SECRET CINEMA

The album has only teo pieces, each one clocking over 30 min with rich orchestral passages, symphonic arrangements with complicated parts, lots of change in tempo, brilliant vintage keyboards, in fact each musicin shine here. Very long instrumental sections, with great bass lines, great guitars and awesome druming. The touching vocals provided by Agnese Cacciolo is top notch, she has a very smooth and warm tone in voice and is fiting here perfectly, Some flute appears sporadicaly giving again a vintage atmosphere the passages coming from invited guest from Austria - Sabine Monsberger. This is very inspired album and I can say easy is one of the best I've ever heared coming from Italy. First pieces is my fav In The Autumn Of My Dreams, fantastic prog rock with lots of memorable arrangements and killer vocal parts. Very unnoticed bad that gone into oblivion, I can count on one hand persone who heared of this album and band, is sad because what they offer here is simply great and enjoyble from start to finish. 4 stars easy and recommended, is time for other listners of italian bands to discover lesser known gems from Italy not only the classic ones from prog. Not one will be disippointed for sure.

"In The Autumn Of My Dreams" opens with gentle flute as water sounds flow. Choirs join in then piano takes over with choirs then more flute. A beat before 3 minutes. A change with synths follows and some nice bass. Guitar after 5 minutes. Mellotron and flute are back then it's heavier but slow with bass and drums with the synths over top. It picks up 9 1/2 minutes in with synths and drums leading. Nice chunky bass follows. Prominant guitar 12 1/2 minutes in then the piano takes over. Female vocals after 15 minutes then choirs as the vocals stop before 17 1/2 minutes. Vocals are back 19 minutes in then mellotron before it picks up. Some growly bass after 22 minutes then it picks up again with mellotron. It turns classical sounding late and the vocals are back before 31 minutes.

"Through The Windows Of Time" has a dreamy classical sounding intro then the vocals arrive before 2 minutes with piano. Vocals stop and it picks up after 3 1/2 minutes. Nice bass too. Organ 5 minutes in. It settles before 7 minutes then picks back up. It settles again with vocals after 11 minutes then the piano takes over after 13 minutes. Vocals are back and when she stops it sounds like Disney classical sounding music. Vocals are back 19 minutes in. A change 21 minutes in with chunky bass and mellotron to follow. It picks up after 23 minutes. It's orchestral 24 1/2 minutes in then the guitar lights it up 27 1/2 minutes in but briefly. Piano only a minute later then vocals before 30 minutes.

A pretty good album that was released back in 1994. Not a big fan of her vocals although she sings fine. Lots to like and yet there was plenty that did little for me as well. 3 stars.

Mr. Crovella does get around. The distinguished keyboardist from jazz-prog outfit Arti Mestieri is also a producer and composer, not to mention releasing albums under several different band projects. Secret Cinema is rather close to his Tower project and the album 'Tales from a Book of Yestermorrow (and fans of Secret Cinema should be rushing to find that one.) But 'Dreamin' of My Past' is a bit more fully realized, a bit richer for prog fans. The album features only two tracks and each clocks in at over a half an hour. Epic stuff! Each piece fuses healthy doses of folk, light jazz, classical, and Italian prog flavorings. Like long 70s prog-rock suites but often with a more modern feel, they will move from raucous jams with punchy bass and spirited guitar leads to quieter, almost Celtic moments with the angelic vocals of Agnese Cacciola (singing in English.) Crovella's bold vintage and modern keyboards will provide a solid backdrop throughout, his playing just exemplary. There are also majestic orchestrations and lovely flute to accent these long and winding songs. I especially love the variety of keyboard textures Crovella utilizes and how they gel with the rather upfront bass presence throughout, it rocks and yet it also can be fragile and sprightly. Because of the generous lengths Crovella can really stretch out and give into all of his compositional fancies, and he does. The songs take you on an adventure like a Willowglass album or a Camel suite. It's a wonderful work that I've certainly taken to and should appeal to a wide cross of neo-prog and symphonic prog fans. Melodic, uplifting, occasionally coloured by melancholic moments, but always lovely. Recommended. 3 1/2 stars.

Secret Cinema is listed as a Neo-Prog band here and that is probably right. In my ears, Secret Cinema sounds like a Swedish symph prog band. I am referring to the latest incarnation of Kaipa as a solid reference. The Flower Kings also springs to mind. Agnese Cacciola's vocals reminds me about some of the Norwegian doom/goth vocalists I have had the (mis)fortune to listen to during the last 20 years. Secret Cinema's nationality is accidental, although Beppe Crovella's tangent work here sometimes reminds me about the best of the RPI scene.

Whilst the musicians and Agnese Cacciola does a very good job here, the material here leaves a lot to be desired. Yes, some of the songs are beautiful and the sound is bordering to superb. But they never climbs the high mountains of greatness. Frankly, this album fails to engage me on this level. There is no songs here which stands out either. This album is full of good music but nothing more. But check out this album anyway.

3 stars

Delicate rain drops usher in the pastoral flute, the delicate acoustic guitar and the majestic mellotron (mostly choir!), followed by nimble piano and simple drums. The intensity flowers into some teasing environments where the bubbly synths can play with the children, a subsequent section issuing more complex rhythms where the electric guitar can weave its own trail. Crovella is a master keyboardist who can race with the Emerson devil when needed but prefers vivid colorations as becomes a true prog leader. The Gothic tinges are particularly brilliant as well as the harder piano edged intrusions within the electronica (synths and Emulators) . Pietro Verri fluidly plays both the Warwick bass as well as the Chapman Stick, guitarist Andrea Mignone scours various patterns out of his fretboard with just enough hints of dissonance to make things unpredictable (his solo 12 minutes in is rather spicy!) . The sultry vocals only appear well into the instrumental proceedings, giving the piece the necessary leg room to flesh out the interest level and keep things panting. When her voice at last enters the fray, a feeling of freshness and youthful exuberance comes to the forefront, an utterly melodic flight, full of fervor and flair. The chorus is poignant, her slightly accented English actually charming instead of detracting and the somber choir mellotron toying with the forlorn bass and the funeral march drums. The switch to string mellotron patches add a sinister sense that is most welcome, as if the two were competing for attention. It's sonically totally stunning, yet delivered in such a simple methodology. There are swift twirls into jazzier exhortations (leaning close to Gentle Giant more than anything), then deliberate symphonicisms that can recall ELP or Triumvirat but all these buoys are really quite distant, as the various 'trons rule the waves. This is a colossal piece of music that is totally irresistible. Just when you least expect it, the orchestral outro/ finale is the proverbial morello cherry on the unctuous tiramisu, especially with a spectacular vocal ending, where sheer, crisp and dramatic coalesce. "Through the Windows of Time" is the backside continuation, a monumental ride very much in the same vein as the first track call it bitter sweetness if you want but perhaps with more emphasis on melancholia and sweet bitterness this time around. The stormy keys herald a gloomier expression, gale force synth swaths howling between the ears with unrelenting bravado, propelled again by the mighty mellotron. The band moniker is another indication of the cinematographic qualities the musicians wish to expand on as this is in no way anything even remotely poppy , which is why I reckon it stayed so covert for so long! Crovella really displays his considerable skills on this second piece, alternating between many vintage keyboards (harpsichord, Hammond A 100 and M3, piano, Mini-Moog , VS and Synergy Mellochoir boards). Agnese introduces a jazzier tone and delivery when she grabs the microphone and only in added sustenance to the ivory bulldozing. The neo-classical tendencies are equally adept at adding a sense of formality to the whole concept, backed by some fat synth solos. Justice can take time and the day has arrived when this slanderous omission has finally been dealt with and Secret Cinema are now part of the community's awareness.

I have heard this album so many times in the intervening 17 years and it still leaves me in awe, without any hint of tedium or desire to flick the proverbial fast-forward button. Thanks for the BDay present, Todd

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