Areknamés - Love Hate Round Trip (2006)

Siempre está bueno volver a recordar los grupos y discos que a uno más le gustan, con se da en el caso de Areknamés, una interesantísima agrupación italiana con bastante onda Van der Graaf Generator con trabajos tremendamente disfrutables, y de ello dan cuenta muchos cabezones que disfrutan de sus trabajos gracias a conocerlos en este espacio. Denso, con una atmósfera plomiza que se cierne sobre cada canción, un gris basado en el estilo prog de los setentas pero mirando hacia el futuro. Todo contribuye a la creación de un segundo disco no muy lejos del primero, un poco más refinado, detallado y completo, aunque quizás un poquitín más extenso de lo que debería (dura casi 80 minutos! donde eternos flujos de Hammond y mellotron danzan permanentemente en el disco), pero con un flujo creativo ininterrumpido del comienzo al fin del disco. Otro discazo para recordar y para que conozcan los nuevos miembros cabezones.
Artista: AreknamésÁlbum: Love Hate Round Trip
Año: 2006
Género: Retro Prog / Progresivo ecléctico
Duración: 78:02
Nacionalidad: Italia
Discazo. Como van a leer en las próximas líneas, no lo considero lo mejor de la banda pero no deja de ser un gran disco.

Areknames. Excelente grupo de sonido progresivo de vieja escuela. Muy influenciado por King Crimson y VDGG. Mellotrones fuertes y caóticos sobresalen en su música.

Mario Lizano Quesada en el Facebook cabezón
 
Otro aporte de nuestros amigos, esta vez es el infaltable Alberto, para traernos el segundo disco de esta notable banda italiana, definido en varias votaciones como uno de los 20 mejores discos progresivos del 2006 a nivel mundial. Personalmente, y sin que el disco sea para nada malo, lo considero el menos redondo de su discografía (ojo que no digo que sea malo ni mucho menos, es menos redondo y quizás por lo extenso del disco), algo más oscuro que el publicado días atrás, con más onda VDGG, más power, pero para mí menos atractivo, que en pocos días (cuando nuestros amigos me dejen de mandar tantos discos para publicar) voy a traerles para que disfruten como se debe. Y si bien es el menos atractivo, no deja de ser un muy disfrutable disco que en este mismo momento estoy escuchando y saboreando...



Un disco largo, denso, pero aún así de muy buena calidad como todo lo que ha lanzado esta notable banda italiana.

"Love Hate Round Trip" is the band's second album. It features twelve tracks and represents an important turn from "Areknamés", resulting in a more modern and varied album. The compositions span across different genres, delving into prog rock, jazz-rock, psychedelic rock, classical and electronics.

Imaginen, con tantos discos que estamos publicando, no esperen que les haga también la crónica del disco, no me da para tanto, pero siempre hay alguien que escribe y además lo hace mejor que yo, así que vamos a ayudarnos con esos comentarios que traemos a continuación:

Tras tres años desde la publicación de su primer trabajo homónimo, la banda italiana Areknamés editan bajo el sello italiano Black Widow Records su segundo trabajo titulado "Love Hate Round Trip".
Respecto a la banda que grabo en el 2003 hay un cambio de batería, Simone Antonin sustituye a Mino Vitelli y tambien esta la incorporación fija del guitarrista Stefano Colombi que solo participara en el tema "Boredom" del album homónimo.
En comparación con su primer trabajo, en el cual a traves de temas mas largos de duración se mostraban mas sinfónicos con constantes referencias a Genesis, VDGG y Yes, en "Love Hate Round Trip" Areknamés nos ofrecen temas mas directos con su vertiente mas Hard progresiva de tonos oscuros con sonido total setentero añadiendole vocales que en ocasiones me recuerdan a Peter Hammill.
En la faceta Hard progresiva podría decir que hay cosas de Atomic Rooster y Standarte, en la onda sinfónica podria mencionar a Genesis y Yes y en la mas compleja y dramática a VDGG aderezado esos si todo, con toque oscuro, amargo y misterioso propio del sello de las bandas que graban para Black Widow Records.
Es dificil destacar un tema en concreto, personalmente destacaría el primero (1) "The skeletal landscape of the world" por ser quizás el mas representativo y (2) "Deceit" con esa melodia pegadiza agridulce con las voces fantasmagóricas y la estridente línea de bajo.
Huyendo de esta tónica, nos encontramos (6) "Yet I must be something" una delicatessen por su dulzura y sutilidad y por el mellotron envolvente. La mas sinfónica y genesiana (10) " Someone lies here" y la yessesiana (12) "The web of years" ambas sin perder la onda Hard Stoner oscura progresiva. Incluso hay ciertos momentos jazzys como en (8) "Stray thoughts from a crossroad".
Destacan los pasajes instrumentales, no obstante su líder Michele Epifani domina la composición y el Organo, el piano eléctrico, los sintetizadores, el Mellotron, el Harpsicord, las guitarras acústica y eléctrica y encima los vocales, solo hay que estar atentos al solo de piano y varios momentos sublimes de teclados en (4) "La chambre" y el pasaje instrumental de (11) "Pendulum arc".
Areknamés vuelve tras tres años de ausencia con un trabajo maduro y con una vertiente Hard rockera retro de tono oscuro, amargo y dramatico. En resumen un trabajo que por su complejidad, densidad y sonido abrumador sin respiro, os aconsejo oírlo relajados en horas nocturnas.

Juan

12 temas, termina por ser una obra impresionante, en donde es difícil de encontrar una canción mejor que la otra, sacudidas por los cambios rítmicos y la esporádica densidad de la guitarra; esa voz dolorosa y profundamente hammilliana, con una habilidad innata para mezclar atmósferas densas, lisérgicas y etéreas, atmósferas surrealistas, angustiantes y sombrías con un estilo típico a lo Black Sabbath junto con arranques repentinos de psico-jazz.
Las canciones tienen una fluidez sorprendente dada la pesadez de los sonidos, conformando un disco que si bien creo que es una de las obras más representativas del buen progresivo que se hace hoy en día, aunque no sea muy conocido y lo estemos difundiendo en nuestro blog, que para algo está y sirve. 


Dejo algunos comentarios en inglés por si a alguno le interesan más opiniones...

A CD press kit briefly informs the potential listener that AREKNAMES is a modern Italian band playing academic Symphonic Progressive, after reading which one might arrive at the thought that this is one of those numerous outfits that follow a path paved by such Greats as PFM, Le Orme, Banco and so on. Not a bit of it! Areknames have deviated a long way from their native musical traditions in their work, moving towards the British school of the genre. They can be compared (if comparisons are really necessary) with such representatives of a darker side of the symphonic Art-Rock spectrum as Van Der Graaf Generator, King Crimson and Gnidrolog. "Love Hate Round Trip" is their second outing, following their eponymous debut CD from three years ago.
The album contains 12 tracks ranging from one-and-a-half to eleven-and-a-half minutes. The shortest one, A Grotesque Gift, is described in the CD booklet as "a piece of musique concrete, just a collection of filters and tapes" and could've been viewed as a filler if it had not been just an intro to its follow-up, Someone Lies Here, which in turn is a kind of epitaph based on lyrics by an anonymous English poet of the XVIII century. The song indeed sounds as if the words were taken from a tomb in some old English churchyard. This is a sad philosophical song, whose sorrow should be taken as positive though, because (quoting) "life goes on". But let's get back to the beginning of the album. The first two minutes of the opening track, The Skeletal Landscape of the World, may wrongly send you the message that you are in the realm of Doom Metal. The central heavy guitar riff reminds me of Black Sabbath circa 1971-'72 and is one of those perfect-and-irresistible Tony Iommi riffs that, well, so many modern Metal bands are currently armed with. The vocals of Areknames' bandleader Michele Epifani (who also plays synthesizers, electric and Grand pianos, organ, Mellotron and recorder) are both highly intense and strained, bearing a strong resemblance to those of Peter Hammill. Some time around the 3rd minute the tempo becomes slower, leading to a beautiful Grand piano interlude (it just sends shivers down my spine), which soon transforms itself into a complicated Art-Rock ballad, the music being dark, harsh and melodic all alike. The second track, Deceit, is a real masterpiece. It starts off with a slow, melodically pronounced theme in the vein of Genesis's "Trespass" or "Nursery Cryme" - only with Mr. Hammill:-) behind the microphone. Later on, the pressure steadily builds up; the tempo changes constantly, the overall picture plunging the listener into a very convincingly reproduced atmosphere of drama. Outcast is short and is not too exciting musically, but it properly intensifies the somber mood, which is prevalent on the album. La Chambre is also a masterpiece of a track. This time around, the music evokes King Crimson's "Red", though there also is a notable semi-improvised Hammond organ solo somewhat in the style of Jon Lord. How many artists would include a cover song straight in the middle of their album? No matter, but here we go - the fifth track is a rendering of Gnidrolog's song Snails from their "In Spite of Harry's Toenail". Gnidrolog is a remarkable, although obscure, English band, and the said track by them, being disturbing in itself, fits perfectly the album's general aura. Yet I Must Be Something finds the band playing slow-and-airy stuff, which nonetheless is imbued with truly philosophical contemplations, a guest female singer's narration adding a certain charm to the music. The album's longest track, Ignis Fatuus, is another gem. It starts off with only piano, bass and cymbals, which are soon joined by vocals, delivered firmly in Hammill-esque fashion. The singing is full of tragic overtones (Peter's "Over" instantly coming to mind); the instrumentation is rich and thick, with small portions of piano being thrown in here and there. Some jazzy passages infused into basic symphonic fabrics can be heard in the second half of the track. Stray Thoughts From a Crossroad adopts a moderate pace. The bright trumpet solo from Luigi Belfatto, as well as some beautiful interplay between said instrument and the piano, will long remain in my memory. Pendulum Arc concludes the long line of highlights. That being said, this is the jazziest thing in the set, the music steadily transforming into one intense jam. The last track, The Web of Years, has a melodic acoustic guitar in its introductory section chords, while its overall picture is one of academic symphonic Art-Rock. Thematically, this is another shining example of the material's primary emotional atmosphere (sorrow-meets-frustration), thus logically bringing the album to its closure. Sure, just as the songs titles suggest, all the lyrics on "Love Hate Round Trip" are in English.
Conclusion. Although Areknames are definitely well-informed about others' achievements in the field of the style they've chosen, and use them (oh well, who doesn't?), their sound is pretty much their own, quite unique and fresh alike, thus copying or ripping-off is not the issue here whatsoever. I whole-heartedly recommend this CD to lovers of dark Symphonic Progressive, though it will be an excellent addition to any cult:-) Prog-Rock collection. Despite its monstrous length, the disc will keep your attention from beginning to end. And much kudos goes personally to Michele Epifani for being not only a skilled musician, but also a truly gifted songwriter and a poet.

Progressor

On their second album, Italian heavy prog ensemble Areknames offer up more of the dark and doomy brand of progressive rock that characterized their self-titled debut. The band is a quartet consisting of Michele Epifani on organ, synths, mellotron, piano and vocals, Piero Ranalli (ex-Insider) on bass, Stefano Colombi on guitars and Simone Antonini on drums.
In classic prog tradition, Areknames songs take a number of thematic twists and turns, all the while showcasing truly stunning compositions and arrangements and HOT playing from all. Michele Epifani's vocals are very Peter Hammill influenced and really communicate the same kind of melodramatic intensity that Hammill did on the old Van der Graaf Generator albums. Standout tracks include the 10 minute "Deceit", which begins with a mellow buildup that sounds like Hammill singing with early Genesis. But then the music launches into full band mode, rolling over the listener with continually changing dynamics and narrative shifts. It's a mind boggling ride but the arrangements are seamless and fluid, and Areknames are so good at creating a sense of scene changing drama that you can't help but get sucked into the excitement of it all. "La Chambre" is another highlight, particularly the killer organ soloing while the band jam along behind it. Lots of great vintage keyboard sounds on this album. Hammond and Mellotron fans will have a feast! "Yet I Must Be Something" is one of the lighter songs on the album, having a dreamy and even spacey quality, yet never completely sacrificing the sense of menace that pervades throughout the album. At just over 11 minutes "Ignis Fatuus" is the longest track of the set, sounding at times like a metallic version of a song from VDGG's He to He or Pawn Hearts albums, and there's some jazzy sections that bring to mind King Crimson's In The Wake of Poseidon. And "Pendulum Arc" has some of the most ripping guitar work on the album and a monstrous fusion jam. Wow... very impressive.
In summary, the pioneering days of progressive rock are much in evidence on this album, though Areknames are no mere retro band paying homage to their heroes. The compositions are as complex as prog gets, but at all times carefully thought out and arranged, and skillfully executed. They really play together as a BAND! Fans of heavy, intense Italian prog will be delighted. Someone needs to get these guys over to the US to perform at Nearfest or Progday.

Jerry Kranitz

I'm not quite sure why I don't love this band. They have all the ingredients that would normally make me drool. Mellotron, heavy guitar and an overall dark sound. I think though that they put the emphasis on other things that just don't do it for me. Having said all that I like this record, maybe a little more then their debut. At almost 80 minutes in length it's a way too long though. The lead guitar is not very prominant at all except for on the first song, what is prominant though is the leader of the bands organ play and his Hammill like vocals.
Highlights for me are the first song "The Skeletal Landscape Of the World" which is all over the place. It opens with SABBATH like sludge as mellotron, guitar, vocals and drums follow. The BLACK SABBATH vibe continues and I especially like the sound 5 minutes in with the lazy guitar and mellotron. The intro on "Outcast" is great but the song turns me off when the vocals come in so loud and noisy. "Snails" is actually a cover of a GNIDROLOG song.
"Yet I Must Be Something" is a song I like a lot, especially the mellotron. "Ignus Fatuus" has Hammill-like vocals, bass and piano to open. The heavy passages come and go. "Stray Thoughts From A Crossroad" has some angular guitar as well as piano, organ and trumpet. Mellotron 6 minutes in and a great rhythm. The final tune "The Web Of Years" sounds so different from the other songs. Synths, acoustic guitar and higher pitched vocals, with heavy passages as well.
I think more people will rate this at 4 or 5 stars than the 3.5 I give it, so if what I describe is your cup of tea I suggest you check this Italian band out.

John Davie

The second album of this Italian band from Pescara is definitely better than their eponymous debut one. The band go further exploring the possibilities of mixing vintage instruments sounds and love for Seventies Prog masters such as VDGG or Genesis with new ideas... Although you can find here some echoes from the past, Areknamés are not just a clone of someone else playing by tore and trying to stir nostalgic feelings into their listeners. To the contrary, the song-writing of the leader Michele Epifani is excellent and on this album Areknamés seem to have found their own way...
The opener "The Skeletal Landscape Of The World" is a complex and dark thread of images "painted" by the voice of Epifani that reminds of Genesis and VDGG... It features aggressive guitar in Black Sabbath style well intertwined with quieter piano and keyboards passages...
The second track, "Deceit" in my opinion is outstanding... "Come to me, I'm ready..." In the beginning vocals are enthralling and delicate, soaring upon an ethereal keyboard and acoustic guitar pattern, but all along the more than 10 minutes length of this piece there's room for many surprises and changes in the musical direction...
The music keeps on flowing without weak moments, actually all the tracks are very good, like the sinister and agoraphobic "Outcast", "La Chambre" (inspired by a Balthus' painting), "Snails" (a Gnidrolog's cover), "Yet I Must Be Something", "Ignis Fatuus", "Stray Thoughts From A Crossroad"... Actually, there's no filler till the final "The Web Of Years". All the compositions, although complex, are perfectly balanced showing great song-writing skills that combine dark symphonic prog with jazz, psychedelic and classical influences...
Probably Areknmées during the session of this album were dreaming to be in the Seventies, but without losing the conscience of the present. Their music is about dreams and nightmares, they're like painters using notes instead of brushes to draw musical landscapes and images... At length they managed to escape from their "rusty cage of fears" and from the scepticism that surrounded their debut... "There's no more sign of something that makes dreams different from reality / It wasn't me that chose it" (from "La Chambre").
In the whole, I think that "Love Hate Round Trip" could be an excellent addition to every prog collection and it is especially recommended to fans of bands like Van Der Graaf Generators...

Andrea Parentin

I was quite in love with their Van Der Graaf oriented debut album. Rating their earlier work rather high (four stars), I was keen on listening to their second output.
Obviously, their source of inspiration remained the same, but the sound is much heavier, like we can share in the opening number The Skeletal Landscape Of The World. A Sabbath/ Graaf combo like there are none. Once the first moments of surprise are through, this scary and heavy song is quite enjoyable. But not for all ears. One can even experience a symphonic finale à la PFM ( Impressioni Di Settembre). A great opener, indeed.
The band doesn't make any compromise. They just record what they feel and try (and suceed as far as I'm concerned) to convey some great ambiance. The same difficult approach as the masters is to be noticed. For sure, they are not going to make millions out of their music. Dark, complex, chaotic/hectic, out of reach and hard to apprehend for newbies.
Some might of course say (accordingly), that this sounds too much regressive, but quite honestly: I far much prefer a band playing this sort of music than to be drowned into another Genesis or Yes type of clone. Under these circumstances, Deceit is by no means a deception. It should bring any Graaf maniac to some kindness towards them. A great and intricate song. Another highlight. Powerful and diverse.
Areknamés is really a band you should discover if you ever are missing the great Graaf sounds. This is of course no replacement. Just another option for desperate fans.
The only minus point would be that the album lasts for about eighty minutes. Some of the numbers (La Chambre) should have been shortened to keep the quality level on par; and like their model (the Graaf), a song as Snails is quite hermetic to say the least.
As if the band was aware of this aspect, they would decide to record a truely melodic and balanced song like Yet I Must Be Something. Now, for Graaf maniacs, there is Ignis Faatus. I can understand that some are irritated with such a track. But again, I haven't been confronted so many times with such a band willing to re-create the Graaf atmosphere. And doing it in such a great and decent manner! I can't help: I just like it very much.
It seems that Peter (Hammill) is just next door. The vocal part is so convincing and far from what one could expect from an Italian band (I mean singing in English of course). This song is a wonderful journey into the early Graaf days. I am only thankful to Araknamés to have brought me into these sounds again. Another highlight. The third one so far.
Comparison not being reason, there is even some sax during Stray Thoughts From A Crossroad which is a psyche and loaded tune. But if you you have read some of my early Graaf reviews, you would easily understand how Araknamés came down there.
This album is quite a difficult excercise to rate. Let's say that you have to compare some wines. Some coming out of France (the genuine territory as far as I am concerned) and other ones from Argentina, South Africa or Australia. A daunting task.
I would say that this band is doing alright. At times, they are grandiose. But not always. I am quite enthusiast about half of the songs but Araknamés are rather difficult to appprehend here. To cut a long story short: I think that their debut is better and that Love Hate Round Trip should have been cut down by twenty minutes.

Daniel ZowieZiggy

Almost 80 minutes of progressive greatness heavily stated from the somber side of the genre - this sentence serves as a proper introductory description of "Love Hate Round Trip", Areknamés' sophomore release. After a promising eponymous debut album that was very good but not to the level of magnificence, now Areknamés, augmented as a quartet, really went to musical heights: this album's material is exquisitely powerful in terms of composition, arrangements and performing stamina. "Love Hate Round Trip" is an exhibition of how pessimism and self-loath can be combined together in order to inspire demolishing musical ideas like whirlwinds across the sky. The band's overall sound has evidently tightened up, nurturing the permanent VdGG references with sonic procedures partially inspired by Black Sabbath, King Crimson and, to a lesser degree, Gentle Giant. I really find coincidences with old obscure prog bands that played the game through the filter of heavy rock-related psychedelia, such as Island and Gnidrolog. For the less tortured moments among the overall display of sonic energy, Areknamés leans a bit close to illustrious compatriots such as La Maschera di Cera, "Eclissi"-era A Piedi Nudi or Ubi Maior. You can also notice some relations with the dense darkness of early Anekdoten, Hypnos 69 and "Storm Season"-era White Willow. The album kicks off with the dark vitality of 'The Skeletal Landscape of the World'; the classicist piano interlude and the complex motif that sets the second part's scheme bring a proper sense of variation. 'Deceit' is longer and more ambitious, refurbishing the general anger with diverse sonorities that feel really creepy. even in the calmer moments in which the band elaborates spacey nuances. 'Outcast' doesn't change things, but it brings a less heavy approach to the perpetuating mood of solitary bitterness. 'La Chambre' starts quite playful: the organ is featured here, as if Emerson had decided to play some music written by Banton and let go of his signature chops. The rhythm duo indulges in some jazzy undertones through the track's versatile structure. At times, the track goes for extremes of creepiness. 'Snails' sort of restores the overall mood of 'Deceit', but this track reveals a much bigger focus on the contrast between the eerie and heavy passages. Guest trumpeter Luigi Belfotto adds excellent colors to the closing moments. 'Yet I Must Be Something' brings a moment of reflective serenity, mostly grayish but also apart from the quest for disturbance and tension. 'Ignis Fatuus', the album's longest piece, starts on a very lyrical note, but after the 2'30" minute mark, the menacing disturbance makes a first announcement. After the 3'30" minute mark, the track's central core is revealed as a majestic heavy prog ballad: Colombi's blues-friendly guitar leads prove quite complementary to Epifani's synth solos, more flashy and rotted on the standard of psychedelic prog. The ominous mellotron layers that take center stage near the end design a proper farewell. 'Stray Thoughts from a Crossboard' is primordially constrained in a rare sense of serenity: the trumpet lines complete the aura of emotional tranquility. Only near the end things get a bit denser, with traffic sounds announcing the song's definitive conclusion. 'A Grotesque Gift' is a brief exercise on free-form psychedelia that might as well fit a scene in a horror movie featuring sinister looking toys in a dark attic; it serves as a kind of prelude to the following track, 'Someone Lies Here', a constructed semi- ballad that stands somewhere between the aforesaid prelude's pending creepiness and a cuasi- symphonic melodic vibe. 'Pendulum Arc' brings back the harshness that had been predominant, although this time with more pronounced jazzy cadences in some sections and old-fashioned hard rock vibes in others (almost like a Uriah Heep-ed VdGG). The lead guitar is all over the place when soloing, bringing an eerie somberness to the overall jazzed jamming that states the track's nucleus. For the moment of the synth solo, the whole ensemble is engaged in a more concise architecture. The bombastic closure is quite effective. The last track 'The Web of Years' apparently begins as an acoustic ballad, but it soon develops a now overtly familiar angry psychedelia in a very ceremonious fashion. "Love Hate Round Trip" is an excellent prog gem of our times: Areknamés is growing solidly as a big current name for the genre.

César Inca

Good shot from Italy, except it doesn't sound like anything else I've heard from Italy. So it's from IT, but it's not Rock progresívo italiáno, which is quite unusual. I don't say bad, because I like this record.
Very long album, full 76 minutes, that's something even now in era of CD's isn't normal. I appreciate it. Musically, there are soma parts which sounds more like jazz improvisation than classic prog rock. Or maybe it's thing which is important for prog, to be innovative. Nevermind, it's good to listening, really good. It has many good moments, even there's something I cannot precisely describe, which prevents me to give it five stars. I really don't know why or what it is. I mean it sounds good, right ? It has good vocals, longer tracks in general and so on. So I think it's OK to give 4
EDIT: I wish I know more why, but I feel only to give 3(+), because something is preventing me from enjoying it. Sound of it is strange, I don't like it. Somehow, from some reason. Melodies are also weird, not pleasant, not experimental, just ugly. And bad perhaps.

Marty McFly

Wet, foggy, murky.....it is elemental and atmospheric vibes that come through to me listening to this eclectic Italian prog band. It is true that the band is a must for fans of VDGG and Anekdoten, featuring Hammill style vocals (in English) and long desolate keyboard meandering kept honest by an edgy, riff able electric guitar presence. One of Black Widow's premier artists, Areknames sophomore effort was one of the awarded albums at the 2006 ProgAwards festivities.
There is so much here to gobble, but I have to mention "Stray thoughts from a Crossroad" which simply exists in its own emotional state. A reassuring, pulsing bass is all that keeps you grounded as the piano and sax lift your emotions up and bring them back down. Far out lyrics beautifully sung and a velvety smooth guitar solo allow the listener one of several reprieves from the album's general heaviness. More typical is the album's longest standout, "Ignis Fatuus", at over 11 minutes. Here we are fully drenched in a lumbering darkness albeit still treated to exquisite piano and sensitive lead guitar. The mood of this stuff reminds me of the old Hero album which we have in the database, complex, dark, and chaotic as hell. The album was conceived as a double album originally which explains the sweeping feel of the 78 minutes. It is a beautiful and moody mélange of vintage keyboard sounds (organ, synth, grand piano, mellotron) stacked with angular guitar brushstrokes, and occasionally poetic lyrics. While not an easy piece of music to digest early on there are rewards here for those who give it some time. I am not with those who find "love hate" to be the best modern Italy has to offer but it is a fascinating album for fans of "night" prog and fans of VDGG style bands, and it certainly is 3-star turf for me. The booklet contains full lyrics and nice artwork for each track.

Jim Finnforest

Areknames is modern Italian band, and their music style can be described as Symphonic prog. Therefore somebody can get an impression that this is one of the numerous bands continuing wonderful traditions of all those Italian Symphonic Progressive Greats such as PFM, Le Orme, Banco etc etc etc. However this impression would be wrong. Areknames deviate from their native musical traditions quite far and move closer to UK progressive school. They can be compared (if comparison is really necessary) with representatives of the much darker side of the Symphonic spectrum, such as Van der Graaf Generator, King Crimson and Gnidrolog.
This album contains 12 tracks varying between 1:23 and 11:22 minutes length. The shortest of which is track no. 9 A grotesque gift - 1.23, described in booklet as "a piece of concrete music, just a collection of filters and tapes" and could be considered as a filler, if it had not made a perfect intro for track no. 10 Someone lies here - 4.43, which is kind of epitaph song, based on lyrics by anonymous English poet of XVIII century. It seems like these lyrics were taken from a grave tomb at some old English churchyard. This is obviously very philosophical and sad song, but sadness is kind of a light one, as life goes on. But let's start from the beginning. The first couple of minutes of opening track The skeletal landscape of the world - 6.42 may send you a wrong message that you are in a realm of Metal. The heavy metal guitar riff reminds me of Black Sabbath circa 1971-72 - one of those Tony Iommi's riffs which are being used down to exhaust by so many modern metal bands. The vocals of their leader Michele Epifani (who also plays organ, synth, mellotron, and piano) are very tense and intense, and bear clear resemblances to Peter Hammill. On about 3rd minute tempo slows down, and beautiful grand piano interlude starts sending shivers down my spine, and the opener develops into progressive ballad - dark.heavy.melodic. The second track Deceit - 10.15 starts slowly and very melodically and can remind Genesis circa Trespass/Nursery Cryme but with Hammill on vocals, then pressure builds up, tempos change constantly creating very realistic feeling of drama surrounding you. Masterpiece track. Track no. 3 Outcast - 4.04 is short and not very exciting but still adding to the somber mood of the album. Track no. 4 La chambre - 7.26 is another masterpiece track on this album. It contains beautiful Hammond organ solo - reminding Jon Lord technics with some jazzy touches to it, but overall sound of this track is closer to King Crimson Red era. Track. no. 5. How many artists would include a cover song right in the middle of their album? Not that many that I know. But here we go - track no.5 is cover version of Gnidrolog's song "Snails" from their "In Spite of Harry's Toenail" fame. Gnidrolog is brilliant although obscure band from 70's UK scene, and their song Snails, being a bit disturbing in itself, fits perfectly in general musical stylistics of the album. Track no. 6 - slow tempo beauty Yet I must be something - 5.15 - very light and airy, but containing very serious philosophical contemplations. Narration by female voice (Lucy as guest) adds so much charm to this number. Track no 7 Ignis fatuus - 11.22 the longest track of the album and another masterpiece, starts with piano, bass and cymbals, followed by vocals in very Hammill- esque manner. Singing is full of tragic overtones (PH "Over" comes to mind immediately), instrumentation is rich and thick with small portions of piano soloing thrown here and there. Great track with some quite jazzy parts in it's second half. Track no.8 Stray thoughts from a crossroad - 7.24 - mid tempo track with beautiful piano/trumpet interplays. Trumpet is played by another guest - Luigi Belfatto. As track 9 & 10 were briefly described already, let me jump to track no.11 Pendulum arc - 6.49 - another great one. Not overly long (I wish it would be a bit longer actually), it's most jazzy song of the set, developing into fusion fest. The last track no 12 The web of years - 5.08 - starts with melodic acoustic guitar chords, then bass joins in, and keyboards supported by drums come in and take the lead, allowing just enough space for the vocals; thematically it is another song where sorrow meets frustration, and it logically brings the album to its closure.
May you not be mislead by a bit of name-dropping here, as despite Areknames clearly have their influences and use them (oh well, who does not?), they produce unique and very original sound, thus cloning or ripping-off is not the issue here whatsoever. Being unable to make any comparison with their previous debut album, I still must stress that this one, although not being Masterpiece in true sense of this word (quite close though), would make an excellent addition to any prog-rock collection, and I therefore would whole-heartedly recommend it to all lovers of Dark Symphonic Prog, and especially to all fans of Van der Graaf Generator. This album will keep you interested from beginning to end, despite it's 78+ minutes length. And all thumbs up to band's leader Michele Epifani, who is not only hugely talented keyboardist and a very good singer but also a poet and a composer, as he'd written all music for this album (except for "Snails" by Gnidrolog) and all lyrics in English ! Bravo!!!

Eugene

After a first album in 2003, critically well respected and appreciated, and responding to incongruent expectations of those who dreamed of hearing VDGG interpreted by a group from the Canterbury scene, Areknames gave us Love Hate Round Trip, two-headed, so obviously between the monstrous and the all too human. On the cover of the booklet, a picture of a suburban street; probably from a Anglo-Saxon town. Close-up a flight of four steps of a gray-brown staircase, bordered by a same color stone wall, leading, as a line of flight, to a funeral store background. The letters of the sign of the shop appear upside. Gillman Funeral Service. In the foreground, written on the wall with white paint, the album title: Love Hate Round Trip, a real announcement of what it contains. The reality is a yo-yo, the constant change alone. From love to hate, dark to light, a permanent round trip. "The vortex of passion / Makes us alive and dead / At the Saami time". Inside the booklet there is the same aesthetic state of mind. The text of each song is illustrated by a picture or a dark and mystical painting, the image of this painting by Balthus or Bosch that can not leave us indifferent. A photo of the group in silhouette in the evening light closes the book. We do not even distinguish the faces. This mysterious shot overcomes the traditional list of acknowledgments where one crosses a multitude of names, some known and famous, whose presence here seems logical (Colosseum, Frost, Man, Wicked Mind of course), or seems surprising (Agitation Free, Wishbone Ash, Chocolate Watch Band, Mahavishnu Orchestra). The booklet also tells us that we will hear trumpet on several occasions. Stefano Colombi is this time sought full- time guitarthrough beautifully subtle arrangements, very technical and inventive soli. Then it will be found that the main difference with the previous album is the most important place given to this instrument even if keyboard parts are important (except for the melloton who is more discreet). Despite these changes, these innovations, music Areknames may seem familiar (especially for fans of VDGG). First we think to know it by heart, but that's not counting on its mutability, the way to change according to the strength and condition of our soul. Depending on the angle of approach (by car, concert, with friends or alone with our pain), its appearance is changed by what happens to us.

Alain Succa

In my review of their debut album, I wrote that this band is a very talented band which may deliver a great album one day......... or something to that effect. Well, they have just delivered this album.
Areknames continues down the same path from the debut album........ with some subtle changes. The album starts as a mix of Trouble and Kings's X and I was fearing the worst for during the first minute of this album. But this album soon clicked into gear, read a straight Van Der Graaf Generator worship. It is well known that both Yes and Genesis has their copycat bands. Marillion, Realm, Starcastle, Druid and numerous others. Van Der Graaf Generator has Areknames in their fan club, nee copycat club.
Well, straight copycats, Areknames is not. They have actually their own ID. This album is pretty heavy with a lot of Trouble vibes. The Genesis influences is more or less ditched on this album. There are some symphonic prog vibes here, but they are more in the direction of some RPI bands than just Genesis. PFM for example. But this album is very heavy, as in Wagnerian heavy and not in heavy metal heavy. The classical composer Richard Wagner has a lot to answer for on this album.
The quality is great throughout. There are some outstanding passages throughout and this album never fails to impress. There are no killer tracks here though. This album is also very long (seventy-eight minutes !), but I have no problems staying awake throughout despite of the lack of the dot over the i which would had elevated this album to a deserved classics status. This album also renews my interest in Van Der Graaf Generator too. In my view, this is a great album which in particular will brighten up the lives of the VDGG fans here and other epic prog fans. I cannot wait to listen to their new album.

toroddfuglesteg

2nd album to this excellent Italian group, which claimed to be influence mainly by VDGG, but don't get the wrong impression that this is just a one-band-clone. Most of the 12 tracks are what is called 'epics', very well structured and developed. The few tracks that do not seem to feet exactly to epic definition are full of inventive ideas. Wonderful melodies are all over the place here.
The group is dominated by Michele Epifani, keyboardist, vocalist, lyricist and composer. The keyboard sound he has built is rooted in the late sixties / early seventies sounds. There are great Hammond sounds, and analog, sinusoid electronics from that era. The other group members are very good instrumentalists also, but somehow shaded a little bit (maybe due to the mix). Nevertheless, guitarist Stefano Colombi 'starring' in two tracks: The opener, 'The Skeletal Landscape Of The World', that feature catchy powered guitar riff, and the almost-closer, 'Pendulum Arc', that really rocks out with strong, dissonant guitar riff and guitar solo. In addition this track got some groovy wa-wa effects on keyboards, and overall, a great flow.
Another excellent track is 'La Chambre', with great melody, jumpy bass and guitar, which interplay with each other in a way that reminds me of GENTLE GIANT. Also, there are two splendid organ solos in this track, a-la Jimmy Smith.
One more track, which worth mentioning is 'Ignis Fatuus', which brings fragrances of neo prog. But I must say that albeit it's a very good track, the last 3 minutes jam is completely superfluous.
In addition, there are some sweet rock ballads (in spite of the overall darkness atmosphere) developed very well to more progressive structures, a little bit of Italian pathos here and there, one impressive atonal riff (at 'Deceit') and very few additional effects and instruments, mainly smooth trumpet and howling recorder (at 'Stray Thoughts From a Crossroad'). The tracks quality moves between very well to excellence. No weak tracks here.
I enjoyed very much from this release, and I would like to trace this band in their next releases, that hopefully will come.

ShW1

This album blew me away completely, from the first King crimson inspired assault to the last minute of this awesome album. I'm a huge fan of Van der graaf generator and most albums from Peter Hammills so when I got a tip to check this album out I got it and couldn't beleive my ears. Areknames is a VDGG from the new millennium and on this album they have made every second count so this is as good as anything VDGG made. In my book this album is not only the best album of 2006, this is one of the best of all times. Yes, thats right! This album made it in my top 20 of all times and that doesn't happen anymore. Last time that happened was with Änglagårds Hybris from 1992.
The album has got it all, it's complex, dark and filled with great songs and melodies. What strikes me most is that it's the more slower songs that I feel are the strongest ones. Essential in any progressive rock collection.

André Andis

Lots of potential. Lots. Something about the album never seems to quite seem fulfilling though. The singer is suitably Hammill-esque, and the music is nicely odd and dark (though the VDGG-worship is generally more clear on their debut), but it never seems to gel into something truly stirring as it should. Refinement required to ensure there's more than just sporadic 'great!' moments. For now, I think Garden Wall's Forget the Colours did modern-heavy-VDGG a bit better.
I am being harsh as I had high expectations. It's still good, honestly.

richeym

The Italian Areknames sounds like 1975 Van Der Graaf Generator, but somehow their sound is fresh and vital. The flexible songs are dominated by "Hammillish" vocals, hard rock guitars and mourning organs. Behind all the mighty mellotron creates beautiful textures. This is warm, living music without any traces of boredom. I`m sure these guys love their music. This album has been nominated as the best Italian prog album of the year 2006. I think it`s better than that. The whole album has a certain mysterious feel, reminding me also about the early 70`s Indian Summer.

Hannu Niemi

In an age where average album runtimes have ballooned well beyond the ~40 minutes afforded by a vinyl LP, there's a glut of otherwise promising bands whose discography is marred by an annoying tendency to tack on 15-20 minutes of marginal music to every studio album. It's a phenomenon that has led to a disturbing drop in consistency at the highest levels of every major subgenre of rock music; I also suspect it's the primary reason why my average rating for 70's rock albums is significantly higher than my average for contemporary releases. The field of progressive rock has been especially hard hit by increasing album lengths, given the genre's natural affinity for lengthy conceptual pieces. Seventy to eighty minute prog records that easily would've qualified as double-LP's back in the day are marketed as ordinary studio albums, and many such albums lack the extra attention/effort that was allotted to all of those classic prog double-LPs. It then comes as an especially pleasant surprise when I find a modern prog record that more than justifies its 80 minute runtime. Love Hate Round Trip is quite possibly the single best "double-LP length" prog record of the new millennium. Although technically released upon a single CD, the record is clearly structured as an "old school" double-LP with distinct front (tracks 1-5) and back (6-12) halves. And accompanying this backward-looking mentality is the extra degree of loving care that I find lacking on many similarly-lengthy releases. It's truly amazing to observe how much Areknamés has improved in the three years since their self-titled debut. The music here is still broadly classifiable as "retro" prog with an obvious nod to the heavier, brooding sound of Godbluff-era Van der Graaf Generator, especially given the melodramatic Hammill-esque vocals of frontman Michele Epifani. Yet whereas Areknamés was hamstrung by a relentless barrage of analog keys and overblown Sabbath-esque guitar, Love Hate Round Trip is more varied and features a far more spacious production. "Mature" is the best word when describing the difference between the first two Areknamés records. The only possible drawback here is that the lack of heavier guitars makes the album sound even closer to mid-70's Generator. So if you're the sort of prog fan whose bothered by overly "derivative" releases, you might be slightly distracted by the album's obvious influences, but even the most originality-oriented listeners should have a hard time denying that this music is amazingly accomplished when considered in its own right.
Love Hate Round Trip is one of those albums that manages a cohesive overlying aesthetic without sacrificing the distinctiveness of specific tracks. Every selection here features a memorable vocal hook or instrumental motif that clearly sets it apart from its surroundings, directly addressing the overwhelming sameness that was the primary drawback of Areknamés. And pretty much every one of the distinctive variations that Epifani tries out on Love Hate Round Trip works great. Things get off to a strong start on "The Skeletal Landscape of the World", which is arguably the heaviest and most Areknamés-sounding track here but still proves to be far more notable than anything on their debut. "Deceit" makes it two straight career highlights, and also marks the record's first foray into more challenging and occasionally atonal eclectic prog. It's a track that takes a number of listen to fully absorb, and which sounds even better now than it did the first time I heard it. The remaining three tracks of "disc one" constitute the only stretch on the album that I'd qualify as less than brilliant. "Outcast" and "Le chambre" follow in the mold of "Deceit" but are slightly impactful, whereas "Snails" is a well-intentioned cover of the Gnidrolog track (In Spite of Harry's Toe-Nail) that is adapted perfectly to the Areknamés sound but repeats the slightly overlong nature of its source material. Luckily, Love Hate Round Trip quickly recovers to deliver an absolutely classic 40 minute block of modern prog over its "second disc". "Yet I Must Be Something" starts things off with a surprisingly dreamy, Eloy-influenced jam with female voiceovers. Then comes "Ignis fatuus" and "Stray Thoughts from a Crossroad", which get my vote as the two strongest tracks of the band's career. Both are brooding, multi-part builders that artfully work in bits of interweaving Flyodian guitar/organ into the usual Generator-dominated brew. Those two tracks alone are worth the price of this album for a serious proghead. After a brief sound collage entitled "A Grotesque Gift", the album delivers yet another highlight in the church organ-laden "Someone Lies Here". The energetic "Pendulum Arc" and the acoustic-accented "The Web of Years" prevent the album from fizzling out, even if "The Web of Years" is probably the least essential track here.
Required listening for any lover of heavier modern prog and for fans of Van der Graaf Generator. Probably the best "Generator clone" record in my collection, and the obvious starting point in the Areknamés discography. If you enjoy Love Hate Round Trip, also be sure to seek out In Case of Loss.

Walter12

The album has got it all, it's complex, dark and filled with great songs and melodies. What strikes me most is that it's the more slower songs that I feel are the strongest ones. Essential in any progressive rock collection.

stereoyxo

Gaaaahhhhhhh what a fantastic band! At least as far as spooky, gothic, fang'n'batwing doom-prog goes. Areknamés' first album was a smart and sometimes wrenching blend of VDGG, Caravan, Pink Floyd, and some Black Sabbath-style heavy guitar. On this, their second studio effort, Michele Epifani and crew take those same elements but step it up a level or three, adding some King Crimson-like complexity to the murk-wood mix.
Hopefully Areknamés will be around for a while. It will be very interesting to see where they go after two quite excellent studio efforts.

Reginod

Four years since their eponymous debut and long since announced on their website, “Love Hate Round Trip” is a giant leap forward in light of their previous effort.
Where “Areknamés” is an ‘okay’ ode to long forgotten – even by the most fanatical of progfans – groups of our rich progressive history, “Love Hate Round Trip” is of an entirely different level and I feel no scruples in calling this record a classic, no matter how prematurely so. If it would’ve surfaced in the 70’s, the impact would have been one of profound magnitude.
The differences with Areknames’ debut are vast .Whereas the six songs that comprise “Areknames” can be accused of lop-sidedness and monotony, the twelve compositions on “Love Hate Round Trip” each create an individual universe. The diversity is great(er), something that might put off the uninitiated the moment they press play and find themselves in a realm of sonic quantum mechanics. The fact that this disc was intended to be released as a double-LP doesn’t make it any easier on the ears because when you start at #7, it does indeed sound like a different record.
Change is also present in production, mainly in the feeling of it being more of a group effort, the new drummer Simone Antonini is true talent and bass-player Pierro Ranalli can adapt between lead and supportive playing seamlessly. Steven Colombi finally looked down his pants and at long last reveals himself to be quite the guitar-wizz.
Areknamés have made some additions to their list of inspirations as well, nonetheless Peter Hammill’s influence has only increased. Keyboardist/singer Michele Epifani sings more directly into the microphone and often overdoes it like Peter Hammill did on a good day (but maybe he should just leave that to the master).
Though Epifani’s voice takes getting used to - both regarding accent and style – in the end it only contributes to the ugly/pretty experience which is “Love Hate Round Trip”.
The Skeletal Landscape of The World is as good an opener as any. A dirging bass-riff amplified by guitar starts off the opener, floating on an ever present, ominous Hammond.
Half mark through a pleasant piano interlude follows through in an ingenious bass-riff.
Colombi gets his chance to show his true colours and ends the song with a great solo.
Deceit does exactly what its name implies, what starts off as an ethereal ballad soon metamorphosizes into a whirlpool of musical blends – even some technical metal passages – and absolutely brims with musicianship by all four members. Especially the last two minutes where Simone Antonini sends off the song with some great – jazz laced - drum work.
A song that grows on you with time.
Like jittering spiders crawling up your body, Outcast starts off with the eeriest of keyboards flowing into a display of Epifani’s peculiar singing style. Though never really musically enthralling, Outcast is a window into the morbid side of Areknamés’ sound.
Another highlight is La Chambre, the copious amounts of Hammond multitude are what this song is all about. The song as a whole seems like an advertisement for it.
Though I’m not familiar with the original Snails by the band Gridnolog, I can’t imagine the original being any better than Areknamés’ version. It might be insipid to point out a cover to be the best song on an album but at any rate, it’s a song that you need to listen to at least once.
Nevertheless the small patch of land among stormy waters is Yet I Must Be Something, a pretty symphony marked by spoken verse while Epifani hammers down a stairway- to-the- dream-world theme.
Part two, or the fictional second LP is also impressive. As mentioned before it’s recommended to follow the booklet's instructions to regard track 7 as 1 etc. That way you still get 38 minutes of music, which is about the length of a 70’s prog LP in which lie the roots of Areknamés.
The second LP comes down to 5 actual compositions, since A Grotesque Gift (in stark contrast to its title) is nothing but a collage of studio sounds. The two tracks prior Ignis Fatuus and Stray Thoughts From A Crossroad are both long and awesome.
In a utopia where there would be a general consensus and ban on crappy music, Someone Lies Here would top the charts for several weeks. Soundscape created by empty cosmos itself and a warm voice citing a poem by an anonymous English poet drift off into a Celtic chorus.
Recommended to anyone worth their ability to hear.
The two closing tracks feel like bonus material: Two ‘short’ songs about 5 to 6 minutes in length that won’t shake foundations. Yet any song on “Love Hate Round Trip” has more power, coherence and identity than any other composition on their debut record.
“Love Hate Round Trip” is mandatory to those who every now and then, or regularly ,seek the borders of symphonic and progressive. It seems to encompass it all as far as emotion and music are compatible, but whether it is indeed Love-Hate is up to the people who give this record their time.

Tabula Rasa

Espero que lo disfruten como se debe en este finde semana, luego les traeré el primer disco de estos tanos, que no se lo pueden perder. Otro gran disco que les recomiendo fervorosamente que conozcan.
No se lo pierdan y disfrútenlo como se debe.
Lista de Temas:
1. The skeletal landscape of the world
2. Deceit
3. Outcast
4. La chambre
5. Snails
6. Yet I must be something
7. Ignis fatuus
8. Stray thoughts from a crossroad
9. A grotesque gift
10. Someone lies here
11. Pendulum arc
12. The web of years

Alineación:
- Michele Epifani / voice, keyboards
- Piero Ranalli / electric bass
- Simone Antonini / drums & percussions
- Stefano Colombi / acoustic & electric guitar