The Zenit are from Switzerland (Canton Ticino) and have to their credit already
three outputs, this is the most recent title The Chandrasekhar
Limit , issued by Galileo Records. The Swiss band sees its ranks two
"old friends" for lovers of new prog namely Andy Thommen (bass)
and Ivo Bernasconi (keyboards),
respectively member and "tourer" of Clepsydra .
An interesting group in
which to tell the truth had gone missing after the publication of the second
episode, Surrender , that date now
2006.
It 'was therefore a
pleasant surprise to find the quintet still active in the gap and tell you now
that The Chandrasekhar Limit is an album successful and pleasant, very well played and which can not
fail to make inroads into the hearts of lovers of progressive symphonic, full of
guitar solos and refined and powerful carpet of keyboards. But the technical background / sound of Zenit does not end here because
it can count on another distinctive feature, namely that represented by a rhythm
very dynamic, well, sometimes capable of encroaching almost within
fusion.The painstaking work done by Thommen
and Gabriele Schira (drums) very often,
as well as serve as a lintel, is able to go much further, much coloring the
sound of the band, the guitar Luigi Biamino and the voice of Lorenzo Sonognini dealing with melodies draw incurred in the phrasing keyboards quite
impressive.
Moving on to
describe The Chandrasekhar Limit , for
those unfamiliar with the sound of Zenit, I can try to summarize in this way: a
mix of reflections belonging to 'epic Marillion, IQ on one side and a sound more
dynamic and incisive that reminds Spock's Beard from
another. But that's not all ...
In fact, starting from
the listening 'introductory Awaken, there
are few surprises: the first part sun and symphonic music, which soon highlight
the item and Sonognini down (fantasy)
Thommen, serves as preparation for a second in which the guitar rises to the
role of the protagonist, dragging the piece to an atmosphere very close
to Pink Floyd .In this work also contributes bass and drums, hypnotic and
repetitive. The sound of 'organ in the background closes
the circle, before gentle and elegant piano notes introduce the concluding part,
dreamy and again with an eye to the English prog 80s.
With the accompaniment
of an acoustic guitar Sonognini opens Cub Lady , short and delicate acoustic picture.
PiGreco emphasizes the good qualities of the vocalist on a track that initially
offers some distinct reminder to sounds Gentle Giant , and again is the
guitar, distorted and full of effects, to change the scenario of the song to
bring it back to the atmosphere warmer, hot and long with notes . The final part takes up and develops the opening theme with the
inclusion of the saxophone played by Stephen Zaccagni .
Distant sounds of India
and a text in Sanskrit, that is how Matrimandir ; between notes of sitar and other ethnic sounds kicks
off a theme that is halfway between the progressive and a foray into fusion
thanks to the electric piano, a guitar and a clean drumming gentle and
effective. An arpeggio acoustics halfway through the song,
and with it goes the singing in English, the mood becomes much more progressive
and are to appreciate the choirs of Thommen and Biamino; nice the only final of
the six strings.
It 's also a track
entirely instrumental, Pulsar . Again the band is able to implement the merger
between prog and jazzy with taste and apparent ease. Perhaps more than any other song that leaves no room for technique and
in this connection I want to emphasize the good work hides and skins of Gabriele
Schira.
With its 24 minutes,
the suite The Daydream Suite completes the work, however, is quite large (about 70
minutes). Significant deployment of female backing vocals,
arrangements substantial, important solo parts for keyboards, all ingredients
must for any prog suite worthy of the name. The singer also
denotes a certain predisposition towards the part relating to the
interpretation, the emotion of the song, and the plan makes the lion's share
after the introductory segment, dictating the melody and rhythm. Then it's on bass, with crisp lines, capturing the song in an
alternative way. The end is what I prefer, made of very
beautiful and exciting moments.
The suite, in my
opinion, however, become labyrinthine in its evolution, and I believe that
greater brevity would certainly have helped. That said the
Zenit have returned with a good job, able to make happy the fans of the new prog
is the trend more symphonic than the more rhythmic and complex. Awaken and Matrimandir are two fine examples.
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