20.000 LEGHE SOTTO I MARI

Old school progressive rock with 2 tracks, symphonic music full of keyboards, old-time atmospheres, majestic tunes leaning towards the... RPI.. It's provided, well done but it's often the same thing and I can't find the spark that makes me start and travel on cosmic deliriums... Well maybe I needed a submarine in fact!! In short, 2 tracks, one of 16 and one of 32, it's quite unique to name it.. From time to time you could believe that it's going to go on an OZRIC TENTACLES, at other times on the second Genesis era, so it's really ballsy in terms of reminiscences.. There's technique, there's also this typical Italian sound that slows me down a bit, from time to time the keyboard layers are on SOLARIS where I could have really taken off, at other times it's purely elegiac, you'd think you were hearing Wakeman or Moraz in one of their magical solos with YES; an album that I would have rated much higher 10 or 20 years ago, it's precisely the release time of the penultimate and this latest album that will delight those who are starting out in the prog world of yesterday. In short, if you like RPI, this is for you!! (3,5)

Jules is back! Or rather, that of Walter Pini and his NUOVA ERA bandmates, the same ones as for the previous album, "Return to the Castle," in 2016, which generally disappointed me, probably because I expected too much and nothing beats an Italian band singing in their native language. My favorite tracks from that time were the instrumentals, which explains it.

The NUOVA ERA logo from 1988's "L'Ultimo Viaggio," that stylized script with dripping paint, is still present. Walter Pini's goal was undoubtedly to bring back to the fold the lost sheep who had lost sight of the transalpine band, thinking that NUOVA ERA was a thing of the past.

I've just dropped a phrase that will please the detractors of the Florentine band! Yes, NUOVA ERA's music is old-fashioned; yes, this work could have been released in the mid-seventies, or even the early eighties. Knowing the band's entire body of work, I once again place this album on a par with my previous favorite, "Io E Il Tempo."

At a time when the very (too) numerous PORCUPINE TREE offshoots (rehash would even be more appropriate) are deeply annoying me (isn't that right, Alain M), NUOVA ERA allows us to remain in a musical dream that no longer resonates much today (it was better before, as the saying goes). Each to their own, of course; I'm not forcing anyone to follow me twenty thousand leagues under the sea. Note that the second track, "Nautilus," listed as a "bonus track," is a composition by Walter Pini from his youth, when he was only 17, well before NUOVA ERA.

For those who want to immerse themselves in the glorious seventies (or even eighties) with the sound techniques we have in 2025.

All That Prog?

One of the best Italian prog bands from the 80s, Nuova Era is a very underrated name on ProgArchives? almost ignored by fans of prog and reviewers.

If you love that vintage sound of keyboards?Mellotrons, ARP, Moog, 70s and 80s synthesizers?plus great drumming, outstanding vocals, technical guitars and bass, and that 70s flavor that I love, then this band is for you.

With clear influences from Museo Rosenbach, Le Orme (Contrappunti era), New Trolls' mid-70s sound, and PFM, Nuova Era was founded in Florence in 1985 by keyboardist and composer Walter Pini. The original lineup included Gianluca Lavacchi on drums, Enrico Giordani on bass, and Alex Camaiti on guitar and vocals. The lyrics were by Ivan Pini.

They recorded four albums: L'ultimo viaggio (1988), Dopo l'infinito (1989), Io e il tempo (1992), and Il passo del soldato (1995) (the latter featuring Claudio Guerrini on vocals instead of Camaiti), achieving good success in the European and Asian markets. Io e il tempo, for example, was even released with a booklet in Korean.

In 2008, Walter Pini, together with Davide Guidoni (drums) and Guglielmo Mariotti (bass), started a project recording unreleased pieces. In 2009, one of these was released on Inferno: The Divine Comedy (CD 1, Canto I), followed by another on Purgatorio (CD 2, Canto XXII) in 2010, and one more on Paradiso (Canto II). These tracks became part of Nuova Era (2010), their self-titled album, which also included a remake of Dopo l'infinito and live recordings with the original lineup.

Since 2013, Walter Pini and original guitarist/vocalist Alex Camaiti, along with new members Rudi Greco (bass) and Maurizio Marra (drums), rehearsed and recorded a concept album with a fantasy-medieval setting. For the first time, the lyrics were in English, but the music remained in true Nuova Era style. The album, Return to the Castle, was released in October 2016 and distributed by BTF. The lyrics and cover were by James Hoog, while the music was composed by Walter Pini.

Their discography includes: L'ultimo viaggio (1988), Dopo l'infinito (1989), Io e il tempo (1992), Il passo del soldato (1995), Nuova Era (2010), Return to the Castle (2016) And maybe their best work: their latest record, released last week, 20.000 Leghe Sotto I Mari (2025). 20.000 Leghe Sotto I Mari (20,000 Leagues Under the Sea), based on Jules Verne's novel, features just two tracks. The title track, a 36-minute epic, is a masterclass in vintage-style prog, packed with dynamic shifts, intricate instrumental sections, and seamless transitions that turn it into a singular, immersive experience. Nautilus, at 16 minutes, is another standout, delivering a perfect balance of melody, complexity, and that unmistakable Nuova Era touch. This album is not just a return to form?it might be their best work yet. With its rich, analog-driven sound and deep connection to the golden era of Italian prog, 20.000 Leghe Sotto I Mari feels like a lost classic from the 70s, but with a modern energy that makes it essential listening. This record it is a strong candidate to be one of the greatest records from this year.

This veteran squad releases its sixth album ,a titanic adaptation of Jules Verne's classic adventure novel "20,000 Leagues Under the Sea" written in 1870 and made into a cinematic Walt Disney extravaganza in 1954 , featuring Kirk Douglas, James Mason, Peter Lorre and Paul Lukas . Names such as Captain Nemo and Nautilus have been glorified ever since , and I am surprised it took this long for a prog band to latch onto such a great story. To their credit, keyboardist extraordinaire Walter Pini , Alex Camaiti on guitars and vocals, Rudy Greco manning the basso profundo and drummer Maurizio Marra all combine to give a musical life to the celebrated story , two epic tracks that will plunge the passengers into the abyss of subterranean prog bliss and boldly take them on a voyage where few have dared to go.

The title track clocks in over 36 minutes and has all the hallmarks of a 2025 colossus , showcasing an expansive progressive rock in the finest old school traditions, with expert musicianship, impressive vocals, and enough sudden dives, swoops, course variations and accelerations to dazzle even the most jaded listener. Just like a massive feast, this opus will require repeated auditions as, there is a whole lot of detail that needs slow digestion to fully appreciate. The stately organ pierces through the early morning mist, a marshalling beat shuffles the mood into eventual overdrive ,elevated by a massive mellotron blast, quickly taking ship as the perils of the sea await the navigators. Both extremely cinematic and typically vintage RPI , the tempo is bountifully exuberant, bubbling Moog synths adding to the overall fury, the carving electric guitar chopping fearlessly at the cresting waves. Out of the blue, a blaring pipe organ beckons on the horizon like a siren luring its prey into her seductive arms. Alex handles the bravado vocals with typical Italian theatricality, expressive as well as passionate, setting into the main melodic groove that will define the arrangement. He drops the microphone to settle into a glitzy guitar solo before the transition back into mellotronic paradise, ominous grey clouds threatening the blue waves with oppressive power. An ornately elegant baroque piano, acoustic guitar and synth flute etude appears out of nowhere, a pool of dead calm and serenity, with a glorious melody to boot. Clear and hushed vocals echo in the metallic compartment, as the valiant sailors prepare for the deep-sea plunge that will take them into the void. At first composed and serene, the heartbeat picks up with an almost resigned synthesizer flurry, harnessed by a parallel guitar that swirls with dense symphonics. The contrasts, the 20,000 details and the slick variations keep the attention span on full alert, the softer passages are fluid and impeccable, whilst the stormier ones evoke the sense of risky exploration. This clever blending of orchestrations and straightforward RPI is a blessing for any pair of melodic ears, not the most modern material but neither is the 150-year-old story written by that amazing French writer. Kudos to the rhythm section who keep this musical craft steered in the proper direction, as well as Alex's pleasant vocal work that keeps the tale going. Obviously, Walter Pini's mastery over his arsenal of keyboards will definitely hit the mark with an immaculate display. In the final 10-minute section, the usurping choir mellotron blazes like the setting sun, the Hammond organ spotlight lurching churlishly, a stylish construct that stamps the quality of this whopping epic. The pompous church organ finishes off any possible resistance, as the fatalistic orchestral finale introduces ominous tones and a glimpse of turbulent weather ahead. Tremendous journey.

The periscope is raised on the 16-minute leviathan "Nautilus", named after the famed submarine, captained by the anti-hero Nemo. On a bearing 2-1-0, sonar beacons on alert, compartments and forward room bilges secured, the boat is running silent. In blunt contrast to the previous masterpiece, this aquatic composition seeks out a different feel, markedly more accessible, with an insistent bluesy guitar groove leading the charge. The shift into rockier overdrive has torpedo bass, depth charge drum explosions, and a hard- edged nuclear riff that carves with impunity, as if channeling Museo Rosenbach or early Le Orme (Collage-era), the swooping Hackett-like swoon of the electric guitar underlying the restraint among all this rhythmic exuberance, a gorgeous melody to dive for (pun intended). Once again, the rudder shifts when the keyboard symphonics enter the command station, prepping a virtuoso section with tortuous guitar phrasings that twirl like triple-bladed propellers on full throttle. The final section insanity is straight out of Deep Purple's classic "Child in Time" and what a fantastic manner in berthing this boat into its pen.

The vivid cover art displays a comic book style, four courageous deep-sea divers scouring the depths of new musical frontiers. The Italian scene just keeps on giving ?. 4.5 Oceanic treks

4.5 stars. We're not even half way through 2025 but I can tell you that this record will be a top five for me for this year. NUOVA ERA had a four album run from 1988 to 1995 before calling it a day. The music they created at that time does not take a back seat to the seventies masters. Very much a keyboard/vocal driven band with Italian lyrics.

It would be around 2008 that keyboardist Walter Pini would connect with a bass player and drummer to re-record three tracks that were used on those three "Divine Comedy" concept albums, one each. I don't have any of those but I do have the compilation album they released in 2010 which does. By the way the drummer helping out was Davide Guidoni from DAAL. Those three tracks are incredible and a continuation of the amazing music from their 1995 release "Il Passo Del Soldato".

And it was on that 2010 compilation record that we would be introduced to the new singer/guitarist Alex Camaiti who is featured here in 2025 and also with their "Return To The Castle" album from 2016. And while he sang in English on that one, he returns with Italian vocals here. The four piece lineup on this record was the same one on that "Return To The Castle" album. So yes these guys have been playing together for a while now. I have the cd version of this album which comes with a 16 minute bonus track called "Nautilus" which is as good as the main 36 minute plus title track.

The other cool thing about having the cd is that it opens up to reveal the two panel art work. So we see what one of the members is smiling at looking to his right. As in a castle which usually graces their art work. But also instruments that are all at the bottom of the ocean. This truly is the Walter Pini show. The only original member left, and the composer. I have to give props to the singer for his beautiful voice which is full of character. He doesn't add a ton of guitar but when he does it is often angular. The rhythm section has some chemistry and they form such an impressive bedrock of sounds throughout. The bassist is playing a Fender Jazz bass.

So one long 36 plus minute piece. I always write out what I'm hearing but this review is already long enough. I like how they add the splashing water sounds to open the album, but then they reprise those sounds several more times to tie this concept together. Walter blesses us with mellotron as well. But he mainly is ripping it up on the organ but adds plenty of piano and synths. There's something about those synths that I really like when they are leading. I like how this album ends with such a climax of sounds after 35 minutes.

Thankyou Mr. Pini for all the wonderful music, and I am so happy you are still making relevant music after all of these years. And for the rest of the band, you make me proud for building on the legacy of this great band. This is about as good as anything they had done previously except for maybe "Il Passo Del Soldato" but it's close enough, and also subjective.

It's a 4.5 star for me for the latest Nuovo Era offering. Two tracks at around 36 minutes and 16 minutes,so plenty of time for the band to showcase their talent. The title track at 36 minutes certainly doesn't feel like it. The 20,000 Leagues theme enables some watery effects - a bit less than Vangelis Oceanic! - to demonstrate the theme of the piece. Mellotron is omnipresent - always a good thing ! - and vocals are in Italian,though the piece is mostly instrumental. There are various mood changes throughout,but multiple keyboards lead - one synth effect I'm not entirely keen on ( starts the track and appears now and again) The playing is superb -some hints of Hackett,Gracious ( Heaven) , King Crimson ( finale) and other classic RPI bands. The mellotron is marvellous and elevates the piece when used. The 16 minute track is more aggressive and gives the lead guitar more room. Another enjoyable track. It will probably be in top 10 albums of the year for me