AURORA LUNARE

I was really hoping Aurora Lunare would join the elite RPI 2014 releases that encompass such names as Logos (wow!), Nodo Gordiano, Ad Maoria, Ego, Phoenix Again and Zuffanti, but forced to admit that it sits on a secondary tier, together with the similar Laviantica, even after multiple spins and revisits. Two keyboardists, a prominent bass maestro in Luciano Tonetti as well as your typical RPI manic drummer named Marco Santinelli, as well as some fine and well respected guests should have been a recipe for stardom. There are some fabulous pieces here that are outright classics such as the flute-saturated "Mondo Fantasmatico" as well as some lesser successful stuff, so it will create a feeling of being a mixed bag for me.

It all starts out quite promising with four real kick-ass tracks, beginning with the splendid opener, "Evasione di un' Idea", a parping synthesizer-led extravaganza that also features conspicuous bass and lead keyboardist Mauro Pini's effusive vocalizing. Well-constructed to maximize effect, the martial drums intone a harsh feeling of impending liberation, the intense keyboard symphonics definitely leading the parade, and the controls are set for a very pleasant ride. The quality truly stands out after multiple spins, a memorable workout full of charm, edge and delight.

The pace keeps on with the excellent "Eroi Invisibili", a track has many highlights such as the devilishly clever piano section courtesy of the masterful Stefano Onorati, a nearly 9 minute of sonic excursions that has little hints of past classics like Curved Air's fabulous "Metamorphosis", in that the piano orchestrates the arrangement first and then veers it into a more conventional prog piece, complete with that by-now familiar voice of Alessandro Corviglia of La Maschera di Cera fame. He does a crack job at elevating the emotions, aided by extended flute and synthesizer soloing. Another damn good uplifting track as the voluptuous church organ supplies added sensational depth.

The apex is reached convincingly with "Mondo Fantasmatico", as it has everything you want from RPI, clever melodies wrapped in mysterious contrasts (the choir work blending in with stupendous bass phrasings is to die for), strong groove tendencies and sizzling keyboard work that will satiate your prog cravings into many multiple revisits. When the electric piano shoulders the groove and everyone jumps on board, you get a Stealy Dan meets RPI feel that is out of this world, funky, driven, resolute and dynamic. Gianluca Milanese's magical flute flutters brilliantly, a stellar track that just kills me every time I get near it. Delicioso!

"Reflessi Indicativi" keeps the angst front and center with slightly more dissonant tendencies, though still loaded with magical ivory playing, stellar rhythmic interplay as well as emotional vocal expressions. The Moog literally sizzles throughout, swirling, cavorting and caressing manically, ably duelling for attention with the elegant piano, mellotron washes notwithstanding. Onorati spits out some electric guitar colorations that only add to the fun. Tonetti's rapier bass is thunderous here as well as throughout the album, a constant beacon of precision and melody.

From this moment on, here is where the album takes a slight dive that has lingered despite many attempts at altering my first impression. This next chapter contains 4 shorter tracks, some great, some not so, and a final Le Orme tribute that is totally out of place with the previous material, as mentioned by my mate Aussie-Byrd-Brother (who as usual, is perceptive to the nth degree!), an obvious puzzling decision to our ears anyway.

The decidedly unsavory "Corsa Senza Meta" is not my favored style, too dissonant and experimental (though I do enjoy those attributes, I dislike senseless noodling), a sonic 'papier-mâché' of weird noises, growling voices, hushed laughter, clichéd accented English quotes and really just a nuisance more than anything. The piano is chaotic, the editing all over the place in terms of structure, I really don't get it. Why?

Thankfully, "Secondo Dubbio" is better, a wilder yet more composed piece loaded with typical Tony Banks ?like synth melodies, a churning Hammond challenging the rather operatic Pini vocals, a cool flute solo and altogether a fine bass ?fueled piece, though somewhat predictable. I would have preferred seeing this piece earlier in the set as an interval between the sweeping giants.

The very short "Interlunio" is a tasty flute salad, something Didier Malherbe of Gong would concoct. Flute fans will love this exercise! The broken glass leads into "Sfera Onirica", an uplifting 4 minute ditty that spotlights the stunning keyboards available, while Onorati picks up the electric guitar again to underline the chaos and the enigma that exudes from the grooves. This is primo quality material once again, sort of the cavalry rushing in to the rescue , only to find the chuck wagons in ruins, smoldering in defeat. Now, I love Le Orme like most prog and RPI fans but this should have been clearly labelled as a bonus track, as it does not sound like Aurora Lunare but rather like the originators themselves, especially with the presence of Tolo Marton on guitar. Do not misunderstand me, the song is a stunning accomplishment, the female /male vocal duet (Pini is joined by Greta Merli) is beyond stellar, playful, emotive and gorgeous. The "Ritorno al Nulla" section from "Felona e Sorona "is enchanting, the solo is devastating but it somehow doesn't jive with the rest of the menu . Even after multiple return engagements, I still have that lingering aftertaste of dysfunction.

Looking forward to their next one though, as all their inherent elements are sheer delights.

4 moonlit awakenings