PIC_NIC'@'VALDAPOZZO

The fact that this album features not only new material by Picchio dal Pozzo but also incorporates posthumous parts by legendary Area frontman Dimitrio Stratos should be enough to spur the fans of either or both ensembles into action, but here are this reviewer's thoughts on a rather special disc.

If PdP's self-titled showed their canterbury side and "Abbiamo Tutti..." was their RIO-inspired album, then Picnic at Valdapozzo could be said to be their avant-soundscape album, for the atmosphere is chill (as opposed to chilled) and ghostly, appropriate enough for a CD that captures Mr. Stratos' remarkable utterances - no singing, just constant experimental babbling, whispers and fuzzed-out chanting from beyond the grave. Sparse, minimal jazz provides a steady foundation, fronted of course by the signature saxophone play but backed with brushed drums and chiming, tuned percussion. Guitars don't play much of a role here, although muted plucking and harmonic twiddlings can be discerned in places and Mr. Griguolo does get to converse with Lugo's romantic saxophony during "Pugni Chiusi". Each musician is primarly contributing taste and incidence; when the question of structure is broached they reliably change the subject until "Boccasedrio", at which time a groove around vibes and bass forms (becoming comparable to the less immediate works of Jaga Jazzist) where, peculiarly, Mr. Stratos' voice alternates between dalek-speak and a baffling human reverse-cymbal effect. Strange but true.

To segue between the album's acts (not defined as such, but here's where Dimitrio's role ends) a short, poignant song entitled "Epitaffio" (this reviewer's italian is appalling but the gesture here is obvious) serves as a bridge into the improv section of "Picnic"; the extended closer "Valdapozzo" is dedicated in name to the farmhouse-turned-studio in which the album was recorded, and the proceedings are very tasteful and relaxed - each player gets a "room" to himself and explores his instrument. As ever, this being a PdP album, the saxophone steals the show.

Although much album space is alloted for texture and mood, this well-judged release never drops into drone or indistinguishable avant-garde flutterings on the edge of hearing - even so, a little patience when listening to Picnic at Valdapozzo will be rewarded. Giving this disc the five full stars would overstate its prog content and its worthiness compared to the previous three albums. Still, you don't have to be a completist to pick this up after you own "Camere Zimmer Rooms" - it stands up well as a testament to the enduring talent of these musicians, as well as that of a certain artist who, sadly, didn't endure for quite as long as we'd hoped.

Of PICCHIO DAL POZZO's four studio albums this one seems to get completely ignored by fans. This is the re-union album and so far their final studio release from 2004. When they got back together they decided to make an album dedicated to AREA's singer Demetrio Stratos. In part they did this because one of the band members found a tape of Demetrio singing live and solo from a 1979 concert. After cleaning the tape up and going digital with it they were able to use a lot of Demetrio's incredible vocal expressions on this album.

This all sounds too good to be true but my biggest issue with this album is with how experimental it is. I mean this is an Avant album all the way and as such it can be difficult. I'm not surprised to see Laplace's excellent review with 4 stars knowing what a fan he is of Avant music. My enthusiasm for this isn't really there despite being a big Demetrio fan and also a huge PICHIO DAL POZZO fan. Kind of strange too that the final 16 minute suite is live while the rest of the record is considered studio. They composed and recorded this album in a week at a farm called Valdapozzo. At least I tried and here's what I heard.

"Adriatico" has these avant pulses of sax, keys and more before some dark piano lines take over. Drums follow. I really like this. Some dissonant sax too. Some vocal expressions then the tempo picks up after 2 minutes. A slow almost swinging melody takes over with off- kilter sax. It picks up again and we get some odd vocal sounds before 5 minutes. Percussion and keys as it calms down after 5 1/2 minutes. Smooth sax after 6 minutes as vocal expressions and keys continue.

"Fetakyma" opens with spacey vocal sounds that come and go as we get some samples and a dark atmosphere. Strange stuff. Some sparse piano then sax arrives before 4 1/2 minutes. Bass before 6 minutes then the song starts to brighten with a beat and sax. It turns chaotic and avant 8 minutes in. Suddenly this catchy beat takes over, distorted keys too then blasting sax. A calm with vocal expressions, samples and atmosphere follows.

"Pugni Chiusi" was actually a song Demetrios sang with in his first band called I RIBELLI. Dark atmosphere as sounds echo and sax comes and goes. Percussion as it all turns louder and more dissonant after 4 minutes. It settles down again then a change as it brightens with sax and a beat to end it.

"Boccasedrio" opens with what sounds like vibes as spoken words arrive. Other sampled voices too as it builds. It's kind of cool how they use Demetrio's vocals. An active rhythm kicks in around 1 1/2 minutes with vocal expressions coming and going. Sax after 2 1/2 minutes. Vocal expressions then more sax. Dissonant sax after 4 minutes. It winds down late with vibes like the intro. "Epitaffio" is the final short track before the live suite. Tribal-like drums and Native chanting along with nature sounds.

The Valdapozzo(Live) suite worth about 16 minutes is up next to end the album. "Laboratory" is the first section and we get atmosphere as drums and other sounds come and go. Guitar too along with keys join in. It's quite experimental here, no real melody before 3 minutes. Sounds like electronics late as it blends into "Kitchen" with the smooth sax arriving along with percussion. Melancholic sax late as it blends into "Upstairs Room" where deep bass sounds, a beat and sax take over. It turns intense around 2 minutes with frantic sax sounds, percussion and more. Dissonant sax before 3 1/2 minutes then slow pulsing sounds with active percussion. It brightens late and blends into "Entrance" where we get an energetic beat with plenty of other sounds. It's building 2 minutes in. This is good! An intense ending followed by applause.

Avant music fans should check this out along with AREA fans of course. I wish I liked it more.