1978: Gli Dei Se Ne Vanno

1. Il Bandito Del Deserto

2. Interno Con Figure E Luci

3. Return From Workuta

4. Guardati Dal Mese Vicino

5. Hommage A Violette Nozier

6. Ici On Dance

7. Acrostico In Memoria Di L

8. Fff (Festa, Farina E Forc

9. Vodka Cola

Tracks:

Bandito Dei Deserto
Interno con Figure E Luci
Return from Workuta
Guardati Dal Mese Vicino All'aprile
Hommage a Violette Nozieres
Ici on Dance
Acrostico in Memoria Di Laio
"FFF" (Festa, Farina E Forca)
Vodka-Cola

Customer Reviews:

Superb jazz rock fusion with a ton of the European avant garde.......2006-06-15

Although I enjoy jazz rock, I am more of a prog fan so I am always on the lookout for "proggy" jazz rock bands or at the very least, really "weird" jazz rock albums. This 1978 album by Area certainly fits in the latter category, and the fact that it is Italian is all that much cooler.

The musicians on this album include keyboardist Patrizio Fariselli (Polymoog, ARP Pro soloist, ARP Odyssey, ARP Omni, and acoustic piano; excellent bassist/trombonist Ares Tavolazzi (he plays a fretless bass, in addition to acoustic and was heavily influenced by Jaco Pastorius); great drummer Guilio Capiozzo; and last but not least unbelievable vocalist Demetrios Stratos. To say that he has an unusual vocal style is an understatement. Specifically, there are times when he literally jumps several octaves in a single measure with an undulating, almost yodeling vocal style (all in Italian). It really works well with the material.

Stylistically, this music is predominantly jazz-rock, but Demetrios vocals, the synthesizers, and the use of European avant-garde styles makes this a very "weird" sounding jazz rock album. I actually like it quite a lot. The virtuosity is completely over the top throughout and at times there are some free-from parts, where things gradually disintegrate into a furious atonal barrage before returning to the main themes (Guarditi dal Mese Vicino all'Aprile). At the complete opposite end of the spectrum is the rather upbeat and breezy tune Hommage A Violette Nozieres, complete with Demetrio's odd vocals and nice melodies. Somewhere in the middle are tiny bits and pieces of prog rock - not too much though.

All in all I would have to say that this is a fantastic album with some pretty sick grooves and is a welcome change of pace. Recommended to open minded jazz rock fans, and adventurous proggers.

INNOVAZIONE ARDENTA.......2004-02-11

If you're a fan of mind-blowing progressive music that stretches the envelope to the bursting point, and you've never experienced the music of AreA, you should IMMEDIATELY check them out. They began releasing albums in 1973, they created some of the most incredible recordings of the era - and those releases are as startling today as ever. It's said too often when speaking of musical conglomerations, but it's truer in this case than in most: they sound like no one else.

The band was basically Italian. After the first album, the personnel remains pretty much the same through the next few releases, with the exception of guitarist Giampaolo Tofani, who departed the band before 1978:... was recorded. The instrumentation itself is pretty standard: bass (electric and acoustic), keyboards, drums, and vocals - embellished with trombone, trumpet, mandola, acoustic guitar, bailophone, &c. The difference here is in the way the instruments are utilized. On this recording, the groupings are pretty straightforward - it's the playing, and the construction of the pieces themselves that make them unique. Demetrio Stratos offers his unique voice, as well as piano and organ. Giulio Capiozzo (drums, percussion) and Ares Tavolazzi (acoustic and electric basses, trombone, pocket-trumpet, mandola) tackle some of the most complex time signatures I've ever heard with seeming abandon and true precision. Capiozzo's playing is strong, but never overpowers the rest of the group - and Tavolazzi takes my breath away with his rapid, precise playing that incorporates chords seemingly at will (on both the electric and acoustic bass). Calling them a `rhythm section' does them a complete disservice - they are the heartbeat of the band's sound, true, but their contributions are much greater than that. Patrizio Fariselli (who continues to compose and record music today) handles the keyboard chores nicely - on other recordings by the band, he also contributes bass clarinet. The compositions and arrangements are credited to the band as a whole - and given their politics as well as the resulting sound of their music, I can readily believe that these are truly collective works.

The vocals - I don't know how to describe what Demetrio Stratos does with his voice. He destroys borders. He takes singing to new definition and heights. He has been described as `operatic' - but that actually limits the description too much. There are elements of that in his style, to be sure - but there is so much more. He uses his voice as an instrument more than just about anyone I've ever heard - Tim Buckley's legendary recordings LORCA and STARSAILOR are the closest comparisons I can think of. If Stratos hadn't tragically died in 1979 of leukemia, there's no telling where his explorations would have taken him. There are times when he can be heard singing two or three notes at the same time - really. During his lifetime, he released several solo albums - I've only heard one of them, but it amazed me. He recorded it without any instruments or electronic effects, and it's a truly mind-expanding document.

The music on this group recording is rooted in progressive rock and jazz - Fariselli's keyboard work straddles the two genres handily, and Capiozzo's drumming and Tavolazzi's bass playing lean a little more toward the jazz side. The vocals are all in Italian - but don't think for a moment that you're going to miss out on the emotion of the words. Stratos conveys that without any trouble at all. On some of the tracks, there aren't any words to speak of - but there are plenty of notes in Italian that give the group's thoughts on the subjects they're addressing. There are odd time signatures and polyrhythms aplenty - and the players seem very much at home with them, either when playing set melody lines or improvising over them.

The music here is challenging and moving - and at the same time extremely listenable. AreA have long been my favorite of all of the great progressive Italian bands - and in fact of progressive music from any country.

Area; Jaz/Rock/Fusion of the Finest!.......2001-04-12

I owned this on vinyl the year it came out. This is probably close to the bands best work. The is a musician's recording. I'm going to order it now that I know it's available on CD.

This does NOT sound seventiesish. It's still good today! P.S. The Keyboad player and drummer(s) are phenomenal!!!

Quirky avant-jazz/rock fusion at its best.......2001-01-14

They billed themselves (somewhat jokingly, I assume) as an "International POPular Group," all the while playing a wicked blend of jazz, rock, prog, and avant-garde music. The centerpiece of the band has always been singer Demetrio Stratos, whose acrobatic vocal style sets him apart from just about anyone you'll ever hear in your life. By the time this album was released, longtime guitarist extraordinaire Paulo Tofani had left the band, leaving fans wondering if the end was near for the ensemble after a string of 6 albums. Instead, they released here what is most likely their strongest work ever, and for many fans keen to jazz/rock (Fusion), one of the best of the genre. This is not your typical "beat this lick" that is most Fusion, instead composition is emphasized and soloing is mostly kept to 8/16 bars. The musicianship is stunning throughout (all are multi-instrumentalists)- these guys were definitely some of the best out of Italy at the time. Vocals are in Italian, but don't let that put you off at the least bit. Buy it for the pleasure of having to pick your jaw off the floor for 40+ minutes.