IL CASTELLO DI ATLANTE - ...COME IL SEGUITARE DELLE STAGIONI - 2000

Группа появилась на свет в сентябре 1974 под названием "Hydra",потом они назывались "Stato d'Allarme" и в 1975 году оставили нынешнее название. В первоночальный состав входили Альдо Бергамини(Aldo Bergamini) (гитара, клавиши, вокал), Массимо Ди Лауро(Massimo Di Lauro ) (скрипка, клавиши), Джампьеро Маркьори (Giampiero Marchiori)(флейта), Дино Фиоре(Dino Fiore) (басс) и Паоло Ферраротти(Paolo Ferrarotti) (ударные, вокал). Группа много выступала сначала в районе Верчелли, потом в других регионах Италии. Более 15 лет так и не получив контракта от звукозописующих компаний, коллектив претерпел незначительные изменения состава, но ядро коллектива оставалось неизменным, Bergamini, Fiore, Ferrarotti e Di Lauro.

Чтобы записать свой первый альбом коллективу пришлось дожить до 90-х . Il Castello Di Atlante был заметила звукозаписующая фирма Vinyl Magic, альбом Sono io il signore delle terre a nord (1992) объединяющий в себе элементы неопрогрессива и симфонических традиций Италлопрога 70-х, был очень тепло принят как критиками так и аудиторией.

В 1994 группа издала два CD, с записями собраний старого материала (Passo dopo passo) и новым материаллом Ippogrifo. Следующие альбомы группы выходили с периодичностью в несколько лет.
http://good-music.kiev.ua

Il Castello di Atlante are an accomplished group of Italian session musicians whose prime personal fascination for progressive expanded pieces impelled them to forge the new ISP Renaissance that started in the late 90s. "Come Il Seguitare delle Stagione" is their third album, produced by the revered Arti+Mestieri keyboardist Beppe Crovella and a fine example of violin-led symphonic progressive. Massimo Di Lauro excels both on violin and keys, Roberto Giordano is the main ivories man, with subtle guitarist Aldo Bergamini, dexterous bassist Dino Fiore and assured drummer Paolo Ferrarotti rounding out the crew. "Sotto il Ponte" is a 10 minute opening salvo of shimmeringly effective music, a main theme that immediately sticks to the pleasure nodes, where the violin merrily saunters into assorted aural regions, ably abetted by some sizzling guitar leads, expertly held together by a dynamic rhythmic duo that pushes it all along deftly. Giordano provides one those insanely "fat" synth solos that sweep the listener majestically off their feet, while Bergamini chips in a sizable grandiose rendition himself. This is symph-prog of the highest order, breaking new ground, travelling deep into the farthest regions of the prog universe. "Primo Respiro" is a short violin/piano etude that revels in a melancholic aural pasture, gentle rocking the cradle, a sweet lullaby. "Ad un Amico" is a 9 minute vocal piece that swoons delicately with some nice harmonies, while the violin swings gently in the foreground, twinkling piano flourishes, suddenly veering off into a sublime restrained guitar solo that seeks out the passion and the flair of the moment. The pace picks up when the violin appears, the drumming more intense, the vocals displaying an obvious urgency and then all tumbles into a pastoral wash of mellotrons, fretless bass, massed choir voices and a passionate LeOrme-like vocal that digs deep into the soul. A series of solos showcase the evident talents of the musicians with intense effect. "Danza in Re Maggiore" is a guitar- led interlude where Bergamini gets to showcase his lyrical vision and it certainly evokes Anthony Phillips at times. Another 12 minute epic piece "Guidizio" has Roberto Giordano on piano with Di Lauro adding some catgut magic, slowly conspiring to carve out a late blooming theme that has all the hallmarks of a jaunty symph-prog classic with haunting vocals, grand ensemble playing, fascinating soloing and whooshing background atmospherics. "Secondo Respiro" continues where "Primo" left off, more piano/violin confrontations that provide respite from all the rhythmic punch. "Stava Scritto" is the massive epic here, timed at over 16 minutes with forceful drums shoving the haunting guitar theme forward, with each soloist given the platform to let loose, particularly the effect-tortured guitar, the whooping violin forays and the eccentric organ and synthesizer runs. While many casual listeners may not go gaga over this album, upon closer inspection, it is more of a "musicians" recording than an outright prog fan's masterpiece. There is no hummable "hit" or even accessible tune that is memorable, just a solid workout that deserves praise and a good following. Artwork is just fine as well. 4 vanishing continents
http://www.progarchives.com