Il Bacio Della Medusa
Deus Lo Vult

Il Bacio della Medusa is one of the most valid Italian prog bands at the moment: Deus lo vult, a CD with a short duration (about 35 minutes) destined to become a cult object, is their third work.

As with the previous, excellent Discesa agli inferi di un giovane amante, in this new work as well the concept is very important and it is centered on the First Crusade of 1095 wanted by Pope Urban II. The story tells the tale of Simplicio, a "lord" from the countryside of Perugia who, in the grip of an enthusiastic religious fervor, joins the Crusaders in the hope of gaining advantages: fate will not favor him and he will return home in the hope of finding solace in the arms of his wife; unfortunately, he will find a bitter surprise as he will find his wife in bed with the priest and, in a fit of rage and despair, he will decide to set fire to his house and kill the two lovers.

Musically, the album is of remarkable level, characterized by raw and harsh sounds of great impact that recall legendary Italian prog groups such as Biglietto per l’inferno and Il Rovescio della Medaglia. The use of the mellotron gives a symphonic and novel touch to the sound of Bacio as can be heard in the initial and delicate Invocazione alle Muse, a suggestive and atmospheric track that immerses in another temporal dimension. The succeeding Indignatio is undoubtedly the highlight of Deus lo vult: it is a long historical (speaks of the infidels in the Holy Land) and musical journey – about 8 minutes – that shows the maturity of the sound reached by the group, raw, dark, and articulated, with an excellent use of the sax that recalls Van Der Graaf Generator and King Crimson. The short piece Urbano II bandisce la Prima Crociata evokes ancient medieval festivals, while Simplicio is a stunning ballad with a Simone Cecchini very inspired and with wonderful lyrics like never before. The title-track is another of the album’s peaks, a tight and compelling piece with clear metal elements: the voice closely resembles Ian Gillan and the use of the flute à la Jethro Tull is effective; towards the end, there are further crimsonian echoes. The short Verso casa is characterized by tullian atmospheres and leads to the last track La Beffa, in which Simone Cecchini shows all his theatrical and histrionic charge in an ending full of pathos and energy.

Some might find Deus lo vult too short, but this is not necessarily a flaw. Il Bacio della Medusa confirms its full value and will surely be able, in the future, to once again renew the glorious and inextinguishable flame of Italian prog.