BAROCK PROJECT

Barock Project is an Italian Prog band started in 2004 that mixes classical (mainly baroque style), with rock, jazz, and pop in a progressive rock framework. This is their 7th album, but first that I have heard from them. I only recently discovered this album and wasn't sure what to expect, but was completely blown away by how great this is. By the 2nd song (Summer Set You Free, with its viciously infectious rhythm, beat, and melody, and it's mostly in 11/8 time!), I was totally hooked. Sensational album! Superb Symphonic Prog. Great balance between the classical influences and more rockin' aspects, as well as deft handling of all the other myriad influences for a truly wonderful listening adventure. Especially appreciate the way they interwove the more eclectic proggy elements (such as odd beats and time signatures, extended instrumental passages, etc) with more mainstream melodic rock and vocal harmonies. I was particularly impressed with how they had embraced and incorporated so much 70's and 80's American prog into the mix, with notable influences from Kansas, Styx, Ambrosia, Toto, Steely Dan, and others (which is unusual for Italian or other european prog bands), in addition to references to other classic bands (Jethro Tull, Yes, Neal Morse, etc.). It certainly does harken back to the glory days of mid-70's prog, although they also add many more modern touches as well, creating a very dynamic, invigorating, and exciting mix. Wonderful songs and structure. Great keyboards and guitars, great vocals and harmonies, and great drumming throughout. This is a concept album following a traveler lost in time, so the style also varies across the various songs dealing with different time and place aspects (12 songs, 70 minutes runtime), including a pirate-inspired proggy sea shanty (The Lost Ship Tavern), and a jazz-rock track that opens with a a fusion intro then glides into a Steely Dan-esque jazz-funk groove (propaganda). Overall, a superb album, with numerous highlights throughout, and no lapses or weaknesses. This is my favorite prog album of the year so far. Just fantastic from beginning to end, and anyone who enjoys classic symphonic (or modern) prog should be thrilled with this album. Best Tracks: Summer Set You Free, Carry On, The Lost Ship Tavern, Voyager, Mediterranean, Lonely Girl, Propaganda. Rating: 5 stars (only album so far this year to get a 5 star rating from me).

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.

BAROCK PROJECT mix of classical, rock and jazz. A sound reminiscent of TOTO, Neil MORSE and JETHRO TULL of yesteryear, eyeing the sounds of QUEEN for the theatrical side and YES for the keyboards.

"Carry On" frank symphonic attack with majestic trumpets, the tone is set; varied, progressive title with rock drums crossed with those of classic contemporary folklore; the break starts with DEEP PURPLE-style reminiscences with guitar and keyboards in the foreground; it's energetic, prog metal, return of the choirs of BOSTON and YES. "Summer Set You Free" radio title, more energetic and with a "TOTOien" touch for the rhythm and the flights; it's quite removed with still the prominent keyboards. "An Ordinary Day's Odyssey" fat intro, progressive keyboards galore; latent atmosphere, the voice stretches, reminds me of Jean from MYSTERY, accompanied by a laid-back riff for a swirling, warm melody; gripping title without firing a shot with the soft, languorous break on the piano. "The Lost Ship Tavern" says it all, folk rock à la JETHRO TULL for the rhythm, the violin, the twirling note, inviting you to dance a drunk without pushing the tavern chairs; I think of the BLUES TRAVELERS for developed musical fishing. "Voyager" a languorous violin-keyboard intro, quickly supplanted by modern electronic rhythm; a sound reminiscent of an "overboosted" YES, a heavy ASIA, a spatial cinematic soundtrack bringing the grandiloquent air of MYSTERY, it was said; the break on the previous track with an energetic folk solo like the 1001 nights; the finale returns to the cinematic space band reminiscent of the soundtrack of 'TRON' to try to explain the winks of this epic, magnificent title, fusion of genres between rock, classical and folk roots. "Morning Train" a cappella intro with piano as sole aid; the air goes to KANSAS, hold QUEEN's guitar, we are in a musical crucible; go trumpets, it twirls, the classical orchestra invites itself to perfect this thunderous break; finale with a taste of QUEEN and SAGA combined, just enjoyable; prog as we like to dream of it in this new decade.

"Propaganda" unique jazzy sax intro starting with a TOTO sound with that little extra of controlled energy to keep the sound modern; the break returns after a heavy solo with jazzy notes for a confusing piece. "Shibuya 3 A.M." for the acoustic guitar ballad and Yessian hints; TOTO also to point out that the BAROCK can surprise with their convolutions, finally hold on to ASIA; this allows you to find your own musical memories of the groups mentioned a little above. "Lonely Girl" notes of Bankian keyboards, airy voice, like UNITOPIA all at once, it doesn't stop the reminiscences; a title which is worth it for the beauty of Alex's voice, it should be noted, assisted by Luca, the group's leading man. "Mediterranean" radio edits for me, concentrating their music with a piano arpeggio base; break and heavy prog solo that comes out, this piece is complex, showing the scale of their creation. "Kyanite Jewel" guitar arpeggio, squirting notes, ancient scent before leaving on a warm spleen tune; to help us keep our spirits up, the Balkan break is still festive and dynamic. "Voyager's Homecoming" and four minutes of enjoyable symphonic intro; we are in space, ethereal limbo; the guitar riff breaks the tranquility, the violin attacks, the tune of the round hats comes to the fore, all this for a final grandiloquent progressive piece which is a pleasure to hear; no, prog rock is not dead. A little TRON, VANGELIS before the glamorous finale, to realize the musical slap we take while listening. (Initially on ProfilProg).

Barock Project go back to their roots with this all-too-short single, blending classical folk music with 21st century prog rock. I sure hope there is an album to follow. I've been a fan of the band for several years now and it is their early music that really sets them apart from other prog bands.

The song is a tour-de-force with a heavy Celtic influence with festive strings through much of the first half and an impressively smooth movement into a rousing keyboard section in the second half. All in all, a very worthy four star rating. Again, hoping for an album to follow...!!!!

The new album of the Italian project to combine PFM and Puccini has not failed to impress me - after all, classical music and prog rock are two genres Italy has excelled in. Despite being around for about thirteen years, they have not lost their touch, and have made a record worthy of both Tosca and Per un Amico (by the way, PFM and Puccini are not their only influences; I like my little joke ;]).

Seven Seas funnily enough opens with the song 'Seven Seas', beginning with only a muted guitar, piano and vocals. It's interesting to see how this song effortlessly develops from very little into a dark, thunderous guitar riff, with the rest of the band joining subtly without you really noticing. That's my take on it, others might disagree, but however it is a song that is enjoyable, emotional, displays excellent musicianship, and all in five minutes - very short for both a prog band and for that amount of good material in it. A good and suitable opener for a great album.

'I Call Your Name' is very much the pop song of the album, but do not be daunted, prog fans! It opens with a capella, somewhat suspiciously characteristic of prog ('Looking for Someone''I've Seen All Good People''Dancing with the Moonlit Knight' to name a few) and classical music (making a point here?). This evolves into a lively guitar-led tune, with the drums, bass and keyboards following. It's energetic, fun, and has odd time signatures and a middle section to make it up to the proggers.

Next, the soft 'Ashes', beginning with a lovely piano ostinato, and fairly soft vocals. This carries on for about two minutes until the whole band comes together and plays a very colourful melody, compromising guitar, drums and bass with very classical piano and strings arrangements. However, that's not it, it then breaks down into a very jazzy piano ostinato, joined by the thunderous as ever guitar, soon evolving into a hard rock riff with vocals - but breaks down again into a (sort of) reprise of the first part. It's another highly musically varied track, something that occurs very often in the prog of today.

The first opus of the album, 'Cold Fog' opens with elegant strings and the omnipresent piano, and from there, I won't ruin it for you. I'd also be here writing for a while. It contains further fantastic musicianship, great tunes and a very nice acoustic section with a guitar solo (as I may have mentioned in another review of mine, always a winner with me.).

After the foggy mistiness of 'Cold Fog', 'A Mirror Trick' ensues ' beginning with an acoustic guitar melody that sounds very much like a certain simple piano piece I know of called 'Allegretto Grazioso' by Cornelius Gurlitt. It is a short, quiet song, led by the lovely classical guitar.

'Hamburg', the longest song, starts off with more acoustic guitar, led by what sounds like an oboe. The drums come in, with a brilliant guitar solo, reminiscent somewhat of Pendragon's Nick Barrett's playing (in my opinion). It breaks down for the first vocals, but soon picks itself up again for a very heavy section lasting until about, I'd say, seven minutes through. Then a very nice piano-dominated section that lasts until the end.

This is probably my favourite songs on the album. It makes a perfect combination of classic neo, the guitar and synths to perfection, and the beautiful baroque piano ' and a balance between complexity and just good tunes.

'Brain Damage', the next song, is not a cover of the Pink Floyd song, but a very original emotional, sentimental ballad of a kind only Barock Project can write - well, until about the middle, that is. A lovely classical guitar begins the nine minute opus, which at about four minutes through becomes electric and the rest of the band joins in with a bang. The heavy guitar is soon accompanied by a spacey synth solo which becomes wilder and wilder until you can't believe that it started out a bit like a neo version of a Simon and Garfunkel song.

Then, 'Chemnitz Girl', also beginning a bit like a neo version of a Simon and Garfunkel song, but unlike 'Brain Damage', stays that way. Not that that is a bad thing, though, in fact quite the contrary - it works wonderfully. 'Chemnitz Girl' is followed up by the heavy 'I Should Have Learned To', that provides a cheerful break from the somewhat melancholic earlier tracks.

'Moving On' follows, heavier still, that is reminiscent of the heavy prog of Porcupine Tree (in my opinion, at least), with an imaginative middle section. What is interesting is that there are virtually no classical elements in 'Moving On' - the entire album, even, seems more rock orientated than perhaps their earlier work. That is my opinion, others may disagree.

The final track, 'The Ones', I will not try and ruin with crude words, and say only it is one of my favourite Barock Project songs and an excellent outro.

So, since I have not said a word against any song I have described here, why have I so cruelly rated it four stars? To help, my personal requirements for a five star album:

1. The songs must all be excellent.

2. It must work brilliantly as an album.

Even then... both of them are satisfied. The thing is, brilliant though this album may be, would I put it above, say, Misplaced Childhood by Marillion? The fact is, no. So, for the fact it simply is not as classic to that level... four stars.

I see a fair number of ratings but no reviews yet for this 2019 release of intricate, complex, keyboard-driven rock fusion from Barock Project. It deserves a review so I guess it is time for me to "step up" and contribute! As is often the case, this won't appeal to everyone. Although it features punctuating passages of sheer power, these compositions more often require a chisel than a sledgehammer. The vocals are sometimes sung with a bit of a melodramatic flair which will appeal to some as very expressive and no doubt turn others away crying "extra"!

Luca Zabbini is a genius in my book. If you like keyboard driven jazz rock fusion and wish there was a band like Journey or Queen that would break use odd time signatures and/or break into complex jams reminiscent of Return to Forever or Jan Hammer, check this album out!

Here's a 'track-by-track' rundown if you are into this level of detail.

SEVEN SEAS - starts very subtly with a sound reminiscent of the clicking of a fast clock. Composer, arranger, keyboard wizard and acoustic guitarist Luca Zabbini handles lead vocals with specialist Alex Mari providing additional vox in the background. At around 1:15 into the piece, some power begins to make its way into the equation. At around 2:30 an anthemic big chorus is introduced. A grandiose symphonic interlude is followed by a calm verse which sets up a magnificently powerful organ solo at about 3:30. This solo is expressive and well executed. It does not, however, reveal the true extent of Zabbini's mastery of fusion keyboards. That will have to wait until later on in the album!

I CALL YOUR NAME reminds me of old PFM songs like "Celebration". Of course this is a modern production with a more powerful edge in the chorus, but the vocal vibe on the verses (along with the fact that the singer is an Italian singing in English as a 2nd language) is probably what evokes my memories of classic PFM. I particularly like the way this song hinges upon a syncopated guitar riff which makes the 7/8 time signature invitingly intuitive to follow (even to non-proggers IMO). Clocking in at 3:46 and with a catchy groove, this could be a "hit single" in an alternate universe where prog still makes regular appearances on the pop charts.

ASHES - introduces a combination of gently melodic, intricate piano playing, and dramatic vocal styling that will characterize much of the rest of this CD. This song is probably a pretty decent litmus test of whether this CD will be to your liking. It has complex, lush arrangements with very high quality composition and performances throughout. At about the 3:10 an energetic passage features distorted guitar. A couple of monster keyboard solos are added. But by 4:40, it gives way to a gentle - yet majestic - wave of symphonic jazz rock fusion to end the song.

COLD FOG - The mood cools down even further as this song begins with a pastoral symphonic jazz fusion introduction. At about 1:30, bass guitar, drums, and a carefully crafted keyboard sequence adds energy. At 2:00, the chorus adds a bit more energy - even so, everything is still rather gentle with piano and rhythmic keyboards at the forefront. At 2:30, a rock beat finally takes over. The arrangement rarely "sits still". By 3:00 a short vocal section introduces an elegant piano led fusion solo. The bridge carries us to another rock beat explosion for a 30 second chorus before introducing a guitar solo from 4:32 to 4:55 or so. At the 5 minute mark, acoustic guitar accompanies a bridge section which features a lower octave vocal double of the lead singer's line to great effect. The guitar solo at 6:30 boosts an already anthemic bridge progression to more expressive heights. At 7:07, it gives way to a piano interlude accompanied by a lush yet understated symphonic background. At 7:51, everything gets energetically symphonic. The song ends with one more pass at the rock led chorus and a final fusion ending.

A MIRROR TRICK - This gently bouncy song is led by acoustic guitar. It reminds me of some of Gentle Giant's less complex appropriations of Renaissance and medieval musical sensibilities. Symphonic elements come and go throughout. At 3:29, this composition will almost certainly leave fans of this style wishing for more. HAMBURG - Begins with atmospheric sounds of seaguls and the seashore. Acoustic guitar accompanies a symphonic score. Acoustic piano joins without overpowering the symphonic leads. At 11:25, this is the CD's "epic". At 1:25 drums, bass guitar and lead guitar enter to carry the song into elegant jazz rock fusion territory. Fans of Kenso would love this passage I would think. At 2:45, acoustic piano takes over to set the stage for a gently dramatic vocal verse. This seems to me like what the band Queen might have sounded like in the early 70's had they been more symphonic,complex , fusion oriented and progressive. At 4:35, the chorus is still slow and deliberate but larger and louder. At 5:00, a 30 second jazz rock interlude threatens to take the song in a new and more powerful direction yet at 5:30, we dropping right back into the deliberate pace of the large anthemic chorus. At 5:46, a soaring melodic guitar lead is introduced. Then a soaring vocal line joins to match the same line. This melody line is both fresh and yet also intuitively 'listener friendly'. That is quite an interesting combination. The guitar soars in a higher octave as it repeats this same melodic line and then starts improvise from its base. Again, this is great guitar fusion. At 7:18, solo piano resets the tone to gentle yet again. The song returns to the symphonic piano led arrangement which it began with. Everything remains gentle long enough for the anthemic chorus (at around 9:45) to sound full of vigor and powerful yet again. The soaring guitar solo returns briefly. Then quiet solo piano carries us to the same atmospheric 'sounds of the sea' from which we started.

BRAIN DAMAGE - This song also has a very gentle beginning featuring quiet yet dramatic vocals (this time accompanied by solo acoustic guitar). At about 2:20, vocal harmonies contribute a very nice feel. At around 3:05, gently picked electric guitar (on a very clean setting) enters the scene. At around 4:15, rock power enters in a big way almost reminding me of Rush's output in the late 1970's! A monster fusion synth solo follows. I fully understand that some proggers will not want to persevere through all the gentility to finally reach a section like this, but I must admit that the quietude did serve to make this section seem all the more powerful when it finally arrived. It gives way to the gentle proceedings after only 90 seconds. But don't give up on the song. Soon enough, the power returns with a wonderfully syncopated fusion jam. Again, the jamming is not entirely unlike 1970's rush except it features intricately powerful fusion keyboard solos. Fantastic composition and powerful performance. We finally get a big rock ending.

Luca Zabbini plays every instrument (even percussion!) and sings every vocal on the gentle tune CHEMNITZ GIRL. It is also the only song on the album with lyrics penned by Zabbini. Some of his Italian accent belies his English pronunciation but that doesn't bother me. This is a beautiful song.

Luca also sings lead on "I SHOULD HAVE LEARNED TO". The track placement seems wise. This upbeat sing-a-long song doesn't strike me as particularly "prog". On the contrary, it reminds me of a very professionally performed and recorded theme song to an expensive Disney movie. If a listener has "hung in there" to reach track 9 of an 11 track CD, they probably won't abandon everything because of the unexpected shift.

Alex Mari takes back over the microphone to sing on the song MOVING ON which returns us squarely to the genre of progressive rock. This song is exceptional in that the music is co-written by guitarist MARCO MAZZUOCCOLO and drummer MARCO MAZZUOCCOLO. A harder groove and more powerfull riffs abound.

THE ONES - is a pensive, gentle, lushly romantic piano based song which gains some weightiness after the 2 minute mark. At the 3:15 mark, we encounter a passage very reminiscent of "The Great Gig in the Sky" from Pink Floyd's classic "Dark Side of the Moon". It only lasts a little over 30 seconds and - as such - serves as a very nice nod of affection toward a masterwork of yesteryear.

Barock Project is an Italian band that have released five studio-albums (between 2007 and 2017) and one live CD entitled Vivo (from 2016). The musical Brainchild is Luca Zabbini (composer, keyboards and piano), he likes play with a huge variety, from classical to rock and jazz.

On their debut album entitled Misteriose Voci (2007) Barock Project delivered strong Italian vocals (with a very pleasant emotional undertone), an accessible and melodic sound (loaded with the distinctive Hammond organ) and a tasteful colouring and strong interplay by guitar and keyboards. The more mellow parts with twanging acoustic guitar and good vocals Barock Project reminded me of Angelo Branduardi. In the more symphonic rock interludes with omnipresent vintage keyboards I noticed strong elements of Dutch keyboard driven pride Trace.

These elements we can enjoy even better on the more elaborate and captivating second effort entitled Rebus (featuring guitarist Max Scarcia).

The ten compositions (running time around 70 minutes) are loaded with variation, strong musical ideas and outstanding work on guitar and keyboards. The element rock we can trace in the track Enemy (blended with prog metal and a biting guitar solo) and in some songs in which the rock has strong classical undertones (indeed , Barock rocks!) like Don Giovanni (rock opera vocals, orchestral keyboards and a fiery wah-wah solo) and Duellum featuring a wonderful Minimoog and Hammond sound along a swinging piano solo.

Then the tracks Polvere Di Stelle (fine swinging bass) and Veleno (captivating electric guitar solo with a Spanish flavor) that remind me of Al DiMeola his excellent jazzrock (Elegant Gypsy-era) with exciting interplay, especially the interaction between the guitar and kebyoards is sensational! Next 24-carat symphonic rock (with hints of 76-77 Genesis) in the Corsa Elettronica, Akery (wonderful vintage keyboards sound) and the first part of Veleno (beautiful howling guitar runs).

Finally I would like to mention the musical surprises in Save Your Soul (Jethro Tull-like flute traverse, Minimoog runs like Celebration from PFM and folky piano evoking the Balkan sound) and the PFM-like conclusion of Nostradamus featuring dreamy flute, acoustic guitar and warm English vocals.

I had to get used to the huge variation but in the end I am delighted about this second Barock Project album!

Italian band BAROCK PROJECT was formed back in 2003, and have been on a climbing trajectory ever since then, their name and reputation steadily surging upwards with their third album "Coffee In Neukolln" something of a breakthrough one for them. "Detachment" is their fifth studio production, and was released through Italian label Artalia in 2017.

Those who are fond of high quality, modern progressive rock will have taken note of Barock Project already I surmise. If by chance anyone haven't done so, this album showcase just why this is a band that merits and inspection in an excellent manner. If you like your progressive rock to be open, inviting and with a keen focus on melodies and harmonies, without loosing track of being sophisticated on a structural level, "Detachment" is an album with your name written on it.

Italian band BAROCK PROJECT was formed back in 2003, and ever since they started to release their own music in 2005 they have grown in popularity and stature, to the point of being on the verge of becoming a household name in the genre these days. The have half a dozen albums to their name at this stage, of which five are studio albums. "Vivo: Live in Concert" is their sole live album so far, and was released through Italian label Artalia in 2016.

Live albums can often be a hit or a miss, depending on a number of factors. This one will be more likely to be a hit than many other I have listened to, as it documents the skills of a high quality modern day symphonic progressive rock band that are as good on stage as they are in the studio. And with a long studio track tucked in as a bonus feature, existing fans get a nice little boon for buying this album as well. A live production well worth investigating if well made, symphonic progressive rock is a style of music you tend to enjoy.

I have been listening to this album for months, I have heard it dozens and dozens of times. It has stuck into my bones and it's my favourite release of 2017. Funny since I don't like much the previous output by the band, mostly because I think previous lead vocalist Luca Pancaldi would work best in a prog metal band, that Barock Project is NOT! Luca Zabbini is the star here, besides playing keyboards like a maestro (and also some guitar) he has written most of the stuff and sings also most of it. His vocals are more earthy, but also the guests vocalists do a fantastic job working around his tasty lines. And the songs are ... well, fabulous. There's hints of Spock's Beard, Porcupine Tree, Pink Floyd, Jethro Tull ... but all these influences are very focused into the songs. My favourites from the album are Broken, the album's epic - a true masterpiece - and Alone, a wonderful piano and vocal duet, sang by Peter Jones; what's funny is that I don't use to like "piano and voice only" songs !!! In short: I declare proudly this album as my number one for 2017. I only hope they would record again something as good as this.