Aliante are an Italian band hailing from Pisa. Destinazioni Oblique is an intriguing title and made even more mysterious in garnering its meaning by the fact it is instrumental.

This is the third album by the band (but my introduction to them), and I was alerted to it by my good friend, Thomas Tszirmay. The album is available on Mellow Label Productions at https://mellowlabelproductions.bandcamp.com/album/destinazioni-oblique

The band consist of the founding members Alfonso Capasso (bass and effects) and Jacopo Giusti (drums) and are joined here by Davide Capitanio (brilliant on electric & acoustic guitars) and Michele Lenzi on keyboards and wind instruments, replacing Enrico Filippi.

This is a very good album. It is more of a “traditional” instrumental album than many of the more post rock and metal albums I have reviewed this year. There are some gorgeous passages in this album, although whilst some of the keyboards which throwback to the halcyon 1970’s days of both Italian and English symphonic progressive rock will give a huge amount of pleasure to many, that element of the music is not to my personal taste.

Il Mondo de Fronte (The World in Front) opens proceedings and is more than nine minutes long. Lenzi introduces himself with a gentle piano before the main track commences featuring recurring guitar riffs and a keyboard sequence sounding for all the world like the 70’s television show, Mission Impossible. However, once the band pick up their own vibe, what we have here is an extremely enjoyable track except for the swirling keyboards I raised before. Because, when these have died down five minutes in to be replaced by an altogether more pastoral and modern set of light keyboard chords, the transformation is instant. When we get some delicate guitar chords placed into the mix, the track becomes a very lovely one. Yes, I know that these types of mood and instrumental changes have been a feature of Italian instrumental prog since time immemorial, but I like the new, and the way the guitar raises itself to dominate a thoughtful drum and bass beneath with some understated keys brings delight. This track, to me, pretty much summarises the album. Lengthy passages of sheer beauty and originality interspersed with derivative noises which might delight some but grate to these ears. Thankfully, this criticism is a minor one.

Frammenti di un Giorno (Fragments of a Day) follows. Those of the traditional bent will love, as I do, the solo flute which opens this before the main section begins with a smoky, jazzy feel with wistful flute and thoughtful keys underpinned by a trad jazz rhythm section. Some two minutes in, the piece morphs into something altogether darker, and the guitar which comes to the fore is lovely, if somewhat bleak in its execution. As the track moves towards its close, there are definite Floyd influences in the structure and execution.

Home Trip is another nine minutes plus track, opening with footsteps and effects before a jazz number kicks in with Lenzi demonstrating his versatility with a rather lovely smooth bassoon solo. This combined with a ghostly guitar passage is interesting before the guitar expands into an evocative solo just short of three minutes in. This is a gorgeous passage of music which at five minutes comes to a halt when we get a church organ solo from Lenzi, and fine it is as well, a baroque sequence which is far more interesting than the final two minutes of swirling keys which follow. In all honesty, I would have been happier if the track had been a couple of minutes shorter.

The title track is a gorgeous acoustic guitar piece accompanied by a thoughtful female narration. This track is quite beautiful.

Cartimandua follows. This lady was a queen of the Brigantes at the time of the Roman conquest of Britain and was a loyal vassal of the invading forces (I believe she offered to provide shelter to the doomed son of Claudius, Britannicus). The bassoon is once again played with such feeling, and the acoustic guitar and understated rhythm section which accompany this are delightful. When the mellotron is introduced as well, this is the perfect interlude to the main theme which reasserts itself. The transition into a darker guitar riff and thence to an extended solo is very well handled and quite natural. This has all the hallmarks of a very well thought out and executed piece of music and really is quite superb before it once again descends into a passage featuring some more 70’s keyboard effects, which really sounds so out of place with the beauty which came before. The choral effects right at the end are really nice, but in reality this track is probably a couple of minutes too long.

Coda marea 04 follows. There was a Coda marea 03 on the debut album. Marianna Vuocolo guests on this and brings an altogether dark feel to her violin leading a bleak set of riffs beneath her. The drum solo mid-section signifying a tidal storm is particularly good and the track then expands with another very good guitar solo, very dark accompanying the returning violin. Of particular note is the deep-set bass riff underpinning all of this.

L'ultimo Riflesso (The Last Reflection) is introduced by some fascinating effects and chords before we morph into a blues number dominated by those continuing chords and an understated piano. This is entirely different to that which preceded it and is a very strong and enjoyable piece of music. Some of the bass riffs accompanying the piano are dreamy and delightful before the lead guitar once again takes centre stage with an exquisite passage of music. Italian blues at its best, really. I have embedded the track below. Enjoy. A quite beautiful piece of music.

La Salita (The Climb) follows. Giusti’s didgeridoo at the beginning gives the song a Leveller’s feel, but this is quickly dispersed when the remainder of the band are introduced and here is again where personal taste comes to the fore with me. I do not like the keyboard solo but appreciate the guitar passage which follows it and the jazzy riffs underscoring this. When the guitar expands, the track is fantastic, but we are then transported into a kind of dystopian futuristic noise with effects and robotic voices moving us along, and I am somewhat confused as to how this accords with the music beforehand.

Tra Cielo e Terra (Between Heaven & Earth) is simply beautiful. The jazz sensibilities on display here provide us with confirmation of an extremely talented group of musicians and I appreciate the initial passage of Lenzi noodling, because it accords with the feel of the track and the sequence moves on to a marvellous passage where all four musicians provide us with an extended jam with definite structure. Some of the guitar and synth chords here are gorgeous before the bassoon makes a return to lovely effect. The denouement marks a change in mood to something altogether more earthy, if you will pardon the pun, and is probably quite deliberate in its gently bringing us back to reality. The track is embedded below and is a sheer delight for you to devour.

The closing track is Il Pomeriggi di Armida (Armida’s afternoons) which I believe refers to a Saracen sorceress created by Torquato Tasso. The bassline underscoring the Gilmouresque guitar is noticeable and the track progresses into another dreamy jazz number where you can simply close your eyes and be taken away into another world, or fantasy. The guitar solo three minutes in is simply stunning.

I have played this album several times. Any recommendation from Thomas is always to be taken very seriously, and repeated listens have brought their reward. It is not a perfect album, by any means, but it is one which fans of quality instrumental progressive rock, and especially the Italian variety, should welcome with open arms. Just over 76 minutes long, an hour of it is about as delightful a period of time you will spend this late summer.