CARPE NOTA

For newcomers to Carpe Nota, how to describe the four piece act? Highly melodic, upbeat and emotionally driven instrumental progressive rock, that mixes in everything from crunchy hard-rocking grunt, classical-tinged dramatics, jazzy diversions and even space-rock jamming, all filled with endlessly joyous and energetic soloing would probably begin to cover it!

For lazy comparisons, the band happily embrace the keyboard flamboyance of Emerson, Lake & Palmer, deliver joyfully symphonic-flavoured guitar soloing ala Camel, allow for King Crimson-like open spaces, technicolour synth swirls gently remind of the Ozric Tentacles, and heavier hints reveal the technical chops of Dream Theater.

Strident opener `Not Greater Than You' attacks with purpose, an up-tempo sprint of Peter Rubinetti's guitars darting between snarling riffing and crisp heroic themes, new drummer Mark Cubranich's flashy percussion rumbles, Ken Sundling's buoyant bass gallops and Dan Pluta's swirling synth whirls. Dan's daughter Christiana opens the twelve minute `Death Rattle' with ethereal gothic sighs, then it's Ozric-flavoured synth loops, chilly Mellotron slivers and staccato guitar grinding. The atmospheric piece frequently reveals a regal and symphonic elegance with skilfully reprising passages throughout.

`Light On the Horizon' percolates with a lively bass introduction before drifting into dreamy synth trills contrasted with gutsier bursts of muscular power. John Macaluso steps in for drum duties for the final two tracks, where `Spidertrap!' almost sounds like Liquid Tension Experiment jamming with Yes with its ragged guitar runs, and the infectious closer `Corona Borealis' bounces with pomp as its races to a frantic finish of nimble synth/guitar duels.

Unpredictable twists and turns full of momentum and power are the order of the day here, and the band offer a vibrant collection of varied musical gems that are constantly unpredictable and full of ideas and alternating styles, all flowing together seamlessly. It's another great effort from the talented Carpe Nota, and instrumental prog fans are in for treat all over again.

Four stars.

Does anyone remeber this excellent american band?, who released in 2012 their self titled album who got some very fine reviews world wide , including mine, I guess not many.

But what happen with the band after the debut,Carpe Nota entering in the shadow for quite some years (8 to be more precise) until last year 2020 when a new album pop in my face. The title Not greater than you, issued in summer. A very nice surprise, at least for me, because I liked a lot their debut I decided of course to check this one out without hesitation.

Well, this is with same attitude as on previous album, energic instrumental progressive rock, very well written and played. A new member in the line up, the drumer Mark Cubranich who is with the band from 2013-2014, replacing Phil Derenbecher, also their is some helping hand as guest on drums by John Macaluso.

Musicaly speaking, as I said the band is still in bussines, the opening Not Greater Than You , clocking around 9 min is truly excellent, energic, some brilliant sections , specially the guitars are amazing made by Rubinetti, also the keyboards by Pluta, the sense of melody is always combined with ease with more edgy parts. This is a dynamic release with many changes in tempo.

All in all, for fans of heavy prog, and maybe for those of the more symphonic side of heavy prog. For sure Carpe Nota is a real winner in this realm and for that reason deserve attention. I'm really glad that they didn't stop after debut and continue to put some respectable music nowadays. Beautiful trifold digisleeve. Unfairly unnoticed band.

Yes, kiddies, this is perhaps one of the finest instrumental prog-rock albums ever, with a plethora of brilliant tracks that harken back to bands such as classic Focus, Allman Bros, Rush, King Crimson (Wetton-Bruford-Cross era), Metallica, scents of Return to Forever, even hints of Led Zeppelin.

A heartbeat, huge mellotron choir waves and rustling cymbals ignite the marvelous opener, "Thoracic Park", a 10 minute+ extravaganza of rollicking, bruising, kick-ass, highway star driving rock music with all the trimmings, sauces and condiments. Slithering synths, crunchy rhythms, crushing bass and manic drumming keep things pressure-cooker intense, with sublime guitarist Peter Rubinetti ripping off all kinds of majestic solos, where both speed and emotion rule the roost. The pace is gruelling yet smooth, the bass carving quite nicely (Ken Sundling is awesome), Dan Pluta's keys coloring the arrangement with stylistic touches of the finest order, especially when he combines brooding organ runs with Manfred Mann-like bending Moog flights. Yeah, it's definitely 'chopzilla' but with purpose and balls! Check out the wicked axe solo, pfffffff! Like they say in the hardware store, "Screw Me"! Add the reptilian bass and the deranged drumming, there is so much pleasure to deal with, my goodness!

"Welcome to the Edge" is progressive rock 'roll, a sensual frolic that just chugs along like some prog-infected Southern boogie with instantaneous appeal, the rhythm guitar just stuns with raucous rage, the tortured solo is a sizzling Sidewinder missile heading right up the rear-end engine exhaust, ready to go BOOM! Sundling then blasts some fine lines from his hot bass guitar, keeping things sweaty and perverse. Bloody brilliant stuff, this!

The classic 9 minute "Obsession" infuses a little Middle Eastern aroma into the mix, 'yalla habibi' but in a nasty way, full of lush bravado and hard rhythmic pounding, hints of Robin Trower or Iron Maiden are accurate, as its scorching and weighty in the prog desert! Driving, relentless and passionate, the highlights include the stunning violin-patch synth solo that is incredibly gorgeous and the acoustic guitar solo that is even more mind-blowing! Forge ahead with a brutal electric rampage, dripping with angst and dexterous speed, I mean how can you not be intoxicated? This is sonic hashish! Knock me down and call me Aisha!

"It Can't Be So" is the same length, a tad more investigational in nature, weaving dense grooves that has a slight Focus "Hocus Pocus" feel but bluesy and greasier. Rubinetti gives his fretboard a real workout initially, then falling back to prepare the final mellotron-infected onslaught, a colossal explosion of temperament and purpose that will shake your tree, with blazing synths, insane riffs and squealing leads! Almost like a Focus/Anekdoten mix!

"Obsidian" is rock solid and obsessive, almost a companion piece to "Obsession" where frantic meets delirious, soaring electronic keyboards amid harsh guitar rasps, pummeling drums and that darn bass rumbling madly. Halfway through, the stage is set for some more ponderous moments to reflect on the heavens in an almost jazzy, contemplative oasis. Sure, Rubinetti brings back the fiery leads to the forefront, just in time to keep the listener perplexed and breathless. His main solo is very Robin Trower circa Bridge of Sighs while Pluta manhandles his Moog like some Jan Hammer clone.

The shorter "Batovich" is fun, a toe-tapping groove piece that is not nuclear science but just plain entertainment. Pluta in particular does some stellar work on the ivories while Paul just unleashes a massive rip from his inspired 1976 Stratocaster.

Another 9 minute + job, "Bio-Freez" is a looser piece with some interesting keyboard sounds, intricate bass swerves and of course, Rubinetti slicing through the haze. Drummer Derenbecher is no slouch either, drumming like some possessed madman. This is probably the most deconstructed piece here, very much a monster jam with everyone grooving along. Bass fluttering amid the mellotron, I mean really! Lots of soloing on this one, folks!

The 10 minute finale "For All Time" is a subtle piece that seeks out gentler pastures, easily the most symphonic piece, illustrated by a gorgeous melody, punctuated by a forlorn bass and a seductive, almost Italian synth passage. Gaga Gaga! Wakeman would be soiling himself over this! When Rubinetti introduces his passionate guitar, the Italian feel becomes even more apparent, an instrumental prog ballad of the highest order. Colossal contrasts, breathtaking musical skills (these are not young rascals) and a perfect ending to a phenomenal album. Easily my favorite track here, though all are simply excellent pieces that will stand the test of time.

An absolute must for fans of heavy instrumental prog, with massive doses of masterful soloing and exotic arrangements. I mean, WOW! Not a single second of drudgery, a pure delight?..Ideal car driving or love making music. I have listened to this at least 50 times, a rather rare event in my busy prog schedule! Desert Island classic and 2011's highest recommendation. Oh, the cover art is stupendous! Can't wait for their next one!

Now I have to thank my Aussie pal Michael H for reminding me that I was amiss in rewriting the review for this masterpiece.

5 seized goldfish

You want variety? You will not find a better prog album this year for that. Jazzy diversions, classical drama, middle-eastern influences, heroic motifs, crunchy hard-rock grunt, spacey jamming, reflective acoustic passages, grand symphonic rock, metal - it just goes on. Most of the compositions are filled with endlessly joyful and energetic soloing and oceans of Mellotron, so this is one album you 'Tron freaks are going to want to devour right away!

`Thoracic Park' opens with a pumping heartbeat, ghostly choral synths and somber operatic wordless female vocals, but quickly manic winding guitar riffs and swirling synths crash in with nightmarish energy. Darting back and forth between up-tempo runs and slower driving moments, filled with murmuring bass, snappy drumming and ghostly Mellotron, the band races through a blur of middle eastern-influenced themes, bluesy guitar wailing and Ozric Tentacles freeform keyboard soloing. Pay close attention to the emotionally charged passage that runs from 7:30 to 9:25. It begins with crunching Hammond and Nick Mason-style plodding drumming then quickly launches into the skies with a wavering keyboard swirl, searing electric guitar solo and eerie washes of synths before a cheeky snap back to the manic and twisted main theme. Totally addictive and begging to be replayed over and over. What am I saying, the whole album is just as good as this!

The bluesy guitar strut of `Welcome To The Edge' over Neo-prog styled keyboard themes truly humming with warmth and fuzziness, the Iron Maiden metal gallop and 80's synths that cut in from the ambient and haunting Middle Eastern ethnic/electric guitar introduction of `Obsession', and the creepy and moody King Crimson/Metallica/Mellotron meltdown of `It Can't Be So' (check those final three minutes especially!) all score so highly.

Also outstanding is the stomping and prog-metal/classical/Middle-Eastern crunch of `Obsidian' that's overloaded with Rick Wakeman/Clive Nolan dancing classical keyboard pomposity and thoughtful synth themes, as is the Alan Parsons Project instrumental/Pink Floyd guitar-play drama that gives way to a frantic synth heavy/Iron Maiden race against time hard-rock freakout on `Bio- Freez'. Closer `For All Time' starts with a lovely and reflective Camel-like floating romantic synth theme and grand guitar majesty, before classical drama and snapping technical riffs, attacking drums and wavering loopy keyboards wrap the album in a whirlwind of wailing urgency and wild grandiosity.

Special mention must go to the deliriously catchy and joyous synth themes spliced with driving riffs on love letter to 80's synth pop/AOR of `Batovich' that really shows the band have a sense of humour by composing such an upbeat and foot-tapping piece, and it will have you grinning in no time!

In a year full of so many wonderful instrumental progressive albums from bands such as ADM (Arena Di Tollo Marras), Forgas Band Phenomena and numerous others, this one is neck and neck for me with Kotobel's `Concerto for Piano and Electric Ensemble' as the true highlight. Although sounding nothing like each-other, both deliver exciting, energetic and wildly passionate progressive rock that display a true love for the freedom, joy and endless possibilities of the genre.

Carpe Nota's album is such a joy to listen to, one of the freshest, most uplifting and exciting albums I've heard in a long time, and it's already become one of my favourite modern progressive albums. The fact that's it's only their debut album suggests even greater things to come. But they've seriously set the bar so high that they'll have a hell of a time reaching the heights that this one does again. Then again, one listen to the sheer virtuosity of the four band members on display here reassures that they are definitely up to that challenge.

Five stars - Highest possible recommendation!

"Carpe Nota" is a fairly well made production, and while it isn't a brilliant one as I experience it, the songs are fairly accomplished, pleasant at worst and compelling at best. Not a CD that will draw in new fans to this type of music, but those who suspect they might enjoy a blend of instrumental hard rock, metal and symphonic art rock, with a distinct focus on the latter throughout, should check out this promising US foursome.