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The music is really typical RPI. A mix of some heavy songs and some more pastoral songs. From heavier prog to pastoral prog and folk rock. But they also sounds like Jethro Tull with the flutes and their folk rock.
Some parts of this album also sounds like Genesis too. There is a lot of vintage keyboards here and some great vocals. The vintage keyboards does it for me. The drums are also great too.
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The same goes for the sound. The music is very good throughout. A true superb song or three would had elevated this album up a notch. But this is an arch-typical RPI album and well worth an investment for both RPI fans or those curious about this scene. Review by apps79 Special Collaborator Honorary Collaborator.
The band was talented and tried to cover as many styles and track-lengths as possible,mainly in a Hard Prog style with Folk,Jazz and Classical influences. Of course not every track on the album is great,but all compositions are well-arranged. For example the opening track has strong Folk leanings or the following ''Il male'' is characterized by a heavy rock sound with strong organ and flute not unlike JUMBO. The longest composition ''Non voglio catene'' reminds me of Kraut-Rock with jamming organ and long guitar soloing.
On ''Ecce omo'' appears the moog synth of Carlo Barnini,making it the more symphonic track of the album,along with the delicate flutes of Adriano Pegoraro and the hard guitar playing of Gianluigi Cavaliere. Eneide were around until mid's,when the band broke up for good. A brief reunion took place around with leader Gianluigi Cavaliere,bassist Romeo Pegoraro and drummer Diego Polato.
The trio even started recording a rock opera ''called Il sogno di Oblomov'',but this was cut halfway through due to the members' heavy work commitments. Still Eneide left behind a good documentary of their activity during early's. Well-executed Hard Prog with some nice breaks and virtuosic solos and a variety of music approaches.
Review by Mellotron Storm Prog Reviewer.
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Some violin-like sounds too. This is good. Vocals are back later. Flute too. The vocals are much better when he sings in a reserved manner. Synths and drums follow. This is excellent. The guitar lights it up 4 minutes in. Synths are back a minute later then vocals. Organ, guitar and drums lead the rest of the way. Violin-like sounds a minute in. Flute to end it. The guitar joins in. Great sound. Flute comes in. It picks up after a minute. Themes are repeated. If I liked the vocals I would give this 4 stars, I like how this sounds instrumentally but the vocals are a big distraction at times.
The origins of Eneide trace to when the teenagers from Padova began as Eneide Pop, later becoming simply Eneide. It's hard to believe, but in their mid teens they are said to have opened dates for Genesis and VDGG. This led to the opportunity to make an album for Trident in , and the band recorded from September through November.
However Trident never released their album and the band held the tapes until when there was finally given a limited, private release. Eneide broke up in but some of the members have kept playing and kept in contact, with the hope of completing another project one day.
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Their album is a cool rarity of good quality although certainly not essential, of interest to more serious RPI fans who've heard all the great stuff. There are garage style rock jams with juicy electric leads and feisty rhythms, all fairly conventional and only flirting with serious prog, most tracks range from only minutes in length. The album rises to its most interesting on the mellower stuff when they use some cello and flute to enhance things. There are also moments where acoustic guitars and gentle Italian vocals lend a singer-songwriter vibe.
It's certainly nice stuff that is well played but falls well short of the kind of RPI excitement that I get from the more crucial stuff. My biggest problem is that aside from the 7 minute track, most of the songs just don't have the time to really develop into something more substantial.
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