Now that I have come down off the ceiling, I hope I can do justice to this great album in my review of La Maschera di Cera’s Petali di Fuoco.  With this, their brilliant fourth LP, the band have come up with what I feel is a progressive masterpiece, a stunning work that let’s the listener be part of something truly special.

Before we go further, La Maschera di Cera translates to The Wax Mask and Petali di Fuoco to Fire Petal, as in a flower, which also graces the cover of the CD.  Hailing from Italy (as you might have guessed), this six-piece band is Alessandro Corvaglia - lead voice; Agostino Macor - keyboards; Andrea Monetti - flute, sax;  new member Matteo Nahum – guitars;  Fabio Zuffanti - bass, bass pedals, choirs; and Maurizio di Tollo - drums, choirs.  They play in the Italian Progressive style, pioneers of which were and still are PFM and Banco, among others.  (The band summary at My Space gives a good history of the band; their actual website is under construction as I write this).  If you are unfamiliar with this style, it sits definitely in the Peter Gabriel/early Phil Collins Genesis and early King Crimson and Yes camps.  In addition, MDC (as they refer to themselves in shortened form) name Van Der Graaf Generator as a large influence. With these influential bands as their starting point, how could they be anything but great, right?  Actually, a lot of bands try and come off sounding like average imitations.  What makes MDC special is their attention to detail, their prefect playing, beautiful arrangements and melodies, and the overall feel of being modern and new while representing tradition.

Not a note out of place, with no overindulgence anywhere, the band has created a ten-song journey with immaculate production (Franz Di Cioccio from PFM at the controls) and fascinating music.  Each song weaves magic, with flute that can either be Ian Anderson or Peter Gabriel or James Galway inspired; guitar right out of the Steve Hackett/Steve Rothery camp; keyboards that swell with choir chords and Tony Bank’s - influenced piano; and a rhythm session of smooth bass and drumming at times subtle and then attacking with power.  I mention these comparisons so that a general sound might be identified, but make no mistake – the excellent pieces here are unique.  Though all sung in Italian (and with no English translation included in the enclosed beautiful foldout booklet), it makes no difference – you feel the honesty, emotion and strength of the vocals as they flow out of the mix.  At times this is pure English sounding Prog, at other times jazzy or classical, and then again swelling thematic music that could be part of a movie soundtrack.  The songs can range from acoustic ballads to dynamic rock.  The guitar work of Matteo Nahum is worth special mention, especially when he really burns out on a solo – it is fist-clenching stuff. They did not feature a lead guitarist prior to the new album, relying on keyboards more and acoustic guitar, so this new release, in my opinion, further enriches their overall sound by having added Nahum and his splendid fretwork.  But all of the musicians here are at the top of their game and it is a joy to isolate an instrument and follow it through a piece – lots of meaty stuff throughout.

Though technically separate tracks, it is best to listen to this album as a whole thematic work.  This is the kind of music that speaks volumes and leaves the listener totally exhausted and totally satisfied and yet wanting more.  Having said that, the band’s other albums, the self-titled first (2002), Il Grande Labirinto (2003) and especially Lux Ade (2006) are all worth seeking out – they are rich and rewarding too.

I strongly recommend this stunning work to all those seeking to hear musical perfection and want to get lost in the music in the way too few albums seem to do anymore.  I know this already will be in my personal top ten of the year.