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Accordo Dei Contrari

Jazz Rock/Fusion

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Accordo Dei Contrari Violato Intatto album cover
4.18 | 124 ratings | 5 reviews | 29% 5 stars

Excellent addition to any
prog rock music collection

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Studio Album, released in 2017

Songs / Tracks Listing

- Violato :
1. Folia Saxifraga (4:26)
2. Monodia (6:37)
3. Blue-S (5:43)
4. Shamash (8:06)
5. Idios Cosmos (6:20)
6. E Verde Ť l'Ignoto su cui Corri (7:14)
- Intatto :
7. Marienkirche (3:39)
8. Di Eccezione in Variante (7:22)
9. Usil (6:38)
10. Eros vs Anteros (10:01)
11. Il Violato Intatto (7:08)

Total time: 73:16

Line-up / Musicians

- Marco Marzo / electric & acoustic guitars
- Giovanni Parmeggiani / organ, Fender Rhodes, MiniMoog, Arp Odissey, Mellotron
- Stefano Radaelli / alto & baritone saxes, bowed zither (5)
- Cristian Franchi / drums

- Patrizia Urbani / vocals (6)
- Gabriele di Giulio / tenor sax (1,10)
- Alessandro Bonetti / violin (4)
- Bells of Marienkirche (GL, Switzerland) / church bells

Releases information

Recorded Live-in-studio

Artwork: Dario D'Alessandro

CD self-released (2017, Italy)

FLAC download -

Thanks to mbzr48 for the addition
and to Quinino for the last updates
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ACCORDO DEI CONTRARI Violato Intatto ratings distribution

(124 ratings)
Essential: a masterpiece of progressive rock music(29%)
Excellent addition to any prog rock music collection(38%)
Good, but non-essential (22%)
Collectors/fans only (8%)
Poor. Only for completionists (4%)

ACCORDO DEI CONTRARI Violato Intatto reviews

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

Collaborators/Experts Reviews

Review by Mellotron Storm
5 stars I was completely blindsided by this album. I own their first two studio albums and both are solid 4 star albums but "Violato Intatto" takes them to a new level in my opinion. Now I did miss the previous album "AdC" so I need to rectify that but it's like this album was taylor made for me. So powerful with what I thought was outstanding in your face bass lines but was told by Giovanni the keyboardist that he makes the bass sounds with his organ now that the bass player was replaced by a sax man. There's also lots of horns, guitar and some killer drumming. Cool that the DEUS EX MACHINA violinist guests on one track. So much of this album is familiar, reminding me of music I know and love. Without question a top three for me for 2017 and possibly number one. This was recorded live in studio with some overdubs. I didn't mention the mellotron or Fender Rhodes two of my favourite instruments right there. This is simply outstanding from beginning to end, no weak songs even though it's over 73 minutes in length. It's mostly instrumental but for the guest female vocals on track 6.

"Folia Saxifraga" gets us started as it hits the ground running and there's so much going on. Organ to the fore as the drums pound. The sax is back! A powerful first minute then we get this psychedelic calm that's quite spacey. This is better. Drums after 2 minutes then it kicks back in. Dissonant sax after 2 1/2 minutes as the organ and drums create a rhythm.

"Monodia" is a top three song for me. Deep organ sounds vibrate my speakers before it kicks in heavily. The horns give me a SOFT MACHINE/ NUCLEUS vibe for sure. Love how the organ growls away here. The tempo starts to pick up around 2 minutes. I'm just blown away here as the guitar makes some incredible noise. The horn before 4 minutes sounds amazing playing over top. Check out the organ before 5 minutes then the guitar and drums take over. Horns are back quickly though. Powerful stuff then that SOFT MACHINE vibe returns late to end it. Nice.

"Blue-5" opens with organ and guitar as we get some heaviness as the soundscape shakes. A horn comes in over top. Great section after 2 minutes with the organ, drums and horns especially. It settles down some before 3 minutes then a catchy horn led section takes over a minute later that lasts to the end.

"Shamash" features that DEUS EX MACHINA violinist. Experimental sounds to start. I believe that's guitar as the synths create atmosphere. It kicks in heavily just before 2 minutes. So good! That organ is incredible. It does settle back briefly though before 4 1/2 minutes with some interesting violin as the drums crash the scene then it kicks back in again. The violin starts to shred then we get another calm before 6 minutes that is exotic and experimental. This reminds me of Krautrock believe it or not. It kicks back in with violin.

"Idios Cosmos" opens with a horn melody and it will come and go as powerful outbreaks trade off with it. An experimental calm follows then it kicks in before 2 1/2 minutes with honking horns and in your face organ and drums. Love this earth moving organ along with the Fender Rhodes as the horns blast away. A spacey calm before 4 1/2 minutes then it starts to build a minute later with honking horns, organ and drums again.

"E Verde E L'ignoto Su Chi Corri" is a top three for me. Intricate sounds to start with cymbals as well. This reminds me of Sweden here. Drums just before a minute. Guest female vocals before 1 1/2 minutes in this more laid back setting. She's really good. Check out the subtle keys 4 1/2 minutes in and again Sweden comes to mind. What a moving track for me. Mellotron waves continue to roll in to the end.

"Marienkirche" is experimental at first I'm not sure if these are samples or not but they vaguely remind me of a train but the sound is deconstructed it would seem. It fades away anyways as organ and atmosphere take over but soon that opening soundscape is back after 2 minutes to the end. Love that they did something that "out there" on here.

"Di Eccezione In Variante" along with "Shamash" make my top five. Check out the picked guitar melodies along with the keys and atmosphere. Drums after a minute. Soon it's drums and keys only then the guitar starts to echo. Gotta love the electric piano and drums here. It's becoming more powerful then the guitar comes to the fore after 3 minutes. Killer organ too in this amazing section that kicks ass! A calm with keys 5 minutes in before kicking back in heavily once more.

"Ulis" opens with keys and cymbals before it kicks in rather heavily with horns over top. Catchy stuff. A calm arrives but not for long as the organ joins the energetic soundscape as the horns blast away. It settles back again with electric piano, a beat and some innovative horns. So good!

"Eros Vs Anteros" is my final top three track. We get an ethnic vibe to start as horns and an energetic sound lead the way. The keys bring AREA to mind. Nice rhythm section before a minute as the guitar solos over top. Incredible! Checkout the organ after 4 minutes, this sounds amazing. It settles back 6 minutes in with some acoustic guitar and more before kicking back in with horns over top. This section is really repetitive until we get a change 8 minutes in as the organ replaces the horns and rips it up. The horns are back! Suddenly it's acoustic guitar only after 9 minutes to the end.

"Il Violato Intatto" ends the album in style as we get electronics at first as a deep atmosphere rolls in. Sounds start to drone as well. Interesting. Distorted keys and a determined beat take over around 3 minutes. Horns lead before 5 minutes as it stays fairly heavy. There's that distorted organ again. Electronics only before 5 1/2 minutes like the intro but then the drums and horns return. Horns only before 7 minutes.

This has impressed me like little else this year other than the WOBBLER recording. Easily 5 stars and possibly my album of the year.

Review by BrufordFreak
COLLABORATOR Honorary Collaborator
5 stars MellotronStorm reviewed this album in November or December, proclaiming it to be his front-runner for Album of the Year, so I knew that I had to give it a serious chance. Despite being initially turned off by the opening song, I'm glad I did. This is definitely one of the most creative and complex albums I've encountered all year--and this with the loss of their former bass player! Well done!

1- "Folia Saxifraga" (4:27) opens with a full-frontal bang right into a fast-paced SEVEN IMPALE-like jam. Sax solo at 2"40 is clearly jazz while the organ and odd-tempo rhythm section beneath gets louder and more insistent. (So Seven Impale-ish!) A little too long in the extension of the repetitive sections and too dissonant from the sax. My bad. (8/10)

2- "Monodia" (6:38) opens with some really cool muted bass organ notes before bursting into a kind of VanDerGraffGenerator/SEVEN IMPALE sound--sax and all. After the long introductory period (almost two minutes) we settle into a off-beat organ-arpeggio-led section over which electric guitar solos. In the fourth minute organ does a little solo, too, before sax takes a turn. It's very cool when multiple horns and organ start playing a gorgeous jazz melody together. Amazing! Now THIS is progressive rock music as it should be! In the fifth minute things scale back to a kind of "Watcher in the Skies" fast-pulsing non-straight-time beat before things amp up with the whole band getting into a weave. Awesome song! One of the album's best! (9.75/10)

3- "Blue-S" (5:43) harkens back to some old blues rock styles and chord progressions from the 1960s--only with the trick of placing it all within an odd time signature--like "Peter Gunn" with a bluesier, off-tempo, more difficult composition. Not my favorite but kudos for creativity. (8.5/10)

4- "Shamash" (8:07) opens with more experimental sounds--this time crazily distorted and fast-echoed, slow decayed electric piano (!) chords. At the two minute mark the sound experiments end and we enter into another complex, odd-timed CRIMSONIAN song with distorted electric guitar and then distorted violin solos above the rhythm section though within the music. There is a lot of BLACK SABBATH/URIAH HEEP-like organ hidden deep within the sounds of these songs. The song shifts and the violin gets let loose--soaring and then returning to the fold, over and over again. This is awesome! Then, at 5:43, everything cuts away and the opening effect returns but modified slightly to comport the single-note play of the guitar. Then there is an odd fade out at 6:18 before the band returns en force with what feels and sounds like a completely different sound (and song!) (9/10)

5- "Idios Cosmos" (6:20) jazzy solo sax playing chromatic scaled arpeggi opens this one before alternating for the first minute with full band entries and exits. Then a spacey, almost MAHAVISHNU or NOVA-like spacey, all-instrument tuning and warming up section ensues. At 2:15 a new structure starts up, again KING CRIMSON is the only band I can compare this sound with as there are smooth elements contrasted with jagged, angular sounds and stylings, perhaps even playing in polyrhythms. The drumming here is really cool--beautiful cymbal sounds. At 4:05 there is yet another cut out, space out, and freak out before the sax begins to peak its head into the mix. It takes a full minute, however, for the space synths to be subdued by the sax. The final half minute is the full band playing together. Interesting. I understand conceptually and technically what they are doing. I'm just not as fond of this for a "repeat/replay" song. (8.5/10)

6- "E verde è l'ignoto su cui corri" (7:15) guitar and organ take turns laying down some nice, delicate arpeggi with some interspersal of light drums and bass (from the organ and guitar) before female vocals enter (singing in English--in a kind of ELAINE DI FALCO way). Against a pretty weave of picked acoustic and electric guitars Patrizia's voice is multi-tracked within the non-standard scale GENESIS-like guitar picking weave. Enter electric piano-sounding organ and we have a gorgeous classic GENESIS-like weave. Truly beautiful in a tributional though entirely original way. And it's extended for a nice length of time--to the end of the song! Wow! Was that unexpected and delightful! Definitely one of my top three songs for this album. (10/10)

7- "Marienkirche" (3:40) heavily treated/sound-manipulated bells, human voices, and percussives--perhaps even a looped treatment of a recording of some German church bells (I know there was a wonderful Marienkirche in M√ľnchen.) But wait! Isn't this the domain of fellow Italian sound engineer Stefano Musso?!?!?! (I love it!) (9/10)

8- "Di eccezione in variante" (7:23) opens with an electric guitar arpeggio played against its own echo before drums and Fender Rhodes and organ join in. At 1:10 the rest of the band gels into a cohesive unit around the separately established melody lines (polyphonic?) of the guitar, organ bass line, and drums. Then, in the third minute, a new way of expressing the weave congeals into a collective weave--all members performing within the same universe. At 3:38 the heavily distorted sax-sounding electric guitar wails into the scene above rhythm section and organ. This goes on for a full minute before things take a turn and then shut down. Empty space is filled by the electric piano starting up its melody line, all by itself, before the rest of the band joins in with a heaviness provided by sax and electric guitar power chords. Again, these are not your typical melody chords, they are chromatic in the typical YUGEN and KING CRIMSON fashion. (9/10)

9- "Usil" (6:38) another wonderfully keyboard-based song of odd tempos which lets the alto sax and baritone sax bass lines create the melody for the first two minutes. Electric piano chords signal an upcoming shift, eased by the disappearance of the sax and bass organ arpeggi. Guitar and electric piano take over the lead weave before dual sax lines and organ re-enter and take it back. At 3:33 there is a settling into a rhythm with some nice electric piano support chords while the alto sax takes off in a true jazz improvisational solo. At 4:30, things cut again while a slow weave of cymbals, spacey sax and guitar play our over a base of steady electric piano arpeggi. (9/10)

10- "Eros vs Anteros" (10:02) opens with a little Latin/Spanish/Santana-like melody riff played repeatedly for the first 30 seconds before a little lull allows the entrance and rise of a low-end Moog-like synth bass line to establish itself in the foreground. Soloing electric guitar wails away during most of this while the flangey bass synth seems to keep drawing my attention. I expect to find some African American bass player from the 1970s credited with this bass synth play. The guitar solo is long and at times unexceptional but gets stronger by the end. At 3:25 things shift dramatically leaving a JC Superstar-like arpeggiated bass line to lead us through a long swirling organ solo. Actually quite an awesome section. This continues till 5:50 when things shift, almost feeling like an intro to a 60s rock song, before the band returns to another variation of the original Latin melody riff. This allows a window for the drummer to show off his creative chops until 7:50. The next section has a kind of "White Rabbit" melody-chord progression to it. The final minute is left to a lone soloing steel-string acoustic guitar. Kind of Ry Cooder-like. Great stuff. Very creative. One of the best prog epics of 2017! (10/10)

11- "Il violato intatto" (7:08) opens with fast-paced electric piano arpeggio repeated over and over while bass pedals, organ and guitar eventually creep into the mix. When the piano eventually shifts its octave and doubles up, the rest of the band fades out and then comes back with a different weave. In the fourth minute an old-sounding synthesizer joins in and plays some subtle soloing over the course of the next minute. Ominous, heavy group play beneath the electric piano fills out ninety seconds of the final two minutes, while solo sax plays alone, against its echoed self, for the final 30 seconds. A top three song for me. (9.5/10)

Five stars; a masterpiece of complex, boundary-pushing progressive rock music--the goal that all progressive rock musicians should strive for.

Review by Aussie-Byrd-Brother
SPECIAL COLLABORATOR Rock Progressivo Italiano Team
5 stars Album number four for the frenetic and unpredictable Italian fusion band Accordo dei Contrari, and 2017's `Violato Intatto' is their most varied and volatile work to date! To call AdC a jazz-fusion band would be doing them a bit of a disservice, as they travel much further than that by incorporating everything from Rock-in-Opposition/Avant textures, ambient interludes, brief cinematic Post-Rock flirtations and a touch of Canterbury-styled jazzy waftings. The band have taken the potential trouble of the void left by departing bassist Daniele Piccinini by filling it with sax player Stefano Radaelli (as well as bringing in Deus Ex Machina's violinist Alessandro Bonetti to guest), and this new version of the group attack with more fire, bluster and a determination to impress than ever before...and it's resulted in one of the finest progressive music releases of 2017.

Predominantly recorded live in the studio with only the lightest of later overdubs, tightly composed instrumental pieces that blend effortlessly with improvised stretching-out is mostly the order of the day here, and sure enough opener `Folia Saxifraga' twists and turns with plenty of jagged back-and-forth stop-start spasms. Peppered with guest Gabriele di Giulio and Stefano's honking runaway sax, Giovanni Parmeggiani's loopy keyboard runs, Marco Marzo Maracas's tangled guitar grinding and Cristian Franchi's crashing drumming, the group only take a little break for a mysterious electric piano ambient shimmer in the middle. Relentless Hammond organ runs, red-hot electric guitar embers and pumping incessant Soft Machine-like horns cook throughout `Monodia', and `Blue-S' adds some dirty grooving swampy blues.

Check out `Shamash' for an prime example of AdC's versatility and melting-pot of styles and sounds ? opening with reverberating electronic slivers and shuffling distortion, it tears into heavy buoyant riffing, falls away into eastern-flecked ambient reflections before tearing through whirling dervish-like violin thrashes. There's noisy Soft Machine sounds aplenty throughout `Idios Cosmos's twinkling electric piano splintering, rumbling percussion builds and blaring sax blasts delivering lurching heavy grooves, and E Verde è l'Ignoto su cui Corri' moves closer to a band like Italian avant-garders Yugen with guest Patrizia Urbani's spoken vocals weaving in and around the dreamy chiming guitars and icy Mellotron veils. There's an eerie air of King Crimson atmosphere gently pervading here, and the low-key sophistication proves that AdC don't need to be high-energy and rowdy all the time.

That restraint continues into `Marienkirche', where a treated cacophony of faraway tolling bells and electronic drones seep together to form a pristine ambient break. There's more maddening Crimson-like jangling repetitive chimes, carefully slinking drumming and electric piano tip-toes throughout `Di Eccezione in Variante' that come close to the early A.M hours rainy-night teeming drops of Soft Machine's `Five' LP, before it rages into a storm of ferocious guitar wailing and molten Fender Rhodes eruptions. `Usil' is another jazzy and gutsy horn-pumping groover with addictive reprising themes and plentiful soloing, and `Eros vs Anteros' delivers not only acid-rock guitar histrionics and lengthy proto-prog Hammond heavy battering, but the gurgling electronics and mantra-like guitar spirals almost remind of the Ozric Tentacles...and the closing acoustic passage is just the added gravy - ooh yeah! The closing title track `Il Violato Intatto' blends hypnotic electric piano loops over placid drones, hazy washes of guitar distortion and clipping up-tempo drumming. Frantic, infectious and foot-tapping, it's an exciting way to end the album on as great a high as possible.

Don't be put off by the seventy-three minute running time here, as the wide variety of material always keeps the disc fresh, vibrant and exciting through bring a range of emotions - some attack with a fury, some challenge the mind, others craft immersive atmospheres and then there are just blasts of cool energy aiming to be fun. It all amounts to `Violato Intatto' likely being Accordo dei Contrari's true masterwork...until their next album most likely! Instrumental album freaks, jazz/fusion fans and lovers of challenging and off-kilter progressive music, here's very likely your favourite album of 2017.

Five stars.

Review by Quinino
SPECIAL COLLABORATOR Errors & Omissions Team
4 stars Oh, yes, Fa-Bu-Lous ! I'm truly mesmerized by this album, an achievement as I didn't have the chance to experience in a long time.

This relatively young band, though already in its fourth album, achieves with this one a real peak of creativity and innovation. This is an instrumental melting pot of the highest grade, if like me you are a sucker for fusion this one's for you.

Every twenty seconds we can hear a different style and just as you start guessing what the influence might have been the mood changes again and there they go in a new direction. What a ride! Over an hour of constant musical exploration, never dull, never tiresome.

But I guess it's one of those cases - either you love it at first hearing or you'll hate it forever, it's that defying. (If I come back later most certainly will raise to five stars, for now my rating is "Excellent")

Latest members reviews

5 stars I was a one-time listener of Accordo dei Contrari. Literally. I owned one album, Kinesis, which I enjoyed greatly. I sampled others, but none really captured my attention... until now, that is. Violato Intatto seized my attention in a big way. The best way I can describe it is a "guided tour thro ... (read more)

Report this review (#2203973) | Posted by wiz_d_kidd | Sunday, May 19, 2019 | Review Permanlink

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