NOWHERE

What a lovely and pleasant surprise this is! Italian progressive multi-instrumentalist Carlo Barreca presents his latest work `Nowhere', a wonderful predominantly instrumental stunner full of psychedelic atmospheres, spacey workouts and cosmic journeys. Although many of the tracks are largely indebted to the sound of early 70's Pink Floyd, Carlo has more than enough original ideas for this album to stand on it's own. Making an album that is a loving tribute to that great progressive band without it being a derivative rehash or straight imitation is not as easy as it sounds, but Carlo has done just that. This album also compliments music by modern German Krautrockers Electric Orange, Djam Karet, Gong/Steve Hillage and numerous Mellotron-drenched Italian RPI albums, and anyone who enjoys those sort of artists will find much to enjoy here. It's also beautifully produced, which makes it all sound even better.

Opener `March On Mars' kicks off with aggressive pumping bass, ragged endless David Gilmour- styled epic guitar runs, with repetitive hypnotic organ and super-thick keyboards. `Lotus' drips with early Soft Machine squalling feedback and murky atmosphere that wraps around eerie Mellotron, harsh percussion and floating `Staircase Infinities'-era early Porcupine Tree/Steven Wilson lead guitar. `Flood' has that drowsy `Fat Old Sun' guitar feel, lazy organ and classic Rick Wright- influenced piano with plodding drums, but diverts into Mellotron drenched Daevid Allen/Gong inspired sinister quirkiness with wild and fuzzy Steve Hillage guitar soloing. The haunting `A Deep Breath' is a warm and lovely 'Tron swamped acoustic piece, but drifts towards a sadder and more reflective finale.

The very emotional `Electric Sheep' is a heartfelt piano piece with fuzzy synths humming away under hazy trumpet and flute with a soaring guitar solo to end on. `Last Bus Home' is a short colourful and psychedelic uptempo electronic/synth piece with swirling effects and looped drums. `Peace' is a tranquil Mellotron and flute finale before turning triumphant and victorious with it's grand guitar soloing that runs right through to the climax of the album.

Two particular highlights - The urgent and jazzier `Raindrops' has sprightly guitar licks and murmuring bass weaving their way through Mellotron fields of eerie bliss, the drums/percussion sound adding plenty of tension as they help quicken the pace. This is one of only two tracks that feature weary other-wordly treated vocals, but they don't detract from the music at all. Special mention must also go to the gorgeous melodic bass solo that closes the piece, listen out for it!

`Shelter' is perfect romantic prog similar to Camel, with it's laid-back lead vocals, chiming strums with a powerful melodic lead guitar solo to end the piece in a draining and dramatic manner. I love the wavering serrated tone Carlo's guitar takes right near the end, just dripping with lust and passion!

Check the date this was released, December 17th - therefore `Nowhere' would make a fine Christmas present for the progressive music fanatic! Why not grab the free download Carlo is offering on his website and Bandcamp page, and give a copy to someone who appreciates great instrumental music? He is also considering setting up a small run of very affordable CD copies, so take the chance and give this album a spin, and let him know you're interested! I think you'll be pleasantly surprised, and anyone who enjoys Pink Floyd and tasteful, well-played and warmly produced instrumental progressive rock is sure to be impressed.

An easy and well deserved four stars - What a beautiful album!

The debut of Zerothehero had some weaknesses which this second release doesn't have and so I have the possibility to underline the differences.

First of all the guitar: it was the biggest weakness of Horror Vacui, as it appeared as just recorded at the first shot, without putting enough writing and producing effort. The opening track of this "Nowhere" is able to cancel all the bad impressions of the predecessor. The guitar sounds acid and well produced. There's still much "jam" and improvisation, I think, but Carlo Barreca has in mind what he wants from that instrument and achieves it. Nothing to say about bass which is Carlo's main instrument and I have to add that even drums and keys are well played. The track is acid and repetitive, between Floyd and the old Californian psych.

"Lotus" is more Floydian. The lazy bass and the guitar revives to the atmospheres of Meddle, and being that my favorite Floyd period I can't not like this track.

"Flood" starts with a hard-rock intro, still very classical, to get into a more relaxed and melodic soundscape. This track is an alternance of heavy rock in Uriah Heep style, melodic Pink Floyd and dark ambient. Taken separately all the three things are good, but the way are tied up together makes it my less favorite track which is saved by the flute closure which is in perfect RPI style.

"A Deep Breathe" can be considered Floydian again, but to me it sounds similar to a new- wave acoustic band of the 80s, the "Felt". Not bad.

"Raindrops" has a Krautrock feeling. A repetitive bass line which supports drums accents while guitar and keboards are almost monotonal. Very psychedelic. It changes after a couple of minutes to give us the first lyrics of the album. Much reverb and a bit of echo on the vocals are maybe too similar to Porcupine Tree, but as I have written several times, if one artist likes somebody else's sound, I think has all the right to use it.

"Electric Sheep" reminds with the title to Philip Dick, but with no lyrics I can't say it for sure. Musically it has a bit of Pink Floyd and a bit of Porcupine Tree. In this middle part of the album the initial "acidity" seems to have left room to some "sugar".

"Last Bus Home" doesn't have anything to do with Pat Metheny's train. It's an instrumental which reminds to Ozric Tentacles, and let mes say, with the same quality.

"Shelter" opens with a keyboard in Tangerine Dream style, but falls back to the sounds of Electric Sheep, this time with lyrics. I agree with the reference to Camel from another reviewer. The closer "Peace" is a sort follow-up to Shelter.

For my tastes, if the album was all like its first half I wouldn't have hesitated in rating it with 4 stars, but I find the second half not at the same level. A four stars first half and a three stars second half means 3.5 which is not allowed on PA. I stick on three but this album is really promising and a very big improvement from "Horror Vacui" under all the points of view.

This one man project is something to keep an ear on.