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Rating: After forty years of a career marked by divisions, highs and lows, light and shadows, masterpieces and more "easy listening" moments, the New Trolls return with leaders Nico Di Palo and Vittorio De Scalzi, joined by the new members of the band. The Genoese band is back with new work and chooses the most difficult path to do so, the path of returning to progressive music, and particularly, a return to that "grosso concerto" which was a significant milestone not only for the group but also for Italian music in general.
The album is meticulously crafted, with a cover that is beautifully kitsch just enough. The songs are composed by De Scalzi and Di Palo, with lyrics mostly in English, by Shel Shapiro. The album features important guests, mostly from the classical world. The album is listened to with a certain "fear," as the comparison with the group's previous works (Concerto Grosso Number 1 from '71 and, to a lesser degree, Number 2 from '76) is inevitable.
The album opens with "The Knowledge", a small overture where the characteristics of the grosso concerto immediately emerge: counterpoints between strings and electric instruments, with De Scalzi's flute immediately taking the spotlight. Andrea Maddalone’s aggressive and modern electric guitar sounds are complemented by very clean yet warm string sounds, making for an effective instrumental introduction. This is followed by a ballad, "Dance With The Rain". The vocals are by De Scalzi, the harmonies may not be entirely original, but the flute and the choruses take us back in time, they are the New Trolls embodying the New Trolls. The piece will be reinterpreted at the end of the album in an Italian version titled "So Che Ci Sei". Baroque atmospheres return with "Future Joy", a scherzo with considerable work on strings, oboe, and electric guitar, whose sound might be a tad "metal". At this point, we delve into the heart of the album with the cello cadence "High Education", which serves as an introduction to "The Seven Season": the main accompaniment is actually entrusted to the cello, akin to an electric guitar. The New Trolls' vocals enter forcefully, elegant as always, and perfectly harmonized. The electric guitar melodies are beautiful. However, Di Palo would have been a different story. We mean no disrespect to guitarist Maddalone, to whom we extend our appreciation for having had the "courage" to replace Nico Di Palo on guitar, as he had a very personal and genuinely admirable style (after an accident several years ago, Di Palo now confines himself to composing, keyboards, and singing). In this piece, the reciting voice of Shel Shapiro will be heard.
The larghetto of "One Magic Moment", a ballad with beautiful melodies featuring soprano Madelyn Monti as a guest, inevitably brings to mind Mercury-Caballè duets, yet the Trolls-style choruses and music give the piece its own light and life. "Barocco 'n' Roll" might be too "malmsteenian", thankfully, we are spared the "typical" long guitar solos. The moments with strings are noteworthy. Following a simple and effective classical guitar introduction, we transition to "Testament Of The Time", a classic andante, in line with the previous Concerto Grosso 1 and 2. The melodies, even if they won’t be remembered for originality, are beautiful, the choruses punctual and perfect, and Vitanza elegantly enriches the piece with few measured drum fills: the piece is truly beautiful. A typical New Trolls' "drama". With "The Ray Of The White Light" the group tells us that they were and remain among the best voices on the Italian scene: De Scalzi's voice has grown warmer and more mature over time, and the typical harmonized falsettos are all there, as fluid and enveloping as ever. Another adagio, with "To Love The Land", a splendid ballad with beautiful harmonies and elegant and catchy melodies. The choruses arrive right on time in the refrain, as do the key changes. The electric guitar interventions are spot-on. The piano prelude of "The Season of Hope", features a beautiful piano introduction (reminiscent of some of Keith Jarrett's works), then come the strings, the tension mounts but quickly returns to the tranquility of almost jazzy sounds. The piece connects to the subsequent "Simply Angels", a short suite of just over six minutes, where the band lets loose with musicians showcasing their skills (the atmospheres are reminiscent of Concerto Grosso 2, especially for the choruses). The piece is varied in arrangements and harmonies, the riffs are captivating: we are in full progressive territory. The calm song "Ethix" closes this work.
An album that could have been a simple "amarcord" but instead features modern sounds in addition to the "theme" characteristics that are revisited here: the expectations of those approaching this album are met. This third grosso concerto is also accompanied by a new live season for the band, with rock-prog cut concerts.
The New Trolls are back. Long live the New Trolls.
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