UN'ISOLA SENZA SOLE

Into the 80s was not always bad!

Gli Apostholi's debut was released in 1979 and was a more succinct affair built around an eclectic vision of the canzone. Two years later the band had added a new guitarist and a full time bass player, making them a 5-piece. It seems pretty clear they were shooting for a fuller sound which intentionally or not, resulted in an album appropriate for a progressive *rock* database.

The album is quite different in both style and sound than their wonderful song-based debut album. "Un'Isola Senza Sole" features slightly longer, more developed rock songs with a beefier or more muscular sound. As our bio mentions this is a bridge band along with bands like Atons and there is some of that period rock influence happening, but there is also a reminiscence for the 70s RPI going down. The presence of flute and dreamy guitar solos reminds me of Camel in some way although these tracks are not as elaborate as some classic Camel recordings. Using more English references one could point to later Badfinger albums when the Beatles sound was giving way to a heavier combination of album rock and art rock. There are also RPI signatures present but to be honest no one is ever going to mistake Apostholi for Banco.

The eight tracks in the 4-6 minute range are led primarily by the electric guitar and even reminded me of Dire Straits in tracks like "Pomeriggio." They are tastefully accompanied by acoustic and classical guitars, period keyboards, and some very good sections of flute. Walter Bozzatti is again handling the vocals although this time around he has help. The vocals are understated by RPI standards but they fit the melodic and mature style of Apostholi, as mentioned previously they are somewhat close to Stefano Testa's vocals in my opinion. The addition of Tullio Mazzaretto on guitar is probably the ingredient which transforms Apostholi most significantly. This guy can really wail and when given the chance he doesn't hold back. "Tra Gli Ultimi Raccolti" displays some subtle yet gorgeous interplay between light synth background, nimble-as-hell rhythm section, and refined, near-perfect guitar artistry. In moments like these Gli Apostholi is nearly timeless with songwriting that could be from any period, with moods and melodies simultaneously bright and melancholic. Then, "Racconti" clearly reminds us that Apostholi maintains one foot clearly planted in the Italian song tradition. This is a band one can cite when people make the foolishly general suggestions that nothing good came from the 1980s. One need only start poking around. It's a bit of a shame this band didn't release a few more albums, I think it would have been fascinating to see where they took things next.

While I personally prefer the eclectic, pared down approach of the first album, both Gli Apostholi albums are quite good and recommended to RPI fans who are willing to move beyond the intense and avant-garde tinged flavor of the classic period's well-known albums. Folks who want to learn the whole story of RPI will want to visit this chapter as well.

Entering the 80's Walter Bottazzi secured a more stable line-up, featuring Gigi Terzo and Roberto Trentin along with new members Tullio Mazzaretto on guitars and Ivano Aldighieri on bass.Their next step was to re-record their early album ''Un'isola senza sole'' and launch it eventually in 1983 with a different cover.All lyrics are written by Carlo Andolfato, but it appears they had some connections with another Vincenza-based group, Abissi Infiniti, as their bassist Enrico Kotterl wrote one track, ''Pomeriggio ad Acquasparta''.

Stylistically not much has changed compared to the previous album, the sound of the band relies somewhere between Melodic Rock and Pop with some folky overtones, good thing is that this work contained some interesting flute parts among the electroacoustic moments, while a few synth/flute passages show tendencies towards a more symphonic style.At the end ''Un'isola senza sole'' sounds more mature and complete of an album, they even added some harder guitar moments over pompous keyboards and the tracks are well-arranged with a fine melodic content.Still this can hardly described as Progressive Rock music, even if the instrumental parts are extended, Gli Apostholi were always a band with poppy leanings and standard song structures, building their ideas on guitar solos and accesible songwriting.So expect an album with electric power, a fair amount of synthesizers, somewhat proggy piano and flute moments and melodic, Italian vocals, a bit comparable to compatriots ABISSI INFINITI, but with an even lesser progressive mood.

Even if they never released another album, Gli Apostholi remained active for decades around the Bottazzi/Terzo/Trentin core, more recently having Paolo Savegnago on vocals (member of the band in the 60's) and Alcide Ronzani on guitars.

As with ''Ho smesso di vivere'' the album has been reissued by MP Records.Minor inclusion of the 70's Italian Prog scene.Good, melodic rock, covering any attempt for more intricate, instrumental textures.For lovers of sweet, Italian-spiced music and lyrics...2.5 stars.