Marco Sfogli
There's Hope

The young talent from Caserta makes the first move to enter the ranks of notable guitarists.

Marco Sfogli, a very young talent discovered and hired by James LaBrie for his solo album "Elements of Persuasion," releases his first and much-awaited solo album titled "There's Hope."
Distributed by Lion Records, this debut solo album showcases the technical and compositional skills of the young artist from Campania.

So, is everything we will hear golden? Partially yes and partially no. I believe Sfogli is still a bit too influenced by some of his peers. Nothing serious, of course, but at times his imprint on these tracks is missing. Indeed, we transition from extremely original, fresh, praiseworthy pieces to moments where that freshness is lost, particularly in segments where Sfogli needed to show he could break away from certain shadows that have hovered over him since his world debut with the album alongside LaBrie.

Moments of incredible class and musical greatness thus accompany slightly underwhelming moments that lower the average of an otherwise perfect album.

If the opener "Still Hurts" sits on the tracks of mediocrity, at times a repetitive piece albeit with a grand theme, the following "Andromeda" elevates as one of the best tracks on the entire album: a very fresh composition, remarkable in every technical and gentle passage, with a central section that would make any of his more renowned colleagues blush. And this excellent track is wonderfully accompanied by the subsequent and equally excellent "Seven". A track I listened to several times before falling in love with it. Truly heart-wrenching melodies, little technique, and lots of heart. The first sour note comes with the title track "There's Hope". The first exam? Yes, because Sfogli attempts a truly metal piece with a powerful rhythm. It's a pity that at times echoes of solo Petrucci are heard, especially in the main riff and the first solo parts, parts that remind of "Jaws of Life" by the theater guitarist. "Spread the Disease" I find somewhat pointless and somewhat a cliché of certain solo albums. I gladly skip "Farewell", which in too many spots reminds me of a certain bald guitarist named Satriani, to finally move on to two truly original tracks: "Sunset Light", very varied and personal, while "Genius" deserves a separate discussion for the incredible work that permeates the entire track. It will be a strange piece, a bit prog, at times fusion, but it is fantastic in every variation, in every sudden change of key, tempo and in every single passage, even the most technical.

"Never Forgive Me" is an excellent ballad, perhaps already heard, a bit too flattering that winks at many guitarists who have made similar tracks a trademark, but it is listenable, enjoyable. "Memories" is another of those beautiful tracks, sure, with a piano and a guitar taking the lead, but it is a modus operandi that is not original at all and is a path that strangely seems to have become a must for guitarists. The only truly successful experiment is the "risk" of venturing into country, and indeed the album closes with "Texas BBQ". Which crazy guitarist in an album dedicated to shred would put a country track? Well, today I can say that Marco is one of them, and he makes an excellent choice: the track won't be an explosion of originality, but given its sudden appearance, it's a delightful surprise, and, allow me, I'm mad about country!

The production and sounds of this album also deserve praise, excellent.

So is it approved? Certainly, for those 5 or 6 tracks in which he showed great skills and played great music where you can say: "it's Marco Sfogli". The rest is not to be discarded, and it's understandable to expect from a rookie a composition work that picks here and there in the world of his peers. Perhaps it's the experience factor, and it makes perfect sense. For now, it passes. And I await him at the gate for an album that is more "his".