TIME VOYAGER

Italy's BAROCK PROJECT has been going strong for over two decades now and continues to craft catchy yet complex progressive rock albums that meld all the best elements of the golden years of symphonic prog along with nods to bands of the arena rock era which together allow the band to expand their sound into the brave new world of the 21st century. Formed in Bologna, Italy in 2003 and led by the indefatigable keyboardist / guitarist Luca Zabbini, BAROCK PROJECT has released seven well regarded albums and now in 2024 is back with its eighth and latest effort TIME VOYAGER which explores the idea of a journey through the folds of time where time itself isn't a linear concept but rather one that unfolds a labyrinth of endless possibilities. This theme is overarching on BAROCK PROJECTS latest exploration of progressive rock with a collection of 12 new tracks that will take up 71 minutes of your attention span.

The band continues to feature a stable lineup and with the addition of Alex Mari as lead vocalist for the third album in a row and it seems the band has broken new ground on its newest release TIME VOYAGER. Steeply based on the melodic side of prog, the band isn't afraid to unleash some excellent off-kilter time signature workouts and equally engages in heavy rock dominated tracks as well as tender ballads. The album features one of the band's most diverse efforts yet and proves to find the band evolving its sound into the very expansiveness the concept of the album refers to. Graced by a stellar modern production sheen, the music on TIME VOYAGER evokes the classics of the past without compromising the band's original approach of mixing the Keith Emerson inspired keyboard heft along with touches of folk, jazz, hard rock and of course the now well established Baroque classical touches that has been the band's signature stylistic approach since the debut "Misterioevoci."

BAROCK PROJECT introduces TIME VOYAGER with the opening "Carry On" which opens with a dramatic orchestral sounding intro before breaking into the jittery keyboard heft that reminds me of classic 70s Kansas or Yes. The album immediately hooks you in with strong melodic ear candy that features beautiful vocal harmonies and staccato guitar heft. In some ways the band sounds like a much more progressive version of 70s bands like Styx, Toto and Mari's vocals reminds me at times of Dennis DeYoung, at others the vocalist in Toto and at his most energetic and daring moments the singer Fran Cosmo of the short-lived band Orion The Hunter as well as the 90s version of Boston. Often even Dream Theater comes to mind. The track perfectly displays BAROCK PROJECT's penchant for delivering a diverse roller coast of heavy choppy prog splendor with tender moments that evoke a whiff of Neil Morse and Spock's Beard however just when you the band reminds of you of some past glory the songs quickly move beyond their influences.

The album is chock full of delectable melodic touches and although not sounding like a typical neo-prog band retains those lush symphonic atmospheric backdrops that keep it connected to that side of the prog fence. TIME VOYAGER embarks on a much more expansive musical approach. While the first three tracks evoke the classic Kansas sounds as heard on "Point Of No Return" or "Leftoverature" at its proggiest moments, the band isn't afraid to weave in traditional folks sounds as heard on "The Lost Ship Tavern" or more orchestral sci-fi journey of "Voyager" or the piano ballad turned heavy rock with Brian May guitar tones on "Morning Train." Likewise the spirited "Propaganda" takes on a Steely Dan vibe with a jazz rock groove and a nice mix of pop immediacy with progressive outbursts of energy. Personally i find the first half of the album to be extremely compelling but then it seems to lapse starting with "Shibuya 3 A.M." when the energy level dips a bit. More ballads, less prog excess however the grand finale "Voyager's Homecoming" picks up speed again and delivers a nice energetic exit strategy.

BAROCK PROJECT has delivered another delectable album's worth of material with TIME VOYAGER and shows no sign of slowing down two decades into its career. The album could've been trimmed down a bit as i find the last four songs on the album to be least compelling as the momentum dies down and ideas begin to sound recycled however even the lesser tracks are not in the least bit unpleasant. It just seems the quality is unbalanced on the first half of the album versus the second part. Overall this is a decent modern slice of melodic prog that evokes the spirit of many past greats all the while navigating the band into the next level of its ever unfolding stylistic approach. The band continues its quirky mix of key-heavy heft mixed with all the myriad accompaniments and scores in crafting another compelling album that is polished to a sheen. While the album has a few lagger tracks for my liking, there's no doubt that the majority of the album is top notch melodic prog that electrifies the senses.

I must admit that this band needs a serious re-evaluation as it just simply did not stick in my mind enough to do any reviews of their preceding three albums which I own, even though they are highly rated and esteemed in the prog community. Things happen for a reason, and I see no shame in correcting this oversight on my part. I am neither an octopus, nor a gentle giant (well, gentle maybe). So, please humor me. This talented band from the beautiful portico-rich city of Bologna uses a peculiar mix of dense symphonics as well as a more accessible sound, characterized by expert instrumental foundations laid down by keyboardist Luca Zabbini and guitarist Marco Mazzuoccolo, with rhythmic support from Francesco Caliendo on bass guitar and drummer Eric Ombelli. Lead vocals are executed by Alex Mari, who possesses an energetic voice not far from the DeYoung/ Kimball style, singing in very slightly accented English. There is a diversity of different styles throughout the set-list, that keep the attention span on constant alert.

The opening piece demonstrates all the attributes listed above, as "Carry On" has a definite classic Styx feel, as the lead and harmony vocals are overtly expansive as if staring into a "Crystall Ball", yet the musicianship remains quite complex, the keyboards and guitars daring to stretch out way beyond the scope of AOR. The melodic content is richly presented, and the delivery is top notch. The next number is a powerful and choppier affair, laden with assorted stop and start manoeuvres, highlighted by the dexterity of Ombelli's impressive wood on skin technique. On "Summer Set You Free", Zabbini relies on some broiling hot Hammond sounds from his organ and does not fail to astound with some ripping solos, a man possessed.

The symphonic bluster returns to the "Paradise Theater" on "An Ordinary Day's Odyssey", a towering edifice (a Bologna characteristic) of clever variation, with a stupendous piano solo in the mid-section that is a sheer delight, as it sets up a majestic chorus that does not fail to impress, veering into a nearly pastoral finale, lavishly rendered with orchestrated grandeur. An amazing track. Fuelled by a pirate-like feel, as if a Jethro Tull track of yore was lost in Italy, "The Lost Ship Tavern" has a ribald, rousing mood, courtesy of folky orchestral accoutrements, and a stunning organ flurry that could have been played by a "Minstrel in the Gallery". Alex Mari's vocal is perfectly adapted to the sung story, the guitars buzz hard, as another round of tankards are delivered to the guests.

Progressing nicely along, "Voyager" is the longest track at 8 minutes + and has that immense quality of initial restraint, as the pace builds up with complicated polyrhythmic gymnastics and the lamenting vocals kick into gear. The mood is reverential and adventurous, with a flurry of instrumental transitions that showcase the extraordinary soloing talents of Zabbini and Mazzuoccolo, altering gears where necessary, throwing windy orchestrations into the mix, an absolute masterclass number. The chugging "Morning Train" asserts the unrelenting continuance, a 'mercurial' vocal display and a song structure that could have been easily a Queen number, what with that hard frizzy guitar tone and a regally playful pomp and circumstance section that has all the nods and winks this side of Buckingham Palace. Fascinating bravado well played! Another unexpected twist out of the blue, the suavely built up "Propaganda" ushers in an up-front Caliendo bass line that shoves the arrangement into a combination of Stealy Dan (the vocal is ridiculously overt), with hints of Return to Forever, as well as some saxophone blaring that astounds. The guitar solo has a jazz-rock feel that is unmistakable. There is a fantastic e-piano finale to kill this baby off. The next four tracks settle in wonderfully, keeping the pace interestingly diverse and also on the ball, coming across as if a suite, at least sonically speaking. Both "Shibuya 3 AM" and "Lonely Girl" are set in a more contemplative form, perhaps more linear that the high shining previous pieces. The splendorous "Mediterranean" as the title implies, casts a neo-classical piano ballad shadow that is most welcome, Alex's compelling voice in tow, a redolent bass flutter nearby and a simple anthemic chorus. Naturally, the pressure is raised when the churlish organ decides to bully its way into the arrangement. Then the twins join hands in communion, like Romulus and Remus repentant. Utterly magnificent, a shining hidden gem that needs to be heard. As if composed near Hadrian's Wall by Roman ancestors as inspiration, "Kyanite Jewel "is another soft-paced song, with sweet vocals and eventual swagger, amid a stout British folk-rock feel, loads of acoustic guitar and pastoral piano attesting to the fact. Absolutely lovely. The album is finished off by another thunderstruck prog-rock blast, "Voyager's Homecoming" seems intent to blow all the previous prettiness into a myriad of starry confetti, I could not help noticing some overt "Thick as a Brick" clues, the Hammond organ's kettle almost boiling, the drums home fire burning, and the singing master of the house building castles by the sea. A pompous, grandiose and overarching 'arrivato a la casa'. I am very glad, I finally got the push to review this album and now fully comprehend why its is to be found on so many top records of 2024 lists.

4.5 minute expeditions

The last album I heard from this Italian outfit was 2017's excellent 'Detachment', at which time the core quartet brought in three singers to help out. However, by the time of the next album, 2019's 'Seven Seas' they had brought in one of those singers, Alex Mari, firmly into the fold and now the quintet is back with the next. The rest of the band is still Luca Zabinni (keyboards, backing vocals, acoustic guitars), Eric Ombelli (drums), Marco Mazzuoccolo (electric guitars) and Francesco Caliendo (bass), so there is real continuity in the line-up.

I am pretty sure if I played this to a proghead and they did not know the country of origin they would never pick Italy, as what we have here is a band who are bringing in multiple elements of the American AOR scene with more in common with the likes of Timothy Pure than the classic RPI outfits we all know so well. Now, that is a style of music I have long enjoyed, but while this is pleasant there is always the feeling that it has been somewhat over sanitised, and the feeling of rock has been somewhat lost. It does not exactly feel like prog by numbers but there is no doubt there is little soul and emotion within. It is all very clever, but it somewhat washes over the listener and leaves them somewhat underwhelmed. I checked out the 2017 album as so many of my friends were raving over it, and they were right, but there has been silence around this one and I can somewhat understand why. I keep reading rave reviews so I am obviously missing something, but it would be boring if everyone like the same thing.

That this is a clever album with some fine musicianship and vocals is never in doubt, but there is nothing memorable contained within and there are plenty of albums I would return to ahead of this one. If you enjoy this pleasant mainstream style of prog with plenty of hints towards American AOR then this may well be for you, but somehow this does not quite work for me.