MONDI NUOVI

Italian progressive group Prowlers seem to find themselves in a precarious position of not garnering very much interest within the prog community, in fact not all that much talk among the RPI fans about them either! Their 5 album discography is basically unknown, with few reviews. It is a pity, as there is some very serious talent at hand, namely in the person of Alfio Costa, a tremendous keyboard player who has a thrilling band with his pal and drummer Davide Guidone called Daal, which has been busy drawing rave reviews worldwide. His work with Daal is perhaps more modern and sophisticated using a fair amount of experimental effects and sounds. With Prowlers, Alfio bivouacs with the more traditional keyboard stylings associated with neo or RPI genres, to weave massive symphonic coloration instead of being in the spotlight. Bassist Bobo Aiolfi is one of those masters of the 4 string monster who is valiant in his upfront approach, concocting fascinating flurries of notes that provide both foundation and melody. Original guitarist Stefano Piazzi returns to the fold, adding some crunchy riffs and licks as well as acoustic guitar flashes when called upon. Drummer Giana Vezzoli provides all the percussive propellant one would hope for. Singer Laura Mombrini has a fine earthy voice, some daring even to anoint her as the "Italian Annie Haslam", not as highly technical but very emotive which means she can easily adapt to the modern score.

New worlds indeed, as "Mondi Nuovi" scoots into earshot, Alfio's sparkling piano at the helm, as the roaming Aiolfi bass takes the spotlight (a brilliant technical player who has dexterity down pat!). The melody is spectacular, a fabulous opener, egged on by a 'dirty' guitar style that I particularly enjoy, rekindling memories of that amazing one shot 1996 RPI wonder Foglie di Vetro (who sadly, got little love from the community). "Viva Ancora" features the same scenario, the intrepid bass carving a masterful path for the others, flirting with the hard blues-stained guitar of Stefano Piazzi and winking at Alfio's various ivories, be it organ, piano or synths. Laura modulates her voice in fine fashion, showing off some great pipes.

Things get appropriately spooky (a trait well m mastered with Daal) and more developed on the longer "Guardando dentro Te", a nearly 8 minute bubbly joyride that has everything sparkling like vintage Prosecco. An astonishing melody, an extraordinary vocal that takes the jugular firmly and some seriously addictive atmospherics all reign supreme, again led by that fluid bass and slick guitar licks. The strings add a huge orchestral depth that clashes nicely with the tingling guitar motifs, while the piano outro seals the deal. Classic track.

A tribute to Mother Nature, "La Danza di Matre Natura" follows right in the preceding track's genius, with an effect-laden background of warbling birds and Laura's spangled voice, multiple mellotron flashes where it matters most (which is often) and a mature coalescence of ensemble playing, the adventurous bass is always a delight to follow. Alfio whips out his dynamic synths in order to deliver some sweeping flurries to the mix, then switches over to shimmering Hammond organ as the e-guitar provides backbone. Another great one. The pastoral "Melaquadro" is more concise, a medieval acoustic guitar adorning the canvas, Laura's light nasal delivery becoming even more appealing as one gets used to it. A whistling melody is the crowning moment. Simple.

"Giovane Falco" is a more brooding affair, armed with a Jon Lord-like organ passage, though very far from "Space Truckin'", the piece is way more redolent and gentle than any Purple song. The suave, slow-handed guitar solo brightens up the piece with deliberate finesse and a promise for another loop around the track. The big revelation is the singing Native American cameo that defies description and again saves the track from an otherwise predictable outcome. "Capriccio in A" is the accompanying keyboard spot, showing off Alfio's classical heritage.

Things revert to melancholia on the spectacular "Ultima Notte", slowly building up to a raging guitar fest , with little winks at Clapton's "Layla" and Laura's ongoing vocal expertise, the feel resolutely more blues-based with little dabs of psychedelic fervor. Piazzi does some tough work on his axe, Alfio enjoying his piano immensely. The last few minutes incorporate faraway thunder and a circus-like dirge, slamming door and bizarre street noise.

The epic 10 minute+ "Disordinaria" represents the high-point here, as there is little haste in building up the main theme, a simple riff that has Gothic appeal, binary drums and a ghostly sheen. The piano and the cello congeal as a masterful union, a definite eerie feel, especially in the stark guitar lines and the somber fret-less bass furrow. The following searing axe solo is intense, volcanic and expressive to the max. This is a clear masterstroke, a dream within a dream, a sonic voyage that keeps its feet on the ground as the head soars among the clouds. In my humble opinion, the disc should have ended with this masterpiece.

The album is finished off by a tired soldier ("Soldato Stanco"), essentially a voice and piano duet lamenting the pain of life and death, highly expressive orchestrations enter the fray as well as a spastic guitar splash before reverting to a mid-tempo piano-led ballad. The explosive guitar solo catches you by surprise, full of verve and spite as the reverb slithers out of range. This is a tasty album that has a few outright winners and a few lesser gems, certainly not a classic RPI album but a great addition nevertheless.

4 Modern worlds