LA QUADRATURA DEL CERCHIO

From lovely Imola with its stunning Sforza castle, comes this new addition to the RPI school of prog, offering a classic take, flush from all the legendary influences, but adding a darker, as well as a more contemporary, somewhat investigational twist to the proceedings. Let me introduce the talented five-man blue squadra: vocalist Francesco Ronchi, Nello De Leo on guitars and vocals, keyboardist Cristiano Costa, and the rhythmic tandem of Lorenzo Marani on bass and drummer Jacopo Cinesi.

While there are many moody adornments on the silky opener "Sogni Infranti", the arrangement does eventually veer away from the initial Floydian atmosphere into a crosscurrent of conflicting dissonant melodies that certainly add drama so as to herald the rather operatic vocals from Francesco, who seems to be in very good voice, a set of voluminous lungs that are both expressive and effusive. The windy synths, the churning organ, and the tense mellotron seek only to follow the ardent bass undercurrent and the stabilizing drumbeat.

The cavernous choirs rise and fall on the sombre "L'Illusione dell'Obilio" catapulted forward by an elastic bass line and then exploding into a howling hurricane or organ-fuelled rage. The transitions and tempo changes are expertly navigated, as if bathing in some cosmic nirvana. Francesco scours the sonic crests like a pro, as the slashing guitar riffs pound the valley below (the Rogue poet). A colossal mellotron wave puts this one to bed. The magnificent "Catarsi" takes aim at a more atmospheric realm, eventually settling into an elegant groove (that thumping bass again) as the piano meanders a sorrowful lament, heightened by the pleading voice. Nello's bluesy axe rant shivers and trembles, up and down the intensity scale, propelled along by some majestic keyboard colorations. The piano (which was there all along) re-engages with even more concentration, honing further the direction of the arrangement, which reaches celestial heights as the operatic voice brings down the velvet curtain onto the stage floor.

The impressive "Apologia di Reato", with its flickering wrist guitar is another sombre bass-led reptile, slithering along menacingly as the voice flings itself vigorously beyond the pale, until some well-intentioned keyboard wavering obfuscates the impending doom, synthesizers effervescing like blinding phosphorous, gradually the voice crawls out of the abyss, to finally collapse into silence. Magnifico! The lovely retro sound of "Isolazione" showcases the wonderful osmosis of old school RPI with a more contemporary sound, but very much in keeping with their style of rising levels of thrusts and contrasts, the rifling guitar and the swirly synths being a pure delight, all well anchored by some deft drumming. The relentlessly painful fretboard solo is a showstopper. The passion expressed in the vocal department is equally outstanding. Adventurous and impeccably done.

The mighty organ takes center stage on the wild and at times manic "Madri di Niente, Figli di Nessuno", an obvious wink to Uriah Heep, a track that seeks to blitz intimidatingly with no mercy, a whirlwind of raging voices, Middle Eastern synth sax motifs in a jazzy sandstorm and even some hypnotic psychedelia. The devilish voice spits venom and thankfully gets shown the door and cleared out by a bass security guard.

The final track is the longest one here, clocking in at 7:39 and as such is a perfect finale, a remote mirage of sweltering dunes of sound, perfectly encapsulating their rather unique style. The bass guitar once again flows along like a river of consistent tranquility, leaving the passion to be delivered by the residual instrumentalists and the madman's declaration. The extended finale is a shimmering wave of exalted guitar shadings, keyboard flourishes galore, manic, and relentless drumming and an apotheosis of vocal expression.

I was totally captured by the overwhelming natural rawness of it all, namely the theatrical vocal deliveries, the solid rhythmic pulse, and the fascinating keyboard interventions and the gritty guitar work. This is a band that should have a fascinating career, which I fully intend to follow and to promote as best as I can. By the way, the cover art is absolutely eye catching and luxuriant.

4.5 Squaring Circles