OLOGRAM

Bassist Dario Gianni has sent me his sophomore album, and it's a real family affair with Lorenzo on guitars as well as keyboardist Roberto and lead vocalist Fabio Speranza, and drummer Giovanni Spadaro. Guest Gabriele Agosta shines wherever his ivories are needed, while Mateo Blundo carves some viola and violin on a couple of tracks, leaving Raffaele Schiavo to provide female vocals on the brief opener. The title translates as "My Trail" and a worthy voyage it will be, as I deeply enjoyed their debut "La Nebbia"!

Infused with a light North African tinge that gives credence to the title, "Kasbah" blasts forward with rigorous riffs, hurtling Crumar organ undertow (a fabulous vintage keyboard sound) and a cohesive rhythmic pulse, unafraid to brake at narrow intersections, only to resume acceleration on the wider streets, the bass pummelling like an engine on full burn, as it navigates the tight sonic neighbourhood. The rabid rhythm guitars are in perfect harmony with the athletic drumming, a solid composition that pulls no punches. A howling wolf introduces "La Luna Piena", not surprising as it means full moon. The atmosphere is enhanced with an overtly nocturnal sheen, jangling guitars scissored by an audacious bass slice, a repetitive chorus that look to the skies in awe. Lorenzo peels off a sizzling solo on his electric guitar, before the band goes for another journey around the moon.

Slightly on the slower side, and propelled by a robust bass, "Non Sarai" settles into a more romantic mode, though the guitars remain a tingling weave of phrasings, as Fabio sings his story with a hint of melancholia. Suggesting a neo-classical phase, "Jacaranda" swerves into acoustic guitar territory, ornamented with lovely strings (Matteo Blundo) and a heavenly choir mellotron, as Fabio emotes once again into his microphone, as an ornate piano is presented as well. A lovely piece of music.

"Descent "is perhaps the most overtly symphonic composition, spearheaded by swirling viola and violins, choral mellotron blasts and a momentous melodic strain throughout. The electric guitar redefines the anthemic qualities to perfection while the infectious keyboards elevate the cohesive expanse even further. Rhythmically, the bass and drums seem quite content to keep the foundation solid and let the soloists burn with passion, a killer instrumental track of the very highest order.

The title track has a sense of 'la belle vita' that only the Italians can master fully, irrespective of the tumultuous differences between cities, communes and the North/South divide throughout the boot. The spirit of wanting to enjoy, dream, love and sing are inherent traits found everywhere from Milano to Siracusa, and this track evokes this narrative thoroughly. It also comes across as effortless, poignant, wholesome and human.

The final and longest track is "1997" concludes an archetypal RPI composition, conclusively close to the unrestrictive flame of past legendary bands such as the PFM or Le Orme, and all their companions back in the glory days. The rather existential lyrics are inspired a combination of events, namely the guitarist's birth year, as well as a John Carpenter movie: "1997 Escape from New York". These sung words encompass the tracks on this album, as an inspiration to soldier on and strive to live a better life, regardless of the many hardships one might face in the 'journey' of our existence. The massive keyboard orchestrations, the driving beat, intertwining guitar phrasings and glorious vocals all combine to stamp this track as well as the entire album with a "Ben Fatto", well done!

4.5 Sicilian roads

From Syracuse, Sicily, Ologram is a new band that features all those detailed elements that bring joy to my ears, mind, and soul. Firstly, a fretless bass -led group will ALWAYS get my attention, as it is a fetish instrument to say the least. I revered the likes of Mick Karn, Percy Jones, Tony Levin, John Giblin, John G. Perry, Jonas Reingold and many others for the longest time. Dario Gianni wields his four stringed monster with certifiable dexterity, as well as supplying an array of keyboards, ably supplemented by supple guitarist and presumed relative Lorenzo Gianni and deft drummer Giuseppe Arrabito. A slew of vocalists help with the lyrical expression. Matteo Blundo adds violin and viola. The proposed musical style flows like a dense fog from atmospheric clouds to harder edged vapor, all shimmering pieces of prog, most certainly an Italian version in the vein of modern prog artists like Porcupine Tree or Riverside.

"La Nebbia" (the Fog) is the name of this showcase and it smacks of a high quality, modern outlook and with loads of personality. There are six vocal tracks sandwiched between instrumental pieces, and provides 42 minutes of musical adventure. The "Intro" invites the image of a ship settling into historic Siracusa harbor, an insistent foghorn blaring in the thick mist, carrying aromas of the Mediterranean cultures in its hull. With a cargo of North African percussion, sweeping strings and Saharan orchestrations, the effect is certainly one of vivid atmospherics, leading into the title track, initially a no-nonsense bulldozer track with crunching guitar riffs, pounding drums and then shifting into a contrasting pool of reflection with vocals from Fabio Speranza (who will also be featured on the next two tracks). After a few scintillating synth and guitar solo spots, expertly held together by that precise bass, the arrangement serves to cut the engines, slow the propellers, and finally moor onto the quay. The lively "Vetro di Rame" (Copper Glass) disgorges the cargo with a busy bee approach, contrasting sections of effort and result, hectic propulsions followed by more reflective moments, often turning on a dime. Fabio expresses all this mosaic of activity with rushed passion, the little jazzy guitar finale is wholly unexpected and delightful, an ode to achievement, I guess.

Its companion piece, the ostentatious "Mediterraneo", conjures up a long history of turbulence as this "Mare Nostrum" laid down the early foundations of the Roman Empire. It's a more serious and somber piece with loads of melancholy and fits perfectly within the contextual framework of the album. The shimmering guitar solo is exceptional, especially when juxtaposed with the clanging rhythm guitar flicks. The enticing "Strane Voci" (Strange Voices) features the raspy railing vocals of Andrea Campici, whose style spans the gamut from whispering sensibility to a raging grate, the rotund Dario Gianni bass leading the way in the undertow, the slashing guitar taking no prisoners and the drums pounding away remorselessly. Since time immemorial, this Southern European area has been a hub of commercial travel, trade, and invasion, from the migrating Celts, Greek merchants, Carthaginian challenging the SPQR, the Gothic and Hun incursions to the Napoleonic consolidations and beyond. So, "Stranieri" (Foreigners) should not come as a surprise for a theme on this recording. Guest vocalist Christiano Sipione has the honours of officiating on this piece (as well as the next one).

The sprawling "Una Rotta Verso Est" (a Route to the East) is my personal favourite track here with supreme vocals in Italian and English, as well as an instrumental platform that has sonic adventure down pat. The four main players perform mightily, as the guitar, keyboards, and the rhythmic duo really shine brightly all along the 7- minute lapse of time.

"Il Ritorno" (The Return) is the vocal -less finale and it certainly stamps the fine release with approval from me. The slippery bass is simply divine, in accordance with the slick, jazzy guitar flicks as well as the sun-drenched keyboard accompaniment, as the drums hold the fort together. The voyage back home begins, as the fog has lifted and the horizon beckons, long enough for the storm clouds ahead to provide a little test for the navigators. A fine first volley of songs, all succinctly tied together thematically, certainly a band to watch out for in the future, as they further define their style.

4 Sicilian manuscripts