ALIANTE

My recent trips to Italy have been revelations in a myriad of various ways, a blessed land with so much cultural diversity that the mind truly boggles. My grandfather one stated: "Italy is not a country! It's a theater". Musically, they have been talented since the dawn of time and today, the level is maintained by a consistent display of immensely satisfying material that just keeps on giving. Aliante has been a perennial favourite since its debut release Forme Libere in 2017, then as a trio led by keyboardist Enrico Filippi (now fronting Teodicea) who has since departed after the second album Sul Confine, as well as the consistent rock-solid rhythm crew of bassist Alfonso Capasso and drummer Jacopo Giusti (both having recorder with Egoband). The line-up has been unchanged since 2022's Destinazioni Oblique with keyboardist Michele Lenzi (who adds bassoon and flute) and guitarist Davide Capitano turning the band into a quartet as well as a change of musical direction what with the added electric guitar playing a significant role. Very happy to state that all of their albums were supremely investigative adventures in symphonic prog, and this latest one is no exception, offering four sizeable tracks for our enjoyment.

"Sopravissuti" proposes a dozen minutes of exhilarating instrumental prog, Lenzi's keyboards suavely announcing an overture to get the juices flowing and he ears alert. The remaining trio kick into gear with shuffling guitars and a thumping bass and drum onslaught, tight as a wine barrel of Barolo. The synthesizers zip around like a hornet's nest disturbed, awaiting just the right moment for capitano's guitar to soar into a sublime melody that scours the heavens. Needless to elaborate that the attributes of symphonic prog is the classic ebb and flow found in classical music, the enduring contrasts from gently pastoral to effusively energetic and twists turning along the way. The track ends on a drum roll.

The shortest track with an 8 minute+ run time, "L'Eco dalle Onde" swerves into a more complex, at times irregular maelstrom of typical PFM circa early 70s form, where twirling keys blend with slippery guitar chops, the bass pummeling ever forward and the drums calling up the remaining pulse. Vigorous, vibrant and at times, venomous, the arrangement finally decides to rest after the ordeal, the flute and acoustic guitar embracing in a gentle dance, slap bass stretching the mood into a slight acceleration where the ripping synths get to join in on the party. The nail is bashed into the coffin with a wicked electric Capitano solo that relies heavily on underlining the main and rather beautiful melody that was hidden under the instrumental foliage since the onset.

The spotlight now shifts to Alfonso Capasso's bass guitar skills on "Orange Blue", as he leads the crew through a thrilling and emotive piece of heartfelt expression, the melody oof the charts gorgeous, the majestic e-piano suddenly appearing, in order to jazzy up the mood, as Alfonso carves the undertow. Great attention to atmosphere and smooth as silk groove, a highlight track among all the other exceptional moments to be enjoyed on this album. At times hypnotic and meditative, while still maintaining a melodic sense that engulfs the senses, the percussive finale serves only to take all the preceding mist and turn it into the track into a glorious sunshine, rays diving through the disappearing clouds, slain by a grandiose rant on the e-guitar worthy of the Hacketts, Latimers and Gilmours. Amazing !

Epic time, ''Nuit Dans le Desert '' spans more than a quarter of an hour, reverting to more exploratory pretenses, a stage for Lenzi to showcase his acuity and touch on the wide variety of keyboards at his disposal. To be graceful as well as audacious is not an easy task, but Lenzi is not an orchestral background colour coordinator only, he enjoys displaying his soloing skills and thankfully, its constantly enjoyable with impeccable flair, a reincarnation of Flavio Premoli of PFM. The guitar shuffles among the vocal effects, recalling Antoine de St-Exupéry's classic "Le Petit Prince", the bass hovering haughtily over the sandy expanses of the Sahara, Lenzi's windswept synth gusts utterly tingling, illuminated only by the glinting stars of our galaxy shining down from above. Capitano's racing guitar taking over in classic prog fashion and shooting upwards to meet the ever-growing glow.

Instrumental needs an attentive and open-minded ear, 'a soundtrack to the movie playing in the listener's mind' has been my description of prog since the very late 60s and I am overjoyed to admire its ongoing progression. Surely among the top of my 2024 list, once again. 5 Invisible souls

A quick look back a little over two years ago when I wrote the review of ALIANTE's previous album, "Destinazioni Oblique", a work that left me somewhat hungry, because of its uneven quality. It must be said that after seventy-six instrumental minutes, digestion was not easy, despite repeated and non-consecutive listening. The new album "Anime Invisibili", while remaining devoid of vocals, only lasts forty-four minutes and a bit, which is much more digestible of course, much more likely to suit the vast majority of our listeners.

The opening track, "Survivors", (10/10) is worthy of the great old-school ROCK PROGRESSIVO ITALIANO, close to the best PREMIATA FORNERIA MARCONI of the early works, no less (a few voiceovers in the opening, normal if we take into account the title of the piece), the guitar precedes an inventive Moog before the second minute and off we go for a frantic and orgiastic sarabande, propelled by the rhythmic pair formed by Alfonso CAPASSO and Jacopo GIUSTI; I just didn't understand the sudden end, I thought the record had a problem!

A little more tortuous, whose opening is made by a voluble organ, with a lot of Moog played by Michele LENZI, "Echo from the Waves", has nothing to envy it qualitatively speaking, the appearance of the flute at 4:32 then of the "bassoon" (too rarely used in progressive music) turns out to be a pure marvel (9/10) before the return of the Moog and a welcome and swift solo of six strings (Davide CAPITANIO) for the finale.

We are not at HERGE, even if the blue oranges arrive, this third piece features the agile bass guitar of Alfonso CAPASSO, embellished with many effects under the fingers of "féetaud" on the piano essentially of Michele LENZI; the most adventurous title of the album which could disconcert some, although increased by a devilishly feverish final part (9/10), it is not metal either!

Night in the desert to conclude this remarkable work by ALIANTE, a track of more than fifteen minutes in which we do not see the hourglass running out, a sign of its rich and exciting side, worthy of a pregnant and qualitative ablution (10/10) with some vocal effects at 8:10 (twenty-four seconds in total) followed by the magical convolutions of the chief keyboardist, already named above and it is amply deserved!

To my great surprise, a potential album for one of the three places on my 2024 podium, as if nothing is ever lost.

Formed in 2017 in the Pisa region of Italy, ALICANTE is quite different than the usual Italian prog standard in that while it looks to the classic years of prog to derive its influences, it didn't look to PFM, Banco, Le Orme or even Area but rather has engaged in a form of instrumental prog that borrows more from the classic sounds of Genesis, Camel, Yes and the neo-prog scene of the 80s. Part of this stems from the fact that two of the band members: Alfonso Capasso (bass, effects) and Jacopo Giusti (drums, percussion) emerged from the Italian neo-prog band Egobrand that cranked out albums from 1991 all the way to 2016 just before ALICANTE was formed. So far this band has unleashed four albums and returns in 2024 with its latest ANIME INVISIBILI.


Basically this album is one long suite that divided into four movements all delivered through the traditional prog rock instruments of the acoustic and electric guitars, keyboards, bass drums along with some extra sounds courtesy of a bassoon and even a didgeridoo. Unfortunately the percussion is delivered with electronic drums and even though the tones and timbres of the percussion sound legit, the actually drumming sounds a bit canned for my tastes as there are no "let loose" moments for the drummer. The opening "Sopravvissuti / Survivors" opens strongly with a creeping keyboard and distant vocals covered in static with a very neo-prog sort of tension builder. As string pluck their way into existence the track finally breaks free into rock mode and then unleashes a series of keyboard sounds resembling a theremin reminding a bit of some Rick Wakeman's solo output. The track delivers some nice twists and turns with more energetic key passages evoking and guitar work on the heavier side of rock.

The middle two tracks are bit less convincing though as the drumming begins to sound less convincing and the melodies aren't quite as strong. In other words it begins to sound more like generic prog, perhaps something of a B-grade take on those phenomenal symphonic prog releases by the Colossus Project. It's about this time the need for a talented vocalist becomes apparent as it sound more like karaoke night awaiting a charismatic singer to jump up from the audience to take the mic and blow away the crowd but alas our hero in shining armor never seems to crash the party. The longest track on board the closing "Nuit dans le désert / Night in the Desert" offers more dramatic moments on par with the first track and serves as the epic closer with a 15 1/2 minute run and a series of "soft" prog motifs that allow gentle breezy guitar sweeps and dominant keyboard runs to punctuate the tracks epic sprawl. Once again the track is diminished by the rather lackluster percussion and the over reliance on the same recurring keyboard sounds that dominate the album.

In many ways ALICANTE crafts a memorable album as the style is distinct from other prog bands of past or present yet somehow doesn't satisfy on either front. On the retro side the album is populated by too many artificial sounding moments mostly notably in the percussion department but also in some of the tones of the keys. As for a modern album the band doesn't really go far enough in integrating past and present and at certain moments i just find myself going "why didn't you do THAT?!!!" A decent album that will please lovers of slow, easy listening instrumental prog but for my ears this one comes off as a bit lackluster on my fronts: songwriting, instrumentation (and use thereof), differentials between dynamics and it's just playing too safe for its own good. None of the members really display any particular virtuosity except on rare occasions where the keyboardist shows he can engage in some nice workouts but often the album dips into a proggy form of slowcore. It just seems a bit imbalanced. Nice but not top notch Italian prog.

A band of veteran musicians from Piacenza, Italia, here releasing a colorful album of masterfully understated prog rock.

1."Il Mondo di Fronte" (9:24) gentle solo piano is replaced by dirty bluesy guitar riffs before full band joins in. Awesome synth-saw solo to open the festivities, then taken over by guitar. Very nice--and tasteful. At the end of the third minute we move into a beautifully melodic motif; the instruments are all woven together so nicely! Then it's back to the blues rock for the second half of the fourth minute. Great drumming. Man! this keyboard artist excels! (Alfonso Capasso) Expansive space-synth solo in the sixth minute. Eventually Alfonso is joined by band in a slow, very spacious late night weave. Gradually the guitarist's play comes forward and becomes the focus of attention. A simple but tasteful solo over some nicely-embellished drumming. At the end of the eighth minute the guitarist's intensity--his passion--really ramps up until relaxing at 8:35 whereupon synth and rest of band jump in to even out the distribution. Nice. A top three song. (18/20)

2. "Frammenti di un Giorno" (7:03) full-band participation in this excellent melodic RPI piece. Keyboard play, guitar soli (especially the second one in the seventh minute), and drummer's embellishments are again highlights with the addition of flute in a very humble, supportive way (even during its extended solo in the fifth and sixth minutes). The flaw is in the rather simple, boring rhythm track. (13.25/15)

3. "Home Trip" (9:10) slow, soft jazz-bluesy bass-led "Papa Was a Rolling Stone"-like music within which bassoon and "distant" electric guitar gently solo. Then, at 2:46, we shift into a very moving guitar slo which elegantly combines David Gilmour's "Time" solo with Steve Hackett's famous riffs from Genesis' "Firth of Fifth." In the fifth minute we return to the "Papa/ Rolling Stone" motif for a bit before opening a door to a completely new passage--one that is initiated by prolonged solo church organ. This ends at 6:56 and is then followed by a Hammond organ into a heavier blues-rock section (with DAAL-like low end melodic base) over which synth solo until all quit for the final 30 seconds of gentle Fender Rhodes notes. Weirdly disjointed song which must be very personal to its composer. (17/20)

4. "Destinazioni Oblique" (3:17) gently played/picked acoustic guitar is soon joined by the narration of Serena Andreni--whose message is lost to me due to its delivery in Italian. As a guitar instrumental, it's okay--nicely meditative. (8.5/10)

5. "Cartimandua" (9:10) I love the more acoustic start to this but then get bored with the middle third in which a long bluesy jam band guitar solos. The third motif established for the final third allows the keyboardist some frontline time to shine but it's weak. Too mundane and straightforward. (15.5/20)

6. "Coda Marea 04" (6:04) delivered in an odd time signature, violin has its turn as the leader until the hostile takeover of the Arp synth at the one-minute mark. At the end of the second minute we move into the heavier, more dramatic "chorus" for some wild (though notably restrained) violin screech playing. Jacopo Giusti's drum solo pretty much fills the fourth minute. (Personally, I think drum solos on studio albums are a thing of the distant past and should not exist--unless they are something extraordinarily ground-breaking or innovative--which this one is not.) After the solo, we dive back into the rock format for a semi-passionate guitar solo. (8.5/10)

7. "L'ultimo Riflesso" (7:42) opens with the first four minutes as a very pleasant, jazz-loungey exposition of pretty background music. Then the lead guitar enters in the fifth minute and slowly teases some powerfully nostalgic emotions out of us with its bluesy somewhat David Gilmour-like solo. Very pretty. Almost a top three. (13.25/15)

8. "La Salita" (7:23) what starts out as a kind of upbeat bluesy psychedelia finishes in full glory of German Kosmische Musik. Nice drumming. (13.25/15)

9. "Tra Cielo e Terra" (9:03) mood-manipulating, steady-on "lounge prog" similar to the music on MAD CRAYON's 2009 masterpiece, Preda. There is a smooth, jazzy feel to this enjoyable RIVERSIDE-paletted song, though instances of PINK FLOYD influence are present as well. I love the horn synth in seventh minute! A top three song, to be sure. (18.25/20)

10. "I Pomeriggi di Armida" (8:03) more laid back lounge-like smooth jazz with some very gentle pacing and even mostly gentle, unpretentious soloing. Very pleasant and relaxing if not so very memorable. Again, the mature confidence of the keyboard player is very impressive--a thing that becomes even more evident in the sixth and seventh minutes. He might be my new favorite--heir to the "Jørgen Grüner-Hagen Award" for consummate-yet-unobtrusive keyboard support. My final top three song. (13.5/15)

Total Time 76:19

B/four stars; an excellent addition of very pleasant and melodic progressive rock music. Nice work, Aliante!

Warning to the progressive population: hide under your armchairs or under your beds! Why ? Simply because the transalpine formation ALIANTE offers us their third album, seventy-six minutes long... instrumental; no need to be a great clerk to understand from the outset that listening will be complex, especially since the founding keyboardist Enzo FILIPPI left his comrades, replaced by a guitarist Davide CAPITANIO and a multi-instrumentalist Michele LENZI who besides keyboards also plays oboe, flute and acoustic guitar! The rhythm pair of the EGO BAND is always present (Alfonso CAPASSO on bass guitar and Jacopo GIUSTI on drums and percussion).

What could pass for an Emersonian power trio has become a much more symphonic quartet, in a way a new group is born, well represented from the inaugural piece "Il Mondo di Fronte" where the six strings considerably change the situation of what we knew of ALIANTE, a piece full of contrasts with melodic ups and downs in shambles (10/10), I don't know the musical past of Michele LENZI but he is impressive in the scheduling of his keyboards, a real festival , a simply phenomenal introduction. Almost obligatory to go down a notch for "Frammenti di un Giorno" introduced on the flute, an elegant and dark mid-tempo at the same time, where the guitar wants to be Gilmourian and the rhythmic base a bit tortuous, a set not easy to follow (8/10).

"Home Trip" which I did not appreciate, too jazzy for my taste, too slow too, not ugly for all that, simply not my cup of tea, the whole thing embeds in its middle a majestic church organ but which I I found incongruous?is not Rick WAKEMAN who wants (7/10). The sweet and short eponymous song offers a female voice narration in Italian (Serena ANDREINI), a joyful acoustic breathing, a kind of oboe matinee interlude (7/10). "Cartimandua" follows, still with a discreet acoustic guitar, a classy mellotron whose intervention is a little short (too bad), before the other guitar, electric this time, takes the piece to its pinnacle, well helped by brilliant volutes multiform synthesizers (9/10).

The return to the highest level is confirmed with "Coda Marea 04" a piece, the only one unfortunately which uses a violin (Marianna VUOCOLO) and mixes brilliantly with synthesizers and the electric piano, a truly original piece which would not have mismatched a album of the crimson king (9/10), Jacopo GIUSTI also offers us a small solo of his favorite instrument halfway through. "L'ultimo Riflesso" begins like a New Age piece, just piano and bass guitar cha cha until the fourth minute when the guitarist and drummer wake up a tad, the six-string solo is by the way. lyricism to die for (8/10). "La Salita", the first title to have been broadcast on social media, begins like a good Uncle Sam's Midwestern blues rock, it's exotic but here too, to say the least, incongruous, before going off in all directions, even after a lot of listening, I couldn't get used to it (6/10).

We have two titles left to complete our pilgrimage, first of all "Tra Cielo e Terra" longer than nine minutes, very ambient even more than title seven in its introduction, but the mellotron from 2:30 changes the situation above all that it leads to an inventive mini moog a bit MANFRED MANN (specialists will understand), Davide CAPITANIO's guitar only appearing in the last third at the same time as a magnificent oboe solo by Michele LENZI, equal to my preferences with the inaugural piece (10/10). The concluding "I Pomeriggi di Armida" more jazzy, reminds me of film music shot in the plain of PO or LATIUM, totally bucolic, with a slender solo piano (the jazz side is there) which precedes the six strings in fusion of the already mentioned Davide CAPITANIO, a piece that flows serenely completed by a brilliant synthesizer solo, a nice way to end this third opus of ALIANTE (8/10).

Although they are active since 2017 that's another Rock Progressivo Italiano band I never had a connection to ... until this gem was released by them in August 2022 via the Italian Mellow Records label. Just like RanestRane as one example, besides the expected symphonic and neo prog flavour their music is also offering proper ambient and psychedelic ingredients. I would say that presumably helped making it an attractive thing for me. And this immediately points to the perhaps most important trademark, the variety, in style as well as expression. Which also includes the incorporated instruments. Originally constituted as a keyboard dominated entity by Alfonso Capasso (bass) and drummer Jacopo Giusti, the band line up on this occasion also comprises multi-instrumentalist Michele Lenzi and guitarist Davide Capitanio.

Man, this comes over with really compelling stuff! Most appropriate for having some relaxed time while intending to enjoy well conceived prog music, over a course of far more than a vinyl playing length. Jacopo Guisti also has contributed the front cover painting by the way. But what appeals so much the more is his straight to the point percussion work, chapeau! To name a preferred track here ... simply prohibited. Some church organ appears on the interstellar meeting. They are already surprising right at the very start, I mean this charming piano intro that soon makes way for a proper rocking behaviour aso aso. Buon divertimento! 4.5 stars, Well, the more I listen, I'm feeling some intense masterpiece appeal.

New direction for me here on PA, as my yearning to give greater coverage to the lesser known, unheralded, and therefore deserving prog artists is becoming overpoweringly necessary. As per norm for the past 20 years or so, I will concentrate on positive reviews for albums that have blown me away, immediately upon first listen or with a timing mechanism that would make an SAS commando proud. There will be a whole series of hidden polished musical jewels for you all to discover and perhaps even enjoy, as much as I have. The bigger known prog names have their devoted fanboys (as well as their critics) to rely on, hence they do not need me to flatter their ego any further.

First up, a rather recent revelation in Aliante from Italy, that has caught my attention as well as my ears with their stunning 2017 debut 'Forme Libere', an instrumental trio featuring keyboard whiz Enrico Filippi as well as the solid Egoband rhythm section of Alfonso Capasso and Jacopo Giusti, a lineup that would also release 2 years later the equally masterful 'Sul Confine'. Both of these albums come very highly rated and deservedly so, as the technical prowess is off the charts and the style refreshingly attractive at all times. Their third one offers a change in personnel with a new keyboard player in Michele Lenzi and a fluid guitarist named Davide Capitanio, both previously unknown to me. The stable rhythmic duo stays put and just keeps the beat nice and steady. The addition of a guitarist has altered their instrumental style, moving away from the keyboard centric power trio format to another level altogether, more classic symphonic style, with a little more grit perhaps. This is exemplified by the stunning 9 minute + opening track, where the keys, bass and drums keep on shining brightly but the electric axe offers up some considerable sizzle. A communion of passion and technique, expounded with absolute gusto and subtle fire, expertly weaving the dramatic ebb and flow of contrasts, this kind of adventurous mind music is simply beguiling. Close your eyes and float away into this crushingly gorgeous celestial heaven. Rapture.

Slight change of pace for the next track, pastoral (flute) beginnings morphing into a sleek shuffle before another twist turns this into a darker mood, splashing Floydian guitar phrasings with a jazz-rock keyboard foundation, powerful bass and marshaling drums in tow. A wilder flute passage reboots the arrangement into another bucolic setting, showcasing incredible restraint before exploding once again into a psychedelic frenzy. Magnificent. Echoing e-piano flurries set up the tic-toc tone nicely, as the slow groove bass line establishes the foundation, atmospheric and jazzy, like some kind of thriller soundtrack. A pause, and a solitary church organ (such a majestic instrument) makes a cameo appearance, conjuring up images of solemn reverence, as new keyboardist Lenzi likes his Wakeman albums, as he gifts his entire battery of keys on this track, with additional organ and synth blasting ahead, unprovoked. The solo e-piano waves a final arrivederci. Thrilling.

The sweet and brief title track (Sideway Destination) is a complete shift, a female voice narration in Italian with a sunny acoustic guitar, defining why we use the word 'intermezzo' to describe an interlude. Smooth as silk caressing velvet, Capitanio is a true minstrel in the gallery. The previous track's gentle fragility flows effortlessly into a more epic composition, where the acoustic guitar halts and the mellotron takes over, a splash of basson and off we go to the races.' Cartmandua' is another 9-minute mammoth of melodic beauty, as the gut-wrenching guitar scours the soul, escorted by some slippery synthesizer forays. Gripping. A feline violin spars with echoing guitar phrasing, as the piece evolves into a jazzier setting where the e-piano is in partnership with the synths and mellotron. The tortured violin spotlight is quite an ear opener, as well as the drum solo but when the quivering guitar shoves the arrangement into the stratosphere, 'Coda Marea 04' is ingenious, investigational, and out there! Refreshingly original jam.

Time to settle down for another contemplative section, mostly piano and a distinct Floydian climate where serenity is incarnate, time for bassist Alfonso Capasso to show his mettle as he leads the lads into a stellar and resolute guitar solo that would make the prog guitar giants beam with appreciation, as the passion and verve just inundates the procession, the ultimate reflex to be sure. Flamboyant. How about a bluesy rocker workout? Va bene, we can play that too. But they will turn it upside down with some swerving forays, insistent riffs and a wicked corkscrew synth flight that makes a blender sound like a toothbrush in comparison. 'La Salita' is lively and bouncy, it nevertheless showcases an absolute comfort level in delivering interesting new music, with a few modern sound and voice effects to keep things on permanent edge. The highly atmospheric 'Tra Cielo e Terra' delves into an ambient and pastoral realm, with jazzy overtones and a tic-toc rhythm that ultimately, at the behest of a sweeping mellotron, morphs into a more symphonic, bass-led groove section. Lenzi gives his synth another massage, rotating and twirling his deft fingers gently, as the arrangement becomes even more insistent and passionate. He is pretty adept on the basson, so why not give that mistreated instrument a platform to shine? The final track just maintains the unimpeachable quality of all, I repeat, ALL the preceding tracks, a jazzier, almost serene mood armed with impeccable notes and an out of the blue molten lava guitar solo that will sear your ears, mind, and heart, pretty much in that order. Shuffling drums, bouncy bass lines, and slithering keys complement the deal.

76 minutes of blowing, flowing and glowing adventure, one can only hope that the prog audience catches on to these masterful Italians as I have rarely crossed paths with such overt and focused talent. To make matters worse, the two previous Aliante albums are just as stellar, albeit in a different, perhaps more conventionally restrained style. Something to discover for fans of instrumental prog of the very highest quality.

5 sidewinder gliders

Aliante come from Pisa, Tuscany, and took form in 2017 on the initiative of two former members of Egoband, Jacopo Giusti and Alfonso Capasso. The same year they released an excellent debut album, entitled "Forme libere", on the independent M.P. & Records label with a line up featuring Jacopo Giusti (drums, gong, percussion), Enrico Filippi (keyboards, piano, Mellotron, Moog) and Alfonso Capasso (bass) plus the guest Serena Andreini (narrative vocals). It's an almost completely instrumental album where the musicians experiment and express their own ideas and musical formulas freely inspired by bands such as Le Orme or Emerson, Lake & Palmer. According to the band, the art cover by Jacopo Giusti, an oil on canvas painting, tries to describe the idea that there's no need of something pre-conceptually established in any kind of artistic creation...

On the short opener 'Forme libere' (Free forms) you can hear the narrative vocals of Serena Andreini introducing the subject matter. Life teaches us how to know shapes, colours, emotions, how to love them and make them our own, it also gives us the opportunity to invent new ones, to mix new shades but we always have to change perspective in order to have new forms to observe, free forms to model and paint... The short introduction fades into the following 'Kilowatt Store', a powerful track full of energy and dizzying keyboard rides...

Next comes 'Tre di quattro' (Three of four), a beautiful piece with a spacey tinge that begins by soaring melodic lines and a dreamy atmosphere, then a pulsing rhythm section and more experimental keyboard sounds evoke dark, lunar landscapes and fantastic voyages towards far stars and unknown planets...

'Etnomenia' is sprinkled with exotic flavours and opens with ethnic chants in the background and a drum solo pattern, then the keyboards backed by the rhythm section draw dreamy melodies evoking far savage landscapes and adventure films of explorers and travellers...

'Kinesis' starts by a slow pace and a mysterious atmosphere, then the rhythm gradually rises for a nocturnal ride through the empty streets of a modern metropolis (at least it's what the picture in the booklet associated with this piece might suggest) while the short 'Coda: Marea 03' evokes a sense of impending change...

'L'ultima balena' (The last whale) conjures up scenes from whaling and could be a perfect score for a film about a dangerous voyage on a sail ship across forbidden seas and lands on barbarous coasts. Get ready for harpoon shootings and bloody fights against terrible creatures, imaginary or real...

The last track, 'San Gregorio' (Saint Gregory) was inspired by the life of Gregory of Utrecht, follower of Saint Boniface and abbot of St. Martin's Monastery. Three years before his death in 776 he was hit by a paralysis that gradually spread over his entire body. At the approach of death he had himself carried into church, where he passed away. This excellent piece is divided into five parts - 'Ottava nota', 'Utrecht', 'Il convento di San Martino', 'La paralisi' and 'Kinesis (Reprise)' - but the plot, of course, is up to the music and your imagination...

On the whole, an excellent debut work.

In Aliante, there couldn't be a more appropriate name for a new Italian prog band! Formed out of parts of Italian Neo- proggers Egoband from the Nineties, Aliante translates to `Glider' in English, and that couldn't be a better way to describe the way their instrumental music soars to great heights on their colourful and joyous keyboard-dominated 2017 debut `Forme Libere'. Despite being another of those bass-drums-keyboards trios that pop up in progressive music once in a while, Aliante rarely sound like Emerson, Lake and Palmer (the group usually instantly associated with that kind of set-up), instead they closer resemble parts of Le Orme and a wide range of the old RPI guard with their flamboyant symphonic approach, and this endlessly melodic first effort is a sonic treat to the ears of prog-rock fans, Italian or otherwise.

After a spoken word introduction, `Kilowatt Store' is a peppy, high-energy and infectious proper opener, packed to the gills with Enrico Filippi's spiralling Hammond organ and sparkling piano runs, backed by Alfonso Capasso's grumbling bass and Jacopo Giusti's punchy drumming constantly driving the piece forwards. The first stand out moment, `Tre di Quattro' begins as an elegant and deeply moving solo piano showcase before expertly building into a flurry of wig-out keyboard soloing and wild thrashing drum tantrums in the proud tradition of both legendary Italian proggers Goblin and Le Orme at the their symphonic grandest.

`Etnomenia' alternates between mellow percussion-driven ambience over lightly jazzy piano ruminations and tougher strident bursts, and `Kinesis' is a shorter joyful and victorious theme that joins with `Coda: Marea 03's swooning Mellotron lifts and runaway drumming. One of the more retro inspired spots of the disc, the near-nine minute `L'ultima Balena' is a extended suite of reprising little themes - striking classical piano flourishes laced with the pomp of endless Italian prog classics past one moment, Genesis-flavoured Moog runs and regal synth themes. Album closer `San Gregorio' then makes for an impossibly pretty farewell, carried largely by the most romantic and embracing of piano playing, sweetly murmuring bass, nimble snappy drumming and delirious synth noodling, and the classical fancy that permeates the piece ends the disc in luxurious fashion.

Running a welcome vinyl length of around forty-seven minutes which ensures it will be easy to re-spin often, here is an album that basks in its soloing-heavy proudly `proggy' heritage without being a mere uninspired or lazy vintage remake. `Forme Libere' calms and dazzles in equal measure, is intelligent instrumental music with endlessly memorable themes and full of warmth, colour and movement, and it's an album that reveals Aliante to be a group of talented musicians of restrained skill and great taste. More please in the near future, gentlemen!

Four stars - but if you love instrumental albums, add a whole other star.