From “Orpheus and Eurydice” onwards, the scene is set: dialogue between male and female voices, dramatic tension verging on the operatic, sweeping orchestrations and shifting rhythms. We find the DNA of Mediterranean progressive rock, that of Le Orme or Banco del Mutuo Soccorso, with its characteristic lyricism that embraces both narrative and music. But Enter doesn't stop there: the structure of the piece, its changes in tone and its instrumental flights of fancy also betray a more Anglo-Saxon style of writing, reminiscent of Magellan or Kansas, which is even more evident in “The Age of Colossus”.

Each track functions as a stand-alone piece while contributing to the whole. “Excalibur”, the stylistic pivot of the album, alternates between jazz piano, orchestral tension and sharp guitars, demonstrating the band's ability to fuse their influences. The rhythm section formed by Marco Melloni, Franco Avalli and Marco Ferranti acts as a real narrative engine: solid but never static, it embraces the variations in mood with an almost cinematic sense. And when the guest guitars - from Scott T. Jones and Diego Belluschi to Fabio Troiani - join the narrative, they add both nuance and depth, without ever breaking the sonic unity.

While the foundation remains organic, the use of a Virtual Orchestra adds an extra dimension. Far from being a mere veneer, it contributes to the very architecture of the songs, giving the impression that the legends summoned are unfolding on stage. This breadth is reinforced by a clear production, which avoids saturation while retaining an old-school warmth. Even the remote recording of the vocals – Vivien Searcy in Sweden, Jimmy Keegan (Pattern-Seeking Animals) in Los Angeles – finds its coherence in the final mix, proof that the concept was thought out as a whole.

The last part of the album (“Moai”, “Göbekli Tepe”) is more contemplative, almost sacred, as if, after going through the drama and the epic, the images had to be left to resonate in silence. The journey ends with a sense of closure, but one that is open to the future. Because ‘Awakening the Past’ is not just a tribute to a golden age of prog: it is proof that in 2025, it is still possible to combine grandeur, cohesion and imagination without getting lost in nostalgia.