IMAGO MUNDI

With "Imago Mundi", their fourth effort, Asgard cancelled the first era of their career. and what a way to say momentarily goodbye! To go on after the splendorous "Arkana" was indeed a titanic task, and Asgard managed to do it quite well due to the exciting combination of talent and conviction that takes place all throughout the repertoire. The conceptual unity of the album (a travel through the lands of myths and legends) actually helps to construe a coherent sequential link between all tracks. The overall result is both excellent and appealing, thanks to the infusion of a more pronounced hard rocking edge into their basic symphonic colorfulness incarnated in attractive melody lines, effective keyboard orchestrations, and cohesive interplaying: at times you can really tell that these guys have gotten immersed in the pompous, bombastic spirit of the best prog metal. Yet, this is not your regular prog metal offering: this is simply symphonic prog with a notably aggressive edge and a more evidently ballsy attitude in the guitar riffs and the interplay between the guitar and the rhythm section. Regarding the proficiency of all individual members, it's business as usual: the musicianship is outstanding (great guitar and synth solos, tight rhythm section), while Kikko Grosso's vocal deliveries feel conveniently involved with the evocative nature of the lyrics and the energetic drive of the guitar main riffs and keyboard massive layers. Having mentioned the prog metallic factor, it is no surprise that the opening and closing tracks ('Transmigration' and 'Egoism', respectively) are so explosive and incandescent. This incandescence even more featured in the sinister sequence 'Violence I'-'Violence II', and the breathtaking 'Disharmony'. Max Micchiletto's guitar shines like a white hot diamond, supported and complemented by Ambrosi's keyboard orchestrations and harmonic solos. But it is when the hard rocking factor gets more obviously subordinated to the band's penchant for symphonic structures that the material gets even more interesting: the catchy bombast of 'Justice', the captivating density of 'Virtue' and 'Imagination', and the melancholic, mysterious vibration of 'Nobility' stand out as some of the most notable pieces in Asgard's history. And what about the bucolic magic displayed in 'Serenity'? - words fail me as I think back of those effective chords played on two acoustic guitars, those moving lines sung on lead and backing vocals, and that divinely cheerful flute solo displayed in the coda. As a whole, "Imago Mundi" works perfectly as a well assembled musical picture in which every single element is fully integrated, while keeping their own particular appeal.