Review from musicenthusiastmag.com "This album consists of twelve wildly diverse songs, ranging from neo-classical guitar to full on electric shredding, and everything in between. Any guitar lover can easily find something to connect to on this CD, beginning with the opening track “Equinox”. This song starts out with very traditional sounding classical guitar, which picks up with winding speed. The song is fleshed out with exceptionally heavy double bass drumming, quick time changes, and explores several different playing styles before finally returning full circle to a classical acoustic ending. The next three songs take the listener on very distinct journeys: the first, “Lotus Effect”, is the only track with any recognizable vocals, which resembles something close to an Indian chant plus sitar. There are several Dream Theater elements in this piece, the song itself telling a story. Even the drum work is similar to something one would expect to hear on ‘When Dream and Day Unite’. However the solo is much looser and upbeat, with a Satriani flavor. “Lotus Effect” is wrapped up with the return of the chanting and sitar playing. The title track follows, which starts off ocean side, evoking castle-like imagery. This song suggests a more European power metal feel, with Yngwie-esque guitar playing: but not as over-the-top, and much more defined. As the song concludes, it returns back to the sounds of the ocean. “Sorrow” is the next track, which is the first truly classical guitar offering. The guitar playing is very smooth and melodic, with portions of the song venturing into Spanish guitar. Going into the next four tracks, the direction changes again with “Flight of the Sleeper”, which produces the same imagery as the title implies. It conjures nightmarish visions, like the soundtrack to someone running from a bad dream. There is a powerful bass solo that punches through the middle of the song, and maintains a breakneck pace until two thirds of the way through. The song’s dark but fast tempo once again takes a positive sounding, Satriani-like break. The tempo continues to shift back and forth in this fashion until the end of the song. “Entr’act” sounds just like its unusual title: it is an interesting 45 second interlude, using clever guitar effects to suggest flowing water. The next evolution is “The Power of the Whip”, where full on shredding reigns. This song takes no prisoners, thundering along and moving so fast the listener almost can’t keep up with the twists and turns. Towards the end of the song, there are guitar runs layered under the main guitar riff, finally realizing the sound of a cracking whip. “Dream of the Dead Tree” presents a new set of imagery, supported by rain, classical guitar, a steady bass line, and guitar harmonies. Backing keyboards are introduced here, adding to the scenery of a dead tree standing in the rain. The final four tracks continue to expand on different playing styles. “Rise of the Titans” borders on an operatic aria, with the rising and falling of the guitar’s tone. There is very intense drumming in the center of the song, which switches to mid tempo, then gradually the guitars move into almost thrash levels of speed, like the guitar is at overload by the end of the song. The only explanation that “Ballade No.3” needs is that it is a power ballad, but in instrumental form. This is song that features some significant John Petrucci overtones, with bright, clean guitar riffs that intertwine with moments of distortion. By contrast, “The Ride” is a dirty, grungy throwback to 80′s-style metal guitar, in the vein of Iron Maiden. Along those lines, the guitar mimics the movements of a horse galloping across a battle field. “Commiato” concludes the CD, with low, dark, yet still neo-classical guitar. Antonello Giliberto can only be described as a diverse player. He explores so many different styles of guitar playing throughout this new collection of songs, as his style evolves from one to the next, the songs themselves follow suit. It’s obvious that he draws a wealth of inspiration from the world around him, and then translates those images into the music he creates. Few musicians are willing to take those kinds of creative risks, but they definitely work to Giliberto’s great advantage. Only time will tell if he joins that pantheon of progressive instrumental players, but if we take away only one thing from ‘The Mansion of Lost Souls’, it is that he more than deserves it. Review from battlehelm.com "As I don’t play the guitar myself I try to stay well clear of instrumental guitar albums. I can appreciate a really good guitar solo but I have no way of deciphering the technical skill of any guitar player. But I’m no stranger to a good challenge every now and then hence me reviewing this album. There is no doubt that this is heavy metal. No matter how much neo classical influences you are supposed to hear on this album it is in its purest form a heavy metal album. And as such this is a really cool record. It would have been even cooler if it had had an awesome vocalist add to the sound. But since there isn’t one the guitar has to do the singing. I miss guitar solos in my metal. I have no idea why they disappeared. There is nothing like a really well executed guitar solo. This album is filled with them. Anders Ekdahl " Review from metallian.com "This Sicilian, and classically trained and Johann Sebastian Bach disciple, guitarist discovered the heavier side of things via Yngwie Malmsteen. He was nudged to find out even more and the likes of Vinnie Moore and Tony MacAlpine strengthened his rock and metal resolve. Equinox, the opening song, is certainly lively, heavy and showcases Giliberto's expertise well. Lotus Effect continues to stay on the heavy side with no sign of any long acoustic passages, yet. If anything this is, so far, much more heavy metal than one might expect of solo and instrumental guitar albums. The title track, much like most of the rest, doesn't exactly hide the Yngwie influence. The first acoustic segment makes it appearance on the aptly titled Sorrow. Flight Of The Sleeper begs for vocals (a 'full' song as it were) or perhaps it is best left in its enjoyable instrumental glory. Entr'act is short, unsurprisingly. The Power Of The Whip is pacy and makes the listener reach for the (air) guitar. Dream Of The Dead Tree is acoustic and introspective. Rise Of The Titans seems to insist on staying heavy. Ballade No.3 is a toned down version of the rest. The Ride is the speed metal song of The Mansion Of Lost Souls, sometimes sounding like German heavy metal. Commiato is a minute long back to the silence type closing outro. - Anna Tergel "