AETHER

This is the debut album from Italian band Aether, a project conceived in 2021, after pandemics, which shares an interesting combination of jazz with atmospheric sounds and prog rock elements. This record consists of 11 tracks that make a total time of 43 minutes of great instrumental music.

Its first track is 'Echo Chamber', a short piece that might work as a soft and delicate introduction to Aether's music. With 'Radiance' we can listen to a sweet and atmospheric track, you can close your eyes and feel relaxed, embraced. The sound is so soft, some guitar at the beginning, then bass, drums and keyboards creating a jazzy experience. For some reason they reminded me a bit of some of the Moonjune Records jazz artists, I believe Aether would nicely fit in that label.

The journey of this Italian quartet (fun fact, 3 out of the 4 members share the name Andrea) continues with 'Thin Air', which starts with some bass lines joined by keyboards a couple of seconds later; then when guitar appear, it creates a kind of Crimsonian sound, so I am sure these guys have some King Crimson love. A bass solo, then drums and a really calm and atmospheric jazz sound than develops into a proggy tune seconss later. 'Grey Halo' is a short track with a kind of melancholic, even sorrowful sound. I recommend to listen to it with nice headphones, so there is a better chance to appreciate its layers, its different sounds. This song has even a soft post-rock sound, which is why I think the band was added to that genre, here in Progarchives.

Then a sudden change arrives with 'Pressure' whose rhythm is more dynamic. Here the addition of keyboard produces that jazz fusion and prog rock sound. There are some signature changes here that makes it quite interesting. I like a lot that though keyboards might be the main element (at least in the first half), the four of the musicians make a great work with each and every of their instruments, so the song is strong, they also play with experimentation, which makes this one of the finest tracks of this album.

'A Gasp of Wind' keeps that delicate jazzy sound at the beginning, but later at minute three the music's intensity increases so it becomes more exciting, with a notable keyboard work. However, the last part slows down, so it finishes as it began. 'That Yellow Tear in a Blue-Dyed Sky' is another atmospheric short track where you can close youre eyes and have a moment of instrospection.

'Moving Away' is another highlight in this album. They spread more energy here with a song closer to prog rock, without leaving the jazz essence. Here we can appreciate a wonderful guitar work that, if you let it, will mesmerize you. With 'The Shores of Bolinas' the post-rock term could be used again, while we listen to a dark, somber atmosphere made by keyboards, and a soft and far guitar work here and there.

Some lines above I mentioned King Crimson, and I could bet the name of this track might refer to them. So it is 'Crimson Fondant', a nice composition with some interesting changes in tempo and mood, blending progressive rock from the 70s (Crimson, Camel, Magma) with a modern sound. The album finishes with 'This Bubble I'm Floating In', which is a nice melancholic track that shares both hope and sorrow. A track that sounds different from all the others, which is something positive.

A nice debut, a new proof of how Italian musicians know how to use their creativity, however, if it was my choice, I would add more moments of intensity, more explosions to their music.

Enjoy it!

1. "Echo Chamber" [2:33] cinematic ambient music somewhere between Stefano Musso and Goblin. Despite its spaciousness there is an awful lot of subtle instrumental play within this: including drums/tympani, organ, guitar, low bass notes, and what sounds like something e-bowed. (4.375/5)

2. "Radiance" [4:09] this reminds me of a blended form of the 1970s sounds used by JOE SAMPLE and BOZ SCAGGS (sans vocals) during the late 1970s (with some experimental electric guitar thrown in there). It opens with a nice chord progression that is easy to get hooked into. I like it. The spaciousness and subtleties inside this music yield far more satisfaction than my initial reaction would suggest--especially from the bass and cymbals. And the stuff going on around the nice Fender Rhodes solo in the third and fourth minutes is quite impressive and alluring as well. (8.75/10)

3. "Thin Air" [4:15] continues the Sample/Scaggs sound palette and song style of the previous album while adding some stop-and-start sections for soloists (like the Eef Albers-like electric guitar, jazz bass, and gentle Fender Rhodes) to be more noticed. Very pleasant and interesting music. (8.75/10)

4. "Grey Halo" [2:38] spacious, contemplative jazz sounding very much like a Charlie Haden-Pat Metheny duet with some experimental guitar and Fender Rhodes play in the distant background. (4.375/5)

5. "Pressure" [4:29] jazz bass line and jazz drum play with Fender Rhodes jazz chords open this one before synth solo and jagged guitar sound join in to provide melody and edges. The synth soloing in the first sounds very much like Chick Corea's work in the 1970s with Return To Forever. The solo in the third minute by the experimental guitar sound is rather abrasive but improves as the rest of the band rejoins and pushes forward. This reminds me of the 1970s work of John Tropea (especially with Eumir Deodato) and even Larry Coryell's work with Eleventh House. And then there comes the Chick Corea solo lead synth as well as the Eumir Deodato-like Fender Rhodes play. A nice lounge jazz song with a little edge to it but nothing Eumir Deodato didn't do in the 1970s. (8.75/10)

6. "A Gasp of Wind" [5:06] More gentle soft jazz elevator music to support some nice mostly-rhythm guitar play and extended synthesizer solo. But then the support members really begin to play--to develop and fly as the synth continues to solo during the third and fourth minutes. Drums, bass, rhythm guitar! These guys can really play! Clearly the best song on the album. (9.5/10)

7. "A Yellow Tear in a Blue-Dyed Sky" [2:58] back to cinematic mostly-ambient music with a fretless jazz bass serving as the main thing distinguishing this as something jazz-oriented. (4.375/5)

8. "Moving Away" [4:36] with an open, irresolute and discordant opening, this song actually begins to form and gel beneath the Larry Coryell-like guitar solo. Interesting! The music becomes quite a nice little jazz groove as guitarist Andrea Ferrari screams and soars reaching for some Eef Albers "Wingless/Orion" moments. (9/10)

9. "The Shores of Bolinas" [2:58] another ambient song with cinematic value--this one feeling more like something from the world of electronic artists despite its dominant oscillating organ and tympanic work. My favorite of the interludes. (4.5/5)

10. "Crimson Fondant" [5:02] opens with Magma-like Fender Rhodes play before distorted electric guitar and jazz-rock ensemble enter with a definite rock aplomb. I love the guitar's slowly- but steadily-rising note play throughout the minute from 1:40 to 2:30 while the keys play--and then he takes over and owns it for the next minute. (8.875/10)

11. "This Bubble I'm Floating In" [4:33] not the bubble sounds one might expect, but I've got to admire the creativity of these musicians. Things smooth out as we get into the second minute with very pleasant guitar arpeggi and some gentle (and varied) ChapmanStick play while deep synth notes fade in and out in the lower registers. Nice. Reminds me of early New Age music as well as some of my own work back in the day. (9/10)

Total Time 39:43

I have to admit to being surprised at how guitar-centric the music of this album is: while the Fender Rhodes electric piano, electric bass, and jazz drums provide steady and soothing rhythmic foundation, it is the guitar and synths that get the majority of time in the spotlight. And I like the unusual and creative musical soundscapes the band achieves while often using quite simple instrumental sounds to hide some subtly complex and nuanced performances. Quite interesting! A group of artists that I will be looking with some interest for future displays of innovative synthesis of past sounds and styles.

B+/4.5 stars; a near-masterpiece of creative, often cinematic instrumental jazz-rock fusion for which I think most prog lovers will probably find a soft spot.

Undoubtedly some of that is true, particularly the references to David Torn and King Crimson, but there are also times when this drifts along way too much into New Age and even Lounge Jazz. There are some brilliant passages here and there, but also others where it feels that is meandering along with little in the way of focus or direction, a combination of improvisation and scored material where no-one is really sure of where they should be going or what they need to do to get there. The result is something which should not be played late in the evening as it is guaranteed to send the listener to sleep as there is little here to really capture the attention, and I soon found myself wondering how much longer there was to go and whether there was anything dramatic likely to take place. There is always a need for contrast, no matter if music is gentle or metallic, and when there is nothing, the result can be a falling into blandness, and that is what we have here. Not one to which I will be rushing to listen to again.

"Aether" is this Italian quartet's self-titled debut album. The band themselves state that their influences are King Crimson, ambient music and Nordic guitar jazz. Heavily based on synth/Rhodes sound, for my ears they sound more closer to mid- late 70s English prog band Camel. After the 70s, Camel lost the brilliant songwriting of their earlier music and switched towards a more synth-based sound.

Aether takes from Nordic guitar jazz its ambient sound, but leaves aside strong folkish component and icy cool aesthetics. The album's sound is warm and soft, almost polished and resonates pretty well with Italian prog bands of the 70s. Some added rockish guitar soloing doesn't generate a lot of fire and obviously is more of a decorative origin. On the more rock- like pieces, like "Pressure", "Moving Away" or "Crimson Fondant", Aether sounds like one of the many bands from the mid-late 70s.

Invoking some strong elements from a few different musical scenes, the band does inherit some known problems coming from the past as well. The lack of memorable compositions combined with a very comfortable sound can be a problem for some listeners coming from a rock background. Ambient elements, extracted from Nordic jazz don't work all that well separated from strong regional aesthetics and jazz improvisation as well as partially different techniques.

Impressive debut, taking more risks and searching for more expression of one's own face possibly will be an improvement.