AREKNAMÉS

"Love Hate Round Trip" is the 2nd full-length studio album by Italian progressive rock act Areknamés. The album was released through Black Widow Records in 2006. It´s the successor to the band´s eponymously titled debut album from 2003. There have been a couple of lineup changes since the debut album as the band have opted to add a dedicated guitarist to their ranks in Stefano Colombi. Colombi recorded a guitar solo on the debut album (on the "Boredom" track), but wasn´t a permanent member on that album. There´s been one more change in the lineup as drummer Mino Vitelli has left and has been replaced by Simone Antonini.

"The skeletal landscape of the world" opens the album with some pretty heavy riffs and rhythms which wouldn´t be out of place on a Black Sabbath album, but Areknamés are a more eclectic bunch, and stylistically the material on "Love Hate Round Trip" is a combination of many different hard rock and progressive rock elements and styles. The debut album was strongly influenced by Van der Graaf Generator (especially the vocals), but "Love Hate Round Trip" doesn´t rely as much on that particular influence, although the influence from the darkness and creative songwriting of that band are still audible. Other influences heard on the album are from artists like Pink Floyd and King Crimson.

Lead vocalist/keyboard player Michele Epifani is a central figure in Areknamés. Of course as a frontman there´s great focus on you, but it´s not his singing skills or voice which are anything extraordinary (in fact he isn´t the most interesing singer out there), but instead his organ/piano/mellotron contributions, which are a great asset to the music.

Featuring 12 tracks and 78:02 minutes of music, "Love Hate Round Trip" is arguably a very long album, and maybe also slightly too long, but overall the quality of the material is high, and Areknamés successfully incorporate both heavy, mellow, and atmospheric parts, to make "Love Hate Round Trip" a relatively varied release. The album features an organic and decent sounding production job, and upon conclusion it´s a good quality sophomore studio album by Areknamés. A 3.5 star (70%) rating is deserved.

The Italian band AREKNAMÉS has become known as one of the most inventive retro prog bands of the 21st century with a dark progressive style that has meticulously studied dozens of progressive artists of the past and blended all the styles together in hitherto unforeseen ways. Led by composer, keyboardist and vocalist Michele Epifani, the band got its start in 1997 first with the name Lentofumo and then switching to Arco del Pendolo and then once again to Mors in Fabula. Apparently none of these monikers really hit the spot so in 2001 Epifani settled not the name AREKNAMÉS which came from a track title on the album "Pollution" from the Italian master Franco Battiato.

Each band name showcased a different stylistic approach from Lentofumo's vision. Arco del Pendolo was more of a jazz-rock band but once bassist Piero Ranalli was added the lineup of Lentofumo on a large number of keyboards along with then drummer Simone Antonini, the band's names changed and so did its style into a guitar-free organ based trio in the vein of Atomic Rooser, Still Life, Dr. Z and Quatermass. When the band became AREKNAMÉS, drummer Mino Vitelli joined ranks and the band's morphed into a dark psychedelic progressive style primarily inspired by Van der Graaf Generator.

Although the band would later recruit a guitarist and thus shifting its sound style radically upon each subsequent release, this self-titled debut which was released in 2003 showcased the band in full VDGG mode showcasing Epifani's command of the organ, electric piano, mellotron, synthesizers, harpsichord along with along with acoustic and electric guitars as well as lead vocals. Much in the vein of Peter Hammill's eclectic charisma, AREKNAMÉS learned the art of masterful compositional meandering all led by intricately destined melodies and brooding atmospheric moodiness which sort of made them the masters of retro VDGG worship however the band also listed over 50 other artists as primary influences therefore the music on this one is chock full of retro 70s styles intertwined like a delicious plate of spaghetti.

This album of six tracks plays almost an hour with almost every track exceeding eight minutes with the exception of the mere near six minute track "Wasted Time." While VDGG is without a doubt the primary influence on board, the band clearly tucked in some Canterbury jazz, dissonant King Crimson, pastoral symphonic prog of Genesis as well as other Italian prog bands more in the line of Osanna or Il Bigletto di Bronzo when it came to rocking out. Add to that some psychedelic touches which at times vaguely remind of Pink Floyd but in a much more cerebral Krautish way. All in all Lentofumo performed an exemplary task of capturing the sounds and moods of so many disparate classic prog acts and succeeding in making it sound original. Once again his eccentric vocal style nods to Peter Hammill in how it's all carried out.

Unlike most Italian prog bands, AREKNAMÉS did not use the Italian language for its lyrics and therefore does not sound particularly Italian but then again given the amount of influences on board doesn't really pinpoint any particular region of origin although the band was formed in the Italian city of Pescara. One of the most retro features of this album is clearly the choice of retro keyboard sounds ranging from vintage organs to classic mellotron sounds however despite everything retro in revival here, the band throws in enough contemporary sounds to sound relevant. Some of the keyboard riffs and musical motifs are more out of the Spock's Beard playbook then anything from the golden years of prog. Overall this is a very trippy and weird album that takes a magnificent journey through many musical moods and variations of an overarching prog theme.

No, not a case of loss finally! Fortunately. Totally missed this for a long time, now since the album already has been released eight years ago on Black Widow Records. AREKNAMÉS was the project of classically trained composer Michele Epifani, who also contributes keyboards and vocals here. And so, quite naturally, the key instruments are in dominance. Though, on the other hand, what would this be without having skilled musicians on bass, guitar and drums at his side? It is said, stylistically seen, every band album clearly differs. This one definitely is rich in variety, inspiration and melody. A clever blend of art rock, psychedelic, canterbury/jazz and symphonic influences. There is some crimsonesque impulse to smell as well, like on Alone, but overall this is very accessible and melodic stuff, less edgy.

Beached opens with a smooth, jazzy flow. They are operating with so much ease through diverse twists and turns. Dateless Diary evolved to my album highlight in the meanwhile, simply beautiful. The Very Last Number makes a fantastic symphonic suite, very well done. Reminds me of Andy Tillison's The Tangent a bit. But then - what a mess - probably they were running out of ideas concerning the chosen track title during the mixing period? ... or furthermore this really was ment in a way more deeper sense? As I'm not aware of any sign of life concerning this band since then. Too bad. Anyway, you shouldn't miss this revelation.

After a first album in 2003, critically well respected and appreciated, and responding to incongruent expectations of those who dreamed of hearing VDGG interpreted by a group from the Canterbury scene, Areknames gave us Love Hate Round Trip, two-headed, so obviously between the monstrous and the all too human. On the cover of the booklet, a picture of a suburban street; probably from a Anglo-Saxon town. Close-up a flight of four steps of a gray-brown staircase, bordered by a same color stone wall, leading, as a line of flight, to a funeral store background. The letters of the sign of the shop appear upside. Gillman Funeral Service. In the foreground, written on the wall with white paint, the album title: Love Hate Round Trip, a real announcement of what it contains. The reality is a yo-yo, the constant change alone. From love to hate, dark to light, a permanent round trip. "The vortex of passion / Makes us alive and dead / At the Saami time". Inside the booklet there is the same aesthetic state of mind. The text of each song is illustrated by a picture or a dark and mystical painting, the image of this painting by Balthus or Bosch that can not leave us indifferent. A photo of the group in silhouette in the evening light closes the book. We do not even distinguish the faces. This mysterious shot overcomes the traditional list of acknowledgments where one crosses a multitude of names, some known and famous, whose presence here seems logical (Colosseum, Frost, Man, Wicked Mind of course), or seems surprising (Agitation Free, Wishbone Ash, Chocolate Watch Band, Mahavishnu Orchestra). The booklet also tells us that we will hear trumpet on several occasions. Stefano Colombi is this time sought full- time guitarthrough beautifully subtle arrangements, very technical and inventive soli. Then it will be found that the main difference with the previous album is the most important place given to this instrument even if keyboard parts are important (except for the melloton who is more discreet). Despite these changes, these innovations, music Areknames may seem familiar (especially for fans of VDGG). First we think to know it by heart, but that's not counting on its mutability, the way to change according to the strength and condition of our soul. Depending on the angle of approach (by car, concert, with friends or alone with our pain), its appearance is changed by what happens to us.

Probably every Prog Lover has heard, at least one time in lifetime, a Van Der Graaf Generator album, Certainly one of the most important Prog Rock bands which plays a key role also in the history of Rock Music. Following the echoes of this band was born in Italy, around 1997 (with several changes of members and of band's names) a brilliant band, which in 2003 they present themselves as "Areknames" (the same name of their first album), like a first album song of Franco Battiato. They had immediately success both by the public and critics so they left for a tour around Europe in 2005, and in 2006 they released their second album "Love Hate Round Trip".

At the beginning they was three member. Later the guitar, that previously was "ornamental", became (fortunately) structuring part of the band with Antonio Catalano, giving it a greater musical power. Without doubts the organic of the band is truly remarkable, but the real "Workhorse" is the multifaceted Michele Epifani. His musical curriculum is incredible: he's got a Master's degree in Musicology, two Diplomas in Composition, a specialization in Composition, also is keyboardist, songwriter, singer, compositor, arrangements maker. Maybe I forget somethings.

In 2010 they release their third album named "In Case Of Loss...", personally their masterpiece. In this album the sound is more complete than both previous albums, more elaborated and original. There aren't too many VDGG reaches as two previous works, each piece shines its light, so is possible to appreciate their high quality band.

The seven tracks album starts with "Beached". The usual sound of the band now appear more fluid, more musical. It's as if it was a production apart. I love so much that musical passage in the middle of the track, which introduces the guitar riff playing with keyboard and after that sufferer voice with the use of the echo! Another example more belonging to the band is "Dateless Diary", which contains in addition to the band's characteristics, the guitar. The icing on the cake! The same goes for the song "Where".

With the participation of some guest musicians, "In Case Of Loss..." plays with new elements, as in the second track "Alone", Carmine Lanieri Saxophone plays. The violin of Pierluigi Mancattin gives more sweet grains to the album, as is possible to listen it in "Don't Move". Sara Gentile cello in "Don't Move", "Where" and "The Very Last Number", and Cristiano Pomante vibraphone in "Beached" "Alone" and in the suite "The Very Last Number"

The most powerful song (my favorite) is "A New Song". After a "fairly sedate intro" followed by a slow guitar accompaniment, starts the battle! An increasing organ plays the two "same notes", and as the explosion of a supernova starts the guitar riff disrupted and magnetic. In a psychedelic atmosphere a gloomy bass line punctuates, together with drum, the rhythm to a beautiful solo. With some "Goldbuff" passages (and in general of VDGG) come back the voice which finds the inspiration to "A New Song". Fantastic reprise! In the final an Epifani keyboard solo (which reminds me another keyboard solo, but that unfortunately my mind can't never or doesn't want to remember) concludes the song.

The album ends with a suite. "The Very Last Number" is a surprise for me. A 21 minutes song with a dip in the past. Back to old memories introduced by a fluffy saxophone, and then after the listener is awakened by a galloping rhythm. Sometimes a violin plays recalling passed memories. It's like being cradled by something during the song. A very curious experience. I think it is a very valid song with many interesting passages and change of times, as they have accustomed us since the beginning.

This album represent their breakthrough, their maturity gained during their activity. An album which sounds like the best prog tradition, but in our days. All thanks to Michele Epifani, an artist with a thousand facets, always ready to accepts new challenges (as SUBTILIOR project).

5 Stars - "The Other Side Of The Italian Prog Style"

After a live album in 2007 and some personnel changes, in 2010 Areknamés released "In Case Of Loss...", their third studio album on Black Widow Records, with a line up featuring Michele Epifani (keyboards, vocals), Antonio Catalano (guitars), Simone Pacelli (bass) and Luca Falsetti (drums). During the recording sessions they were helped by some guest musicians as Carmine Ianieri (sax), Sara Gentile (cello), Pierluigi Mencattini (violin) and Cristiano Pomante (vibraphone) who provided more colours to the musical fabric. The result is excellent, the overall sound is richer and even more personal than in the past, less indebted to Van Der Graaf Generator and in some way jazzier.

The art work features two pictures shot on a beach near St. Agustine, Florida in 1896. They testify the finding of a mysterious whale carcass that was initially supposed to be a giant octopus and that was called the St. Augustine Monster. The opener "Beached" is linked to the art cover, pulsing bass lines and light keyboards waves set a surreal atmosphere. You feel like a giant octopus, a strange creature carried ashore by the tide, lost, dying. People are staring at you in awe on the beach, under a grey, wintry sky... "Why am I dreaming of you? / Scanning through my memories / I can't see anything but that blue vastness...". The instrumental coda features a nice mix of jazz and psychedelia.

"Alone" features a nice middle section with a good interaction between sax and organ. It's a melancholic piece oscillating between joy and anguish like a "hanged man". The music drives you to the edge of time and then let you fall down in the blackest sea. Then comes "Dateless Diary", a calm, reflective track about the need to face reality since painful changes can have positive effects. "Don't Move" begins softly, the atmosphere is dark and dreamy, the music is characterized by some strings passages... If you're of getting lost, don't move!

"A New Song" is one of my favourite tracks on this album. It's about a difficult creative process. At the beginning you're almost lost, trapped by a lack of inspiration, you think that a new song deserves much more... "Energy, thoughts and dreams have to reach someone / Before they fade away amongst white dwarves, stellar remnants and black holes...". Then tension and rhythm rise with a sudden burst of energy and some fiery organ whirls... "Yesterday I received a new song / Guess who the sender was... Look right here...". The ethereal "Where" is about the sense of loss that you can experience when you can't find your own way. The truth lies in dark, tangled streets under the moonlight and a sort of grey veil covers your eyes... "I can't figure exactly where I am / If ahead or behind the beat of the Earth...".

The long, complex suite "The Very Last Number" concludes the album. It describes a momentary escape from reality, a long inner journey through dreams and past memories. The lyrics invite to join the dream but beware!Maybe you could see more than you want to see while clinging ship bells evoke the past... "I was trapped in the ruins of my dreams... In the river of regrets the more you move the more you sink...". The music features some very interesting passages with a jazz rock touch while in other moments you can perceive strong classical inspirations. Some parts remind me of Arti e Mestieri but it would be unfair compare this excellent track with anything else: all you have to do is close your eyes and listen to it!

in personnel mistake !!! by this time of Stefano Colombi/guitars and Piero Ranalli/bass already left group and their place borrowed- - Antonio Catalano - guitars Simone Paseli - bass and Carmine Lanieri - sax (tracks 2 & 7) Sara Gentile - celo (tracks 4,6 & 7) Pierluigi Mancattin - violin (tracks 4 ) Cristiano Pomante - vibraphone ((tracks 1,4 & 7)

with arrival to Antonio Catalano group - guitars and as other musicians of Areknames considerably added. without doubts of In Case Of Loss,,. Ball an interesting album in the musical plan... a combination of a guitar and.Alone violin passing to.Dateless Diary... sax brings in an album jazz motives in a combination to melodious violin. The Very Last Number. this album doesn't leave you indifferent.

Areknames are an Italian progressive rock band with 3 studio albums and one live album to their record, with the first s/t one having been released in 2003. In Case Of Loss? was released in 2010 by Black Widow Records. I was aware of the band but have never heard any of their albums so far and so this is my first exposure to their music. I can say that if this is indicative of their previous albums, I should go and check them as well.

While the overall sound has spacey and somewhat dreamy characteristics, the band spices things up with other ingredients and introduces vigor in the form of some aggressiveness and lightness in the form of jazziness. With this varied approach, they craft appealing melodies and top it off with moving textures. A good example of this is the songs 'Where' in which all of these come into play.

They seem to have a knack for balancing these two approaches in one song, never veering too much in any direction, remaining solidly in their middle ground. The music is for the most part mid- to slow paced and the slightly gloomy mood seems to reign on most of the album, save a few parts of songs. This is what gives the different songs a sense of unity and continuity, despite them being stand-alone songs.

The band's skills at creating beautiful melancholic soundscapes are well demonstrated in a song like 'Don't Move', where melody and atmosphere join forces achieving a synergistic effect. Their music can be lush and at the same time rough on the edges; the tension between the two is what gives them their sound. On the other hand, the band is capable of letting things "get out of hand" in a controlled manner. They burst into sped up and louder excursions in some songs ('A New Song' for instance). Their ambitious and exploratory side shows itself in the closing epic piece, 'The Very Last Number'. Here they don't shy away from unleashing all their artillery and musical prowess. They do not do this in an unorganized fashion, but with a well constructed development from a simple tune into a fancy full and rich multi-section piece.

Michele Epifani's vocals, of a mid to high pitch variety are pleasant and inviting, oozing softness; but they don't change much and remain in the safe zone where his strength lies. I'd have loved to hear a deeper voice every now and then to counteract with his. With that said, his voice fits the music well, enhancing the moody and mostly somber feel of the music.

In Case Of Loss turned out to be "in case of a find", since I feel I've found a new band to like. While it took some 6-7 spins of the cd to get into the music, when it crept in eventually, it was rewarding.

Wow! 1. "Beached" (8/10) Am I listening to CAMEL, KING CRIMSON, THE DOORS, or CAMEO? 2. "Alone" (8/10) is so Canterbury PETE HAMMILL/VDGG! 3. "Dateless Diary" ( 7/10) 4. "Don't Move" (7/10) has another awesome DOORS/ANEKDOTEN-like groove--of course, with PETE H singing over the top. "A New Song" (6/10) is where I start getting bored. The electric piano, cymbol play, standard slow 4/4 beat and other 70s instruments and sounds are growing old. "Where" (7/10) is a little more space-psychedelia with its organ wash and floating background synth leads. "The Very Last Number" is almost smokey lounge late night blues/jazz, its so VDGG. NIce piece that does seal the fact that these guys are into replicating--though interestingly and in ways that combine groups and genres--music from the 1970s. Very well crafted though instrumental virtuosity is not yet there. 3.5 stars rated up for clever synthesis of the VDGG sound with others.

A slight change of direction......

The previous two Areknames studio albums made me appreciate how good Van Der Graaf Generator was and how good Areknames had copied the best from them and then added a lot of their own identity. In short; I love those two albums. For some reason, it may be called natural development, Areknames has moved away from the overtly VDGG influences and moved more in the direction of RPWL, Gazpacho and Porcupine Tree. In my view; Areknames has lost a lot of their identity by changing their sound. But there is still a lot of VDGG in Areknames. But it is more subtle this time around.

The music is based on a sometimes heavy, chugging electric guitars, vintage tangents, some really good vocals, drums and bass. A saxophone like sound is also present on some songs. All of this potently played. The sound and the songs are mostly dark and gloomy.

The quality of the music is the same though and leaves no doubts that Areknames is one of the best Italian bands around. The songs are still great. The tangents on a song like Dateless Diary is heart warming. This song is the best one on this album. The rest of the songs are in the same class and thereabouts. In short; Areknames has done it again and released another great album.

4 stars