Review by Matthew Forss - Rating: 5 stars (out of 5 stars)

The Italian, Giuliano Vangelista, is the brainchild behind Euler’s Number, but some vocals are provided by the talented Giorgia Rambelli. The mathematical precision of Euler’s Number is found in the musical progression that encapsulates electronic, progressive rock, space rock, new age, jazz, and avant-garde leanings that are difficult to define, but easy to enjoy. The new album boasts nearly seventy-minutes of music over twenty-six tracks.

“Deep Space Panorama” begins with electronic burbles and Giorgia’s spoken narrative. The crystalline beauty of the ambient washes adds texture to the song. The spacey sounds are reinforced by the space-driven narrative. Despite the short length of only thirty-nine seconds, the music is a fitting intro or outro that rests the mind from the more upbeat tracks.

“Getting’ Ready To Leave” opens with some acoustic percussion unaccompanied by additional electronic adornments, until the synth-driven sounds kick in and a jazzy piano melody adds a lounge feel. The spacey and laser-like synth sounds are reminiscent of the space music of the 1980s or 90s. Nevertheless, the acoustic percussion regains form and is greeted with a blurby mix of electronic sound effects without losing much power. The jazzy piano leanings break-up the electronic wizardry and spacey elements. Anyone interested in experiencing space music with a bit of jazz will find satisfaction in this track.

“Nebula” begins with a spacious, swishing sound that fills the background and foreground. The spacey and ambient washes merge into a fluid, whistling sound that is somewhat muted overall. The fluidity accompanies the electronic washes with ease, before a piano melody takes over. The dry, piano keys are rather raw and organic without any additional instrumentation. However, drum percussion and laser-like blurbs accompany the piano, as the piano becomes more fluid. The percussion provides an exciting mix of spacey, jazzy, and electronic leanings that thoroughly encapsulate the listener and the track.

“Landing On A New World” opens with sparkling synth keys and a fluid, metallic presence with spacey washes and a little percussion. The swishy sounds merge into a gurgling array of buzz-driven electronic sounds that are magnificent and piercing. The upbeat percussion and electronic vibes create something fresh and exciting in a similar vein to some of Tangerine Dream’s earlier work, or even Mike Oldfield’s work. All in all, the sparkling tones, percussion, fluid keys, and synth-driven, piano sounds paint an aural picture that is varied, yet provocative and fitting in multiple genres.

“Raze To The Ground!” begins with a buzzy, electronic introduction that includes a little percussion after thirty-seconds. The music is slightly funky with reverberating B3, synth sounds and clanging cymbals. The wild sounds are relatively in-line with other songs on the album; however this song contains a little more blues or gospel undertones. The instrumental rock sounds seem like rock ‘n’roll on a diet, because there are no guitars or vocals present early on. The latter half of the song brings in fluid flute sounds and rock guitar-like synth sounds. This is the most rock-centric track and some of the melodies are not completely unlike video game music.

Overall, Euler’s Number is a magnificent group that experiments with a plethora of musical styles and genres—and succeeds. The electronic vein is most prevalent with many of the songs containing melodic, upbeat, and danceable music. The mix of jazz and electronica is surprising, but it works. Fans of jazz with a hankering for something a little more exotic and futuristic should be pleased with Escape To Eurybia. This is an intergalactic soundtrack at the very least.

Rating: 5 stars (out of 5 stars)