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La Coscienza Di Zeno

Rock Progressivo Italiano

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La Coscienza Di Zeno La Notte Anche di Giorno album cover
4.06 | 241 ratings | 6 reviews | 28% 5 stars

Excellent addition to any
prog rock music collection

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Studio Album, released in 2015

Songs / Tracks Listing

- Giovane Figlia (23:59) :
1. A Ritroso (5:26)
2. Il Giro del Cappio (5:22)
3. Libero Pensatore (5:12)
4. Quiete Apparente (1:37)
5. Impromptu pour S.Z. (1:10)
6. Lenta Discesa all'Averno (5:12)
- Madre Antica (20:08) :
7. Il Paese Ferito (5:52)
8. Cavanella (3:09)
9. La staffetta (4:01)
10. Come Statua di Dolore (7:06)

Total Time 44:07

Line-up / Musicians

- Alessio Calandriello / vocals
- Davide Serpico / electric & acoustic guitars
- Luca Scherani / grand piano, Hammond, Korg Sigma/MS-20 synthesizers, Crumar Multiman, Elka Rhapsody, Mellotron, bouzouki
- Stefano Agnini / Solina, Elka Synthex, VCS3, Minimoog, KeyB organ
- Domenico Ingenito / violin
- Gabriele Colombi / bass
- Andrea Orlando / drums & percussion

- Simona Angioloni / vocals
- Melissa Del Lucchese / cello
- Joanne Roan / flute

Releases information

Artwork: Priscilla Jamone

CD Fading Records - FAD017 (2015, Italy)

LP Fading Records ‎- FAD LP 002 (2016, Italy)

Digital album

Thanks to mbzr48 for the addition
and to projeKct for the last updates
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LA COSCIENZA DI ZENO La Notte Anche di Giorno ratings distribution

(241 ratings)
Essential: a masterpiece of progressive rock music(28%)
Excellent addition to any prog rock music collection(37%)
Good, but non-essential (26%)
Collectors/fans only (6%)
Poor. Only for completionists (3%)

LA COSCIENZA DI ZENO La Notte Anche di Giorno reviews

Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by BrufordFreak
COLLABORATOR Heavy Prog & JR/F/Canterbury Teams
5 stars This is my favorite release coming out of the AltrOck/Fading Records stable from this year (so far)--which is saying a lot since a) AltrOck is my favorite record label and b) I've already awarded five stars to Ciccada's new release. La note anche di giorno is an album with two multi-part "side-long" epics both constructed in symphonic style. Because the songs of each epic flow one into the other without break, the pieces really should be listened straight through, but I will review the album with the parts broken down as they are listed on the album credits. Lead singer Alessio Calandriello's wonderful vocals always impress. There is something reassuring I find in his voice. There is a confidence to his singing and he is so versatile and yet consistent! Between the three La Conscienzo di Zeno albums and two Not A Good Sign efforts he's become quite a fixture in my life. There is plenty of his fantastic work throughout this album. The entire band is in great form throughout this album, guitarist Davide Serpico always integral and never over the top, drummer Andrea Orlando and bass player Gabriele Guidi Colombi make a stellar rhythm section, with some added kudos to GG for his wonderful double bass and bowman-ship. The prominent role of violin and flute, thanks to Domenico Ingenito and guest Joanne Roan, are touches that really set this album, this group, apart--they really help make this album so enjoyable and compelling. And then, of course, there is the backbone to La Coscienzo di Zeno, the keyboards. Here we have not one but two masters of their craft working together to compose and perform these brilliant pieces, Stefano Agnini and Luca Scherani. My hat is off to you, gentlemen.

I. "Giovane Figlia" (23:59) (10/10)

1. "A Ritroso" (5:26) opens with Alessio's powerful voice straight out of the gate. Awesome! The song plays out dynamically like an overture bouncing several themes back and forth throughout.

2. "Il Giro del Cappio" (5:22) opens slowly, softly, with "harpsichord," violin and Alessio's low register voice. At the two minute mark drums, bass, and electric guitars join in to accompany Alessio's step up into his voice's upper registers. Key change at 4:20 gets us ready for the next song.

3. "Libero Pensatore" (5:12) synths with guitar arpeggios open this one until an electric guitar carries in the main melody from the previous song--just before Alessio comes in. There is another melodic lead guitar solo in the third minute. Alessio sings slowly before a GENESIS- like shift at 3:20. Violin and organ alternate with synths and a staccato section in a very pleasant kind of rondo between the three sections.

4. "Quiete Apparente" (1:37) opens with driving bass and drums with Mellotron voices, steady and hypnotic until Alessio's entrance to prepare us for the shift to:

5. "Impromptu pour S.Z." (1:10) is a brief folksy-café piano and violin intro which shifts when joined by synth and electric guitar before:

6. "Lenta Discesa all'Averno" (5:12) opens with Alessio's powerful voice driving the song (which reminds me a lot of Alessio's amazing vocal from "La cittŕ  di Dite" from Sensitivitŕ ). At 0:40 the music softens with organ and electric guitar before moving into a kind of GENESIS area again. Great vocal and narrative voice until the two minute mark when soft organ, flute and double bass are joined by gorgeous chanteuse Simona Angioloni singing in French. Simona's vocals are gradually multi-tracked to form a choir, whose increasing numbers and power are matched by that of the accompanying instruments. Sublime! The suite finishes with violin and bowed double bass. Amazing climax and ending to an amazing musical adventure! (10/10)

II. "Madre Antica" (20:08) (10/10)

7. "Il Paese Ferito" (5:52) opens with heavier, more ominous tone and mix of instruments. At the one minute mark the tempo and rhythm changes--to which piano and flute add a jazziness. Violin, synths and electric guitar interplay until at 2:00 Alessio's voice enters and the music shifts to sound like a the narration to a bar room movie scene. At 3:00 piano, bowed double bass, violin carry forward the pastoral late night debauchery feel with Alessio singing within the instruments' storytelling. At 3:50 drums and organ enter change the tempo into a kind of stop-start. At 4:25 electronic keys and guitars enter play with a two-steps forward, one step back ascending chord progression. At 5:15 there is a shift to more PINK FLOYD-like guitar chord and fretless bass with violin accompaniment until the song bleeds into the next.

8. "Cavanella" (3:09) shifts to a more upbeat mood with Alessio's easy-going vocal leading throughout, though his speed and style changes four different times before the instrumental section at 2:20 shifts into another different time, rhythm and style before settling into the next song.

9. "La staffetta" (4:01) opens with a nice weave of synths and violin before Alessio comes in to continue telling us the story of the Ancient Mother. He gets quite emotional, powerfully so, at the end of the first minute. A brief break allows everyone to recharge before coming back full force, letting Alessio and the violinist take their turns. The music turns quiet at the end of the third minute, allowing the entry of a jazzy piano--who takes us solo into the suite's finale.

10. "Come Statua di Dolore" (7:06) opens so cool, so confidently. It's like the band knows they've had you and they're saving the best for the end--the enravelling, the dénouement, the dessert. And what a dessert it is! A chapter straight out of the best of the Masters. Perfect instrumental work, perfect melodies, perfect chord changes, perfect choices in instrumentation. GENESIS, PFM, CURVED AIR, at their absolute best! The violin is definitely on front display--along with Alessio's voice, of course. (10/10)

My biggest disadvantage in reviewing this album is that I don't know Italian and I have thus far been unable to find translations into English for the lyrics or even a synopsis for the stories being told. If I do eventually find what stories are being told, I will amend my review.

Review by Aussie-Byrd-Brother
SPECIAL COLLABORATOR Honorary Collaborator
5 stars For every wilder act like Pholas Dactylus, Il Balletto di Bronzo or Cervello in the RPI sub-genre, there are the bands like Celeste and Locanda delle Fate that deliver more pleasing, luxurious and lavish sounds instead. On the strength of their third album, 2015's `La Notte Anche di Giorno', that's where La Coscienza di Zeno fit in, and fans of Locanda's debut `Forse Le Lucciole Non Si Amano Piu' will be in absolute heaven here. Formed in 2007, the group here offer a grand collection of the most swooning, romantic Italian symphonic prog you could ever desire, coated in warm melodies and sweeping arrangements, and this forty-four minute vinyl-length release is separated into two side-long multi-sectioned suites. Vocalist Alessio Calandriello's sweet expressive croon is given great prominence throughout, there's plentiful classical flourishes, flashy keyboard colour, and the frequent use of violin calls to mind other Italians RPI bands both old and new such as Quella Vechio Loccanda and Ingranaggi della Valle.

The `Giovane Figlia' sequence joins the first six pieces with seamless transitions and reprising themes, opening confidently with `A Ritroso' where Alessio's voice bursts forth from the opening second and weaves around twirling Moog runs and stirring violin between a range of subtle tempo changes back and forth. `Il Giro del Cappio' is full of chest-beating power, the violin, keyboards and guitar all take turns delivering variations on a gorgeous main theme throughout `Libero Pensatore' with soothing jazzy breaks, and forceful drums pound and intimidating organ dominate `Quiete Apparente'. `Impromptu pour S.Z' is a violin-driven jazz-fusion interlude that wouldn't have sounded out of place on an early Arti e Mestieri album, and the piece finally culminates with `Lenta Discesa all'Averno' where a spitting wild vocal and a soothing, wavering female chorus delicately close the first act.

The `Madre Antica' suite takes in the remaining four tracks, `Il Paese Ferito' beginning with a smorgasbord of searing violins, whirring synths and thick murmuring bass before revealing classical fancy and gothic flirtations. `Cavanella' returns to warm vocal romance, then it's back to more boisterous drama and a restrained solo piano reprise of earlier themes in the achingly beautiful closing moments of ` La Staffetta'. The closing seven minute section `Come Statua di Dolore' offers one final race of dashing moog runs, flighty trilling flute, weeping violin and even a precious taste of mellotron majesty to end this exquisite progressive symphony.

Considering La Coscienza di Zeno is comprised of musicians who've been involved in the Hostsonaten project and Il Tempio delle Clessidre, it's no surprise to find the music here is so rich and exotic, and the glossy production gives the album a sleek and comforting sound. The fact that the vocal passages are instantly melodic and easy to enjoy, weaving excitedly around the sumptuous instrumental aspects makes it even more of a winner, and once it's been given several replays, the music truly soars with a flowing grace and sophistication. If you don't mind the more polished and slick RPI works in the manner of the symphonic vintage style, `La Notte Anche di Giorno' may just be one of the loveliest RPI releases of 2015!

Four and a half stars.

(This review is dedicated to Sam aka Archives member Meltdowner, who loved the album right from the start and kept on my back to keep digging the CD out for more plays! Now it's a favourite of mine, who knew?! Hmmm, maybe I'll come back and bump the album up to 5 stars before too long...)

Review by Windhawk
SPECIAL COLLABORATOR Honorary Collaborator
4 stars Italian band LA COSCIENZA DI ZENO was formed back in 2007, and released their debut album four years later, in 2011. Since then the musicians have established themselves as a quality provider of Italian progressive rock, and their second album, "Sensitivita" saw the light of day in 2013. "La Notte Anche Di Giorno" is their third studio recording, released through the Italian label Altrock Productions' imprint Fading in 2015.

La Coscienza Di Zeno comes across as a band tailor made to cater for those with a strong affection for vintage symphonic progressive rock, and then of the more careful variety with a focus on melodies, harmonies and generally compelling arrangements that shy away from overly dramatic effects. As many of the quality bands did back in the '70s they will incorporate elements from both classical, folk and classical music as natural elements in their compositions, and at least in the case of this specific CD side-long, multi-part suites is the order of the day. An album that comes with a warm recommendation to anyone who finds that general description enticing, and in particular to those among them who prefer music of this kind to have Italian-language lead vocals.

Review by tszirmay
SPECIAL COLLABORATOR Honorary Collaborator
5 stars La Coscienza di Zeno is quickly becoming the new 'enfant terrible' of Italian prog , 3 sensational albums into a career that just keeps giving vivid music that adheres to the classic elements that makes RPI so attractive to many , and puzzling to some others. Well, you have to love Italian vocals, so anti-opera fans will have an understandable hard time even approaching this style. The orchestral bravado, the melodic flair, the rhythmic muscle and the constant sizzle of variety never ends, showing why Italian art, cuisine, design and style rank right up there with the very best. Edgy yet creatively original, pushing emotional and esthetic boundaries is what make Italians tick, in pretty much everything they set their mind to.

In particular, the unending voyage between extremes is a national characteristic and on this album, we have some outright proof: the title has Notte (Night) and Giorno (Day), as well as the two suites, one called Giovane Figlia (Young daughter) and Madre Antica (Old Mother). The band is pretty much the same as on previous recordings except for the arrival of second keyboardist Luca Scherani, a personal favorite of mine what with his work with Fabio Zuffanti's Höstsonaten projects, as well as with Trama and his solo album. Add to that one of RPI's most notable drummer in Andrea Orlando (Finisterre, Hostsonaten, Malombra, Zuffanti, Narrow Pass and Curva di Lesmo). But the star of the show must be lead singer Alessandro Calandriello, a man whose booming voice becomes more and more convincing with each release. As mentioned by many commentators, this one creeps up on you sneakily, as multiple auditions add definition, space and contrast to the initial impression, not really surprising as RPI is, in my mind, really defined by a myriad of little touches, a spot of clarinet here, a tidy flute there, some sizzling violin where necessitated and any other instrumental cameo that heightens the pleasure. What an inspiring disc, truly elite in terms of progressive adventurism, combining whopping melodies that you swear you may have heard in your dreams, with turn-on-a-dime breaks and accelerations that would make Ferrari, Maserati and Bugatti proud. The opener sets the stage with a clear indication of who are the players and what are their intentions. "Ritroso" slams into overdrive immediately, pulling the pants down on expectations and initial misgivings. Boom! "Il Giro del Cappio" is one of those tracks that will attack your musical jugular like some rabid wolf and never let you go, easily falling into the greatest RPI song catalog. A colossal main melody seizes the moment and builds continuously. Majestic, colossal and utterly ambitious, both the verse and the chorus are celestial, the Calandriello voice trembling with power and glory, elevated by some energetic playing on all fronts, featuring piercing guitar, all- encompassing dual keys, thriving bass and booming drum fills. As fine an RPI circa 2015 classic theme as there ever will be! Searing violin, gritty guitar and suave harpsichord and synths greet "Libero Pensatore", blooming into another heavenly melody, expertly expressed by the mellifluous voice. Davide Serpico's axe grinding, riffing and slicing through the slippery violin runs and shoved along by some sublime synth runs that rekindle images of Flavio Premoli, I am starting to see La Coscienza di Zeno as the worthy 21st century successor of the Premiata Forneria Marconi . And that is saying a lot! On the sweet and short "Impromptu", Luca Scherani's piano and Dominico Ingenito on violin conglomerate to shine like distant novas, glittering prizes to the RPI pantheon. This leads straight into the wild roller coaster of "Lenta Discesa all'Averno" where the lead singer shows off some lung gymnastics that contrast brightly with the suave entrance of Simona Angioloni's otherworldly voice. She had previously shone on both the Höstsonaten and Aries discographies (both being Fabio Zuffanti's creations).

The second suite, "Madre Antica", kicks off with a sombre and gloomy premise, the dark obscurity of "Il Paese Ferito" seeks to explore denser musical territories, churning organ colliding with sculpted guitar phrasings and abrupt flute ramblings as a brief introduction before the sublime violin kicks in its romantic ooze, aided by some sweeping synthesizer tapestries. A galaxy of contrasts, twists and turns keep the listener perpetually off guard and hesitant, eager for the next thrill and they do flow inexorably. Again, the main chorus on the companion piece "Cavanella" is completely baffling, Calandriello raising the bar, pushing his animated voice beyond any easy boundaries. Fiery, ambitious, ardent and bold, these talented musicians are in total control of their craft, both in direction and execution. "La Staffetta" has our new favorite singer hitting high notes with ostensible effortlessness, pushing and shoving the pleasure along with little restraint. The gorgeous piano etude comes out of the clouds, lovingly ornate and elegant, another example of opportunity meeting conviction, as Scherani's melody is to expiate over, something Wolgang Amadeus may have dreamed about but died too young to put onto paper. When second keyboardist Agnini adds his raging organ, you get the idea and simply capitulate to the charm. In the presence of glorious brilliance, of that there is no doubt. The final piece to the promenade puzzle (sorry, I could not help myself any longer!) is the stuttering brilliance of "Come Statua di Dolore" (Like statues of pain) where the violin waltzes feverishly with another divine melody that reprises "Il Paese Ferito" and its magical 'Arcobaleno' line to put this masterpiece to bed and consecrate it with the highest praise possible.

La Coscienza di Zeno is the real thing and easily the New Kid on the RPI Block. Stunning artwork puts this release in the must have category. One word : WOW

5 Night and Days

Review by Mellotron Storm
4 stars It's been an interesting week as I've been playing this album and UNREAL CITY's latest back to back, and after many listens there's not a lot to chose between the two in my opinion. Both were rated very highly in the "Album of the Year" voting here and I hadn't had a chance to spin either until lately. I'm not too surprised that UNREAL CITY's 2015 release finished ahead of this one as I found it to be more complex with more meat on it but I still can't decide which one I like better. This latest from CDZ connects with me more emotionally and I liked it right away which is interesting as their debut took many spins to finally connect with me. I wasn't a big fan of their second release but this one is a winner although I found it lost some steam on the final 20 minute suite. What an impressive album cover as well.

This album clocks in at a tidy 44 minutes and consists of two twenty plus minute suites where the songs blend into one another. Up first is "A Ritroso" where the vocals hit us right off the hop and they sound incredible. The violin kicks in quickly and then the drums. Synths to the fore after 4 1/2 minutes and I like the bass/ drum/ violin section after 5 minutes. "Il Giro Del Cappio" has an absolutely gorgeous sound to it as the violin plays sweetly over an emotional soundscape. The vocals a minute in melt me. It's fuller 2 minutes in including vocals that are more passionate. So good. "Libero Pensatore" features violin, drums, synths and more then the guitar starts to play over top. Vocals 1 1/2 minutes in as it settles back. It's all instrumental again after 2 minutes with lots of synths, followed by guitar then the vocals as these contrasts continue. Lots of violin later.

"Quite Apparente" is a short piece with a driving rhythm and determined vocals. This sounds great! "Impromptu Pour S. Z." is another short piece with piano melodies only to begin with before the violin and drums join in. I love the tone of the guitar that arrives late. "Lenta Discesa All'averno" opens with vocals right away accompanied with an uptempo instrumental section. Spoken words after 1 1/2 minutes then a calm as we get female vocals that really offer a different flavour to the rest of the album. Beautiful stuff.

The second suite begins with "Il Paese Ferito" where the violin plays over top of the drums and organ. It picks up after a minute as piano and intricate sounds help out including the guitar. Vocals a minute later with lots of violin. A calm 3 minutes in with reserved vocals, violin and piano. More guitar, violin and organ later on. "Cavanello" puts the focus on the vocals. Organ to the fore 2 minutes in then a calm before it kicks back in again. "La Staffetta" is where the vocals and violin standout before we get a calm before 2 1/2 minutes of piano melodies to the end. "Come Statua Di Dolore" opens with synths and drums as the vocals join in. Violin too before the guitar, bass and drums take this into a little bit heavier territory. Violin after 3 minutes as it settles back some. Violin, piano and drums standout 4 1/2 minutes in then the synths take the spotlight. How good is this 5 1/2 minutes in with the guitar and mellotron all the way to the end.

A beautiful album and I like the emotion that's on display as well. A solid 4 stars and one I enjoy as much as their debut.

Latest members reviews

5 stars This is... this is just... brilliant! I thought their second album Sensitivitŕ released 2013 was that years best album and my excitement was huge for this album. Preordering it from BTF so I was sure to get it as fast as I could possibly get and after many spins in my CD I am just amazed how grea ... (read more)

Report this review (#1370705) | Posted by Andis | Friday, February 20, 2015 | Review Permanlink

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