NOSOUND

¿Is NS a clone of No Man ? Yes and No.

Yes : Their first albums of course....a good imitation a good clone with that atmospheric space rock of No Man and with some participation of NM vocals .

No: This album is trying to get away from NM influences .

¿Why....? The space rock issue...is not so close... there is a post rock impromptu here.:

Yes in the drums and guitars... I remember Bark Psychosis ...

¿Is this change good?

In my opinion no.....There are many good post rock bands....but good atmospheric prog rock in the line of No Man...no...and first albums of NS where very good in that line..

This attempt in the post rock in my opinion is a reverse ....

3 stars ...

Afterthoughts (2013) is the band's fourth studio album and it was released on May 6th, but Giancarlo kindly contacted me and sent me the album a month before the official release for a review. The album was written in the past two years and it's the follow up for A Sense Of Loss (2009). Afterthoughts (2013) was released by Kscope and as usual with the label besides the normal edition the album will also be available in a double disc edition with a DVD-A/DVD-V with 5.1 surround high resolution mixes.

Nosound has a particular sound, a kind of dreamy music if you like. This is the sound Kscope has released in their catalogue with names like Anathema, Steven Wilson, Amplifier, The Pineapple Thief and of course, Nosound. Their Progressive Rock is in a different place. You'll not find complex rhythm patterns, for example. Afterthoughts (2013) is all about atmosphere.

'In My Fears' is the first track, followed by 'I Miss The Ground' and 'Two Monkeys' and honestly it is hard to notice that the music changes. They have the same mood, the same sound and the melodies look pretty much alike. Drums in a Pink Floydish scheme, low tune bass, soft keyboards, guitars that hardly appear and vocals that are melodic and soft forge the band's sound.

'The Anger Sound' starts and it doesn't seem to change much, but it does. There's a bit more power in it. A bit more drums as well. If you have the last band's EP Afterthoughts (2013)you'll recognize this one. 'Encounter' changes the pace once again, the Marianne De Chastelaine cello appears once more and Marco Berni keyboards are more prominent too.

'She' is the sixth track and I have to say that besides the Nosound's music being attractive it begins to get a little bit too mellow. The middle instrumental section of the song is the best part here. 'Wherever You Are' is even more acoustic, with cello, soft keyboards and acoustic guitars in the initial part. Only in the middle it becomes more interesting with nice intricate drums. Wish the boys could use this path more often.

'Paralysed' is the longest on Afterthoughts (2013) with a bit more than 8 minutes. I have to say that the Nosound's formula gets a bit tiring at this point. Songs really look all the same. But one thing here's different! The great guitar solo around the second minute of the song. This could be used lot more on the album. The second part of the song is sung in Italian and it's a pretty interesting move. Nosound could certainly drink more of this water. Definitely the most interesting track on the album. 'Afterthought' closes the album as it began.

Afterthoughts (2013) gives continuation on Nosound's music as a dreamy album that can be listened with your eyes closed. Well produced album with many interesting moments. Unfortunately the band has fallen in their own traps. Their music comes into a closed circle, doesn't go anywhere really and the tracks seems too similar. It's nice to listen to some tracks but can be a little obnoxious after some time. A professional album, and if you like dreamy albums and if you like the other band albums, you can go for it without any fears.

Unbelievably dull and uneventful, yet very successful at wallowing in pain and self pity. Probably good enough to send a mentally disturbed person into committing suicide with deep satisfaction. Well, that's only on the atmosphere this album represents.

Musically it's a non-event. A perfect example of how to avoid the slightest hint of any melody, rhythm, or action. In that, they succeed splendidly. Now, I am not adverse to some dark works on the side of more lively offerings, but this piece wouldn't even qualify as "dark" as it's only boring.

At times, there is a slight whiff of some of early Pink Floyd's least memorable filler material and that's almost a plus in comparison, but not enough to raise much interest. Paradoxically, there are rare moments of quite enjoyable guitar work, but altogether this album is not something I'd ever want to hear again.

The "artists" can only blame themselves for my low ratings as they are responsible for putting me in that mood. Still, some credit is due to the guitarist and that lifts this piece slightly above 2, but still far from 3 stars - that's according to the ratings criteria at PA. "Collectors/fans only"

This collection of songs is, IMO, an excellent addition to any prog rock music collection.

1. "About Butterflies and Children" is a short instrumental of swirling synthesized keyboards, organ, and, a little later, treated HAROLD BUDD-like piano. Nice, calm piece that definitely introduces the dominant sounds, tempo, and mood of the album. 7/10

2. "Places Remained" begins with a blues drum and bass rhythm and sound before RICHARD BARBIERI-like synths fill the aural spectrum just before we hear Giancarlo Erra's voice for the first time. Wow! I thought it was STEVEN WILSON! At least until the accent becomes obvious. Masterful use of the keyboard synths to fill the background--to hypnotize the listener. And a nice GILMOUR/WILSON guitar solo at the 3:20 mark to the song's end. 7/10

3. "The Misplay" is one of the album's masterpieces containing perhaps the best vocals of the album. It begins, again, with floating keyboard synths and effects masterfully accompanying some heavily treated piano notes. Giancarlo's absolutely stunning vocal work enters over the undulating synth wash to the 2:00 minute mark when pizzicato strings and the same heavily treated piano tinkering from the song's intro take over for the slowly receding vocal. Masterful use of and balance between keyboards/synths, effects, strings (a particularly beautiful cello presence after the 3:02 mark), and recording effects. (Is Mr. ENO on board?) 10/10

4. "From Silence to Noise" begins with reverse (backward) guitar and keys over a synth-strings wash. At the 2:05 mark there is a synth-strings chord shift opening the door for some delicate cymbols play--soon followed by some slow, well-spaced (and echoed) guitar single strums. FLOYD-ian vocals and bass are soon to follow. One really intriguing aspect of this song is how much attention is earned by the cymbol play--as if it were a solo--due to the fact that everything else in the song is so constant and repetitive; the cymbols are the only thing "moving." Astonishing!The 4:15 mark sees the beginning of some PINK FLOYD ("Comfortably Numb") sound. 4:45 introduces the vocal chorus (with doubled lead and harmonizing vocals). It's so-o-o PINK FLOYD! 6:25 sees a short pause until the 6:40 mark when the drums and keys change activity in a very goosebumpity moment. The bass, drums, and cymbols build and build until at 7:30 everything but the synth-string wash drops away--again pointing all attention to the returning cymbols "solo" and slow single guitar strums. At the 8:30 mark we are graced with a gorgeous GILMOUR-ish slide guitar solo--which is later doubled in the left channel. At 9:35 the chorus returns. Such a rich swirling of the synthesized strings sounds! It's like being bathed in a healing ether! AT the 11;00 mark the vocals cut out and we are left with the fascinating cymbol play over the thick swirling synths and slow, well-spaced guitar strums. The swirling synths build to a crescendo as the other instruments fade away, then themselves begin to fade while a kind of industrial-sea sound builds, over which the sounds of children palying on a playground play out to the song's end. Wow! What a trip! 9/10

5. Another pure masterpiece, "Someone Starts to Fade Away" begins with a very emotionally heart-wrenching STEVE REICH-HAROLD BUDD/BRIAN ENO-like background treated piano and ekyboard wash. A brief backward guitar solo plays before guest vocalist TIM BOWNESS (NO-MAN) enters to give an absolutely gorgeous vocal performance--the perfect match to the background music. (It seems to me that a semi-whispering, almost talking approach is when Bowness's vocal talents are most powerful.) Add mellotron at 2:15 as vocals rise an octave?as well as in urgency. At 2:50 enter bass and electric guitar--which turn into arpeggios at the 3:15 mark. The song has such a Before and After Science/Plateaux of Mirror feel to it! Last vocal whispers return at the 3:40 mark. The entrance of a very different electric guitar sound's lead solo at the 4:55 mark plays a very emotional and seemingly improvised--felt--solo for the next two and three-quarter minutes. As the background keys fade, another very different, "clean," jazzy guitar sound is introduced at the 7:35 mark. It proceeds to gently solo to the song's end. So "And Julie With ... "!! Feel it! 10/10

6. "Kites" begins with a now-familiar minimalist simplicity until the 1:40 mark when cello, mellotron, and jazz drums enter. Here Giancarlo's boxed in/treated vocals are the weakest of the album. Unfortunately, the song's foundational synth arpeggios become a bit annoying. The cello, mellotron, and drums are the song's strengths and highlights until the 4:15 mark when an interlude of voice.radio samples (à la HOLGER CZUKAY) fill the space until the music and vocals return at 4:40 with a little more power and urgency. A very DAVID SYLVIAN sounding song. Excellent cello and mellotron work. This song really grew on me with repeated listens. 7/10

7. "Lightdark" begins very similarly to "Someone Starts to Fade Away:" treated piano minimalist play. At :40 the vocals enter--again sounding the same as "SStFA." Unfortunately, the chord selection, melody, harmonies, and theatric presentation are far less engaging than on "SStFA." Heavy mellotron use beginning at the 2:40 mark, joined by two soloing guitars at the 4:20 mark--one a "clean" jazzy guitar, the other holding and bending sustained notes with the twang bar. The two play to fade as the sounds of rainfall are mixed with those of birds and café-like background voices and noises. 6/10

8. The album's last great song, "Cold Afterall" begins with the sound of rainfall behind which the female voice of a public address system in a train station (or airport) sound. Oscillating keyboard synth work is joined by strumming acoustic guitar (very PF/PT sounding). Familiar vocals. Nice mellotron-accompanied and vocal chorus at 1:14 to brief jazzy guitar solo at 1:50. Enter drums and bass at 2:05. Very "Wish You Were Hear" sounding. 2:52 sees the chorus/mellotron return till 3:55. 4:10 begins the final whispered vocals before the 4:25 entrance of two screaming lead guitars sounding rather like the long end solo of TODD RUNDGREN's "The Last Ride." (From 1974's Todd.) 8/10

9. "Like the Elephant?" is an instrumental that presents a rather different and somewhat welcome change of pace and style. Heavy prog, with a very PORCUPINE TREE beginning (Including familiar keyboard chords and solo sounds, power guitar/bass chord playing.) The highlight, however--and this is a very big highlight--begins at the 3:30 mark. The most uncanny ROBERT FRIPP-sounding guitar solo--complete with awkward pauses, dissonances, and quirky key changes--that I have ever heard. (Moreso, even than NIL). 7/10

10. "You Said, 'I Am'" begins with a now over-used minimalist piano-to-be-joined by organ and plaintive vocal formula. 1:15 sees the addition of yet another very PORCUPINE TREE-sounding guitar strum with bass and mellotron. Voice fades to allow entrance of cello at 2:05 Again, the constant background (mixed way too far into the front) piano arpeggios get rather annoying. Underused cello. Best Mellotron play on the album. 7/10

11. "Clouds" ends the album with an ambient instrumental. The lead synthesier "buzzing bagpipe" sound becomes rather annoying/grating after several minutes; not even the masterful use of synthesized strings and banked voices can seem to overcome this choice for the lead. Plus, the song drags on longer than necessary. 6/10

Overall, the album takes one on a very emotional and mostly serene and kind of "urban-pastoral" journey. I like the cohesiveness and consistency of the album--as well as the recording and engineering. Though many criticize this for being derivative or too imitational, I laud NOSOUND for taking PF and PT sound and styles to new and beautiful levels--especially with "The Misplay," "From Silence to Noise," and "Someone Starts to Fade Away."

4.5 stars rounded up because I seem to enjoy this album--played start to finish--more and more with each listening, therefore, it must be a masterpiece!

Now, in case you suffer from the same - I feel this is gonna be the key-word to this review - syndromes as me, then the new release from the Italian romanticists Nosound may disappoint you as well. Every song could have been on Lightdark: the exact same sounds, the same vocal melodies, the same melancholic ambience. Luckily, there's one redeeming factor that kept me returning to this record: most of the songs are simply too irresistibly beautiful. Again.

There's one unfortunate exception, the 15 minute closing piece Winter Will Come doesn't work as well as it should. It sits at the end of the record and by the time you get there, chances are big that you're more or less exhausted from the 35 minutes that led towards it. Even though every minute was soaked with gentle atmospherics and enchanting melancholies, the monotonous nature of the music will simply have drained you. Something that wasn't the case with Lightdark. Even for me, the closing track is far too repetitive and not memorable enough to sustain my attention.

Despite the soft and mellow nature of the music I don't recommend you to play this as background music. Maximal effect can only be obtained by playing it really loud. Especially the DVD with the surround mix will serve this purpose.

3.5 stars rounded down, I can't see myself returning to this album a lot. If I need to chill I will simply play the preceding Lightdark.

There is a segment of droning half way through the well-done Winter Will Come, but it ends up resolving itself nicely into a legato harmony of broad string movements. And in this way, they are reminiscent of the way that Porcupine Tree uses subtle melodies in their ambient portions, and thus always come off as more "symphonic" for me.

Winter is the highlight of the album for me, and well worth it's 15 minutes.

I guess I could say that this sounds somewhat like Porcupine Tree, and it reminds me of the more abstract stuff that Big Big Train is doing these days, like in the filler tracks in Difference Machine. But it just doesn't sound quite as derivative as that. Gigi Zito's drums, well-featured in Some Warmth into this Chill often have the spontaneous, cymbal dominant feel that Lee Harris gave Talk Talk at their best.

My real rating is more like 3.5, but I round it to a 3 simply because I can't recommend it as "excellent" to people who might find it "too similar" to PT. In the end, the sounds capture the "Sense of Loss" in the title, without being boring and morose and gave me enough to want to listen to the rest of their history.

It is a triumph of understatement. So, naturally, you will need to sit back and relax to this one. You need to sink into the enchanting atmosphere of Erra's world and let its slow pace gradually enchant you.

The album will probably have a recognizable flair to it. At least if you're familiar with PT's Sky Moves Sideways or with some of the recent No Man releases. Erra is an admitted admirer of No Man and even got Tim Bowness to sing on one track. So it's hardly a surprise the music treads known grounds. But this never gets in the way of enjoying it. The album is consistent throughout. Despite its obvious influences; it leaves a very personal impression. The inspiration must have run very high as the album exists in a 2CD edition that does not have a dip over its entire 90 minute course.

I haven't been able to lay my hands on anything from Nosound but this Lightdark album. But I sure will as soon as I get the chance to it.

There are three tracks on the EP which has a total playing time of 22:32 minutes. All tracks are exclusive to this release. The EP starts with Cold Afterall which is a great atmospheric and melancholic song with vocals. It´s actually the only song on the EP with vocals. The song is in trademark Nosound style somewhere between the spacy atmospheric rock of Pink Floyd and the melancholic and ambient pop/ rock of Porcupine Tree ( their most soft tracks). The next track Like the Elephant? is a bit of an anomaly in Nosound´s discography as it features a quite heavy riff and some toying with dissonances in the guitar solo. Nosound is usually very streamlined melodic and atmospheric. I enjoy the difference in sound on this track which shows that there is more to Nosound than they have shown up until now ( which is more than enough by the way. I enjoy every second of their album releases). The last track is the 10:34 minute long Clouds. It´s an ambient track with only floating sounds made by synth. It´s a very atmospheric song and while I wouldn´t enjoy a full album that sounded like this there´s something special about the way Nosound creates their most ambient songs that makes them enjoyable even to someone like me who usually don´t have patience for anything this ambient.

The production is grand as we´re used to from Nosound releases. I greatly enjoy their clean sound which sounds like it´s recorded on top of a mountain.

Clouds is another excellent release by Nosound. Fans of melancholic and atmospheric pop/ rock with a grand sound are adviced to check this out. Clouds is as good an introduction to Nosound as their first two full-length albums are. A deserved 4 star rating.