Vision Divine
9 Degrees West Of The Moon

I couldn't wait for it to come out. I couldn't wait to listen to it. But, at the same time, I harbored a significant fear inside me. This fear was called “Fabio Lione," a singer with innumerable vocal gifts, perhaps one of the best in the Italian power scene (and beyond).

In short: a great personality who, however, I have always considered unsuitable for the musical genre proposed by Vision Divine. At least since Michele Luppi joined the band, a distinguished singer who, after “The 25th Hour," presented his resignation to the band, preferring to focus on his AOR vocations rather than the power-prog of Olaf Thorsen's Divine Vision.

This fear of mine was especially due to the fact that the first two Vision Divine albums (“the self-titled and “Send Me An Angel”) had not excited me at all, seeming like the classic power metal records, all neoclassical and fast. In short: the same old story, just to be clear. I also pointed out my fear during a personal interview with Olaf, asking him if, by chance, the return of Fabio Lione to the lineup had led Vision Divine to dust off those (hateful) melodies now dormant.

Good Olaf reassured me and said that by now Vision Divine was a band little interested in power tout-court but increasingly oriented towards experimentation and closer to prog rather than the lousy power.

But, as they say, I don't believe it until I see it... and I must admit, this record doesn't make me miss Michele Luppi at all. On the contrary, I'll say more. It seems that Fabio Lione is perfectly at ease with his vocal cords and is the true star of the compositions of “9 Degrees West Of The Moon.” Really in a state of grace, I couldn't wish for anything better.

But the surprises don't end here.

Of course, Vision Divine cannot be defined as an eclectic band, or almost. But here, on this record, they unleash all their true power and their intentions: those of ditching power metal, its stupid neoclassical and hyper-fast solos, the double-bass drum drives... in short: all the classic clichés that make power a genre detested and hated by many.

Finally, you can breathe the air of innovation and the desire to definitively leave the past behind, shaking off the specter of power to devote to something different and, let's say it, innovative.

The dance opens with the suite (almost nine minutes) “Letter To My Child Never Born” which will be used as a thread for all the tracks in the batch (the album, in fact, is not the classic concept Vision Divine has spoiled us with, but represents a sort of dialogue between a father and his unborn child. A dialogue that opens with the first track, with the others lyrically detached but, however, linked to the first). The song, with a dark opening, unfolds into a classic speed song with a very catchy refrain, with a nice central break that breaks the pace of the song, slowing it down and making it more reflective. It is followed by the powerful “Violet Loneliness” which will most likely become the first single of the record and can also be heard on the band's Myspace. A song where Fabio Lione delivers an excellent performance.

However, these two songs say little or add to what really needs to happen. Because the news comes from the third track onwards, to the end. From here on, in fact, the album will lose that “easy” impact strength steeped in the catchiness of the songs, to focus more on their structure. Here, then, the new Vision Divine is born, showing their darker side in “Angel in Disguise” with a “desperate and suffering” Lione. Wonderful.

“The Killing Speed Of Time” is the meanest track on the record, where Fabio Lione is ready to deliver what are his “growls” (he actually modulates his vocal cords for a rougher and meaner performance) and where Alessandro “Bix” Bissa's drums explode in all their destructive fury, then “calming down” in a more meditated and melodic refrain.

Excellent the performance given by Olaf himself, who is no longer engaged in performing lightning-fast solos with scales and overscales. This time their execution and listening become more “linear” and, apparently, more “easy” (except in some isolated episodes where our friend, pulling out the stops, showcases his inexpressible talents as the great guitarist he is). Thanks, above all, to the great work of Alessio “Tom” Lucatti, who manages to build excellent soundscapes with his keyboards, skillfully maneuvering between keyboards and piano. A great one.

And if “The Street Of Laudomia” once again shows the band’s most dynamic and versatile side, in “Out in Open Space” we are shown the band's almost maniacal care for arrangements (perhaps one of the most beautiful songs on the record). The title track picks up the father-son dialogue again (“Tell me, father: Is it time to go, really? A little more time Let me stay with you...”) and, musically, it is an authentic poem, a slow and melodic gem, with the entire band in a full idyllic state.

Closing the dance is the cover of “A Touch Of Evil” by Judas Priest, performed quite faithfully to the original, although Lione’s voice is not as mean and angry as that of good old Rob Halford (although, to be fair, Fabio tries very hard to imitate him! The scream “...You’re possessing me!” is heart-stopping!). But these are details. Overall, the cover is successful and quite well done.

And, still staying on the theme of “overall," the album turns out to be the best ever composed by Vision Divine to date, being full of countless changes in atmospheres, as if, at every moment, there was, behind each song, a different mask from the previous one ready to be lifted to show the true and new soul of this Divine Vision that has given birth to one of the best albums of its career, “9 Degrees West Of The Moon,” surely an album that will not bore anyone and will appeal even to those who have always seen Vision Divine as a band devoted only to power metal and incapable of evolving.

Well, with this jewel, our heroes will show the world what they are truly capable of doing!

Excellent performance, excellent band, excellent production (thanks to the “magic hand” of Mr. Tolkki) and, in conclusion, an excellent record.

Nothing more to add except: highly recommended listening with a consequent invitation to purchase the record!