RAVEN SAD

I must admit that Raven Sad's 2011 album "Layers of Stratosphere" left an indelible mark on my psyche, as per my review on Progarchives will attest. For unknown reasons, their follow-up ten years later, "The Leaf and the Wing" needs a return visit as it just simply did not stick in my mind enough to do an instant review, a flaw that I will correct asap, as it is highly rated and esteemed in the community. Things happen, I am not a robot, and I am happy to be flawed. This new album arrived recently, I have already given it a few whirls and I like what I know about this wardrobe. Samuele Santanna is a supremely talented guitarist, and the rest of the crew is top notch as well.

Pianist Fabrizio Trinci launches this album with ornate flair on "Andenes", as Gabriele Marconcini elegantly emotes on the microphone, very much in the Steve Hogarth mode of sensitively dense vocalizations. When the forceful lead guitar enters the fray, the stage is sonically set for a rather comprehensive roller coaster of contrasts between styles that make this album so appealing. "When the Summer Collapses into Fall" appears, the ringing the Edge style guitar is quite unexpected, a deviation that can only underline a desire to boldly stretch the stylistics, in this particular case, an upbeat track that waves goodbye to the warm months, as it heads into the grace of autumn melancholia. Punchy rhythmic workout that seeks only to dazzle the senses with raw emotion. The core quality of the album arrives to the front as the atmosphere rises even further on the 2-part section, "Coda: A Tiny Passage to Outer State", a savory instrumental introduction that captivates the listener with shimmering orchestral delight as it leads into "Point Nemo", a sensitive tour de force that instantly pleases the ear, a clearly constructed anthem with soaring melodic sorrow, brooding pace and charged vocals as it 'polarizes' the event surrounding Nautilus' last voyage .

The heavy section: "The Obsidian Mirror" and "The Bringer of Light" showcase those stylistic wanderings mentioned earlier, the first veering into a harder territory, led by a buzzing bass twirl, crunchy riffs and screeching Santanna solo while the second opts for a much heavier bluesy sound which starts with the previous piece. Laden with broiling organ and athletic rhythmic support, the stride is maintained at all costs, evoking past heavy rock masters like Deep Purple and Uriah Heep. The axe solo is stunning to say the least!

Title track is a 26-minute adventure that ultimately combines into one musical chapter, all of the intricacies mentioned above. The size and scope proposes a wide berth to play with, and the musicians certainly feel extraordinarily comfortable in taking their time building this massive story. The restraint exhibited is fancifully obvious and much to be admired. The vocals, the ringing guitars, the sombre keyboards, and the tight bass/drum duo mesh together perfectly. The quieter sections are crushingly pristine, the piano work astounding and hypnotic, perfectly capturing the polar reality. Throw in slices of ornamental orchestrations when required, some forlorn vocals, and some outright blistering lead guitar form Santanna. The overpowering and complex parts are equally impressive, a river of constant change, yet firmly controlled and visionary.

A thoroughly enjoyable release, the final track being a serious masterstroke, perhaps not unseating my love for "Layers" but most worthy of discovery from avid listeners of this style. If you enjoy Moongarden, Clepsydra, Gran Torino, FEM band etc?, this will go down as an arctic storm. 4 Tuxedoed Penguins

This 5th progressive metal opus goes to ambient lands by mixing fleshy prog metal from the 90s with a modern sound on Riverside, the latest Marillion and the Floydian base. Gabriele's voice tries to bring reflection on the survival of our species, nothing less.

'Andenes' starts atmospheric, aerial latency, the suave vocal, the vibrant bass, impression of a piano bar at the end of a dark street. Cymbals and the drum roll for the intoxicating progressive rise, post-rock à la Riverside with the sensual guitar. 'When the Summer Collapses' into Fall' follows, vocal à la Bowie, keyboard on the sound of Simple Minds and guitar on Echo and U2 direction new-wave, singular. The melodic chorus is cheerful, fresh, astonishing. 'Coda: A Tiny Passage to Outer State' for the piano interlude, dark, majestic, aerial, symphonic. 'Point Nemo (Nautilus Last Voyage)' with this note taken from Gilmour's solo with Supertramp! The symphonic title looks to Millenium for this orchestration, the psychedelic latency accentuated by the voice-over and the languorous sax, worthy of another millennium. 'The Obsidian Mirror' changes direction, fruity, catchy and heady prog metal a little messy; it is the ambient jazzy finale that gives it its singular character. 'The Bringer of Light' leaves on the Hogarthian vocal framework and the Zeppelinian riff; viscous melodic prog metal reminiscences for a monolithic title interspersed with a bucolic flute break. The cover goes into heavy, fat heavy prog with a well-gratinated guitar solo.

'Polar Human Circle' with the epic title in 6 parts, crystalline reverberating air of the Passions, vibrant psyche before the orchestral variation; the serene vocal on a tragic text sends the 6 strings on Moongarden, Hogarth again. The piano and violin break sets the evolution before leaving a solo to the Rothery, yes Marillion is really not far. The sound gets carried away with the progressive moment, fat synth and explosive pad, vocal on the edge of the litany. The sound rises, reminds me of the Saviour Machine; another break goes on the psychedelic experiments of the 70s, Pink Floyd in the lead, the guitar roaring like the experimental one of Robert Fripp. A break yes again, jazzy this time which discredits the prog rock sound, but some will like this mix. More than 20 minutes and the end approaches with the phrasing vocal of Gabriele which will rise and give a tortured instrumental sequence, raw to soften the last unconverted listener.

Raven Sad makes solid and heavy neo-progressive music, a rather disparate opus that is especially worth it for its eponymous piece, an immense musical mishmash, a true imprint of the group, taking you from jazz to metal, from psychedelia to rock, pure and simple. Originelly on Progcensor.

The beer flows flooded by the song of the cicadas...this is how the new album of the Florentine group RAVEN SAD begins, ten years after the remarkable "Layers of Stratosphere" one of the very best works of RPI of the decade 2010. After this refreshing but energetic opening we get to the heart of the matter with "The Sadness of the Raven" introduced by the acoustic guitar of Samuele SANTANNA, then the piano of Fabrizio TRINCI (the two remaining members of the original line-up of 2008) and we discover with unfeigned pleasure the vocal cords of the new singer Gabriele MARCONCINI, excellent from this title with a remarkable diction of the language of SHAKESPEARE which is not always the case with the transalpine formations not expressing themselves in their mother tongue, a delight of progressive symphonic music from the start of the album, so of course difficult to go higher thereafter (10/10).

Change of scenery with "City Lights And Desert Dark", more rock, more complex, less symphonic, which highlights the rhythm section made up of Marco GERI on bass guitar and Franco CARNESECCHI, two of the newcomers in RAVEN SAD as well as the electric six-string this time by Samuele (in the middle of the title then in the finale), a piece that is less easy to listen to but which I managed to tame after several attempts, well helped by the quality of Gabriele's voice ( 9/10). Let's move on to "Colorbox" the most extensive piece of the work, which begins with a piano/light voice duo, before the intervention of the guitar which will guide the piece towards the heights of what we like so much in this flamboyant rock. progressive Italian, full-blooded symphony in this colorful box, carried by a powerful and lyrical voice which we should talk about again, if only for comparison when we have other records from other formations to analyze ( 10/10).

It's time to calm down, Mr. Chronicler! With "Approaching The Chaos" we remain in the high qualitative spheres except that the title is instrumental, where we hear a little more the keyboards of Fabrizio TRINCI, piano in the lead and twirling moog, it's magical and magnificent to the time (9/10). Second track extended then, with the almost twelve minutes of "Ride The Tempest" of easy translation and what to say that we have not said so far? A softer and more intimate track in its first part, everything is in place, brilliant and energizing music, without false notes, before swooning six-string arabesques, the only solution, buy and listen, those and those who follow, know my severity sometimes, here none of that (9/10).

Finally comes the worst track of the album which does not mean that it is bad, simply the rest is so majestic that... Phew would I be tempted to say and height of irony this "Absolution Trial " is the title that was chosen to present the disc to the media, a little too basic for my taste... (8/10). The second part of "Legends" the concluding instrumental track is simply magical like the vast majority of the album, illuminated by the guitar of Samuele SANTANNA (9/10). There is no doubt that this "leaf" and this "wing" will remain at the top of my pyramid for a bunch of months or more...

To conclude, an essential opinion concerning the vocal range of Gabriele MARCONCINI, you take a shaker and you mix the throats of Bernardo LANZETTI, Alessandro CORVAGLIA and Alessio CALANDRIELLO and you serve hot!!!

Raven Sad are an Italian band hailing from Tuscany, listed here under Psych as opposed to RPI.

The Leaf and the Wing, released in 2021, is their fourth album, albeit the first since reforming in 2017 following a six-year layoff. This album has been one of the most pleasant surprises this year for me, having picked it up following a favourable review elsewhere in the prog universe. Band founder Samule Santanna is a fine guitarist, and he is joined by old cohort Fabrizio Trinci on keyboards, with new band members Gabriele Marconcini, the lead singer, Marco Geri on bass, and Francesco Carnesecci on drums.

Growing older, and hopefully wiser, I am not a huge fan of labelling works by their supposed sub-genre, so it is sufficient to say that this is very much an atmospheric work which rather escapes such categorisation. There are many highlights.

The album is bookmarked by two instrumental tracks, Legend #1 & #2. The initial piece is a perfect introduction to the type of soaring sounds we hear all over the album preceded by a Floydian talk-over. The closer brings proceedings to a close with five minutes of an ensemble beauty which provides perfectly the conclusion to the work I describe below.

The Sadness of the Raven is a thoughtful track, whilst City Lights and Desert Dark features at its core a vocal which reminds me very much of one Yusuf Islam, or Cat Stevens as he was previously known, and some wonderful riffing by all concerned creating a mid-track wall of noise, with a wonderful, soaring guitar solo by Santanna which segues into a beautiful, brief, coda.

There are two 10-minute plus epics on the album. First up is Colorbox, a monster of a track clocking in at 13 minutes, and my favourite here. It opens with a quite lovely harmonic vocal overlaid on a piano chord before entering a far darker (again brief) phase. This then takes us into the main segment, which twists and turns in its themes and musical textures, but with that lovely "wake up" vocal at its core. Marconcini can make you sit up and take notice, because the hairs on the back of your neck are rising when he hits the top notes. The closing third is just gorgeously dreamy with piano and a deceptively powerful rhythm section backing more soaring guitars before the lead vocal introduces the close with intensity. Very powerful and very classy progressive rock.

Approaching the Chaos is a heavier track, but with some interesting fusion cemented within. A sense of deep foreboding is expertly created in this instrumental story which then takes us to the second epic, Ride the Tempest. When said Tempest arrives a third of the way in, following a deceptive calm, it hits you straight between the eyes, but once more the moods and tempos change as we move through the track with such intelligence. The easy option would have been to provide us with crashing riffs throughout, but the band take us on a journey, at once with beautiful guitars, then with thumping drum and bass underscored by some looping keyboard work. The closing segment features a mournful cello solo.

Absolution Trial is simply a joyful heavy prog piece of music, perhaps not as subtle as all else here, but certainly foot-tapping and head-shaking execution before the close once again has those soaring guitars and delicate vocals underscored by rhythmic excellence.

What we have here is a work whose musicianship is never less than exemplary, with vocals that lilt all over your sound system, and a sense of yearning throughout, and by far the best (what I have interpreted as a) commentary I have heard on climate disaster since the wonderful Disturbance Fields by Edison's Children, to which I feel it is worthy of being compared both in scope and in execution. The production is crystal clear, and the album is available via Bandcamp. Oh, and the cover is to die for as well.

Highly recommended, and four stars for an album I hope marks the long term re-emergence of a talented outfit.

Now and then I find myself scanning at my collection of CDs and see if I rediscover some album that I had left on the shelf for such long time that I can´t even remember that well what it sounded like. Layers of Stratosphere is one of such gems that I really don´t remember why I haven´t paid that much attention and forgot to write a review. I suspect I got it together with a bunch of other CDs and never heard it properly. That´s the only explanation I´ve got to justify why I left behind such marvellous collection of great prog songs.

Raven Sad was a project of italian guitarist Samuel Santanna. I heard his first two CDs bearing that name was a kind of electronic/ambient music stuff, but for this one they got a "real" band in the form of Fabrizio Trinci (keyboards), Giulio Bizzarri (bass) and Simone Borsi (drums, percussion). I can´t tell how was their sound on the first two albums, but on Layers of Stratosphere the result is simply stunning: a magnificent laid back progressive suite that reminds a lot the genre best moments, especially Santannas beautiful guitar work, in the best vein of Gilmour/Hackett/Rothery. His solos and licks are simply beautiful, emotive and thrilling. And Trincis keys are equally inspired, with each intervention finally tuned with the guitar parts. The rhythm section is also discreet, but very effective, everybody working for the music and not for empty virtuosity.

Their music still retains a kind of atmospheric ambience, specially the keyboards, but the impeccable songwriting, the tasteful arrangements and the superb performances of all involved makes this CD one of the best of 2011, if not the very best. It´s ok that the vocals are only average, and Santannas english with a thick accent does not help either, but they are not bad nor intrusive. And the superb instrumental passages more than compensates any fault in that field. The production is adequate for their style and it´s better appreciated when heard with headphones, a real emotional ride.

It´s hard to describe their music, because although Pink Floyd is obviously the biggest influence, they are quite original and have a style of their own already. The sole exception may be The Highest Cliff, where Santanna tries too hard to sing like Gilmour and ends up sounding like Waters, if you know what I mean. It´s the most derivative track of the whole album and still it is a good one. The vocal part of the last track, Lullaby For a Son, falls into this trap too. Fortunately the instrumental part is excellent and occupies most of the songs length. All the remaining tunes are absolutely fantastic, with the 16+ gorgeous minutes of Lies In The Sand being the CDs highlight.

Conclusion: I´m really happy to rediscover this masterpiece. Layers of Stratosphere has become of my favourites albums and although nowadays I had little time to write reviews, I felt an obligation to give testimony to this fantastic CD that deserves to be heard by anyone who loves stunning melodies, emotional guitar solos and superb performances where less is more.

Rating: 4,5 stars. Only the average vocals stop me from giving it 5 stars.

Review #7 - Beautiful prog rock from Italy!

The pandemic has a lot of bad effects - but from a musical point of view I always notice that many terrific albums were released this year (2021) and last. "The Leaf And The Wing" joins seamlessly in this line, because it is again an album that can carry away and inspire. At the same time, the fourth album of the Italians is not a hectic prog fireworks. Rather, this album impresses with a very strong production, homogeneous songwriting and an inherent balance, which is why the album can even give a lot of pleasure after a long day. I would like to briefly elaborate on these three points: First, the clean and powerful production can be mentioned as a clear strength of the album. Every instrument has its fixed place and its space to unfold transparently. This has a particularly positive effect, for example, on the wonderful bass of Marco Geri and the beautiful voice of Gabriele Marconcini, which in itself is a reason to love the album. Then the sovereign and homogeneous songwriting of the band founder and guitarist Samuele Santanna must be mentioned. While he knows how to use his guitar consciously as a melodic instrument in solo parts, but also as a gruff rhythm tool (listen to the bold one in the sixth track!), he shapes the eight songs, always harmonious and very expressive in themselves, with particular care. Finally, the mood and stylistics of the album should be mentioned. One can hear clear influences of Pink Floyd, which the band is able to transform into their very own musical footprint. This is also contributed by the beautiful Hammond organ and piano inserts of the keyboardist Fabrizio Trinci, who, however, also relies on cool 80s brass sounds in the third song, for example, and adds another facet to the music. A great album, which I listen to with love almost every day so far. There is a lot to discover on Raven Sad's new album!

A wonderful new RAVEN SAD statement, this after a pause of round about 10 years. Well, not exactly. That might be the common impression maybe when you're solely considering the release dates, while not really being aware what's happening behind the curtain. Quite earlier actually, it was April 2018 already, when mastermind Samuele Santanna constituted a new five-piece line up in order to prepare for the band's fourth album. This together again with his long time friend Fabrizio Trinci (keyboards). Vocals are now contributed by Gabriele Marconcini. This is a winner. I'd say a very good find and decision, no question. We also see Marco Geri (bass) and drummer Francesco Carnesecchi being new to the fold, both are providing very solid contributions as expected.

This album still showcases the typical RAVEN SAD feel, however definitely not a simple copycat case, when matching with the previous albums. It's a neo and psychedelic prog blend basically, featuring haunting melodies all over. Here and there some Pink Floyd reminiscence is shimmering through. A distinct mellow flow is presented, though diverse heavier and groovy moments are incorporated too by way of variety. Which yet again is leading to the summed up attribute: entertaining. Celestial acoustic and electric guitar playing, pearling piano lines, spheric synths, expressive vocal presence. There's no need to highlight any particular song. Because they are offering a rounded production, appealing from the first to the last minute. 4.5 stars on the PA scale.

Very accessible, but absolutely not in a "boring" way. This is the first Raven Sad album I've listened to. I'd assume early albums are slightly more psychedelic than this one, as it only really hints at psychedelia, but the "dreamscape" effect is present in many of the tracks. Certainly towards the end it reminds me of Pink Floyd's Comfortably Numb in style and pace.

Most tracks alternate between dreamscape and slightly heavier interruptions which blend together really well as the organs and guitar play off each other. Sit back, relax and enjoy. Colorbox, the longest track on the album, is probably a bit love or hate - it has the feel of a systematic walkthrough of several subgenres of prog one by one. For me, its the reason for giving four stars rather than five as its the only time the composition seems a bit artificial. But every other track is excellent.

Raven Sad started as a solo project by guitarist Samuele Santanna in 2005 but gradually turned in a four piece formation, making the albums Quoth (2008), We Are Not Alone (2009), Layers Of Stratosphere (2011) and recently, after a hiatus of 10 years, the new album The Leaf And The Wing (January 2021), all at the prolific Polish prog label Lizard Records.

This is my first encounter with Raven Sad its music, during the listening sessions I got more and more delighted, what a wonderful tastefully arranged progressive rock, very melodic and accessible, like Eighties Neo-Prog. The 8 mostly mid-long compositions alternate between dreamy parts, slow rhythms and bombastic eruptions. It sounds very flowing with the focus on the excellent, often moving guitar work, with obvious hints from Andy Latimer, Steve Rothery and Nick Barrett. The keyboard play is pleasant with lots of (Hammond) organ, along piano, Fender electric piano, Mellotron and Minimoog synthesizer. The English vocals feature a slight accent but I like the emotional overtones, matching with the often sensitive electric guitar. The rhythm section does a good job, with strong interplay in the more dynamic parts. Despite the long running time (close to 70 minutes) Raven Sad succeeds to keep my attention. My highlights.

City Lights And Desert Dark (9-53) is a very dynamic and varied track, between dreamy and swinging, pretty funky rhythms, blended with inspired vocals and outstanding guitar work, from howling to heavy, wow!

The epic Colorbox (13:00) starts with tender vocals and piano, then an accellaration with fiery guitar and organ and a bombastic part with moving guitar, soaring organ and emotional vocals. Halfway a slow rhythm with again moving guitar, powerful drums and waves of organ. Then a break with Mellotron choir and spoken words. The final part delivers a slow rhythm with organ and emotional vocals, topped with howling guitar, the asset on this new album.

Approaching The Chaos (8:50) begins with a dreamy climate featuring a catchy guitar riff and the distinctive electric piano sound (like Riders On The Storm from The Doors). Then a bombastic eruption, the contrast between the heavy guitar and tender piano and choir sound creates a captivating tension. The music turns into a tight beat with moving guitar runs and sparkling piano work. Now the mighty Hammond joins, blended with fiery guitar, the interplay by the band is awesome. Back to a slow and compelling rhythm with soaring Hammond and moving guitar, this is a Raven Sad trademark, I love it. In this dynamic second part a surprising break with jazzy piano and spoken words, one of the many interesting musical ideas. Finally again those wonderful sensitive guitar runs, Prog Heaven!

The other epic composition is Ride the Tempest (11:55), first dreamy with warm vocals, tender piano, then a slow rhythm, gradually the music becomes more bombastic with fiery guitar and emotional vocals, but returns to the dreamy sound in the first part. Again the music slowly builds, culminating in sumptuous climate, embellished with Hammond, powerful vocals and howling guitar runs, wow. The final part is mellow featuring piano and a melancholical Mellotron violin sound, a beautiful conclusion.

My first encounter with this promising Italian band has turned into a very pleasant musical experience! By the way, this is now Eighties Neo-Prog oriented, not really psychedelic/space rock.

I'll start off my review by saying that this is an Italian album which could have fooled me into thinking it was a German album. Whether or not that's where the influences actually are, it seemed to have a bit of that good ol' krautrock/space rock feel characterized by lots of ambience, synthesizer arpeggiation and super-grooving bass lines. There's lots of great texturing going on here, melodic guitar playing, and nicely composed synth parts that are always melodic and purposeful and never feeling like you have to keep up with them; even the leads are more there for ambience and feel than anything else. "Mind Flies" is a great example of this. The two downsides for me were that the vocals never really grabbed me. They weren't frequent, but when they were present, for example, in tracks like "The Highest Cliff," I always felt like the singer's voice was a bit too mundane for my tastes. The other downside is that while all the tracks were good and fun to listen to, there wasn't really a track that blew me away. Everything was good, this is definitely a good album, but nothing was amazing. However, in the end, this could be just my preference. I would definitely recommend this to people who are big fans of space rock; I think they would most likely be quite pleased. Layers of Stratosphere is most certainly an enjoyable album from start to finish.