INSANIA

One of the key features that the typical symphonic prog fan expects from a new album is a more than mechanical balance between the main instrumental forces, keyboards and guitar. The interplay has to be tight, but also the melodic and harmonic space has to be granted for each and both of them. And that is precisely the case with Insania, an album that runs brief but loaded with ideas, melodies, atmospheres and amazing solos.

I think the main novelty here is the coming of Roxana Truccolo, the new bass-player and vocalist. She can not only sing, but in addition is bringing with her, alongside a register fitting the Symphonic enterprise, a new vocal timbre to enrich the particular gothic shades that are so lovable in Nexus sound. And, as a bassist, her coupling with Nakamura's drums is just impeccable.

Being Lalo Huber a retro synth wizard, it can hardly be a surprise that the entire record is immersed in vintage sounds, even when they don't detract from an overall feel that is firmly rooted in contemporary times. But the really good news is that he kept also a space and a role for his gorgeus touch with the acoustic piano. Listen to Track 5, La Sentencia (The Conviction), and you will find it there, adding difference to this unique sounding piece, masterful in its 5+ minutes.

The sense of flow continues seamlessly from beginning to end, and the only resource I can find to point out a particular part of the album, besides the already mentioned track, is to say that I prefer the second half over the first, probably because it's there where the music comes up, that is more appealing to the melodic junkie in me.

But the entire album is fantastic, and if you are a symphonic aficionado, you can just jump in right from the very outset and be happy for the next thirty-six exquisite minutes.