My recent trips to Italy have been revelations in a myriad of various ways, a blessed land with so much cultural diversity that the mind truly boggles. My grandfather one stated: “Italy is not a country! It’s a theater”. Musically, they have been talented since the dawn of time and today, the level is maintained by a consistent display of immensely satisfying material that just keeps on giving. Aliante has been a perennial favourite since its debut release Forme Libere in 2017, then as a trio led by keyboardist Enrico Filippi (now with Teodicea) who has since departed after the second album Sul Confine, as well as the consistent rock-solid rhythm crew of bassist Alfonso Capasso and drummer Jacopo Giusti (both having recorder with Egoband). The line-up has been unchanged since 2022’s Destinazioni Oblique with keyboardist Michele Lenzi (who adds bassoon and flute) and guitarist Davide Capitano turning the band into a quartet as well as a change of musical direction what with the added electric guitar playing a significant role. Very happy to state that all of their albums were supremely investigative adventures in symphonic prog, and this latest one is no exception, offering four sizeable tracks for our enjoyment.
“Spravissuti” proposes a dozen minutes of exhilarating instrumental prog, Lenzi’s keyboards suavely announcing an overture to get the juices flowing and he ears alert. The remaining trio kick into gear with shuffling guitars and a thumping bass and drum onslaught, tight as a wine barrel of Barolo. The synthesizers zip around like a hornet’s nest disturbed, awaiting just the right moment for capitano’s guitar to soar into a sublime melody that scours the heavens. Needless to elaborate that the attributes of symphonic prog is the classic ebb and flow found in classical music, the enduring contrasts from gently pastoral to effusively energetic and twists turning along the way. The track ends on a drum roll.
The shortest track with an 8 minute+ run time, “L’Eco dalle Onde” swerves into a more complex, at times irregular maelstrom of typical PFM circa early 70s form, where twirling keys blend with slippery guitar chops, the bass pummeling ever forward and the drums calling up the remaining pulse. Vigorous, vibrant and at times, venomous, the arrangement finally decides to rest after the ordeal, the flute and acoustic guitar embracing in a gentle dance, slap bass stretching the mood into a slight acceleration where the ripping synths get to join in on the party. The nail is bashed into the coffin with a wicked electric Capitano solo that relies heavily on underlining the main and rather beautiful melody that was hidden under the instrumental foliage since the onset.
The spotlight now shifts to Alfonso Capasso’s bass guitar skills on “Orange Blue”, as he leads the crew through a thrilling and emotive piece of heartfelt expression, the melody oof the charts gorgeous, the majestic e-piano suddenly appearing, in order to jazzy up the mood, as Alfonso carves the undertow. Great attention to atmosphere and smooth as silk groove, a highlight track among all the other exceptional moments to be enjoyed on this album. At times hypnotic and meditative, while still maintaining a melodic sense that engulfs the senses, the percussive finale serves only to take all the preceding mist and turn it into the track into a glorious sunshine, rays diving through the disappearing clouds, slain by a grandiose rant on the e-guitar worthy of the Hacketts, Latimers and Gilmours. Amazing !
Epic time, ‘’Nuit Dans le Desert ‘’ spans more than a quarter of an hour, reverting to more exploratory pretenses, a stage for Lenzi to showcase his acuity and touch on the wide variety of keyboards at his disposal. To be graceful as well as audacious is not an easy task, but Lenzi is not an orchestral background colour coordinator only, he enjoys displaying his soloing skills and thankfully, its constantly enjoyable with impeccable flair, a reincarnation of Flavio Premoli of PFM. The guitar shuffles among the vocal effects, recalling Antoine de St-Exupéry’s classic “Le Petit Prince”, the bass hovering haughtily over the sandy expanses of the Sahara, Lenzi’s windswept synth gusts utterly tingling, illuminated only by the glinting stars of our galaxy shining down from above. Capitano’s racing guitar taking over in classic prog fashion and shooting upwards to meet the ever-growing glow.
Instrumental needs an attentive and open-minded ear, ‘a soundtrack to the movie playing in the listener’s mind’ has been my description of prog since the very late 60s and I am overjoyed to admire its ongoing progression. Surely among the top of my 2024 list, once again.
5 Invisible souls
