Analysis.
As on the “Inferno” set, Disc 4 is the shortest, at under 54 minutes – and also the most uneven, with few highlights and a prevalence of filler material. Dante and Virgil have now reached the curtain of fire through which souls have to pass before they can enter the Earthly Paradise. Here the soul of the Latin poet – born before the coming of Christ and therefore unshriven – must take his leave from Dante, and make his way back to the Limbo, his mission completed. In a way, the songs featured on this disc reflect the lofty but somewhat didactic nature of the final cantos of the Purgatorio. The opening track,
Tie Autuuteen by Finnish band Groovector, lulls the listener into a deceptive sense of promise with its tasteful, jazzy vibe and easily flowing sound – interrupted in the middle by a sparse electronic section with rippling piano.
Matelda’s Song, by another Finnish band, Mist Season, is a slow, melodic, guitar-driven piece that will definitely appeal to a lot of prog fans, though it may also come across as somewhat bland in spite of the angelic female voice at the beginning. Flamborough Head’s
By the Bank of the River is a similarly well-executed, but ultimately uninvolving instrumental, based on guitar and synth with a bit of flute thrown in for good measure. The most interesting items are to be found towards the end of the disc, after the melodic yet rather run-of-the-mill
Feluton by Hungarian band Yesterdays, graced by very pleasing female vocals, and the somewhat schizophrenic
Canto XXXI by Venezuela’s B612, split between a mid-paced, melodic first half and an aggressive, synth-heavy second half.
Juicio Final, brought to us by another Venezuelan band, veteran outfit Equilibrio Vital, is a textbook example of progressive grandeur – a perfect fit for the elaborate allegorical scene that it is supposed to illustrate. Massed choral vocals and fanfare compete with powerful keyboard flurries and heavy guitar riffs, and a rather arresting middle section with voices shouting in Guahiboan, an indigenous South American language. Similarly, Argentinians Jinetes Negros pull out all the stops with
Purgatorio XXXIII, a heavy prog workout that may at times evoke a horror movie soundtrack, with a strong
Deep Purple /
Uriah Heeep vibe blended with the typical South American theatricality. After this double punch, the short, muted instrumental
Elohe Sebaot (performed, like the intro, by Simon Says) sounds rather anticlimactic- though much less so than the baffling choice of a bonus track that is
Purgatorio by Italian duo Pasini & Ragozza, a rather oddball offering with lyrics largely based on rhyme and alliteration.
Conclusion.
Sharing most of the features that made “Dante’s Inferno” such an impressive release, “Dante’s Purgatorio” is, however, not equally solid as an overall effort, with a few too many tracks not up to the standards set by its predecessor. The presence of so many instrumentals in such a strongly narrative-based context may also seem somewhat odd. On the other hand, the project acts as a showcase for a number of interesting bands, both new and more experienced, approaching the ‘old warhorse’ of symphonic prog from fresh angles. As a whole, in spite of a higher proportion of near-filler material than the “Inferno”, this set is definitely a worthwhile listening experience.
RB=: Raffaella BerryJuly 8, 2010
The Rating Room