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domingo, 26 de abril de 2015

Areknamés - In Case Of Loss... (2010)


Artista: Areknamés
Álbum: In Case Of Loss...
Año: 2010
Género: Retro Prog / Progresivo ecléctico
Duración: 57:54
Nacionalidad: Italia


Lista de Temas:
1. Beached
2. Alone
3. Dateless Diary
4. Don't Move
5. A New Song
6. Where
7. The Very Last Number

Alineación:
- Michele Epifani / keyboards, vocal, composition & arrangement
- Luca Falsetti / drums
- Antonio Catalano / guitars
- Simone Paseli / bass
Guest musicians:
Carmine Lanieri / saxophone
Sara Gentile / cello
Pierluigi Mancattin / violin
Cristiano Pomante / vibraphone

Links actualizados, no se pierdan este disco.


Más buen progresivo italiano en el blog cabezón, ahora con unos links que le afané a Lino... seguro que no se enoja! Acá van los Van der Graaf Generator italianos, y un grupo al cual le tengo algo parecido a cierto cariño.
Para presentarles a estos italianos que cantan oscuramente en inglés muy retro, voy a empezar copian lo que yo mismo escribí cuando me sorprendieron con su primer trabajo homónimo, que realmente me gustó mucho:




¿Quieren escuchar cómo sería una oscura mezcla entre Van der Graaf Generator y Black Sabbath?. Aquí, la música de Hammill se vuelve más oprimente, trágica y potente.
Incluso, en los agradecimientos el primer lugar están los Van der Graaf Generator y eso se nota, aunque hacen mención a una docena de bandas más: Balleto di Bronzo, King Crimson, Caravan, Soft Machine, UFO, Atomic Rooster, Magma, Gong, etc. y... por supuesto, Black Sabbath.
Resumiendo un poco: esta es una banda una banda de rock sinfónico clásico setentero potente pero sin ser llegar a ser hard rock, con muchísimos tintes oscuros pero sin ser dark.
Un álbum decididamente retro y oscuro, muy setentero, a mi me pareció reconocer a Morte Macabre (aunque no lo nombren en el listado mencionado anteriormente) pero con secuencias más agresivas y frenéticas (quizás es aquí donde aparecen más las similitudes con Sabbath, la combinación entre potencia y climas opresivos), pero en este caso, a diferencia de la banda de Iommy, la potencia proviene principalmente de los mellotrones, Hammonds y órganos que pueblan las canciones. con una gran muestra en la parte instrumental y muy buenas composiciones, este álbum tiene varios momentos memorables.

Este disco, si bien tiene toda la onda Van der Graaf Generator, ya no está tan mezclado con Black Sabbath sino más bien se hacer mucho a Anekdoten. Como para que tengan una referencia a qué suena, igualmente abajo están los videos de cada álbum. Es que en esta tercera entrega, el líder, cantante y compositor Michele Epifani renovó parcialmente su equipo, incluyendo nuevo guitarrista y baterista, más la contribución de violonchelo y saxo, haciendo que pierdan fuerza bruta pero ganen en fluidez melódica, entregando hasta una apoteosis musical a través de una suntuosa suite de veinte minutos justamente en su último tema, donde encontramos toda su fiebre, toda su inspiración tortuosa y torturada, culminando de manera excesa un álbum fascinante.
Vamos ahora a algunos comentarios en serio, de gente que sabe escribir y sabe de música:


‘In Case of Loss…’ es el tercer trabajo de esta banda italiana con el que finalmente parecen estar haciéndose un hueco en la escena progresiva del momento.
Areknamés confiesan estar influenciados por Van der Graaf Generator, King Crimson, Gentle Giant y Caravan, a los que yo añadiría Genesis e incluso Eloy. Referencias que no dejan lugar a dudas por donde se mueven musicalmente.
Pese a sus influencias mayormente setenteras, no me atrevería a calificar a Areknamés como un a simple banda anclada en esa década, sino que creo que su música contiene los suficientes elementos para encajar en la actualidad del género. Su nuevo trabajo recrea con imaginación ese ambiente entre tenebroso y elegante en el que eran maestros Van der Graaf Generator. Un álbum que podríamos asociar al clásico ‘Unfolded Like Staircase’ de Discipline, por citar una referencia más reciente.
En especial destacaría tres temas por encima del resto. El inicial ‘Beached’, el exquisito ‘Don’t Move’ y sobretodo los veinte minutos de ‘The Very Last Number’, progresivo de libro para cerrar la obra. El resto rayan a buen nivel pero no destacan. A mencionar quizás la parte final de ‘A New Song’, en la que dan un inesperado giro hacia el hard rock dominado por Hammond.
‘In Case of Loss…’ posiblemente sitúe por fin a Areknamés entre las bandas a considerar, por lo menos en los estamentos más fieles al progresivo clásico.
Ferran Lizana


Y no podía faltar nuestro columnista involuntario de siempre con su impresión de este trabajo:

Más buenas nuevas para la escena progresiva italiana: Areknamés está de vuelta cuatro a=F1os después de su épico segundo disco de estudio "Love Hate Round Trip" con esta nueva joya retro-progresiva titulada "In Case Of Loss". El cuarteto dirigido por Michele Epifani mantiene una esencia estilística consistente en lógica conexión con la propuesta que la banda ha venido cultivando desde su álbum debut pero es claro advertir que aquí hay matices más luminosos en las de por sí emocionalmente oscuras composiciones. VDGG y Peter Hammill siguen siendo los princi pales referentes de influencia dentro del esquema compositivo que Epifani plantea en la dirección musical de la banda (casi se le podría bautizar como el Matthew Parmenter italiano): para este nuevo material, los guitar reos reducen su nivel de intensidad en la mayor parte del tiempo, y más bien se permiten dar más espacio a la elaboración de texturas: menos Iommi y más Hackett, por así decirlo. Y bueno, ya que estamos notand o estos detalles, también se advierte que los teclados y el canto de Epifani agilizan sus aportes dentro del entramado sonoro.
"Beached" abre los primeros casi 7 minutos del disco con un muestrario de ágil space-rock portador de un swing llamativo, tal vez incorporando elementos del Porcupine Tree pre-"In Absentia" (y algo del Radiohead maduro de nuestros días). El ambiente general de la pieza es agradable y contagioso, con una luminosidad que va a contrapelo de la abrumadora desesperación nihilista que había inundado el repertorio del "Love Hate Round Trip". "Alone" y "Dateless Diary" sí guardan una relación más directa con el espíritu explosivamente sombrío del mencionado segundo disco. El primero, tras comenzar con lo que parece uan secuencia de cajita musical, establece un dinamismo muy nítidamente vandergraffiano con un inteligente manejo de razonablemente complejas secuencias rítmicas matizadas con cadencias jazz-rock (al estilo de "Godbulff"), mientras que los arreglos de saxos a=F1aden una prestancia colorida al asunto. Por su parte, "Dateless Diary" genera un despliegue de matices progresivos más envolventes, logrando así balancear las vibraciones cáusticas inherentes a la pieza anterior con estas dos canciones que acabo de mencionar siento que el fade-out llega demasiado pronto. "Don"t Move" encarna el que se puede calificar como el momento más cálido del disco: se trata de una balada progresiva que tiene más que ver con la explícita faceta romántica de Hammill que con las semblanzas atormentadas que el estándar Van Der Graff suele mostrar en bloque. A pesar de la existencia de ciertos pasajes intensos a lo largo de su tema central, prevalece una aureola etérea a lo largo de la pieza que resulta cautivadora (atención a esos cristalinos fraseos emitidos por el piano eléctrico), además de una expresión distinta del aspecto introspectivo que también sale a relucir del ideario musical de Epifani. "A New Song" parece recibir una herencia directa de la aureola contemplativa de "Don"t Move" en lo referente a su lenta sección inicial, pero cuando llegamos a la segunda sección, la furia emerge sin empachos ni complejos, muy a lo retro (imaginemos un híbrido de VDGG y Gnidrolog contaminado de aires a lo Deep Purple y ornamentos a lo Greenslade). El clímax resultante es contundente, inapelable, electrizante. "Where" baja un poco (solo un poco) los decibeles a fin de instalar un punto medio entre los temas 1 y 3.
Hasta aquí pasamos revista a todos los "temas cortos" del disco, y ahora llegamos a la última pieza del mismo, que es la suite "The Last Number", una composición que se somete a los estándares de ambición musical y actitud dramáticamente épica que uno siempre espera de este tipo de expresiones progresivas. El tenor general de esta composición es introspectivo y sombrío, lo cual se nota ya desde los primeros instantes, plasmados en sonoridades sobrias y expectantes: la ambición musical y el dramatismo están allí, pero aquella está marcada por una sobriedad cuidada y ésta se expresa bajo un ropaje de tranquilidad emocional. La presencia de un solo de saxo a la hora de aumentar cuidadosamente la vibración ambiental ayuda a incrementar la aureola de melancolía. A eso de los 3 minutos y medio, el ensamble resuelve un nuevo motivo portador de matices jazzeros. Recién 3 minutos después nos topamos con las primeras letras de la suite, cantadas con una calidez tenue en medio de un arreglo instrumental envolvente, el mismo que incluye un bonito arreglo de cello. Una nueva sección perpetúa el espíritu introspectivo y lo traslada a áreas más románticas. En la frontera de los 12 minutos, un motivo en 5/4 capitaliza momentáneamente la atmósfera predominante para explotar su intensidad latente, pero al poco rato volvemos a un pasaje calmo, el mismo que conduce a una nueva sección cantada. El enfoque sinfónico está muy bien hecho, llegando a un clímax particular durante el hermoso solo de órgano que arma Epifani. A partir de aquí, el clímax se prolonga sostenida y elegantemente al modo del Van Der Graaf 70s
La coda que cierra la pieza definitivamente tras unos segundos de silencio está ejecutada al clavicordio con una mezcla de barroco y vanguardismo disonante: reconocemos este recurso a lo Balletto Di Bronzo, no? Balance final: tenemos aquí una obra importante para el legado progresivo que se está generando en lo que va de 2010. Areknamés tiene parte de la responsabilidad de esta buena onda que siento respecto a los lanzamientos progresivos que más han llamado mi atención en esta primera mitad de año.
César Inca


Sorprendente el nuevo trabajo de los italianos Areknamés, creo sinceramente que es el mejor trabajo de los tres editados hasta ahora, digo sorprendente por los magníficos y trabajados arreglos, por la intensidad, el dramatismo y el tono oscuro que transmiten los 8 temas incluidos en este tercer trabajo titulado "In Case of Loss...".
La formula utilizada por su líder Michele Epifani ha adquirido en este su tercer trabajo, un toque mas maduro y un carácter mas original y distintivo, la mezcla de Canterbury y rock sinfoprogresivo a lo VDGG, Genesis y King Crimson primeros discos, junto a pinceladas de Hard Rock a lo Deep Purple, Quatermass, Atomic Rooster y Standarte, la psicodelia finales 60's, el Kautrock, el Stoner rock y el especial tratamiento vocal que imprime Michele Epifani en su voz, da como resultado unas atmósferas densas, intensas, dramáticas y oscuras, ideales para otorgar la calificación de "Doom prog" a Areknamés.
Como novedades, a parte de la sustitución por segunda vez del batería, nos encontramos mayor presencia de instrumentos como el violín, el cello y el saxo.
Es difícil resaltar algún tema en especial, yo me quedaría con el cuarto "Don’t Mov" donde curiosamente hay ciertos fraseos que me recuerdan a King Crimson y su primer disco "in the court of the crimson king", la presencia solista del violín con ese tono triste te prenda al instante. Otro tema destacable es el tercero "Dateless Diary" y su tono Hard prog mezclado con Canterbury y por poner pegas, el que menos me ha gustado es "Where" y ademas aprovecho para manifestar mi total desagrado por acabar un par o tres de temas con fade-out.
.... y he dejado para lo ultimo la suite "The Very Last Number", perfecta por estar claramente diferenciada del resto de temas, con efectos de sonido de niños jugando, Areknames nos adentra en un temazo donde diría yo que hay una base sinfónica propia de unos Genesis, aunque los cambios rítmicos son abundantes, tocando todos los palos, desde el Hard Rock, el jazz, el proto prog, etc.. destacable son las apariciones del saxo, el violín y unas campanitas al estilo del Tubular Bells de Mike Oldfield. Como regalo aparece tras un silencio... un corto instrumental de clavicordio con resonancias barrocas.
Areknamés vuelve tras cuatro años de ausencia a mostrarnos un trabajo mas que excelente, rico en complejidad, densidad y sonido abrumador sin un momento para el respiro. Me atrevería que "In Case of Loss.." es el mejor trabajo de la banda italiana hasta ahora y también el mas progresivo.
Juan


Y vamos ahora con los consabidos comentarios en inglés de siempre:

The influences are obvious, the mellotron/vocal breaks are irritating, and the chord progressions for the most half are insanely overdone in prog.
But there's still something charming about this album for me. The main verse of Alone building up to a saxojam is a very enjoyable listen, the lounge passages of Dateless Diary lull you to sleep (regardless of how irritatingly clichéd the first section is), and the last full track has far more moments of interest than most 70's carbon copies put in their epics these days.
The main issue is: All this stuff has been done before, hundreds upon hundreds of times. That and tracks 2, 4, and 6 have a rather similar mood and because of this are rather forgettable as separate tracks; but if you are even slightly interested in 70's prog (and not bothered about the contrived similarities) you should love more than you love progressive washing machines.
progandother

Areknames are an Italian progressive rock band with 3 studio albums and one live album to their record, with the first s/t one having been released in 2003. In Case Of Loss… was released in 2010 by Black Widow Records.
I was aware of the band but have never heard any of their albums so far and so this is my first exposure to their music. I can say that if this is indicative of their previous albums, I should go and check them as well.
While the overall sound has spacey and somewhat dreamy characteristics, the band spices things up with other ingredients and introduces vigor in the form of some aggressiveness and lightness in the form of jazziness. With this varied approach, they craft appealing melodies and top it off with moving textures. A good example of this is the songs ‘Where’ in which all of these come into play.
They seem to have a knack for balancing these two approaches in one song, never veering too much in any direction, remaining solidly in their middle ground. The music is for the most part mid- to slow paced and the slightly gloomy mood seems to reign on most of the album, save a few parts of songs. This is what gives the different songs a sense of unity and continuity, despite them being stand-alone songs.
The band’s skills at creating beautiful melancholic soundscapes are well demonstrated in a song like ‘Don’t Move’, where melody and atmosphere join forces achieving a synergistic effect. Their music can be lush and at the same time rough on the edges; the tension between the two is what gives them their sound.
On the other hand, the band is capable of letting things “get out of hand” in a controlled manner. They burst into sped up and louder excursions in some songs (‘A New Song’ for instance).
Their ambitious and exploratory side shows itself in the closing epic piece, ‘The Very Last Number’. Here they don’t shy away from unleashing all their artillery and musical prowess. They do not do this in an unorganized fashion, but with a well constructed development from a simple tune into a fancy full and rich multi-section piece.
Michele Epifani’s vocals, of a mid to high pitch variety are pleasant and inviting, oozing softness; but they don’t change much and remain in the safe zone where his strength lies. I’d have loved to hear a deeper voice every now and then to counteract with his. With that said, his voice fits the music well, enhancing the moody and mostly somber feel of the music.
In Case Of Loss turned out to be “in case of a find”, since I feel I’ve found a new band to like. While it took some 6-7 spins of the cd to get into the music, when it crept in eventually, it was rewarding.
avestin

Michele Epifani and his band have done it again. This is the third album from Areknamés, notable in its VDGG-inspired brilliance, a bit more dreamy and not as heavy as the preceding effort Love Hate Round Trip, yet still dense and deep in its execution. In fact it might be a little TOO intense; all of Areknamés albums share a certain auditory murkiness, and it can be difficult to sit through such a lengthy album, adrift in the bottomless ocean of sound, wonderful and beautiful though it may be.
As of now, Areknamés are still embedded in their own esoteric world of unabashed progressive rock; they have developed a comfort zone, as it were. Will they choose to remain there in the future, or will they venture out a bit?
Reginod

Areknames is one of Italy's premier modern-day progressive rock bands. Look no further than their triumphant 3rd album "In Case of Loss" released by Black Widow Records. Areknames are led by composer, vocalist and multi-instrumentalist Michele Epifani, who handles the Hammond organ, piano, mellotron, synths, harpsichord, acoustic and electric guitars as well as the recorder. Their second album "Love Hate Round Trip" was a dark and often agitated album which won the band both awards and a dedicated fanbase. Here they have upped the ante considerably with an album that should become known as their "breakthrough" work, as I have to believe any modern prog fan who hears this is going to be convinced and very pleased.
While I've not heard their debut, the sound on the second album was pretty rough and aggressive with abrasive sax and a heavier VDGG vibe (and I mean all of that in a good way.) Here the sound has evolved with the injection of a strain of spacey serenity. There is still plenty of doomy mood and heaviness to be enjoyed, but there is a new sense of melodic confidence which has established itself. Right from the first track I noticed that there was something more refined going on and was reminded instantly of Anekdoten's "A Time of Day" sound more than the VDGG one I was expecting. This music soars on a melancholic breeze rather than being knocked around by turbulent gusts. "beached" is not unlike modern Porcupine Tree in some ways, with infectious groove and building pressures in rhythm and numerous spacey keyboard textures, though the comparison stops there. (The Areknames sound remains in-tact and far less commercial than the Steven Wilson sound.) Somewhat dreary but pleasing vocal melodies ride on top before it closes with e-piano over mellotron and light guitar notes.
The album's vast mid section covers a swell of compositional ideas, one right after the other, which at any given moment could remind the listener of Cryme/Foxtrot era Genesis, a raging Deep Purple jam ("a new song"), or the brooding, crashing-waves heaviness of Giant Squid's Metridium Fields, the latter courtesy of the violin/cello presence atop thick, murky prog rock. By the time we get to the 21 minute long epic closer "the very last number," it may be wise to take a breather and listen with fresh ears. This is one of those albums that is so compositionally dense I really recommend listening in sections at first, so that each section is able to be absorbed by fresh ears. The 8-part mammoth Areknames closing suite begins with the sound of child's voices and eerily sparse keys before a tentative, peeking-around-corners bass guitar sneaks up on us. After a cool sax solo the piece builds into an epic jam best described as stormy waters, as a clash between powerful saxophone, guitar, and keyboards. These battles have plenty of time to expand and contract over 20 minutes so this is truly a joy for listeners who enjoy the lengthy instrumental piece. The ending is a delightful bit of harpsichord.
Generally I don't comment on lyrics or lyrical themes as I'm mostly interested in music, and second, I'm rarely bright enough to figure out what poetic verse is really about. Here however I must mention the successful marriage of the musical, lyrical, and visual/presentation elements of the release. The tri-fold digipak's artwork features two sprawling 3-panel historic photographs of a beached whale carcass that washed upon a Florida shore in 1896. The front shows the mysterious "sea monster" while the inner photo shows the large group of actual gawkers who made their way to the shore to see the monster. Epifani ties together the imagery of a lost, dying animal alone on the beach surrounded by the curious. Reading the lyrics you sense the angst, searching, the writer's message being one of confusion but also a defiant will to act, to not become paralyzed by fear. The final glue is then the music which could not be more appropriate to the verbal and visual cues, projecting equal parts loneliness, confusion, but also tempered hope and defiance.
"in the river of regrets, the more you move the more you sink!"
"In Case of Loss" is one of 2010's finest prog-rock albums and a must-have for those who love a dark/heavy sound that somehow sounds both modern and retro. It moves Areknames to a new level in my book as one of the bands I will be most excited to follow, to see what else they have in their bag of tricks. I do hope there is more! Bravo to the eight musicians who brought this work to life. It is a minimum of 4 stars and if it holds up for me over time, I may add that elusive 5th star.
Jim

After a live album in 2007 and some personnel changes, in 2010 Areknamés released "In Case Of Loss...", their third studio album on Black Widow Records, with a line up featuring Michele Epifani (keyboards, vocals), Antonio Catalano (guitars), Simone Pacelli (bass) and Luca Falsetti (drums). During the recording sessions they were helped by some guest musicians as Carmine Ianieri (sax), Sara Gentile (cello), Pierluigi Mencattini (violin) and Cristiano Pomante (vibraphone) who provided more colours to the musical fabric. The result is excellent, the overall sound is richer and even more personal than in the past, less indebted to Van Der Graaf Generator and in some way jazzier.
The art work features two pictures shot on a beach near St. Agustine, Florida in 1896. They testify the finding of a mysterious whale carcass that was initially supposed to be a giant octopus and that was called the St. Augustine Monster. The opener "Beached" is linked to the art cover, pulsing bass lines and light keyboards waves set a surreal atmosphere. You feel like a giant octopus, a strange creature carried ashore by the tide, lost, dying. People are staring at you in awe on the beach, under a grey, wintry sky... "Why am I dreaming of you? / Scanning through my memories / I can't see anything but that blue vastness...". The instrumental coda features a nice mix of jazz and psychedelia.
"Alone" features a nice middle section with a good interaction between sax and organ. It's a melancholic piece oscillating between joy and anguish like a "hanged man". The music drives you to the edge of time and then let you fall down in the blackest sea. Then comes "Dateless Diary", a calm, reflective track about the need to face reality since painful changes can have positive effects. "Don't Move" begins softly, the atmosphere is dark and dreamy, the music is characterized by some strings passages... If you're of getting lost, don't move!
"A New Song" is one of my favourite tracks on this album. It's about a difficult creative process. At the beginning you're almost lost, trapped by a lack of inspiration, you think that a new song deserves much more... "Energy, thoughts and dreams have to reach someone / Before they fade away amongst white dwarves, stellar remnants and black holes...". Then tension and rhythm rise with a sudden burst of energy and some fiery organ whirls... "Yesterday I received a new song / Guess who the sender was... Look right here...". The ethereal "Where" is about the sense of loss that you can experience when you can't find your own way. The truth lies in dark, tangled streets under the moonlight and a sort of grey veil covers your eyes... "I can't figure exactly where I am / If ahead or behind the beat of the Earth...".
The long, complex suite "The Very Last Number" concludes the album. It describes a momentary escape from reality, a long inner journey through dreams and past memories. The lyrics invite to join the dream but beware!Maybe you could see more than you want to see while clinging ship bells evoke the past... "I was trapped in the ruins of my dreams... In the river of regrets the more you move the more you sink...". The music features some very interesting passages with a jazz rock touch while in other moments you can perceive strong classical inspirations. Some parts remind me of Arti e Mestieri but it would be unfair compare this excellent track with anything else: all you have to do is close your eyes and listen to it!
Andrea Parentin

in personnel mistake !!! by this time of Stefano Colombi/guitars and Piero Ranalli/bass already left group and their place borrowed- - Antonio Catalano - guitars Simone Paseli - bass and Carmine Lanieri - sax (tracks 2 & 7) Sara Gentile - celo (tracks 4,6 & 7) Pierluigi Mancattin - violin (tracks 4 ) Cristiano Pomante - vibraphone ((tracks 1,4 & 7)
with arrival to Antonio Catalano group - guitars and as other musicians of Areknames considerably added. without doubts of In Case Of Loss,,. Ball an interesting album in the musical plan... a combination of a guitar and.Alone violin passing to.Dateless Diary... sax brings in an album jazz motives in a combination to melodious violin. The Very Last Number. this album doesn't leave you indifferent.
Sergio

Wow! 1. "Beached" (8/10) Am I listening to CAMEL, KING CRIMSON, THE DOORS, or CAMEO? 2. "Alone" (8/10) is so Canterbury PETE HAMMILL/VDGG! 3. "Dateless Diary" ( 7/10) 4. "Don't Move" (7/10) has another awesome DOORS/ANEKDOTEN-like groove--of course, with PETE H singing over the top. "A New Song" (6/10) is where I start getting bored. The electric piano, cymbol play, standard slow 4/4 beat and other 70s instruments and sounds are growing old. "Where" (7/10) is a little more space-psychedelia with its organ wash and floating background synth leads. "The Very Last Number" is almost smokey lounge late night blues/jazz, its so VDGG. NIce piece that does seal the fact that these guys are into replicating--though interestingly and in ways that combine groups and genres--music from the 1970s. Very well crafted though instrumental virtuosity is not yet there. 3.5 stars rated up for clever synthesis of the VDGG sound with others.
W. A. Fisher

This album is a brilliant follow up to their 2006 double album 'Love Hate Round Trip' that I have been listening to non stop since I discovered it a year and half ago, Where 'Round Trip' was sprawling, epic and more conceptual this is a far more succinct effort..
Stylistically they have evolved the dark VdGGesque tone that dominated the past two albums, now incorporating a far wdier sound; including saxaphones, strings and flutes. Each track here is very individual and, unlike their other albums, they all compliment and fit together perfectly. The album opens with 'Beached' which immediately showcases the new energy and sound that binds this album. 'Dont Move' is definitely the standout track. It is a haunting ballard with a fantastic string backing that superbly counterpoints the ghostly vocals and electric piano.
The centrepeice of the album is of course the last track 'The Very Last Number' which is a true classic and their first truly epic track, clocking at 21 minutes. It has a much slower and forboding pace than anything else they have done and really proves what they are capable of.
Areknamés are a band that draw from all kinds of prog and the sound that they have created on this album should appeal to a very wide audience of Proggers. I was not sure what could follow their amazing past efforts but 'In Case of Loss' has surpassed all my hopes. A definite masterpiece.
Jack Brissenden

A slight change of direction......
The previous two Areknames studio albums made me appreciate how good Van Der Graaf Generator was and how good Areknames had copied the best from them and then added a lot of their own identity. In short; I love those two albums. For some reason, it may be called natural development, Areknames has moved away from the overtly VDGG influences and moved more in the direction of RPWL, Gazpacho and Porcupine Tree. In my view; Areknames has lost a lot of their identity by changing their sound. But there is still a lot of VDGG in Areknames. But it is more subtle this time around.
The music is based on a sometimes heavy, chugging electric guitars, vintage tangents, some really good vocals, drums and bass. A saxophone like sound is also present on some songs. All of this potently played. The sound and the songs are mostly dark and gloomy.
The quality of the music is the same though and leaves no doubts that Areknames is one of the best Italian bands around. The songs are still great. The tangents on a song like Dateless Diary is heart warming. This song is the best one on this album. The rest of the songs are in the same class and thereabouts. In short; Areknames has done it again and released another great album.
toroddfuglesteg

Probably every Prog Lover has heard, at least one time in lifetime, a Van Der Graaf Generator album, Certainly one of the most important Prog Rock bands which plays a key role also in the history of Rock Music. Following the echoes of this band was born in Italy, around 1997 (with several changes of members and of band's names) a brilliant band, which in 2003 they present themselves as "Areknames" (the same name of their first album), like a first album song of Franco Battiato. They had immediately success both by the public and critics so they left for a tour around Europe in 2005, and in 2006 they released their second album "Love Hate Round Trip".
At the beginning they was three member. Later the guitar, that previously was "ornamental", became (fortunately) structuring part of the band with Antonio Catalano, giving it a greater musical power. Without doubts the organic of the band is truly remarkable, but the real "Workhorse" is the multifaceted Michele Epifani. His musical curriculum is incredible: he's got a Master's degree in Musicology, two Diplomas in Composition, a specialization in Composition, also is keyboardist, songwriter, singer, compositor, arrangements maker. Maybe I forget somethings.
In 2010 they release their third album named "In Case Of Loss...", personally their masterpiece. In this album the sound is more complete than both previous albums, more elaborated and original. There aren't too many VDGG reaches as two previous works, each piece shines its light, so is possible to appreciate their high quality band.
The seven tracks album starts with "Beached". The usual sound of the band now appear more fluid, more musical. It's as if it was a production apart. I love so much that musical passage in the middle of the track, which introduces the guitar riff playing with keyboard and after that sufferer voice with the use of the echo! Another example more belonging to the band is "Dateless Diary", which contains in addition to the band's characteristics, the guitar. The icing on the cake! The same goes for the song "Where".
With the participation of some guest musicians, "In Case Of Loss..." plays with new elements, as in the second track "Alone", Carmine Lanieri Saxophone plays. The violin of Pierluigi Mancattin gives more sweet grains to the album, as is possible to listen it in "Don't Move". Sara Gentile cello in "Don't Move", "Where" and "The Very Last Number", and Cristiano Pomante vibraphone in "Beached" "Alone" and in the suite "The Very Last Number"
The most powerful song (my favorite) is "A New Song". After a "fairly sedate intro" followed by a slow guitar accompaniment, starts the battle! An increasing organ plays the two "same notes", and as the explosion of a supernova starts the guitar riff disrupted and magnetic. In a psychedelic atmosphere a gloomy bass line punctuates, together with drum, the rhythm to a beautiful solo. With some "Goldbuff" passages (and in general of VDGG) come back the voice which finds the inspiration to "A New Song". Fantastic reprise! In the final an Epifani keyboard solo (which reminds me another keyboard solo, but that unfortunately my mind can't never or doesn't want to remember) concludes the song.
The album ends with a suite. "The Very Last Number" is a surprise for me. A 21 minutes song with a dip in the past. Back to old memories introduced by a fluffy saxophone, and then after the listener is awakened by a galloping rhythm. Sometimes a violin plays recalling passed memories. It's like being cradled by something during the song. A very curious experience. I think it is a very valid song with many interesting passages and change of times, as they have accustomed us since the beginning.
This album represent their breakthrough, their maturity gained during their activity. An album which sounds like the best prog tradition, but in our days. All thanks to Michele Epifani, an artist with a thousand facets, always ready to accepts new challenges (as SUBTILIOR project).
5 Stars - "The Other Side Of The Italian Prog Style"
Marco Simone Muraca


Escúchenlo, son muy buenos, y si les gustan avisen que tengo más cosas de ellos para traerles, les aseguro que valen mucho la pena. Y apúrense a descargar esto porque los links no son de Mega y tienen fecha de caducidad.


Y no se pierdan este gran trabajo si realmente les gusta la buena música, sea el estilo que sea que escuchen. Y en este caso es buena música propia del mejor rock progresivo. Muy muy recomendado. No se lo pierdan ni en pedo...






8 comentarios:

  1. Este comentario ha sido eliminado por el autor.

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  3. imposible bajar los archivos desde este servidor; el mas grande demora entre 10 y 14 hs. cuando en mega demoraria minutos... gracias de todos modos.

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    1. Bueno, dentro de poco lo subo a Mega, ya que lo piden. Está buenísimo el disco.

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  5. Me había quedado intrigado sobre las antiguas fotografías de este disco, porque evidentemente se referían a algún hecho en particular referidas a esa especie de bolsa en la arena. Resulta que corresponden al cadaver de un inexplicable y enorme monstruo marino aparecido en las playas de St. Augustine, Florida, en 1897.
    Les dejo un par de video por si les interesa:

    https://www.youtube.com/watch?v=4wTvwlxZQBA

    https://www.youtube.com/watch?v=6ErGVFQ8ys0

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