TIME VOYAGER

I must admit that this band needs a serious re-evaluation as it just simply did not stick in my mind enough to do any reviews of their preceding three albums which I own, even though they are highly rated and esteemed in the prog community. Things happen for a reason, and I see no shame in correcting this oversight on my part. I am neither an octopus, nor a gentle giant (well, gentle maybe). So, please humor me. This talented band from the beautiful portico-rich city of Bologna uses a peculiar mix of dense symphonics as well as a more accessible sound, characterized by expert instrumental foundations laid down by keyboardist Luca Zabbini and guitarist Marco Mazzuoccolo, with rhythmic support from Francesco Caliendo on bass guitar and drummer Eric Ombelli. Lead vocals are executed by Alex Mari, who possesses an energetic voice not far from the DeYoung/ Kimball style, singing in very slightly accented English. There is a diversity of different styles throughout the set-list, that keep the attention span on constant alert.

The opening piece demonstrates all the attributes listed above, as "Carry On" has a definite classic Styx feel, as the lead and harmony vocals are overtly expansive as if staring into a "Crystall Ball", yet the musicianship remains quite complex, the keyboards and guitars daring to stretch out way beyond the scope of AOR. The melodic content is richly presented, and the delivery is top notch. The next number is a powerful and choppier affair, laden with assorted stop and start manoeuvres, highlighted by the dexterity of Ombelli's impressive wood on skin technique. On "Summer Set You Free", Zabbini relies on some broiling hot Hammond sounds from his organ and does not fail to astound with some ripping solos, a man possessed.

The symphonic bluster returns to the "Paradise Theater" on "An Ordinary Day's Odyssey", a towering edifice (a Bologna characteristic) of clever variation, with a stupendous piano solo in the mid-section that is a sheer delight, as it sets up a majestic chorus that does not fail to impress, veering into a nearly pastoral finale, lavishly rendered with orchestrated grandeur. An amazing track. Fuelled by a pirate-like feel, as if a Jethro Tull track of yore was lost in Italy, "The Lost Ship Tavern" has a ribald, rousing mood, courtesy of folky orchestral accoutrements, and a stunning organ flurry that could have been played by a "Minstrel in the Gallery". Alex Mari's vocal is perfectly adapted to the sung story, the guitars buzz hard, as another round of tankards are delivered to the guests.

Progressing nicely along, "Voyager" is the longest track at 8 minutes + and has that immense quality of initial restraint, as the pace builds up with complicated polyrhythmic gymnastics and the lamenting vocals kick into gear. The mood is reverential and adventurous, with a flurry of instrumental transitions that showcase the extraordinary soloing talents of Zabbini and Mazzuoccolo, altering gears where necessary, throwing windy orchestrations into the mix, an absolute masterclass number. The chugging "Morning Train" asserts the unrelenting continuance, a 'mercurial' vocal display and a song structure that could have been easily a Queen number, what with that hard frizzy guitar tone and a regally playful pomp and circumstance section that has all the nods and winks this side of Buckingham Palace. Fascinating bravado well played! Another unexpected twist out of the blue, the suavely built up "Propaganda" ushers in an up-front Caliendo bass line that shoves the arrangement into a combination of Stealy Dan (the vocal is ridiculously overt), with hints of Return to Forever, as well as some saxophone blaring that astounds. The guitar solo has a jazz-rock feel that is unmistakable. There is a fantastic e-piano finale to kill this baby off. The next four tracks settle in wonderfully, keeping the pace interestingly diverse and also on the ball, coming across as if a suite, at least sonically speaking. Both "Shibuya 3 AM" and "Lonely Girl" are set in a more contemplative form, perhaps more linear that the high shining previous pieces. The splendorous "Mediterranean" as the title implies, casts a neo-classical piano ballad shadow that is most welcome, Alex's compelling voice in tow, a redolent bass flutter nearby and a simple anthemic chorus. Naturally, the pressure is raised when the churlish organ decides to bully its way into the arrangement. Then the twins join hands in communion, like Romulus and Remus repentant. Utterly magnificent, a shining hidden gem that needs to be heard. As if composed near Hadrian's Wall by Roman ancestors as inspiration, "Kyanite Jewel "is another soft-paced song, with sweet vocals and eventual swagger, amid a stout British folk-rock feel, loads of acoustic guitar and pastoral piano attesting to the fact. Absolutely lovely. The album is finished off by another thunderstruck prog-rock blast, "Voyager's Homecoming" seems intent to blow all the previous prettiness into a myriad of starry confetti, I could not help noticing some overt "Thick as a Brick" clues, the Hammond organ's kettle almost boiling, the drums home fire burning, and the singing master of the house building castles by the sea. A pompous, grandiose and overarching 'arrivato a la casa'. I am very glad, I finally got the push to review this album and now fully comprehend why its is to be found on so many top records of 2024 lists.

4.5 minute expeditions