ASTROLABIO / EX ELETTROSMOG

Fleeting little opening introduction `Dormiveglia #1 (Black)' teases the listener that they might be in for a pretty and pastoral prog album full of the lovely symphonic acoustics of Premiata Forneria Marconi (P.F.M for the muggles!), but it's instantly blasted by `Nuovo Evo's slinking electronics over Michele Antonelli's twisting gruff guitars and Alessandro Pontone's rambunctious drumming that almost has more in common with Van der Graaf Generator. The track manages to fit in nasty dirty grooves and a lightly catchy chorus, and guitarist Michele's voice jumps between gutsy toughness, raspy lip-smacking purring and whooping glee.

Carefully deranged, lightly playful and peppered with little flares of danger, `Una Cosa' drifts in and out of dream-like electric piano tiptoes between boisterous vocal outbursts and Massimo Babbi's aggressive spacey keyboard wig-outs, and the flute floats between placid airiness and huffing wildness. It slinks right into `Pubblico Impiego', loaded with plenty of grooving Hammond organ, a throat-shredding raw vocal and subtly heavier guitars laced with a snarling, slightly `off' tone, and the extended instrumental flute-driven break in the middle is sublime whilst still retaining an eerie unease.

One of the standout moments of the disc, the pristine and genuine `Arte(Fatto)' instantly impresses with its peaceful acoustic guitars and a thoughtful, softly melancholic lead vocal. Massimo's delicate piano is teeming with life constantly throughout, and it even reminds of some of the early folky and fragile Pink Floyd pieces that had standout soloing from Rick Wright. Ultimately, the piece displays a great maturity and keen ear for subtlety and poise. In comparison, and perhaps a reaction to sounding so `grown-up' at this point, `Otto Oche Ottuse' is likely to divide some listeners, being something of a comical throwaway flute-driven piece that's quite cheerful and silly! But it will no doubt be embraced by drunken fans at Astrolabio's live shows with its sing-along chanting - never accuse the band of being predictable!

There's endless foot-tapping chugging grooves throughout `La Casa Di Davide', powered by scratchy heavier guitar riffing, pounding drums and Michele's malevolent crooning, but the track also coasts into dark psychedelic territory tickled with Hammond organ. Overall it's a showcase for Paolo Iemmi's melodically murmuring and relentless thick bass that retains just a touch of aggression to its grumbling tone, and it's sure to be a favourite track for listeners! Subtle mystery and delicate build permeate `Sui Muri', the band throwing in everything from quivering electronics, a touch of Tool to the granite-like heavy guitar riffing up and down, a dignified defiant vocal and sparkling piano, and the piece even leaps into bouncing up-tempo Yes-like jubilance! The album culminates in a reprise of the opening intro, `Dormiveglia #2 (Bird)', a final acoustic guitar and flute meditation to close out the disc.

Some parts are more successful than others, and perhaps older listeners may not appreciate the frequently heavier guitars, but the kind of fractured, somewhat baffling approach here is no doubt everything Astrolabio wants and gets a kick out of, destroying any preconceived ideas of what an Italian prog band should sound like. That attitude helps make `I Paralumi della Ragione' another strong effort from this underappreciated Italian band, one that straddles the line between a more youthful energy and burgeoning maturity, making it very exciting to see what they come up with next.

Four stars - well done again, Astrolabio!

As my dear Aussie colleague pointed out, humour is are commodity in prog (thank goodness for Jethro Tull and Uncle Frank) and these Italians certainly know how to shovel a fair amount of it with utter glee. The title means "the isolation of even numbers", so every second track lasts 6 seconds and is bathing in silence, a goofy little trick whose only purpose is not to take their craft too seriously. Secondly, there are prog winks to King Crimson and nods to Jethro Tull, a mischievous show of respect and cheek. They can get away with it because their inherent chops are quite imposing too, no hint of Gorgonzola anywhere!

Each track targets a differing mood, showcasing a wide palette of inspiration and technique that spans the entire RPI spectrum from folk to space, psychedelic to symphonic with slivers of blues, rock, jazz and electronic. Perhaps my expectations were too high but I somehow did not really get into the stark sound, the rawness did not really inspire me. I prefer the more melodic side of RPI and have difficulty with the growlier options such as Museo Rosenbach (which I still can't get into), De De Lind, and such?..

"E Stato del Tutto" is a slinky affair with a bopping bass, intricate drumming and a raw synth that somehow acts like some sonic serpent, coiling and hissing along the way, winking at Manfred Mann in a salacious relationship with Gary Numan (Thanks Michael) . The guitar is fresh and rambunctious, certainly in paralleling a famous KC riff just to remind us who their icons are.

The same applies for the reptilian "31 Aprile" with its 'like a dead duck' Tull riff, a little "My Sharona" ?like guitar montage, while the olive oily synthesizers carve boldly above, juicy and colorful. Stop and go prog this is, punky and brash.

Humor, you ask? The magnificent "Brie-Collage" is a play on words (love that stuff!), the French word 'bricolage' means a hobby but also serves as a cute wink to the famous Polish neo-prog band and the lovely French cheese associated with the genre! The 8 minute affair is way moodier and atmospheric, the Paolo Iemmi bass showing bold moves! Guitarist Michele Antonelli has a gruff style, even when in a blues mood with the wah-wah pedal, but his vocals are imperial. Keyboardist Massimo Babbi has a retro-modern style that is quite effective in keeping ones guard vigilant.

"Fotografie" is another slow burning bluesy dream work, rollicking bass shovels forward like some deranged snow plow gone berserk and Michele emotes on the microphone with alternatively howling, hushed, echoed and gravelly abandon, on a diversified platform of sonic experimentation that will include some judicious use of flute. Babbi does his Emerson/Premoli interpretation (winks at 'Celebration') to stamp more RPI glory onto their craft.

"Sono Io o Sono te" is more upfront and splashy, choppy organ tribulations and raunchy guitar that verges on hard, while the voices slip into raging and angry mode. Drummer Pontone provides some serious bashing to the mix in order to better ascertain that a sense of dissonant neurosis rules supreme. Balls.

A brief musical interlude, time for some gentle pastoral respite from all the previous tornadoes, before returning into Dante's Inferno , as the nasty "Servito" pillages forward like some horde of Huns heading to conquer Rome, agile yet utterly brutal. Antonelli's axe thrashes hard-edged riffs like Thor hurling thunderbolts (the 'Akkerman on Hocus Pocus' guitar is obvious), swerving this into a delirium that cannot leave one cold.

The epic piece here (and the highlight really) is the 10 minute + "Non Ricordo", a fluttering ride of haunting vocals built on a careening theme that is both vast and manly, the musicians preferring a muscular approach that is hard not to like. I am once gain impressed by the engulfing and overt bass guitar, as it sets the mood with both confidence and conviction. Antonelli is not just a chop-maestro but can also emote on his axe, as his meaningful solo is both bluesy and intricate, a real eargasm of the finest order, his licks clanging, searching and desperate. His tired voice does wonders on the receiving end, a heady mixture of exhaustion and grace. The mercurial flute is perfectly penciled in to provide some sense of distant hope. Fantastic stuff!

"Pugni Chiusi" ends this affair on a more upbeat note, playful in music and theatrical in voice (Cormorano's Raffaello Regoli), sounding almost like some hit song from the Italian pop world gone prog. Though not my cup of espresso, it's fun to see and hear musicians who do not take themselves too seriously especially in the ornate world of prog.

It took me a few spins to find my way into their astral laboratory but the patience has been rewarded with some serious appreciation. This coming from one who prefers the more moody aspects of RPI and prog in general. The gorgeous cover work only enhances the reputation of this fine newcomer on the Italian scene, I am looking forward to their next work.

4 Binary Incarcerations

The sound of Astrolabio is similar to many other prog bands and just as many other giants the use the orchestral flute in their music. That works fantastic and to hear this record is a lovely experience I promise. The compositions are varied and intricate. Judge by yourself but I think you will agree with me. "E'Stato detto tutto" is a tough and progressive start and this hit kind of the closer "Pugni Chiusi" are the frames of this record fill with so much. "Brie- Collage" for example starts with a sound of space rock but evolves to symphonic rock and "Fotografic" has similarities with the symphonic masters Premiata Forneria Marconi. "The long Non Ricordo" has many fine parts such as a wide guitar riff. "31 Aprile"s melody is also something unique you will find.

As a unite this record holds a high position and it will get a high rating as well. Even if it doesn't feel totally new, it doesn't feel reused. There is something fresh still in these compositions and melodies. I would indeed recommend this record for you as one of the most interesting released from this year. The best song is perhaps "E'Stato Detto Tutto", "31 Aprile" or "Non Ricordo". Four stars!

Astrolabios album "L'isolamento dei numeri pari" shows me all the reasons why I love progressive rock. It's agressive, calm, hot, cool, complex and beautiful. All at the same time. This bands take a time machine back to 1975, let their hair down and just starts of where Biglietto per l'inferno left off. It's full of great guitar and keyboard chops and there are tons of all these cool and strange typical italian passages that just no other than the italians can do. The albums has lots of influences, all from the rockier side of Deus ex machina to the mellow parts of Pink floyd, but the closest I can think of is Biglietto per l'inferno, also not far away from Museo rosenbach. The band are mostly uptempo with agressive guitars and cool supporting keyboards with great vocals.

I also like that hidden within the songs are small parts from Tulls's Aqualung, some ELP and some other stuff. Cool.

Finally, what makes me love this albums is that it's fun to listen to. Few bands that I listen to gives me energy and makes it really fun. This albums makes it fun to listen to great progressive rock.

I only give 5-star ratings to timeless masterpieces, so I'll give this album a 4.5 star rating. It's not a masterpiece, but it's darn close. If you like italian progressive rock, get it! No, don't just get it, RUN to get it. FANTASTIC!!

With a title that translates to `The Isolation of Even Numbers', I was expecting some grand elaborate concept theme woven through the album! Turns out every even numbered track on the CD is merely 6 seconds of silence before the CD clicks over to the next track - interesting, and kind of silly! Asking the band about this, they responded that they merely wanted to be unconventional and determined to do things in their own unique and different way, while offering a sense of humour too, something frequently absent from the progressive genres. Going by the sense of fun the band show throughout many spots on the disc, I wouldn't be at all surprised if they were actually secretly hoping stuffy prog fans will tear their hair out trying to work out the grand concept of the disc - and guilty I was of this, I must admit...and I can't afford to lose any more hair!

The album blasts off right from the start with `E'Stato Detto Tutto', a punchy little rocker with wild acoustic/electric bursts, huffing flute, nimble piano, delirious warping keyboards and frantic stop/start percussion. Michele Antonelli's devilish vocals cover everything from snarling temptation to other-wordly treated Le Orme-style weirdness. This cracking and addictive track is simply the greatest opener on a prog album all year, needed to be heard by those listeners who like their RPI reckless and spiky. `31 Aprile' then takes a surprising turn into a debauched sweaty electronic groover in the style of Gary Numan, all hip shaking beats and Michele's repetitive saucy guitar riffs! So many unexpected diversions for `Brie-Collage'. The band wanders through a wilderness of swampy guitar licks, Massimo Babbi's gentle synth breezes, dusty singer-songwriter introspection and bluesy smolder, then the piece lurches to life with a disorientating psychedelic stomp. This one gently unfolds over eight unhurried minutes, and the unpredictable turns remind of the classic vintage RPI album from De De Lind.

`Aurora' is a fleeting and delicate acoustic guitar lament, `Fotografic' a drowsy country ballad with some strangely Marillion-styled trilling keyboard solos throughout and cheerful P.F.M rollicking runs too! Michele's raspy vocal almost resembles alt-rock country icon Ryan Adams, and his lazy slide guitar gives it a blissful acid-fried early Floyd sound. `Sono...' mixes driving rock with loopy psychedelic colour, with some classical piano bombast and boisterous group vocals, then `Corso di Eurostima' is a stirring acoustic guitar ballad with a gentle violin backing that brings a soothing P.F.M quality. Very upfront synths constantly bombard `Servito', but it's the ten plus minute epic `Non Ricordo' that deserves more attention. A placid dreamy acoustic opening around subtle synth washes and a soothing vocal, then the piece snarls to life with heavy grunting electric guitars and Alessandro Pontone's forceful drumming. The band then burns through a perfectly executed improvisation with jazz-fusion guitar licks, glistening electric piano and Paolo Iemmi's swallowing bass, the synths taking on an almost ethereal droning tone behind them. The finale has a delightful flute outro that enters lonely and quickly turns hopeful and reassuring, and it's a sweet, surprising way to close a piece where the entire band demonstrates supreme taste and restraint. There is a quick cover of an Italian beat-pop era song with special guest Raffaello Regoli of vintage RPI band Cormorano to follow, but it's really more of a cute bonus track.

With eye catching and colourful artwork that instantly reminds of P.F.M `L'Iisola Di Niente', Astrolabio have delivered a grand and impressive work that I truly believe has a timeless quality, an album that instantly leaves a strong impression and shows off the talent and diversity of the band to great effect. Along with the recent albums by Logos, Entity and Il Fauno di Marmo, they've delivered one of the defining Italian progressive releases for the first half of 2014. Exceptional work all round, and if Astrolabio are already this good, imagine how much potential they have and the possibilities they may still deliver in the future?

Five stars.

(Oh, and any band who has the cheek to sneakily work in guitar licks from King Crimson's `21st Century Schizoid Man' and Jethro Tull's `Aqualung' during their own tunes are either pranksters, or have plums the size of planets! Bravo, gentlemen!)

The opener "Trappole per topi" (Mousetraps) is a nice track full of obscure energy. The music and lyrics depict a man who's on the verge of folly, a dreamer who desperately search for a shelter from the daily grind. He's surrounded by people he can't understand and who show off a false serenity... "Enough is enough! My head is blowing up / I have to run away from here / A stereophonic madness completes my mania / It reverberates and swings for me...".

The following "Economania" is a caustic track about the "New Economy", where money rules and the marketing laws decide what you have to do. So, you have to stop thinking of social ideals, nothing matters but your ego... The new economy ethic becomes a silly and vain vicious circle where men act like marionettes stumbling on the threads of the Euro-autarchy, pushed by ambition and materialism.

"Fiore di carta" (Paper flower) is a melancholic, introspective track where the music and lyrics depict a man who gets lost in a labyrinth of madness and who's burning out like a paper flower, stranded and poisoned by a nightmarish solitude. Suicide or hypocrisy can't save his soul...

"Dialogo" (Dialogue) is a short acoustic, instrumental interlude that leads to the following "Quanto costa un litro di benzina?" (How much does a litre of gasoline?), an ironic track that blends reggae and Jethro Tull. The music and lyrics tell about a man obsessed by the ever growing cost of oil who decides to buy a bicycle and ride it feeling like Fausto Coppi.

"Non è così (Il mio regalo per te)" (It's not so ? My present for you) is a complex track featuring many changes in mood and rhythm. It begins softly, the atmosphere is dark, melancholic then the rhythm rises and at some point Focus and Jethro Tull could come to mind. A man realizes that he's adopting ideas that he doesn't share just to get along with his sweetheart and he's getting tired to live as a hypocrite. The breaking up is traumatic, his last present might be mischievous and dishonest... Just his voice recorded on a tape: slow, magnetic words that will take him away forever.

The following "Monologo" (Monologue) is a short, delicate instrumental piano solo track that leads to "Compromesso storico" (Historic compromise), a powerful, complex track that draws in music and lyrics the portrait of a cynical politician who's good for every season, a demagogic media metastasis who knows how to use democracy in spite of ethics.

"Tu ti senti meno" (You feel less) is another track that describes the crises of a relationship in an effective way. A woman wants too much from his man, but she can't have everything and the game is over and there's no room left for words... The final track "Rootood" is a short instrumental where you can hear a telephone call and the recorded voice of an answering machine. A good conclusion for a very interesting album that in my opinion is really worth listening to.

After the recording sessions bassist Francesco Delli Paoli left the band and Paolo Iemmi stepped in. Unfortunately, the new line up didn't last for long and in 2007 Elettrosmog split up. Anyway, two years later a new band called Astrolabio came to life from Elettrosmog's ashes... But this is another story!

An interesting blend of complex Progressive Rock and powerful Heavy/Hard Rock with over the top vocals is what Elettrosmog had to offer in their first official album, coming as a cross between the energetic style of IL BACIO DELLA MEDUSA and the lyrical and melodramatic approach of 70's legends JUMBO.''Monologando'' is mostly a guitar-based Hard/Prog album with strong vintage references but also a fair amount of diverse musical breaks.Dynamic and passionate guitar workouts with nice grooves and complicated textures are combined with powerful and theatrical singing by Michelle Fiori.But all tracks contain some diverse passages and flexible instrumental themes, such as jazzy bass lines, funky moves, acoustic passages, organ-driven symphonic leanings, flute-based folk parts (a bit limited compared to the demo of the band) and more fresh-sounding use of synthesizers.All these lead to a multi-influenced and very attractive style, not quite tight, but at the end succesfully played and well-executed.

The band unfortunately seems to be inactive nowadays, propably due to the limited praise of ''Monologando'', but be sure to check out this work.This is quite decent and dynamic Italian Prog with occasional first class moments that deserves your attention.Recommended.

The whole result isn't bad but nothing special either,we have to deal with a rather mediocre effort...However I have a feeling that this guys have the talent to do a lot better than this demo...So my true rating 2.5 stars but I''ll raise it up to 3 believing in this band's brighter future...