BEYOND THE AIR

THE FORTY DAYS, which took 40 days from their first rehearsal to their first concert; psychedelic covers, art rock on a PINK FLOYD above all; sound on WILSON, MARILLION see RIVERSIDE at the start, sound which transforms to sound different, on a CELLAR NOISE in fact.

"Monday" begins with piano and fresh air, modern, cheerful, a velvety synth, yes it makes you want it, far from the announced RPI; a Monday birth day for a melodic tune and Giancarlo with a soft, captivating voice; the warm keyboard drives the point home; chopped riff to warn of the dangers of life and aerial solo which follows without wanting to demonstrate, a good new modern prog in fact with a vintage note by the warm keyboard worthy of the 80's. "Under the Trees" bucolic intro on a well-crafted neo-prog for the carefreeness of childhood; a rock pop title, a tune with an intimate, contemplative break and the guitar-keyboards association well highlighted, without forgetting the rhythm section with effective drums, good for the rest; don't forget Dario's solo which snatches the air. "The Fog" drum pad, an A-HA note and a spatial synth at the start; the sound is more atmospheric and electrified rock like RUSH, in the tradition of PORCUPINE TREE, whose influence the group does not hesitate to claim; a more tortured voice like that of the hero who doubts his condition in today's world, nothing new there; progressive evolution with aggressive guitar solo and velvety synth layers, no time to bother, it's good because it's melodic but not soporific, note the detail! "Broken Bars" beautiful intro, not too worked but gradually latent; the organ and the spleen voice on a PINK FLOYD at the start, a tune which rises on an AOR base, heavy, with a very fat sound, I think of Bob SEGER; the basic riff announces the break with a Zeppelinian, porcupinian sound, a beautiful passage where the guitar traces the voice; come on, the synth goes solo and amplifies the proggy side even more; WILSON and RUSH in reminiscence for the song from the album, oh there a heavy scream, a hard riff, it gets carried away, it comes together really well.

"B4 the Storm" guitar arpeggios for a soaring interlude, amplifying the previous musical debauchery, a contemplative dreamlike space which gives weight to this album. "Bi!" » completely changes register, funky tune at the bar, well rhythmic, Giorgio showing an energetic and creative hit; it is Giancarlo's synth which sets the tone for this surprise instrumental where the Crichtonian guitar swirls pleasantly. "Beyond the Air" meditative piano intro for the hero reflecting on his way of life, air and voice here eyeing the magnificent ENCHANT for a nervous and captivating ballad; when the voice and the guitar complement each other harmoniously for a warm, gripping, vibrant sound and the most beautiful guitar solo on the album. "In Glide" intro à la HENDRIX it was said; it rises gently on a proggy rock with romantic-melancholic touches, a reflective ballad on past life with the desired optimism; the suddenly heavy break keeps the riff and the voice is higher; the piano takes center stage, crystalline, airy I think of the US sounds which flirted with the prog space but which claimed to be rockers above all; a moving final ballad with Moog and captivating Gilmourian guitar accompanying Giancarlo in an intimate meander.

THE FORTY DAYS rock new melodic prog, fresh and very well delivered for one of the surprises of the year, quite simply. Fine-tuned compositions for an inventive progressive mix, ambiances that relax and give the impression that the music is easy to play. Art, musical art-rock which surprises with a new genre, apart from where the influences are diverse but varied enough not to be caught up in a particular genre.(4.5)