Premiata Forneria Marconi
L'isola di Niente

1974. Djivas, in addition to being an inexhaustible rhythmic engine, introduces the use of the bass as a melodic instrument in the band. The intertwining of bass, guitar, and keyboards gives PFM's sound a particular emotional drive. This characteristic, combined with an apparently inexhaustible compositional vein, leads me to think that this is their absolute masterpiece.
"L’isola di niente" also offers experimentations that go beyond style; they are true sound explorations, combinations of styles light-years apart that, surprisingly, blend perfectly.
The increased complexity of the tracks, in this case, does not mean more difficulty in listening; quite the contrary. The symphonies and technicalities of the various songs are never ends in themselves but caress and tickle the listener's ear, immersing them sometimes in imaginary worlds, other times in dreamlike journeys. The melodies arising from the mix of styles and derivations are splendid, now an unmistakable trademark of the band.

"L’isola di niente" immediately presents itself with an exciting intro performed by the Coro dell’Accademia Paolina di Milano, transporting us to an almost religious dimension, only to then burst into Mussida's hard guitar riff, accompanied by a deadly rhythm section, with counterpoints and dialogues between bass and drums, continuous changes of rhythm and atmosphere, and a great search for sound. And the final coda, where the national Francone carries us alone with a very delicate acoustic guitar arpeggio, counterpointed by a solo on the electric guitar that leads us into a relaxing and dreamlike world. It's as if we can see the Island and its surrounding sea.

"Is My Face On Straight" offers English lyrics that give continuity to the collaboration with Pete Sinfield, which began the previous year with Photos of Ghosts. The piece starts with a Mussida arpeggio, developing into spectacular musical forms. In addition to Francone's standout performance, the great Pagani also delivers a deadly flute solo, probably the best of his production with the band. The splendid accordion coda by Premoli closes one of the most interesting tracks on the album.

"La Luna Nuova", in my opinion, the most beautiful track on the entire album, is a complex piece but flows like spring water. It starts light and then explodes into a "shuffle" imbued with Mediterranean flavors, which then leads to an instrumental section where the band truly gives its best, between classical sensations and almost jazz-synced rhythms.

"Dolcissima Maria" is a splendid acoustic ballad, with a sweet and dreamy melody. The instrumental coda gracefully reminds us that we are listening to a great prog group.

"Via Lumière" is an instrumental of the highest rank. Here, PFM expresses its best in terms of technique, musicality, and inventiveness. It opens with a long bass solo by Djivas, continues with odd time signatures, melodic and simultaneously jazzy and rhythmic bass lines, a flute solo à la Ian Anderson, and a great Flavio Premoli who foregoes his progressive fugues to provide an outstanding performance with a fundamental sound foundation. The unexpected closure with a "dive" into serene and joyful Caribbean waters, drawn by a sumptuous and romantic keyboard tapestry.