Keith Emerson
Inferno (Original Soundtrack)

It had been a while since I last wrote reviews, and now, just over a month later, I find myself here in front of my PC monitor reviewing an album I bought the day before yesterday by one of the greatest musical geniuses modern music has ever known: Keith Emerson.

The album in question is "Inferno," the soundtrack of the films sharing the same name by Dario Argento. The music is, of course, written by Emerson and arranged by himself and Godfrey Salmon. Now I would like to say something: I'm not proclaiming it to be an absolute masterpiece, but I am enthusiastic to give this album a 5 simply for the emotions and atmospheres I experienced and perceived during the listening. It starts (as with most soundtracks) with the film's main theme, which recurs in various forms throughout the movie.

The title might lead us to expect a piece with terrifying and evil atmospheres. Instead, right from the start, it reveals the opposite by drawing us into the soft and sweet melody of the piano, then letting us be cradled by the orchestra, which shortly after, with a rise in notes, leaves us with chills throughout the body. It is followed by "Rose's Into The Cellar," music that serves as background for the protagonist as she "walks" in the cellars searching for a mysterious key. The piece sometimes recalls the initial theme, with modulations by the piano and orchestra. "Taxi Ride (Rome)" describes a taxi ride. The intro is classic Emerson style, a whirl of piano notes serves as the backdrop to the melodic yet rhythmically supported synthesizer. The entire piece is totally under Keith's control. "The Library" is a 59-second piece entirely played on the organ that reminds one of the intro to "America," a cover/piece played by the Nice, the first historical group of which our keyboardist was a part. "Sarah In The Library Vault" is a fully orchestral piece that is also brief. "Bookbinder's Delight" describes an encounter of the co-protagonist (played by the famous Italian actress Eleonora Giorgi) with a faceless character trying to kill her. The intro is characterized by a "call-and-response" piano, which then gives way to a haunting and charged round of notes in pure Emersonian style.

"Rose Leaves The Apartment" is a "cross" between the main theme and the second track (the one in the cellar, to be precise). What characterizes this seventh piece the most is the final part, where our "mad pianist" wants to raise suspense by menacingly playing the low notes of his piano and unleashing the orchestra, which until now had remained a dull background for the piano. Now comes one of the most interesting parts, I would dare say genius in the true sense of the word. I am talking about the eighth track on this album, "Rose Gets It." The piece begins with chants that recall an opera, initially female, then an octave higher male (the whole is of strong emotional impact), serving as the driving elements of the entire composition. The piece interprets the scene where the protagonist finds herself alone in the dark and is about to be killed. As the "inevitable" occurs, the orchestra makes its appearance, leaving us in awe at its massive yet ingenious entry into the context of the scene and the composition's arrangement. "Elisa's Story" is but a reprise of the initial theme with some modulation and played not by the piano but by the synthesizer, still remaining a sweet and dreamy melody. "A Cat Attic Attack" is another modulation of the cellar theme, but this time precedes the death of the old alchemist (I don't remember who this character was, but the fact is that he too will then be killed...). "Kazanian's Tantarella" is what I was referring to earlier, the death of this old man I now remember being also disabled. The music describes the immobilized man at the mercy of numerous rats (to be precise, rats!!!!) biting him. The way Keith plays the piano is reminiscent of days gone by with Lake and Palmer, bringing us back to the tonal structure of "Endless Enigma" from the album "Trilogy." These "nervousness" of the piano are alternated with subtle orchestral touches, which gradually rises, also adding fleeting percussion, eventually taking the forefront instead of the piano, now become a backdrop, but then immediately becoming the protagonist again; all of this is seasoned with Emerson's as ingenious as unmistakable style.
What described thus far serves as the backdrop to the man's agony, increasingly powerless to save himself from the rats. After various calls for help, it finally seems that someone comes to save the poor disabled person, but when the person approaches the latter, he draws a cleaver and hits him to death; it is clear that in the entire scene, the accompanying music becomes more tense but precisely when the victim is struck, the orchestra strikes relaxing notes with airy decorations of the piano, which makes us participate in the individual's release from heavy suffering. "Mark's Discovery" is yet another modulation of the initial theme.

"Mater Tenebrarum", another genius piece. The track in question is the only one featuring lyrics, but I couldn't specify what language they're written in; outwardly, it seems like the one used by wizards. The only thing I managed to glean is that it is about the three mothers (fundamental elements for the film's plot): Suspirarum, Lacrimarum, and Tenebrarum, the last being the most wicked, and as already evident, gives the composition its title. The track is the most energetic and exciting of the entire soundtrack of the film, in one word, a masterpiece. From the very start, it presents itself with a rhythm dictated by the organ, sustained throughout the piece, while in the foreground the "universal judgment" choirs appear. In the central part, the piece seems to rest for a few seconds, giving the organ the opportunity to dictate the accompaniment harmony for the chorus, which remains energetic. After the rested part, it starts from the beginning again. Noteworthy is the final part, where the choirs and the organ alternate in fleeting "duets."

We arrive at the end with "Finale" and "Cigarettes, Ices, etc." The first represents Mark's escape (the protagonist's brother) from the burning hotel due to the most malevolent of the three mothers, and the second I personally didn't notice if it was in the film. In addition, this latter piece is quite a particular track that differentiates itself due to the arrangement from the previous compositions. Opening with the usual "tense" piano à la Emerson, after which the contradicting element appears, the "slapped" bass typical of the late '70s and early '80s Funk accompanied by a well-marked drums, all decorated with the "sharp" melody of the orchestra. Also interesting are the fleeting virtuosic piano interventions during the flow of the piece. If I've elaborated a bit too much, it's because I couldn't find other ways to describe this album. I fully tried to delve into the artistic/compositional value of the soundtrack because I've often heard it said that Keith Emerson is not a complete artist due to placing more emphasis on "virtuosity for its own sake" than on composition. Well, ladies and gentlemen, this album is proof that Emerson is a complete artist in every respect.