NEBULOSA

Nathan are one of those rare yet not unheard of Italian prog bands that were active in the late Seventies, yet never got around to releasing a proper original recording until the modern era. The group haven't actually been inactive in that time, however, as they've performed as a cover band (and still do to this day) presenting extravagant recreations of the classic works of Genesis, Pink Floyd, Yes, King Crimson and Supertramp, as well as more surprising choices such as Caravan and Hatfield and the North! So considering their devotion to the English progressive groups, it's very surprising to discover that their debut album of all-original material is sung warmly in Italian and highlighted by classical symphonic fancy in the grand proper RPI tradition!

Despite a confusing album title and cover art that might make some curious purchasers think they're getting a space-rock album for their money, Nathan have delivered a wonderful debut album for lovers of symphonic Italian progressive music. Everything is in its right place, from hearty vocals and adventurous instrumental soloing passages performed by skilled musicians of great experience, but a constant uplifting and joyful mood with several big `wow' moments arrive that unexpectedly lift the album to another level altogether. It tells a futuristic tale of a population's migration in search of water in a world that has run dry of aquatic resources, the `Nebulosa' of the title a comet that leads the way to a new salvation.

Looking at some of the highlights, the first few tracks such as `Diluvio' and the title track set a template for much of the disc, melodic and vocal-driven accessible pieces with stirring and easy to enjoy repeated choruses, with carefully executed shorter bursts of keyboard and guitar soloing in and around the actual tunes. But it's `Resto Qui' that delivers the first extended instrumental passages of dazzling synth runs, fanciful piano, sly murmuring bass and grand reaching guitar themes around a dignified vocal, the closing finale bursting with energy and purpose. `La Coltre Viola' reveals the ravishing classical-flavoured piano fancy and whirring keyboard/Moog sophistication so beloved of endless Italian progressive works, and floating flute and a winning twin-guitar climax are the highlights of `A Ferro e Fuoco'. `Il Tempo dei Miracoli' holds a noble vocal chorus with lovely harmonies, plentiful slow-burn guitar embers and a grandiose symphonic close with a crashing beat, and the band simply outdoes themselves on the nine-minute `Il Fiume Sa'.

`Nebulosa' is not especially original or ground-breaking, but it's expertly delivered by a talented band and both vocally and instrumentally similar to the classic Seventies period of Le Orme. Lovers of the recent Logos album `L'enigma della Vita' will also find much to enjoy here, as well as fans of the chiming guitars of Marillion and pristine coolness of the English Neo-Prog bands in many moments. It gets Nathan's original career off to a great start, so hopefully the band will have the confidence and ambition towards their own welcome work and not just focus on cover version performances in the near future!

Four stars.

Nathan is a new player on the Italian prog scene, though manned by veteran musicians with a variety of cover bands, mostly prog and some not so prog. Finally forging their own destiny with their debut oeuvre "Nebulosa", these crafty lads from Savona have set a very lofty standard, one that has been growing in recent popularity in Italy, with a slew of burgeoning talents such Il Paradiso degli Orchi, Ad Maiora, Logos, Ingranaggi delle Valle, Unreal City, La Coscienza di Zeno, Progenesi, Mad Crayon, Mad Fellaz, Nodo Gordiano, Phoenix Again, Qirsh, Ranestrane, Sezione Frenante, among many many others?The 'boot' is doing fine, constantly revitalizing itself, a land where music still means a lot to many people, replenishing the fountain of prog with gusto and brilliance. They are also supremely well-balanced with a total team effort mindset that still leaves a lot of room for instrumental exploration. Keyboardist Piergiorgio Abba is a splendid piano player, doing fine on organ and synthesizers, while coloring all the arrangements with solemn tapestry as well as zippy phrasings. This solid backbone gives axeman Daniele Ferro a lot of room for scratching, searing, sizzling and cajoling his fret board and he does so perfectly. Tectonic drummer Fabio Sanfilippo nurtures the refined RPI drumming tradition, keeping a strong rhythmic pulse to the entire musical provisions. Finally, singer and bass player Bruno Lugaro handles both with aplomb and occasional theatrical expanse, his convincing singing is typical of the Italian school, praying and pleading one moment and brash and exalted the next.

Noteworthy are the longer tracks that clock in the 7-8 minute range, as they provide a wide panorama of stylistic curves and straight lines, with the occasional chicane where things suddenly slow down to a crawl. Mini-epics such as the title track, the magnificent "Resto Qui" and the muscular then soft "A Ferro e Fuoco" showcase the brilliance of their technical abilities within strong and creative compositions, supremely confident and courageous. In this context, guests flutist Davide Rivera and pianist Marco Milano add more than just elegance and craft, infusing grandeur and majesty as well. "A Ferro e Fuoco" in particular is one of many outright masterpieces featured on this disc.

But the best track here is the sublime, I mean SUBLIME, "Il Tempo dei Miracoli" that has a slight tinge of Blackfield's poignant masterpiece "Pain", a seductive melancholia that swoons the heart, saddens the soul and yet somehow, still shines brightly with hope. The main melody is achingly expressed in Italian by singer Bruno Lugaro, who takes his sweet time in delivering his bruised lament, followed by up the most honeyed guitar licks ever and scouring mightily into the night sky. The colossal choir apex half way through gives the composition more impetus to nail it down, just perfectly, as Ferro vacillates on his axe. The tempo is kept torrid until the final hurrah, mellotron and drums in unison, laying down another velvet carpet for the guitar to slide into nirvana. A grandiose slice of heart- breaking prog balladry.

Armed with a more Genesisian aura is "L'Attesa", once again a cleverly orchestrated piece of dramatic prog, as only the Italians seem to mother with apparent ease. This piece has another heavy flurry of guitar magic, bass firmly grounded and the motors running turbocharged. The keyboard work again suffuses a myriad of ornamental detail that just elevates the lyrical disposition of the vocals. Abba even dares to pull off a classic Banks organ blast that can only make one smile.

Rambling and raging is the 9 minute "Il Fiume Sa", a searching voice passionately telling its fluid story, shoved along by illuminated synth runs and a stunning bass line, down low on the neck, a thing of beauty and persistence. Ferro once again conveys a series of incisive guitar bites and chomps that get the heart beating rather fast. All in all, including the delightful shorter interludes like the exquisite "La Coltre Viola", this is one hell of a discovery and another feather in the recent RPI cap.

Ancora, per favore!

4.5 billows