PERFECT TYRANNY

It needs repeating that Italy has a long tradition of exceptional musicians, in this instance drummers with legendary status like Franz di Cioccio (PFM), Michi Dei Rossi (Le Orme), Furio Chirico (Arti+Mestieri) and recent maestros like Andrea Orlando, Davide Guidoni, Alessandro Perbellini, Paolo Tixi, and Maurizio di Tollo?among many others. Add Luca Grosso to that list, as his versatility has graced terrific prog albums by Narrow Pass, The Rome Pro(g)ject and Nathan, as well as a flurry of harder edged metallic releases. He also kicked off the Ikan Method in 2022 with "Blue Sun" which I have enjoyed listening to. This band now returns with a new 2024 selection on "Perfect Tyranny", that certainly kicks up a notch from the debut. With a blatant title like that, it is clear that the subject matter is about Control and Submission, two words that seems to define our current misery. I always find it amusing when engaging online opinion blasters groaning about the disappearance of privacy, I ask if they have a computer, a phone and a credit card and when they invariably answer Yes, I submit that they are alone responsible for being "subdued' by their own blindness. There is nowhere left to hide, especially when fewer and fewer people read anymore, relying on short bursts of canned nonsense. Musically, the Ikan Method comes across as a perfect Italian version of IQ in particular, with a very slight but utterly captivating lead vocalist in Davide Garbarino who sings like the wind, in perfect English to boot! Needless to say, with a drum beast like Luca, the bass guitar alliance needs to be more than effective, and Fabio Zunino does a stellar display on up-front and inventive low-end magic. Lastly but not least, guitarist Giulio Smeragliuolo shines like an emerald (as his last name may imply) and keyboardist Andrea Protopapa does just fine, even though I personally would have liked more influence and variety from his fingers.

We have 10 juicy tracks that needed multiple auditions in order to empty out any preconceived notions or similarities as it is clearly neo-prog and concentrate on the finer details that make this work enjoyable. I must admit that it took me three complete spins in order to zero in on the review and get a feel for the music within. Initially, "Enemy Within" does come across as your prototypical neo-prog piece but further investigation peels off layers of comfortable arrangements to find all kinds of details that provide pleasure.

From a brief piano intro that leads to a spirited guitar phrasing and the explosive vocal that ensues, very evocative of Peter Nichols of IQ fame, the insertion of harmony backing vocal snippets and slashes of redolent string orchestration with a hint of baroque harpsichord, simply elevate this opener to a highly dignified status. A wicked axe solo dueling with waltzing synths finalizes the ecstasy. Needless to say, Luca's drumming is muscular and inspiring. Jerky guitars, throttling bass and booming drums shove "Different Worlds" into another, dreamier realm, Davide's vocal acrobatics leaping from serene to operatic, effortlessly gliding along the path towards new horizons. Solid fretboard expressions from Giulio Smeragliuolo deliver the energy to push the boundaries, with a hint of Fish-like theatrics, giving this a Galahad -like feel that is stimulating. "1984" continues the breathless pace, without any hint of rest, blasting an engrossing instrumental barrage and infusing recognizable snippets from Orwell's classic dystopian tale. The electric guitar work gets a gigantic mellotron platform to foster the swagger and the entire crew get into a maelstrom of fury and melody. Three tracks in and the charm is taking root. It only gets even better?

Served by a swerving and winding vocal delivery, "Nothing" has a lot (excuse the pun) to suggest, the insertion of an instantly evocative chorus gives one the impression of familiar ground. Davide hits the high notes like a pulmonary gymnast on a mission, slashed by a reptilian bass assault allied with polyrhythmic mayhem, as well as gritty guitar intrusions, shoving the piece into a whirlwind of 'sturm und drang', and dazzling synths not withstanding. The finale is concussive. Given a much wider breadth to develop some intricacy, the epic 11 minute+ title track is an obvious highlight, with a deliberately more symphonic approach, laden with variations that turn on a dime, immaculate accelerations and agile momentum decelerating attitudes. The sparkling piano mid-section takes the composition into dreamier soundscapes, a distantly forlorn voice lamenting some lost cause, perhaps desperately cementing the hold of control evoked in the lyrics. Even the lead guitar cries out in subdued anguish, the bass carving the path towards some kind of escape. The final section explodes into a harsh frenzy, Luca exhibiting his prog-metal drumming skills with a blistering attack on his kit, at breakneck speeds. An excellent slice of modern epic sized prog, with Davide hitting the higher notes like a pro. Respite comes in the anthemic "Hero for a Day", a condensed track that reduces a more accessible rant into its 4- minute running time, rhythmically square and mathematic, as the guitar takes a slight 80s feel to it, an interesting twist that may wink just a tad at the band Europe. It segues nicely into a companion piece, "Tell Me the Truth" harkens to a familiar IQ/Pallas/Arena- like sound, as expressed by the spiralling synth motif, the deliberately choppy guitars and an overt chorus that comes as no surprise. These two tracks together form a well-packed sideshow. The unexpected dramatics resurface on "The Flood", a perfunctory foundation creamed with a spirited anthem-like chorus, expertly sung, with loads of modulation and counterpoint. There is a slight childlike feel to it that adds to the charm. This bleeds into "Just a Matter of Time", owner of another colossal chorale, fusing glorious lead and backing vocals into one impressive expression, recalling the debut Asia album, as it owns some distinctive AOR qualities, an extended keyboard section confirms the deal, finished off by a rampant guitar excursion. The delicately flavoured "Soul Damage" ties the knot, an instrumental 'arrivederci' that exudes a sense of hope and resilience, two very much in demand necessities if we are to progress and prosper beyond the endless extremities offered to us by our "leaders".

All in all, an entertaining, expertly played and sung list of compositions that provide enough pleasure for repeated listens, which will only increase the appreciation for this outfit.

4 Standard regimes.