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Post Rock/Math rock • Italy

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Aether biography
Born almost by chance at the end of 2021 from the meeting of four musicians with eclectic experiences, and initially in order to work on some tracks for bassist Andrea Grumelli's Jazz graduation thesis. Since the beginning the main aim was to stray away from the boundaries of Mainstream Jazz and integrate the various, more modern, influences of post-rock and progressive rock. This is how the basis of the sound of Aether was born, in which jazz-like harmony and atmospheres of the Northern European jazz school are accompanied by sounds and rhythmic solutions typical of progressive-rock, with the use of synthesizers and electronics.
The project immediately extended beyond its initial goal, to rework the songs and then complete the tracklist for the first album.
Band members are:
Andrea Ferrari - Guitars and keyboards
Andrea Grumelli - Bass Guitar, Chapman Stick
Andrea Serino - Fender Rhodes and keyboards
Matteo Ravelli - Drums and electronics

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AETHER discography

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3.65 | 5 ratings

AETHER Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

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AETHER Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.00 | 1 ratings
4.00 | 1 ratings
Crimson Fondant

AETHER Reviews

Showing last 10 reviews only
 Aether by AETHER album cover Studio Album, 2023
3.65 | 5 ratings

Aether Post Rock/Math rock

Review by BrufordFreak
Collaborator Heavy Prog & JR/F/Canterbury Teams

4 stars A newly formed band out of Milan, Italy, apparently some of this music came out of band-leader Andrea Grumelli's graduation thesis from jazz school!

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.

 Aether by AETHER album cover Studio Album, 2023
3.65 | 5 ratings

Aether Post Rock/Math rock

Review by kev rowland
Special Collaborator Honorary Reviewer

3 stars Aether came together almost by accident, to work on Andrea Grumelli (bass, Chapman Stick)'s Jazz graduation thesis. Andrea Ferrari (guitars, keyboards), Andrea Serino (Fender Rhodes, keyboards) and Matteo Ravelli (drums, electronics) stayed with Grumelli to integrate modern influences of post-rock and progressive rock, where jazz-like harmony and atmospheres of the Northern European jazz school are accompanied by sounds and rhythmic solutions typical of progressive rock, with the use of synthesizers and electronics. They describe the outcome as being reminiscent of an amalgamation of the progressive sounds of Genesis, the Nordic and evocative jazz of the ECM, the guitars of David Torn and King Crimson, and the jazz-rock of Terje Rypdal, the Lifetime Trio and Perigeo.

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 by AETHER album cover Studio Album, 2023
3.65 | 5 ratings

Aether Post Rock/Math rock

Review by snobb
Special Collaborator Honorary Collaborator

4 stars originally written for

"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.

Thanks to octopus-4 for the artist addition.

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