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INUIT
The history of the Italian band Armonite begins with drummer Gabriele Rossi.
Back in 1996 he approached two violinists, Giovani Lanfranci and Jacopo Bigi, with a view to putting the band together. The lineup was completed with the inclusion of keyboard player Paolo Fosso, who had previously played in a progressive metal group, and bassist Andrea Bacchio, who had been playing in a Dream Theater tribute band.
The combination of instruments, especially with the two violin players but no guitarist, was certainly an unusual one.
However, it is an approach that gives the band a sound that is very original (if not unique) and this, combined with the fact that the musicians involved have such obvious ability, is one of the bands major strengths.
'Inuit' is an instrumental release, consisting of eight tracks; it was almost a year in the making, being finally released back in December 1999.
What Armonite have achieved here is a unique and subtle blend drawing on modern progressive influences, while at the same time echoing the cultural heritage of the Renaissance. The resulting musical style has a strangely timeless quality that is full of contrasts, sometimes full of energy, at others restful and calm, but always buoyed along by boundless enthusiasm and feeling.
The album opens with a short introductory track, 'Inuit I'. Initially the listener is aware of bird song and the sounds of buzzing insects from which emerge singing voices creating a very pastoral scene.
I'm afraid my Italian is not that hot but from the sleeve notes I believe that the 'song' being sung is actually a sixteenth century piece. From the intro the music carries straight on into 'Amebah' ... and at once the voices stop. This track has a darker overtone picked up by the tolling of a bell, but the mood lightens up once the violin and piano start playing their pieces. It reminds me very much of early Solstice (with a touch of Vivaldi thrown in) and it has a good driving beat to it. Excellent flute work, backed up by the two violins, marks a short change in direction for the track, before returning to the piano/violin combination once more. The bass work blends in well in the latter part of the song and a skillful keyboard solo follows which helps bind everything together.
Next comes 'Pensieri' which starts at a much slower pace, with beautiful piano work that simply flows over you.
The violin work is more soulful and really evokes a strong emotional response from the listener. The rhythm section of percussion and bass make an important contribution, but never interferes with the keyboard and violin parts - which form the centre piece of the track. The feel of the piece changes about two thirds of the way through and the piano takes the lead with an almost jazz like rhythm that has a real swing to it.
'Mishram' is, initially, far more bass driven.
The violins play well against each other, and keyboards provide a somewhat melancholic feel that contrasts well with the bass work. When listening to this track through headphones I became aware of some excellent stereo effects which emphasise the quality of the production work.
'Eos Aurora' is a slow paced, thoughtful number which has an uncluttered tinkling piano intro with some, dare I say, Wakemanesque qualities. Violins quickly join in and initially support the atmosphere created
by the piano part. As the track progresses however, the energy of the violins gradually nibble away at the underlying melody and, bit by bit, the mood is lifted. Ultimately the piano part is liberated
and becomes much more light and airy as the character of the piece is transformed.
Once again there is some nice flute work towards the closing section, followed by some faster violin work which allows the track to finish on a real high note.
The ambiance changes again with 'L'Insetto'.
This is another song of contrasts; ranging from energetic percussive work and classical style violin work supported by some superb, but suitably muted bass work, to slower paced piano passages where the mood is much more dreamlike.
I'm hard pushed to select a favourite track on this album, there are so many different moods and themes - and much depends on my own frame of mind when I listen to it - however 'Agora' has to be a strong
contender. Bird song and quiet piano work are the cornerstones of the introduction, after which the piano lays out a simple melody, which is mirrored by the violin.
The two instruments then push the theme forward, weaving their own individual harmonies around the basic melody. The construction of the piece is excellent and the overall effect very uplifting.
Finally we come to the end of our musical journey and the album closes with 'Inuit II', which is effectively a refrain of the opening track.
Although the band do not currently have a record deal (as far as I am aware), and have produced this work themselves, both the CD and the accompanying booklet have been professionally produced and printed and the
product is one I am proud to have on my shelf. The music throughout is beautifully constructed, beautifully played and a real pleasure to listen to. If you want to hear unpretentious, instrumental music,
that successfully blends together old and new, I would strongly recommend that you give this a go.
The appeal should be fairly wide, but more so if you have enjoyed the likes of Solstice, or even Rondo Veneziano (without the artificial drum beats). For myself, I can only hope that Armonite will keep to the high standards they have set for themselves with this release, and I look forward to hearing more from them in the future!
Simon 17th April 2000
Mail-order on Mellow's site: www.mellowrecords.com Also available from the band, e-mail armonite@libero.it
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