Another one of those hidden prog gems that flew 20 feet off the ground, invisible to even the most sophisticated radar (The Rogue has a very advanced system, but obviously, not foolproof). This 2024 album finally gets the treatment it fully deserves, the hint blip that ultimately caught my attention was the presence of celebrated Italian guitarist Simone Cozzetto who has a few tasty solo albums as well as playing with Massimo Pieretti. Keyboards and composing are in the hands of Francesco Proietti while the drums are performed by Ivo di Traglia. The sumptuous vocals are Elisa Benedetti’s domain, and she does a bang-up job. The parameters are well founded in a variety of styles, from cinematographic, Celtic, folk, alternative influence but well assembled in a classic prog gift-wrapping.
Nothing like a somber electronic intro to set the right mood and “Sabbath” certainly does the trick quite well. Shimmering electronics weaving within percussive shudders and echoing effects are de rigueur. “The Dream of Flying” goes from dreamy to aerobatics with gritty propeller-driven guitars, elevator bass and thruster drum support, leaving Elisa to build up her magnum voice soar mightily into the yonder way above , Simone peeling off a blazing axe venture as well as a narrated bit, one really has a sense of floating above the clouds, boldly winging it like a proud eagle. The die is cast, ‘alea jacta est’ as they once uttered in the roman forum.
“When Reason Sleeps, It Generates Monsters”, now that is what I call a bold title, maintains the concept of slumber as an igniter of thought , with both Simone and Elisa collaborating on the vocal side, Francesco doing some terrific work on the ivories as the arrangement fluctuates between accessible and profound, a Cozzetto glissade bubbling by at warp speed, presumably engendering the promised ogres that will eventually show up on the segue “Into the Mist”, without question a peak moment on their recording, as atmospheric piece of prog genius one is likely to encounter anywhere. As the title implies and the vaporous cover art comes to mind, this is a gloomy soundscape of impeccable construct, colossal walls of mellotrons blending with electronic synths unafraid to venture out in solo land, Elisa slashing through the fog with deliberate ambition and the drums flailing away as if to clear the road ahead. The fretboard spotlight is equally brilliant, casting desperate light on the onward perils. Amazing track.
Through the haze, we arrive to “The Small Town”, a sense of salvation overtly expressed by Simone, carrying the vocal with utter simplicity, embellished with an arrangement that features little dross or overkill, a sterling neo-prog ditty, with a sad song verse/chorus format that tells a story about an ordinary guy, in an everyday settlement, the trials and tribulations that make life what it is.
Another sizeable mass of notes appears at “The Door”, a howling voice beckoning one to pass through the gate, tingling acoustic guitars and twinkling ivories crisscrossing in close quarters, as Elisa waltzes vocally through the threshold of broken dreams. It’s intoxicatingly hypnotic, the voice in full command of the senses, captivating, alluring and convincing, on the verge of exploding in unabashed anguish, brilliantly taken over by the serpentine lead guitar (man, can he play!), massive mellotron choir as a captive audience. Elisa raises the volume and the power to a higher realm, flirting with the divine. Both Simone and Francesco slam the gate shut and throw away the key.
Cosmic travels, anyone? The tempo reaches tornado-like proportions on the metallic-tinged “Saturn”, the incendiary riffs tumble like acrobats in a row, the ruthless beat harsh and acidic, only finding solace with a recurring piano motif to keep things honest . Elisa’s lungs get a workout, delivering a slew of pirouetting notes and then holding the screech without remorse. Our axe slinger demolishes all notions of time and space with a galactic barrage that displaces asteroids in its wake.
The short instrumental vignette “The Haunted Mansion” has both angst and serenity as its main purpose. The keyboards painting a wide backdrop, while the percussive machine pulses along without fear. Wind wuthering through the broken widows left agape, and the door ajar.
“Giant”, a nearly 10-minute grand finale, settles the score once and for all, with a meaningful melody that fits perfectly with the deliberate vocals, the predictable dense arrangement laden with layers of keyboard eccentricity. A repetitive piano and strings curtsy that keeps things orchestral and attractive, the idyllic lay-up for another tumultuous synthesizer fluster, followed by more final wild guitar incursions. The instrumental variations come as a wall of sound exhortation that lathers on a gigantic symphonic sheen to all the crushing bluster, as the sonic missile heads straight up to the skies. The dog barks but does not bite.
This needs a follow-up, an unexpected surprise that is in need of further exposure, even possibly surpassing all the overt qualities expressed within the grooves.
4.5 frontier mounds