Its about time to review this interesting musician, after all I own three albums already, but I never got to review any of them until Alex sent me a request to listen to his latest offering. How can I refuse such a kind wish? Born in lovely Montreux, Switzerland and currently residing in the equally stunning city of Bologna with its endless porticoes and colonnades, Alex is a gifted keyboardist, multi-instrumentalist and composer, and while his backlog is chock full of quality tracks, this new album is an absolute stunner, which should catapult him into the higher echelons of 2024 prog releases, perhaps even among my top 5! Ably assisted by a muscular rhythm section composed of drummer Bruno Farinelli (a true revelation on all the tracks), longtime bassist Giambattista Giorgi as well as slick guitarist Emiliano Fantuzzi. Throw in Alessio Alberghini’s swirly saxophones, but the major jaw drop comes with the inclusion throughout the 2 long suites of mezzosoprano Valentina Vanini, that raising the already celestial roof on the overall dense symphonics with some stellar vocalizing, very reminiscent of Pauline Lucas’ soprano wailing on King Crimson’s Formentera Lady. Two extended suites each roughly 30 minutes long and containing 9 parts, completely stamps this work with composing credibility, where reflective arrangements cleverly interweave in telling its stories, with no diluted moments to be heard anywhere.
“Amnesiac” kicks off with a hypnotic train ride, zipping gently through the countryside before screeching into the furious chaos of a large city, a harrowing adventure that can easily make one lose their mind! Feeling alone in the company of thousands of faceless people is expressed by the booming ‘Perfect Chaos’ section, a thrilling maelstrom of sound and fury. A momentary lapse of purpose is depicted on the floating and vaporous ‘Flashbacks’, perhaps a desperate attempt at calming a hurrying heart and an edgy mind. This part really opens up the throttle as both Carpani’s synths and Farinelli’s concussive assault seek to emulate some form of wake -up call, a return to a physical realm of touch and sensibility, as the grinding chain-saw electric guitar riffs slam hard, especially in the chicanes. Palpitations are brought under control, as ‘Diamond in the Rough’ reestablishes a proper lung full of air, decorated with a powerful melody and a convincing vocal from Alex. The luxurious symphonics enter the arrangement with neo-classical leanings, a reflection on the ‘Past Life’ with a crushingly gorgeous aria from Valentina Vanini, whose controlled wail is to expire for, a larger-than-life instant of serene intensity that is simply overwhelming, blending into a distant horizon of revelation, perhaps even liberation, as the ‘heart calls’ out for a ‘returning light’. The final two sections are profoundly inspiring, infusing a calm bass groove and an uplifting saxophone, caressed by choir mellotron and Vanini’s supremely well-placed howl. When Fantuzzi adds a spiraling guitar solo, there is definitely an illumination at the limit of the cerebral tunnel, as ‘End of the Day’ seals the crimson waxed seal on the deal. I am such a sucker for operatic voices, as Vanini adds a dimension of power and genuine emotion that verges on an epiphany of sorts. Clarity succeeds in reestablishing a firm contact with reality, a magnificent salvation of spirit and sound.
As tremendous as the first suite is, “Good & Evil” is an even loftier one, as it segues nicely into a contemplative space of ‘vanishing frequencies’, desperately twirling the knob to find ‘the Flow’, which enters the frazzled fray with a deliberate bass thump and an athletic drum attack that hits into overdrive, crashing cymbals symbolizing a new path, as the synths twists and turn in a frenzy. Alex’s vaporous vocal is chilling as if singing in an oval channel, heading towards a ‘post-traumatic stress disorder’, perfectly expressed by Valentina’s wailing and Fantuzzi riffing, Farinelli bashing, Giorgi brooding and Carpani carving with no holding back. A highlight moment of symptomatic musical nightmare. Thankfully the soothing saxophone appears on ‘Stillness and Ecstasy’, a balm of comfort once again elevated by Vanini’s courageous defiance, if only for a brief respite. Needless to state, the continuous sonic contrasts are energetically intriguing, as the ebb and flow are beguiling with a load of detail that ‘flirts with darkness’, infusing trembling electronics into the mix. Farinelli really sweats up a storm, egged on by a strong bass alliance. Vibrant symphonic prog at its finest. At nearly 6 minutes, ‘Mystical’ is not only the longest snippet but also perhaps the spiritual apotheosis on this album, what with the mythical infusion of glorious church organ (to go with the papal announcements), a lovely wink to Rick Wakeman’s first solos album as an homage. The operatic voice raises this piece to celestial heights, a serpentine vortex of impeccable notes that seek to fascinate and imagine beyond the dreary routine of everyday life. Vannini segues into a desire to leave the path, a clever return of a previous melodic line and vocal, looking for a more familiar direction. ‘Masquerade’ just keeps on giving, a façade of the continuing battle between good and evil, burping bass and a slithering, shimmering guitar adornment that Hackett would surely approve. Rather unsurprisingly, ‘Everything falls into Place’ becomes the immaculate finale where all the preceding emotions are reassembled into a compact and explosive consecration that leaves nothing to chance. The peaceful innocence of children playing, laughing and smiling, before putting this marvelous story to bed, a warm blanket, a soft pillow and a kiss on the forehead.
When the entire package is also adorned with an attractive cover and sterling production, one cannot help to immediately be slain by the incredible music within the grooves, my first audition blowing me sideways with repeated gasps, grunting with unabashed pleasure, entertained and pleased, unable to resist the immaculate charm of the proposed work.
5 Decent males
