CONTRAPPUNTO

It is quite clear that Cavallo's preferences at the time were far from his past, proggier attitude and his new album sounds like a mix of Ambient, Electronic, World Music and New Age soundscapes.There is total absence of any rock instrumentation like guitars, bass and drums and the music relies upon Cavallo's various keyboard textures mixed with trumpets, horns, traditional instruments and saxes.The tracks sound good for background music but are far from interesting for occasional listenings.Repetitive, very soft, monotonous and deeply atmospheric music with inconsistent styles' blends, that lack energy and passion, presenting a trippy experience based on orchestral and ethnic arrangements.On the other hand this sounds as Cavallo's personal approach on experimental music, there are plenty of Avant-Garde related themes in this release, but I am afraid these are too minimalistic to strike the listener's ears.Only the pair of closing tracks sound a bit inspired, a nice Electronic soundscape and a pretty romantic piano arrangement.

After the album Cavallo put his project on hold, only occasionally returning for participations in a few Prog-related compilations albums like the '' Dante's...'' series of Musea Records.

''Elegie d'inverno'' is by far the less recommended work by Contrappunto.Hypnotic music all the way, flirting dangerously with New Age, and having absolutely nothing to do with Progressive Rock.Only for fans of the style.

The album is a mix of keyboard-driven modern Symphonic Rock with Electronic hints here and there,filled with long instrumental passages,Classical piano-centered references and crystalline vocals by Sara Arrigone (with English lyrics all the way).''Subsidea'' balances constantly between an aggressive face with heavy guitar playing and vocal-based soft passages with piano lines,between melodic, dreamy passages and complex parts with a bombastic sound,between furious catchy grooves and technical soloing.The compositions are on a good level with a good blending of symphonic arrangements and rock aesthetics.The floating synths of Carvallo are great,not to speak of his compositional skills,the solos and riffs of Di Paola are more than decent and Sara prooves to be a fine singer with no mistakes.Italian compatriots PRESENCE are a good comparison.

''Subsidea'' was a nice entrance for Contrappunto in prog discography.While the album has not really anything new to add to the subgenre,it remains a great and pleasant listening for anyone into the Symphonic Rock sound or for die-hard keyboard fanatics.Recommended.

This album has everything a good progressive rock album, bordering to a rock album should have. Decent vocals, decent melodies, decent musicianship and a decent packaging.

The music is somewhere between Neo-Prog and AOR. Add some jazz elements and you get the zest of this album. There are some good guitar solos here. But most of the music is underpinned by the female vocals and the use of piano and keyboards. Even some hammond organs is included here. But this is not RPI as we knows it. The sound is much more leaning towards today's Marillion. But most of all; towards AOR. I have problems finding any progressive rock elements here. The vocals too is a bit flat and uninspiring. The quality of the tracks are rather good.

My main problem is that there is nothing here that either offend me or amuse me. Everything is good here......... and just that. This album is a flat and featureless as the prairie in the USA. In other words; this album gives me some pleasure, but does not satisfy me. The guitar solos brings this album up to a three stars............. barely.

3 stars

Unlike CONTRAPPUNTO's two previous albums, the instrumental "Elegie d'Inverno" was released under the name of CONTRAPPUNTO PROJECT. I have not yet heard the previous albums but, judging by the reviews of those I have read, this album is quite a departure as it is much less like Progressive Rock. This album is more akin to modern chamber music or classical-jazz fusion (plus a nod to TANGERINE DREAM on several occasions). The artist used acoustic instruments (piano, celeste, flute, clarinet, tenor sax, trumpet, trombone, French horn, xylophone, bandoneon. you get the picture) with some occasional backing from synthesizer, electric piano and other keyboards. Andrea Cavallo is the composer of all the pieces and also played many of the instruments.

Despite the predominant use of acoustic instruments and the classical-jazz pretensions, the compositions are relatively simplistic (sometimes rather unimaginatively repetitive) and, in my opinion, verge on the pretentious. The music is pleasant enough but by no means stellar. My favourite parts are the relaxing TANGERINE DREAM-like soundscapes on a couple of the tracks, and the final track (a live version of a track from the first album) using just piano.

The mention of Gershwin and Piazzolla in the write-up on the Mellow Records Web site, plus the evocative album title and attractive cover photograph of a tinted cloudy sky, were what attracted me to the album, and I decided to take a chance. The sleeve notes mention Gershwin and Piazzolla specifically with respect only to the track 'Vivaci Acrobazie', and indeed in that track there is a snippet of bandoneon plus a few bars almost straight out of Summertime from Porgy & Bess, but that's about as far as the similarity goes. The music is predominantly calm, ponderous and, as I said, somewhat simplistic. An interesting project and pleasant enough music but certainly not essential. I would not have bought it if I had listened to it beforehand, to be honest. If it were possible I'd award the album 2.5 stars but, as it isn't, I'll go with 2 stars (Collectors/fans only). You might enjoy this but do try before you buy, to avoid disappointment (I have since discovered that you can listen to several of the album's tracks on the group's Web site).

CONTRAPPUNTO's sound is based on keyboards (specially piano) and a female voice potentially very good, but not really expressive. Rythmically, music isn't very complex, going from jazzy tunes to classical approaches, including some soft blues soundscapes.

The album isn't bad, with nice atmospheres and relaxing moments, but there's a lack of melodic line and playing isn't the best: i.e., keyboardist seems to sail between Rick Wakeman and Richard Clayderman beside the above mentioned singing style.

Among contemporary Italian bands, CONTRAPPUNTO isn't the winner, but worth a listen and -if you don't looking for the most elaborated music- "Lilith" has enjoyable moments.