Nuova Era

A very distinctive and unique album among progressive Italian releases, the sole self titled LP by La Nuova Era sounds unlike any other and is well deserving of reappraisal. Entirely instrumental except for one short female vocal piece, the album features delicate instrumentation by way of a frequent blending of floating synths over gentle acoustic guitar, drifting ambience and classical piano atmosphere weaving around pulsing icy electronic soundscapes. Try to imagine a slightly darker mix of 70's and 80's Tangerine Dream mixed with a gentle Xian acoustics and you might have a better idea of what to expect. The somewhat murky production gives much of the album a slightly grim and confronting sound, ensuring the Christian elements maintain a very reflective and somber tone. The striking stony grey illustration of a crucifix on the cover is perfectly suited to the soundtrack as well.

When the guys of Nuova Era debuted with 'L'Ultimo Viaggio', they were seeing themselves as mere heirs of a glorious prog time passed: what they couldn't foresee by then was that they were actually pioneering an era of, as some label it, prog revival in Europe. Since this is the starting point, Nuova Era has not managed yet to achieve its own voice, that is, they are still very dependant on the peculiar sounds that their old predecessors created. Nuova Era articulates a prog with a hard rock leaning, infused with a melodic sensibility (like Alphataurus, Biglietto per l'Inferno, and to a lesser degree, Museo Rosenbach) and a sombre romanticism (Apoteosi, E. A. Poe). Their repertoire comprises plenty of excellent musical ideas, such as catchy melodies, well crafted textures on keyboards (the main factor), a tight confident rhythm section, interesting guitar and synth solos…

When the guys of Nuova Era debuted with 'L'Ultimo Viaggio', they were seeing themselves as mere heirs of a glorious prog time passed: what they couldn't foresee by then was that they were actually pioneering an era of, as some label it, prog revival in Europe. Since this is the starting point, Nuova Era has not managed yet to achieve its own voice, that is, they are still very dependant on the peculiar sounds that their old predecessors created. Nuova Era articulates a prog with a hard rock leaning, infused with a melodic sensibility (like Alphataurus, Biglietto per l'Inferno, and to a lesser degree, Museo Rosenbach) and a sombre romanticism (Apoteosi, E. A. Poe). Their repertoire comprises plenty of excellent musical ideas, such as catchy melodies, well crafted textures on keyboards (the main factor), a tight confident rhythm section, interesting guitar and synth solos…

After the two back-to-back albums,it was time for Nuova Era to focus more on their live appearances. So for about two years they gave many shows,before they entered again the studio to record their third album.
The band decided to follow the same structure as with ''Dopo l'infinito'', this means the album contains two long Symphonic Rock suites, clocking at 18 and 24-min. respectively. Musically nothing has changed. Both compositions contain a great number of sudden breaks, complex themes, virtuosic keyboard work and intense vocals. The music again is mostly based on Walter Pini's great skills on organs and synths: Baroque-influenced parts, intricate solos, marching synthesizers and background fillings for the guitars, along with some light piano interludes…

After the two back-to-back albums,it was time for Nuova Era to focus more on their live appearances. So for about two years they gave many shows,before they entered again the studio to record their third album.
The band decided to follow the same structure as with ''Dopo l'infinito'', this means the album contains two long Symphonic Rock suites, clocking at 18 and 24-min. respectively. Musically nothing has changed. Both compositions contain a great number of sudden breaks, complex themes, virtuosic keyboard work and intense vocals. The music again is mostly based on Walter Pini's great skills on organs and synths: Baroque-influenced parts, intricate solos, marching synthesizers and background fillings for the guitars, along with some light piano interludes…