c o n r a d

Apoteosi were a five piece band centred around two brothers and a sister from the Idà family. They managed to get a contract with a small record company (probably owned by the father of the three siblings), produced a masterpiece with a very small number of pressings, and then disappeared. Such is the way with Italian progressive rock. Aside from the rhythm section, none of the band are much more than good ordinary musicians in a technical sense (although Massimo Idà's keyboards are extraordinary for somebody who was only 14 at the time). Nor is this album full of complex thirty-part arrangements. Where this band really excels is in its ability to take a melody and explore it from a variety of angles, making it a very interesting listening experience. Apoteosi seem to have a very good idea of where a song should go and what they have to do to get it there. Apoteosi's sound has passing similarities to PFM, Le Orme and maybe even Yes. Piano tends to dominate the more emotional passages, flute plays a prominent part, and then of course there are Silvana Idà's vocals. Some may dislike the slight mew she has to her voice, but overall I think she is a very good singer. This album is a personal favourite of mine, so much so that at two years old, my daughter's first five-syllable word was "Apoteosi". It is not without its faults, as there are a few flat spots on the second half. However, among the litany of Italian one-shot bands, this is pretty much first in line. A definite must-buy for lovers of Italian symphonic. review by Conrad Leviston — 3-30-05 —

s e a n

Apoteosi is yet another Italian band who released one strong album and then disappeared. Its reissue comes thanks to Mellow Records, and despite being a little hissier than I'd like in the quiet parts it is a fine job. The nucleus of the band are the Idà family, as Federico provides bass and flute, Massimo keyboards (and most of the writing credits) and Silvana the (female) vocals. Vocals, guitar and some of the writing is provided by Franco Vinci. The liner notes state that this was not a meticulously composed work, but rather one made from spur-of-the-moment impulses, using fragmentation and disunity as a strength. That said, this is certainly not what I would call improvised in any sense, although hastily written is perhaps true. Despite this, the compositions are strong, featuring the almost stereotypically Italian romantic-era influences, here meshed with healthy doses of psychedelic rock. The rockier parts may feature Massimo's multi-board attack (usually organ and moog), bass, drums and guitar at the same time, while flute and piano will be more prominent in the quieter moments. Apoteosi's jam-driven psych quality differentiates them from a good number of the more prim Italian bands, but some comparisons with Osanna might be in order. At any rate, this is quality Italian symphonic rock, and one that any connoisseur of the style will want in their collection. review by Sean McFee — 9-3-00 —

j o e

Apoteosi's lone, eponymous work from 1975 is a shining gem in the crown of Italian symph-prog. The rhythm section recalls Fragile-era Yes, but that's about the only thing I can readily think of for comparison. Light and open tonalities move through various moods without ever sounding oppressive, and are played with a tight dexterity, especially in the rhythm section. Silvana Idà's gentle voice fits quite comfortably within the proceedings. The workouts on "Frammentaria Rivolta" and "Il Grande Disumano feature some burning ARP synth and guitar from Massimo Idà and Franco Vinci (the main composers of the material), respectively. Perhaps the star of the show, though, was the late Federico Idà, the artistic producer of the album who shines not only on bass but also flute; this Mellow Records reissue is dedicated to him. Maybe a few humdrum moments here or there, but with such confident musicianship, overall Apoteosi is a real treat for symph-prog fans and those wanting to explore Italian prog rock. review by Joe McGlinchey — 6-29-00 —