AETHER

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.

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.

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

Oh, Italy, a country of wonderful musicians!

This is the debut album from Italian band Aether, a project conceived in 2021, after pandemics, which shares an interesting combination of jazz with atmospheric sounds and prog rock elements. This record consists of 11 tracks that make a total time of 43 minutes of great instrumental music.

Its first track is 'Echo Chamber', a short piece that might work as a soft and delicate introduction to Aether's music. With 'Radiance' we can listen to a sweet and atmospheric track, you can close your eyes and feel relaxed, embraced. The sound is so soft, some guitar at the beginning, then bass, drums and keyboards creating a jazzy experience. For some reason they reminded me a bit of some of the Moonjune Records jazz artists, I believe Aether would nicely fit in that label.

The journey of this Italian quartet (fun fact, 3 out of the 4 members share the name Andrea) continues with 'Thin Air', which starts with some bass lines joined by keyboards a couple of seconds later; then when guitar appear, it creates a kind of Crimsonian sound, so I am sure these guys have some King Crimson love. A bass solo, then drums and a really calm and atmospheric jazz sound than develops into a proggy tune seconss later. 'Grey Halo' is a short track with a kind of melancholic, even sorrowful sound. I recommend to listen to it with nice headphones, so there is a better chance to appreciate its layers, its different sounds. This song has even a soft post-rock sound, which is why I think the band was added to that genre, here in Progarchives.

Then a sudden change arrives with 'Pressure' whose rhythm is more dynamic. Here the addition of keyboard produces that jazz fusion and prog rock sound. There are some signature changes here that makes it quite interesting. I like a lot that though keyboards might be the main element (at least in the first half), the four of the musicians make a great work with each and every of their instruments, so the song is strong, they also play with experimentation, which makes this one of the finest tracks of this album.

'A Gasp of Wind' keeps that delicate jazzy sound at the beginning, but later at minute three the music's intensity increases so it becomes more exciting, with a notable keyboard work. However, the last part slows down, so it finishes as it began. 'That Yellow Tear in a Blue-Dyed Sky' is another atmospheric short track where you can close youre eyes and have a moment of instrospection.

'Moving Away' is another highlight in this album. They spread more energy here with a song closer to prog rock, without leaving the jazz essence. Here we can appreciate a wonderful guitar work that, if you let it, will mesmerize you. With 'The Shores of Bolinas' the post-rock term could be used again, while we listen to a dark, somber atmosphere made by keyboards, and a soft and far guitar work here and there.

Some lines above I mentioned King Crimson, and I could bet the name of this track might refer to them. So it is 'Crimson Fondant', a nice composition with some interesting changes in tempo and mood, blending progressive rock from the 70s (Crimson, Camel, Magma) with a modern sound. The album finishes with 'This Bubble I'm Floating In', which is a nice melancholic track that shares both hope and sorrow. A track that sounds different from all the others, which is something positive.

A nice debut, a new proof of how Italian musicians know how to use their creativity, however, if it was my choice, I would add more moments of intensity, more explosions to their music.

Enjoy it!

A newly formed band out of Milan, Italy, apparently some of this music came out of band-leader Andrea Grumelli's graduation thesis from jazz school!

1. "Echo Chamber" [2:33] cinematic ambient music somewhere between Stefano Musso and Goblin. Despite its spaciousness there is an awful lot of subtle instrumental play within this: including drums/tympani, organ, guitar, low bass notes, and what sounds like something e-bowed. (4.375/5)

2. "Radiance" [4:09] this reminds me of a blended form of the 1970s sounds used by JOE SAMPLE and BOZ SCAGGS (sans vocals) during the late 1970s (with some experimental electric guitar thrown in there). It opens with a nice chord progression that is easy to get hooked into. I like it. The spaciousness and subtleties inside this music yield far more satisfaction than my initial reaction would suggest--especially from the bass and cymbals. And the stuff going on around the nice Fender Rhodes solo in the third and fourth minutes is quite impressive and alluring as well. (8.75/10)

3. "Thin Air" [4:15] continues the Sample/Scaggs sound palette and song style of the previous album while adding some stop-and-start sections for soloists (like the Eef Albers-like electric guitar, jazz bass, and gentle Fender Rhodes) to be more noticed. Very pleasant and interesting music. (8.75/10)

4. "Grey Halo" [2:38] spacious, contemplative jazz sounding very much like a Charlie Haden-Pat Metheny duet with some experimental guitar and Fender Rhodes play in the distant background. (4.375/5)

5. "Pressure" [4:29] jazz bass line and jazz drum play with Fender Rhodes jazz chords open this one before synth solo and jagged guitar sound join in to provide melody and edges. The synth soloing in the first sounds very much like Chick Corea's work in the 1970s with Return To Forever. The solo in the third minute by the experimental guitar sound is rather abrasive but improves as the rest of the band rejoins and pushes forward. This reminds me of the 1970s work of John Tropea (especially with Eumir Deodato) and even Larry Coryell's work with Eleventh House. And then there comes the Chick Corea solo lead synth as well as the Eumir Deodato-like Fender Rhodes play. A nice lounge jazz song with a little edge to it but nothing Eumir Deodato didn't do in the 1970s. (8.75/10)

6. "A Gasp of Wind" [5:06] More gentle soft jazz elevator music to support some nice mostly-rhythm guitar play and extended synthesizer solo. But then the support members really begin to play--to develop and fly as the synth continues to solo during the third and fourth minutes. Drums, bass, rhythm guitar! These guys can really play! Clearly the best song on the album. (9.5/10)

7. "A Yellow Tear in a Blue-Dyed Sky" [2:58] back to cinematic mostly-ambient music with a fretless jazz bass serving as the main thing distinguishing this as something jazz-oriented. (4.375/5)

8. "Moving Away" [4:36] with an open, irresolute and discordant opening, this song actually begins to form and gel beneath the Larry Coryell-like guitar solo. Interesting! The music becomes quite a nice little jazz groove as guitarist Andrea Ferrari screams and soars reaching for some Eef Albers "Wingless/Orion" moments. (9/10)

9. "The Shores of Bolinas" [2:58] another ambient song with cinematic value--this one feeling more like something from the world of electronic artists despite its dominant oscillating organ and tympanic work. My favorite of the interludes. (4.5/5)

10. "Crimson Fondant" [5:02] opens with Magma-like Fender Rhodes play before distorted electric guitar and jazz-rock ensemble enter with a definite rock aplomb. I love the guitar's slowly- but steadily-rising note play throughout the minute from 1:40 to 2:30 while the keys play--and then he takes over and owns it for the next minute. (8.875/10)

11. "This Bubble I'm Floating In" [4:33] not the bubble sounds one might expect, but I've got to admire the creativity of these musicians. Things smooth out as we get into the second minute with very pleasant guitar arpeggi and some gentle (and varied) ChapmanStick play while deep synth notes fade in and out in the lower registers. Nice. Reminds me of early New Age music as well as some of my own work back in the day. (9/10)

Total Time 39:43

I have to admit to being surprised at how guitar-centric the music of this album is: while the Fender Rhodes electric piano, electric bass, and jazz drums provide steady and soothing rhythmic foundation, it is the guitar and synths that get the majority of time in the spotlight. And I like the unusual and creative musical soundscapes the band achieves while often using quite simple instrumental sounds to hide some subtly complex and nuanced performances. Quite interesting! A group of artists that I will be looking with some interest for future displays of innovative synthesis of past sounds and styles.

B+/4.5 stars; a near-masterpiece of creative, often cinematic instrumental jazz-rock fusion for which I think most prog lovers will probably find a soft spot.

Aether came together almost by accident, to work on Andrea Grumelli (bass, Chapman Stick)'s Jazz graduation thesis. Andrea Ferrari (guitars, keyboards), Andrea Serino (Fender Rhodes, keyboards) and Matteo Ravelli (drums, electronics) stayed with Grumelli to integrate modern influences of post-rock and progressive rock, where jazz-like harmony and atmospheres of the Northern European jazz school are accompanied by sounds and rhythmic solutions typical of progressive rock, with the use of synthesizers and electronics. They describe the outcome as being reminiscent of an amalgamation of the progressive sounds of Genesis, the Nordic and evocative jazz of the ECM, the guitars of David Torn and King Crimson, and the jazz-rock of Terje Rypdal, the Lifetime Trio and Perigeo.

Undoubtedly some of that is true, particularly the references to David Torn and King Crimson, but there are also times when this drifts along way too much into New Age and even Lounge Jazz. There are some brilliant passages here and there, but also others where it feels that is meandering along with little in the way of focus or direction, a combination of improvisation and scored material where no-one is really sure of where they should be going or what they need to do to get there. The result is something which should not be played late in the evening as it is guaranteed to send the listener to sleep as there is little here to really capture the attention, and I soon found myself wondering how much longer there was to go and whether there was anything dramatic likely to take place. There is always a need for contrast, no matter if music is gentle or metallic, and when there is nothing, the result can be a falling into blandness, and that is what we have here. Not one to which I will be rushing to listen to again.

originally written for jazzmuscarchives.com

"Aether" is this Italian quartet's self-titled debut album. The band themselves state that their influences are King Crimson, ambient music and Nordic guitar jazz. Heavily based on synth/Rhodes sound, for my ears they sound more closer to mid- late 70s English prog band Camel. After the 70s, Camel lost the brilliant songwriting of their earlier music and switched towards a more synth-based sound.

Aether takes from Nordic guitar jazz its ambient sound, but leaves aside strong folkish component and icy cool aesthetics. The album's sound is warm and soft, almost polished and resonates pretty well with Italian prog bands of the 70s. Some added rockish guitar soloing doesn't generate a lot of fire and obviously is more of a decorative origin. On the more rock- like pieces, like "Pressure", "Moving Away" or "Crimson Fondant", Aether sounds like one of the many bands from the mid-late 70s.

Invoking some strong elements from a few different musical scenes, the band does inherit some known problems coming from the past as well. The lack of memorable compositions combined with a very comfortable sound can be a problem for some listeners coming from a rock background. Ambient elements, extracted from Nordic jazz don't work all that well separated from strong regional aesthetics and jazz improvisation as well as partially different techniques.

Impressive debut, taking more risks and searching for more expression of one's own face possibly will be an improvement.