An upside-down cover for a topsy-turvy world , how appropriate! A young talented band from lovely Sardinia, who launched their career with a 2018 debut, released on Nick Katona’s respected Melodic Revolution Records label and garnered a fair amount of interest and critical acclaim, are back after an extended hiatus with a long-awaited sophomore recording on the same trusted label, with little line-up changes, save for a new vocalist Pier Mauro Marras. Still anchored by the fraternal Desogus duo of Simone on drums and guitarist Samuele, incredible keyboardist Simone Meli, bassist Stefano Sanna, and Fiorella Piras on flute, bassoon and vocals. The tasty RPI menu has not changed at all, concocting new tantalizing sonic dishes expertly craftly in the tradition of Italian prog, with a vivid focus on serving up passion, atmosphere and melody. Seven years is a long time to wait, but just like friendship, when it’s true, it’s like yesterday revisited.
“Agapan” serves as an instrumental appetizer to get the palate all teased up for the feast to come. Wind instruments, piano and distant orchestrations unite for the common cause, the rhythm section entering the fray at the ideal moment with guitar adornments supplying the needed drama, curiously (or not) remindful of vintage PFM , especially when the choir mellotron inserts a sense of holy matrimony with the flute. Bello, bello.
The flute keeps the pace moving along on “Coscienza Cibernetica”, Samuele unafraid to let his electric axe do a little chopping for good measure, as the pace quickens and leads to the vocalist taking hold of the mike, with the prototypical RPI flair for the dramatics. The modern-sounding thematics give the flow a ‘mechanical conscience’ that shows off a contemporary outlook, whilst preserving the traditional style. The flute takes over center stage in a tranquil mid-section that blooms ever so lusciously into an organ parade, a burly guitar involvement and a rapidly building chorus, the creamy dramatics rising to the top like a properly made cappuccino. Fiorella adds her distinctive backing vocals to Pier Mauro’s pleading exhortations, a delightful romp.
In a dreamier vein , “Bagliori” prefers a sedate form of introspective reflection, the astute piano doing all the thinking, the vocals practically hushed , a bassoon in the horizon and a flute more in the forefront. Drummer Simone signals to his brother that the time has come for a colossal rise in melodicism, as all the musicians get involved in the progression. “Ninna Nanna -title track“ is the famed widespread national lullaby , variations of which have been sung to children since time immemorial and covered by pretty much anyone who can sing in Italy (millions of them, I assure you), it is utter bassoon sweetness, hushed words of loving and pillow comfort for a tired soul.
From the cloudy onset of sleep comes “Cosa Pensi?”, a solitary synth whistling tender notes, densely orchestrated by massive keyboard elements, and a superlative vocal surge from our singer. The mood is quite cinematographic, at times veering towards the oblique and dark, the flute counteracting the gloom with mournful flutters, slight early King Crimson circa Lizard enchantment permeating the dense fog. Sanna’s bass and the twirling synth spot are remarkably adroit, as the finale rejoins a theatrical close that seals the deal with red wax.
The 10 minute+ epic is up next on “Il Re dei Topi”, and the KC edge is still apparent even from the title (King Rat), leaning towards birds’ tongues and ebony holy books, confirmed immediately with a Brufordian drum rattle, a Wetton-esque bass ruffle and a red guitar that chooses Schizoid over anything sane. The muscularity of the humming organ also is quite the pleasant attraction, unafraid to roil and broil. Samuele harshly challenges the libertine flute meanderings as this exalted track goes through multiple laps of increasing theatrics, that verge on a descent into the fiery abyss of Dante’s Inferno. Overtly inspired, Meli releases his organ from bondage as the ivories go on a rampage that blows both the body and the mind. A spectacular track that needs to be heard.
The brief sideway glance of “Ali Nere” maintains the immense quality of the set list, an acoustic lament dripping with piety and sacrifice, as if emanating from some mountain abbey, augmented by sublime orchestrations scouring the hills above and the valleys below. Achingly beautiful, as if from some long-lost modern opera, it almost brought me to tears, the Frippian guitar mode overtly starless.
A final track of sizable dimension to bookend the overture, ‘’Il Canto di Nessuno’’ hits the speakers like an RPI classic, impeccably restrained and measured. The flute certainly plays a large role in balancing the gentle with the athletic, inducing a sense of unadulterated acquiescence that unhurriedly raises the bar ever so languorously, like a soporific anesthetic that numbs all pain, the hypodermic electric guitar puncturing the skin ever so efficiently, the bellowing voice ultimately convincing and natural. The siren-like female voice, the crystalline guitar and the male anthem transmit all the emotions required to subdue the last bastions of resistance. Halfway through, the inexorable arrangement veers into intense delirium (‘Is there any other kind?’ said Nicholson), as if one more red nightmare was required to seal our collective fate.
Stunned, dazed but really not confused. A powerhouse Italian offering from a band that can quickly become the next RPI giant. The manticore dream is alive.
4.5 Mores closures