This Italian band previous album 2024 ’Strings from the Edge of Sound’ was quite the ear-opener, featuring a stellar quartet of able musicians, none more so than Daniele Giovannoni, a spectacular drummer who also plays keys and backing vocals. Returning to this new venture are lead singer, keyboardist and guitarist Valerio Sgargi , main fret man Alex Massari and Alessandro Cefali on bass duties. The cavalry of guests include some Wilson castaways (LOL) Adam Holtzman of the keyboards and guitarist Randy McStine, as well as Susanna Brigatti on vocals. Over an hour of palpitating symphonics, with dazzling displays of musicianship, mood and atmospheres that yearn for discovery and a great set of progressive pieces of the loftiest quality.
Mirroring the crazed world we currently waddle in, grim narration spreads the ashes of catastrophe once again, before being introduced to “Lara Is Your Name”, a spectral electronic ‘shuffle’ expertly set up with a forceful Valerio vocal taking on some higher authority. The bludgeoning pulse is forceful, the bruising bass undertow paving a deliberate groove, the clanging guitar riffs and the innovative sheen doing wonders for the ears. Bombastic, overbearing and powerful, the chorus churns the inner sanctum of frenzy, while the guitar screeches urgency, and the shrouded voice prefers doom. Have we made the same mistake again? Lara Croft? Lara Fabian? Does it really matter? The drawbridge is raised, the moat is filled with Greek fire, and the gates of delirium are sealed, so “Don’t Knock on the Door” has a definite fatalistic tone, the staggering voice sullen and forlorn, that only a dazed piano could hope to soothe. “I’m Not on Your Side” covers the crack in the chess board as the King glances over to the Queen in disbelief. The Zeppelin-esque boogie is overbearing and showing no quarter, with sardonic lyrics delivered with theatral idiosyncrasy, air-raid siren taken from a page lead guitar slashing through the Bonham bashing. Everyone is crazy, whether one drives or not.
Next move , the epic 10 minute “Nothing But” featuring Randy on the fretboard, a major cornerstone of this album, with its restrained but still raging disposition, given a wide berth to permeate the senses, eschewing any desire to impress cheaply. Valerio again proves he is one of the finest voices in prog, easily navigating the various details of the evolving arrangement, as if competing in the mountains near Courmayeur! The shadowy choir work is stupendous, especially when confronted by manic drum propulsion and a deliberate McStine guitar blitz that exudes power, fury and zest.
A Night at the Opera feel on the “The Mirror”, a quirky exuberance that paves the way for the choir-laden pomposity of “No Soul”, piano front and center with a deadpan vocal delivery that evolves into jazzy lounge chaunt. Valerio has no soul, or so he claims forcefully, blowing the Spumante cork straight into the cathedral dome. A proggy R&B track with a dash of gospel, blues, jazz and opera.
The title track is a dreamscape, a far from muffled scream in the dark, pushed along by a begging guitar, wondering what the hell is heaven all about! Perhaps even what in heaven is hell? The sweet vocal underlines a certain sense of ennui, defiantly knowing full well the answer.
Susanna Brigatti takes over the microphone on “We Are Going Home”, a stirring duet with Valerio , as if holding hands as they take the yellow brick road that once led to Kansas. Piano and dense orchestrations break the chains of numbing routine, as the dual protagonists converse about their entwined fate. One can shut their eyes and imagine a velvet curtain stage where the play takes on life of its own, sweeping strings and howling voices impressing the audience!
Starring the unique virtuoso talents of Adam Holtzman , “Hero” showcases his electric piano magic, never ceasing to thrill even the most jaded listener. Daniele pounds away on his skins with brawny determination, sheets of guitar riffing in the background, the bass wrapping around the pole unmolested. Needless to repeat that the vocal work is as elsewhere on the album, first rate brilliant, as shown by the weird mid-section that emits clear cinematographic vibes. The courageous highlight is the stellar synthesizer solos that show little mercy or appeasement, weaving in and out at will. A terrific and moody roller coaster of emotions from these star performers.
Finishing off the play list, “Passing Away” and “No Fucking Way” conclude the festivities on a more rambunctious note, the gritty guitars travelling through illuminated time zones as the final breaths fill the pulmonary sacs and the waves of goodbye appear on the horizon. Reincarnation? Perhaps. On the other hand, the f word leaves me indifferent, like the vocoded void shivering in the wind, having heard it used and misused so often, it has become a repulsive redundancy. Here its about brain control and the resistance to it, a valorous cause. All in good fun, I am sure.
’Strings from the Edge of Sound’ was going to be a hard act to follow, being a masterpiece in my humble opinion, repeated listens will put this one on par pretty soon. In the meantime, I may be wrong now, but I am human and prone to …
4 Perpetual blunders