IO E IL TEMPO

Nuova Era was an important and acclaimed bridge band, one who kept the scene going during the difficult 80s and early 90s. While their first two albums have their supporters it is on "Io e il tempo" where Nuova Era really spring to life. This concept album is about the passage of time and stages of life, and Walter Pini told ProgArchives that it was a step forward musically for the band. "Finally an album that we recorded with the real seventies sounds we loved so much. Here I could play a real Hammond and a real baby grand piano. Keyboards with sampled sounds were definitely improved if compared with the ones of the eighties and the studio was a 24-track."

You can really hear the difference! The sound quality and the "depth" of sound is so much improved here. The organ sounds like an organ should, the piano is great, and there is a good use of flute and a more refined, typical RPI sound. This is their first that sounds like an RPI album to me, though it still sports some of the neo-prog influence almost impossible to dodge in those years. Just as important, the composition is much improved on this one. The two long suites sound more cohesive, more developed, and to my ears are easily more satisfying. The opening is fantastic, with ticking clocks, church bells, and dramatic spoken word narration leading into a spooky Jacula-like goth organ....now that's an RPI opening! Here the pace and "feel" of the song development flow much better, with ideas coming and sounding like they belong, rather than the "all over the map" feel of the previous album. Smokin' guitar leads continually challenge Pini's synth and organ runs, with guitarist/vocalist Alex Camaiti really upping his performance. Melody and complexity are both more abundant, and as mentioned there is an injection of flute for another color. There are beautiful pastoral moments but there are also some exciting unpredictable moments like when a harpsichord sound comes in at blazing speed trying to challenge the guitars leads, then a few seconds later it strolls into a very dry interlude with sad acoustic guitar and this great "old" keyboard sound, sounding like a ghost, full of melancholy, it was wonderful stuff. I think the fact that they had two years of gigging between the second and third album helped this band gel. The second half in particular becomes engaging as the band builds emotion with huge keys and fiery guitar, then it stops and tacks on a nice bit of piano and spoken narration again to close the album.

Certainly a good album recommended for RPI fans, but they would reach their summit with the next one. Their fourth album featured a progression in sound that was heavier and songwriting that improved as well. 3 - 3 ½ stars.

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