Daniele Olia (guitars and keyboards) was a member of Qirsh, a talented band from Savona that I particularly enjoyed, who has now surrounded himself with a talented crew for this new venture, namely Luca Bonomi (drums) Massimo Zanon (vocals) and Michele Spinoni (guitars). If this is anything like Sola Andata (2013) or 2020’s Aspera Tempora, count me thrilled at the prospect. I was very much looking forward to slapping on my headphones and discovering another new Italian band.
Setting the tone with the instrumental “Rota Fortunae”, the arrangement wanders from classic RPI efficiencies to a more modern approach and sound, heavily dependant on a variety of electric guitar and keyboard ornamentations with rubbery bass and supple drum toughness to boot. The urgency on “ La Strada Buona” flirts with manic obsession, as vocalist Zanon shows of his technique with impressive skill, the track pretty straightforward in intensity and groove.
With a metronome beat that winks at classic Nick Mason ,“Rainbow Bridge” pulsates like some distant supernova, immersed in clanging guitars and luxuriant keyboard electronics, an ideal setting for a roaming bass and a persuasive voice that oozes psychedelia. Olia and Spinoni weave quite the six-string web, but that casually brutal beat really hits the spot. An exhilarating track that proves the Pink Floyd influence pit is not about to dry up anytime soon, the throttling guitar slashing through a synthesized jungle, an excellent track.
There is a definite and utterly convincing edge to their style, “Downfall” plowing into even more cosmic realms, Bonomi leading the charge with a Hawkwind-like rhythmic propulsion that epitomizes movement and expanse. The various vocal effects may even recall Robert Calvert at his weirdest (and he was very bizarre); the unrelenting buzzing bass perniciously infecting the pleasure nodes. Another world class piece of music.
The 8 minute+ instrumental is a definite highlight , “La Quiete dopo la Tempesta” has a title barely that hides the quiet after the storm definition, but with Italians, one never knows what is behind their impish smile. Though somewhat more tranquil than the three preceding snapshots, the solid rhythmic acrobatics stay fully in place, as if the standard must be kept of providing the needed energy, and Bonomi in particular delivers in droves. The angry guitars pick up the pace as if igniting booster rockets before entering the placid eye of the hurricane with acoustic guitars galore, flute meanderings color the stars, the prefect set up for a blistering axe solo that scours, scrapes and scalds , all at once. Sublime
My heroic grandfather once described Italy as not a country but rather a theater and “La Commedia e Finita” proves the point, a cinematic expression of quirky comedic drama that has a playfulness that is part and parcel of their cultural tradition. No one does it better, with just enough exaggeration to make the Fellini clown laugh and cry. Musically, the synthesizer takes the circuitous road like a lion tamer in the oval arena, cajoling with an occasional whip to keep the tension, massed choirs acting like an avid public in full agreement with the proceedings, clapping their approval in unison. Incredibly inventive and original.
A volcanic epic perhaps? “L’Orologio che andava All’indietro” is like a clock going backwards in time, massive choir mellotrons maintaining the operetta feel, with Zanon reciting persuasively his storyline, the cadence cascading in frolicking delight. The electric guitars wig out in irrational tonal bliss, shoved aside by murmuring electronics that again wink at space rock à la Eloy and Hawkwind, colliding with ambient ponds of mirrored serenity, before reverting to a solemn vocal that has an agitated edge of desperation, perhaps even fright. This nearly 16-minute extravaganza runs the entire length and gamut of our musical galaxy, with the sole purpose of eliminating any notion of time past, or to come. In the final stretch, the melodic content becomes way more intense, erupting with profound vocal stress that skillfully showcases the blur of pain. Zanon really puts on a show. Very astute and superbly executed, each and every variation never overstaying its welcome. Bravo !
A possible final spin of the wheel of fortune ,“Fortunae rota volvitur” has no Pat Sajak but does flutter along for a bit over 2 minutes as if some kind of sombre reptile looking for a humid crevice to rest but I am a total sucker for any massed choir finale and this one is impeccable!
How about some unexpected Halloween music, eh? “Ghost Track” has howling dogs in fear, crackling thunderstorms, ticking watches, eerie synth screeches, sudden explosions of raging anger and a fuzzy guitar that has a maggot brain. An album that finishes with an audience clapping to an extended bass furrow , well that just beats the cake!
Arianuova has gone way beyond any of my expectations and may well sit very highly indeed on the best of 2025 mantle. That being said, this is one hour (less a minute to breathe) of ecstasy, a star is born.
4.5 Outer Limits