My main problem is that there is nothing here that either offend me or amuse me. Everything is good here This album is a flat and featureless as the prairie in the USA. In other words; this album gives me some pleasure, but does not satisfy me.
The guitar solos brings this album up to a three stars Review by erik neuteboom Prog Reviewer. I have not yet heard the previous albums but, judging by the reviews of those I have read, this album is quite a departure as it is much less like Progressive Rock.
The artist used acoustic instruments piano, celeste, flute, clarinet, tenor sax, trumpet, trombone, French horn, xylophone, bandoneon.
Andrea Cavallo is the composer of all the pieces and also played many of the instruments. Despite the predominant use of acoustic instruments and the classical-jazz pretensions, the compositions are relatively simplistic sometimes rather unimaginatively repetitive and, in my opinion, verge on the pretentious.
The music is pleasant enough but by no means stellar. The mention of Gershwin and Piazzolla in the write-up on the Mellow Records Web site, plus the evocative album title and attractive cover photograph of a tinted cloudy sky, were what attracted me to the album, and I decided to take a chance. The music is predominantly calm, ponderous and, as I said, somewhat simplistic. An interesting project and pleasant enough music but certainly not essential. Whilst this is generally considered to be their debut, the catalogue number implies otherwise.
The first couple of cuts are the strangest thing the band ever recorded, falling somewhere between industrial and pure avant-gardism, but much of the rest is more song-based and conventional, though still very weird, austere and neoclassical. However, with a relaxed, almost loungy edge, it may not appeal to many progressive rock fans. With some longer tracks and a bit more experimentation, this could have been an excellent LP; as it is, it contains some fine music but sometimes feels a little fragmentary.
The grade here may be a little generous: this instrumental album is neither adventurous nor complex, concentrating on riffing rather than pyrotechnics. But the music, which is beautifully recorded, sizzles in all the right places, the guitar and fuzz bass work is suitably assertive, and the whole thing makes its presence felt in no uncertain style. Everything still has a low-budget garage feel, but the music here is spacious and elegant and sometimes quite delicate — not words I would ever have associated with the Twist.
But whereas their last album represented a significant step forward, this is a step back — perfectly pleasant but a great deal less ambitious or imaginative. The longer-song format gives the duo a chance to stretch out, and the relaxed and spacious mood sets this apart from their earlier work. See also Twist. Musically, the album offers a mixture of McCartney-esque pop and neoprogressive: pleasant and well-crafted, but lacking the great songs to make it really memorable.
Although Regula Kamber contributes only backing vocals, she is credited along with the rest of the band for co-composing the music, and provides the lyrics to the title track. The reissue Pino Music RH 07 adds three bonus tracks from , which are a bit more accomplished but in exactly the same style, indicating that the band had not broadened its remit in the intervening thirteen years.
These cuts feature female lead vocals, presumably by Silvia Thierstein. The result is a solid set, but again completely lacking in any individual personality. Comparisons could also be drawn to Spinning Jenny and the peerless Folkal Point, and at its best this comes close to equalling the latter.
Ultimately, the label name says it all: this is indeed a little gem. Oddly, the album had two completely different covers: one showing a half-eaten pie and the other the band in silhouette. Really great spacey progressive with dark organ passages. Clearlight meets Porcupine Tree.
Gorgeous and quirky at the same time. Progressive with a slight pop edge. Long tracks. Stunningly beautiful! Elegie D'Inverno is all instrumental and has more of a classical edge to it. Limited edition of copies! POE - and one of the many brilliant one-offs from the 70s Italian prog scene. Good stuff! From Solid release. Rosso sounds like Jade Warrior but with a jazz edge to it. Processione is a bit more experimental.
A masterpiece! Their music began a bit on the heavy side but has morphed into something much more symphonic. The fisarmonica accordion played by the keyboardist gives it a real piratey sound.
Arrr… this is good! An absolute must for Porcupine Tree fans! FLEA - Classic hard guitar progressive from Has a hypnotic yet beautiful feel to them. Elmo's Fire. One of the best from the current Italian prog rock scene. Mix of symphonic and electronic music.
Only made! Excellent debut! Some great keyboards and guitar lead the way. First time on CD! Subsidea by Contrappunto. Leonardo Pavkovic. Purchasable with gift card. Overflow In The Silence She, God Bringer Right Of Life Nevermind After a concert which was at the same time on the radio Contrappunto change the guitarist and Sebastiano becames the new one He still do it! At the end of Contrappunto release the first demo, "Soundscapes", which is now unavailable.
In Contrappunto do many gigs and get a prize for the most original compositions between bands. In Contrappunto release the second demo, "Mini-Mood", with other 4 songs but this is also unavailable now; at the end of the year they sign the contract for the Brazilian indipendent label PRW. In Contrappunto release "Subsidea", their first CD and do some gigs for promotional.
In Contrappunto change the drummer and write new Material for the next album, they also do some gigs.''Subsidea'' was a nice entrance for Contrappunto in prog sputexovalcyde.sadoubmiveversreciperlozacansign.co the album has not really anything new to add to the subgenre,it remains a great and pleasant listening for anyone into the Symphonic Rock sound or for die-hard keyboard sputexovalcyde.sadoubmiveversreciperlozacansign.coended. Subsidea.