TRANS​-​NEPTUNIAN OBJECTS

Four major elements caught my instant attention with this sophomore offering, having been recently contacted by Andrea Grumelli, the fretless bass player in this excellent band. Firstly, I have a hard time saying no to bass players, especially when they have been following my page for a while. Loyalty begets loyalty. Number two, a drop- dead gorgeous green cover that pleased my senses immediately. Thirdly, seeing an electric piano in the EPK will get my jazzy juices flowing pronto, as I am a sucker for this elegant instrument since time immemorial. And finally, the concept of an ambient jazz prog collective is always welcome in my little pebble of the cosmos. Ably assisted by guitarist Andrea Ferrari, a multi-dimensional player who straddles classic, jazz, rock, folk and psychedelic influences with apparent ease, Andrea Serino, the serenity of the Fender Rhodes, combined with various electronic keyboards, both giving the compositions a galactic depth that goes very much noticed. Matteo Ravelli the drummer, covers also a wide gamut of stylistic genres, being as comfortable playing percussive implements as the drum kit but intrigued enough by bringing into his repertoire, a wide electronic palette of moods that elevate the atmosphere to the loftiest heights. Very much a total team effort, with all four musicians in the same room (how refreshingly old school), playing, recording and improvising, as if in a live setting.

"Sidus ? Prelude" the wobbly bass and the Rhodes get things rolling in an interstellar jazz realm, dreamy soundscapes that will foreshadow the epic final track of this marvellous album. Setting the warp speed course for "Neptune", the arrangement interweaves leisurely keyboard patters with sizzling asteroid guitar orbits, as the rhythm section navigates a series of complicated vector alignments to suit the pace of the eventual explorations. Hints at the experimental side of King Crimson are apparent in the abstract yet controlled infusion of linear chords, the variable geometric calculations of the bass and drum manoeuvres. Both complex and yet accessible to the ear. The first single is up next, "Magrathea" unites all the sonic basics described in the prologue, a moody, brooding slice of ambient wonder, fascinatingly shown visually on the Youtube video one can look up. A heady mixture of post-rock shivers, ambient consultations and melodic purpose, with terrific, syncopated bliss that genuinely encompasses what this band is about. Often a perennial favorite planet, "Saturn" vehiculates the obvious electronic ring that makes the revolving giant so unique, Grumelli gets to loop in tightly bound circles while the band convulsing in ambient noise that defines the universe.

The mood veers into the experimental, more mathematically precise realms of jazz, as If early Weather Report appeared out of the blue as a constructive influence, the savage guitar evoking images of Wayne Shorter, while the Zawinul-like e -piano ruffles underneath completely undeterred, a real showcase of explorative atmosphere. Grumelli and Ravelli infuse all the polyrhythmic insanity possible, a challenging conversation with the distant stars, as well as a full-blown sonic adventure for the 'closed-eyed, sitting comfortably in the armchair with the earphones on the head' listener. "Ephemeris" is a standout moment here. Referring to our Mother Earth, "Pale Blue Dot"highlights the infinite minuteness of our existence as well as the miracle of life that inhabits only our consciousness, being to busy otherwise dealing with the overall meaningless routine of our survival. Space trekking into outright jazzier territories, the electric guitar takes us for a joyous romp on "Amalthea", discovering Jupiter's third natural satellite, as the aptly named Ferrari races along the tightly luminous tracings of Serino's jubilant e-piano meanderings.

Concluding on the promised grand finale, the nearly 13-minute-long seals the deal on this fine release, challenging the listener to consider the proposed music with a modicum of concentration, and thus being rewarded with a plethora of feel-good vibes. 'Sidus" shows little concern for impatience, carefully building up the tension with clever pace, injecting more than enough melody into an ambient space that expands majestically as the piano, bass and drums coalesce into one huge asteroid of music. When the tasty synthesizer solo joins in, it just serves to set up a stunning and gritty Ferrari rant that convinces once again of the band's innate talent and vision. Veering into a darker ambient feel, almost menacing at times with massive walls of electronic paneling that only seeks to emulate the vastness of the universe. Transitioning back to echoing e-piano musings, as if peace had finally arrived in a quieter space, a temporary lull in the arrangement, as the Crimsonian final section is worthy of the opportunity to set the final touches of appreciation that this recording has to offer. Surely a highlight epic for 2024.

An inspirational offering that deserves to be heard by all fans of progressive rock. See where it takes you, hopefully smiling along the way. 4.5 intergalactic things

It must be said that I was not the biggest fan of the Italian quartet's debut release in 2023, but they are already back with their second and I was intrigued to see how they had progressed. I am not quite sure what has happened but the same line-up of Andrea Serino ? (piano, keyboards), Andrea Ferrari (guitars), Andrea Grumelli (bass) and Teo Ravelli (drums & electronics) has this time managed to hit the mark on everything they are doing, with the result being an album which is far more interesting and compelling than the debut. This album was inspired by science fiction and space travel and the band say the tracks are designed to be suggestions of dreamlike messages, sent into space in search of alien listeners.

I can certainly understand what they mean with that comment as there really is a sense of space, and of being out in the cosmos and if someone was to use parts of this as a soundtrack to a voyage among the stars I would totally agree. Camel is a good point of reference, and possibly Weather Report, as this is dream and reflective instrumental music which just manages to stay on the progressive side of ambient without drifting too far into the New Age. Although the music can be somewhat fragile there is a core of inner strength, and a sense of direction as opposed to just meandering along. Each of the musicians are given their time to shine and the results is something which can be quite Floydian while there are also some elements of Øresund Space Collective and possibly even Ozrics. This is an intriguing album to relax to on headphones at the end of the day.

I will always connect these guys to the extraordinary live performances of Claudio Milano, so I know what they're capable of--and thus I have pretty high expectations of them (as well as high hopes for their process of learning to unleash their TREMENDOUS untapped potential).

1. "Sidus" (Prelude) [01:12] a little Bob James-like Fender Rhodes electric piano lounge opener joined by some weird computer-effected Alva Noto/Christian Fennesz-like noises. Great prep song! (4.375/5)

2. "Neptune" [06:13] Chick Corea miniMoog! Droning saw organ! all presented over/with more traditional jazz-rock fusion drum and bass play. (Rhythm guitar, too.) But the synth solo maintains the lead for over two minutes before yielding to smooth-moving "dirty"-effected jazz guitar who solos for the next 1:15--even over some tempo and motif changes. At 3:45 the motif becomes quite KING CRIMSON "Discipline"-like, even down to the tension build and rising melody lines--but totally modernized, totally "their own." Around 5:20 the Chick Corea synth lead returns--ushering in the opening motif again for the song's finish. Very cool song! (9/10)

3. "Magrathea" [05:46] Spacey synth backdrop over which infinity guitar plays with portamento note play by sliding up and down the fretboard. At the one-minute mark there is a pause in which the band switches gears, picking up a sound palette quite similar to the previous song (Rhodes, CC MiniMoog, Alva Noto/Christian Fennesz sounds, raunchy/dirty guitar sound). With the advent of the fourth minute the sound builds, becoming deeper, louder, thicker, in the three rhythm instruments while Andrea Serino continues his melodic and rather serene Chick Corea-like MiniMoog-over-Fender Rhodes solo play. At 4:01 the synth concedes the spotlight to the guitar. Man is Andrea Ferrari's guitar sound powerful, ominous, and deeply moving! It's like some of Eef Elber's most introspective low-note play on the Focus song, "Orion" (Focus Con Proby). So great! Wow! So powerful! Definitely a top three song! (9.33333/10)

4. "Saturn" [04:26] space synths droning, morphing synth and guitar notes set up a near-Eberhard Weber motif for the second and third minutes with late-onset (fourth minute) slow build of deep/low bass and drums. Really cool! (9/10)

5. "Ephemeris" [07:18] the similarity, for me, to the recent collaborations between Swiss band SONAR and David Torn and J. Peter Schwalm are striking. The biggest difference for me is the slightly jazzier drumming and more active Herbie Hancock-like Fender Rhodes play. The bass and guitar, however, feel straight out of a Sonar song. (13.125/15)

6. "Pale Blue Dot" [04:58] rocket-scraping-the-sky sounds from the guitar while the Rhodes plays gentle Michael Logan/Boz Scaggs-"Harbor Lights"-like at the bottom. In the third minute some cinematic Eberhard Weber-like bass and industrial alley-spanking sounds take over while the Rhodes slips more into sustained background chords. Nice. Very cinematic and chill; feels like the street level life in Blade Runner Los Angeles as well as some of fellow-Milanese band DAAL's cinematic soundscapes. I really, really like this one. Another top three song. (9/10)

7. "Amalthea" [05:21] catchy jazzy bass-line introduces us to this song, quickly joined by improvisational drums and reactive Fender Rhodes accompaniment. In the second minute distant electric guitar sounds gradually rise into the mix, bursting forth into a flashy wah-wah- and talk-box-ed solo over some solid jazz-rock fusion drum, bass, and Fender Rhodes play. While the guitar's flash never stops, Andrea's sound does recede so the Fender Rhodes gets a turn to shine, but then it's the guitar that gets to finish on top. Excellent play from the bass and drums. I like the presence of this, an up-tempo song. (9/10)

8. "Sidus" [12:55] "dirty" treatment of some Frippertronics-like guitar work opens this one until the bass (and tympani) steps in at 1:30 with some Floydian psychedelia. The bulk of the song (after the four-minute mark) then unfolds like a mix of 1970s porn film soundtrack jazz-rock fusion before going SONAR with DAVID TORN (at the end of the sixth minute) and then (at the 8-minute mark) GONG/STEVE HILLAGE glissando guitar showmanship followed by a little MARK ISHAM Never Cry Wolf OST music mixed into the mix starting around the nine-minute mark. What results are some very stark Neptunian landscapes. I appreciate the Vangelis-like solo Fender Rhodes bridge beginning around the 10:00 mark before the band recongeals for the DAAL-like finish. An interesting and very enjoyable song that also could/should accompany a visual story. Though the composition is original (in a DAAL kind of way) I find it unfortunate that each motif is so reliant/derivative of one particular iconic artist/sound. (22/25)

Total Time 48:09

The Sonar, King Crimson, Fennesz, David Torn, Chick Hancock, DAAL reminders are quite real and pronounced. I love the creativity involved with this kind of blending but I would still like to see a little broader dynamics and more unique/individualistic sound come from these very talented guys!

B+/4.5 stars; a near-masterpiece of cinematic music that draws inspiration from an eclectic list of sources. Highly recommended--especially for the science/sci-fi daydreamer type.