GROWING UP

 Protocollo C came to life in 2012 in Bra, a town in the province of Cuneo, with a line up featuring Marco Vona (guitar), Daniele Sagli (drums), Alessandro Aiello (organ, keyboards) and Alessandro Dellarocca (bass). Soon they started to experiment and compose original stuff and in 2017 they recorded an interesting eponymous debut album that was released in 2018 on the independent label Lizard Records. On this work you can listen to an excellent mix of vintage sounds with echoes of the incredible Jimmy Smith at the organ, a pinch of blues and a touch of funky-prog with a strong penchant for seventies soundtracks of Italian B-movies in the vein of bands such as La Batteria or Calibro 35. In fact, this is an instrumental concept album, an imaginary soundtrack where every piece represents a phase of the life of a common man. In the booklet you can find a drawing by Matteo Manera and a short comment by Chiara Fissore for every piece describing in some way what the music is about. Anyway, the listener is always the main protagonist... 

 

 

The nice opener “Adolescenza” (Adolescence) starts by a cheerful, carefree marching beat and describes a period in a man life where everything seems possible. It contrasts with the following “Maturità” (Maturity) and its staid, obsessive pace and sudden frenzied passages that mark the need to achieve the goal to find a job and settle down in the period of life when a man is supposed to sign a deal with the future... 

 

 

“Perdita della routine” (Loss of routine) is darker and deals with the stifling formality of family life and the work daily grind. The burden of acting always by rote drives you crazy, tension rises as you feel the need to assert yourself and you try to find a way out from your monotonous routine. Next comes “Premeditazione” (Premeditation) that marks the effort to break through from the cage of your reality reacting against the mocking twists of the fate that made your life so uninteresting and boring... 

 

Protocollo C, 2017

 

The nervous, tense “Metamorfosi degli innocenti” (Metamorphosis of the innocents) expresses the tearing choice to get rid of the mask you wear every day to hide your feelings while the following “Presa di coscienza” (Realization) marks the bewilderment of a personal crises where everything gets blurred and regrets become heavier and heavier... 

 

 

The up tempo of “Fierezza” (Proudness) swings from reggae to funky rock to underline the will to get up, stand up and fight for your dreams. You need strength and boldness to look inside yourself and find the positive energies you need to get free... The following “Consapevolezza” (Awareness) tries to convey the idea of analysis and reflection. Once you know the hidden aspects of your personality, you can begin to rebuild your life and consider new plans for your future... 

 

 

The drawing associated to “Goodbye Italia” suggests a new start, a train to catch and new challenges on the horizon. The folkloric elements in the music and the lively rhythm show that for you there are no borders now and the world is your home... Eventually, the long final track entitled “Flashback” makes you relive the different phases of your life as in a dream, from the years of youth to the present. 

 

On the whole, a very pleasant listening! 

 

You can listen to the complete album HERE

 

More info:

https://www.facebook.com/protocolloc/ 

NATURAL FREQUENCIES

 La Stazione delle Frequenze are a young band from Benevento that try to blend the sound of historic Italian prog bands such as Osanna, Premiata Forneria Marconi, Banco del Mutuo Soccorso or Locanda delle Fate with prog metal and canzone d’autore. Formed in 2016, after a couple of years spent composing original stuff and performing live on the local scene, in 2019 they self-released an interesting debut album entitled “Physis” with a line up featuring Alberto Cervone (vocals), Angelantonio Donisi (guitar), Pierfrancesco Corbo (guitar), Andrea Tretola (keyboards), Luca Iorio (bass) and Andrea Passaro (drums). According to the band, the title of the album refers to a Greek philosophical, theological and scientific term that means nature and all the tracks follow a common thread, that of the human nature and its relationship with the environment, narrated through different experiences and stories. The art work by Adolfo Calandro tries to describe the conceptual content...

The dreamy opener “Dissolvenza” (Fading) is a short instrumental piece that sets the atmosphere and leads to the social committed “A Siria” (To Syria) that alternates raging passages where the music and lyrics describe a  land ravaged by war, where obscurantism and ignorance rule, and softer parts where there’s room for the hope you can find in the pure, sincere soul of a little baby named Siria like the tormented Middle-Eastern country... 

The following “Ombre sul mare” (Shadows on the sea) starts by a quiet piano pattern, then heavy guitar riffs come in, the rhythm rises and frenzied passages alternates with softer ones. It’s a piece full of hope in a hostile world where even the sea of fantasy hides hooks and baits. The music and lyrics praise the force of people who never give up their ideals and are always ready to accept new challenges, who refuse violence and proudly walk on the ruins of a gloomy past trying to be like rain falling in the arid desert of melancholy...

La Stazione delle Frequenze on stage, 2019

“Racconto” (Tale) tells in music and words a story set in an ancient castle that was freely inspired by an old Samnite legend. A mischievous imp called Mazzamauriello falls in love with the blacksmith’s beautiful daughter who runs away, frightened by his behaviour. Upset, all the people of the surroundings follow her leaving the castle desert. The imp then promises to change his way of life and the story comes to a happy end...

The dreamy “Non ci resta che aspettare l’aurora” (We just have to wait for the dawn) is a short piece that depicts a peaceful, pastoral landscape at the end of a beautiful summer day and leads to the epic “Il sentiero del vento” (The path of the wind), a long, complex track divided into two parts dealing with the eternal cycle of the seasons and the regenerating powers of Mother Nature, fears and expectations, the will to go on and overcome all the obstacles you can find on the steep paths of life just to breathe a fresh gust of happiness... Then the joyful “Nuovi Orizzonti” (New horizons) ends the album with its strong charge of optimism and hope for better days to come. 

On the whole, a very promising work that is really worth listening to.

You can listen to the album HERE

More info:

https://www.facebook.com/SDForiginal/

ECCE LUX

 Overture come from Mores, a small town in the province of Sassari, Sardinia, and came to life in 2010 rising from the ashes of another band called Sons Of The Rascals. The first line up included Simone Desogus (drums), Samuele Desogus (guitar), Mattia Serra (keyboards, vocals), Salvatore Sassu (flute, guitar) and Stefano Sanna (bass). After a good activity on the local scene where they started to perform progressive rock covers alternated with their own compositions, in 2018 the band recorded and self-released an excellent eponymous debut album with a renewed line up featuring Luigi Ventroni (vocals), Simone Desogus (drums, percussion, vocals), Stefano Sanna (bass), Samuele Desogus (guitars), Fiorella Piras (flute, vocals) and Simone Meli (keyboards, backing vocals) plus the guest Sara Cuzzupuli (violin, vocals). The overall sound is well rooted in the best tradition of Italian symphonic rock and, as music goes through many changes in rhythm and mood, every now and again I’m reminded of another band called Unreal City. Anyway, I think that the art cover by Mauro Mondiello describes the musical content of the album better than many words...

The dreamy opener “Intro” is just a short instrumental track that sets the atmosphere and leads to the excellent “Lux et Ombra” (Light and Darkness), an amazing piece sung in Italian and Latin and dealing with the eternal contrast between Evil and Good. The music and lyrics evoke dark fallen angels, winged demons and damned souls burning in the flames of hell waging war against the illuminated, divine power of science and knowledge: everyone expects to win on the border between Darkness and Light, in an endless fight raging in a world without glory... 

The melancholic “Il mendicante” (The beggar) starts by a touching, classical inspired, solo piano passage, then soaring vocals backed by the other instruments begin to portray the image and feelings of a desperate, solitary beggar who’s on the brink of committing suicide by jumping from a bridge into the icy waters of the city river...

The following “A Deer In The River” begins with an acoustic guitar arpeggio and is a bitter-sweet piece dealing in a surrealistic way with the problem of emigration. The music and lyrics tell of the fate of a woman who had to leave her little country village on the banks of a river and go in a big city to earn a living. She never feels at ease in the metropolis and her feeling of nostalgia is always strong. Eventually, before passing away, she comes back to her old hamlet and becomes a deer longing for peace in the river...

The following “Crop Circles” is a long track with a mysterious atmosphere and a science-fiction theme. At night a spaceship lands in the middle of a wheat field. Suddenly the wheat start to dance under a strange green light but there’s no sound nor fear... Meanwhile a farmer sleeps and dreams in his house, unaware of what’s happening in the field. At dawn, when the farmer and his family wake up, everything seems in order but in wheat field there’s something new... It’s up to the listener imagine what!

Overture on stage, 2018

The last track, “Ephesia’s Chime” is a dark, disquieting piece where the music and lyrics tell about a child game turned into nightmare. There’s murder and betrayal, hidden secrets that lead to madness and a storm of haunting melodies and voices coming from the unconscious... Here every now and again the music and the subject matter could recall the deep red colours of Goblin but the band manage to add their own strokes of colour to the musical tableau in an effective way.

On the whole, I think that this is a really good work although the band seem definitively more at ease when using their mother language...

You can listen to the complete album HERE

Overture: Overture (2018). Other opinions:

Michael "Aussi-Byrd-Brother": Controversially performing in both English and Italian, their music is full of lush electronics, grand guitar runs and piano prettiness alongside flute, violin and double bass, and their debut offers everything from elegant symphonic touches, classical grandiosity and jazzy detours, all taken even further by charismatic theatrical vocals in the rich vintage Italian prog tradition... Sung in Italian, the music flows with so much naturally romantic passion and vigour, but in English it's a little clunky in comparison... (read the complete review HERE)

More info:

https://www.facebook.com/overtureprogressiverock/

HYMN TO THE SUN

 Sonnar is the fifth studio album by Roman band Nodo Gordiano and was released in 2020 on the independent label Lizard Records with a renewed line up featuring, along with founder member Andrea De Luca (strings, keyboards), the fresh energies of Filippo Brilli (winds), Davide Guidoni (percussion, keyboards) and Natalia Suvorina (vocals). According to the band, this album is dedicated to the inspiring works by French philosopher Gilles Deleuze and was conceived as a hypnagogic journey... divided into three parts revolving around the experience of the Other, separated from each other by demons who, as in the tomb of the Anina, guard the mystery of the Outside, and ends with the verses of the Vedic hymn to Sūrya, a memory of the solar symbolism that, even in darkness, pervades it. The overall sound is dark, challenging and every now and again it could recall King Crimson with a pinch of Oriental flavour, as you can guess looking at the evocative artwork by Davide Guidoni...

The opener “Only Fool! Only Poet!” features lyrics adapted from Friedrich Nietzsche’s The Song Of Melancholy (In Thus Spoke Zarathustra) and starts softly... The pace is slow, the almost mystical atmosphere takes you to a desert land where in a cave there’s a sorcerer who is singing. To escape from the blinding light and the glowing glances of the sun you dive  like an eagle into a dark inner abyss as the echoes of the music soar towards the sky trying to reach the dark side of the moon... The following “Limbic Rendez-Vous” is an instrumental track (vocals here are used just as an instrument to add a touch of colour) drawing you into an emotional labyrinth where memories get lost like a lizard in the middle of a battle of glass tears...

Next comes “Charun”, a disquieting instrumental track where percussions take the lead conjuring up obscure tribal rites. The title refers to Etruscan mythology where Charun is one of the psychopomps of the underworld, a demon whose responsibility is to guide newly deceased souls from Earth to the afterlife... 

The long, complex suite “After Dusk” (20:47) is divided into eight parts: a) Promenade; b) Debut; c) Hey, Mr. Professor!; d) Sgalambro's Ghost; e) Pometine; f) Pale Gallery; g) Transhipment; h) Nightdrive. This piece, featuring nightmarish atmospheres and hermetic lyrics, if I’m not wrong,  is freely based upon Toby Dammit, an episode from the horror anthology film Spirits Of The Dead, directed in 1968 by Federico Fellini and staging a personal, modern version of a short story by Edgar Allan Poe entitled Never Bet The Devil Your Head. The music and lyrics evoke an eerie 21st century schizoid girl, a man haunted by painful memories and ghosts, silent shadows moving around at night and a desperate race with the devil on the edge of madness...

The title of the following “Vanth” refers to a chthonic winged figure in Etruscan mythology, Vanth a female demon that is often accompanied by Charun. It’s a nice instrumental piece full of tension and mystery leading to the final title track. “Sonnar” features lyrics freely taken from a Vedic hymn to the god of sun and begins softly. The mood is dreamy, then the rhythm rises while an invocation emerges from the darkness like a revenant fount from the past as flames of fire burn and blaze and places, faces and stories melt into the light...

On the whole, a very good work, even if it might need many spins to be fully appreciated.

You can listen to the complete album HERE

More info:

http://www.nodogordiano.com/#1

https://www.facebook.com/Nodo-Gordiano-167439964681/

OF BARDS, GODS, PAINTERS AND LOVERS

Alibi filosofico is the third studio album by Pandora and it was released in 2013 on the independent label AMS/BTF Records. After the release of their previous work, Sempre e ovunque oltre il sogno (2011), guitarist Christian Dimasi left the band and wasn’t replaced, so Pandora went on as a trio with a line up featuring Corrado Grappegia (vocals, keyboards), Beppe Colombo (keyboards) and Claudio Colombo (drums, percussion, bass, guitars, keyboards, flute, cuatro, backing vocals) but during the recording sessions they were helped by many prestigious guests such as Arjen Lucassen (Minimoog, guitar), David Jackson (saxophones, flute, tin whistle), Dino Fiore (bass), Leonardo Gallizio (bass), Emoni Viruet (vocals, percussion) and others. The result of their efforts is a brilliant mix of vintage atmospheres and modern sounds. The art cover by Emoni Viruet reflects the musical content and in the rich booklet every track is described with a painting and a short story by Claudio Colombo... 

The long, complex opener “Il Necromante, Khurastos e la prossima vittima” (The Necromancer, Khurastos and the next victim) is a sequel to the fantasy story of the druid Chad-Bat, protagonist of some pieces on Pandora’s previous album where he helped a king and his army to defeat their enemies. Anyway, his final enchantment consumed almost all his energies and here Chad-Bat’s adversary, the Necromancer, takes his revenge: he breaths new life in the bodies of his dying soldiers and awakes an ominous monster called Khurastos that storms upon the king’s army. The theatrical vocals interpret the Necromancer’s fury while the music evokes the battle and the bloodshed...

The epic instrumental “Né titolo né parole” (No title nor words) is also linked to Chad-Bat’s saga. According to the short story in the booklet, a female elf with a magical voice and her faithful knight called Lord Jon perceive the approaching sound of evil forces and set off to the rescue defeating the Necromancer’s army with the charming power of their music. Every now and again the atmosphere could recall the score of an old spaghetti western... By the way, this piece is dedicated to the memory of Jonathan Douglas Lord (1941-2012).

The piano driven instrumental “La risalita” (The ascent) describes a difficult escape from the treacherous waters of the Styx river where Pandora, the protagonist, is trapped after her meeting with Hades, the god of the dead and the king of the underworld. The story continues in the following “Apollo” where Pandora goes through a kind of psychedelic dream and gets lost in a labyrinth of sounds and melodies after ran into Apollo, the god of music and dance, truth and prophecy, healing and diseases, the Sun and light, poetry, and more... Eventually she awakes in the middle of a village where there’s a celebration going on and she begins to dance. The narrative vocals express, through the dialogue between Apollo and Pandora, some reflections about the ever changing concept of art and its capability to mislead who tries to understand it...

The colourful, jazzy “Tony il matto” (Mad Tony) is dedicated to the memory of Antonio Ligabue, an Italian painter and one of the most important Naïve artists of the 20th century, a peculiar character that emerges from superimposed layers of silence with his madness, his genius and the memories of his troubled life spent as a loner, wondering along the banks of the river Po, near the town of Guastalla, Emilia.

“Sempre con me” (Always with me) starts softly, the mood is dreamy. It’s a piece about a love stronger than time. The music and lyrics depict a man and a woman that have been together for a lifetime and keep on walking side by side, overcoming every obstacle, until they’re in front of a celestial orchestra. Their love generated other lives and more love, their image is a true celebration of happiness... The long final track, “Alibi filosofico” (Philosophical alibi), on the contrary, describes the crises of a relationship where the love between a man and a woman can’t stand up against the difficulties of life. The man is trying to find a reason to leave his partner, making up an alibi to hide his plans, searching for the right words to break free. It’s just a matter of different point of views, a philosophical topic about time passing by and the need of new goals...

An excellent album!

More info:

http://www.pandoramusic.eu/

https://www.facebook.com/claudiocolomboprog/

THE GHOSTS OF CHRISTMAS

 Choruscant began life in Chieti in 2015 when three former members of Severed Garden, Joele Turchi (vocals, rhythm guitar), Giorgio Manca (lead guitar, backing vocals) and Ivan Di Sipio (keyboards, backing vocals), after the split up decided to go on and put together a new project teaming up with Davide Di Camillo (bass) and Leo Cornacchia (drums), inspired by prog bands such as Genesis, Jethro Tull, Dream Theater or Haken but also by artists such as Ennio Morricone or George Gershwin just to name a few. After a long, painstaking work, in 2020 they self-released an interesting debut album entitled A Christmas Carol, conceived as a tribute to the immortal Charles Dickens’ novella of the same name, a work that they still find valid today for its description of the complexity of the human soul and for its articulated social criticism. The band's sound emerges as a tasteful mixture of vintage prog, prog metal, folk rock and classical music while the lyrics and vocals try to respect as much as possible Charles Dickens’ work picking up some crucial passages of the novella and interpreting them in a theatrical way. Some guest musicians contribute to enrich the sound with excellent results and the final product is really worth listening to...

The instrumental opener “Victorian London And The White Snow” sets the atmosphere and takes you back in time, on a bleak, cold Christmas Eve in London, seven years after the death of Ebenezer Scrooge's business partner Jacob Marley... Then “To Begin With” introduces the first stave of the novella, “Marley's Ghost” with its incipit, “Marley was dead: to begin with...  Old Marley was as dead as a door-nail...”. The following “Scrooge” introduces the protagonist of the story and tells of the meeting with his nephew Fred and of his refusal to celebrate Christmas with his family. Then Scrooge turns away two men who seek a donation from him to provide food and heating for the poor and only regretfully allows his exploited clerk Bob Cratchit Christmas Day off with pay... Next comes “Marley (Seven Years Later)” that tells of the visit of Marley's ghost, condemned to wonder on Earth bearing heavy chains and money boxes because of his life of greed and selfishness. Marley’s ghost announces that three spirits are going to haunt Scrooge. As for the music, all these tracks are linked together and form a long suite with some passages clearly in debt with Gentle Giant although with a harder approach...

Next comes the long, complex “The Ghost Of Christmas Past” where we can appreciate the talent of the guest vocalist Sara Antonelli. This piece takes us to the second stave of the novella, “The First of the Three Spirits”, where the Ghost of Christmas Past dressed in a shiny white tunic visits Scrooge. The ghost clasps Scrooge gently by the arm and tells him to rise and to come along for a walk, then conjures up scenes from Scrooge’s boyhood and reveals other important episodes of his past, like a Christmas party hosted by his first employer, the birth of his nephew Fred or the end of his relationship with his girlfriend Belle. The aim of the ghost is to warn him about the consequences of his selfish way of life, Scrooge is very upset for this strange trip in the maze of his heart and quickly falls asleep... The music is excellent and here every now and again could recall Genesis and Marillion.

“The Ghost Of Christmas Present”, introduces the third stave of the novella, “The Second of the Three Spirits”, with the meeting between the Ghost of Christmas Present and Scrooge. Scrooge touches the robe of the ghost and they suddenly plunge into a busy market with people buying the makings of Christmas dinner... The following “The Torch” describes the city streets on Christmas morning, where the people make a rough, but brisk and not unpleasant kind of music, and the ghost’s torch: a very uncommon kind of torch that can do magic and restore good humour... Then “Cratchit’s Dwelling” depicts Bob Cratchit's family feast and his ill son Tiny Tim. Next comes the folksy “A Christmas Eve” that describes the journey through the celebrations of Christmas in various places and the visit to Fred's Christmas party while “Ignorance And Want” depicts two starved, dangerous children of Man, a boy called Ignorance and a girl called Want. “Midnight” is just a short passage that marks the ghost sudden disappearance and links the third stave with the fourth, “The Last of the Spirits”.

The hard electric guitar riffs of the dark “The Ghost Of Christmas Yet To Come” introduce the third spirit, the one Scrooge fears more than any spectre he has seen so far. The phantom slowly, gravely approaches... In the following “The Death Of An Old Man” the ghost shows Scrooge a Christmas Day in the future revealing the funeral disliked man... Then, in “An Uncertain Future” Scrooge asks to see tenderness connected with death and the ghost shows him Bob Cratchit and his family mourning the death of Tiny Tim. The ghost then allows Scrooge to see a neglected grave, with a tombstone bearing his name. Upset, Scrooge pledges to change his way of life. “The End Of It” closes the album with a burst of positive energy and a lively marching beat... Scrooge awakens on Christmas morning a different man and from that moment on he treats everyone with kindness, generosity and compassion, embodying the spirit of Christmas...

On the whole, a very good work!

You can listen to the complete album HERE

More info:

https://www.facebook.com/ChoruscantBand

A LOST GARDEN

 Severed Garden were a band from Chieti, Abruzzo, formed in 2009 by Joele Turchi (vocals, rhythm guitar), Giorgio Manca (lead guitar, backing vocals), Ivan Di Sipio (keyboards, backing vocals), Danilo D’Onofrio (bass) and Manuel Cernero (drums). In 2011 they self-released a promising debut album entitled Perspectives featuring five original pieces in neo-prog style and a Genesis cover. Unfortunately, the band didn’t last long after this first effort and gave up in 2015 but their music remains and in my opinion is still worth listening to... 

The nightmarish opener “The Last Cold Winter” deals with the difficult relationship between humankind and nature and features apocalyptic, hermetic lyrics where some Aztec gods like Tlaloc (god of the rain, of earthly fertility and of water) and Ehecatl (deity associated with the wind) personify the natural forces in a silent dream where blood is merged with  tears in a burning, dying land...

The nervous “The Invisible Box” tells about bad trips and strange, claustrophobic visions sucking out strength and freedom. The invisible box represents a prison with no doors nor way out, a pathetic exercise of senseless, unconscious masochism on a desperate psychedelic land... A good metaphor to describe the dangers of drug addiction!

The reflective, melancholic “Close Distance” deals the deep sense of loss for a missing person whose smile will remains forever in the memory of the protagonist while the following “Years Of Rain” is more aggressive. It’s a kind of invective against war, greediness and all sort of human madness that starts by the voice of Martin Luther King... "We have learned to fly the air like birds and swim the sea like fish, but we have not learned the simple art of living together as brothers…". 

The introspective “Hide” could recall Marillion and deals with the contrast between dreams and reality... The last track is a cover of Genesis’ “Firth Of Fifth”, a kind of “bonus track” and a tribute to one of Severed Garden’s main sources of inspiration.

You can listen to the complete album HERE

VIVID DREAMS

 Exedra came to life in Taranto in 2005 on the initiative of Giuseppe Prete and Andrea Rapisardo with the aim of mixing classic prog from the seventies with modern sounds and prog metal. After some line up changes and many years of hard work, in 2012 they self-produced and self-released an interesting debut album entitled Apeiron with a line up featuring Giuseppe Prete (vocals, acoustic guitars), Marco Memmola (piano, keyboards), Luca Orlando (bass), Simone Basile (guitars) and Andrea Rapisardo (drums). It’s a complex conceptual work about the eternal cycle of life (birth – death – rebirth) and the title refers to an Ancient Greek word meaning boundless or infinite. The art work by Giusppe Prete tries to give an idea of the subject matter...

The powerful opener “Fenice” (Phoenix) describes in music and words the need to recover from the misfortunes of life. The title refers to the mythical bird that cyclically regenerates by arising from its ashes that here is just a metaphor to tell about a stubborn will to overcome difficulties. Rage might flow like lava burning down your hopes but pride keeps you alive and for every broken dream you’ll rise again from the extinguished fire. Never surrender!

The reflective “Siddharta” starts softly, then the music and lyrics conjure up a surreal landscape out of time. Like Siddharta you sit on the banks of an eternal river that carries away questions about the meaning of life and troubles. Some calm passages could recall Pink Floyd... Then it’s the turn of the dreamy “Crisalide” (Chrysalis) that describes the impulse to fly higher, following your dreams, like a butterfly that rises from a chrysalis of tears.

The long, evocative “Venga il tuo regno” (Thy Kingdom Come) is a suite divided into five parts: “Sogni vividi” (Vivid dreams), “In un attimo” (In a while), “Macerie” (Ruins), “Siamo noi” (It’s us) and “Verso il sole” (Towards the sun). It tells of dreams, virtual reality, false truths preached through the media in a crumbling world falling down because of man’s greediness, error after error, horror after horror... What’s the matter? Where is God? You need to reach the bottom of the ravine to climb up again...

Exedra 2011

The melancholic, reflective “Siamo qui” (Here we are) with its cutting lights and inner darkness fades into the following “Come il vento” (Like the wind), a nervous piece about the ravages of time on human nature, then the long title track closes the album. “Apeiron” is a complex suite divided into seven parts: “Overture”, “Intorno a me” (Around me), “Le ali della farfalla” (The wings of the butterfly), Naufragio (Wreck), “Oceano di realtà” (Ocean of Reality), “Samsara” and “Io vivrò” (I will live). The music and lyrics unfold going through many changes of atmosphere and mood following the dark shadows of an unavoidable fate, in search for a hidden harmony lost between order and disorder, trying to escape an inner wreck in an ocean of doubts where hazard and destiny play among the many threads of reality… 

On the whole, a good work even if the concept, to be honest, is not always clear. Have a try!

You can listen to the complet album HERE

More info:

https://www.facebook.com/Exedra-110098393668/