IPSILON

Quite the bummer for me to discover this very cool band only to immediately learn that they have called it a day, though understandably so. In March of 2022, the band announced that drummer Michele Capriolo passed away after battling a terrible illness for some time. In the same announcement, they made clear that the Old Rock City Orchestra would not continue without him. The band they started in 2009 would complete their final album, Ipsilon," recorded in 2021 with Michele, and then gently turn the page. Pouring through their decade of social media photos, it was abundantly clear to me that this was far more than a band. They were a very tight-knit family of friends who loved music but perhaps loved sharing the ride of youth even more. Against that sad backdrop, I hear their music for the first time. But, alas, the sadness turns to joy.

Joy indeed. Old Rock City Orchestra is that somewhat rare blend of crossover attributes that I love. So many third-wave bands sound pretty samey to me with paint-by-numbers "prog" overdo, oversized outside influence, and an emphasis on making really sure we know they have chops galore. I won't name names but my eyes glaze over quickly with those releases. On the other hand, Old Rock City start with memorable melodies and dress things nicely with playing that is superbly measured, restrained when needed, and thoughtfully crafted in the finest "art rock" tradition. There are nods to the past, for sure, but Old Rock City isn't stuck there. Some have written that the delightful keyboardist/vocalist Cinzia Catalucci has a voice like Kate Bush or Silvana Aliotta, but I thought first of Silvana Idà (from the fantastic Apoteosi RPI album) with maybe a touch of Judie Tzuke-ish art-pop sensibility. Her impressive keyboard instincts combined with the tasteful and colorful guitar work of Raffaele Spanetta are presented very well by Michele Capriolo's nimble, nuanced percussion.

This elegant and engaging work begins and ends so beautifully. Both the opener "Y" and the second half outro of closer "We'll Be One" consist of perfect instrumental sections that honestly made me long to hear more extended passages. And that's not knocking the vocals at all, but just enjoying the instrumental interplay throughout. While I didn't totally buy that the vocals sounded like Kate, I will agree that "No Way," "Stranger," and "Fly Away" all have some of the spirit and vibe of the Lionheart-Never for Ever era Kate, primarily in the bouncy piano-rock and vocal inflections. Thus it is a safe bet that Kate fans should enjoy this album. But what I personally loved was just the songwriting and unique playing styles of Cinzia and Raffaele, which complimented each other and the material so well. "Diamon" along with its gorgeous, life-affirming nature video proves the band would also excel at soundtrack work. From lighter jazz-pop dalliance to snappy rhythms, rock, and prowess on piano and occasional Deep Purple-sounding "dirty" organ runs, the album is simply awash in interesting yet accessible art rock avenues.

To Cinzia and Raffaele, I would like to send my appreciation from the American Heartland, but also my sincere condolences on the loss of your friend and collaborator. This final album is a valiant and worthy tribute not only to Michele but also to the Old Rock City Orchestra. Best wishes to you both on future endeavors.

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