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ACCORDO DEI CONTRARI

Jazz Rock/Fusion • Italy


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Accordo Dei Contrari picture
Accordo Dei Contrari biography
Founded in Bologna, Italy in 2001

"Imagine the dynamics of life as depicted through sounds; or the contrasts you see in everyday life, expressed in light and colours. This is what many artists have tried to do in the past, and still try to do today, in their own language. This is what we try to do now, and will try to do tomorrow, in our own language. We just try to capture our daily impressions, no matter whether this is progressive rock or not." (Accordo dei Contrari, from an interview on the Progarchives, February 2011).

Welcome to Accordo dei Contrari's music. The band is actually a unit of four different people, each with his own life, experience and (sometimes opposite) view-points. This is the reason for the name Accordo dei Contrari, which by the band's self-definition, means `Council of the Opposites'.

Accordo dei Contrari was formed in 2001 in Bologna, Italy, conceived as a vehicle for making original instrumental music. For three years they worked as a trio with Cristian Franchi on drums, Giovanni Parmeggiani on keyboards and Alessandro Pedrini on guitar. In 2003 Daniele Piccinini joined the band on bass, but soon Alessandro Pedrini departed. They became a quintet in January 2004 with Daniele Piccinini on bass, Marco Marzo on guitar and Vladimiro Cantaluppi on violin in addition to the remaining Franchi and Parmeggiani. After two years of rehearsals they understood that being a quintet was a simple-minded way of doing things, and in 2006 Vladimiro left the band, making the best choice at the worst time - just one month before recording. Paradoxically, Accordo dei Contrari, born to refuse to work as a quartet, recorded their very first work as a quartet (Cristian Franchi on drums, Giovanni Parmeggiani on keyboards, Daniele Piccinini on bass, Marco Marzo on guitar), and the album `Kinesis' was the result. With two days of live-recording in studio in June 2006, with short overdubs of violin and sax in October-November 2006, `Kinesis', released on AltrOck in 2007, was critically acclaimed and won the Progaward for the best Italian album of progressive rock in 2007.

Since 2007, the band have focused their attention on improvisation, polyrhythms, and on playing together and interacting musically on stage, truly wanting to grow as a living rock group. They performed some gigs during the period of 2008-2009 in Europe (AltrOck festival in Milan, Italy; Progrésiste in Verviers, Belgium; Cheese Prog festival in Strasbourg, Franc...
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Violato IntattoViolato Intatto
Maracash 2017
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$14.94 (used)
KublaiKublai
Accordo Dei Contrari
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AdcAdc
Altrock 2014
$27.98
$29.28 (used)
AdC by Accordo Dei Contrari (2014-05-04)AdC by Accordo Dei Contrari (2014-05-04)
AltrOck
$54.06
KinesisKinesis
Imports 2005
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ACCORDO DEI CONTRARI top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.76 | 52 ratings
Kinesis
2007
3.90 | 86 ratings
Kublai
2011
3.81 | 38 ratings
AdC
2014
4.19 | 94 ratings
Violato Intatto
2017

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ACCORDO DEI CONTRARI Reviews


Showing last 10 reviews only
 Violato Intatto by ACCORDO DEI CONTRARI album cover Studio Album, 2017
4.19 | 94 ratings

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Violato Intatto
Accordo Dei Contrari Jazz Rock/Fusion

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")

 Violato Intatto by ACCORDO DEI CONTRARI album cover Studio Album, 2017
4.19 | 94 ratings

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Violato Intatto
Accordo Dei Contrari Jazz Rock/Fusion

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.

 Violato Intatto by ACCORDO DEI CONTRARI album cover Studio Album, 2017
4.19 | 94 ratings

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Violato Intatto
Accordo Dei Contrari Jazz Rock/Fusion

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 München.) 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.

 Violato Intatto by ACCORDO DEI CONTRARI album cover Studio Album, 2017
4.19 | 94 ratings

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Violato Intatto
Accordo Dei Contrari Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

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.

 Kinesis by ACCORDO DEI CONTRARI album cover Studio Album, 2007
3.76 | 52 ratings

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Kinesis
Accordo Dei Contrari Jazz Rock/Fusion

Review by berkaal

3 stars The opening tune is exciting, "Lester" is a good song, well crafted, well played, with a hint of Brand X, a full 8/10, the only flaw is the quite amateurish sax solo near the end. But unfortunately the rest of the tracks lack inspiration and they don't have much to say, well played but with little substance. "Meghiste Kinesis" and "O.M." are 6.5/10, while the other three songs are just 6/10. It's a shame, the guys are very good players, with a special mention for the drummer, but their compositional skills are not up to their instrumental prowess, the album could have been much better.
 AdC by ACCORDO DEI CONTRARI album cover Studio Album, 2014
3.81 | 38 ratings

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AdC
Accordo Dei Contrari Jazz Rock/Fusion

Review by andrea
Prog Reviewer

4 stars Adc is the third studio album by Accordo dei Contrari, a band from Bologna. It was released in 2014 on the independent label Altrock with a consolidated line up featuring Marco Marzo (electric and acoustic guitar), Daniele Piccinini (bass), Cristian Franchi (drums) and Giovanni Parmeggiani (Fender Rhodes, Hammond organ, Minimoog, acoustic piano). According to the liner notes, the album was recorded live in studio in Riolo Terme, a small town in the province of Ravenna. The recording sessions took only three days with short overdubs and this work is the expression of a very cohesive collective. It reflects the positive atmosphere of the period the members of the band spent together with the aim of depicting the dynamics or the contrasts you see in everyday life through sounds... The result is an excellent instrumental album recommended to fans of bands such as Area, D.F.A or Perigeo.

The opener "Nadir" begins softly, the mood is dreamy. The title refers to a word coming from Arab that defines the direction pointing directly below a particular location... After a while the dreamy atmosphere changes, the rhythm becomes nervous before calming down again, but it's just a momentary pause before a new electric, frenzied ride towards deep underground spaces...

According to the liner notes, the following "Dandelion" is dedicated to Geoff Logsdon, the founder of Pleasant Green Records. The title refers to a large genus of flowering plants native to Eurasia and North America usually found as commonplace wild flowers worldwide. It's a tense, dynamic piece full of energy that could recall the soundtracks of Italian 70s action films...

The mysterious "Seth Zeugma" is enhanced by the contribute of two guest musicians, Vladimiro Cantaluppi (violin) and Enrico Guerzoni (cello). This piece blends with excellent results classical music elements with electric, jazzy inspirations and Middle Eastern touches of colour. There are many changes in tempos and mood and some passages could recall Area. The title comes from two words taken from the Ancient Greek. Seth refers to the god of the desert, storms, disorder, violence and foreigners in ancient Egyptian religion while Zeugma is a figure of speech in which one single phrase or word joins different parts of a sentence...

The lively, pulsing "Dua" swings from funky passages to more obscure, disquieting moments and vice versa... The title seems to refer to an Arabic word meaning to "call out" or to "summon". According to wikipedia sources, in the terminology of Islam, dua is an act of supplication and Muslims regard this as a profound act of worship. Who or what is invoked here? The answer is up to you...

The title of the following "Tiglath" could refer to an ancient king of Assyria (in the liner notes there's no explanation). In some way listening to this beautiful piece makes think of the film The Scorpion King, even if it was set in Egypt and not in contemporary Syria. Try to imagine a mysterious, powerful king coming to life again to carry out his terrible vengeance against those found guilty of the raging war that is destroying everything, even the archaeological sites, in his former kingdom... Here the music features some Middle Eastern flavours and could recall again Area and their revolutionary energy and musical force.

The delicate, acoustic "Più limpida e chiara di ogni impressione vissuta, part II" (Clearer, brighter than any lived impression) features the guests Vladimiro Cantaluppi (violin) and Marina Scaramagli (cello) and ends the album with a dreamy mood. According to the liner notes, this piece is dedicated to a woman, Annachiara, and its atmosphere is very different from the frenzied, aggressive first part that was released on the previous album Kublai in 2011. If both parts try to describe in music the hopes and fears of everyone's life, this one is definitively more calm and optimistic and represents a perfect conclusion for a beautiful, intense work that is really worth listening to...

Have a try! You can listen to the complete album on bandcamp.

 AdC by ACCORDO DEI CONTRARI album cover Studio Album, 2014
3.81 | 38 ratings

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AdC
Accordo Dei Contrari Jazz Rock/Fusion

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Italian band ACCORDO DEI CONTRARI (ADC hereinafter) has existed since 2001, at the time consisting of three musicians. Following an initial phase of line-up alterations, the band settles around a core of four members, with additional guests contributing on their recordings. The band have released three studio albums so far. "AdC" from 2014, the most recent of these, was issued by the Italian label Altrock Records.

Instrumental progressive rock that ranges from frail chamber rock to '70s jazz-rock and progressive hard rock is what ADC explores on their third studio recording "AdC". An intriguing blend of musical styles, explored with care and consideration by high quality musicians. If you have a soft spot for instrumental progressive rock and a taste for variety, this is a disc that merits a closer inspection.

 AdC by ACCORDO DEI CONTRARI album cover Studio Album, 2014
3.81 | 38 ratings

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AdC
Accordo Dei Contrari Jazz Rock/Fusion

Review by Progulator
Prog Reviewer

3 stars Coming back from their heavily Cantebury influenced sophomore album, Kublai, the Italian band Accordo dei Contrari sets out to change their game a bit with their newest record, AdC. The evolution of this Bologna based group has them moving forward to explore new territory, this time stepping heavily into the avant-rock/RIO land. In my estimation, the direction of AdC shows a group that continues to mature, both in composition and production as they deliver a head-spinning album with enough emotion to ensure their listeners take them seriously.

In effect, "Nadir" is the perfect opening for the album, a song which contains many of the elements that make this release a powerful one. The ominous intro of harmonized synth leads provides a stark contrast to the bright chords and punchy drums that suddenly interrupt and launch the track into an explosion of aggressive jazz-rock. Through twists and turns, such as the delicate middle section that capitalizes on echoing Rhodes piano under tremolo guitar that breathes out a sort of chilling water effect, "Nadir" shows how to lay down a variety of moods while still staying very in your face. Continuing in the bold tradition, the followup, "Dandelion," wastes no time to bring pulsating riffs to the forefront. Intense interplay of instruments and dissonant bursts lead the way to an eventual heavy, Deep Purple gone prog style riffing, replete with grinding Hammond and more groove than you can imagine amid its truncated measures.

The next couple of tracks, "Seth Zeugma" and "Dua," take us a bit more in a quirky direction. The former channels a bit of the avant-garde classical in its furious attack of piano, cellos, and violin with a heavy emphasis on rhythm and repeated motifs. As the rock band comes in, a RIO sound abounds, but if you listen carefully you'll even hear a bit of Gentle Giant groove in there as well. "Dua" takes us on a bit of a fun ride where piano and guitar lay down variations on a catchy theme amid jolting rhythms and polyrhythms, not forgetting to ease things up once in a while with some good ol' classic style riffing. Holding some great moments, especialy in the dialoguing between instruments, "Dua" gives a strong portrayal of solid intermixing of the familiar and the exploratory.

Even though "Nadir" as the opener gives a sort of broad picture of the album, in my estimation a lot of what Accordo dei Contrari is doing throughout the album is actually leading up to and encapsulated in "Tiglath." From its darkly evocative intro of scattered chords, hauntingly hammered on the Rhodes piano, alongside the delicate atmospheric building of cymbal swells, echoing tom hits, and dynamic rolls, to its head-spinning themes of unison guitar/synth alongside dancing bass, "Tiglath," really shows an intricate balance between free-form to carefully composed material. Best of all, it's pieces like this that show these Bolognesi to be skilled performers with a keen sense of depth and nuance in their representation of their pieces.

As the album closes with "Piu Limpida e Chiara di Ogni Impressione Vissuta, part II," we get a bit of a glimpse of what is perhaps in the future of the band. Plucky guitars over a soothing canvas of droning cello and violin paint a nostalgic post-rock picture while providing a relaxing way to end the album. Yes, this piece did exist in sketch form during earlier years, as did a couple of other pieces, but as the liner notes state, "It is perhaps true that an album, carefully planned in all its details as it may be, is in fact the child of the very moment of its recording." The three days spent in the studio recording this record, several songs of which were first takes, most certainly shows a band whose sense of expression point towards the future while bringing along what was good from the past.

 AdC by ACCORDO DEI CONTRARI album cover Studio Album, 2014
3.81 | 38 ratings

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AdC
Accordo Dei Contrari Jazz Rock/Fusion

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Three albums in for Bologona band Accordo dei Contrari, and as expected of this Italian group, sublime and frenetic fusion displays are the order of the day (I'm fairly reluctant to use the `jazz' with that usual description though), and they've truly stepped up and taken their music in bigger directions than ever before. In addition to this perhaps being their busiest, noisiest fusion work yet, they've also added sophisticated classical flights, Post-Rock cinematic flavours, more Rock in Opposition/Avant textures and ambient passages to truly offer no better definition of a `fusion' of styles! Enviable technical displays played with passion and fire, it's constant never-ending musical eruptions effortlessly flowing from one seamless movement to the next and back, always melodic and endlessly groovy. There's still little references to other Italian fusion acts like D.F.A, Arti e Mestieri and the Canterbury sounds from the previous album, but the Accordo members are definitely forging their own path and have never sounded so tight and focused.

`Nadir' opens with groaning unfolding spacey electronics and ends on serrated jagged feedback, with wild guitar strums, slow-building giddy drumming, liquid bass and glistening electric pianos spiralling into controlled chaos throughout the centre of the piece. Some bits are like a schizophrenic take on the `Abraxis/III'-era Santana band, with moments of heavy grunt and softly building ambient builds back and forth too. The infectious playful `Dandelion' offers muscular twisting electric guitar/bass grooves over an exhausting mix of tempos that will have you grinning wildly! Violin and piano pirouette around the opening of `Seth Zeugma', offering a surprising dose of R.I.O/Avant Garde experimentation, but before long snappy drum lunges, molten bass spasms and hellfire Hammond rip through the fanciful classical sophistication, racing dizzying circles around the listener. Some of the Hammond aggression near the end even briefly calls to mind parts of Delirium's classic third album.

The overwhelming `Dua' will drive you to madness with a wicked glee, with surprisingly intimidating suffocating Hammond madness over endless looping piano/bass attacks. Improvisation `Tiglath' opens and closes with creeping late-night tip-toeing electric piano suspense to reverberating ambience along the lines of the Soft Machine's pitch-black `Fifth' album, with snarling slow-burn electric guitar strangulations, violated Hammond runs and intimidating rumbling percussion crescendos rising up from the pits of the Earth. `Piu' Limpida...part 2' closes the album with some sedate acoustic guitar, piano and droning cello Post-rock prettiness.

Sometimes a self-titled work can suggest an artist running low on inspiration, other times it can mean they are so confident with the results that they feel it's worthy of being considered their defining statement. The latter must certainly be the case for Accordo Dei Contrari here, and on the strength of `AdC', it's proof of a band slowly redefining what jazz/fusion can mean, not only for themselves, but for their listeners and lovers of the genre. Three great works from this talented band so far, and I still feel their best is yet to come!

Four stars.

 AdC by ACCORDO DEI CONTRARI album cover Studio Album, 2014
3.81 | 38 ratings

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AdC
Accordo Dei Contrari Jazz Rock/Fusion

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars The AdC music I hear on AdC has finally achieved what their previous albums failed to do: engaged and pleased me. Melodies I actually remember after songs are over, songs I actually know by name and chose specifically, willingly, longingly to put on my iPod playlists. They have always felt accomplished as musicians--technical wizards, each--but something was missing. As it turns out, it was the fresh, original and memorable constructs that I hear on this album. I've heard that AdC's concert appearances are quite impressive--other reviewers seem to always write with a bit of a stunned awe at what they observed and heard live. Perhaps with this album they have finally captured that jaw-dropping, awe-inspiring sound that they've been reported to convey on stage. Perhaps the roles and contributions of each of the seemingly-committed band members have been clearly established so that they can write and record cohesive, joy- expressing music. If I have any complaints it is that the recording sometimes feels a bit sterile, lacking human frailty.

Favorite songs: the SANTANA/STEELY DAN-like jam, 1. "Nadir" (9/10), the Hendrix-plays-with- The-Softs-sounding, 2. "Dandelion" (9/10), the slow-building DIAGONAL-like 5. "Tiglath" (8:28) (9/10), and the lovely Windham Hill-sounding pastoral acoustic ensemble of 6. Piu Limpida e Chiara di Ogni Impressione Vissuta (Pt.2) (3:21) (8/10).

Nice work, Contrarians!

4 stars.

Thanks to alucard for the artist addition. and to Quinino for the last updates

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