ATHENA XIX

Now here's a blast from the prog metal past. Originally formed more than 30 years ago, in Pisa, Italy, ATHENA XIX (initially known simply as ATHENA) were the creative starting point for Fabio Lione, one of the most respected power metal vocalists of all time. Best known for tenures in both ANGRA and RHAPSODY, Lione has rarely had enough time to take a shit, let alone resurrect his former band, but the planets have aligned sufficiently for the Italians to fully reconvene, and "Everflow Part 1: Frames Of Humanity" delivers their first new music since 2001's "Twilight Of Days". For fans of traditional prog metal (think DREAM THEATER and SYMPHONY X, rather than TESSERACT or PERIPHERY),this is excellent news.

Although fairly low key and underground, ATHENA XIX's early records are highly rated by those who know, and Lione's reputation speaks for itself. But the key to appreciating this unexpected return lies in the difference between how prog metal records sounded back in the early '90s and how they sound today. Back on their debut album "Inside, The Moon" (1995),ATHENA XIX were clearly the finished article, but production values for bands that were not on major labels were necessarily inferior. Three decades later, there are no such barriers. "Everflow Part 1: Frames Of Humanity" sounds colossal. Sophisticated, multi-layered and ruthlessly contemporary. These songs retain much of the compositional intricacy and melodic suss that informed their early years, but ATHENA XIX have undergone a wholesale sonic update. They now sound monstrous, meticulous and instinctively forward-thinking. This is the first part of an expansive conceptual splurge. Billed as a journey through the human subconscious, its succinct but nuanced songs ebb and flow, permanently awash with melody, but ablaze with virtuoso musicianship and always considerably heavier than previous records ever hinted at.

There are many sublime moments on "Everflow Part 1: Frames Of Humanity". Some of the finest songs succeed through sheer force of melodic personality. The opening title track, the heartfelt and fiery "The Day We Obscured The Sun", and the dark and disquieting "What You Most Desire" are all instant gems, with heroic vocals from Lione, and plenty of smart, syncopated riffing. Even better are the moments when ATHENA XIX flex their prog muscles with a little more intensity. "Idle Mind" and "Synchrolife" are particularly thrilling: with countless bewildering twists, futuristic embellishments and some wonderful guitar histrionics from six-string maven Simone Pellegrini. They hit all the desirable prog metal targets, while adding a few more tricks and twists to the band's arsenal of bright ideas. Likewise, "I Wish" is an obvious showstopping centerpiece, with guest vocals from Roy Khan (CONCEPTION / ex-KAMELOT),dizzying flurries of old-school prog keyboards from Gabriele Guidi, and a sumptuous but crestfallen chorus that creeps in from left field to deliver a jolting emotional punch.

It took ATHENA XIX a long time to fire the engines up again, but the quality of this comeback says it all about the virtues of persistence. This is a very fine record and a great way to fire up the Italians' creative engines for a second bite of the prog metal cherry.