APOTEOSI

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*)

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.

Absolutely stunning and admirable piece of a one-shot band Apoteosi from southern Italy. High-quality musicianship, symphonic taste and instrumental prowess will convince you.

Although the band was unknown their performance and sound are very professional.

Inspiration could be drawn from other Italian Rock Progressive acts such as Le Orme but also Genesis. Music is very lyrical, has contrasts and is epic. Every player shines through.

The first song is an aperitif keyboard tour de la force and shows compositional qualities, too. The song ends with organ chords.

The second epic suite lasts 14 minutes and shows one of the main motives already in the beginning. Gentle female voice in Italian enters. The second part introduces guitar and provides an excellent classical moment with just guitar and flute. The most exciting moment is the keyboard, bass and drums dominated busy part after in the second half. It is preceded by solo piano that presents the initial idea. Drums and bass guitar join soon. Rocking drums with keyboards and guitar with the Moog and guitar taking turns. This is an excellent part of the album only to be ended by Moog chords ad emotional female vocal.

The third track is no less good setting festive atmosphere with Mellotron and elegant piano notes before complex drums with bass join. Further great artrock moments with Moog solos and rhythm changes appear. The male vocal shows its potential in the high notes and is quite powerful. The choral vocal harmonies section is beautiful and make me thing of church also thanks for organ in the background. Its calm atmopshere is interrputed slightly inappropriately by return to the dynamic kayboard exhibition. Bass guitar is showed in full parade by soloing together with guitar.

"Dimensione da sogno" is a pastoral piece with plenty of awesome moments and reaches its climex towards the end when the vocals gets more intensive and guitar pulls of a nice solo.

The last track "Apoteosi" is fully instrumental. It is less heterogonous than other tracks and keeps oscillating around a bass guitar idea. Guitar and keyboard change slightly. It is more an atmosheric track aimed at soloing and not so strong compositionally.

This output by Apoteosi remains one of my favourite records from Italy because it is a well balanced masterpiece.

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.

One of the best Italian prog albums from the '70s.

Very young and skilled musicians, Apoteosi wrote only an album, but the construction of each track is almost perfect, delevoping each theme without boring the listener.

The sounds are very "vintage" but, since both songs and playing are solid and the recording quality is good, they add a "sign of the times" feel that in the end is nice.

I also like the voice of Silvana Idà: some say they do not like her because of her heavy "southern-Italy" accent. In fact, her southern accent is undeniable, but in my opinion it adds sweetness to her singing, and it also reminds me of another, much more known, singer from southern Italy: Marcella Bella, a pop singer very famous in the '70s. All in all, I think this is an issue that non-Italian listeners will not get, concentrating on her nice clear soprano voice.

The only defect of this album is that her voice was kept a bit low in the mix, but for the rest Apoteosi is a really good album from the rich Italian Prog family!

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.

There are too many of these. Amazing one shot Italian albums. Why the hate? Female vocals. It's the only thought I can come up with for the words weak, copy-cats, and uninspired comments. I wish others would listen without prejudice and stop leaning towards the Prog Rock or RPI giants for comparison and a benchmark... or as some odd graduated cylinder. It also helps to mention the "He-man's Woman Hates Club" that exist in so many rock circles. No one can let a band stand as it's own... but Triumvirat and Starcastle? Great bands, but you can slam them all you want.

Perfectly cohesive, serene, engaging and angelic in parts with some great intensity and heavy bits most polentone bands (this band is from Calabria... the foot part) can't dish. After a thoughtful run through today, I felt the album was one song. Seamless. It's sure to please some who can tolerate a female lead. Much varied instrumentation and technical prowess with the keyboards (he was 14 years old at the time), killer drumming, strong vocals from Silvana and some nice flute in a few spots... which is all too fleeting. They did a great job creating music for others. "Prima Realta" in itself is like a huge wave. A surge of well crafted power.

With bands like this I wish more could have been produced to see where else they could have gone. After reading some interviews on those who have recorded and played in Italy during the 70's it's no wonder most bands couldn't continue. Damn fascists companies and venue owners!

I have read a considerable rude unfounded review. All I can say is give it some more time, you'll like it.

Thanks Apoteosi! 4 Godlike 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.

From the initial whimper of arpeggiated organ in "Embrion," to the tumultuous bang and ultimate fade-out of the title track, Apoteosi's one-and-only album is a wild ride from start to finish. While I don't believe this is 5-star territory, the intricate fusion-inspired playing of the brothers Idà coupled with the lovely vocals of sister Silvana put a smile on my face every time I hear it. Four stars lovingly given.

The playing really is first-rate. The drums are tight as...well, a drum and the bass player is always right in the pocket, really one of the more interesting rhythm sections in all of Italian Prog. And the keyboard work, especially regarding acoustic piano, is very tasteful and never becomes boring or overstated. Which is really the trademark of the album; the band never stays on one theme or section long enough for it to stagnate, yet the transitions between them never feel forced or out of place. But obviously, the most unique aspect of the band is the female singer, which I guess you'll either love or hate. If you fall in to the latter category however, find some solace in that there really aren't many vocal passages. Sure, there are only two extended tracks. I can think of many other classic prog albums with a good variety of song lengths. This is music that BEGS to be heard by an attentive listener, and the listener is doing himself a disservice by not giving it proper attention.

One of the shorter songs, "Dimensione Da Sogno," is actually my favorite moment on the entire album. A concise four-minute slab of symphonic pop, with one of those melodies you never forget and an arrangement founded in the Italian tradition. Simply a great song that leaves you wanting more, and a great lead-in to the instrumental closer, which can be heard on this site.

It absolutely boggles my mind that the only in-print version of this album currently available is the expensive Japanese import SHM-CD. A true shame that BTF/VM hasn't stepped up to release this pinnacle of the Italian scene as part of it's Remaster Series. Do yourself a favor, and try to snap up one of the Mellow CDs before they become too scarce. Apoteosi is a worthy addition to any collection, and an essential cornerstone for any Italian Prog fan.

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.