ELLESMERE

This is the 4th album from Ellesmere, lead by Italian progger Roberto Vitelli, and is firmly in the style of classic symphonic prog ala Genesis and Yes. Vitelli has assembled an accomplished band of musicians perfectly suited to the prog workout displayed here, with all the intricate instrumental passages and soloing to make successful prog, and are joined on this album by vocalist John Wilkinson, who sings in a voice and style suspiciously similar to Phil Collins. Thus, all the pieces are there, the vocals are fine and the instrumental sections do achieve a grandness and virtuosic satisfaction. However, to me, it just seems a bit too safe, ordinary, or run of the mill, and just going through the motions. What is missing here are great songs, as the songs and melodies here are just ok, nothing special. They just are not very engaging or compelling. Great playing all around, but the songs themselves just don't do much for me. Still enjoyable to listen to, but I can't get too excited about it, even with some great musicianship on display. Rating: 3 stars

A band I've liked and followed since their 2018 sophomore album, II - From Sea and Beyond. They do melodic symphonic NeoProg right!

1. "Northwards" (6:50) very nice prolonged instrumental opening diminished by poor vocals at the end. (13.3333333/15)

2. "Tundra" (6:44) decent prog music is diminished by poor vocals. (8.75/10)

3. "Crystallized" (5:13) extended chorused 12-string guitar opening takes its time but eventually develops into a nice . VDGG-saxophonist David Jackson can still blow! It's sad for me to say this, but this is an example of a song that is "saved" by not having any vocals! (8.875/10)

4. "Arctica" (4:17) having multiple vocal tracks helps! (9/10)

5. "Stranger Skies" (12:18) sounds so much like a song as if GENESIS were trying to go back to Gabriel-era song constructs only using Peter as the flutist only and Phil Collins as the lead singer! The problem. comes, of course, when 1980s Genesis tries to go back to early 1970s sounds and engineering techniques: they can't! It is, however, a pretty decent NeoProg epic! I've never heard flutist John Hackett go this crazy! The final "movement" of 80 seconds is, however, a little too over-the-top in its Ant/Genesis 12-string guitar worship. (22/25)

6. "Another World" (11:43) a NeoProg song that feels as if it has its feet straddling between the music of Sean-Filkins- era BIG BIG TRAIN and Jem Godfrey's FROST*. GREAT contributions from David Jackson and Matthias Olsson on drums. (17.875/20)

Total Time 47:05

B/four stars; an excellent collection of finely crafted and performed NeoProg songs.

Ellesmere style of Genesis also reminiscent of Syndone, Camel, Rush and King Crimson.

'Northwards' symphonic, medieval intro on heroic fantasy with Clive delivering a bucolic arpeggio; lush trumpets for the hero's arrival; 2 minutes of pure joy preceding John's voice flirting with Collins as if Genesis merged with Rush; majestic, airy prog rock and a very beautiful guitar solo; 4 supposedly chilling tracks that warm my ears; 'Tundra' begins jerkily, the tundra sounds very pleasant with these bucolic synths, one of which is used as a fast rhythmic base; the Genesisian air second version in reminiscence and a Rushian break for a refreshing variation; choruses eyeing Yes from '90125' before Giacomo's solo assisted by Riccardo. 'Crystallized' glacial guitar arpeggio; refined musical interlude supported by a powerful bass and David's twirling sax for a syrupy melody; final Genesis 'Dodo' era. 'Arctica' short, intense, the reminiscences don't fade away, an updated, non-regressive sound; we feel the evolution in this playful symphonic journey with the omnipresent keyboard.

'Stranger Skies' warm vocals over a religious bell and organ of the same ilk; RPI procession like old times; about a Jethro Tull and a wacky story of more or less terrestrial fish; John on the flute bewitches by putting himself forward; John the other has this similarity to Phil with his vocals lulling us with a majestic, magical, liturgical melody; very well delivered with a repetitive ending which lets in a bucolic flute solo, which finishes off the progueux in need of an epic title. 'Another World' wow, it's serious from the start with this prog metal tune and the easy riff in reminiscence; the nervous sax then melting marshmallow; the rhythm evolves, dense, taking you to a space of time that passes around you; Giacomo launches a heavy solo, David calms things down; the metronomic air with the invasive vocal flirts on Genesis if they had continued, refined; a crimsonian break occurs, vibrant while Mattias hammers his pads methodically and Stefano sends us back into a regressive atmosphere with his Mellotrons; Tomas from the Flower Kings finally comes to bring everyone into tune with a psychedelic arpeggio; schoolyard voice, spatial sounds, the slap with a final disturbing rumble.For those who like the second version of Genesis.(4.5)

Bassist extraordinaire and multi-instrumentalist Roberto Vitelli has a celebrated career, having played with the likes of The Roman Pro(g)ject, Taproban, The Samurai of Prog and B-Rain as well as fronting the seductive and critically acclaimed Ellesmere project of which this is the fourth and latest chapter. The latter project has had the benefit of being graced with some memorable guests in the past, names such as Dave Jackson (VdGG), Brett Kull (Echolyn), Keith More (Arena), Robert Berry, Trey Gunn (KC), David O'List (the Nice), Marco Bernard, Daniele Pomo (Ranestrane), Tomas Bodin, David Cross (KC), Tony Pagliuca (Le Orme) and Mattias Olsson (Anglagard) among a few others. On this release, add the likes of Clive Nolan, Graeme Taylor (Gryphon) John Hackett, Riccardo Romano and most especially guitarist Giacomo Anselmi (Goblin Rebirth, Stefano Panunzi), and vocalist John Wilkinson from the Swan Chorus who are heavily featured throughout. In fact, there is a common vocal style on each track, by which the title is clearly referenced over and over, in pretty much the same overt manner, obviously planned to perfection. Very clever!

The adamant glacial blizzard of "Northwards" is undisputedly addictive, an opening track one could only hope for, which rather cleverly is emulated on the 6th and final epic track "Another World", where the North Pole reference is repeated, for good measure! The lead vocals from Wilkinson have a strong Gabriel/Collins flavour, (what else is new), the guitar pyrotechnics from Anselmi are off the charts and Mattias plays the drums as if his life depended on it! Vitelli provides his usual Rickenbacker support as well as manning the keyboards, leaving Pendragon's Clive Nolan to handle the intro. Blistering piece of powerhouse prog that has an undeniably glacial Viking frost to it, that is most appealing.

Maintaining the icy atmosphere, "Tundra" expertly emulates the frozen vastness of arctic landscapes, undulating drum variations, lumberjack rhythms galore, as well as a totally unexpected a capella harmony vocals section that will recall Gentle Giant meeting Yes at a microphone convention. The stage is also set for an icicle melting lead guitar workout from Anselmi.

Majestic acoustic guitars usher in "Crystallized", played by Gryphon's Graeme Taylor, transitioning into a powerful scheme with Dave Jackson's patented sax digging up the permafrost with impunity, as Olsson pummels his kit with measured abandon. An instrumental showcase that packs a wallop.

Keeping the frigid snow bound theme, "Arctica" hustles and bustles like an icebreaker carving ahead, cracking up immense shards of blue ice. The guitars shiver, the frosty keys howl in the wind and the voice continues its pleading repetition of the title. Bombastic, complex, thunderous, and relentless.

Two epic pieces to finish off, the stunning title track, clocked at over a dozen minutes. As the bells toll, the churchy organ commands the lament, like a sea shanty for those who brave the cold seas with salty courage. Synths bubble as Bob Hodges lays down some dense notes, whilst being challenged by an obsessive flute courtesy of the other Hackett. All instrumentalists get the green light to stretch out their insertions, as Wilkinson provides celestial vocal anointments that clear out the stranger skies. Unsurprisingly, Olsson does a bang-up job on the drums as the flute dances in between the polyrhythmic fills. Riccardo Romano's acoustic 6 and 12 string work unites with a grandiose flute passage and a smooth vocal outro. With a running time of under 12 minutes, "Another World" is a rampaging bulldozer unleashed, fizzy guitar electricity, pompous keyboard elevations, a brooding bass shuffle and those masterful thudding beats. Toss in some more virtuoso sax from the VdGG-man and all that is left is for John Wilkinson to highlight the title "Another World" with a variation of the "Northwards" chorus. The obvious allusion to the North Pole only proves the astute case convincingly. The extended Giacomo Anselmi fretboard flirtations are dangerously insane, surely seduced by the sexy sax bursts and the dense interplay, which includes a fabulous Tomas Bodin outro to finish off this album in style, adding a jazzy piano element that is sheer genius. The children play, giggling in rapt enjoyment. Another World indeed.

Another fine chapter in the Ellesmere canon. Certainly, most worthy of pleasing fans of both the symphonic and neo styles, as the playing is truly top-notch. The usual fantastic cover artwork continues to inspire.

4.5 Intriguing Paradises

"Wyrd" is the third album by Roman project Ellesmere and was released in 2020 on the independent label AMS Records. To complete the line up and enrich the sound, this time composer and multi instrumentalist Roberto Vitelli (bass, guitar, Moog) gathered around him many prestigious guests such as Mattias Olsson (drums, from Anglagard, and White Willow), Tomas Bodin (keyboards, from The Flower Kings), David Cross (violin, from King Crimson), John Hackett (flute), David Jackson (sax, from Van Der Graaf Generator), Tony Pagliuca (keyboards, from Le Orme), Luciano Regoli (vocals, from Raccomandata con Ricevuta di Ritorno and DGM), Fabio Liberatori (keyboards, from Il Poliedro di Leonardo and the new line up of Reale Accademia di Musica), Fabio Bonuglia (keyboards, Mellotron, Hammond, Moog) and Giorgio Pizzala (vocals). The result is a good mix of vintage sounds, modern prog and jazz rock with a wide range of influences ranging from Yes, King Crimson or Kansas to Transatlantic, The Flower Kings and Spock's Beard.

The wonderful artwork by Rodney Matthews recalls the style of Roger Dean and evokes wondrous stories and epic adventures in fantastic worlds and enchanted woods. The first three tracks are linked together and form an excellent suite. On "Challenge" you can hear the voice of a young warrior leaving his country for new territories crawling with tall tales, myths and stories of haunted spirits and goblins. He's hiding under the cloak of his dreams as the wind blows... "The Eery Manor" is a sparkling instrumental section where John Hackett and David Jackson showcase all their great talent painting disquieting atmospheres and adding vivid touches of colours to the picture with saxes, flutes and other wind instruments. After a long ride through a dark forest on a strange horse among nymphs, friendly dwarves and lurking werewolves you're in sight of a mysterious castle... "Endeavour" ends the first part of the album combining dreamy, pastoral parts and harder passages and could recall every now and again ELP or Van Der Graaf Generator. The warrior relies on his good luck to defy the fate and discover what's hidden behind the walls of the castle...

The second part of the album (or the side B of the LP) begins with "Ajar" and a martial marching beat. Echoes of Delirium III could come to mind. Hardly any sunlight breaks through the dense tree tops of the forest, and the myths surrounding these woods are more fantastical than paranormal. You can imagine hunting Tarkus and other strange creatures all around... However, the only way to know for certain what monsters await around the next bend is to venture out into the darkness yourself...

The long instrumental "Endless" closes the album. There are other surprises along the way that you might never expect to find deep in the woods and so it's no surprise that the surreal world depicted in the art cover could develop a reputation for spooky sounds and ghostly apparitions. Some cinematic passages could recall Ennio Morricone and stir the imagination of the listener and could be the perfect for a fantasy film score...

On the whole, a very good album. Especially recommended to symphonic prog lovers!

Had the first Ellemere record been a pure form of seventies-inspired symphonic folk, producer and composer Roberto Vitelli turned to a rather nineties type of neo-progressive on this second album - perhaps a result of the mastering that is quite light on the low-end. Or perhaps of the Rickbacker bass-sound that has never worked in any mix in my humble opinion. The keyboards also sound from that era. Leaving that aside, this is actually a well-made record which I was happy to order on a vinyl (which is also of a great quality). After the atmospheric opening the twelve minute 'Marine Extravaganza' is a great tour the force of atmospheric instrumental neo-progressive with hints at Genesis, ELP, Yes and even King Crimson without sounding like a modern remix of those bands. It also reminded me a bit of the opening track of the Italian classic 'Opera Prima'. The 'open' nineties sounds allows for loud playing without getting a headache as well. 'Runaway' is a dreamy and sentimental neoprog / crossover piece that reminds me a bit of Marillion. The two minute 'Marine Coda' with wind instruments by David Jackson (of VdGG fame) is a really spot-on psychedelic interlude and I hope his role in this project would expend in the future. 'The Schooner' has this heavy melodic organ that sucks you in. Guitarist Keith More (who also played on Arena's 'Solomon') shines brightly here with his melodic rockguitar. This track is side two's answer to 'Marine Extravanganza', though this tracks feel a bit more like a summation of random themes at times - which are all fine by the way. 'Ridge Fanfare' is nice short exciting neo-prog piece. 'Time, Life Again' is another strong piece with some vocals and a fiery guitar solo as a finale. What I like about this record is that it is neo-prog that focuses on instrumental prowess instead of too much of that whimsical song- writing (which no group ever does as well as Marillion anyway). Because of some songwriting inconsistency here and there I'm feeling like a 3,5 stars. Very enjoyable though.

On the debut of Ellesmere from Italy (a project of Roberto Vitelli) we hear a chamber type of symphonic folk. Or progressive rock without the rock thing. It reminds me of groups like Celeste (also Italian), the classical tracks of Focus and more recently of the Jordsjo sideproject Eldsmark (which I can also highly recommend). The music also reminded me of the lighter parts of Karfagen's 'Echoes From Within Dragon Island' record. You'll hear warm Spanisch guitars, mellotrons, flutes, sounds of nature and some gentle percussion. What I like about progressive rock is its musical story telling and its ability to cast distinct atmospheres in your living room. This record does that very well in a gentle and pleasant way. The concept of that French castle, the beautiful artwork and the well written & coherent symphonic folk match perfectly. The album has some encore's of its main themes and might have well been a single piece. The quality of the vinyl is great and the production sound is also more than average for a small production like this.

"Ellesmere II - From Sea And Beyond" is the second album by Roman project Ellesmere and was released in 2018 on the independent label AMS Records. This time along with the talent of composer and multi instrumentalist Roberto Vitelli (bass, guitar, synthesizers, Moog, Mellotron) we can appreciate the contribute of prestigious guests such as Paolo Carnelli (piano, electric piano, keyboards, Hammond), Robert Berry (vocals), Trey Gunn (Warr Guitar), David Jackson (sax, keyboards), Alan Benjamin (guitar), Brett William Kull (guitar), Danilo Mintrone (Korg Microkorg), Davy O'List (guitar), Keith More (guitar), Marco Bernard (bass) and Daniele Pomo (drums, percussion). The overall sound is richer and more variegated if compared with the debut album and the influence of bands such as ELP, Yes, Kansas or King Crimson is apparent. According to their label website, this is a conceptual work "where every song deals with a different aspect of the complex relationship between man and sea, from man's curiosity and fear towards what is hidden deep inside the sea to the call for adventure and for travelling to the end of the known world and beyond". The album artwork by English painter and designer Colin Elgie tries to depict the musical content...

The first four tracks are linked together and form a long suite. The short opener "Tidal Breath" sets the atmosphere and starts by the sound of the ocean and the gentle breaking of the waves with a calm sea, then an ethereal melody soars like a mermaid chant and leads to "Marine Extravaganza", an excellent, powerful instrumental track that could recall Emerson, Lake & Palmer and contains a quote from King Crimson's "Red". Then "Runaway" tells in music and words of a disquieting dream, a desperate effort to escape from the chase of mysterious men in black, dark shadows of your past haunting you and alrming your senses. The short, nightmarish "Marine Coda" closes the suite with David Jackson's sax in the forefront.

"The Schooner" opens the second side of the album and starts by a sumptuous passage of church-like organ, then the rhythm rises for an adventurous voyage through Poseidon's territory. The sea air is deceptive and you must not rely on your eyes to assess the distances... The title refers to a type of sailing vessel popular on both sides of the Atlantic in the late 1800s and early 1900s. The following "Ridge Fanfare" is another piece in debt with EL&P that seems to invite you to a joyful ride through the waves while the final track, "Time, Life Again", recalls Yes and evokes in music and words the imaginary course of a flying ship flowing forever in time upon the sea, towards the sun, through the fire, in search for an island of peace...

On the whole, a very good album for symphonic prog lovers!

This is the project of multi-instrumentalist Roberto Vitelli with the help of Tomas Bodin, John Hackett, David Cross, and others. This is pure symphonic prog driven by sumptuous keyboard melodies in the line of the Italian scene and ELP. It's mostly instrumental with a bit of signing. Some songs start with some delicate piano and flute before the pace picks up with all instruments shining providing a lavish symphonic sound. The flute can be very busy at times as the drums playing of Mattias Olsson. The first 3 tracks are flowing together by the sound of the wind in the wintertime. Besides the rich instrumentation on this album from the traditional rock instruments of guitar, bass, keys, and the flute, sax, and violin, what standout and more important is the quality of the songwriting which offers a strong balance of atmosphere from the light to the dark and dramatic with enough dynamics and punch that despite his inspiration taken in the 70's sound like a modern album that will please a lot of prog fans of the symphonic British and Italian style.

More polished Neo Prog of the symphonic RPI sort from ambitious Italian Roberto Vitelli. Top notch, sound, musicianship and composition for anyone into those things.

1. "Challenge" (7:26) cinematic piano jazz with eerie synth and percussion sounds. 'Tron comes in at the end of the second minute to signal a change. The new motif takes off in a BANCO kind of way, supporting soli from a variety of synths, violin (David Cross), organ, and electric guitar. Another thematic shift at 4:10--this one setting up the joinder of vocals. The violin play is so dextrous yet subtle--it's crazed yet almost goes unnoticed within the tapestry. The vocalist really shows his strength with some very high, sustained notes in the sixth minute, then things fade into the wind--which then bleeds into the next song. (13.25/15)

2. "The Eery Manor" (6:24) wind from "Challenge" is carried forward by the crazed flute playing of John Hackett. The next instruments to join in give it a classically-tinged Gothic feel, John Hackett stiil going crazy, then it goes very classic RPI (LE ORME Felona e Sonora) in the second half of the second minute. At 3:15 we switch into more abrasive IL BALLETTO-like motif but then alternating into some absolutely gorgeous melodic themes over the next two and a half minutes. (8.75/10)

3. "Endeavour" (8:24) smooth opening with great sound palette across the board: Aarp synth in the lead, arpeggiated guitars, bass pedals, and syncopated drums. 45 seconds in an oddly recorded, oddly placed voice begins talk-singing with a melancholy passion. Flutes and vocalized "da-da-te-da-da de-da-dum"s play into a kind of chorus. Then raunchy Hammond organ leads us into another mre unsettling theme within which electric guitar, bass and saxes offer quite frenzied, untamed solo lines. At 4:55 we come out and smooth over again--though the sax is still a bit crazed, the lead guitar presents in a calm, heroic way. A couple more rounds in and out of chaos occur before we seem to resolve the conflict and emerge into the light of victory. (17.5/20)

4. "Ajar" (8:05) a take off/variation on some of the themes and riffs from YES's "Gates of Delirium" Still, the best song on the album. Vocals don't make themselves known until the fourth minute (with Trevor Horn-like flanged bass!). Weird reverse spoken passages persist here and there. Smooth yet-edgy sax solo (so controlled and adept by virtuoso David Jackson!) in the sixth minute. Love the grand entry of the 'Tron and saxes for the final 45 seconds. (13.75/15)

5. "Endless" (13:14) incorporating a riff that is familiar to me from an old KNIGHT AREA song (2007's "Under a New Sign") as the main melodic hook throws me a bit off. And then once I think I've gotten over it, the similarities persist- -at least for the first 5:20. The fact that it holds nearly the exact same pace and sonic palette (embellished by the saxes and flutes) is also a distraction. But then in the seventh minute the new melodic territory takes us into another familiar and gorgeous ear worm. this one from Another transition, this one more complete, at the 7:00 mark takes us into Camel-meets-Paul Reynolds (Flock of Seagulls) before turning full-on Phil Collins-era GENESIS (Duke and later especially) before returning us to the KNIGHT AREA fold. Great drumming--on a par with Phil Collins' strongest, most bombastic. At 11:00 we weirdly transition into an entirely different, more KRAFTWERK/JEAN- MICHEL JARRE-like synth-pop section--to the finish! What?!?! Please explain! The song is good, the musicianship and composition excellent, it just feels a bit . . . borrowed. But then, didn't most of the great masters of Classical Music lift and borrow riffs and themes to "play with" from all of their predecessors? (22/25)

Total Time 43:33

Creative music making that often takes us right to the edge of "acceptable bombast." The songs have a modern originality to them while also paying homage to many past RPI masterpieces and styles. Though there are plenty of original twists and effects used in the making of these songs--each with its own (though the "crazed" soli from the seasoned veterans is a pretty common thread throughout)--I still think Roberto's compositions lie perhaps a little too firmly within the "safety" of classic RPI.

B+/4.5 stars; an excellent addition to any prog lover's music collection--especially if you are wanting to hear embellishments and expansions on themes and works of the RPI masters that have gone before.