As Tracking the Trends grows and matures, I make a conscious effort to keep things fresh and fluid here. I certainly cannot make good music appear in places I wish it would reside, but given enough time and dedication, I've found it not difficult to flush out a few noteworthy bands in any location. Additionally, in an attempt to make this column more accessible, you'll often find a wide variety of bands covered. The Italian Embrace is a wonderful example of this. I'd be hard pressed to write an article about the instrumental genre and at the same time include five bands of greater variety. Certainly Neil on Impression, Giardini Di Miro, Port Royal, One Starving Day, and Rosolina Mar all draw their influences from very different sources.

Yet, I'd feel something was missing from this article without mention of Turin's own Larsen, one of the instrumental bands that really has paved the way for this country. Larsen has reached a popularity unlike the rest of Italy's instrumental scene, and I try to "anchor" each of these articles with an inspirational band that has influenced those who have come after them. Though, an keen reader will realize much of Giardini Di Miro's work predates that of Larsen, the band has yet to impact the United States in such a way. Hopefully that all changes soon...

Neil On Impression
Forli

Website: Neil on Impression
Music: Myspace

Neil on Impression is Italy's rising young star. Lifting itself up through the successes of its predecessors, Neil on Impression joins the ranks of emerging artists like Yndi Halda, Saxon Shore, and Caspian with an elegant, yet utterly mesmerizing musical approach. The band's first release For a New Grammar of Feelings failed to impress this critic, but the band is back in 2006 with The Perfect Tango, which couldn't be more accurately named. Four tracks spill over thirty five minutes in length, and the band is sure that it is a memorable experience. Neil on Impression is a shimmering example of a versatile band, switching up instrumentation as readily as a the Norwegian quartet Samuel Jackson Five. Guitar driven instrumental rock gives way to piano and violin led segues which builds up unsurmountable tension and pressure straight into a denouement heightened by a horn presence (trumpet). Want some synth? There's some of that in the mix too. The lead off track is all you really need to get addicted to this band in an obsessive compulsive way. "The Stars Paint the Forest Gold" is not something to be taken lightly. Rock and classical compositions are balanced effortlessly as the band navigates the song through landscapes that the listener didn't know existed. The song comes complete with a devastatingly cathartic ending that washes the album in a placid mood that penetrates deep into the cerebrum. The title track caps off the fantastic album, wrapping the entire thing off in a complex web of noise and rhythms, movements and emotions, and letting the last few drops of sweat bleed from the pores. You can sense the devotion and determination of the band throughout The Perfect Tango. The complexity of the music and talent of the band speaks for itself by the album's end, but there's more here then just music and art. Neil on Impression manages to put a substantial emotional stamp on the album that makes it an unforgettable listen.

Make no bones about it, Neil on Impression is a smart band with a driving force that won't be ignored. In my book, they join the rare ranks of bands like Silencio, Samuel Jackson Five, and 65 Days of Static that are just too good to resist. Using an approach as widely acceptable as Neil on Impression can only result in a remarkable response. Although The Perfect Tango saw proper release in February, the band has yet to really pick up international steam. However, much as 2005 was the year of Samuel Jackson Five it is looking like Neil on Impression may come out and be the Cinderella story for this year. I can't stress enough how magnificent this release is. Any self-proclaimed fan of instrumental music needs a copy in his collection.

Giardini Di Miro
Reggio Emilia

Website: Giardini Di Miro
Music: Myspace

Combining antiquated post-rock/slowcore instrumentation with an occasional vocal presence, Giardini di Miro straddles the line between the traditional instrumental framework and the indie rock world. Those who enjoy the aesthetics of the post-rock world, but still feel lost without the aid of a singer will find Giardini Di Miro a wonderful noise in their ears. Hits for Broken Hearts was the band's last full album, although, true to the post-rock dogma, they've kept fans busy since then with vinyls and mini-albums. Giardini Di Miro excels foremost in its ability to keep the album changing forms from one song to the next. Some songs are pretty stereotypical quiet/loud post-rock songs, others concentrate on the slowcore sound, while still others branch off into indie rock accessibilities. Hits for Broken Hearts generally falls squarely into the first two categories, filled with Mogwai inspired instrumentation and depressingly dense structural boundaries. However, the EPs and vinyls explore other areas, drawing into indie-rock and experimental territories and offering a different side of the band, often including vocals in the process. Songs like "Dancemania," "Pearl Harbor," and "Tom(ahawk) Cruise," show the mature songwriting and profound understanding of the band's roots, but the band shows time and again that it is not content to simply be another "post-rock band." In the seven years that Giardini di Miro has been releasing music to the world, it is frequently changing its sound and experimenting with new styles and presentations of sounds. If that's not a formula for success, I'm not sure what is.

Giardini Di Miro is a band that will always deliver something new and refreshing, yet tangible enough not to isolate the listener. This is a skill we often take for granted in the music world, as our favorite bands come and go due to changing trends and stagnant creative sources. The band is currently working on its third album, which will see a release in the summer/spring. Expect it to be a new sound from the band, but also expect it to be something mesmerizing. While Giardini Di Miro isn't a band flashy enough to be called "head turning"--they're actually much too collected to strive for that-- it definitely isn't something you want to miss out on.

Port-Royal
Genova

Website: Port Royal
Music: Myspace

Port-Royal comes from the school of thought that more is better. Many instrumental bands this day and age are foregoing the foreplay and going straight for the kill, but not Port-Royal. It would much rather caress the listener over a 10 or 20 minute song (split into three parts) and then go straight for the kill. The band builds up a rich landscape with ambiance, dense atmospherics, and electronic noises. Much of the time you kind of sit back and wonder if the band has a drummer. Or any guitarists. But rest assured, they all come into the picture full force during the climaxes -- sometimes. Sometimes they explode with instrumental force, sometimes it's an electronic barrage on the central nervous system. "Spetsnaz/Paul Leni" is mostly a computer affair. Subtle electronics and ambiance glide this song freely along the track without much resistance. "Karola Bloch" fights back with more of an aggressive edge, using the electronics as an aggressor and a swirling, damp atmosphere attempts to offset its jagged advances. The "Flares" and "Zombione" series are clearly the drawing tracks of the album, creating complex paths by way of electronics, guitar effects, and most importantly ambiance. Flares seemingly intends to trick the listener into a false sense of security with light sounds and them suffocate it with a guitar blast of turgid ambiance. In this regard, "Zombione" serves as the prelude to the monumental blow served up by "Flares". Yet, as soon as the band finally releases its aggression, it recedes back into its safe cocoon of ambiance and repetitive guitar riffs. Flares is subtle and moving; each listen delves a bit deeper into the sounds created by the band.

In the end, Port-Royal is an oddity of a band that is perplexing, yet engaging. I can't claim to have completely wrapped my mind around the band, although I've spent countless hours attempting to do so. That should speak for itself, but the idea is that although the band comes off as very unique and original, I can't but help to feel that they could really tighten up their sound. As is, I always think of them as an extremely bloated hybrid of 65 Days of Static and God is an Astronaut, one that isn't concerned with coming off as excessive or superfluous. There's no doubt in my mind that Port-Royal is experimenting with some tricky formulas in Flares, and once they have the method down the resulting album is going to be a tremendous piece of art.

One Starving Day
Naples

Website: One Starving Day
Music: Myspace

I've always held the impression that post-rock fans listened to the best metal. You can easily classify the average instrumental fan as the kid who doesn't like heavy music and screaming and drummers who go through several pairs of sticks in the same song. But that's not true. This type of music fan likes his music loud and fierce as well, but he's just very selective about what types of metal he listens to. It's generally the bands that experiment in the doom and avant-garde genres, bands like Neurosis, Kayo Dot, Isis, Rosetta, and Mouth of the Architect. These are bands that believe that metal isn't an unrelenting assault, but a swift conclusion to an open question. They aren't power hungry or desiring extraneous guitar solos, but they are patient and know that the key to a perfect song rests in execution and not force. One Starving Day is very much that type of band. If I didn't know any better, I'd fashion them a member of the Translation Loss family. All the reviews of Broken Wings Lead Arms to the Sun draw a comparison to the balance between Neurosis and Godspeed You! Black Emperor that this band pulls off. While such comparisons can ultimately be dangerous and divergent for many music listeners, it is clear that One Starving Day is highly influenced by post-rock and the sludge/doom worlds. Spacey instrumental segues lead into a breakdown of metallic riffs and surprisingly smooth drumming. Admittedly, Broken Wings Lead Arms to the Sun is a bit lighter than you might expect from a "metal" band, but you must remember that the band merely picks and borrows from the genre in the creation of its sound. "Black Star Aeon" and "Fate Drainer" are undoubtedly the strong points of this album, but overall One Starving Day offers up a treat with its debut album.

There's many ways in which this band could evolve in the future. The material on Broken Wings Lead Arms to the Sun is actually several years old, which doesn't give an accurate portrayal of where the band is now. Personally, I'd love to see the band step up the notch on its sound and bring the post rock and metallic worlds closer together. Although we have metal bands with post-rock influences, and post-rock bands with metal influences, I still haven't seen a band unite the two with a smooth transition, and I think One Starving Day may be the band most likely to do so. This is quite a burden which I place upon this Italian band, but hopefully they'll be able to deliver a new breed of catharsis in the future--one that is as arty as it is twisted.

With chugging melodies and upbeat, energetic instrumental music, Rosolina Mar seem pretty intent on jamming through the course of Before and After Dinner. Unlike most "normal" jam-filled efforts, Before and After Dinner is a short affair. Songs never push the five minute mark, and few of them dare to reach out much more than four minutes in length. The band draws influences from the improv and dub worlds, carelessly tromping in all directions. My main complaint with these types of bands is that they often get lost in their own (mis)adventures, sacrificing any notion of coherency for a fun filled excursion. I'm not about to say that Rosolina Mar is a no-frills band, but they surely take everything in moderation. Moderation is key. The trio shows a uncanny knack at stitching together compositions that have no right to belong in the same album, let alone song. Backed by some absolutely wonderful drumming, the guitars take turns letting loose on the sonic landscape. It's a short ride, from beginning to end, but the band has little problem maintaining the listener's attention. When I had first heard about this band, I had doubts that they'd be able to create a full sound going simply with three musicians and a progressive attitude, yet my doubts were quickly extinguished. Moreover, the addition of more instruments would clutter things, and the band has made the right choice by keeping it close to home.

If you ever went to a Mars Volta concert and thought that the 20+ minute jams were a bit excessive, Rosolina Mar may be for you. Even if you like the 20+ minute jams, this is still probably a band for you. Before and After Dinner captures the instrumental scene in a time when bands are off experimenting in other areas and Rosolina Mar takes advantage of this by creating something that is very different and unique for 2006.

~Jordan Volz