MYSOGINIA

SYNDONE or the Italian progressive rock of good quality, or the prog rock that is desired! SYNDONE, which with its 5 albums (in fact 7!), Had since 1992 and its "Spleen" set the tone with music filled with very cold style, very bewitching too! SYNDONE, with Nick and Riccardo at the helm for a style of music oscillating between avant-garde jazz, convoluted symphonism, energetic and electric prog rock straight from? Italy; we go to Peter HAMMILL, ELP and AREKNAMES for the dark and romantic side, but also and this is where it gets interesting towards RAINBOW for the voice and towards QUEEN, yes QUEEN for the voice and the musical textures. SYNDONE quite simply a group apart in the progressive world.

Question titles, an instrumental intro to lay the foundations of the following compositions with a little of everything, flirting towards symphonic jazz but not only, and which allows to get a good idea of ​​the SYNDONE sound, that is reassuring from the start! "Red shoes" with his voice a la D. WILSON or a J. TURNER sublime voice and a bluffing air passing to different genres, including the typical AYREONnesque organ. "Caterina" with a station wagon straight out of the first steps of PINK FLOYD. "12 minuti" and his snub to "The Millionnaire Waltz" of the legendary QUEEN with its almost intimate ending, cozy and theatrical atmosphere. "Evelyn" always on F. MERCURY in jazzy hard rock opera and progressive mode at will, and her vocal convolutions leading to a charleston aria! "Mysoginia" sends us to orchestral symphonic jazz with a second aerial instrumental on the first part followed by a sequence taken from a BOF. "Women" draws frankly on notes of the 2nd generation GENESIS (no, not "Abacab" but almost !!), and on the musical games of an ELP of the great era; it is for me the tube of the album! "No Sin" with his minimalist piano and his tortured, frail voice, accompanied by a plaintive violin, then assisted by a fruity synth and later by a highly energetic guitar solo, all this on a masterfully orchestrated crescendo ; to note here again a grandiloquent final evolution with symphonic notes. "Amalia" ends this CD on a ballad one could say, on a simple piano arpeggio once again on the 1st part of the title and then on a musical hymn, on a soft voice-synth melody where thousands of violins mingle: again and again a theme used for film soundtracks. The last minute resumes al dente, uh a capella the air on the piano alone.

In short, this album is confusing, far from the prog of the 70's, and yet throughout it, notes, airs, tunes, hymns, melodies come and go and avoid leaving a messy atmosphere detected at the 1st listening; the different breaks between each title or even within the same title finally give the signature of this "mysoginia" invaded by musical contrasts, film music tunes, fruity tones where each instrument goes at one time or another take the front to better bring the place to another; a real jazz-prog progression! It is obvious that this album needs several listening to be able to let pass the emotion which simmers in it.