic structure that combines acoustic, electronic and symphonic nuances, well I am definitely in! Given the advantages of modern musical technology (DAW), any artist can expand way beyond mere conventional instrumentation into inserting a seemingly eternal plethora of sounds and sensibilities. Giorgio does use piano, keyboards, guitars and percussion as well as his rather unusually original and accentless voice,(the wife provides occasional choir parts) as well as access to endless libraries of samples, loops and effects, as once pioneered by the band Yello’s genius Boris Blank , who still today remains a creative force in research new resonances. Layering, editing, processing, and treatments give the artist a wider canvas to choose from and we are all blessed for not having to rely on rehashed algorhythmic sustenance (Artificial Laziness).
Ten groundbreaking tracks, starting off with utter acoustic delicacy on “Alethopteris Pteroides”, Giorgio’s resonant voice will surely catch everyone by surprise, infusing both power and grace, his deep tones welding into the backing choir which is the overarching structure, adding sax and percussion. Like a gliding gondola over calm canals, the immediately attractive melody astounds by its inherent simplicity and charm.
With “Glossopteris Indica”, tortuous electric guitar swirls collide with elegant piano rivulets, a raunchy lead vocal urging on the atmosphere, as midway through, the shift towards a piano etude carries a softer leaning the lead female voice going full bore into an eventual duet between the two voices, a masterful moment of inspiration. I have said it a million times before, Italians master singing like no one else, and the list is endless (Pavarotti, Tagliapietra, Pausini, Di Giacomo, Bocelli, Caruso, Corviglia, etc…).
An excavation into a deeper symphonic trench may be appropriate now, what with the overt orchestral “Annularia Stellata”, coming across like a classical soundtrack. Lest we forget names like Ennio Morricone, surely one of the finest modern composers. I just recently discovered the genius of Piero Umiliani a few weeks ago, no coincidence, I believe. Halfway, the gritty guitars and gravely vocals combine with the strings to rage along in unison, the lyrics effusive. Giorgio dared and he won the bet!
As the title may imply, “Sphenopteris Elegans” has a lilting motion that flows with sophistication, a powerfully evoked ballad that scales the deepest valleys and soars to the highest peaks, the brassy saxophone adding just the right touch of romantic voice to the mix. I went very recently mountain hiking in the Aosta Valley for my second and this piece certainly rekindled memorable images of blue skies, crowning peaks and rocky streams, heading up to the ‘refugio’ (mountain top rest area).
Dazzling Bussolin piano work arrives with “Sagenopteris Phillipsii”, setting the stage for another patented guitar elevation to remind us that jazz and rock can provide a perfect partnership. The electric solo is sizzling hot, the drum programming dead on perfect (sorry purists, the days of Tr-808 are buried long ago) and the arrangement comes across as ideally structured to keep the prog sap well within the veins.
Serene soundscapes are always welcome in my book, “Callipteridium Pteridium” highlights the subtle beauty of the piano, once again chaperoned by subtle orchestrations, flute patches weaving its powdery magic and underlining the sorrowful voice. When Signora Bussolin enters the fray, it creates a moment of magic, in collusion with the butterfly-effected synthesizer sequence. The second section conjures up some well-deserved dramatics , squealing guitars and tectonic rhythmic convulsions.
For a second, I thought I just found my new password LOL . “Macroneuopteris Scheuchzeri” maintains the hard/soft interplay, a superb bass furrow underneath the modest foundation and a heartfelt voice that knows how to scour the entire spectrum. Insert some echoing e-piano and sensual sax, and one can sit back and relax in the gloriousness of engaging music. Let the river flow free to the sea.
The electronically dense “Sigillaria Alternans” not only reminds us of the valuable contribution of Giorgio Moroder, but also smartly adds some stunning Gregorian tendencies that contrasts with everything heard previously. A delectable ‘alternative’ surprise and my favourite track here, as the echoing voices are simply astounding. Cascading piano, shuffling rhythms and grizzled guitar curvatures combine to sling this piece straight into my fave playlist. The finale regains a modicum of exalted crackle, a magnificent track that sums up the album ideally.
Remaining close to the edge of unexpected revelry, “Syringodendron Complanatum” has a neo-rap progressive flute magically fluttering over jungle rhythms, and overt electronics, sounding a bit like classic Yello as mentioned earlier, especially when the sassy dance floor orchestral kicks in, easily my second preferred track, proving once again the premise that Prog combines all the elements of every other musical genre in existence, no borders , no barriers, everything goes.
And three in a row, what a finale : “Pecopteris Polymorpha” is an exquisite send off, a pure melodic ear-candy, with a momentous lyrical message that should pause for deeper afterthought : ‘every heavy weight we carried, becomes anew map for our steps, turning the bitter memory of conflict into a promise of unexpected light”. One has inherently two alternatives: the negative (the current fad) or the positive (the definition of humanity). I choose the second, always have and forever will.
A more than deserving recommendation, should one wish for a little adventure.
4.5 immortal vestiges