Detailed Review [The Divine Comedy - 2008 - "Inferno" ]

Prolusion. The latest (and most ambitious so far) product of the collaboration between Finnish progressive rock association Colossus and Musea Records is a monumental 4-CD set based on one of the undisputed masterpieces of Western literature – Dante Alighieri‘s “Inferno”, the first cantica of the 14th-century Italian poet’s epic “The Divine Comedy”. 34 bands from a number of countries, both in Europe and outside it, have contributed to the project – not surprisingly, 12 of them hail from Italy. Many of those bands will be involved in the project’s follow-up, the “Purgatorio”, whose recordings are already under way. Although such an immensely complex work of imagination as Dante’s “Divine Comedy” would seem to have been custom-made for progressive rock, very few bands or artists, in the forty years lapsed since the inception of the movement, have dared to approach it – so daunting it is in its sheer size and scope. Musea Records and Colossus’ latest project had therefore all the right ingredients to be either a triumph or an unqualified disaster. I, for one, have to admit I approached it with some trepidation, since I feared I would be confronted with an overblown, nearly unlistenable mess, a game of one-upmanship in which the acts involved tried their best to outdo each other at the expense of the listener. However, I am happy to say that none of my fears were grounded. Since I first read it at school (too many years ago to mention), Dante’s “Inferno” has been one of my favorite literary works ever – moreover, being able to read it in the Italian original makes it easier for me to appreciate it fully. Like all the best products of human imagination, it is a work that conveys beauty, hope, sadness, anger, horror, poignancy, and so many other feelings and emotions, and (most important of all) makes you reflect on the human condition, even after 700 years since it first appeared. Though, according to the medieval mindset, the damned had no hope whatsoever of salvation, this does not automatically make them objects of contempt or revulsion. On the contrary, the obvious pity the poet feels for some of those lost souls can be extremely touching for the reader as well – I freely admit that there are passages in the poem that still move me to tears every time I read them. The four CDs that comprise “Dante’s Inferno” (34 tracks, one for each canto – over four hours of music altogether) come in a lavish package that includes lyrics (with English translations where needed) and brief summaries for each of the cantos, as well as pictures and detailed information about each of the bands involved. The artwork is also quite stunning, with a particular mention for the two Gustave Dore engravings to be found inside both halves of the CD case. The introduction, written by Marco Piva, makes essential reading for those who are unfamiliar with the original work.

Disc 1 (71:38)

TRACK LIST (LINEUP):

1.  Lasciate Ogni Speranza 6:13 (Nuova Era)
2.  Isteni Szinjatek 4:35 (Yesterdays)
3.  Canto III 6:05 (Little Tragedies)
4.  From the Quiet to the Air That Trembles 7:30 (Lady Lake)
5.  Come Corpo Morto Cade 11:07 (Greenwall)
6.  Inferno 7:06 (Nemo)
7.  El Quarto Circulo 7:57 (Nexus)
8.  Back to Earth 7:09 (Atlantis 1001) 
9.  Daughters of Night 6:58 (Flamborough Head)
10. Inferno Canto X 7:30 (Colossus Project)

Analysis. CD 1 is the longest of the set, with over 70 minutes of music on offer. As it would seem fitting for an album based on the works of an Italian poet, it is an Italian band that is granted the honour of opening the proceedings with an instrumental rendition of Canto I – describing the trials of Dante in the ‘dark wood’ where he meets his guide, Latin poet Virgil. Nuova Era fulfils their task admirably, with a track with is suitably dark and intense, laced with powerful Hammond organ flights, booming bass and drums, and even a touch of sax at the end. The following track, whose title translates as Divine Comedy, sees a definite shift in mood – a slice of lilting, dreamy prog-folk by Hungarian band Yesterdays, with ethereal female vocals and The Flower Kings’ Jonas Reingold guesting on bass, in which Dante is shown conquering his fears and getting ready to embark on his journey. Then, the mood changes again quite drastically, with Russia’s finest, Little Tragedies, delivering an awe-inspiring sample of bombastic keyboard prowess on Canto III” (The Gate of Hell). Things ease up somewhat with Dutch outfit Lady Lake’s melodic, guitar-based (and strongly Camel-flavoured) instrumental depiction of the Limbo, an unexpectedly pleasant, though deeply melancholy place hosting the souls of great men born before the coming of Christ, and therefore barred from being admitted to the presence of God. This introduces what is probably the highlight of the first CD, and one of the most memorable episodes of the cantica – Greenwall’s Come Corpo Morto Cade, an 11-minute mini-opera (the project’s longest track) relating Dante’s meeting with a pair of doomed, adulterous lovers, Paolo and Francesca. The first part, intensely theatrical and almost dissonant, is followed by the heart-wrenching dialogue between the poet and Francesca herself (interpreted with suitable lyricism by vocalist Michela Botti) – one of only two tracks in the whole project in which Dante’s immortal words are used. The intense mood continues with Nemo’s Inferno, a brooding, dramatic piece with a strong King Crimson/Van Der Graaf Generator vibe, depicting the plight of souls tormented by rain and hail in the presence of the monstrous, three-headed dog Cerberus. Argentina’s Nexus introduce the listeners to El Cuarto Circulo, a grandiose number showing undeniable Genesis influences, right from the opening keyboard strains down to the Gabrielish vocals; while Italian band Atlantis 1001 (a Rush tribute band) contribute a strongly Dream Theater-influenced piece in Back to Earth – check the frantic, keyboard-driven second half. Flamborough Head’s Daughters of Night relates Dante and Virgil’s encounter with the three Furies through a pastoral, laid-back piano/flute intro that develops into an upbeat, synth-driven section, followed by melodic female vocals. The CD then closes with Colossus Project’s Inferno Canto X, which, in spite of the dramatic vocals and lashings of keyboards, falls somewhat short of conveying the emotional poignancy of Dante’s meeting with fellow Florentine Farinata degli Uberti, imprisoned in a fiery sepulchre for his heretic views.

Disc 2 (64:58)

TRACK LIST (LINEUP):

1.  Anastasius Epitaph 6:17 (Court)
2.  The Crossing 6:16 (Willowglass)
3.  Blood from the Trees 9:19 (Wicked Minds)
4.  Capaneus 5:14 (Brighteye Brison)
5.  Brunetto 7:06 (Matthijs Herder)
6.  Canto XVI 7:03 (Garamond)
7.  Demon's Forest 7:59 (Ars Nova)
8.  Malebolge 8:51 (Il Castello Di Atlante)
9.  Ainiaan Erhe 6:48 (Groovector)

Analysis. A few minutes shorter than Disc 1, CD 2 takes us further down the nine circles of Hell, starting where the previous disc had left off – in the sixth circle, where heretics are punished. The opening track, Italian band Court’s Anastasius Epitaph, is an oddly appealing, distinctively-paced, flute-laced tune climaxing with a majestic guitar solo. Willowglass’ mellow The Crossing, with its lush keyboards and gentle acoustic guitar, provides a welcome interlude before the blues-tinged, heavy prog workout of Wicked Minds’ Blood from the Trees. Rumbling Hammond organ, whistling synths and hard-edged guitar underpin the horrifying, and at the same time heartbreaking, episode of Dante’s meeting with the soul of Pier delle Vigne (an unjustly accused man who had committed suicide out of pride and despair), trapped inside the gnarled trunk of a tree. What follows is undoubtedly one of the most distinctive offerings of the whole project, the head-spinning, heavily Gentle Giant-influenced Capaneus by Swedish outfit Brighteye Brison, splendidly sung in their native language. Matthijs Herder’s instrumental Brunetto brings us back into more melodic, pastoral territory, with stately keyboards, delicate flute and acoustic guitar, and a definite Genesis vibe. The contrast with Garamond’s quirky Canto XVI could not be greater: the track is a full-tilt, avant-garde workout, opening with a crescendo of weird electronic sounds and vaguely disturbing chanting, and developing into a rich instrumental tapestry sharply reminiscent of the likes of Univers Zero or Art Zoyd. Complete with trombone, marimba, double bass, and some arresting female vocals (very much in the style of 20th century opera), this is without any doubt the most unique item of the project by a band that shows a huge potential. Things go back to ‘normal’ with Japan’s Ars Nova, probably the best choice to depict a Demon’s Forest with their highly charged, hyper-dramatic keyboard flights, and an equally dramatic guitar solo which would not be out of place on a Dream Theater album. Il Castello Di Atlante’s Malebolge, a lengthy, rather grandiose, keyboard-driven affair, embellished by nice violin touches, is at times let down by somewhat weak vocals. The album is brought to a close by Finnish band Groovector, whose Ainiaan Erhe (The Lapse of Eternity) starts with a deceptively gentle, acoustic guitar/flute intro, and then develops into a distinctly jazzy number, chaotic and mellow in turns.

Disc 3 (55:16)

TRACK LIST (LINEUP):

1.  La Danza dei Contrari 9:18 (CAP)
2.  Inferno XXI 6:28 (Ozone Player)
3.  Stuck in Hell 7:01 (Sinkadus)
4.  XXIII 6:40 (Viima)
5.  La Profezia 7:11 (Notabene)
6.  Serpientes 9:33 (Entrance)
7.  Canto XXVI 5:21 (Advent)
8.  Guido Da Montefeltro 4:26 (Contrappunto Project)

Analysis. The last two CDs of the project are markedly shorter than the first two, and – with the exception of a handful of tracks – not nearly as impressive. CD 3 opens with the lively, jig-like La Danza dei Contrari, performed by Italian prog veterans CAP. This oddly upbeat song, with its somewhat comical lyrics and vivacious vocals (which at times reminded me of the Italian beat outfits of the Sixties), is set in the eighth circle of Hell, the Malebolge – namely in the pit inhabited by diviners, soothsayers and magicians, who are punished by having their heads turned backwards. Finnish-Italian trio Ozone Player tackle Inferno XXI, a bass- and keyboard-driven instrumental with a much gloomier, almost menacing atmosphere in sharp contrast with the previous track. The next track, Swedish band Sinkadus’ Stuck in Hell, sounds vaguely schizophrenic, with a jagged, heavily percussive first half followed by a sparse keyboard section, and then culminating with a lengthy guitar solo. Finland’s Viima describe the pit of hypocrites in XXIII with another instrumental track, alternating dark, solemn parts with livelier ones that bring Camel to mind. The fifth track on the album, La Profezia, by Italian band Notabene, is yet another instrumental with some jazzy touches and a nice guitar solo, interspersed with a brisk keyboard workout. Chilean outfit Entrance mark a sudden change of pace, with the intensely dramatic Serpientes, a 9-minute-plus, metal-tinged tour-de-force featuring slightly over-the-top vocals (with an a-cappella section that reminded me of flamenco-style singing) and the obligatory whistling synths, courtesy of keyboardist Jaime Rosas. Some welcome respite is provided by the gentle acoustic intro of Canto XXVI by the US band Advent, which then turns into a Gothic, avant-garde piece, with eerie soprano vocals in the background and random-effect keyboards – describing one of the most striking episodes of the whole poem, Dante’s encounter with famed Greek heroes Ulysses and Diomedes. The album closes with an uncharacteristically short (at around 4 minutes the shortest track in the whole set) piece of instrumental virtuosity, the strongly evocative Guido da Montefeltro, performed by pianist Andrea Cavallo under his stage name of Contrappunto Project.

Disc 4 (55:19)

TRACK LIST (LINEUP): 

1.  Scisma 6:50 (Armalite)
2.  Dissolvenza 7:35 (Corte Aulica_
3.  Falsedad y Castigo 7:08 (Raimundo Rodulfo)
4.  Pozzo Dei Giganti 7:50 (De Rossi & Bordini)
5.  Traitors 9:58 (Tempano)
6.  The Comfort of Tears 7:07 (Nathan Mahl)
7.  Become a Boy 8:51 (Simon Says)

Analysis. CD 4 starts with Dante and Virgil still in the Malebolge, in the pit where sowers of discord and schism are torn to pieces by devils. In spite of the band’s aggressive name, Armalite’s Scisma is a rather traditional slice of symphonic, keyboard-driven prog with a rich Mellotron background – pity about the strained vocals, which make the plight of the sinners sound annoying rather than horrifying. Corte Aulica’s Dissolvenza is instead an instrumental, and an ambitious one at that, with lots of tempo changes and keyboard flights, though ultimately a tad inconsistent. Raimondo Rodulfo’s Falsedad y Castigo takes the listener deep into neo-Baroque territory, with a string ensemble, harpsichord, and counterpoint vocal parts. Personally, I find it a bit on the kitschy side, but fans of the more operatic varieties of prog will undoubtedly be delighted by it. De Rossi & Bordini weigh in with another instrumental contribution, the grandiose, keyboard-laden Pozzo Dei Giganti, depicting without words Dante and Virgil’s descent into the lowest circle of Hell. Venezuelan act Tempano’s Traitors is a fitting soundtrack for one of the most chilling (literally as well) episodes of the poem, a dark, sparse instrumental piece, almost avant-garde in feel, with eerily echoing percussion and keyboards masterfully evoking the horror of the lake of ice where the traitors are punished. On the other hand, Nathan Mahl’s The Comfort of Tears comes across as a more conventional symphonic prog offering, with a melancholy, almost romantic feel reinforced by the liberal use of piano and acoustic guitar, which, however, does not manage to convey the supercharged emotional content of Dante’s meeting with Count Ugolino – a father forced to witness his children’s death by starvation. The final track, Simon Says’ Becomes a Boy, ends the project on a rather disappointing note – a sophisticated but ultimately cold piece of contemporary symphonic/neo prog, marred by reedy vocals and some cheesy keyboard arrangements, which in no way suggests the tension of Dante and Virgil’s escape from hell and their return to the surface of the earth, “to see the stars once again”.

Conclusion. A magnificent aural feast for lovers of that lush, classic prog sound, “Dante’s Inferno” may not appeal to fans of the more experimental forms of progressive rock, but it deserves kudos for the sheer quality of the production and packaging, as well as the variety of the music contained within its four CDs. In spite of the huge scope of the endeavour tackled by Colossus and Musea, the end result is definitely a success, and most of the participating acts have managed, each in their own individual way, to produce a piece of music reflecting the content and meaning of the source material. However, the presence of some filler (inevitable in a project of such proportions) prevents “Dante’s Inferno” from being awarded the highest rating at my disposal.

RB=Raffaella Berry: Agst 11, 12, 13 & 14, 2009
The Rating Room

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