La coscienza di Zeno
Una vita migliore

La Coscienza di Zeno is one of the best groups on the Italian progressive scene. Devoted to a symphonic sound that treasures the noble tradition of Italian prog — Banco and Locanda delle Fate primarily — the Genoese group has a modern feeling and not just a sterile calligraphic one. Nevertheless, there are examples of so-called "fakes" that are really well done, and in this sense, La Maschera di Cera comes to mind. They have three excellent albums behind them, particularly the first one, which remains, in my opinion, a true masterpiece and really contained some great tracks. The second, "Sensitività," maintained good levels even though not reaching the peaks of the first: the track “Sensitività” remains, in any case, a little masterpiece. The third work, "La notte anche di giorno," contained two long suites and perhaps should be considered their most ambitious album: the value of the music is undeniable. Now, after a remarkable live album, the new "Una vita migliore" is out. It is a sumptuous album, dominated by the keyboards of Stefano Agnini and Luca Scherani. For the occasion, the new guitarist Gianluca Origone replaces Davide Serpico, while the faithful and skilled Gabriele Guid Colombi on bass and Andrea Orlando on drums remain. The vocals still feature Alessio Calandriello. The first track, the instrumental “Lobe iste calabu,” is airy — and it divides between acoustic, symphonic, and jazz moments — and highlights all the technical prowess of La Coscienza di Zeno. The next track, “Il posto delle fragole,” is another great “symphonic” piece, while “Danza ferma” ventures into Renaissance folk territories that are new so far. In “Mordo la lingua,” Gianluca Origone’s incisive Santana-like guitar stands out. The greatest effort is undertaken in the long title track of over 12 minutes. Notable is the interplay between the musicians: the sounds are jagged and mix different symphonic and jazz genres; it's easy to get lost in the whirlwind created by La Coscienza di Zeno. Sometimes, it feels like the group wants to overdo it. The album closes with another instrumental, the short “Vico del Giglio.” I would say the first part of “Una vita migliore” is stunning, while the second loses a bit of its edge. I don’t want to be misunderstood: the album is good and will please lovers of the genre, but perhaps it’s not their best effort. However, it is definitely worth listening to, and it confirms their talent.