Whew, that title is a mouthful. Okay, ever seen Jodorowsky’s Holy Mountain? Well, it’s partially inspired by French writer René Daumal’s surrealist novel Mount Analogue, in which the titular mountain is either imaginary or inaccessible. Daumal died before the book was finished, and the first track of this album acts as a sort of companion piece envisioning what the mountain contains – the title translating to Wet Meadows of Mount Analogue. I’m using some conjecture here – the album contains no lyrics and I cannot find an English translation to the Italian LP insert. The music, though, is sure to please fans of ambient and minimalist music.
Prati bagnati is composed of three tracks, the title track taking up the album’s first side and most of its running time. This is Messina’s side, and he adds synths to the piano playing of Michele Fedrigotti. The piano is delicate as a lullaby. At about the 14:45 mark, a synth melody slowly enters the mix – it sounds like what an ambulance siren would sound like if ambulances were calming instead of alarming. Then at 18 minutes we hear a couple stronger synth swaths that make me think of OPN’s maximalist soundtrack work.
Lovisoni’s b-side begins with “Hula Om”, a solo piece performed on harp, and ends with “Amon Ra”. “Amon Ra” features vocals by Juri Camisasca, who has appeared on several albums by Franco Battiato, who produced this record. Lots of Italian names, I know, but don’t worry I won’t quiz you. Both tracks continue the meditative vibe of the a-side, albeit to slightly less hypnotizing effect. But if you’re down with the 23-minute jam that opens the album, you’ll be into the rest. As a package, Prati bagnati is a heavenly slice of Milanese minimalism.