HOTEL BRUN

For their fourth and last studio effort, Hotel Brun, Sauro Musi has replaced Roberto Magni on the guitarist's position, but things are "business as usual"; that is, the tracks show all the virtues of Italian symphonic tradition, assimilated by Sithonia's ability to write catchy songs and arrange them with finesse and distinction. The initial five tracks, which display a sense of romanticism more intense and direct than on their previous recordings, are conceptually linked under the concept 'Canzoni Crepuscolari': an appropiate title, since the sense of emotion displayed in these tracks feels actually quite crepuscular, like ballads or semi-ballads sung in a distant piano bar well past midnight. There's no way one can appreciate really these songs out of this global context, but certainly the most notable compositional ideas are condensed in tracks 1 and 3. The first two tracks bear a similar structure, which is based on a tota lrespect for the main motif and regard any other musical idea as a gently harmonized ornament within a concise architecture. Tracks 3 and 4 are the most complex in this 'Canzoni Crepuscolari' series: 'Comprate le Stelle' includes a soft yet effective jazzy vibe in its rhythm section, as well as subtly intrincate melodic shifts, while 'Ombra nella Nebbia' portrays a pleasant eerie ambience right from the lead violin intro. These tracks could and should have benefited from a longer expansion so their full potential be conveniently explored. Anyway, the creators themselves are the ones to ultimately decide what is and what is not convenient, so I guess I'll have to stop digressing. Track 5 is a beautiful ballad, not too long, but powerful enough musically to motivate emotion in the listener's heart: its magic comes from its jazzy vibe (a magic that would have been enhanced with a longer arrangement). Next, we find the namesake suite: a well-arranged series of well-written distinct songs, which keep the flame of evocative romaticism that the first five songs had effectively lightd on. After this one, the tender ballad in waltz tempo entitled 'Risvegli' serves as a beautiful closing (for both the album and Sithonia's musical history): the violin solo - played by a guest - really makes the song's finale soar into the mysterious side of the human heart. Generally speaking, Sithonia's career has proved to be one of the most interesting in the contemporary Italian progressive scene, with their first three studio works moving towards a more open sense of passion and refined extravagance, while this last one sets an increasing tendecy towards a calmer trend.

The previous album from Sinthonia was an excellent work; very much reminiscent of the seventies.

This one seems to be more basic if I may say so. At least this is the feeling I have while I listen to the first opening songs. Things get better with Comprate Le Stelle and the beautiful work from Sauro Musi on the electric guitar.

Most songs have a simple structure and if it wouldn't for some more intricate breaks (Ombra Nella Nebbia) it could almost be catalogued as Italian rock. Music is pleasant like during the short and jazzy Ruscelli but I am still expecting the brilliance of Confine which was released three years prior this last one.

Fortunately, there is one epic which kind of saves the day. The title track is more in line with what I was expecting. Melody at its best, emotion evenly as high, persuasive vocals and a definite seventies sound (ELP and Genesis). This is by far my favourite piece even if some déjà vu feeling can be noticed. It doesn't bother me too much and the pleasure is almost the same throughout.

Three stars for this album which could have been better if the quality of the epic would have been extended to the shorter songs.

In mid-90's Sithonia went through their most difficult period.Many hours of rehearsals, lack of time due to daytime jobs and an insignificant impact to the markets brought lack of passion and enthusiam for new recordings.Additionally original guitarist Roberto Magni decided to leave the band.However the remaining members along with new guitarist Sauro Musi found the strength for a last shot.A new album entitled ''Hotel Brun'' was released in 1999, again the band was supported by Mellow Records.

The difficult period the band went through was somehat mirrored on this new effort.Although having this typical romantic and slightly old-school Italian Prog sound, ''Hotel Brun'' contains the less risky and nervous arrangements the band had put on.Swirling around a smooth and careful sound and with a limited focus on the ( nevertheless always light) interplays, the album relies much on melody ans song-based material, not unlike ATON'S.However it is still better than most of the amateur recordings some Italian Prog-wannabees throw in the market.The keyboards have a nice symphonic sound and the guitars of Musi burst out some very interesting melodies.The combination of the polished instrumental ideas and the passionate Italian vocals remains very attractive and additionally Sithonia colored their sound with the addition of a violin player (Paolo Zuntini), now sounding a lot like IL CASTELLO DI ATLANTE.Still the listener may become a bit nostalgic over the more professional and energetic effort in ''Confine''.

Immediately after the album was released Sithonia disbanded as silently as they entered the prog world.But even through these hard circumstances they managed to put up a very decent last show with ''Hotel Brun'' being a fine work of light Italian Symphonic Rock, respecting all of the fundamentals of the style.Recommended.