APOTEOSI

Another succulent gem from Mellow Records full of beautiful symphonic progressive rock somewhere in the vein of PFM and GENFUOCO. APOTEOSI blends soft piano passages with mellotron, flute and acoustic guitar. Tempo is changed quite frequently with major mood swings. I love the heavy moog synth and electric guitar parts which fit in perfectly with the softer interludes. Many of the instrumental moments carry that intricate Ital-prog classical feel. Apoteosii have all the right stuff for this music lover with complex musical interplay, romantic interludes and delicate analog symphonia. The Italian lyrics are delivered quite delicately by female vocalist Silvana Ida who has a rich and lovely voice.

An oft-overlooked gem of the Italian scene. The songs are atmospheric, the playing is excellent, with beautiful use of different keyboard textures, and the female singer has a great voice. Has a typical Italian classical feel, but not to the point of overwhelming the melodies. Definitely recommended for the peninsular prog lover!

Here is another great one-shot Italian progrock band from the Seventies. The 5 tracks sound melodic and alternating, the female vocals are wonderful. In the mellow pieces you hear a lot of strings, piano and flute, this often gives the music strong classical overtones. The more up-tempo interludes contain a strong harmony between the keyboards and guitar, the solowork is also very worth listening, the guitar has some psychedelic hints. This album has many beautiful moments, thanks to the subtle and inventive approach from these good musicians.

Very good one-shot Italian Symph band with a female lead singer. Starts out with an instrumental and right off you think of PFM, very pastoral and nice. The second song, which clocks in at over 14 minutes has female vocals. The song has many nice spots with synths that sound a bit dated to me. The guitar playing is fiery and rough, sort of bluesy which contrasts the spacey, bubbly keyboards. The drummer, by the way, is outstanding. I tend to zero in on the drumming more than the keyboards! The third song is my favorite, it features male vocals, more aggressive guitar work, slows down in the middle section and the female vocals kick in very beautifully. The fourth songs is a simple ballad sung by the female lead singer, nice but nothing special. The last song is instrumental and starts out spacey then gets aggressive fading out nicely. Overall, a nice addition to anyones Italian prog collection. My only complaints is the boring cover, shortness of the album and the dated keyboard sound, so I'll round it out to 3.5 stars total.

Somewhere in the universe of prog each of us, old prog tough fellows, runs into a bright lonely star. That's what happened to me when, for my long coveted holidays in Histria, I thought it was a great idea to put in my large bag the cd reissue of this mid- seventies album.

Apoteosi was one of the many italian so called one-shot-bands but, of those many, surprised me for the particular composition of the band. Three brothers (the Idà's brothers: Federico on fender bass and flute, Silvana on singing and Massimo on keyboards and sinth arp) working togeter along with other two skilled musicians (Marcello Surace on drums and Franco Vinci on guitars and singing), all them under the supervision of Salvatore Idà, the father, who produced this very well done piece of art and also pleased us with the writing of the track titled Oratorio (Chorale). All the five band's members are from Calabria, the famous southern region of Italy which I really did not expect a memorable classic prog band could come from.

I was delighted that the situation of backwardness of southern Italy is the topic the band chose to build up their wonderful concept work. Regarding to the own words of Federico Idà, as resulting from the few notes in this Mellow Records reissue cd, this is a hymn to their homeland, a hymn of hope for the awakening from the numbness of that wonderful piece of our beloved country.

All this passion and emotional involvement are the propulsive force of this great opus and the resons to understand the highest standard of quality of what it was thought to be only their debut album.

The main references of the band is represented by the previous italian prog experience and in particular the warm and pastoral production of Premiata Forneria Marconi. This was their starting point. The atmosphere is rather spacey, though, often going to dreamy and theatrical due to the master use and mix of keyboards, synth and classic piano. Nice and mellow female vocals are their trade mark, 'cause it's not common in the prog movement. By the way, I have to admit that the few times that women graced us with their contribution, always it was for excellence, never for mediocrity.

Apoteosi is a dream. And as for all dreams, it ended too soon.

4.5 stars

Great!

Italian prog lovers like me , and so many members of Prog Archives, would be agree with my position of consider this album as a beautiful piece of symphonic rock. From Italy, one more of the uncountable bands that gave light in the 70`s and died at the same moment, exactly in 1975, (how many beautiful albums can you count of this year?, sum this one), it`s kind of strange that a band with an extraordinary talent and musical compositions, create one album and then despite it`s quality (i dont really know the reasons here in Apoteosi) prefer to die and not make a new effort.

Apoteosi features female vocals, beatiful female vocals i mean, and a complex and great keyboard sound, to people who loves italian symphonic , and dont know this album, please give a chance to it, it`s excellent and it`s a clear example of the beauty sound of symphonic prog, with the always particular sound of Italia.

Only 5 songs we will find here, the first one is something like an introduction, an instrumental short song, but pretty nice to open the album. Then probably the most beautiful of them all," Prima Realta / Frammentaria Rivolta" whose lenght is almost 15 minutes, showing us the quality of the members of the band, from the vocalist trhough the bass to the synths. Also using the always beautiful sound of flute, but what i love the most are the keyboards, a complex and creative symphonic atmospher created by them, the song has some tempo changes which are always healthy and enjoyable in a prog song, also i think the guitar work is fantastic.

The third song is also great, since the beginning with that organ sound, and the progression reminding me a bit of PFM ( i know, the other reviewers have already said that, but it`s the true it happens also with me), but actually so many bands were influenced by PFM, talking about Italian bands, this third song changes a bit in reference of the vocals, here you will find male vocals, which are not outstanding at all, but pretty good and sooo italian, great as well.

"Dimensione da Sogno", if i have to point my less favorite song or a "weaker", it would be this, it`s better than the first, but the first was an introduction, so is understandable, and attention, this song is alos great, but not as greater as the other ones, again with the beautiful female vocals and the piano with a softer sound, maybe a bit of Rennaissance?, a classical composition tending to be a song to sing, but again, this is also a good song.

The last song has the same name of the band- album, and its excellent, almost 6 minutes of pure progressive sound, excellent bass playing and great atmospheric background. The sound is actually repetitive, but excellent and this shows us the other side of the band, leaving a bit the symphonic side, and entwring to the psychedelic side, simply great!

Man, i really love this album, and as you noticed i didn`t point any horrible or bad moment, so when that happens i feel the need or will to give an album 5 stars, actually i wouldn`t consider it as a 5 stars, but 4.5 worthy stars, which yes... makes me move the computer`s mouse and mark the 5 star thing, highly recommendable.

Keyboard rich Italian with female vocals

Apoteosi is yet another of the Italian bands that made one great album and vanished. The group core was the three Ida siblings whose father apparently got them a record deal and produced them. Massimo Ida, the keyboard player, was just 14 years old when this album was recorded. If you plan to add some Italian prog to your collection this should be a prime candidate. The music is a wonderful blend of melodic symphonic Italian prog with some jazzed up rhythm. Primarily a keyboard album it is filled with marvelous piano and moog but also a decent amount of electric leads. The drummer is tight and impressive with great moments throughout. One thing that makes Apoteosi unique is that we have the angelic voice of Silvana Ida on several tracks rather than the typical deep operatic male vocals one is used to on Italian albums. Her singing is a bit meek and too low in the mix but it is very pleasant. The sound is a bit of a problem on Apoteosi, there was obviously little budget and things sound a bit thin. But the music is solid, a little mysterious, and full of heart from people who were likely aware this album would be their only one. They made the most of it in my opinion. Sure you can detect the youth and inexperience in places but you'd be amazed how well they actually do.

"Embrion" is a short and shimmering keyboard introduction for the first half with the band charging in full force for the remainder. I read that the music was a fragmented mess of everyone's ideas and that there was no time to really hash things out so they just used the chaos to their advantage and explored all of them. At times it sounds that way but that's also part of the charm. "Prima Realta" at nearly 15 minutes is the centerpiece and is wonderful stuff. With lovely piano, acoustic guitar and flute, crisp drums and bass, and heavenly vocals from Ms. Ida this track is vintage Italian as beautiful as PFM. At about 6 minutes we get our first taste of the spacey keyboard effects that admittedly sound a bit dated but are pleasing nonetheless. And to top it all off, a stunning and energetic ending. Next is "Il Grande Dishumano" which is more energetic finesse and along with "Prima" is another superb track. We get some fuzzed-out psych guitar and a tight rhythm that would make Bruford proud. Next up is "Dimensione" which starts as a short vocal piece to piano and distance delicate electric leads. Drums come in around 2 minutes and things pick up. The title track is the closer and it is a fiery instrumental rocker which by the end makes you wish that Apoteosi had been given a chance to take their time and do a second album. I bet it could have been amazing. Definitely don't judge this book by its rather bland album cover!

This album is highly recommended for lovers of quality 70s symphonic prog. While I acknowledge there are a few flaws with the sound that along should not stop RPI fans from getting to this title eventually. The young people involved wear their hearts on their sleeves and that always helps win me over. Their love for this music they came up with is obvious. I want to close by quoting fellow reviewer Andrea Cortese who summed up what makes this really special: He writes "....this is a hymn to their homeland, a hymn of hope for the awakening from the numbness of that wonderful piece of our beloved country. All this passion and emotional involvement are the propulsive force of this great opus...." 7/10

Another great album from the '70

Apoteosi is another italian band who made a great album and after that gone in the thin line of prog history. But for sure they contribute to prog music with this single album from 1975 less or more that others. The fact is Apoteosi sound incredible solid for such a young band and without experience in music business, the bass player is amazing, not to mention the drumer. The female voice is very warm and is incorporate wery well in the music. The keyboard player is the youngest from the musicians, and i guess he has 1975 just 14 years old, and man, he relly knows to use the instrument in a propper way, maybe sometimes is kinda cheese sound but very OK. The forte tracks are the longest piece from here Prima Realta / Frammentaria Rivolta and Apoteosi both pieces full of great bass lines, amazing keys and drums. This album is recommended for prog heads who love symhonic music and specialy bands like Sandrose, Curved Air and even Renaissance. 4 stars and recommended for every one.

I do feel like I've wandered into the wrong room here, like who died and made me a progressive rock reviewer? Amidst all the 4 and 5 star ratings for this 1970s "classic", I cannot even stretch to give it a 3. Whatever genius others may cull from their listening efforts, I desire from my music something that does not wander the way my thoughts sometimes do, that reins me in and focuses me, and which has some sense of development, even progression, if you will, between and within pieces. I cannot find any of these qualities here. We rush from repetitively irritating guitar figures to almost inaudible vocal segments to the occasional lush keyboard section, but seemingly without any glue to keep them from falling apart, so they do.

The best I can say is that, in typical Italian 1970s fashion, the album is mercifully brief and only contains two extended meandering tracks. The shorter songs are infinitely better but still seem incomplete, needing to serve as a prelude or bridge to something more, and so they are done a disservice as well. For RPI apologists or snobby musicians only. A weak 2 star effort.

Unfortunately APOTEOSI were a one shot band,which made only one (great) album and then disappeared.They play great symphonic rock with hints from PFM,BANCO DEL MUTUO SOCCORSO and other unique italian groups,but there are also influences from RENAISSANCE and GENESIS...Great female vocals,very smooth,maybe the best female voice I've heard so far.The second and the last song of the album are the best in my poinion.An important discovery of our scene,I'll give them a rate between 3.5 and 4 stars...PROG4EVER!

Another classy RPI one-album band that unfortunately pleases and disappoints in about equal amounts.

It's always a risky business to attack an album based on what it sounds like in the way of influences, due to many reasons, especially since you sometimes can be very forgiving and tolerating when it comes to those sorts of things if there are redeeming features that overshadow them.

Apoteosi is classic RPI to the bone. It's so full of familiar sounds and structures that it's hard not to start thinking about it. I can identify the amazing melodramatic mood-setting capabilities and sometimes impulsive and rushed moves from segment to segment that I love with Banco Del Mutuo Soccorso (piano included). Even the way they accentuate breaks are here! When reaching a higher tempo it's the feisty, playful and rockier style of PFM that blasts out of my speakers. Bass up front with drums and keys with a wandering guitar filling out the gaps in the background. And then there's Dimensione Da Sogno, chasing after the same feelings and atmosphere as parts of Reale Accademia Di Musica's Ognuno Sa.

Does it really sound like that, or is it merely based on what I thought the first time I heard it? I'll stick to the old and proven 'no smoke without fire' in this case. Despite of being a lush, melodic and stable effort it feels safe and rehashed, considerably lowering my interest. Not even the obvious inspiration and passion can save the day. Neither can the beautiful but understated female vocals when they enter the stage.

Don't for a second expect it to be nothing but a copy though. There are elements of Apoteosi that are their own and no-one else's. The strong synth presence is a strength, expanding in some interesting sound experimentations but also in adding a veil of space rock that is unusually strong for an RPI album, enriching the sound and smoothening out the edges in a way that should please fans of for instance Camel, just as the biography notes.

At times it feels like a disparate album, with the composition more relying on surprise and spontaneity rather than careful 'storytelling' and proper dynamic effect, but it's only occasionally a nuisance.

To return to where I started; it's classy, and probably a great introductory record to the sub-genre but in all honesty there are a lot of more interesting albums out there.

2,5 - 3 stars. That's three stars on PA.

//LinusW

I can certainly relate to kenethlevine's opening statements about this album. I have listened to this I don't know how many times and my feelings about it have not changed one bit. Not a fan of the female or male vocals,and the music in general just doesn't click with me. I feel that in giving this 3 stars i'm being very generous. The last track is the only one that I really like.

"Embrion" is spacey to open with bass. It changes before 1 1/2 minutes as piano takes over. Drums and a fuller sound come in before 2 minutes. "Prima Realta / Frammintaria Rivolta" is the longest track at over 14 1/2 minutes. Piano slowly plays to start before drums and flute take over. The tempo picks up after a minute. Female vocals after 2 minutes as it settles. I'm just not into her vocals. Drums, flute and piano are prominant here. I like the guitar and drums after 6 minutes. A calm with piano 7 1/2 minutes in then it kicks back in. Vocals and a calm before 12 minutes before it kicks back in one more time.

"Il Grande Desumana / Oratori (Chorale) / Atteca" opens with piano and mood is melancholic. It picks up before 1 1/2 minutes with drums.This is good. The male vocals aren't so good after 3 minutes. Guitar follows. A calm 4 1/2 minutes in with female vocals joining in after 5 minutes. It kicks back in at 6 1/2 minutes. "Dimensione Da Sogno" opens with piano as synths and female vocals eventually join in. Guitar, piano and drums stand out before 3 minutes. "Apoteosi" is for me the best track by far. This is an instrumental that opens with cymbals and bass and starts to build until the drums lead with guitar playing over top. Just a great tune.

Obviously many feel this is a classic, i'm just not hearing it. Barely 3 stars.

One of my favourite "one album wonder" bands from the RPI scene, Apoteosi play a style of symphonic prog which meanders between dark, brooding sections reminiscent of Van der Graaf Generator or the spookier King Crimson tracks on the one hand and light, pastoral segments reminiscent of PFM on the other. The young band structured around the teenage Ida siblings outperform their elders magnificently, with Silvana Ida's vocals resembling across between a classic operatic style and Annie Haslam's work with Renaissance. Franco Vinci's guitar work also deserves mention, as does Massimo Ida's precocious work with the keys and synths. A spooky, foreboding masterwork, of which all involved can truly be proud.

Another talented group that fell to the dreaded one-and-done Italian prog curse of the Seventies (well, until so many of them started making comebacks over the last few years!), Apoteosi of Calibria in Southern Italy left us with this one precious and dynamic self-titled album from the mid Seventies. With a core line-up that was very much a family affair made up of a group of brothers and sisters - and teenagers no less! - and produced by their father, these impeccably skilled youngsters offered a primarily symphonic album comprised of a bunch of scattered little ideas, culminating in lengthy instrumental sections drowned in lavish servings of piano, Mellotron and spiralling spacy effects, constantly busy drumming and fiery guitars, and the use of a female vocalist grants it a very unique place in the Italian progressive works of the vintage era.

Along with `Embrion's brief opening introduction of crashing cymbal storms, rising synth washes and lightly jazzy guitar licks all growing in stature, `Prima Realta' tears through Massimo Idà's vibrant piano/keyboard-dominated sprinting musical segments full of power not too far removed from fellow Italian one-off band Triade's `1998: La Storia di Sabazio' from 1973, but also finds time for several placid and pastoral moments to catch your breathe. Silvana Idà's voice is sweetly cooing with moments of stronger urgency, Marcello Surace's drums are endlessly frantic yet brilliantly controlled, Franco Vinci moves deftly between classy acoustic and charging electric guitar bursts, Federico Idà's bouncing bass leaps around with finesse and his breezy reflective flute weaves in and out of memorable reprising themes that flow with ease. It drifts right into `Frammentaria Rivolta', offering moments of gothic piano and delicate classical elegance in amongst the whirling keyboard runs and rumbling propulsive bass attacks. Silvana's plaintive voice is sweetly melancholic here, but the mood of the album is lifted again with an infectious and joyful whirring synth finale amidst ragged guitar grinding and thrashing drums.

The flip side holds a three-part suite - `Il Grande Disumano' opens as a subdued and stark piano introduction with impossibly subtle electric guitar wisps, but it and `Attessa' spring to up-tempo jazzy life to tear into buoyant and snappy spasms of Triumvirat/E.L.P-like pomp. Franco's brief wilder vocal almost reminds of Osanna, there's even a haunting and sobering spectral organ and choral interlude (`Oratorio Chorale'), and there's plenty of back and forth/call-and-response soloing duelling between all the members. `Dimensione Da Sogno' turns triumphant and hopeful with Silvana singing with great dignity and spirit, and self-titled instrumental closer `Apoteosi' unveils slowly unfolding deep-space glistening synths and slow-burn electric guitar soloing, perhaps the closest the disc comes to a psychedelic moment that might not be too far removed from bands like Nektar and Eloy.

Sophisticated and ambitious but tastily lacking an overly polished production to retain just enough of a grit that perfectly captures the youthfulness, energetic bluster and determination to impress of the young players, `Apoteosi' proves that while the band might have lacked the absolute pinpoint precision of Banco del Mutuo Soccrosso, damned if they didn't come close to their own version of the eclecticism, variety and energetic instrumental arrangements of that defining band. There's probably plenty of more important albums in the vintage Italian prog era, but Apoteosi and their grand little self-titled album with its humble sleeve is a much-admired minor classic and beloved personal highlight for many.

Four and a half stars.

APOTEOSI was one of the many Italian prog bands that emerged toward the tail end of the scene, managed to release a single album and then disbanded never to be heard from again. This band emerged from Palmi in the Calabria region of Southern Italy and was built around the nucleus of three siblings: Silvana, Massimo and Federico Idà. The band was notorious for being quite young as the majority were teens at the time, however they had all been playing together for quite some time before finally getting to this one and only eponymously titled album.

This project was a family affair in every way possible since the father Salvatore Idà even got in on the action and released the album on his Said Records, however release didn't translate into any fame or fortune due to horrible distribution and even less than adequate exposure through marketing. This was basically a homegrown affair that has remained so until modern day when interest in the album has picked up due to the popular interest that has developed in everything 70s prog.

APOTEOSI is an awkward sounding album that seems to meander unpredictably. The main sources of reference seem to belong to the greats of the Italian era such as PFM and Banco but missing are the outstanding full-band instrumental interplay, the sizzling poetic prose and interestingly arranged composiitons that offer a a ceaseless parade of good old fashioned Italian prog passion. In fact the album seems to rely on the atmospheric meanderings through different keyboard sections that allow the weak vocal style of Silvana to play peek-a-boo every once in a while without any satisfying resolve.

Perhaps the most satisfying aspects of APOTEOSI are the excellent bass, guitar and keyboard interaction that do indeed crank out some seriously technically infused chops but they seem to get lost when the atmospheric parts find Silvana delivering some of the weakest lyrical deliveries on any progressive Italian album i've ever encountered. So woefully weak are her parts that it pretty much derails any possibly enjoyment for this album as a listening experience for no matter how graceful are the transitions, no matter how flirtatious are the flutes or jarringly brilliant are the rest of the band's roles, this one key ingredient falls flat.

One could scour the 70s of hundreds of examples of Italian prog and only come away with the fact that there was a glut of extremely competent examples of progressive rock that mixed and melded with every other musical style under the sun with some of the greatest vocalists ever to have appeared on recordings to follow suit. It almost seems that it's literally impossible for an Italian band to crank out a substandard album but i've found that APOTEOSI managed to create a substandard flop that rubs me the wrong way in about every way possible.

Firstly the drum parts are obnoxiously loud and sound canned. The mix is painful and the musical flow seems rather haphazard with the ultimate weaknesses coming from both the female and male vocal performances. This would've been a much better album if it was completely instrumental but even the compositional prowess isn't up to snuff, made especially more irrelevant considering this was unleashed as late as 1975. Yeah, there are some brilliant instrumental workouts here and there but overall this is one of the most unsatisfying Italian prog albums i've ever heard and i've heard and awful lot. Back in the vaults with this one.

A well-deserved name!

The introduction of a person into the rank of the Gods is called an apotheosis. In this case, this is not a sin of pride, this band deserves to be introduced with the greats like Le Orme and underdogs kings like Rovescio della Megdalia or Quella Vecchia Locanda.

Feels good to hear their rich yet easy songs to get into. After hearing Cervello (who didn't blew me away), Apoteosi is more concise, betting more on melody than complexity. Everybody is doing a splendid job but the medals go to bass and keys. The bass is inventive, rapidly fired, hypnotic at times (think Eloy). The keys are varied with grand piano, a very good use of Eminent (like Beau Dommage or Novalis) and ARP synth who gives us great lines of melodic waves. The vocals are sparse, both male and female but in a typical RPI delivery: mostly intense.

Complexity mixed with hypnotic melody and succulent, thick keys solo make this one a sure value if you think you heard it all. A pleasant surprise that could become a new addition in your favorite list.

Between 4,5 and 5 stars, can't decide yet.

Review Nº 544

Apoteosi was an Italian progressive rock band. Apoteosi was a very rare, if not the one and only progressive rock band coming from Palmi of the Calabria region. Apoteosi was one of those bands that only released one album and then disappeared. It was formed shortly before releasing their eponymous single album. Apoteosi was an excellent quality Italian quintet led by the three young brothers Idà and produced by the father himself. The band was a very familiar thing. In fact, the father of Idàs, Salvatore, practically gave them the release of their album in his own company Said Records, and the album was edited by Massimo Idà himself. Although its members were very young, the group had been playing together for some time, but the album was only released in 1975 by the small label Said, with a limited edition and local distribution, which made of it a rare album. The original LP fetched absurd prices among collectors. The band never recorded live, and for lack of support and stability, break up due the different decisions of each brother.

So, "Apoteosi" is the eponymous debut and only album of Apoteosi and was released in 1975. The line up on the album is Silvana Idà (vocals), Franco Vinci (vocals, acoustic and electric guitars), Massimo Idà (grand piano, Hammond B3, Eminent organ and ARP Pro Soloist synthesizer), Federico Idà (bass and flute) and Marcello Surace (drums). The album had also the participation of Coro Alessandroni (chorus vocals) on the track "Oratorio", as a guest artist.

Apoteosi plays a progressive symphonic rock with a great sound with something of some foreign bands especially the greatest names of the English symphonic prog bands at the time, but keeping some typically Italian characteristics. Its main musical characteristics are supported by piano, flute and beautiful melodies with a light folk influence that is closer to Renaissance and that sometimes reminds us to a lot of Genesis and Premiata Forneria Marconi too. Behind it, there's a greater influence of the 18th century classical music. The sound alternates between quiet, acoustic moments and heavier electric parts. The quality of the piano parts stands out on the album. It's a little sweet but very beautiful and sophisticated that often is compared to Osanna's work for its experimentation, although the album is actually a bit more symphonic. This is one of the best "copies" of this sub- genre, the RPI, with eight tracks, but with two long suites.

It's driven by Silvana's beautiful vocals that give a very nice feminine touch to the Italian progressive rock, which is commonly performed by strong male vocals. So, with a female vocalist, the vocals are a little different, but Silvana uses her beautiful and delicate voice very well. Besides Silvana, we have her brother Massimo that was only 14 years old when the album was released. The kid was driving a piano, a Hammond and a Moog with such excellence and familiarity that certainly leaves any renowned keyboard player to shame. Federico also gives a show on flutes making the album even more spectacular. His solos remind us of Gabriel's wonderful phase in Genesis. Marcello also stands out for beautiful drum passages and great turns. Franco made a discreet but very effective guitar work, completing the picture.

"Embrion" opens the album as an aperitif with a keyboard tour the force and shows compositional qualities, too. The song ends with organ chords. "Prima Realta/Frammentaria Rivolta" is the central piece on the album which, in fact, is two tracks floating into each other. It has gentle keyboards, lyrical flute, classically inspired piano and the beautiful singing of Silvana. In between there are always interesting Moog solos. "Il Grande Disumano/Oratorio (Chorale)/Attesa" is no less good with a festive atmosphere with keyboards and elegant piano notes, few heavier guitar passages before complex drums with the bass join. The second half becomes almost sacred with the beautiful choral vocal harmonies section. "Dimensione Da Sogno" is a pastoral piece with plenty of awesome moments and reaches its climax towards the end when the vocals get more intensive and guitar pulls of a nice solo. "Apoteosi" is different from the rest of the album. It seems to be a more jam-based fully instrumental and less heterogonous than the other tracks. It's more an atmospheric track aimed at soloing and not so strong compositionally. It's more in the psychedelic/space rock style.

Conclusion: The only album of Apoteosi offers melodic progressive rock surprisingly easily accessible of the Italian progressive rock of the 70's. The overall sound reminds me of early Premiata Forneria Marconi, yet not quite as direct. Driven by keyboards and guitar, with occasional vocals, this is quintessential progressive rock. All the right elements are there, complex musical interplay, a solid rhythm section, time changes, and so on. The romantic female singing and the symphonic keyboard entries are a real pleasure. In addition, there is magical flute playing, which rounds off this gem of the symphonic prog rock. My only complaint is that the production is a little bit thin and has too much treble. But the music itself is very good, so you should check out the album anyway. All in all, this is a recommendable album, especially for all the Italo progressive lovers and surely a pleaser to all fans of the mellow symphonic progressive rock.

Prog is my Ferrari. Jem Godfrey (Frost*)