SITHONIA

3.5 stars actually...

After releasing the fabulous ''Lungo il sentiero di pietra'' in 1989, which recieved very postive critics,SITHONIA moved on to the rehearsals of new material.Due to work commintments bassist Andrea Guglielmi decided to quit,replaced by guitarist Roberto Magni's friend Valerio Roda.Soon after great singer Paolo Marcheselli left and new vocalist Marco Giovannini enters the picture.Through a common friend SITHONIA came in touch with Mario Moroni from Mellow Records,who agreed to release the new album of the band on his label. ''Specttacolo annullato'' sees the light in autumn of 1992.

A few things have changed compared to the band's junior release.SITHONIA insist on playing their beloved symphonic rock style with many references on the great 70's bands.Maybe the biggest difference is the addition of a grand epic (''La recita del silenzio''), which clocks at over 22 minutes.The familiar elements of SITHONIA are always there: tons of melodic guitars,some grandiose piano parts,romantic vocals and a beautiful atmosphere,but some chessy-sounding keys as well, result a very nice track of changing moods.The rest of the tracks continue in a similar style but a bit more keyboard/piano-driven with distinctive yet inspired guitar parts and over-emotional vocals by new member Marco Giovannini,always wrapped up in a haunting symphonic orientation. Additionally the extensive instrumental parts create sensitive and imaginative soundscapes,which is what SITHONIA are best at.Overall this was another strong release for the band in a typical but always loving Italian symphonic prog approach,which only the chessy-keys spoil at some moments.Easily recommended!

Sithonia's finest hour - "Confine" is an absolute success of symphonic prog for the 90s, and it is really a pity that this sextet isn't usually as praised as other fellow ones (who also deserve it). "Confine" is the third studio effort by Sihonia, and as revealed in the live album entitled "Folla de Pssagio", a couple of tracks already existed in full form before the album per se. The album kicks off in the most magnificent way one can imagine: years and years of carefully listening to progressive albums might as well leave you still unprepared for the outburst of musical magic comprised in 'Albi di Spagna'. This lovely piece is not precisely an epic, starting on a Renaissance note with a basis of classical guitar and vocal, then the input of multiple keyboards gradually joining in until the arrival and development of a majestic architecture that brings back the good old days of BMS and PFM. This opener leaves you speechless, perhaps wanting to listen to it 2 or 3 more times before going on with what remains of the album. Once you can get past this lovely shock, 'Sinergie Interattive' shifts to lighter moods - it starts with an emulation of a cartoonish jingle (including weird voices and phone rings), and then the main body alternates psychedelic beat on a 5/4 tempo, Cabaret jazz and some subtle Gentle Giant-ish ingredients. This is symphonic prog for a Fellini movie. By now, the listener's attention is fully guaranteed, so 'Piccole Vele' can lead us to the farther realms of the heart with its patently romantic ambiences elegantly wrapped in a melancholic aura. Despite its short duration, this song manages to incorporate some brief dense ornaments in order to remain reasonably varied within its well defined framework. The instrumental 'Pentolle Sullo Scalfalle' keeps things in this introspective tone: the jazzy vibe provided by the guitar phrases get along well with the utterly symphonic keyboards, never getting to the saturation point. Not only does this album comprise the band's best opening track ever; it also contains their best instrumental. 'Porto d'Inghilterra' is the longest piece in the album - it starts with storm noises, and then the instrumentation warms up in a Gentle Giant-meets-BMS sort of way, and from now on, the varied melodic journey turns out to be an outstanding display of creativity and harmonization. The way in which the serene moments and the dense passages combine and almost fuse together is a trademark of Sithonia at their best, and oh, how well it works here especially. The instrumental '... Un Altro Momento' brings a moment of relaxing solace after the preceding track's colorfulness: the eerie prelude on a duet of classical guitar and piano is followed by a softly joyful rock, somewhat influenced by Genesis and Le Orme. 'Piancandolli' and 'La Cella' perpetuate the romantic aura and delicate sophistication that we had already found in'Piccole Vele', while still providing a healthy dose of the warm, energy displayed in 'Porto d'Inghilterra'. But again, things will get a bit warmer with 'Ultimo a Stare in Porta', whose main riff is quite catchy. The utilization of peculiar vocal arrangements, a happy-go-lucky sax solo and a dissonant organ solo widely reveal the band's intention to toy with their extravagant side, which is particularly celebrated in the climatic impromptu. 'Il Segnale' is a brief voice-piano ballad segued into the instrumental extravaganza entitled 'Alla Corte del Gran Khan' - the latter doesn' even reach the 2 minute mark, but it sure encapsulates a great mixture of Genle Giant, Happy the Man and Banco. Listening to both tracks as a unit is the best experience for the listener. It is the namesake track which is in charge of closing down the album. It starts with an accordion delivery of one motif from 'Sinergie Interattive', and then, things move fluidly according to the band's most bizarre aspect. It would be fair to label the interaction of the musicians as aggressive, but it is not so in a rock fashion, but more like a big circus in which things are almost getting out of control. Halfway through, the track turns into a more typically progressive pomposity, ultimately leading to a brief coda led by eh acoustic guitar. Regardless of the tracks that each individual listener may point out as their favorite ones, this album as a whole is a highlight, a major achievement in the realm of Italian 90s prog. Oh man, Sithonia ruled!, and how!

SITHONIA belong to the small group of bands,like Ezra Winston and Nuova Era,who participated in the late-80's rebirth of Italian progressive rock.The band was found by keyboardist Paolo Nanetti in 1986 and was named after his vacation near an eponymous peninsula in Greece around the same time.He recruited members through friends and paper ads and in 1989 SITHONIA's debut ''Lungo il sentiero di pietra'' sees the light.Sounding like a less intense NUOVA ERA version and close to IL CASTELLO DI ATLANTE's style,SITHONIA's debut is very nice work reminiscent to the likes of the 70's Italian bands with the appropriate doses of the modern sound.The romantic moments of the album resemble to BANCO DEL MUTUO SOCCORSO,the fantastic keyboard/synth work reminds me of GENESIS' Tony Banks,the smooth guitars and flute parts is a nice example of PREMIATA FORNERIA MARCONI-like prog rock,while the vocal lines are sensitive and warm,much in the vein of the Italian traditional bands.Fans of Italian progressive rock (and not only them) should hurry and get this album.Absolutely great,romantic and emotional progressive rock!

The previous album from Sinthonia was an excellent work; very much reminiscent of the seventies.

This one seems to be more basic if I may say so. At least this is the feeling I have while I listen to the first opening songs. Things get better with Comprate Le Stelle and the beautiful work from Sauro Musi on the electric guitar.

Most songs have a simple structure and if it wouldn't for some more intricate breaks (Ombra Nella Nebbia) it could almost be catalogued as Italian rock. Music is pleasant like during the short and jazzy Ruscelli but I am still expecting the brilliance of Confine which was released three years prior this last one.

Fortunately, there is one epic which kind of saves the day. The title track is more in line with what I was expecting. Melody at its best, emotion evenly as high, persuasive vocals and a definite seventies sound (ELP and Genesis). This is by far my favourite piece even if some déjà vu feeling can be noticed. It doesn't bother me too much and the pleasure is almost the same throughout.

Three stars for this album which could have been better if the quality of the epic would have been extended to the shorter songs.

Holy s**t!

If there is one impressive opening number, I bet you that Alba Di Spagna is one of them. Although it starts as a peaceful and medieval madrigal, it develops into such a BRILLIANT symphonic and bombastic part!

Such a power leaves me breathless: this track is equal to the great and fine moments from most of the great bands we all love. The closest one that comes to my mind in terms of grandeur here is ELP, no doubt.

Some moving vocals at last during the upbeat Porto d'Inghilterra are such a nice contribution to a thrilling song. The majesty of the genre is so genuine, so induced. The contrast of these highly melodic vocals is huge when compared to the powerful keyboards sections. It is another highlight of this album. The symphonic and wild combination is so exceptional. Did I say Genesis?

The most astonishing with this band is that you can listen to the most pastoral effects for a couple of minutes, and all of sudden be confronted to a huge and wild part. Such a contradiction exists during the fabulous Un Altro Momento. Indeed, another great moment.

This album is of course very much early Genesis oriented. Fluting, soft passages are here to remind us the good old days. And I have to say that this exercise is not at all disturbing. It is of course not the most highly creative Italian prog album but the whole is finely crafted and should please the fans of this lovely genre (to which I fully belong if you would have any doubt).

I have some other feeling when such a pop-rock song as Ultimo a Stare in Porta: a straight press next song during the first part and then, all of the sudden, it features a great sax section which is only an introduction to a fantastic and chaotic instrumental beauty. Such a dual song indeed!

Sinthonia is also playing with my nerves during the almost heavy Confine. A wonderful closing number which highlights significantly the wonderful character of their music. At times easily accessible, at times complex and harder.

I am quite charmed with this album which is IMHHO their best so far. Four stars. This band should need a bit more exposure on PA. Wake up guys, there are a lot more than PFM, Le Orme and Banco available!

This second album of the band is a definite improvement in comparison with their debut. The pop-rock songs are non-existing any longer and this album has a dramatically more symphonic approach.

The twenty-two minutes long opening epic "La Recita del Silenzio" holds all the bits and bites that you can expect of such a track: crafted vocal harmonies and most of all lots of keyboards. There is an undeniable ELP influence while the most bombastic sequences are played, but I would say that they are quite well merged in the whole.

This lengthy piece is mostly a peaceful track which is very enjoyable throughout. But it lacks of grandeur to make it memorable.

I prefer "Pannolino" and especially the drumming work which is excellent: Orio Cenacchi playing off- beat all the time is the highlight but the fine and jazzy guitar from Roberto Magni is not shy either. I would have expected more from the instrumental title track but "Spettacolo Annulato" is just a repetitive and childish track which holds no emotion; melody is also weak.

In this respect, I could not be more charmed than with "Il Canto Notturno Della Stella" which brings us into the finest Italian prog territories: this means passionate vocals, fine instrumentation and some good musical contrasts (soft versus more powerful). It is my favourite song from the album.

The upbeat closing track is also another fine part from this album. It holds heavier passages and sounds almost neo-prog (especially during the synths section). This track is very well distributed between melodic (guitar) and bombastic music.

Seven out of ten for this good album.

This debut album form "Sithonia" opens on a heavier than usual song for this lovely genre but after some shaky moments, one gets back to the roots of a beautiful Italian symphony: complex keyboards play, strong vocals and a rather dynamic band. The music is very well accomplished and rather complex. It is quite eclectic (in the PA sense) to be honest and somewhat disturbing for the usual Italian prog fan that I am. So is the good "Achil Island" opener.

The story is of course different while one listens to the pastoral and early Genesis "Il Foglio Bianco". Sweet flute are the highlight of this gentle song. Some might call this an easy listening song, but it holds such a fine mood ...

For those who are thrilled by this band and their rather confidential debut, I would tell that there are some weak numbers as well. Some pop-rock oriented songs that don't necessarily have their place here ("Non Cercarli").

Vocals which are usually a strong point for most Italian bands, are not always top notch here. But this is due to the fact that this role is taken by more than one singer. If they are convincing during the tranquil "Confusi In Mezzo Ai Simboli", I can't say the same about the weak "Pubblicità".

"Confusi." also features the best instrumental part of this album and it should be considered as the highlight. It is a wonderful tune for early "Genesis" lovers (FYI, I might be considered as one of those).

The majestic beauty of "Il Sogno." adds another great piece of work to this album. Each aspect of the genre is almost featured: passionate vocals, intricate drumming (to be noticed during the second part) and pleasant keys. This is definitely another very good song here.

The most Italian song form this debut is probably "Folla di Passaggio". Sweet fluting, fine acoustic guitar: I guess that you know the combination. If ever "Trespass" is of your liking, this song might be considered as a jewel. But the whole album is a bit too much heading in this direction.

"Lungo." is a good album. Three stars is the definition of such a work, right?

My review is produced using this release: Mellow Records MMP 115

Rating: 4,5/10

I don't know if "Spettacolo Annullato" between 100 years it will be remembered. "Spettacolo Annullato" is one of the albums that they make revive the Italian Prog. But like all the transition albums isn't very memorable. Because, relly, isn't bad but, for me, is only a transitional album between the nothing and the New Wave Of Italian Prog. The Prog is present and in heavy parts, but the music don't has the just edge. In fact you suffice to listen to the suite "La Recita Del Silenzio" for understand what I say. 50 mins for this album are too and in fact weigh down the listening. Also because taken one to one the songs have good or excellent quality. In fact the songs carry a surge of fresh air and with immense merit. But they do not work to have to all together.It is strange but truth... In every case the songs that I prefer are: "Pannolino", "Spettacolo Annullato pt.2" and "Il Racconto Di Una Sosta Imprevista" only that they play like a modern and out of phase version of Gentle Giant.

If you love the New way of Prog (specially Italian) is a good band. Vice versa I listener better albums and bands.

"Confine" was my first contact with Sithonia. What most impressed me it is the romantic side, the nice melodies and the rare but sharp incursions of guitar. Whatever give contrast to if they compare them with Finisterre. "Confine" is in my view classic of this group, the cd which it is necessary to obtain. I recommend it hard to all fans of Italian prog.

It looks like this was to be the farewell album of this Italian group. Sithonia plays traditional Italian symphonic prog that sounds very sophisticated. Their music might be a little simpler than most of the other acknowledged new Italian groups yet they still avoid all commercialisms. They remind me of Banco del Mutuo Soccorso and La Locanda delle Fate with perhaps an even more romantic touch. A band that is definitely in the better half of the 90's Italian groups. "Hotel Brun" is a great example of this. Their line-up is the usual prog line-up except that they have dual keyboards (mini moog, hammond, synthesizers). There are also some nice violin leads, which are credited to a non-band member Paolo Zuntini. . They had a very good vocalist in Marco Giovannini. Most of the tracks in this album are written by the keyboardist Paolo Nannetti and a non-band member Roberto Magni (he was the guitarist in earlier albums).

The highlight track is without a doubt the over 23-minute title track "Hotel Brun". This is also the most progressive track. Here the band delivers especially some really beautiful runs with the dual keyboards. My other favourite track is "Ombra Nella Nebbia" written by the bassist Valerio Roda. A very nice track this one indeed.

Conclusion: Very good 90's Italian progressive that should please fans of the Italian sound.