CENOBIUM is a Latin word that refers to the place, the cenobium, where monks live a communal life under the same rule. The origin of the word is Greek, combining the meanings of koinos (common) and bios (life). This project originates from musical practice sessions dedicated to that "rule" which is Afro-American music, involving bassist Andrea Lombardini and some extraordinary young musicians from northeastern Italy. Lombardini’s leadership paves the way, with maturity and experience, for the innovative ideas of Edoardo Cian on guitar and vocals, Giulio Jesi on saxophone, and Francesco De Tuoni on drums, engaged in a repertoire of original pieces and reinterpretations of music from various genres, even if they may appear to be disparate. In the collective’s music, instrumental and vocal elements coexist, intertwining acoustic, electric, and electronic sounds, alongside Afro-American and European traditions, as well as post-rock influences, in an extraordinarily coherent narrative.

No easy album to classify, 'MMXXIV' is an album of contrasts. Six tracks totally a scant 32 minutes, it covers a lot of ground. The opener, "Afro-Centric" sets the tone with jazz improv with a sort of '70s vibe to it. "Grains of Sand," which follows, is a colorful ballad with jazz touches but more like an indie singer-songwriter sort of tune. While he's got a good voice, I'm not really knocked out by Eduardo's vocal style on thus one; too commercial for my taste. "Curly" features some excellent sax work by Giulio, but fails to develop anything thematic to hold onto, skittering around randomly, like that electronic mouse toy I bought my cat for Christmas.

"Missed" is surely a better song than the last one with vocals, likely because it was written by PJ Harvey. I never considered this one of Polly Jean's better songs, but Cenobium finds a way to make it amazing, with a lot more drama and a way better arrangement. Impressive! Finally, on "Shifting Smiles" Giulio delivers the kind of vocal treatment I'd expect from a project like this; jazzy and progressive. Everything works well here, but this is more fusion than avant-garde. Final track, "Eggplant" starts out smooth and mellow with instrumental improvisational solos beginning with Jesi's sax, then Cian's guitar, cranking it up a bit in the distorting department. Not a bad track, but I was expecting maybe a bit more. These are extraordinary players, but the compositions aren't quite there yet, something that may be overcome in time. After all, this is a debut album.