HORA PRIMA

I finished last year's review of this band from Italy and their debut album, 'L'Uomo delle Genti' by stating for the record ' Looking very much forward to a Hora Seconda'. My Santa Claus prayers have been answered! There are some lineup changes as bassist Valeria Tritto has been replaced by Roberto di Lernia and guitarist Gianluca de Bene is gone, with lead vocalist Andrea Catalano taking care of the microphone duties. 'Uomo Ancestrale (Primordio)' introduces a characteristic RPI neo-classical sheen, Andrea getting the chance to impress with his theatrical tone while the instrumental teamwork displays not only technical merit but also artistic impression, boldly constructing the core melody which, frankly, is utterly devastating. Lush strings, grandiose keyboards, emotive guitars from Domenico Del Zio and the solid rhythmic propellant combine to elevate this erudite introductory piece to instantaneous pinnacles of splendour.

The infinitely more complex 'Intelligenza Artificiale' not only addresses the perilous issue of machine taking over from humans , especially those chores that require a minimum of thought, but the arrangement infuses all kinds of algorithmic pyrotechnics, as well as jittery, hushed and even snarling vocals , amid a torrent of polyphonic collisions from the key and fretboards. The artificially natural (oops) segue into the ultra-electronic miasma of 'Deus Ex Machina' deliciously combines investigational synthesizer colourations with a second section that dips into a jazzier groove that is simply breathtaking and audacious , a sensual Roberto Gomes e-piano spotlight being a showstopper. The fluidity of the passage from one style to another is testament to the band's ability to transcend the mundane and the predictable. A spooky mellotron outro seals the deal.

The adventurous 'Delirium Omnibus' reverts to theatrical mode, as Andrea emotes in a frenzied, almost punky style , the track more playfully neo-prog than RPI, underlined by a very active bass line that weaves like a race car careening down an alpine road. 'Diari Dalla Quarta Dimensione' shows Andrea's lung power, veering almost into helium-induced howling that would fit on a heavy metal album, but the splendid instrumental work relies on a vast amount of variety from athletic to pensive, intense yet melodic, boosted by Francesco Bux's thunderous drum work. 'Al Khwarizmi' may have Arabic intonations but the arrangement sits well within the jazz-rock genre , with liquid guitar phrasings that are unafraid to rip when needed, a bopping bass line that made my jaw drop to the floor, seductive keyboard exhortations, and some slick percussive percolations from the drum stool.

The album comes with a bonus track, which just might be the perfect conclusion as it's an exemplary slice of fantasy RPI, loaded to the gills with parping synths, a lightning vocal conveyance that has a slight mercurial Freddie tinge, operatic to the nth degree. Throw in some harmonic insertions close to the gentlest of giants or even Sparks and 'Le Roi Soleil' scores from all the judges. A distinctly original, playful, somewhat insane arrangement that has the balls to veer into a wilder extreme , and then revert back to an almost stately . The title refers to Louis XIV of France, the longest ruling monarch in history (72 years and 110 days). That is what we call staying power, and Hora Prima have most successfully added to their career path, a band to follow even more in the future.

4.5 Sun Kings