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Giuntini Project - IV [with Tony Martin] (2013)

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Music : Rock : Lossless
Music:Rock:Lossless
Aldo Giuntini/Tony Martin - Giuntini Project IV (2013)

Release date:
May 24th, 2013



Lineup:

Fulvio Gaslini	 Bass
Ezio Secomandi	 Drums
Aldo Giuntini	 Guitars
Dario Patti	
Keyboards
Tony Martin	 Vocals


Songs:

1.	 Perfect Sorrow	                               
        03:08	 
2.	 Born in the Underworld	                        05:17	 
3.	 Shadow of the Stone	           
                    03:58	 
4.	 Cured	                                                        04:08	 
5.	 I
Don’t Believe in Fortune	                        04:03	 
6.	 If the Dream Comes True	                       
04:45	 
7.	 The Rise and Fall of Barry Lyndon	        04:33	 
8.	 Bring on the Night	                         
      04:20	 
9.	 Not the Jealous Kind	                                04:32	 
10.	 Saint or Sinner	          
                             03:57	 
11.	 Last Station: Nightmare	                        05:19	 
12.	 How the
Story Ends (Megadeth cover)	04:24	  Show lyrics
13.	 Truth Never Lie	                                       
05:12


I must confess I'd never really made any effort previously to look into Tony Martin's 

post-Sabbath career. I always safely assumed that it would be a shoddy aggregation of 

rehashed covers and
unadvised stabs at past glory, as is the case with most vocalists in 

particular who leave prominent bands
(Paul Di'Anno comes to mind). I'd never heard of the 

Giuntini Project either, or Aldo Guintini - who on the
face of it would seemingly number 

among the numerous obsessive and flashy neo-classical shredders lending
their names to 

projects.

Both rather egregious mistakes. While its true the style displayed on
this album does 

largely resemble Tony's previous efforts in Black Sabbath, its executed with such 

precision and energy that its really hard to call it a mere duplication. This can hold its 

own when
compared to any of those seminal albums. Giuntini, on his part - is barely a 

pretentious axeman, and has a
very uncanny sense of melody that dare I say rivals Iommi's. 

A lot of the riffs on here, sample the grinding
mid-paced crunch of 'Born in the 

Underworld' or the soaring harmonies in the fast paced 'If The Dream Comes
True' bear a 

style and a swagger that the original riffmeister has seemingly lost today.

In fact,
if anything becomes immediately apparent on hearing this - its that Tony Martin, 

more than his former
bandmembers is the real flagbearer for true heavy metal. His 

exceptional vocal melodies and incredibly clean
voicings (he surely listened to his share 

of Rainbow) shine through every song on here - whether on the
standout 'Not the Jealous 

Kind' which evinces immense commercial potential a la 'No Stranger to Love' or
speedy 

numbers like 'Perfect Sorrow' or 'Saint or Sinner'. Which just makes you wonder what could 

have been if Black Sabbath had any semblance of interest in making actual music instead of 

churning out a
sub-par regurgitation of a time long past with the closest equivalent of a 

particularly anti-musical hobo on
vocals. The prospect is tantalising, and with great 

regret - can only be forced when someone may finally
pull the plug on poor Ozzy and put 

him out of his misery. I kid, of course. But if anyone truly can, well -
you know what to 

do.

There are two instrumentals on the album - and in keeping with the general
trend to avoid 

excess, they are great rhythmic pieces and greatly add to the flow of the album rather 

than detract from it. The last of them, 'Last Station' particularly evinces a kind of 

menacing
atmosphere which I'd really like to see more of in the band. Its clear this band 

has far more potential than
they keep themselves to, and while they execute their current 

style with excellence bar none - it'd be nice
to see them progress and play something out 

of their current mould every now and then. The gap between
albums however reveals that we 

might not see a sequel to this release all too soon, but I definitely hope
otherwise. And 

in shirking my presumptions, this release gives me incentive to check out their back 

catalog for similarly strong efforts. 

Oh, and before I close. The track immediately after the final
instrumental is, rather 

inexplicably, a Megadeth cover. And a cover of a song on Endgame, at that. Now its
hard to 

imagine why the band would even think of doing this, and that's all I can say about it. 

The two tracks after it too are rather sub-par, and I guess this is in keeping with the 

long tradition of
tacking on needless filler at the end of albums. But that makes it that 

much easier to just press eject and
I won't really be deducting much from the score on its 

account.	 
 metal-archives.com		       
                                                      

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