Biglietto per l'inferno
Biglietto per l'inferno

TICKET TO HELL

From the series: Italian progressive. And the confirmation that our peninsula has not only given birth to P.F.M., Le Orme or Banco del Mutuo Soccorso.
The TICKET TO HELL appears and disappears, but in the year of grace 1974, it leaves to posterity a surprising, self-titled concept album. In six tracks, one of which, the last, is the instrumental arrangement of the second, tells the story of a murder. Chronicle, confession, repentance, atonement, resignation, suicide.

This tale is narrated by the sepulchral voice of front-man Claudio Canali (now devoted to hermitage in a Lombard monastery), whose timbre perfectly matches the bleakness of the proposed theme. No highs that, at the time, were so much about the flower children, nor falsetto choirs; instead, sparse and anything but reassuring texts: had they had a few more sponsors, they would have been, for Italy, what the Black Sabbath were for the United Kingdom when they released their debut album.
Canali and his associates, instead, will bid farewell to the handful—four or five—who noticed them in the Beautiful Country just twelve months later. In fact, even sooner, because IL TEMPO DELLA SEMINA, the second endeavor of Biglietto, conceived in 1975, will actually be released only in 1992.