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Gruppo Autonomo Suonatori biography
G.A.S. - Gruppo Autonomo Suonatori started in 1997 from an idea by Claudio Barone, who previously playing in a tribute band to Orme in the early 70s named ?Trio Pop?. G.A.S. was born with the help of 70s musicians along with other young musicians. The band made his first concert in October 1997 at Theatre Palmaria in La Spezia as GARYBALDI'S opening act with the unforgettable guitar hero Bambi FOSSATI, the same theatre were, a few months before, LE ORME made their live come back in La Spezia after 20 years (concert organized by Claudio Barone). After a few line-up changes, from the early 2000s onwards, the band started playing many gigs with the current band: Claudio BARONE (bass, lead vocals, mandolin), Simone GALLENI (guitar, bass), Andrea IMPARATO (sax, flute), Valter BONO (drums), Thomas COZZANI (synths), Andrea FOCE (piano, flute).

G.A.S. has often legendary guests from the Italian 70s prog scene such as Lino VAIRETTIi (OSANNA), Martin GRICE and Ettore VIGO (DELIRIUM), Tony PAGLIUCA (ORME), Nunzio Cucciolo FAVA (OSAGE TRIBE,DIK DIK).

After a 25 year long career, they decided to record the first studio album titled Omnia Sunt Communia (2021) which features their Vintage Classic Prog sound together with elements of various musical styles such as, medieval music, romantic ballads, and a touch of Psychedelic Jazz.

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3.97 | 5 ratings
Omnia Sunt Communia

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 Omnia Sunt Communia by GRUPPO AUTONOMO SUONATORI album cover Studio Album, 2021
3.97 | 5 ratings

Omnia Sunt Communia
Gruppo Autonomo Suonatori Rock Progressivo Italiano

Review by prog_traveller!!

4 stars In the storm of fantastic albums we had the honor to listen to this year, in the storm of new bands that prove to us year after year that prog is far from extinct and can only get better, I felt the need to present both this band and their first album.

Gruppo Autonomo suonatori is a project that was born many years ago in 1997, all from an idea of Claudio Barone who, after years spent in the Prog Rock covers environment, sets out on the journey of his own musical discourse. The project after about 25 years of career on the stages alongside the greats of Italian prog rock, decides to publish its first album of unreleased songs entitled Omnia Sunt Communia (means "all things in common" and is a Latin expression, taken by the Bible). The album title has a meaning, perhaps because prog is not as some think a "niche", but it is a genre, an artistic expression that really "belongs to everyone". A genre that brings with it a fundamental component in music, as some call it: the legacy. The legacy of bands, musicians, sound influences, research and a lot of passion ... all in constant evolution, as is the human being ... as long as there is a man there will be art and even prog. Through 8 songs we have articulated pieces, tempo changes, melodies that are never banal. A conceptual approach to the instrumental, but without the sterile happening that sometimes leads bands to search for a vacuous and inconsistent "prog sound".

The disc flows smoothly in the stereo and we pass from the most architecturally elaborate moments such as La Regina- The Queen, Il Richiamo della Sirena-The Siren's Call or the title track Omnia Sunt Communia, where I hear the sound environments of ELP, Banco and Le Orme, all proposed with an awareness that affirms itself with personality. Noteworthy are the two tracks entitled Prelude I and Prelude II, which from the title and structure bring the sounds to classical themes, arpeggios that structure pieces on the evolution of sound metamorphosis. Truly among the most intimate and profound pieces of this album. Stylistically, GAS are relatively broadly positioned and in the opener "Alice Springs" we have an intro with ethnic drumming, before surprisingly VdGG-style is rocked off with saxophone and organ. This contrasts with a spacey, bubbling middle section before a repetition of this VdGG section.

The production is good, perhaps - I think a deliberate choice - held in the sounds and in the post-productions on more "natural" territories, the instruments, apart from ambient effects, cover the sound spectrum in a homogeneous way. The mix is therefore really excellent, each instrument has its space without overpowering the others.

This is another one of those bands that proudly wears the colors of the classic prog rock sound but of course very cleverly puts its stamp on the compositions.

 Omnia Sunt Communia by GRUPPO AUTONOMO SUONATORI album cover Studio Album, 2021
3.97 | 5 ratings

Omnia Sunt Communia
Gruppo Autonomo Suonatori Rock Progressivo Italiano

Review by Matti
Prog Reviewer

4 stars Although GRUPPO AUTONOMO SUONATORI -- or G.A.S. -- has existed well over two decades by now, no sooner than last summer they released their debut album via Black Widow. And a very fine RPI album it is. The musicianship is excellent and so is the production. Stylistically the band could be taken as a prime example of the very faithful contemporary representation of the classic Italian prog. Definitely they are not alone in this matter, for one could say at least 70 percent of the vintage-style Rock Progressivo Italiano has been recorded in this Millennium. The worn-out phrase "sounds like straight from the seventies" has, in a way, lost its meaning; if it was to be taken literally, the production of a new album would be quite poor by modern standards and it surely would exclude this work. But yes, I'm saying that judged by the music alone this album stands perfectly amidst the whole legacy of RPI.

Now I hear you asking why I'm not rating this with five stars. First off, I'm not a person who gives the biggest album classics automatically the full rating. Nor am I among those prog listeners who blame new acts of sounding retro and aping the seventies. Before getting into the more detailed analysis of this album and concentrating on all that's great, I can put in a nutshell the factors preventing me to raise this album subjectively to the masterpiece category. The vocals of the songwriting frontman Claudio Barone (who also plays bass, bouzouki and mandolin) are not up to my taste -- in fact this is the case with the majority of all-time RPI, sad to say. His rough-edged voice comes quite close to Mark Trueack of UNITOPIA, or in general many vocalists of hard-edged RPI bands. On a couple of tracks he pushes his voice out rather aggressively. And as strong as this album is for sure, in the end it doesn't really MOVE me emotionally as a whole, only here and there.

The good thing is that this 50-minute album is roughly half instrumental. The opening track 'Alice Spring' (does it have something to do with the Australian location called Alice Springs?) features a lot of saxophone and organ in the vein of Van der Graaf Generator, and a powerful melodic main phrase. 'Regina' is a two-part composition, starting with a romantic, piano-centred, slightly Wakemanesque instrumental part. The sung part is very nice too as it features xylophone, flute and PFM-like synths. Next, two 'Preludio'-instrumentals. No. 1 is a charming little folk- rock piece starring bouzouki, mandolin and Irish flute. The Old Music (Medieval/Renaissance) flavour sounds very authentic in this piece written by Barone. No. 2 is rooted on acoustic guitar and synths. A bit like STEVE HACKETT at his most romantic.

'Il Sacco di Bisanzio' is the most vocal-oriented and clearly my least favourite track here. However it does have cool sonic details, and as an instrumental I'd like it much more. The three-part 'Beatrice' (9:16) has folky nuances quite the same way as the early PFM. Barone as a vocalist is more sensual on this dynamic and passionate track. 'Il Richiamo della Sirena' is the only track not composed by Claudio Barone: drummer Valter Bono and synths player Thomas Cozzani offer a lively, fusion-y instrumental. The delicate mid-section is perhaps the album's most modern- sounding moment. The title track (9:17) is an impressive finale to the album, starting with a cinematic, narrated intro. This is the other track in which vocals are too pushed, but I love the magical flute riffs, the majestic organ part and even the Gregorian flavoured repetition of "Omnia sunt communia".

If you want to get just one album of Rock Progressivo Italiano from 2021, this is my strongest recommendation this far. A masterful combination of vintage semi-heavy prog, classical and folk elements. 4 stars, rounded down mainly because of the less enjoyable vocals.

Thanks to rdtprog for the artist addition.

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