c o n r a d

In 1973, Metamorfosi released their second album, the minor masterpiece Inferno, based on the first book of Dante's Divine Comedy. Metamorfosi disbanded shortly afterwards, reforming briefly in 1995. Then in 2004 they released this, their third album, based on the third book of the Divine Comedy. They apparently plan to go on to release an album based on the second book, Purgatorio, at a later date. The lyrics "La Divina Comedia è finita" on the last track here are therefore a little misleading, but the Star Wars movies have trained us to live with the middle bit coming last. A lot can change in thirty years, but in the case of Metamorfosi I am not sure if the differences owe much to changed artistic values, rather than a change in subject matter. This album does takes us on a tour of Heaven rather than Hell after all. Gone is the menace of Inferno, which so suited Jimmy Spitaleri's voice, and the unyielding intensity of the music. These are replaced by pseudo-operatic vocals which take a little getting used to, and a more varied musical style. The overall effect is a lot more relaxed, although this album is not without its crescendos, and "Cielo di Marte" even harks back to the sinister tone of Inferno's darker moments. This album still revolves around the vocals of Spitaleri and Enrico Olivieri's keyboards, but these are the only original members remaining. Olivieri has done away with his predilection for the Hammond at all times, and spends a lot of time on a piano with a brick on the sustain pedal. Most of the rest of the time he is playing more modern synths, with the Hammond playing only a minor part in "Empireo". His choice of keyboards aside, Olivieri still has a deft touch and remains a driving force. The main problem I have with this album is that strays a little towards melodrama. This is not a bad thing in itself, but with the fires of hell so distant in Paradiso, it can end up sounding a little like a Lloyd-Webber musical. Unlike Lloyd-Webber, Metamorfosi are not devoid of soul, and manage to avoid trouble whenever they look doomed to fall into a pit of insufferable cheesiness. There are also a couple of musical hommages here, including "Jesu joy of man's desiring" on the bass, that add to the interest. This album will probably divide listeners. Some will dismiss it after three or four listens as another comeback doomed to mediocrity. Others, like me, who enjoyed albums like The Ladder will appreciate the spirit of the 70's, if not the instrumentation aspect of this album. Metamorfosi have certainly convinced me to buy part 2 when it comes out. Oh and the church organ at the end may be one of prog's oldest clichés, but sometimes clichés work. review by Conrad Leviston — 1-11-05 —

s e a n

When you are 32 years between releases, it is natural for people to wonder whether you still have it. In Metamorfosi's case, the question has been answered on 2004's Paradiso, a follow-up to their classic Inferno. Singer Jimmy Spitaleri and keyboardist Enrico Olivieri return for this release, and they have managed to find a rhythm section equal to the stunning team from 30 years ago. Paradiso, also based on the work of Dante, is a brighter-spirited album, as fits its theme. Spitaleri, miraculously, sounds as good now as he did way back (this was also the case live at NEARfest 2004). Olivieri uses more piano and fewer twiddly synths, although these are not completely absent (some are digital, but all are tasteful). The music is beautiful without being lightweight; Olivieri is too good a composer, and the musicians too accomplished, for this to happen. Those who love the insurmountable drama of Inferno will be disappointed that it is less prevalent here. Spitaleri can still get worked up, but too much of that would have been out of place, and his urgency is now contrasted more sharply with a prevailing serenity. Four of the fourteen movements are instrumental, and all are excellent if low-key. However I will not deny that my favorite part of listening to this album is basking in Spitaleri's voice. It is one of the magical voices of progressive rock, distinctive, emotional, and powerful, like those of Francesco di Giacomo or Christian Vander; a voice you do not forget. The most churlish of prog anoraks won't want to give this release the time of day, but in the end I feel Paradiso may be regarded as the superior album once time allows those who wanted "Inferno II" to put it in perspective. review by Sean McFee — 1-15-05 —