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Finisterre - In Ogni Luogo

Finisterre - In Ogni LuogoIn Ogni Luogo (tr. In Every Place) was released in 1999 so it not a new album.  It was, however, co-produced by Roberto Colombo and one of the band members is Fabio Zuffanti both of whose albums we have reviewed this year (see Hostsonaten Springsong and Roberto Colombo Botte Da Orbi in Reviews).

In Ogni Luogo took Finisterre onto a different and more adventurous level but I cannot comment with any authority on that as my exposure to the band has, until now, been limited to one or two tracks from other albums.

This ten track, 50-minute album opens with a Steve Hillage/Pink Floyd tinkled, spacey guitar intro to instrumental Tempo Moderni moving swiftly into IQ fast mode, guitar led with sustained keyboard chords offering a background wash.  Just when you think you know the direction the album is taking, Snŗporaz confounds the issue by entering Porcupine Tree territory, the gentle flow of the track weirdly interspersed with the occasional dialogue in Italian (which I donít speak so donít know what is being said but I suspect it doesnít matter) which has the effect of leaving the listener feeling they are eavesdropping in some surreal dream where the melodic overture perhaps belies the impression of safety. 

Ninive leans back towards the first track with thrusting melodic guitar lines (and a touch of Andy Latimerís style), the memorable riff is strengthened by a wind instrument courtesy of Edmondo Romano (ex-Eris Pluvia) giving it a Middle Eastern flavour in a fusion style.  Terrific.

Next up is the title track, which adopts a gentle, laid back jazziness with deep female vocals (Francesca Lago) drifting with the melody.  When the violin cuts in it could almost be Caravan circa 1975 playing.  Core Elettrico cuts in with ferocity with frantic drum and bass and guitar followed by violin that again reminds me of a track off For Girls Who Grow Plump (Caravan) in style but when the tempo slows and guitar takes the lead the style changes to that of Gary Chandlerís Jadis.  Around the halfway point in this track, the tempo changes again with a melody drifting around a solitary keyboard note, a note that determines the beat and once again the Middle Eastern woodwind closes the track.

The start of Le Cittaí Indicibili is incredibly similar to Led Zepís Stairway start with acoustic guitar, woodwind and violin, the latter taking the lead solo spot and sounding much like Fairportís Chris Leslie or Ric Saunders (also ex Soft machine).  Agli Amici Sinestetici opens with angry guitar, which soon softens, but only for a short time.  The strong beat and overall sound is indicative of Hackett and Latimer so full credit to Stefano Marelli (guitar).

Continuitaí Dilaranetempo starts in a soft jazzy mode with deep relaxing female vocal.  Two minutes in, the style leans towards symphonic prog before returning to soft relaxing jazz with some great drum and bass fills.  The final two minutes of this 8 Ĺ min track returns to a sort of Porcupine Tree style .

Peterís House is one of those upbeat, pacey, Camel/Jadis type tracks, which ends all too soon.  Final track of the album, Wittgenstein Mon Amour is one of those that could go on forever, with what sounds like short bursts of sax picking out the riff with the reminder of the instrumentation wistfully meandering around it.  Very cool.

I have been listening to In Ogni Luogo all week whilst wrestling with a cold (and letting other work pile up) and I am now so chilled out, I donít care.  More please, Finisterre.  Highly recommended.

Jem Jedrzejewski 

www.sublimelabel.com

 

 

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