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FRANCO BATTIATO

Rock Progressivo Italiano • Italy


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Franco Battiato picture
Franco Battiato biography
Francesco Battiato (aka Süphan Barzani) - Born 1945-03-23 (Ionia, Sicily, Italy)

Franco Battiato is one of the most successful singers in Italy. He began his career as a "light" singer, recording a few singles. In 1971 he started his particular journey through experimental music, recording his proggiest issues: "Fetus", "Pollution", "Sulle corde di Aries". Some very atmospheric parts and some very melodic songs make these records worthwhile, along with musical references to the arabic culture and italian folk that will surface from time to time in all of his following output. His next records are gradually more and more experimental, exploring minimalism and culminating with "L' Egitto prime delle Sabbie", with two long pieces based on hardly one note and its harmonics. Very difficult, I can´t recommend this period to anyone but music scholars or any Stockhausen students. After this, came a great change of direction.
From "L'era del Cinghiale Bianco" to "Mondi Lontanissimi", these are pop-rock records, but very interesting (and even commercially successful) ones. Especially the lyrics, sometimes very deep, sometimes ironic, full of references. He starts singing in many different languages, even within one song.
With "Fisiognomica", Battiato started walking towards classical music, using orchestra on some songs and composing a couple of operas. "L'Imboscata" and "Gommalacca" are rockier than any of his previous works. The latest has a shy return to prog and experimental, yet for a wide audience.

This is the best progressive soloist in Italy and now is very popular. I recommend "Fetus", "Pollution" and "Sulle corde di Aries", a kind of trilogy and one of the Italian prog highest moments.

Why this artist must be listed in www.progarchives.com : One of the greatest experiences in Italian prog, great music quality, even his most "pop" works are deep and intellectuals. He is also one of the most popular italian singers.

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Sulle Corde Di AriesSulle Corde Di Aries
Sony/Bmg Italy 1998
$4.61
$4.60 (used)
PollutionPollution
Sony/Bmg Italy 1998
$6.48
$8.58 (used)
Juke BoxJuke Box
Sony/Bmg Italy 1998
$7.04
$7.09 (used)
La Voce Del PadroneLa Voce Del Padrone
Emi Music Italy 2008
$9.49
$9.48 (used)
BattiatoBattiato
Sony/Bmg Italy 1998
$7.92
$7.91 (used)
L'Egitto prima delle sabbieL'Egitto prima delle sabbie
Sony/Bmg Italy 1998
$8.29
$8.41 (used)
FetusFetus
Sony/Bmg Italy 1998
$6.41
$8.42 (used)
M.Lle Le GladiatorM.Lle Le Gladiator
Sony 2018
$24.54
$36.12 (used)
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FRANCO BATTIATO discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

FRANCO BATTIATO top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.43 | 67 ratings
Fetus
1971
3.23 | 20 ratings
Foetus
1971
3.66 | 91 ratings
Pollution
1972
4.09 | 116 ratings
Sulle Corde Di Aries
1973
3.55 | 46 ratings
Clic
1974
2.09 | 15 ratings
M.elle Le
1975
2.06 | 16 ratings
Battiato [Aka: Zâ]
1977
2.94 | 15 ratings
Juke Box
1978
1.75 | 28 ratings
L'Egitto Prima Delle Sabbie
1978
3.38 | 33 ratings
L'Era Del Cinghiale Bianco
1979
2.51 | 23 ratings
Patriots
1980
3.52 | 33 ratings
La Voce Del Padrone
1981
2.41 | 21 ratings
L'Arca Di Noè
1982
2.32 | 19 ratings
Orizzonti Perduti
1983
2.60 | 17 ratings
Mondi Lontanissimi
1985
3.00 | 3 ratings
Echoes Of Sufi Dances
1985
3.00 | 2 ratings
Ecos De Danzas Sufi
1985
3.29 | 5 ratings
Nomadas
1987
4.42 | 12 ratings
Genesi
1987
3.44 | 19 ratings
Fisiognomica
1988
3.29 | 7 ratings
Musiche Per Il Film Su Benvenuto Cellini
1990
2.22 | 10 ratings
Come Un Cammello In Una Grondaia
1991
3.83 | 11 ratings
Gilgamesh
1992
3.33 | 15 ratings
Caffé De La Paix
1993
3.00 | 2 ratings
Como Un Camello En Un Canalòn
1993
3.00 | 7 ratings
Messa Arcaica
1994
2.55 | 9 ratings
L'Ombrello E La Macchina Da Cucire
1995
2.83 | 14 ratings
L'Imboscata
1996
3.00 | 3 ratings
La Emboscada
1997
4.24 | 21 ratings
Gommalacca
1998
2.58 | 12 ratings
Fleurs
1999
2.26 | 8 ratings
Campi Magnetici
2000
2.73 | 10 ratings
Ferro Battuto
2001
3.00 | 2 ratings
Hierro Forjado
2001
2.58 | 11 ratings
Fleurs 3
2002
3.71 | 10 ratings
Dieci Stratagemmi
2004
3.08 | 6 ratings
Il Vuoto
2007
3.17 | 6 ratings
Fleurs 2
2008
3.90 | 10 ratings
Inneres Auge
2009
2.05 | 3 ratings
Telesio
2011
4.00 | 5 ratings
Apriti Sesamo
2012
5.00 | 1 ratings
Ábrete Sésamo
2013
3.95 | 2 ratings
Battiato & Pinaxa: Joe Patti's Experimental Group
2014

FRANCO BATTIATO Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.28 | 7 ratings
Giubbe Rosse
1989
4.00 | 1 ratings
Concerto di Baghdad
1993
3.67 | 3 ratings
Last Summer Dance
2003

FRANCO BATTIATO Videos (DVD, Blu-ray, VHS etc)

FRANCO BATTIATO Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.50 | 2 ratings
Feed Back
1976
2.00 | 1 ratings
1972
1976
2.50 | 2 ratings
SuperStar
1982
2.00 | 1 ratings
Battiato Collection (Espaniol songs version)
1996
4.00 | 3 ratings
Battiato Studio Collection
1996
4.50 | 2 ratings
Gli Anni Settanta
2001
3.96 | 5 ratings
La Convenzione (with Juri Camiscsca and Osage Tribe)
2002
3.00 | 1 ratings
Le Più Belle Canzoni Di... Franco Battiato
2006
2.00 | 1 ratings
D.O.C.
2006
4.00 | 1 ratings
Sigillo D'Autore
2010

FRANCO BATTIATO Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

1.00 | 2 ratings
L'amore è Partito
1965
1.00 | 2 ratings
E Più Ti Amo
1965
1.33 | 3 ratings
La torre - Le reazioni
1967
1.33 | 3 ratings
Triste come me - Il mondo va così
1967
1.33 | 3 ratings
E' l'amore - Fumo di una sigaretta
1968
1.33 | 3 ratings
Bella ragazza - Occhi d'or
1969
1.33 | 3 ratings
Sembrava una serata come tante - Gente
1969
1.50 | 2 ratings
Vento caldo - Marciapiede
1971
3.00 | 1 ratings
Energia / Una Cellula
1972
3.00 | 2 ratings
La Convenzione / Paranoia
1972

FRANCO BATTIATO Reviews


Showing last 10 reviews only
 Come Un Cammello In Una Grondaia by BATTIATO, FRANCO album cover Studio Album, 1991
2.22 | 10 ratings

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Come Un Cammello In Una Grondaia
Franco Battiato Rock Progressivo Italiano

Review by jamesbaldwin

3 stars With this Lp Franco Battiato ends his commercial pop phase and inaugurates a cultured phase, which is expressed in this case with a piano and orchestra music directed by the faithful Giusto Pio. There is no rock music here, no guitar no drums, nothing. Only classical music: piano, strings, orchestra.

In Italy this record became famous for the first song, "Povera Patria" (Poor Fatherland), which shook consciences at a time when the political life of the nation was at a turning point, in fact Battiato with this song represents the mood of the population for the crisis political, moral and economic that would bring a political revolution in Italy, with the end of the Catholic party and the end of socialist and communist parties because of corruption, which in addition to being a political and judicial problem had also become an economic problem because the public works in Italy they had suffered the consequence. Battiato in this text sings:

"Poor homeland crushed by the abuses of power Of infamous people who do not know what modesty is They believe themselves to be powerful and what they do is all right And everything belongs to them Among the rulers how many perfect and useless buffoons This country is devastated by pain But they do not give you a little regret Those bodies on the ground without more heat? It will not change will not change It will not change, maybe it will change...

But how to excuse the hyenas in stadiums and newspapers? In the mud sinks the boot of the pigs I am a little ashamed of it and it hurts me See a man as an animal It will not change will not change Yes that will change, you will see that it will change...

We can hope that the world will return to more normal quotas May he contemplate the sky and the flowers That one no longer speaks of dictatorships If we have a little more to live Meanwhile, spring is slow to arrive....."

The "boot of the pigs" is Italy (in fact it has a geographic shape similar to a boot). The following three songs are good but not at the same level of Povera Patria. "Le Sacre Sinfonie del Tempo" (The Sacred Symphonies of the Time), is more quiet. "Come un Cammello in una Grondaia" (Like a Camel in a Gutter Pipe) is fast and lively. "L'ombra della Luce" (The Shadow of the Light) is like a lullaby, but a requiem lullaby... anyway, after Povera Patria, it is the best. With this song end Side A. A good side.

Side B includes four classical lieder, sung in foreign languages: "Schmerzen" (by Richard Wagner), "Plaisir d'amour" (by Johann Paul Aegidius Martin), "Gestillte Sehnsucht" (by Johannes Brahms) and "Oh sweet were the hours" (by Ludwig Van Beethoven). These songs are not remarkable and they sound a little bit boring. Maybe the best is "Plaisir d'amour". The pronunciation of Battiato is no good. Side B not convinces and seem to me pretentious.

Overall, the album is discreet. Vote 7+. Rating: Three stars.

 Orizzonti Perduti by BATTIATO, FRANCO album cover Studio Album, 1983
2.32 | 19 ratings

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Orizzonti Perduti
Franco Battiato Rock Progressivo Italiano

Review by jamesbaldwin

2 stars After the big and unexpected success of "La Voce del Padrone", Battiato started to publish similar albums: "L'Arca di Noè" (which seemed to recycle scraps from "La Voce del Padrone") and "Orizzonti Perduti", (Lost Orizonts) which last about half an hour (even less: this one last twenty-eight and a half minutes), with melodic pop songs, with electronic sound.

In "Orizzonti Perduti" there are no strings, no guitars, only keyboards, computer programming and percussion. And the voice of Battiato. Here there is little to do with progressive. The album begins with the hit "The season of Love", ", which enjoys a beautiful melody and a perfect keyboards arrangement. This song has become a hymn in Italy, for its singability and its wonderful text:

"La stagione dell'amore viene e va I desideri non invecchiano quasi mai con l'età Se penso a come ho speso male il mio tempo Che non tornerà, non ritornerà più La stagione dell'amore viene e va All'improvviso senza accorgerti, la vivrai, ti sorprenderà Ne abbiamo avute di occasioni Perdendole, non rimpiangerle, non rimpiangerle mai Ancora un'altro entusiasmo ti farà pulsare il cuore Nuove possibilità per conoscersi E gli orizzonti perduti non ritornano mai La stagione dell'amore tornerà Con le paure e le scommesse Questa volta quanto durerà Se penso a come ho speso male il mio tempo Che non tornerà, non ritornerà più."

"The season of love comes and goes Desires don't grow old almost never with age If I think about how I spent my time badly That he will not come back, he will not come back The season of love comes and goes Suddenly without realizing it, you will experience it, it will surprise you We had occasions Losing them, do not regret them, never regret them Yet another enthusiasm will make your heart throb New possibilities for getting to know each other And the lost horizons never come back The season of love will come back With fears and bets This time how long it will last If I think about how I spent my time badly That he will not come back, he will not come back"

After that song, there is "Tramonto Occidentale" (Occidental Sunset), a good song with a very sustained rhythm, then a rather insignificant filler (Zone Depresse), then "Un'altra Vita" (Another Life), that ends side A: catchy classical melody, suitable for the strings.

Sides B il less interesting: "Mal d'Africa" isn't bad, "La Musica è Stanca" is a filler, then there are texts often autobiographical that evoke Sicily, as in the highly rhythmic electronic ballads "Gente in Progresso" and "Tibetan Bells", which add an oriental touch (also "Hare Krishna"!) to his isle. But they are not remarkable songs.

"Orizzonti Perduti" is a melodic pop album, with a great hit, some good songs and some fillers. The album is written by a somewhat gifted melodic musician.

Vote album: 6,5/7. Two Stars.

 Mondi Lontanissimi by BATTIATO, FRANCO album cover Studio Album, 1985
2.60 | 17 ratings

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Mondi Lontanissimi
Franco Battiato Rock Progressivo Italiano

Review by jamesbaldwin

3 stars Franco Battiato, after the stratospheric (and unexpected) success of "La Voce del Padrone", publishes similar albums, which last about half an hour (sometimes less), with melodic pop songs, with electronic sound and sometimes with classical melodies - they have little to do with progressive.

After "L'Arca di Noè", which seemed to recycle scraps from "La Voce del Padrone", arrives "Orizzonti Perduti", with the hit "The season of Love", and finally "Mondi Lontanissimi", which of the three is the best, even if it benefits from the inclusion of some songs already released as singles: "I Treni di Tozeur" had been recorded by Battiato and Giuni Russo, while "Chan-son Egocentrique" had been engraved with Alice. In the album they are repeated in a new version, sung by Battiato alone (also "The King of the World", fished from "L'Era del Cinghiale Bianco" revived in a new version, less beautiful). And they are perhaps the peaks of the LP along with "No Time No Space", which enjoys an orchestral arrangement, directed by the faithful master Giusto Pio.

Good is also the initial, little known, "Via Lattea", with a mystical ballad rhythm. Battiato always moves, in the lyrics, between esotericism and non-sense, with lightness. The other songs are not ugly, but they are fillers, except the last one, where Battiato remembers the carnal instincts and write a track melodically remarkable: "L'animale" (The Animal), but it run away in a way too easy, without being covered in a carefully arrangement; missed masterpiece. End of the album.

"Mondi Lontanissimi" is a good melodic pop album, the best from "La Voce del Padrone" because, unlike the previous two discs, it enjoys excellent melodic songs and sometimes a more symphonic arrangement. The album is written by a somewhat gifted melodic musician, who closes, with the present record, the disengaged phase of the pop chart (started with Patriots).

Vote album: 7,5. Three Stars.

 Pollution by BATTIATO, FRANCO album cover Studio Album, 1972
3.66 | 91 ratings

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Pollution
Franco Battiato Rock Progressivo Italiano

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars Before FRANCO BATTIATO ventured off into minimalism and eventually new wave pop to become one Italy's top performers, he released a couple experimental progressive rock albums for his first two releases. FRANCO BATTIATO's second release (as simply BATTIATO) pretty much follows in the footsteps of his unique style as heard on the debut "Fetus" except that this one lies more in the electronic world and a clue as to where he would take his music, that meaning that the compositional layout of catchy hooks is still present with abrupt changes in genre styles, tempos, timbres all within the confines of keeping a strong melody going, although there are a lot more synthesizers on this one along with the bass, guitar and drums. BATTIATO and three other band members also contribute to a barrage of sound effects on the VCS 3 Synthesizer which leaves a very rich sounding album filled with all the cutting edge technicalities of the day including Rick Wakeman inspired synthesizer workouts.

Starting out what sounds like period piece classical musical from a previous century, it sounds as if we've visited a ball in the 17th century with Mozart as the headliner but after an explosion signals a change over it quickly becomes a jittery guitar riff followed by a haunting organ run that builds up to heavier rock. Once again an explosion changes over to a VCS 3 Synthesizer run that wouldn't sound too far off on an 80s new wave album although this one is kept within a classical music context. By the time the album gets to "Beta," it slows down with a groovy Floydian bass line along with a crafty piano run and freaky background vocals that create a seven minute plus space rock track but ends with a reprise to the classical ball music as the album begins.

POLLUTION is anything but dirty! It is a really pleasant experience to let unfold around you as one addictive track cedes to the next. There are lovely arpeggiated guitar sections such as on "Plancton" that add atmospheric keyboards and once the purely Italian vocals enter the scene sounds much more like the Italian kings of the scene such as PFM or Banco reminding from whence they emerged in the world. Again replete with daring keyboard solos kept within the context of the melody but creating synthesized polyrhythms that complement each other beautifully. The title track has a rather Krautock type intro with UFO type flying sound pulsating from synthesizers while waves crash against some unseen shores while echoey guitar strums gently stroll in as the synthesizer sounds short circuit out. What a way cool intro! It becomes a nice folky guitar piece as the vocalists all begin to sing to the heavens!

This is one of those albums that has all its ducks lined up in the right rows. It has just enough melody to reel you in and keep you hooked but so many surprises and unexpected twists and turns that it's impossible to lose your attention. While firmly placed in the Italian scene during the vocal parts, the beauty of POLLUTION is how pan-continental it sounds during the instrumental parts as BATTIATO takes all the magic of bands like Pink Floyd, Roxy Music, Yes and even Ash Ra Temple and Tangerine Dream and puts it all on the work table for a new sort of musical beast making. Just as good as the debut in a totally different way and somewhat points in the direction of the next album "Sulle Corde Di Aires" that really took the plunge and went completely in the progressive electronic arenas.

 Fetus by BATTIATO, FRANCO album cover Studio Album, 1971
3.43 | 67 ratings

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Fetus
Franco Battiato Rock Progressivo Italiano

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars FRANCO BATTIATO is known as one of the most popular pop singer / songwriters in all of Italian musical history having covered everything from new wave, new age and beat as well as venturing into other arenas such as free jazz and musique concrète, however his origins were much more rooted in the world of experimental electronic music and in the early 70s began releasing his own albums which fall into the world of progressive rock beginning with his debut album FETUS. This album was released in both Italian and English and is a concept album about the development of, yep, you guessed it? a gestating FETUS! It does however seem that the tracks are moved around depending which album you are experiencing. Personally i ALWAYS prefer Italian bands to sing in their native language because not only does it sound more natural and less stilted but the Italian language was created to sound friggin great and especially beautiful on more complex progressive pieces where the operatic vocals soar like eagles.

By the time BATTIATO got to recording his debut release he had already become quite the sensational songwriter and it's quite clear even from this early experimental stage of his career how he was able to carry on into becoming a pop sensation in his native land. FETUS is the perfect balance between catchy hooks in mostly a rock and folk styles accompanied by lots of electronic effects and progressive touches that make FETUS a true pleasure to experience. Laced with classical music as blatantly heard on "Meccanica," FETUS takes extremely strong melodies and contorts them into bizarre electronic coated rhythmic dances that meander from folk guitar passages to organ fuzzed out psychedelic frenzies. BATTIATO's vocals are quite powerful as are the brilliant arrangement that juggle dynamics, tempos and genre characteristics like a top performer at a Cirque du Soleil show. While the time run is a mere half hour, each track packs a punch with a wealth of ideas and changes crammed into every nook and cranny.

While i haven't experienced the English version, i can tell by the music that the theme that begins with a human heartbeat continues to evolve much like a gestating human in the womb as the tracks add more layers of content although are fairly short in duration. FETUS comes across as a typical Italian progressive rock album of the era with pastoral passages trading off with more bombastic ones along with BATTIATO's vocal bravado in full operatic style in the forefront. While there are plenty of experimental touches, they take a backseat to the strong melodic developments and only exist to enhance the overall song structures, not impede them. FRANCO BATTIATO created his first gem with his debut FETUS and despite appearing on the tripper's guide to psych, the Nurse With Wound List, FETUS is actually a very accessible album for the pop sensibilities are already quite developed in BATTIATO's early stages. In fact i would probably consider this progressive pop rock more than anything but labels matter not to me when music is this beautifully sublime.

 Sulle Corde Di Aries by BATTIATO, FRANCO album cover Studio Album, 1973
4.09 | 116 ratings

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Sulle Corde Di Aries
Franco Battiato Rock Progressivo Italiano

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars Very cool, spacey, folk (or religious) psychedelia--the music a man would make if he were celebrating and supporting a kind of personal 'New Age' spiritual transformation.

1. "Sequenze e frequenze" (16:23) Side One's side-long suite opens with chaotic cacophony of female voices, reed instruments, and sustained volume-pedal-controlled electric guitar chords and notes. In the second half of the second minute this evolves into a synthesizers over a droning note. AT 2:24 a male voice enters singing in a style familiar to me from Roman Catholic High Masses. Beneath the singer the synthesizers begin to shift and evolve their weave. At the four-minute mark percussion, mandola, and synthesizers continue the weave at a fairly quick pace. Though the music feels ethereal and serpentine, it also exudes a kind of ecstatic joy. At the end of the seventh minute the drone has become chopped up like a helicopter's rotors in motion while c(k)alimba and what sounds like an organ and sax play at a loose weave. Quite mesmerizing. And beautiful. The pace seems to quicken--almost like the dance of the Sufi whirling dervishes--as we reach the two-thirds mark before it starts to fade out--all but the chopper drone. A harmonium-like sound adds itself and is then joined by tuned bells (miniature piano? small xylophone?) and calimba to form a new weave--which also builds to a crescendo of volume and frenzy over the final four minutes before finally fading away in the last minute, leaving only the tuned hand percussives playing. Amazing song of invocation and worship. (10/10)

2. "Aries" (5:27) opens with the slow emergence of a single sustained, pulsating, flute-like synthesizer note. Eventually a kind of sequenced set of synth arpeggi support this before every fallls away at the 1:30 mark to allow the entrance of African hand drums, guitar arpeggi and strums and volume pedal-controlled electric guitar notes before echo-chamber-treated "la-la-la-la" vocals enter. After these cease, a wailing saxophone leads the band into an orgiastic climax. Nice celebratory song for members of the Age of Aquarius. (9/10)

3. "Aria di rivoluzione" (5:03) opens with heavily effected guitar and rapid-echo-treated solo voice. The vocal sounds almost sacred, ritualistic, perhaps from some Arabic tradition (though it is sung in Italian). The recorded talking voice of a woman speaking in German (Jutta Nienhaus) is interjected in the place of the choruses while being accompanied by violoncello. Nice little contemplative soli occur in the "C" instrumental part over hand percussives, first from volume-pedal-controlled electric guitar and synth horn, then from several high pitched reed horns, to the song's end. It would probably mean more to me if I knew what the German recitation meant. (8.5/10)

4. "Da Oriente a Occidente" (6:38) opens like an sing-a-long in an Indian ashram with folk instruments supporting multiple loosely-aligned male vocalists, but then it turns into a kind of "everybody grab an instrument" jam session (only the instrumentalists are all well-trained musicians). Awesomely hypnotic! (9/10)

Five stars; a masterpiece of progressive rock music (though I'm not sure this fits in with the more typical RPI sounds).

 Battiato & Pinaxa: Joe Patti's Experimental Group by BATTIATO, FRANCO album cover Studio Album, 2014
3.95 | 2 ratings

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Battiato & Pinaxa: Joe Patti's Experimental Group
Franco Battiato Rock Progressivo Italiano

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

4 stars First of all, even if this album is officially released under the name "Joe Patti's Experimental Group", it's correctly listed under Battiato's discography as it's mainly his project with his long time collaborator Pino Pischetola. It's quite a return to the experimental beginnings of this eclectic artist, completely made of electronics.

Leoncavallo is mainly a patchwork of spare parts tied together, and is followed by "Le Voci Si fanno Presenze" which was a ghost track on "Fleurs", but the very interesting things is that most of the album is taken from very old recordings that Battiato realized in his early years between 1970 and 1972 and this makes it closer to albums like "Fetus" and "Pollution" more than others.

The album is quite short, but this is normal for an artist interested more in quality than in quantity. The only side- long tracks in his discography are from the end of the 70s, when the label Ricordi canceled his contract after some too experimental albums with absolutely no commercial potential. Curiously, after this, he changed into his more famous art-pop who made him famous (and rich) in the 80s.

Some album tracks like the previously mentioned "Le Voci Si Fanno Presenze" are closer in their style to his successful period, but others like "Omaggio A Giordano Bruno" are incredible and unfortunately too short. This, in particular, has a Berlin school taste.

"Come Un Branco Di Lupi" with its speech part which separates two electronic instrumental parts, with the electronic drums being suddenly replaced by an "organ" sound and speechless voice then a piano...it really seems a patchwork, and effectively the lyrics and the music are from two different songs.

"The Implicate Order" starts as a Tangerine Dream track of the Phaedra period, but it's taken from another ghost track of a previous album. For TD addicted, including the fact that the theme changes several times. Again, a patchwork but with transitions that sound "natural".

"Nel Cosmo" means "In the Cosmos". A space rock title for a track made of tape loops other than keyboards, like in the middle, most experimental period of Battiato's career. It fades into "CERN" which is even more spacey with a ghostly choir in the background. It reminds to artists like Phrozenlight (his rare good things) and Stellardrone. For my personal tastes, the best track of the album, even when the electronic drums enter suddenly to add "movement" to a timeless track,

The things don't change much with "Nuba", still spacey but with Battiato singing in the background in a language which I don't understand and is possibly Arabic. Few seconds and we are again in deep electronics with "L'Isola Elefante" which seems sung in German on a theme closer to his "normal things", but also in this case the continuity between different themes is given only by the electronic drums. This is clearly a Battiato track. His unique style is clearly recognizable here.

"Proprieta' Proibita" closes the album. It's a remake of a track from "Clic" which in the 70s was used by the Italian television in the titles of a news program. An excellent closure for an album full of "sensations". This music can transport the listener into dreamy soundscapes. Strongly recommended to fans of progressive electronics, krautrock or even space rock.

 L'Egitto Prima Delle Sabbie by BATTIATO, FRANCO album cover Studio Album, 1978
1.75 | 28 ratings

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L'Egitto Prima Delle Sabbie
Franco Battiato Rock Progressivo Italiano

Review by Guldbamsen
Special Collaborator Retired Admin

2 stars Gazing at the sun

As a big fan of Franco Battiato and his ever changing sonic routes, this album completely threw me off balance. The man has always done things his own way, but the transition he made from his first four progressive rock albums to the minimalist approach found on subsequent albums made my head spin. I guess you could spot certain Stockhausen influences on an album like 'Clic', but they in no way prepared you for the white shimmering nothingness of this, his final minimalist installation, 'L'Egitto Prima Delle Sabbie'.

This album consists of two tracks performed solely on the piano. The opening title track instantly drives home one unequivocal fact: 6 piano notes repeated ad nauseum to the edge of infinity does not make for a cosy dinner soundtrack, and the girl sitting opposite you will most likely kindly ask you to put on an album that isn't stuck in a god forsaken vinyl groove.

There is method to his madness though. The echoing ripple effect of those 6 notes becomes increasingly hypnotic as the track unfolds. New slightly different shadings find their way into the music with a small change in the pauses between the clinkering, as well as a slight difference felt in the harmonics. Getting deeper and deeper into this raw piano abyss, you suddenly start questioning your sanity, sofa and sound system. It lulls you into a huge white landscape much like a Scandinavian wilderness drowned in sparkly snow - feeling as if you've gazed into the sun for far too long with small blobs of blue and purple forming around the corner of your eye in kaleidoscopic patterns and swirls.

The second cut 'Sud Afternoon' continues in it's predecessor's footprints, only here you get yet another acoustic piano chiming in. The emphasis on repetition and infinitely minuscule enhancement of a certain note still rules the coop, challenging the listener to be abnormally patient and to make something out of the, almost, blank canvas presented to him. It's a gift handed over to you, an abstract one at that.

I think of Battiato as a strange Italian take on Bob Dylan, no really. While they couldn't be further from each other sonically, they both have made their careers out of music without resolving to compromises. It comes from within...always. No sucking up to the fans - no interest in what makes the dollars flow - only a strict artistic focus on the musical journey of themselves, where they want to go next...and how. It may not be to everyone's taste (not even close!), but it's honest and pure. Making music starts with a fire in your stomach. Realising the music without enslaving oneself to certain principles of the day, certain sounds and trends, takes incredible amounts of balls and brains. Something dear ol Franco's never been in shortage of.

This record came out during punk and disco's heyday, and while it sported some of the same characteristics as the ascetic purity of the former - removing itself completely from the wild and shape-shifting days of his early releases, it still manages to convey a similar artistic prowess.....only conveyed majestically and repeatedly in white blinding light notes from a piano.

 La Voce Del Padrone by BATTIATO, FRANCO album cover Studio Album, 1981
3.52 | 33 ratings

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La Voce Del Padrone
Franco Battiato Rock Progressivo Italiano

Review by Warthur
Prog Reviewer

4 stars On La Voce del Padrone Franco Battiato adapts to changing musical times by applying his vocal gymnastics not to traditional progressive rock of the sort deployed on his earlier albums, but instead adopts a New Wave sound which provides a compelling base for his vocals whilst at the same time offering slightly more twists and turns than more straightforward synthpop releases from the era would offer.

Perhaps the best example of this is Cuccurucucù, which combines a wide range of emotional moods and sections into a four-minute multilingual mini-epic that's crammed with musical surprises and shifts. Prog purists may pine for his early classics, but I think there's more here than immediately meets the ear if you pay close attention.

 Sulle Corde Di Aries by BATTIATO, FRANCO album cover Studio Album, 1973
4.09 | 116 ratings

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Sulle Corde Di Aries
Franco Battiato Rock Progressivo Italiano

Review by apps79
Special Collaborator Honorary Collaborator

3 stars For a thid solo album Battiato introduced a wider and significant line-up.Among his usual collaborators drummer Gianfranco D'Adda and guitarist Gianni Mocchetti we can find Analogy's female frontman Jutta Nienhaus, saxophonist Daniele Cavallanti from the Experimental/Folk act Aktuala and several less known musicians like Gianni Bedori on tenor sax, Jane Robertson on cello and Gaetano Galli on oboe.Entitled ''Sulle corde di Aries'', the album was released in 1973 on Pino Massara's Bla Bla label.

This was another step towards experimental music forms blended with Prpg tastes by Battiato, where the music is heavily driven by his atonal synthesizer exercises.The long ''Sequenze e frequenze'' is almost entirely built around his analog synths and obcure electronic loops with a few high-tone vocals and sax lines in its first part, somewhere between Avant-Prog and Folk, while after the middle it's all about Electronic/Avant-Garde music with hypnotic, repetitive and spacey keyboards, supported by somekind of sampled vibraphones.The first and last track of the opening side will be followed by ''Aries'' on the flipside of the LP, a Psych/Space Rock piece with discreet, crying guitars, haunting male chants and Bedori's excellent, blasting sax work towards the end.''Aria di rivoluzione'' is propably the closest cut to Italian Prog, featuring Nienhaus'es German narration among Battiato's Italian vocals in a very lyrical enviroment, supported by percussions, clarinet and another couple of minutes with nice Jazz/Folk sax lines.''Da oriente ad Occidente'' has a very nostalgic atmosphere with great Italian vocals and a very folky atmosphere, based on Galli's oboe and the acoustic changes between Batiatto's calimba and Mochetti's mandolin with some dark, improvised atmospheres during the closing minutes.

The later albums of Battiato shifted towards even more experimental and minimalistic music forms depending on the releasing period, mostly grounded in Avant-Garde, Modern Classical, New Wave and Electronic fields, thus being of marginal rock interest.Still he is fairly considered among the greatest contemporary Italian composers with a huge discography of diverse musical background.

''Sulle corde di Aries'' is definitely a monumental album of Experimental Rock and a daring listening for all fans, who consider themselves as progressive listeners.Eeerie, mysterious progressive music with folky ovetones and lovely vocal work.Recommended.

Thanks to MorgothSunshine for the artist addition. and to Quinino for the last updates

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