Few progressive rock bands, if any at all, have managed to cross over into the realms of pop-rock and successfully return to their progressive roots. Even some of the greatest (Genesis) failed at the last hurdle. Tempano, one of Venezuela's better known bands have managed this with success. Their debut album, released in 1979, is considered one of the masterpieces of South American progressive rock, though the eighties and nineties saw various changes within the line-up and a move (with success) to a more pop orientated sound. In 1999 the band returned with Childhood's End which also saw a return to a more progressive nature of composing, a move that has been further cemented by The Agony And The Ecstasy.

Tempano consist of Pedro Castillo (vocals, guitars, synths, mellotron), Giuglio Cesare Della Noce (keyboards), Miguel Angel Echevarreneta (bass, classic guitar), Gerardo Ubieda (drums, percussion) and German Landaeta (keyboards). Together this band have created a concept album that deals with the life of Michelangelo Buonarroti with the album title taken from the biography of this great sculptor and artist by Irving Stone. The interesting booklet accompanying the CD features also features illustrations that refer to works by the great Michelangelo, as do the titles of the tracks themselves.

Most of the tracks presented on this album are instrumentals with just five pieces featuring vocals. The opening Twisted Mind immediately sets the pace with all of the musicians creating a jazz flavoured piece that half way through alludes to a more ethnic rhythm that threatens to break out into a prog-metal romp. All this in just one track! The first track to feature vocals is Bonfire wherein the band seem to move away from the jazzier side of music. In fact the vocals are of the highest quality with the music really embellishing their sound. Just In A Second gives the music a harder hitting slant while Timeless Time has more of a neo-progressive style much in the vein of Marillion around their Season's End period where the band combine a languid touch with some delicate atmospheric keyboard work and deft guitar licks.

On Attimo Infinito, the band resort to the Italian tongue for lyrics, though one must admit that the piece is more of an instrumental, with narration by Marcella Mosca with some interesting sound effects such as the mandolin and church bells conveying a sense of Italy amidst the acoustic guitar work.

The instrumental pieces are indeed quite varied. Some like Gigante and Attimo Infinito act as fillers or connecting pieces between the more longer works with the occasional effect and doodle on piano and guitars. Others like Pietá and Intermezzo are so rich in sound that they could have easily fit on a film score. Pieces like La Porta Di Santo Spirito, Giudizio Universale and Il Duomo, all referring to works by Michelangelo, are interesting in themselves, but do tend to become slightly disjointed and tend to create a void in the overall flow of the album as the band seem to move off at a tangent from the stricter regimented music of the initial parts of the album, to move into a freer and at the same time abstract musical style.

A more accessible musical form is attained with Il Duomo where the band really show their ability to create some impressive music. Here one must comment on the rhythm section which really comes to the fore on this piece with a powerful bass run amidst repeated off beats that still manage to flow alongside the more ear-friendly vocals. The last piece on this album to feature vocals is ballad-like Imaginary Sky and once again the band resort to a Marillion-esque style which they carry off in impeccable fashion.

Surprisingly there seems to be a strong folk element that runs through the music of Tempano's latest opus. The historical setting of the concept album surely played a part in this and from the opening Twisted Mind one feels the band hinting at both the Italian roots as well as the Renaissance period. The touches are subtle and are mainly conveyed via the use of particular instruments such as in Intermezzo where the band use a harpsichord or the lusciously heart-warming flute of All Ages Tears. The album comes to a conclusion with the lengthy Conspiración which could be described as a conglomeration of all the influences that are found on the rest of the album, as the band manage to bring together jazz, funk, rock as well as elements of medieval music.

Tempano have managed to create a magnificent album with The Agony And The Ecstasy. It is true at times the band seem to lose their way meandering through short instrumentals, though these are amply contrasted by the lush songs which are of a quality that modern day progressive rock is seriously lacking. This is definitely one of those albums that should appeal to ALL progressive rock lovers, and if you are still thinking of which new progressive rock album you should go out and buy, make sure it is this one!

Conclusion: 8.5 out of 10

Nigel Camilleri

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