NUOVA ERA

This veteran squad releases its sixth album ,a titanic adaptation of Jules Verne's classic adventure novel "20,000 Leagues Under the Sea" written in 1870 and made into a cinematic Walt Disney extravaganza in 1954 , featuring Kirk Douglas, James Mason, Peter Lorre and Paul Lukas . Names such as Captain Nemo and Nautilus have been glorified ever since , and I am surprised it took this long for a prog band to latch onto such a great story. To their credit, keyboardist extraordinaire Walter Pini , Alex Camaiti on guitars and vocals, Rudy Greco manning the basso profundo and drummer Maurizio Marra all combine to give a musical life to the celebrated story , two epic tracks that will plunge the passengers into the abyss of subterranean prog bliss and boldly take them on a voyage where few have dared to go.

The title track clocks in over 36 minutes and has all the hallmarks of a 2025 colossus , showcasing an expansive progressive rock in the finest old school traditions, with expert musicianship, impressive vocals, and enough sudden dives, swoops, course variations and accelerations to dazzle even the most jaded listener. Just like a massive feast, this opus will require repeated auditions as, there is a whole lot of detail that needs slow digestion to fully appreciate. The stately organ pierces through the early morning mist, a marshalling beat shuffles the mood into eventual overdrive ,elevated by a massive mellotron blast, quickly taking ship as the perils of the sea await the navigators. Both extremely cinematic and typically vintage RPI , the tempo is bountifully exuberant, bubbling Moog synths adding to the overall fury, the carving electric guitar chopping fearlessly at the cresting waves. Out of the blue, a blaring pipe organ beckons on the horizon like a siren luring its prey into her seductive arms. Alex handles the bravado vocals with typical Italian theatricality, expressive as well as passionate, setting into the main melodic groove that will define the arrangement. He drops the microphone to settle into a glitzy guitar solo before the transition back into mellotronic paradise, ominous grey clouds threatening the blue waves with oppressive power. An ornately elegant baroque piano, acoustic guitar and synth flute etude appears out of nowhere, a pool of dead calm and serenity, with a glorious melody to boot. Clear and hushed vocals echo in the metallic compartment, as the valiant sailors prepare for the deep-sea plunge that will take them into the void. At first composed and serene, the heartbeat picks up with an almost resigned synthesizer flurry, harnessed by a parallel guitar that swirls with dense symphonics. The contrasts, the 20,000 details and the slick variations keep the attention span on full alert, the softer passages are fluid and impeccable, whilst the stormier ones evoke the sense of risky exploration. This clever blending of orchestrations and straightforward RPI is a blessing for any pair of melodic ears, not the most modern material but neither is the 150-year-old story written by that amazing French writer. Kudos to the rhythm section who keep this musical craft steered in the proper direction, as well as Alex's pleasant vocal work that keeps the tale going. Obviously, Walter Pini's mastery over his arsenal of keyboards will definitely hit the mark with an immaculate display. In the final 10-minute section, the usurping choir mellotron blazes like the setting sun, the Hammond organ spotlight lurching churlishly, a stylish construct that stamps the quality of this whopping epic. The pompous church organ finishes off any possible resistance, as the fatalistic orchestral finale introduces ominous tones and a glimpse of turbulent weather ahead. Tremendous journey.

The periscope is raised on the 16-minute leviathan "Nautilus", named after the famed submarine, captained by the anti-hero Nemo. On a bearing 2-1-0, sonar beacons on alert, compartments and forward room bilges secured, the boat is running silent. In blunt contrast to the previous masterpiece, this aquatic composition seeks out a different feel, markedly more accessible, with an insistent bluesy guitar groove leading the charge. The shift into rockier overdrive has torpedo bass, depth charge drum explosions, and a hard- edged nuclear riff that carves with impunity, as if channeling Museo Rosenbach or early Le Orme (Collage-era), the swooping Hackett-like swoon of the electric guitar underlying the restraint among all this rhythmic exuberance, a gorgeous melody to dive for (pun intended). Once again, the rudder shifts when the keyboard symphonics enter the command station, prepping a virtuoso section with tortuous guitar phrasings that twirl like triple-bladed propellers on full throttle. The final section insanity is straight out of Deep Purple's classic "Child in Time" and what a fantastic manner in berthing this boat into its pen.

The vivid cover art displays a comic book style, four courageous deep-sea divers scouring the depths of new musical frontiers. The Italian scene just keeps on giving ?. 4.5 Oceanic treks

All That Prog?

One of the best Italian prog bands from the 80s, Nuova Era is a very underrated name on ProgArchives? almost ignored by fans of prog and reviewers.

If you love that vintage sound of keyboards?Mellotrons, ARP, Moog, 70s and 80s synthesizers?plus great drumming, outstanding vocals, technical guitars and bass, and that 70s flavor that I love, then this band is for you.

With clear influences from Museo Rosenbach, Le Orme (Contrappunti era), New Trolls' mid-70s sound, and PFM, Nuova Era was founded in Florence in 1985 by keyboardist and composer Walter Pini. The original lineup included Gianluca Lavacchi on drums, Enrico Giordani on bass, and Alex Camaiti on guitar and vocals. The lyrics were by Ivan Pini.

They recorded four albums: L'ultimo viaggio (1988), Dopo l'infinito (1989), Io e il tempo (1992), and Il passo del soldato (1995) (the latter featuring Claudio Guerrini on vocals instead of Camaiti), achieving good success in the European and Asian markets. Io e il tempo, for example, was even released with a booklet in Korean.

In 2008, Walter Pini, together with Davide Guidoni (drums) and Guglielmo Mariotti (bass), started a project recording unreleased pieces. In 2009, one of these was released on Inferno: The Divine Comedy (CD 1, Canto I), followed by another on Purgatorio (CD 2, Canto XXII) in 2010, and one more on Paradiso (Canto II). These tracks became part of Nuova Era (2010), their self-titled album, which also included a remake of Dopo l'infinito and live recordings with the original lineup.

Since 2013, Walter Pini and original guitarist/vocalist Alex Camaiti, along with new members Rudi Greco (bass) and Maurizio Marra (drums), rehearsed and recorded a concept album with a fantasy-medieval setting. For the first time, the lyrics were in English, but the music remained in true Nuova Era style. The album, Return to the Castle, was released in October 2016 and distributed by BTF. The lyrics and cover were by James Hoog, while the music was composed by Walter Pini.

Their discography includes: L'ultimo viaggio (1988), Dopo l'infinito (1989), Io e il tempo (1992), Il passo del soldato (1995), Nuova Era (2010), Return to the Castle (2016) And maybe their best work: their latest record, released last week, 20.000 Leghe Sotto I Mari (2025). 20.000 Leghe Sotto I Mari (20,000 Leagues Under the Sea), based on Jules Verne's novel, features just two tracks. The title track, a 36-minute epic, is a masterclass in vintage-style prog, packed with dynamic shifts, intricate instrumental sections, and seamless transitions that turn it into a singular, immersive experience. Nautilus, at 16 minutes, is another standout, delivering a perfect balance of melody, complexity, and that unmistakable Nuova Era touch. This album is not just a return to form?it might be their best work yet. With its rich, analog-driven sound and deep connection to the golden era of Italian prog, 20.000 Leghe Sotto I Mari feels like a lost classic from the 70s, but with a modern energy that makes it essential listening. This record it is a strong candidate to be one of the greatest records from this year.

Old school progressive rock with 2 tracks, symphonic music full of keyboards, old-time atmospheres, majestic tunes leaning towards the... RPI.. It's provided, well done but it's often the same thing and I can't find the spark that makes me start and travel on cosmic deliriums... Well maybe I needed a submarine in fact!! In short, 2 tracks, one of 16 and one of 32, it's quite unique to name it.. From time to time you could believe that it's going to go on an OZRIC TENTACLES, at other times on the second Genesis era, so it's really ballsy in terms of reminiscences.. There's technique, there's also this typical Italian sound that slows me down a bit, from time to time the keyboard layers are on SOLARIS where I could have really taken off, at other times it's purely elegiac, you'd think you were hearing Wakeman or Moraz in one of their magical solos with YES; an album that I would have rated much higher 10 or 20 years ago, it's precisely the release time of the penultimate and this latest album that will delight those who are starting out in the prog world of yesterday. In short, if you like RPI, this is for you!! (3,5)

I must confess to not having listened to much RPI over the years, aside from the rather obvious and somewhat stereotypical PFM and Banco "standards". Indeed, quite some time ago, I was absolutely rightly castigated by my friend Finnforest for disparaging comments I made about all RPI being was essentially Italian Symphonic Prog.

My interest was piqued recently when, as part of my Birthday Thread, I commented on Walter Pini, the keyboardist and major composer for Nuova Era. He is at the heart of everything on this album.

In listening to this remarkable work which discusses war, I have put aside all of the all too obvious prejudices. Firstly, this album sounds absolutely nothing like classic Genesis. For a start, there are no guitars here whatsoever, and given that Phillips and Hackett were integral to the sound of Genesis, that is a pretty big clue. There are definite shades of ELP/Emerson influence in Pini's keys work, but this album cannot be described as anything other than rather unique in this veteran's listening experience.

The vocals by Claudio Guerrini are relentlessly strong throughout, and the rhythm section of Enrico Giordani on bass and Gianluca Lavacchi on drums is thunderous.

The opening track, All'ombra di un Conflitto, in all its grandeur, sets the scene perfectly. There are many highlights, but I especially appreciate the quirkiness of the short instrumental piece, La Parata dei Simboli, and the brass on Epitaffio, both of which really sound like nothing I have heard before, always a huge plus for me. I thrive on new music, and this sounds as fresh to me as I am sure long-standing fans of this band must have thought when they first heard it 16 years ago.

The title track itself is the longest, weighing in at over 12 minutes, and starts with a delightful piano piece, before the main section commences what can only really be described as a rather dark and menacing operatic story. Full of mood, key, and signature changes, it grips the listener from start to finish. The closing section makes you imagine vividly the march of soldiers to battle. Similar feelings are wrought on the truly atmospheric Armicrazia which details the thoughts of a sniper, an extremely foreboding piece which, in a state of contrast, has an altogether lovely vocal section mid-track before the dark keys and relentless pushing of bass and drum take centre stage, before ceding to a far more thoughtful reflective synth.

Throughout this album there is intelligence, playing and singing of the highest order, and a story which you really do not have to be able to understand Italian to appreciate (take Riflessi di Pace, or Reflections of Peace. You know from the sunshine and lifting beauty of the song that this is different from the battlefield songs without really needing to be told). It makes you visualise, as, of course, the finer operas will do. Clearly, the album and its composer has its influences, not least of which is a classic 70's feel, but these are transposed into a definite 90's production and some really lovely passages of music.

If, like me, you have shied away from the Italian scene, then you really could do a lot worse than have a pop at this excellent album, and use it as a springboard to not only explore this fine outfit, but others to be found on PA.

There, after nearly 13 years as a contributor to this wonderful site, my first RPI review. It will not be the last. A highly recommended, wonderful, album.

For many years this Italian prog formation was a very popular and often reviewed band, with ratings around 3,5 and 4 stars. Nowadays you hardly see a Nuova Era review, the latest is from April 2018, and 4 in the last 5 years. So I would like to re- introduce Nuova Era: four studio albums releases between 1998 and 1995, and after a second reunion Nuova Era released a new studio-album in 2016 entitled Return To The Castle. This compilation is from 2010 and contains recordings from 1987 until 2010, in different line-ups and with a wide range of guest musicians.

The CD begins with 3 compositions from the Dante's Inferno trilogy, this is great fun for the ELP, Ars Nova and Gerard fans: sumptuous keyboards (including a church organ sound), swinging piano runs, soaring Mellotron waves, flashy synthesizer flights and powerful Hammond organ, wow! But I am not pleased with the screamy saxophone in the final part of Inferno. Then again Vintage Keyboard Heaven, especially the contrast between de subdued piano and Mellotron with the bombastic Hammond and synthesizer is exciting, like in the conclusion of Paradiso. Next new versions of the titletracks from Dopo L'Infinito (wonderful romantic undertone and final part with keyboards), Io E Il Tempo (more dynamic than the original version but also sounding a bit more clinical) and L'Ultimo Viaggio (varied keyboard sounds, from violin to accordion).

Unfortunately the pleasant keyboard driven mood is disturbed by the final 3 live tracks, pretty poor recorded. I love the raw guitar and wah wah solo in Cattivi Pensieri and the psychedelic sounding organ like early Pink Floyd in La Tua Morte Parla. But the final track Epilogo is really bad, and also last 10 minutes, this is an awful musical experience.

I wish Nuova Era had decided to say goodbey on this compilation with a song that does honour to their wonderful keyboard driven prog sound, topped with beautiful, very warm Italian vocals (although Nuova Era delivers a lot of instrumental parts in their music). And this compilation is a good one to discover more of one of the finest 24-carat symphonic rock bands in Italian prog.

My rating: 3,5 star.

This second generation RPI band takes a step back on their second release. Perhaps conceived as their answer to "Felona and Serona", the LE ORME classic, "Dopo Infinito" is divided into 2 parts: the title suite and "Planeta Transparente", which are both further subdivided.

The first is by far the better, with a well measured blend of romantic vocals, keyboards and guitars, none overstaying their welcome. The opening section "Nella Nulla" is perhaps the high point, beginning with mesmerizing piano that cedes to harpsichord sounding keys before a spacey theme introduces the sung sections. Unfortunately, the second suite sounds as if the band had to return the arsenal of keyboards to the rent-a-center and were overdue. It's all too much and too long, irritatingly extended by the most feeble drawn out codas that would have been regarded as uncouth even in the 1970s.

I have tried listening to "Planeta Transparente" first to see if it's the cumulative effect of 45 minutes of racing to the finish line with too many clothes that ultimately tests one's endurance, and, while there is some truth to this theory, it remains that the quality control deteriorates with each passing minute. Barely 3 stars, and more for the enthusiastic playing than the compositions and arrangements.

Nuova era was one of my favourite bands from the 90s and their 1992 masterpiece "Io e il tempo" I still hold as one of my favourite albums of all time. About 20 years after their last proper album, "Il passo del soldato" from 1995, they release a new album! The titel is in english, as are all the songs. Let me get back to that. The music on the album is like the band never left and continued playing and recording their music, this album could easily have been a follow up a couple of years later after their last album. The sound is almost the same, lots of keyboards dominating the music with additional guitars. The production has always been a weak spot for the band, here we experience the same thing, it sounds a bit thin production-wise and it doesn't sound as tight as one would like. But the real gem of this band has always been their ability to write great music and great songs so the thin production has never been a problem for me. The singing on previous albums has always been in italian, wich I prefer, and it has always been in perfect harmony to the music. Now they have decided to sing in english instead and it sounds... eh... not so good. Don't get me wrong here, the vocalist sings good, but unfortionately I don't think he has ever heard english before. I am sorry but the vocals drags this album down a lot. Thank god most of the music is instrumental. The music is full blown symphonic rock with all the natural twists and turns, different tempos and lots of great breaks and riffs. The bands ability to perform great compositions hasn't changed in twenty years, I do find the songs a bit more heavy and complex than before but that isn't a bad thing IMHO. If you got their earlier albums you'll know what you're going to get.

A great comeback for a great band, but next time guys, sing in italian please!

Figuratively studying under the keyboard oriented masters of the British (ELP) and Italian scene (METAMORFOSI, ALPHATAURUS) of the previous decade, NUOVA ERA catapulted themselves into RPI history with this 1988 release. Though their fiery style is dominated by the organ and synthesizer of Walter Pini, Alex Camaiti's guitars strike the right note in a supportive role and occasionally hold serve. The wattage of this small but boisterous group rarely wavers for long, even if more ambient passages cloak the mayhem here and there.

The opening two tracks are my favourites, both heavy yet effervescent, with the title cut doing justice to its length through a series of dynamic swings and a few judicious repetitions. The second installment of "Cattivi Pensieri" is the more revved up and appealing of the two, with an organ timbre reminiscent of RICK WAKEMAN's early live work. As the album winds down it softens, with the splendid ballad "Rittorno alla vita" being the best from the home stretch. It's unabashedly romantic but that same passion lies beneath the translucent surface of the harder rock tracks. The bonus track is pleasant in a 1960s way, and was probably kept off the initial release for that reason as well as for its poor production even when stacked against the disappointing standards of the original album.

As with a few other Italian bands that played some role in the RPI revival of the late 1980s and early 1990s, some of the later work of NUOVA ERA is often judged their best, but this debut is quite a statement in itself, and would have done the band proud if, like too many of their contemporaries, their voyage had ultimately ended where it began.

Nuova Era actually disbanded after the departure of Claudio Guerini, which owned also the band's rehearsal studio.Enrico Giordani soon followed and parted ways due to health problems, while Pini tried to keep the team together with new members, finding a new studio and writing material for a new concept album.The only sessions documented by this line-up though was only a couple of old remakings and by the end of the 90's Nuova Era were history.Much later Pini revived the name of the band and recorded some songs for the Dante trilogy albums by Musea, helped by Davide Guidoni (Daal, Gallant Farm, The Far Side, Taproban) on drums and Guglielmo Mariotti (The Watch, Taproban) on bass/guitars.Alessandro Papotto on sax and Salvo Lazzara on guitar were also among the participants.In 2010, after 15 years of silence, a document of Nuova Era's recent and past years was released on BTF.

This is more of a presentation of this release than a review, as none of the tracks included is new, original material.The first three are all coming from the Dante's compilations and, for those who haven't heard the albums, but are still in love with Nuova Era's old sound, these are far from dissapointing.They work actually as a revisit to the classic style of the band with heavy use of keyboards, Classical influences, E.L.P.-like virtuosic orgasms and symphonic orchestrations, filled with organ, Mellotron and synthesizers.Maybe ''Lasciate ogni speranza...voi ch'entrate'' is a bit of a surprise with Papotto's fiery sax adding some sort of VAN DER GRAAF GENERATOR view in the soundscapes, but the bulk of these nice pieces are grounded in the classic keyboard-driven bands of the past like LE ORME, IL BALLETO DI BRONZO and LATTE E MIELE, containing dark passages, technical keyboard exhibitions, bombastic textures and more romantic moments.Definitely along the lines of old Nuova Era.The next three pieces are remakings, demo or alternate versions of three Nuova Era classics, ''Dopo l'infinito'', ''Io e il tempo'' and ''L'ultimo viaggio'', more details in the booklet, the music is typical of the band's style with a keyboard manifest surrounded by a solid rhythm section and a nice singer, swirling around neurotic solos, synth layers and the vintage echoes of analog keyboards.Three remaing pieces are all well-known tracks but coming in live cuts from 1987, just before the band released its debut album, and shows a young group with endless energy and great execution of Italian keyboard-drenched Symphonic Rock, the sound quality is questionable, typical of an amateur recording, but the material is rewarding, well-executed and energetic.

With Walter Pini having rejoined forces with Alex Caimati it appears that Nuova Era were coming back in the prog scene around 2011, but with no further news I am afraid this attempt also faded.By 2014 Pini was working with new members, but a new album is yet to be desired.

Nice compilation for starvers of Nuova Era, lovers of the Italian sound and fans of keyboard Prog with a vintage perfume.Not comparable to what we all hoped for, and that was a brand new album, but all aforementioned fans could approach this without second thoughts.Recommended.

Third album from 1992 named Io e Il tempo from second generation of Italian prog bands Nuova Era is considerd among the best from that period aswell. Well, to tell the truth this one is in same league as previous one, same 2 long tracks, same attitude and same manner of composing. Yes, here are some quite excellent instrumental sections, where the guitar and keyboards are predominat , specially on second track Domani Io Vecchio, very nice duels between guitar and keyboards, and ok voice. Even I considered this album good for sure, I kinda like more previous one, anyway this has elaborated passages that every fan of prog music can enjoy. Nueva Era was a band in that period that was in their peak of their career, many bands from today from italian prog music are influenced by them, as they were influenced by those before them as Premiat or Banco. Another worthy album that desearves better recognition world wide. 4 stars again.