ODESSA

Odessa's 2009 sophomore album has received a few reviews but this one has been greeted with a wall of silence so far, and our resident camel has even ignored it. So what are you guys missing? Well it features plenty of wah wah and nu-metal guitar riffs, and guest musician Gianluca Milanese of Aria Palea adds some flute on a few tracks. However, keyboards are the main weapons here and there's some formidable Hammond, synthesizer and piano interplay. 'Orizzonte Anima' is based around some great synth-work while 'La Sfera' is noteworthy for its Leslie effect on the Hammond.

Unfortunately, Lorenzo Giovagnoli's keyboard virtuosity isn't matched by his singing on this album. Apparently his vocals suffered here because of a severe allergic reaction that required treatment with antihistamines during the recording sessions. For example, during the atmospheric intro to 'L'Incontro (Stratosfera, l'Angelo)' his voice sounds like the howling of a wounded animal in the rain forest. Okay, Area's Demetrio Stratos is a major influence on his singing style but Lorenzo just seems a bit inhibited to really pull this off, probably due to that allergy.

Odessa always endeavour to be faithful to prog of the seventies and 'Lotta per il Doninio' in particular carries echoes of Uriah Heep but these guys are probably at their best on the aforementioned Trip cover. From Greek mythology, Charon (Caronte) was the ferryman who carried the dead across the Styx and who today is still regarded as a synonym for death. Guitar and keys go wild on this track, like an invisible battle that might have been fought between Aeneas and Cerberus had the Cumaean Sibyl neglected to drug the monstrous watchdog's sops. Awesome!

Fans of Hammond-based heavy prog, e.g. Abiogenesi and A Piedi Nudi, might want to give this a listen.

2(+), disappointment.

"Final Day" really got me excited the first time I heard the intro. I thought I had discovered a new favourite band. It's so melodic and heavy but when it settles 1 1/2 minutes in and piano, organ and vocals come in, suddenly the magic is gone for me.Thankfully it ends much like it started. Still a top three track for me. "Viene La Sera" is a good sounding song with prominant crisp drumming throughout. The guitar 3 1/2 minutes in is the highlight. "Taxi" is led by drums and vocals until it turns jazzy 3 1/2 minutes in. Not a fan of this one. "Compra" is uptempo with a variety of keyboards with vocals that seem yelled much of the time. It's ok.

"Cometa Rossa" is where the vocalist does his Demetrio Stratos impersonation. I remember saying "What ?" the first time I heard those familiar vocal melodies that Demetrio is famous for. This is an excellent track regardless and a top three for me. It gets heavier 2 minutes in. "Senza Fiato" is an instrumental and my other top three tune. Just an impressive instrumental display here as they let loose. It settles 2 minutes in with some nice guitar work to follow. "Piccolo Mio Sole" is laid back with reserved vocals. More passion a minute in. The guitar soars before 3 minutes. "Depeche Toi" is fairly heavy with lots going on. Guitar takes the lead and starts to light it up. A calm when vocals arrive. Great sound 3 minutes in. "Leila" opens with the focus on the vocals then it turns poppy. Yikes ! The contrasts continue. "Going South" is a powerful organ led tune to end it.

3 stars is the max I can give here, but I can see people really going crazy for this album.

Their after-10-years-silence second work The Final Day (il giorno del giudizio...the day of the judgment) has got the point of Italian hard progressive rock. I've heard they be influenced by early AREA so can get the picture, and listening the work could let me remind early Judas Priest. (Of course, heavy riff plus Lorenzo's high-toned voice might make me so.) Believe me, they have heavy guitars, bass and drum, and hard-edged keyboard with strongly falsetto voice as their keys of music style. About all of them I can't help remembering early 'progressive' Judas (not in their golden age as a hardrock band). Especially I'm always shocked and knocked with the fight and battle of keyboard and bass & percussion. With typical hard-rock bands, I think keyboard play tends to be a backward support, but ODESSA's keyboard can aggressively push and kick against the other instrumentals. For not only a hard rock but an Italian progressive one, they can run through their identity.

As mentioned above, their music style is basically hard and heavy. The first track Final Day should have absolutely their character itself, be a masterpiece. Sung in English and Italian flavour is a bit light but guitar and rhythm section are very heavy. Furthermore, it's not only a hard song. With a progressive high-toned voice solo at the center of the song, it can define them as a hard-progressive band I guess. Yea, about second track Viene La Sera, or seventh Piccolo Mio Sole, of course their ballads are...you should be blown away if you think their ballads are simple and kind. No, heavy and progressive phrases suddenly popped up should kick your heart and brain strongly. Cometa Rossa is a covered song originally shot by Area and they give a modern and heavier taste to this brilliant gem. And I have to recommend strongly this song...speedy and frequently-altered rhythm with keyboard and guitar is impressive on Senza Fiato, an instrumental song! Their skill and power can be established by the song I consider. Leila has a straight rock flavour and is easy to sing maybe. (Pardon me I can't sing in Italian... :-P) Last track Going South gets started with solemn synth sound and complex keyboard and rhythm section's fighting follows. Absolutely, this song is suitable for the end of the album!

In my honest opinion, they can be more progressive and more natural by singing in Italian, not in English...ah, their English is not so bad. Of all my impression together, this wonderful and full-of-dream work is one of new Italian rock ways I wanna say.