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Adam Nitti has announced pre-release for his new album, The World Is Loud. Fans can order a bundle that includes a signed CD, sticker, and button here, and view the lyric video for the first single, “Zombies,” here:

Read Bass Magazine’s review:

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Adam Nitti

The World Is Loud [Renaissance Man Music]

Adam Nitti points progressive rock in a new, bass-enforced direction on his impactful latest effort. Setting out to make a vocal record addressing our reliance on (and addiction to) technology, Nitti planned on guest vocalists and guitarists, only to handle lead vocals and much of the guitars and keyboards himself. The result is a purer path through the muscular eight tracks, powered by a handful of hefty drummers, including Keith Carlock and Sonny Emory. The title track opener establishes the album’s main characters: Nitti’s comfortably-phrased, Geddy-like lead vocal and his growling signature Ibanez 5-string, which provides both an R&B-minded pocket and presence on the bottom, and a fill-issuing countervoice between his vocal phrases. Throw in a thrilling bass step-out in the bridge for good measure. “Zombies” balances a heavy verse with a melodic pre-chorus and chorus before yielding a hellacious guitar and bass unison section, both played by Nitti. “The Locust” changes the palette, with Adam’s lyrical fretless bass and acoustic guitars underpinning a track increasingly forged in metal as it develops. “The Professor” (dedicated to the late Rush drummer Neil Peart) is a tour-de-force, odd-meter instrumental that begins with a beastly, angular bass riff, features a bluesy bass solo, and rides the kinetic kit work of Jason Palmer. Elsewhere, “Beat of my Heart’s” incessant, head-bobbing eighth-note groove and dual lead vocal (with Billy Buchanan) is full-on hardcore. In contrast, “Without Love” rides a techno-intoned 16th-note ostinato and a huge pop backbeat, while drawing its rock pedigree from a wall of wailing guitar lines. The closing instrumental, “Truthseeker,” adds an Eastern tonality and melody reading, an evolving bass solo, and a slapped peek-out. It’s a microcosm of what Nitti brings to the project, which include the outside influences of jazz and funk, and his faith, reflected in his forthright, optical lyrics. –Chris Jisi