PHOENIX AGAIN

This Italian band was founded in Brescia, as Phoenix, they disbanded in 1998 and reformed in 2010, now under Phoenix Again. Meanwhile singer/guitarplayer Claudio had died in 2007, one of the three Lorandi brothers in the band (along Sergio on guitars and vocals and Antonio on bass and vocals). This inspired Phoenix Again to record their material on CD, starting with ThreeFour in 2011, and now Vision in 2022, the fifth CD in a row. The current five-piece line-up features the two Lorandi brothers, and a wide range of guest musicians (from glockenspiel to trombone and choir).

I am pleasantly surprised by this unknown Italian formation, these are good musicians, and they write tastefully arranged compositions, with lots of variety, dynamics and a healthy dose of vintage keyboards.

A sumptuous Neo-prog sound with Hammond, Minimoog and moving electric guitar in Ouverture.

From bombastic with howling electric guitar and sequencing to dreamy like Camel and finally Heavy with sensitive electric guitar solo in slow rhythm in the epic Moments Of Life.

A mid-tempo with spectacular Minimoog solo and rock guitar riffs in a bombastic climate in Triptych.

Air starts with twanging acoustic guitar, then a slow rhythm featuring Mellotron and moving guitar, wow!

Psycho delivers an electronic sound and tight beat, then bombastic with Minimoog, in an up-tempo.

A tight beat with fiery guitar, the music reminds me of the King Crimson inspired 'structured chaos', and finally a Minimoog soli with a tight beat in La Fenice Alla Corte Del Re.

Propulsione is another track with a bombastic atmosphere and tight beat, embellished with Hammond, sensitive electric guitar, and choirs, finally a moving guitar solo.

Mamma RAI starts dreamy with beautiful and tender electric piano. Halfway a surprising break with a tight beat, bombastic eruption, powerful rhythm-section, then again dreamy with electric piano and in the end bombastic with classically inspired rock guitar, how exciting.

Finally the short and mellow song composition Threefour (2:06) featuring dreamy work on guitar, keyboards, and the Mellotron flute, what a pleasant conclusion.

My rating: 3,5 star.

No band can claim to have a more appropriate moniker than Italian band Phoenix Again , established in Brescia in 1981 as Phoenix , eventual dissolution in 1998, only to restore itself in 2010, adding the Again part. Their first 3 albums were utter joys, but the previous (2019) 'Friends of Spirit' was a sharp deviation from their strong RPI roots into a more acoustic, Latino/Spanish laid-back jazz groove that did not fare well in terms of ratings. They should have labelled it something else, such as 'the Lorandi family in Leon', or something similar. As befits a Phoenix, they rise back from the Hispanic ashes to revert to what they do best: masterful melodies, impeccable playing and very Italian prog.

The darting synthesizer swerves masterfully on "Overture", ably shouldered by tremendous guitar riffs, serpentine bass, powerful drumming and subsequent keyboard and electric guitar interplay. Their patented use of dual axe players conjure up images of 6 string intricacy that instantly hits the mark, as the duo provide power and delicacy, firmly intertwined, wrapped into cordial melodies. Time to settle down a bit and show some restrain by creating effective melodies, where extreme serenity and tonal splendour combine to recreate that magical Italian quality of romance within a musical form. All the players shine on their respective devices, as this band is a perfect platform for collective ensemble playing, followed by further revisits concentrated on each individual instrument. The fusion of classic prog with more modern electronic accoutrements is the hallmark of this remarkable epic track. The final segment is buzzingly grandiose and thrilling, something Hackett would applaud, grinning. "Moments in Life" is exquisite music, period.

The slightly more experimental "Triptych" dares to go beyond melody, veering into more obscure polyrhythmic gymnastics, proving that decades of experience can draw magical lines that would suit a roller coaster video. Brash, rugged, fiery, and utterly bold, the track serves its purpose in spades (as well as clubs, diamonds and clovers). Keeping their family feet firmly on the pleasure pedal, the 4 Lorandi brothers, aided by master keysman Andrea Piccinelli and deft drummer Silvano Silva, just keep showcasing their majestic talent on the suave "Air", offering a more dual acoustic guitar first half that imperceptibly morphs into prog heaven with a splendid guitar phraseology, getting progressively heavier as the mighty Mellotron kicks in and the bass guitar rises from its underground lair.

Can this aural delight possibly continue? Well, check out "Psycho" and see how high these lads can elevate their craft, as the Phoenix rises even higher on this monster track. Sizzling synthesizer leads scour the heavens at breakneck speed with strong Emerson/Wakeman tendencies, as Piccinelli rouses his talent on the ivories, setting the stage for the others to enter into the maelstrom. Its fast, furious and ?well, psychotic! The next track acts as a near segue as "La Fenice Alla Corte del Re" propels a sheer density of notes that will stun the technicians out there, while the atmosphere junkies (yours truly) will drool over the emotions the music explicitly encourages. At times, the intense guitar audacity is on a Frippian level, forcefully buzz sawing with total abandon. More polyrhythmic mayhem ensues, while still keeping a critical eye on the melodic horizon. The jet engine "Propulsione" is precisely that: a propulsive guided missile gone haywire, relentlessly in pursuit of some imminent explosion, launched with a militant lift-off which gathers speed and impulse until it reaches a sudden appearance of massive choir work, that will recall some early Crimson King theme that we all know and love. Very slick flare up, with fireworks lighting up the skies.

Two shorter pieces to finish off the album, "Mamma Rai" is a tender lullaby played on electric piano and acoustic guitar, the sound highly evocative of classical music etudes that have stood the test of time. This one will too, as the melody is beautiful. Half way through, it evolves into a more conventional rock format with powerful Celtic-tinged guitar phrasings , only to revert back and forth between the two melodic extremes. Very clever indeed. After all this previous excitement, "Three four" is a delicate lyrical 'arrivederci', as if the band wants to say that they will return with another splendid offering, once the Phoenix arises once Again.

One of the finest album covers in recent memory, brilliantly arousing the music inside.

5 Optical mirages

Now here's a band with an amazing history. Starting as PHOENIX all the way back in 1981 in Brescia, Italy by three Lorandi brothers, this band stuck it out until 1998 but never released a single album or even a single for that matter. The band was influenced by the usual 70s progressive rock suspects but seems to have been most effected by the symphonic prog bands like Camel and Genesis. Not sure if the band toured or just wrote material that never saw the light of day.

Fast forward to 2007, singer and guitar play Claudio Lorani passes away and the remaining brothers decided to resurrect the band in 2011 as PHOENIX AGAIN. Since then this interesting band has remained somewhat obscure but has released five albums with the latest being this one titled VISION. A beautiful album cover always gets my attention which is what prompted me to sample this band out of the lengthy list of wonderful prog releases of 2022. And i'm very happy i did! I wasn't expecting something this intricately divine and that the musicians on board would be seasoned veterans with decades of experience under their belts.

VISION sounds like a modern day phenomenon of an exquisitely production oriented release only with its roots in the dreamy sounds of Camel's "The Snow Goose" or "Moonmadness" only without sounding too much like Camel or any other and for that matter. Once again the band features four Lorandi brothers with two guitars, a bass and percussion. There is a second percussionist and a keyboardist. The rich soundscapes also feature the occasional horn, trombone, trumpet and vocals in choral form. The music is primarily instrumental with groovy guitar hooks and jazzier rock sections.

This album features nine tracks at over 52 minutes of playing time. The tracks range from trippy mellow atmospheric sounding with retro Hammond and minimoog to full on upbeat rock guitar heft as well as more more processed guitar sounds. The mellotrons are on full retro mode and although the overall feel might insinuate what Camel should have released after "Moonmadness," the more adventurous time signature workouts and avant feel of some of the grooves harkens more to King Crimson around the "Red" album. Despite being from Italy, PHOENIX AGAIN sounds more inspired by English bands as there are no Italian lyrics in traditional prog form and none of the avant-garde excess of bands like Area, Il Balletto di Bronzo or PIcchio dal Pozzo.

This is very "airy" music for the most part with soft sensual atmospheres accompanied by rock that never gets too out of control however some ferocious keyboard attacks do give this album an edge. A lush pastoral backdrop is never far behind even when the guitars threaten to start a riot. Basically this album exists in some gray zone between neo-prog and Camel inspired symphonic prog but also showcases a lot of lighter breezy jazz-fusion bands not unlike Pat Metheny and the similarly inspired but just when it threatens to get too airy fairy the guitar pace picks up and jittery keyboard runs or ominous time signature deviations punctuate the routine.

While the tones and timbres may evoke certain artists of the past, the biggest surprise is how varied and perfectly constructed the composiitons on this one are. The musicians have been at this game for a long time now and it shows. A big surprise with this band and this album. Now i'll surely have to go back and hear what came before. Perhaps i would prefer a bit more of a robust drummer who filled the parts beyond the keeping the time bit but overall i cannot complain much about this fine release that feels like it connects some invisible dots between the mid-70s and the modern era. All in all an amazing album with one of my favorite album covers of the year!

The Lorandi family is at it again churning out an album of melodic jazz-rock fusion based in sound palettes familiar to prog rock.

1. "Ouverture" (4:03) a pleasant upbeat instrumental to get us started--like a nice drive through the Lombard countryside. (8.75/10)

2. "Moments of Life" (10:28) a very pretty, mellow, almost STEVE HACKETT-pretty heart-jerker. At the four-minute mark an electronica sequence enters and dominates the baseline of the weave until the rock instruments kick back in with some cinematic aplomb and bombast. Nice!The break out into a swing section at the eight-minute mark is a bit hokey (and disappointing) but appropriate to the symphonic cinematic mood already promoted here. Nice emotive lead guitar work in the last 90 seconds. (17.5/20)

3. "Triptych" (6:54) sounds a bit like some of DAAL's earlier music--driven from the lower end of each musician's realms. Nice jazz-fusion instrumental work but nothing very extraordinary here except for the familiar sound palette. (13/15)

4. "Air" (6:38) sounds like sound palette behind FOCUS' "Wingless" (from the 1978 Con Proby album) with a different set of instruments exploring the lead melody transmission jobs. At 3:18 we are once more transported into the bass-heavy, 'tron-drenched "classical" music of DAAL. (8.75/10)

5. "Psycho" (4:32) spry KEITH EMERSON-like keys sprout into the opening of this one as the rest of the band eventually fill the ELP-like musical field. The structure of this one has some really nice buildup of tension over which some nice soloing occurs. Very nice, tight construct with equally tight top-notch musicianship. Another top three song. (9/10)

6. "La Fenice alla Corte del Re" (6:34) a little foray into the territory of KING CRIMSON and NIL. Nicely done. The band can really pull it together and sound like a top notch prog band instead of a cinematic orchestra. Definitely a top three song. (9/10)

7. "Propulsione" (6:42) feels like a musical expression of some speed test. I like the play with scales and polyphony within some of the parts. Then there's the KCrimson-like vocal melody explored by the family choir. Another top three song. (9/10)

8. "Mamma RAI" (4:36) feels like a cross between a FOCUS song and the TRANS-SIBERIAN ORCHESTRA. (8.75/10)

9. "Threefour" (2:06) a cute little ditty that makes for a great little exit song--like going out with a waltz! (4.5/5)

Total Time 52:33

B/four stars; an excellent addition to any prog lover's music collection--especially if you're into solid cinematic instrumental music.

Lorandi & Co.

Phoenix Rises Again...Again!

That is, the mythical immortal bird that cyclically is reborn, lives again; so, Phoenix rises again...again. And this is a tribute to the Lorandi clan, a number of whom contribute to this remarkable album, some of whom were part of the original Phoenix, and especially Claudio Lorandi, now gone, but never forgotten.

"Vision" is the fourth studio album released by Italy's PHOENIX AGAIN- the band that arose from the ashes of the early '80's PHOENIX, with the tragic death of Claudio as a catalyst to rise...again. When their first album "ThreeFour" was released in 2011, some thought that might be the end of the line.

But NO!

I said, "remarkable". And although to these ears much of the neo-progressive music I've heard seems a bit dialed back and lacking inner fire, in "Vision" PHOENIX AGAIN clears up the fog and gauzy edges. From the growling Hammond organ in the opening "Ouverture", to the gentle nightmarish chaos of closing "Threefour" (intriguing reference to their 2011 album, eh?), PHOENIX AGAIN offers a rich tapestry of lavish keyboard work, tasteful acoustic 6 and 12-string, clean and gritty electric guitar playing, solemn bass guitar, and for me the star of this outfit- the stellar, tasteful, colorful drumming throughout.

The lengthiest track, "Moments of Life" has dark, heavy guitar, a growing chaotic synth line, organ, electric piano, shifting into nifty jazzy lines with dreamy guitar overhead, with many examples of that tasty, propulsive drumming. In fact, one of the defining qualities for me is the inner propulsive, fiery aspect of the works of PHOENIX AGAIN, in "Vision", even when things slow and become moody, or sweet, and ever-present melodicism abounds.

King Crimson

Do I have your attention now? At least for me, "Triptych"- and elsewhere- gave me KC-vibes- the spare fury, odd but compelling guitar/bass lines sometimes coupled with synth, some off-kilter acoustic guitar accents, and some cool guitar/bass/drum riffs, leading to syncopated rhythms from the gutsy guitar.

"Air" brings in acoustic 12-String guitar chiming, with just the hint of hi-hat percussion, then the guitar/bass lines ring out, and intensifies , only to subside with sweet, melodic guitar and piano melodic lines. There are lush ascending lines, then darker textures leading to grand piano with bold arpeggios. Somehow free-form playing and chaos threaten throughout the album- the "vision" apparently includes the reality of intrusions into the gorgeous textures and joys of living.

"Psycho" reinforces the 'craziness' by opening with brash synth lines that race and tumble, and a deep, grumbling synth, developing and intensifying. Spooky mellotron textures enter- and somehow glockenspiel adds to the mix.

So, Considerable Width and Depth

...in this "Vision". There are so many highlights. For me, "Propusione" is the standout track among standout tracks. I love the choral depth- more Lorandi's participate- and the presence of brass instruments brings some cinematic grandeur. Here again, drumming really stands out. What strikes me is the humility of the drumming, not seeking the limelight, but playing so well to the music, to enhance, to accentuate, to lend depth and texture.

My Conclusion

Grand. Melodic. Playful. Chaotic. Reflective. So many fine elements in this instrumental gem. I rate this one a solid 4 stars, and excellent addition to any progressive rock collection- and one you may find yourself returning to again...and again!

Phoenix Again is the name of a Neo-Prog band founded originally in Italy in 1981 with the name "Phoenix". The band is mostly unheard of, but they disbanded in 1988 and reformed with their new name in 2010. The band was put together by 3 brothers, Claudio, Antonio and Sergio Lorandi, who recruited Silvano Silva to play drums. They recorded some material, but never released it until after they reformed, and finally released the debut album in 2011. However, the thing that really inspired them to reform was the death of Claudio in 2007.

The band released their fourth full length studio LP in March of 2019, entitled "Friends of Spirit". The band now consists of 6 musicians, 4 of which are still part of the Lorandi family; Sergio on guitars and bouzouki, Antonio on bass, Marco on guitars, Giorgio on vocals and percussion. They are joined by Silvano Silva on drums and percussion, and Andrea Piccinelli on keyboards. The album consists of 9 tracks and has a run-time of 41 minutes. The album is available on Bandcamp, but physical copies are only available for shipping through Europe. The music is mostly instrumental and is influenced by acoustic instruments playing a mostly laid-back, Latin-style jazz.

"Friends of Spirit" (7:08) is the longest track and it starts off the album with a slowly developing, atmospheric sound, and then a smooth and soft guitar finally brings in a melody while effects softly flutter around. The instrumental is soft and spacious, with a smooth and breezy jazz feel. "On the Melody" (3:50) has a Spanish folk style to it with the fast acoustic strumming. The melody is played by the bouzouki. "Pasion" (4:52) begins with a mysterious and dark feel, with wordless vocals and more of the Spanish-influenced sound, but this time with a more pensive and moderately slow tempo.

At this point, it has been established that this is really far from progressive music, but more of a smooth Latin-jazz sound (hence the reason for mostly Spanish titles) similar to the new age band "Acoustic Alchemy". The songs are written in simple, standard meters and is very accessible. The music continues in this vein, with the acoustic guitar taking the lead through most of it, but with an occasional appearance of other instruments, like the improvising piano in "Habanera". "Free Ireland" mixes the Spanish guitar sound with an Irish lilt, and of course the bouzouki is used here. "Eppur Si Muore" begins as a fast moving dance style, and then halfway through, changes to a slower smoother track, almost like it was actually two separate songs in one track.

So, this is pretty much an easy listening album, quite laid back and influenced mostly by Spanish music and latin jazz. There is nothing progressive about it at all. Reading other reviews for the band, apparently this was not always the case, that their past albums had more progressive style to it, but that is totally missing on this album. If you like acoustic jazz music influenced by Spanish jazz, then this is for you, but pick it up for that reason, and not because you are hoping to find anything progressive on it.

One can say, they really have the prog in their blood. I am referring to the Lorandi family altogether first and foremost, which always has supplied the band's core since they started in 1981. On that early occasion yet under the moniker PHOENIX, featuring brothers Claudio, Antonio and Sergio. They disbanded in 1988, but then it was the tragic death of Claudio in 2007 which finally challenged them to reanimate the band and to go further. Anyway, the line up, which is present here in the Netherlands at Parkvilla Theatre, consists of founding member Antonio, his two sons Marco and Giorgio, plus drummer Silvano Silva and Andrea Piccinelli on the keyboards. Now that was a short excursion touching some of the finest Italian surnames, or what?

I hear momentary glimpses of Genesis, Yes, Focus in between, though can assure you that we have a well harmonised self-reliant band playing here. They are celebrating more than 2 hours of symphonic progressive rock at its best, enriched with some psychedelic and folk vibe here and there. Lyrics are in English, the focus is on the instrumental flow anyhow. Just take the thriving The Bridge Of Geese and Whisky showing some wonderful keyboard and guitar interaction. Let me also emphasize the instrumental Valle Della Luna, which shows two faces. The very empathic mainframe, featuring nice piano lines and acoustic guitars, contrasted by a lively and tricky middle part. Bravissimo! Released as a double compact disc this is an outstanding album really when thinking in prog terms. Highly recommended.

The history of this Italian band goes back to the early 80's, but the debut album came out in 2011, and now is the third album out. A new acquaintance for me, and a pretty pleasant one. Neo prog is not very typical subgenre in Italy, even less in Black Widow Records. Well, nor is Phoenix Again typical neo prog. To begin with, they are instrumentally oriented, and the atmosphere is closer to the seventies than the eighties and beyond.

Unexplored contains eight tracks, only two of them featuring lyrics; 'That Day Will Come' is placed right at the beginning. After the little clichéd fast instrumental intro the tempo slows down and the sparse lyrics are sung by the whole sextet in unisono. The next track 'Silver', with some "lie-la-lie-lie" singing, confirms my thought of the resemblance to WISHBONE ASH, except that there are more keyboards. I appreciate the melodic airiness in the band's sound. There are also slightly heavier elements, but more in the vein of modern RPI than heavy prog per se. The hectic fourth track 'Whisky' is my least favourite, but it's nicely followed by a brief and romantic instrumental ballad starring acoustic guitar.

'Valle della Luna' is the longest (8:41) and it progresses without any hurry. Good acoustic guitar again, and plenty of soloing for electric guitars and keyboards. 'To Be Afraid - Ansia' is the other vocal song. In its calmness it reminds me of a CAMEL ballad, concerning vocals too. At nearly seven minutes in length, this track also grows instrumentally. Strong, emotional melodies. The album comes to a harmonic end with peaceful and uplifting 'Great Event'. Oh, now I notice there's a hidden extra track, a little acoustic vignette.

All in all, this album is easy to enjoy. It may lack some originality and truly memorable compositions, but I round my 3½ stars upwards. The band features four guys from the Lorandi family (plus drummer Silvano Silva and keyboardist Andrea Piccinelli). The beautiful cover painting is by the late founding member Claudio Lorandi.

Here's some instrumental progressive rock fusion with jazz, space/psychedelic and symphonic influences. The songs display crafty arrangements, extended spacey keyboards parts, mellotron, hammond, cello, flute and accordion to complete the whole painting. Some psychedelics guitars solos emerge from nowhere in this music that offer many rhythm changes, a nice transition between electric and acoustic guitars. The band take you in to some grooves that can hypnotize you not unlike a band like Ozric Tentacles. Every instruments have his place including the bass and the keyboards, the latter are always present in the background with plenty of symphonic passages. The rhythm section is solid and complex. "Invisible shame" is the only song that contains vocals and the weakest track of the cd save by a nice ending with the keyboards. The vocals are not enjoyable and seems out of place. "Summer" is a dreamy mellower track with cello/piano arrangements that gets rocking with a jazz sequence. "Look Out" has that King Crimson influence and a old classic rock sound in the first part. "The endless battle" show some psychedelic guitar tones and some passages that take you back to the song "21st Century Schizoid Man".

Overall the music here is very good if you enjoy bands mentioned earlier including Camel and Focus. While this band is in the Neo-Prog genre, this is not what i have in mind when i listen to this album. Maybe in the way they have absorb all the influences of the progressive rock bands of the past to create their own music. If their first album didn't convince you, "look out" for this second who deserve 4.5 stars.

Let's start off by giving a round of applause for one of the most surprising Italian prog revelations of 2014! But first, we backtrack a little...2011 saw the debut from Italian band Phoenix Again that had been around since the start of the 80's, yet, like other bands from the vintage 70's era in a similar situation such as Il Cerchio D'Oro and Sezione Franante, they had never released a proper studio album until now. Back in 2007, the band were recording their debut when one of their own, guitar player and vocalist Claudio Lorandi passed away. The final product, `ThreeFour' was a fitting tribute to him, and his playing and brief vocals were the highlight of a very decent, dignified album. It was mostly full of lush Camel styled instrumental pieces, and the band were able to proudly hold their heads high from the results. Some listeners probably wondered if that was to be the sole release from the band, perhaps as if completing the album was a way to offer a final tribute and closure to their former friend. But, after a live album a year later, 2014 brings a very unexpected - and welcome - surprise in this follow-up release entitled `Look Out', and the album couldn't be more appropriately titled, as I don't think even fans of the band would have expected something this impressive!

`Look Out' sees Phoenix Again take all the promise and potential they showed on their pleasing debut and aim straight for the stars, and the result in one of the most varied, dynamic and powerful instrumental albums of the year. The band draw on all their musical ability, playing with such focus, determination and real purpose here. I wonder if it was the need to show that they can carry on without Claudio and still offer effective music, or perhaps they were setting the bar high for themselves to make it as worthy of his legacy as possible. Likely it was a combination of both these things, but the results are right there on disc for the whole world to enjoy. The debut was already a family affair, with the late Claudio's recordings supported by brothers Antonio (bass) and Sergio (guitars), and this time a further two relatives are added in the form of Marco (guitars) and Giorgio (percussion)! The four Lorandi fellas, with carry-over drummer Silvano Silva and keyboard player Andrea Piccinelli deliver sublime instrumental thrills.

There's not much to align Phoenix Again with the proper Italian/RPI styles that many other bands from that country play in, instead they take sounds from almost every genre imaginable to make a colourful, varied and constantly unpredictable album. Bands such as Rousseau, Camel and Sanhedrin still apply, as well as perhaps newer Italian bands such as Progenesi, but despite constant direction and tempo changes, everything works beautifully throughout with seamless transitions. Spacerock, classical drama, hard-rock, electro-pop and symphonic prog all feature and blend perfectly together.

Twelve minute opener `Adso da Melk' effortlessly glides through the warmest acoustic guitar prettiness, foot tapping jazzy licks, fiery electric guitar driven fusion and grand symphonic melodies back and forth, by way of loopy trilling syth soloing, bristling Hammond organ, murmuring bass, punchy drumming, weeping violin and regal Mellotron strains, all alternating between delicate restraint and excitement. An infectious and catchy repeated lead guitar melody and reflective accordion rings out offering lighter comfort over thick menacing bass and uneasy synths during `Oigres'. The band builds up a hypnotic repetition through gutsy bluesy guitar muscle with a sprinkling of electric piano and searing Mellotron veils on the title track, slowly twisting it into a delirious and noisy frantic space- rock trip almost resembling the Oresund Space Collective! Antonio's bass is absolutely relentless on this one, mixed nice and thick as well. Sedate `Summer' is full of lovely drifting Floydian/Alan Parsons Project synths with light orchestral moments. Just wait for the triumphant rocket-sized electric guitar solo as the piece kicks up in tempo in the middle, and the Mellotron crescendo leaves me no doubt this is one of the best instrumentals to appear on an Italian prog album in 2014, alongside Logos' 'N.A.S'. Bonus points for the playful jazzy final 30 seconds too!

`The Endless Battle' blasts the listener with a stomping Iron Maiden-like mule kick, all thrashing drumming and viper-like biting lead electric guitar runs and molten Hammond organ meltdown. The same manic energy here was present on the brilliant Carpe Nota debut album a couple of years back, so fans of that one will dig this as well. The band take a break on the only vocal piece here, `Invisible Shame' a more upbeat straight-ahead rocker, the late Claudio's raspy vocal giving it a slightly melancholic quality. I think this piece may have worked better placed right at the end of the album, as the sudden move to vocals and out again by the next track is a little jarring! But it's a fine tune anyway, so moving on to the dirty electro-pop guitar grooves of `Winter', which has the whole band on fire! Joyous electric guitar soloing, busy drumming, unravelling synth noodling and slinky bass worming its way around the backdrop in a serpent-like manner! After working up a sweat, the band close on a short romantic piece full of classical guitar, flute, violins and cello, and it's the closest the band come to a proper RPI sound, perhaps along the lines of the more whimsical and sweeping instrumental moments from P.F.M. A delightful and exquisite way to close the album.

`Look Out' is simply one of the finest instrumental works to emerge in 2014. The band have seriously stepped up on this follow-up release with power, finesse and so much variety, and they can truly go anywhere from here. The constant direction changes and extra heaviness is a welcome surprise this time around, who knew these pleasant gentleman had this energy inside them?! Damn they kick all sorts of rear-end throughout much of the disc! Once again, its further proof that Italy is producing many wonderful and exciting works throughout 2014, and I have no doubt Claudio Lorandi is looking down on his friends and couldn't be happier with the results they've all delivered here.

Four and a half stars.