De De Lind
Io non so da dove vengo e non so dove mai andrò, uomo è il nome che mi han dato

De De Lind was an Italian quintet formed in 1969, consisting of Vito Paradiso (vocals, acoustic guitar), Gilberto Trama (flute, sax, keyboards), Matteo Vitolli (guitar, piano, flute), Eddy Lorigiola (bass), Ricky Rebajoli (drums). The band's name was inspired by that of a Playboy model from the late '60s, Diane Lind. With this lineup in 1973, they gave birth to one of the most underrated works of Italian progressive: Io Non So Da Dove Vengo E Non So Dove Mai Andrò, Uomo è Il Nome Che Mi Han Dato. The album, besides having a very long title, is very well recorded and crafted, rich in acoustic moments alternating with bursts of electric guitar and drums. The vocals are excellent as well, blending with the music's atmospheres, often accompanied by flute riffs. The record is considered a concept album, with lyrics and music touching on themes such as war, death, and memory. It is noteworthy how the eight tracks come together to form two suites, the first comprised of the opening three songs, while the other consists of the remaining five, as they appeared to listeners on LP.

It begins with "Fuga e Morte", a piece rich with tempo changes and pauses, with electric guitar and flute in the spotlight. The work of the drummer and vocals is also excellent, joining in what can be considered one of the album's best songs. In the finale, a more delicate organ part leads us to the second track, "Indietro Nel Tempo", which opens with a crescendo of powerful electric chords over which a guitar solo takes over, marking the song for much of its duration, until the vocals resume and a return to calm signifies the start of the third song, which closes the first suite or side: "Paura Del Niente". This time the atmospheres are more relaxed, and the vocals narrate a pleasant almost carnival-like scene. In its development, we find psychedelic solos and drum rolls, as always alternating with moments where the song rests.

The second suite then begins with a crescendo flute solo that opens "Smarrimento", a piece that tells of Don Angelo's vision, still following the characteristics outlined so far, namely the alternation between calm and more hard moments. "Cimitero Di Guerra", on the other hand, is marked by darker atmospheres, with a clear reference to the title. One can hear how the flute reprises themes already tackled, a thesis that confirms we are dealing with a concept album. "Voglia Di Rivivere" is another thoughtful and dreamlike track. The rhythmic section is prominent in the finale, leading us to the end of the second side and of the album, with "E Poi", whose vocals simply remind us of the album's title.

An opus that summarizes the canons of Italian progressive, which deserves to be part of any genre lover's collection, which in some respects may remind one of more well-known groups like Biglietto per l'Inferno or Museo Rosenbach.