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Absenthia biography
ABSENTHIA is an Italian prog band from Vicenza that was formed in 2005. The line up features Igor Daoconte (vocals), Alberto Saccozza (bass), Massimiliano Piazzon (drums), Enrico Bał (keyboards), and Paolo Miotti (guitar), previously also with Ferruccio Caoduro (guitar). Their music blends influences ranging from PFM, BMS and Le Orme to folk, Italian melody and prog metal in a very original and convincing way.

The band has a strong theatrical approach, with the operatic vocals of Igor Daoconte in the forefront. The history of Ancient Rome is the main source of inspiration for the lyrics of their debut album, the excellent self produced "Tenebrae Vincunt", which was released in 2009.

The follow up album, Novecento, which was self-produced and released in 2016, continues in the same vein as the debut.

[Originally written by Andrea Parentin in May 2009, updates by Todd 2016]

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ABSENTHIA discography

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ABSENTHIA top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.07 | 29 ratings
Tenebrae Vincunt

ABSENTHIA Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

ABSENTHIA Videos (DVD, Blu-ray, VHS etc)

ABSENTHIA Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

ABSENTHIA Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.33 | 3 ratings
Novecento (Atto primo)


Showing last 10 reviews only
 Tenebrae Vincunt by ABSENTHIA album cover Studio Album, 2009
4.07 | 29 ratings

Tenebrae Vincunt
Absenthia Rock Progressivo Italiano

Review by apps79
Special Collaborator Honorary Collaborator

3 stars Talented young group from Vicenza, Italy, found in 2005, initially writing only instrumental material.Later they added lyrics to their music along with gifted singer Igor D'Aoconte and the band won several contensts, before releasing their first single ''In asentia lucis'' in 2006, followed by the Prog Opera ''...Tenebrae vincunt'', a private CD from 2009.Besides D'Aoconte Absenthia's crew were drummer Massimiliano Piazzon, bassist Alberto Sacozza, guitarists Paolo Miotti and Ferruccio Cadoro and keyboardist Enrico Bau.The lyrics were based in a collection of writing and poems named ''Piazza D'Aoconte e i poeti dell'autunno'', propably written by the singer of Absenthia.

Absenthia managed to create a beautiful, poetic and flexible release of lyrical Progressive Rock with Folk, Classical and Rock influences, where the acoustic delicacy of guitars, flutes and strings meet the heavier side of Rock music, led by the powerful guitars and bombastic keyboards.They sound as an amalgam of compatriots MINSTREL and FLOATING STATE, getting deep into Medieval territories with trobadour-like poetic narrations and bursting into pounding Progressive Rock with operatic vocals, ending in a very theatrical and unique style.Part of their succesful sound is definitely singer Igor D'Aoconte with his God-sent voice, which tends to be emotional and nostalgic at one moment, the next one he pushes his chords to a very operatic style of singing.The music is great.Nice arrangements with instant melodies, dynamic rhythm guitars, orchestral keyboards and a nice balance between heavy and laid-back textures with lots of elegant piano lines.The organ-based parts are also close to IL SEGNO DEL COMANDO or AKRON, having a very haunting approach.One thing the listener will starve for more is the instrumental diversity, as this is basically a vocal-driven album.On the other hand the mass of great atmospheres and the poetic mood of the album are certainly impressive with series of energetic musical palettes.

Absenthia still play live around the Vicenza area, but a second album is yet to be desired.

For fans of the more grandiose/pompous side of Progressive Rock.Well-crafted musicianship with top-class singing and a bunch of archaic soundscapes from the far past.Strongly recommended...3.5 stars.

 Tenebrae Vincunt by ABSENTHIA album cover Studio Album, 2009
4.07 | 29 ratings

Tenebrae Vincunt
Absenthia Rock Progressivo Italiano

Review by HarmonyDissonan


Along with Egonon's album, this is at the top of the RPI list of post millennium recordings in my opinion. I've decided to try and be a little less humble. Let's see how it goes. The words that come to mind as descriptive tools when listening to this masterpiece are majestic, beautiful, substantial and epic! As I had stated in my review of Egonon's very fine recording, this one also belongs up at the very pinnacle of the RPI genre with the classic master recordings of the seventies! Where Egonon's is a more detailed recording than this, this is to me a just slightly less detailed recording but I find it to be a recording that in a truly artistic manner wears it's emotions on it's sleeves in a very positive demeanor! I can't help but feel that a good portion of that feeling is due to the operatic/BMSish singing which I find very impressive and uniquely satisfying! There isn't a weak point on the album. All of the instruments are played stunningly and never a step is missed. I also have to add that if I were to pick a 'single' from this album it would be the second track which is presently my favorite RPI track; that is of the RPI albums that I am presently familiar with! It has an awesome riff that in a twisted sort of way I would try to describe as an RPI 'Linus and Lucy' Vince Guiraldi equivalent. It doesn't totally do it justice and not everyone I'm sure will appreciate my twisted logic, but again in a twisted sort of way it works in my quasi-humble mind. I hope and would be very pleased if they came close to the quality of this epic in their follow up sophomore attempt. I personally can't wait to hear either of these two bands next recordings! My favorite sub-genre RPI just keeps on rockin'! Alright! Italy, you guys just keep blowin' my flippin' mind! What is in that water your drinkin', or is it the wine? Which ever, keep it up! I'd recommend this recording to all, but especially those who like the RPI sub-genre. Keep it up Absenthia we're rooting for you. Enjoy God's gift of music everyone. Take care.

 Tenebrae Vincunt by ABSENTHIA album cover Studio Album, 2009
4.07 | 29 ratings

Tenebrae Vincunt
Absenthia Rock Progressivo Italiano

Review by toroddfuglesteg

3 stars The high rating on this album attracted me to it (and the reasonable retail price too......).

If Rock Progressivo Italiano was best in the 1970s or these days is a point for debate. In any case; the quality of the post millenium Rock Progressivo Italiano releases is delirium inducing high.

Absenthia is a band in the Rock Progressivo Italiano resurgence and this is their debut album & their only album so far. Little is known about this band. But I hope we will hear a lot more from them in the future.

Their music is pretty typical Rock Progressivo Italiano with a mix of hard rocking melodies and more pastoral melodies. Mostly rocking melodies. Absenthia is leaning towards the more hard rocking end of the Rock Progressivo Italiano specter. But this album is not an all out hard rock album. Besides of the obvious Rock Progressivo Italiano influences, Absenthia is also leaning a lot on bands like the French band Ange in their rather theatrical sound and approach to the music. The vocals here is very good and so is the instrumentation which is typical Rock Progressivo Italiano. The sound is also typical Rock Progressivo Italiano.

What ? Not giving five stars ? My gripe with this album is the lack of any really great songs here. This means the band does not have much of an identity. But by all means, there are some really great melody lines. But not enough of them and not to make this a great album. But this is still an album well worth checking out.

3.5 stars

 Tenebrae Vincunt by ABSENTHIA album cover Studio Album, 2009
4.07 | 29 ratings

Tenebrae Vincunt
Absenthia Rock Progressivo Italiano

Review by seventhsojourn
Special Collaborator Honorary Collaborator

5 stars I very rarely pull the trigger on a 5-star rating. When you couple that with the fact that this is easily the longest review I've written you'll hopefully appreciate how much this album means to me. I've actually been meaning to post a review of this appetising concoction for near enough two months now, but as Lloyd Grossman used to say I wanted to deliberate, cogitate and digest the music here first so that I could do it the justice I think it deserves.

Okay, so what kind of music are we talking about here? Folk, metal and the Italian melodic tradition are all fused into a darkly operatic whole, with Igor D'Aoconte's vocals occupying the same ballpark as Demetrio Stratos. Oh yes, he is that good. The album is a broadly conceptual work with the band's observations of the modern world presented in allegorical form. It's drenched in Classical mythology and several songs incorporate overlapping references to particular characters from the ancient world. Common threads that run through the album include heroes and dictators, love and war, freedom and slavery, but the real strength lies in the way these all come together. Igor D'Aoconte himself summed up Absenthia's inspiration in an interview with the Journal of Vicenza: 'The original theme that unites our work is the classic story and the allegory of Rome with the modern world.' The bipartite purpose of this review is therefore to draw some attention to Absenthia and to explore what's behind the surface of the lyrics, although my limited Italian means I'm really only scratching that surface.

The very first track on the album, 'Commentarii - De Bello Gallico VII' (Commentaries on the Gallic War), is synonymous with the ancient-modern dichotomy as it draws a line between the assassination of Julius Caesar and more recent political events. The 'Commentaries' were Julius Caesar's first-hand accounts of his campaigns against the Gauls, and his victories in those campaigns increased the hostility of his enemies within Rome. Following his assassination at the hands of the senators, and ironically for them, the ensuing civil wars brought about the end of the Republic with the founding of the Empire. The song contrasts this situation in Ancient Rome with the civil conflict in Germany at the end of World War I, where the revolution of 1918-19 resulted in the imperial government being replaced by a republic. The communist revolutionaries failed to take control because the Social Democratic Party sided with the Supreme Command, and the army quelled the so-called Spartacist uprising (the left-wing Spartacus League was named after the leader of the largest slave rebellion of the Roman Republic, but more of him later). In spite of its backdrop of tyranny, murder and revolution, the song itself is a rather pensive folk-inflected acoustic ballad. As such it makes for a striking intro to the album with flute, string and harp effects that imbue the song with a pastoral, antique feel.

The tranquillity of the opener is counterpointed by the edginess of 'Atomica Achillea'. This song uses agitated piano licks and heavy riffs to reflect the unease associated with the nuclear arms race, which seems at odds with the song's colourful imagery. Achillea, or yarrow, is a flowering plant named after the Greek mythological hero Achilles, the great warrior who was doomed to an early death. According to Homer's 'Iliad', Achilles used the herb to stem the flow of blood from the wounds of his soldiers. The song is therefore deeply ironic as it describes the healing herb being used as a fissile material to produce a bomb. The terrible aftermath results both in peace and grief, an allusion perhaps to Achilles' outbursts of rage, love and grief.

Absenthia are clearly influenced by the classic RPI bands and this '70s inheritance reaches its apex on the multi-faceted 'Absira e la battaglia di Teutoburgo' that swings between melodic calm and theatrical mayhem. Combining folk, heavy rock and full-blown metal it's an epic love song about a slave girl, Absira, set against the backdrop of the Battle of the Teutoburg Forest in 9 AD when a Roman army was ambushed by an alliance of German tribes: 'The catapults launch a rage of fire never seen in the dark wood... a thousand screams, Rome crying for her wasted souls.' The protagonist's pain for his lost love is reflected in the destruction of the Roman army: 'The battle is lost, as the love I had is just a memory. Where is the glory? Where is Absira? Absira, my whore of death.' This is a powerful song with dramatic music to match the dual themes of love and death; there's a real sense of conflict in the music. It moves from melancholic beginnings with intermittent flute interludes, to a heavy passage with superb organ, and eventually to thunderous metal and back again. There's a mixture of Italian and English lyrics here, and on several other songs. I'm not usually keen on this but the mix of languages just seems to work on this album. And with its impressive song structure and great riffs, this song kicks total ass.

The anti-war song 'Aria - Ricordi di un Soldato' (Aria ' Memories of a Soldier) sadly has much resonance in the modern world. The story concerns a devoted widow whose Roman legionnaire husband has died in war. The song provides a glimpse of domestic life amid war as she speaks of their last moments together, to the accompaniment of a blistering guitar ballad.

Flanged guitar and pounding floor toms on the intro of 'La danza dei miei Satiri' (The Dance of My Satyrs) create a dark atmosphere and although the song perks up in places the overall mood remains quite dark. Satyrs were the half-bestial spirits of Greek and Roman mythology, carefree lovers of pleasure who had their own special dance called 'sikinnis'. However, they were also subversive and dangerous hence the comparison with the greed of modern man in this song. It relates problems of the global market to the folly of the satyrs, while the sound of gunfire and news reports accompany the lines: 'The sky cries for you in the dance of my crazy satyrs... the sky cries for you, the dream of the rain, in the dance of my crazy satyrs.'

There's a close thematic connection between 'La danza...' and 'Catilina e la congiura degli stracci' (Catiline and the Conspiracy of the Rags). Catilina was a Roman politician of the 1st century BC who was involved in a conspiracy against the Roman Republic. He used the plight of the poor to try to overthrow the aristocratic Senate, and is variously seen as a traitor, villain, hero and reformer. This catchy, energetic rocker reinforces the idea of corruption and stupidity among modern politicians with its use of militaristic drumming and the lines: 'In my heart there is your sword. In my world there is your war and my blood. Oh conspiracy of the rags!'

The personification of Psyche as a girl visited at night by her lover Cupid, the Roman god of love, first appeared as an aside tale in Lucius Apuleius' novel 'The Golden Ass' written in the 2nd century AD. Cupid is highly symbolic of the power of love because he is armed with bow and arrows, and on one level 'Amore e Psiche' (Cupid and Psyche) is a very powerful love song. However, Cupid is also a symbol of life after death and Psyche's search for him can be seen as an allegory of the soul's journey through life, or as a mystic union with the divine after suffering and death. This concern with the inner spirit accounts for the darkness in the song, mostly provided by the churchly organ swells.

In the wake of this comes 'Argonautica', another darkly passionate song. This is based on the story of the same name that tells the myth, possibly based on a real exploit of the prehistoric Minyan people from Orchomenus in Boeotia, of the voyage of Jason and the Argonauts to retrieve the Golden Fleece from the land of Colchis. The song features manly vocals humming to a lilting melody that nicely captures the sense of the crew singing as the Argo sways in the water. As with the story of Psyche, the 'Argonautica' is symbolic of the soul's search for self-discovery. However the main focus of the track is Jason's wife, the witch-princess Medea, with whose help Jason takes the fleece from its guardian dragon. The song's lyrics allude to how she puts the beast to sleep with narcotic herbs but they also hint at her evil nature: 'like infinity and the lie of your eyes, guardian doesn't sleep.' Jason eventually abandons Medea for the king of Corinth's daughter, and Medea takes revenge on her treacherous husband by killing their children and his lover. She then flees to Asia and this aspect of her character is discernible in the sitar, tablas and Eastern- sounding melody at the start of the song. Medea is a passionate though savage character and this song is suitably melodramatic; it has a sort of tragic splendour.

As the leader of a major slave uprising against the Roman Republic, Spartacus was another hero who was doomed to an early death. He is representative of oppressed people fighting for their freedom, and while 'Spartacus' the song is lively and engaging to begin, the lyrics better reflect his struggles: 'I saw shining armour, now I can't see any more... You enjoy screaming aloud, I die in the silence.' Later there's a real feeling of turmoil in the music with the conflicting sides of tyranny and liberty represented by an earth shattering rhythm in opposition to a glorious riff. And singer Igor D'Aoconte's long held note at the end has to be heard to be believed!

The album finishes with another song that reveals Absenthia's indebtedness to traditional folk music. 'Lo schiavo infante e la matrona romana' (The Roman Matron and the Young Slave) is a poetic love song in the best Italian storytelling tradition, which tells of the absurd difference in age and social class of its protagonists: 'This is the story of my adolescence, I was a slave and lover of my rich matron.' It mainly consists of a stripped down arrangement of just guitar and semi-spoken vocals, with keyboards adding some colour and shade. You don't need to be an Italian-speaker to feel the passion in the song, but I think you need some understanding of the lyrics to truly appreciate this one. The gist of the story is that Livia's (the woman's) husband is killed at the Battle of Milvian Bridge in 312AD, so the young slave is taken by a magistrate and transported to Africa as a slave gladiator. He is saved from death, gains his freedom and returns from Carthage years later. He then comes across an old woman and realises it is his beloved Livia. She is embarrassed and tries to cover her wrinkled face but he holds and kisses her. Livia dies, and as the young man himself grows old he ponders his life, and then dies 'in the memories of a sad light, but ageless.' The pure love represented in this song contrasts with the sensual love of Jason and Medea, it's more about loyalty and fidelity and ageless love. At least that's what I take from the story.

An absolutely epic album! One final word to potential buyers - you'll need to contact the band via their website if you want to buy the CD, but they're a friendly bunch of guys and you'll have the disc in next to no time.

 Tenebrae Vincunt by ABSENTHIA album cover Studio Album, 2009
4.07 | 29 ratings

Tenebrae Vincunt
Absenthia Rock Progressivo Italiano

Review by andrea
Prog Reviewer

5 stars Absenthia is an Italian prog band from Vicenza that was formed in 2005. The line up features Igor D'Aoconte (vocals), Alberto Saccozza (bass), Massimiliano Piazzon (drums), Enrico Bał (keyboards), Paolo Miotti (guitar) and Ferruccio Caoduro (guitar). Their music blends influences ranging from PFM, BMS and Le Orme to folk, Italian melody and prog metal in a very original and convincing way. The band has a strong theatrical approach with the operatic vocals of Igor D'Aoconte in the forefront. The history of Ancient Rome is the main source of inspiration for the lyrics of their debut album, the excellent self produced "Tenebrae Vincunt", that was released in 2009.

The album opens with "Commentarii ? De Bello Gallico VII", a beautiful ballad inspired by the life of Julius Caesar and his assassination. Lyrics deal with the immortality of ideals and great achievements that can be reached only after the death... "When I will turn into ashes / You will understand the true reminders that loom the time / The flesh can die but the dream will come back in your head / In my death is concealed the secret / You will inherit my eternity".

The second track is the aggressive "Atomica Achillea". The achillea is a kind of medical herb that the ancient Greeks used to treat wounds. Here uranium is compared to a medical herb: what could have happened if the most ferocious armies ever on earth could have had atomic bombs? Perhaps just the end of the humankind and the beginning of a new world of dreadful peace...

"Absira e la battaglia di Teutoburgo" is a complex track, romantic and powerful in the meantime, a love song settled in the middle of the battle of the Teutoburg Forest in 9 A.D. The character of the female slave Absira is a kind of metaphor for the pleasures of life that are wasted in the name of the greed for power and money... "Absira silently dies in the twilight / The blood on her dress is like dropped wine... The flames are dancing around a dying love". This track is available in free legal download from the official website, so have a try!

"Aria ? Ricordi di un soldato" (Air ? Souvenirs of a Soldier) is a beautiful ballad full of pathos and energy where a soldier remembers his past days and a woman... "Days never come back / The memories of a time that's gone will fade away into the wind / But here inside me there's still your souvenir".

"La danza dei miei Satiri" is another great track, full of rage and despair for the ambiguities of life and the greediness of people. Then comes the fast and heavy marching beat of the next piece, the rebellious "Catilina e la congiura degli stracci", that deals with the living hope of a man that fight against a corrupted class of politicians with a weapon called reason, without mercy.

In the dramatic and sensual "Amore e Psiche" heavy guitar riffs are counter pointed by fiery organ chords. Lyrics are inspired by the tale of Cupid and Psyche by the Latin prose writer Apuleius. Next comes the dark and mysterious "Argonautica", inspired by the character of Medea, an enchantress in the ancient Greek mythology. The operatic approach of the singer here is more evident than ever.

"Spartacus" is a powerful track dedicated to freedom and to the dignity of people that die fighting in war because of the stupidity of dictators or politicians... "Blood on the dust / Smell like ambition / That flies away from this joy / Theatre of death...". The last track, "Lo schiavo infante e la matrona romana" is a pculiar ballad that tells love story between a young slave and his older matron.

On the whole an amazing album, in my opinion one of the best debut of 2009.

Thanks to Todd for the artist addition. and to NotAProghead for the last updates

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