NARROW PASS

Narrow Pass was founded in the Eighties, disbanded but reformed and in 2006 Narrow Pass released their highly praised debut album entitled A Room Of Fairy Queen's, a very pleasant and melodic album. It was followed by In This World And Beyond in 2009 and A New Day in 2014. This review is about their second album. Well, on this second album Narrow Pass entitled In This World And Beyond the band still created 76-77 Genesis inspired symphonic rock. Most of the seven tracks deliver flowing shifting moods featuring a tasteful colouring. The music is very alternating, from acoustic and classical guitar to flute, saxophone and violin. But also moving electric guitar work, varied keyboards and a wonderful female voice, along some male vocals. A very special and beautiful song is the folky Silver Lady with Gaelic vocals, instruments like violin, Irish bodhran, tin-whistle and the use of two Irish speakers.

I'm sure this wonderful second album will please many symphomaniacs. Fortunately, Narrow Pass didn't remain another new and promising one-shot Italian progrock band.

My rating: 3,5 star.

At times erroneously depicted as an offshoot of ERIS PLUVIA, NARROW PASS was formed in the 1980s by Mauro Montobbio and does count several original members of that band, who now form the ANCIENT VEIL, within their ranks. On "A New Day", Alessandro Serri sings and plays an assortment of instruments, while Edmondo Romano contributes a selection of winds. Balancing female vocals are offered by Anna Marra. But the marquee here is illuminated by JOHN HACKETT, whose flutes grace half the tracks. Given this admixture , it's no surprise that "A New Day" is instantly recognizable as another NARROW PASS production, commensurate with a more soothing GENESIS, CAMEL, or PFM, as well as the aforementioned groups. The focus is on soothing melody and texture, with occasional brief soloing. One track, "Metamorphosis", is harder rocking but remains nonetheless within the breadth of the group. Vocals as before are in English in contrast to most RPI, recounting a science fiction tale so elaborate that the full narrative must be included separate from the lyric sheet. That said, it makes for lovely packaging.

While a uniformly pleasant listen, "A New Day" retains most of the qualities that made prior releases good but not especially memorable. In spite of the skilled work of all parties involved, I find few if any "wow" moments let alone passages, and don't consider the attempts to connect the pieces thematically to be particularly successful. I almost feel guilty for saying this, best laid plans and all, but this new day is a lot like the old one, which makes it seem just a tad longer.

Some great modern RPI featuring wonderful flutes and piano. The album ends up covering a nice bit of territory from standard symphonic wonder to solo piano, and atmospheric sections. All important: the singing. A central part of the sound, it is also important to note that it is in English, but it works quite well. The flutes and guitars really carry the day, excellently laid down. John Hackett in particular just plays the flute beautifully, adding so much to the already rich soundscapes. Serri and Marra, a man and a woman, are the vocalists, and that combination, with the good work they managed to do in English, is impressive and adds even more. Nothing sticks out in particular, but the results are still spectacular and pretty. A great listen, symphonic fans will love it, and RPI fans will in all likelihood do as well, if they can get past the English lyrics by way of them being good. Recommended.

Narrow Pass one of the lesser known italian bands formed in the 80s by Mauro Montobbi who is probably known by some prog fans from Eris Pluvia fame gathered around him some guest musicins and the Narrow Pass was in good shape to release the debut who will be released only in 2006. In 2009 is coming the sophomore release In this world and beyong. Well, the music is a combination of folk/celtic parts with acustic guitars , symphonic prog arrangements and even some neo passages are to be found here, all melted giving the sound of Narrow Pass. The album is well performed with beautiful instrumental sections like on Beyond a 7 min great example of how talented is Mauro Montobbi on keyboards, the rest of the pieces are also good but not excellent. All in all an ok release with plenty to enjoy but not really in same league with other releases from italian school from this period. Similar or influenced by bands as Eris luvia, Camel, Genesis or La Maschera di Cera. 3 stars maybe rounded to 3.5 in places. A nice art work.

The man behind this project Mauro Montobbio used to play in ERIS PLUVIA (a couple of the guest musicians here are from that band too) and I must admit I wasn't really a fan of that project or THE ANCIENT VEIL another off shoot of that band. So I went into this album not expecting much but soon found myself giving this record a lot of respect. I still wish the vocals were in Italian, but at least the singer here is excellent. He's the singer for LA MASHERA DI CERA. Another negative for me is the Celtic flavour. And while i'm a big IONA fan it's because they do Celtic like no one else. They soak it in atmosphere and make it spacey.

"Earth (Je Cherche La Vie)" is orchestral-like early then it kicks in before 2 minutes. Lots of keyboards. A calm with spoken words before 4 1/2 minutes as the birds chirp. "A Room Of Fairy Queen's" is very Celtic flavoured. Female vocals too. I like the nimble bass before 2 minutes. Flute a minute later. A pleasant track. "Lord Of The Headline" has lots of keyboards and drums as male vocals join in. Nice guitar before 2 minutes and later before 6 minutes.

"The Lake" is the first of three straight instrumentals. It opens with gentle guitar and flute. Bagpipes after 2 1/2 minutes then the guitar comes in ripping it up. It settles again after 4 minutes. It's raining late to end it. "Coming Off My Shadow" opens with synths, bass, drums then guitar. A vibrant track. "Desert" features bass,drums and guitar as synths wash over top. The tempo picks up before 3 minutes with guitar out front. The contrasts continue. "Wake Up" has male vocals early with sax. Guitar takes the lead before 2 minutes. Sax after 4 minutes. "Into The Light" is pastoral with reserved vocals. Female vocals too as they continue to trade off. It kicks in after 4 minutes with guitar.

This is really good. Not 4 stars though because of the Celtic influence and female vocals, but the parts I like, I really like.

In This World and Beyond is the sophomore effort of Italian outfit Narrow Pass. And a good one, if you appreciate their particular mix of musical ingredients.

The band basically seek to blend two rather different types of music here. The aspect most noticeable is that of celtic-tinged folk rock, where acoustic guitars and flute sets up a compelling foundation for the strong, emotional female lead vocals. The other side of the mix here is symphonic prog in the tradition of Genesis, with a strong emphasis on atmospheric elements to the point of almost coming across as vintage Neo-Progressive rock.

Personally I found the celtic part of this mix most compelling, but at best Narrow Pass is an able symphonic outfit as well. And while none of the compositions gets a note of brilliance for me, those fond of Genesis-tinged symphonic prog will find much to please their tastes here - especially if they don't the atmospheric approach. Those among that crowd who generally enjoy celtic-tinged folk as well should take note of this production, chances are that they'll find the combination of the two both pleasing and satisfying.

"Narrow Pass" attempts to pass a Camel through the eye of a needle for the second time, and this effort suffers from some of the same issues as its predecessor. While lovely melodies abound, the interconnections between song fragments remain tenuous at times, although some improve with repeated exposure. As before, the lead guitar outbursts appear abruptly after quiet passages, with insufficient transitions, and its slight raunchiness does not suit the personality of the group anyway. The vocals of Valeria Caucino remain lovely as ever but sometimes those raucous tones of the male lead are simply not compatible. The tendency to run off into Genesis land a la "Los Endos" or "Unquiet Slumbers" is sometimes unconvincing, especially since Narrow Pass has the raw ingredients to do so much more.

Yet after listening actively for a week or more, I am enjoying some of the newer styles of the group, such as the pagan folk of "Silver Lady", and the related earth centered message of "Heaven's Crying". Edmondo Romano's flutes and whistles can't help but recall Eris Pluvia, but his tenor saxophone work on "Flying from Ireland", perhaps the best overall Narrow Pass track yet, ventures into new realms. "Beyond" is an instrumental that sets the spotlight on "Mauro Montobbio's bountiful keyboard work, in particular the synthesizers. I wonder aloud if some lead keys could have replaced a few of the guitar solos, both for variety and for a better fit, but I may be off base.

I should add that the production here suggests big budget, unlikely though that is, without tiresome excess, and the group thus avoids some modern (read neo) pratfalls in the process. I have perhaps set my expectations too high for Narrow Pass from day 1, and to acknowledge the improvements and downplay a few of the persistent personal preference issues, I am rounding up beyond this world to 4 stars.

I got this on the recommendation of a friend whose musical tastes parallel mine very closely. He rarely misses when it comes to introducing me to new bands, and he hit it right on the mark with this one. This band caught me on first listen and just refuses to let go.

There is quite a diveristy to Narrow Pass' music. Lots of keyboards, multiple guitar lead riffs and some nice recorder work. For me, the real standout track is The Lake, which has strong Camel influences.

One thing that haunts me about this band: I cannot help but hear a really strong similarity between the male singer on this effort and Bernado Lanzetti, who sang on one PFM album (Chocolate Kings). The resemblance is rather haunting, and a big feather in the band's collective cap, IMO.

Fans of Italian (or any!) symphonic progressive rock should revel in this band's lone release. Long may they grow and prosper. There is always room for more in the symphonic vein!

Another Italian modern sympho band that blows our minds away.The album begins with a 5 min.intro that is influenced by the italian music and mediterrenean tradition in general,the acoustic guitar play sounds like a mandolin in my ears!...The next song is folk oriented in the vein of LOREENA MCKENNITT,Valeria Caucino's voice is simply amazing...The weakest track is the third,a good song but should fit better in an ARAGON album,even the singer's voice is similar to ARAGON's singer voice...The next bunch of tracks are going through the neo-prog road,very emotional guitar solos of STEVE ROTHERY type of playing with lot of folk touches,very good indeed...For the end we have a somekind of folk ballad where Valeria Caucino and her great voice re-appears which ends up with great guitar soloing...Recommended for fans of prog in general but highly recommended for fans of symphonic prog who dont mind a folk flavor in their taste...I would rate this easily with 4 stars but I'll give them 3 cause' I think their future can be much much brighter than this disc!!!

After excitedly purchasing this on the basis that it features Edmondo Romano and Valeria Caucino, formerly of Eris Pluvia, I have given it many listens and find it hard to pinpoint why I find it somewhat disappointing. The only excuse I can come up with is that, while the sounds are all there and all so sweet, so much of it appears with no real songwriting or compositional context. I think of progressive music as progressing within a piece of work as well as, optionally but hopefully, within a recording. Here I find neither to be the case. Appealing acoustic and Spanish guitars ring out at intervals and settle back without great impression or emotional impact. Gorgeous lead guitar passages burst forth, coming from nowhere and returning from whence they came. Romantic vocals call out for my approval, yet seem to take no real chances and hide no mystery to be slowly discovered in time. Wistful whistles and bagpipes beckon, but all I can say is "nice". Male and female vox convey elegant melodies that are just a bit to saccharine for even my sentimental tastes.

I like every track here and revel in it from time to time, yet cannot elevate my rating above 3 stars, because, for all the lovely sounds, it's all too ephemeral. I peel back the layers to find there is no essence, no core, nothing enduring that remains.