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(70:01, Lion Music)
TRACK LIST: 1. Projected 4:22 2. Bach to Reality 7:17 3. What You Want 6:55 4. Take My Hand 7:51 5. Power to Hill 5:54 6. Understand 10:02 7. Fire 7:52 8. It’s Just Life 7:27 9. The Music That will Heal the World 12:29 LINEUP: Daniele Liverani – keyboards Tommi Ermolli – guitars Soren Adamsen – vocals Dario Ciccioni – drums Alberto Rigoni – bass
Prolusion. This ambitiously, if not pretentiously, titled CD, “The Music That will Heal the World”, is the first release by Italy’s TWIN SPIRITS, though for the outfit’s founder, keyboardist and songwriter Daniele Liverani this is apparently just another creative experiment, as there are several other bands and projects behind him, to say the least.
Analysis. Now, that I’m already acquainted with what’s in the heading of this page, I think it would probably be the best, or rather the easiest, way to begin this writing in as simple and unpretentious a manner as possible, as follows. Of the recordings I have explored this summer, Twin Spirits’ debut is by no means the first one that combines old-school Hard Rock with elements of contemporary Prog-Metal, so I may not avoid some derivative expressions when describing it, even if I’ll imagine I’m playing solitaire when typing. Ranging from four-and-a-half to twelve-and-a-half minutes, the nine tracks here fall into three different idioms, but not in equal proportions, the group more often approaching the style from a modern perspective. The compositions that form the album’s predominant picture (those taking the first, the last and the three central positions in the track list, 4th to 6th), appear to be balanced by the others, and not only in terms of symmetry. Bach to Reality and Fire are both symphonic Hard Rock in the end, amalgamating a typically old-time, perhaps a bit old-fashioned, riffing with swirling organ patterns, so it is no wonder that I’m often reminded of ‘70s Uriah Heep while listening to these. Of the two ballads, What You Want and It’s Just Life, the first is more traditional, never veering from its basic course. Nevertheless, it’s still a fairly impressive tune, with several tasty guitar lines of a bluesy nature as well as some fine string arrangements. The second aforementioned (the last in line of the tracks with a quasi vintage feeling) is filled with a mysterious aura and, despite developing unhurriedly, is in many ways an exceptional composition. The rest of the material finds Daniele switching over to synthesizers, guitarist Tommi Ermolli only deploying up-to-date sound processors, and singer Soren Adamsen increasing the power of his voice. As for the rhythm section, in the person of drummer Dario Ciccioni and bassist Alberto Rigoni, it comes across as something halfway between the bottom end and the locomotive power of the band’s sonic assault. On each of the remaining five tracks, Projected, Take My Hand, Power to Hill, Understand and the title piece, the hard rock component appears to be highly modified, taking the shape of Metal for sure. That’s not to say that any of these compositions breaks serious new ground, but Liverani certainly knows the ropes, well mixing his influences up with his own ideas. In all, the music here seems to be original enough to manage without comparisons; though anyway, the traditional ‘modern-day quintet’ instrumentation at times results in Dream Theater-resembling moments – occasionally even within the songs’ vocal sections. The highlights include Projected, Understand and the title piece, of which the first (the sole instrumental here) is slightly inferior to any of the other two (the longest tracks in turn) which are progressively most saturated, standing out for some complex, genuinely large-scale instrumental maneuvers.
Conclusion. Personally I’m into more intricate music, but I can appreciate this album as well as its makers, who succeed in combining accessibility with moments of higher complexity on the one hand, and drive with melodic flair on the other. All the music and lyrics on this release are penned by signore Liverani, who also proves here he is a highly skilled musician as such. However, the band’s main man never overshadows his partners. Besides, the guitar gets the spotlight somewhat more often than keyboards, on average, so the recording doesn’t leave the impression of being a keyboard player effort, far from it, which is also a virtue in my eyes. If accessible (which is certainly not the same as simple, having any connection with today’s mainstream Prog) heavy Progressive is your cup of tea you will not miss with Twin Spirits.
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