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LE ORME

Rock Progressivo Italiano • Italy


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Le Orme biography
Excellent early-70's Italian progressive trio (still around today) with classical stylings, featuring keyboards to the fore and a unique dreamy/powerful style. Le ORME was one of the three major Italian groups, the other two being PFM and BANCO. This band is usually considered as the Italian EMERSON, LAKE & PALMER and even BANCO DEL MUTUO SOCCORSO by the Italian singing. Its music is based upon organ developments and soli reminding Seventies groups which works are essentially built upon keyboards parts.

The band's truly classic period begins with their third next releases. "Uomo Di Pezza" (1972) is one of Le Orme's definitive Italian progressive rock albums. Although there is definitely an significant EMERSON, LAKE & PALMER influence here, as in the bombastic Moog and Hammond workouts countered by mellow balladry. It's not quite as integrated a feel as would characterize their next two albums, "Felona E Sonora" and "Contrappunti", though its fantastic nonetheless, and one of Le ORME's three essential albums. "Collage" and especially "Florian" offer a music tinged with classical music. "Felona E Sonora" (1973) is probably one of my top favorite Italian progressive rock albums. "Contrappunti" (1974) is another fantastic Le ORME album, and really the close of their classic trilogy. This album would effectively close out the band's streak of success.

"In Concerto" is an excellent live album from 1974 with many unreleased tracks. "Piccola Rapsodia Dell' Ape" is more recent, an excellent mixing of Progressive and Italian baroque music. "Collage" and especially "Florian" offer a music tinged with classical music. In 1993 the Japanese progrock label Crime Records released the 2-CD "Live Orme" with live-material from '75-'77. A far more captivating document than "In Concerto" from '74.

Their story goes on. After "Piccola Rapsodia Dell' Ape" (1980), in 1982 the band decides to break up. In 1986 they rejoin only for concerts but in 1990 a further work is issued ("Orme"). In 1992 Tony Pagliuca leaves the band, replaced by Michele Bon. That year they obtain the title of best Live-Act band seen in Italy. They never give up symphonic prog and their further works show it clearly. In spite of the success obtained by their live performances, in 1996 they publish a suite ("Il fiume"). After obtaining a great success at the Los Angeles PROG FEST and at the PROG EAST in Quebec, they commit themselves to the new work which will be finished in 2001 ("Elemen...
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Felona E SoronaFelona E Sorona
Import
Universal Italy 2011
Audio CD$12.49
$12.48 (used)
CollageCollage
Import
Mercury Italy 1990
Audio CD$6.02
$6.01 (used)
Uomo Di PezzaUomo Di Pezza
Import
Mercury Italy 1999
Audio CD$8.93
$8.92 (used)
ContrappuntiContrappunti
Import
Mercury Italy 1999
Audio CD$6.94
$6.94 (used)
Studio Collection 1970-1980Studio Collection 1970-1980
Import
Universal Italy 2005
Audio CD$12.74
$12.99 (used)
AnthologyAnthology
Import
Replay Records Italy 2007
Audio CD$5.50
$12.03 (used)
Universal Music CollectionUniversal Music Collection
Box set · Import
Universal Italy 2009
Audio CD$114.99
$98.59 (used)
Storia O LeggendaStoria O Leggenda
Import
Mercury Italy 1997
Audio CD$7.39
$5.95 (used)
Il FiumeIl Fiume
2004
Audio CD$14.16
$18.60 (used)
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LP ad gloriam
LE ORME
~ USD $22.71
LP contrappunti
LE ORME
~ USD $28.22
LP l' aurora delle orme
LE ORME
~ USD $22.71


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LE ORME shows & tickets


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LE ORME discography


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

LE ORME top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.76 | 74 ratings
Ad Gloriam
1969
3.82 | 222 ratings
Collage
1971
4.23 | 529 ratings
Uomo Di Pezza
1972
4.27 | 684 ratings
Felona E Sorona
1973
3.69 | 59 ratings
Felona & Sorona (English language version)
1973
3.92 | 198 ratings
Contrappunti
1974
2.77 | 87 ratings
Smogmagica
1975
3.51 | 105 ratings
Verità nascoste
1976
3.48 | 104 ratings
Storia o leggenda
1977
3.76 | 93 ratings
Florian
1979
3.10 | 52 ratings
Piccola rapsodia dell'ape
1980
1.82 | 31 ratings
Venerdi
1982
1.46 | 32 ratings
Orme
1990
1.94 | 14 ratings
Biancaneve
1995
3.52 | 68 ratings
Il fiume
1996
2.84 | 29 ratings
Amico Di Ieri
1997
3.89 | 109 ratings
Elementi
2001
3.74 | 93 ratings
L'infinito
2004
3.58 | 90 ratings
La Via Della Seta
2011

LE ORME Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.59 | 38 ratings
In Concerto
1974
3.48 | 17 ratings
Live Orme
1986
4.68 | 39 ratings
Live In Pennsylvania (2CD + DVD)
2008
2.40 | 5 ratings
Progfiles: Live In Rome
2010

LE ORME Videos (DVD, Blu-ray, VHS etc)

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

2.43 | 26 ratings
L'aurora delle Orme
1970
3.69 | 4 ratings
Beyond Leng
1975
2.00 | 3 ratings
Canzone d'amore
1976
0.00 | 0 ratings
Le Orme Vol. 1
1977
0.00 | 0 ratings
Le Orme Vol. 2
1977
1.50 | 2 ratings
Le Orme Antologia 67-69 vol.1
1978
3.50 | 2 ratings
Le Orme (70s collection) - 1983
1983
2.00 | 3 ratings
Grandi Incontri
1990
3.06 | 10 ratings
Antologia 1970-1980
1993
2.48 | 3 ratings
Le Orme
1996
3.50 | 2 ratings
"Gioco Di Bimba" E Altri Successi
1998
3.58 | 12 ratings
Studio Collection 1970 - 1980
2005
2.50 | 4 ratings
1967 - 1969 - Le Origini
2005
2.00 | 1 ratings
I Successi
2006
4.00 | 1 ratings
Studio Collection 1970/ 1980 (slim case edition)
2006
3.00 | 2 ratings
The Collection
2008
4.60 | 10 ratings
The Universal Music Collection (11 CD)
2009
3.77 | 13 ratings
Felona e Sorona - Deluxe Edition (English and Italian versions)
2011

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

2.00 | 1 ratings
Senti L'Estate Che Torna
1968
2.00 | 1 ratings
In Fiori E Colori
1968
2.00 | 1 ratings
Milano 1968
1968
2.00 | 1 ratings
Senti L'Estate Che Torna / Fiori E Colori
1968
2.00 | 1 ratings
Irene
1969
2.00 | 1 ratings
Il Profumo Delle Viole
1970
2.00 | 1 ratings
L'Aurora
1970
2.50 | 2 ratings
Sguardo Verso Il Cielo
1971
3.50 | 2 ratings
Gioco Di Bimba
1972
2.00 | 1 ratings
Felona
1973
2.00 | 1 ratings
Frutto Acerbo
1974
2.00 | 1 ratings
Sera
1975
2.00 | 1 ratings
Verità Nascoste
1976
2.00 | 1 ratings
Amico Di Ieri
1976
2.00 | 1 ratings
Canzone D'Amore
1976
3.50 | 2 ratings
Se Io Lavoro
1977
2.00 | 1 ratings
Fine Di Un Viaggio
1979
2.00 | 1 ratings
Piccola Rapsodia Dell'Ape
1980
1.50 | 2 ratings
Rosso Di Sera
1982
1.50 | 2 ratings
Marinai
1982
1.50 | 2 ratings
Dimmi Che Cos'è
1987

LE ORME Reviews


Showing last 10 reviews only
 Florian by ORME, LE album cover Studio Album, 1979
3.76 | 93 ratings

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Florian
Le Orme Rock Progressivo Italiano

Review by coasterzombie

4 stars From the opening notes of "Florian," it's clear you are in for a treat. Le Orme abandon all the preconceptions of Prog on this 1979 release, and accomplish something truly progressive. Trading in electric guitars, bass, synthesizers and drums for baroque instrumentation, the group manages to seamlessly and effortlessly transition into an 'unplugged' version of themselves, and the result is mesmerizing; Florian is beautiful, majestic and powerful in a reserved way. But don't let the acoustic instrumentation scare you away - this is vintage Le Orme, featuring all the trappings of the classic band but in a new presentation. Considering the timeframe, it's clear Le Orme knew something had to change considering the rise of punk and new wave and the wane of progressive rock in general. And change it did...Florian defies all convention, achieving a timeless, dignified result while pushing the boundaries of what Italian Prog is and what it isn't. What this album lacks in raw energy and aggression it more than makes up for in concise songwriting, unique instrumentation, and true emotion.

The instrumental "Florian" sets the tone sublimely. Michi Dei Rossi's percussion ping pongs its way forward, propelling the song in new directions while retaining the classic Le Orme sound. I suppose you could call this 'Chamber Prog'. Newest member Germano Serafin lilts by on violin, expressing himself confidently. Singer Aldo Tagliapietra swaps his trademark bass for cello, and plays more of a reserved role; Antonio Pagliuca trades in vintage analog synthesizers for piano, harpsichord and harmonium. Aldo's familiar voice finally graces the somber "Jaffa," a reflective piece that is full of emotion and the characteristic Le Orme balladeering. "Il Mago" incorporates Eastern sounds, while retaining a driving, rhythmic touch. I especially love the strummed classical guitars on this one. "Pietro il Pescatore" takes things down a notch, and breezes its way through these three-and-half minutes. Don't let the brief running times of these songs fool you - Florian is concise yet fully fleshed out. The playful "Calipso" finds the second side as enjoyable as the first. The longer "Fine di un Viaggio" leads perfectly to the concluding "El Gran Senser." This instrumental bookends the album wonderfully, leaving the listener satisfied yet wanting more.

Florian is one of those albums that may seem like background music at first, but don't let the gentle instrumentation escape your attention. I would consider this one of the more important releases in Le Orme's long history, and one that more than meets the test of time. Florian easily stands next to Contrappunti and Collage in their discography, even if falling a bit short of the masterpiece achievements of Uomo di Pezza and Felona e Sorona. Florian would predate the similar, if somewhat less effective Piccola Rapsodia Dell'Ape which attempts to recapture some of this Florian magic. Florian is definitely recommended for all Le Orme fans, Rock Progressivo Italiano collectors, and especially those with a more adventurous spirit. While I can't quite get to five stars, Florian is every bit of four and probably closer to 4.5. Buy with confidence.

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 Florian by ORME, LE album cover Studio Album, 1979
3.76 | 93 ratings

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Florian
Le Orme Rock Progressivo Italiano

Review by Neu!mann
Prog Reviewer

4 stars Le Orme's ninth studio album (or tenth, if you include the English-language "Felona & Sorona") sounds even better today than it did in 1979. But even then the LP was a small miracle of musical understatement, released at a time when Progressive Rock was nearing its apex of decadent overkill (Pink Floyd's bloated Wall was erected that same year).

While other acts were dumbing down their sound with commercial Pop and New Wave clichés, Le Orme moved forward by looking backward, trading their guitars and synthesizers for violins and harpsichords, and presenting themselves as an acoustic classical quartet. Even the band's name was trimmed, to the leaner, tidier "Orme". In retrospect it was a brilliant way to sidestep the convulsions shaking the music industry at the end of the decade, while at the same time maintaining a high level of creative integrity. It's too bad more Proggers didn't find a similar escape hatch.

The new direction took a lot of fans by surprise, and apparently still does. But keep in mind this was exactly the sort of music that had always underpinned the Progressive Rock experience. All Orme did was separate the Rock from the Prog, and present the unembellished core of their familiar sound. The album positions two longer instrumental tracks (at seven minutes actually quite modest, by Prog standards) around five shorter songs, all of them suitable accompaniment for after-dinner liqueurs at an upscale café, but still recognizably from the same band responsible for such 1970s RPI classics like "Uomo di Pezza" and "Contrappunti".

Owners of the original vinyl (let's see a show of hands) can also enjoy the handsome packaging, perfectly matched to the unplugged elegance of the songwriting and performances. The textured cardboard sleeve, simply yet beautifully illustrated by Mirella Brugnerotto, opens to a laminated gatefold portrait of the band, formally attired and bathed in a soft-focus, sepia haze: an image out of time, for an album that will never age. The only reason it doesn't earn that coveted fifth star is because of my strict adherence to the ProgArchives rating guidelines..."Florian" may in fact be a masterpiece, but not of anything resembling progressive Rock 'n' Roll.

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 Uomo Di Pezza by ORME, LE album cover Studio Album, 1972
4.23 | 529 ratings

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Uomo Di Pezza
Le Orme Rock Progressivo Italiano

Review by presdoug

5 stars After the important and groundbreaking album "Collage", a definite musical step in the right direction for Italy's Le Orme, next comes this excellent follow up album "Uomo Di Pezza". Any way you look at this album, technically, emotionally, spiritually, dramatically, it is a winner.

The great thing about this record is that there are no weak or out of place elements to it. Aldo Tagliapietra's voice is as emotional and moving as ever (my not knowing the Italian language does not hamper me in appreciating his fine vocal delivery), and instrumentally, the band is firing on all six cylinders; inventive drumming by Michi dei Rossi, who always has that perfect sense of timing and dramatics, the well crafted and executed bass and six-string guitar of Aldo's, and of course great, classically inspired to the fore keys playing by Tony Pagliuca, all co-existing to make a wonderful recording. And the resultant atmosphere created by these musicians is unique in it's way, despite comparisons with Emerson, Lake and Palmer's sound.

This album is the perfect transition from the previous "Collage" to the next one, "Felona e Sorona". No look at, or appreciation of, this band would be complete without "Uomo di Pezza". Actually, no seventies prog collection, period would be complete without this masterpiece-it is that essential. 5 stars, no less.

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 Elementi by ORME, LE album cover Studio Album, 2001
3.89 | 109 ratings

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Elementi
Le Orme Rock Progressivo Italiano

Review by FXM

4 stars "Elementi" is an excellent release by Le Orme from 2001 which I have only recently acquired. It is the second release in a trilogy that started with "Il Fiume" and marks a triumphant return to form after some poor albums in the 1980's and early 1990's.

There has been changes to the line-up and only Aldo Tagliapietra and drummer Michi Dei Rossi remain from the 1970's. Michele Bon who first appeared on their previous album is back on keyboards and is joined by newcomer Andrea Bassato also on keyboards and violin. The new guys have injected a freshness to the music, given it more vitality. In places there is almost a hint of neo prog in the keyboard and guitar playing. I don't mean that in any derogatory way, it just gives the music a more contemporary feel, so rather than rehash the Le Orme sound of the 1970's they have evolved, progressed even.

Aldo Tagliapietra's voice is in fine form. As I don't speak Italian that vocals just become part of the music for me. The musicanship is first class, outstanding keyboard work, superb drumming, and great sitar playing on track 9 "Dove Tutto E'!" gives an eastern flavour to that track. This is followed by a majestic keyboard sound on next track.

The individual tracks on the album (all 14 of them) are short but the music seems to flow along almost seamlessly across many of the tracks so it doesn't sound like a collection of short pieces at all.

Overall the album has a joyous uplifting mood. It is one of the best releases by Le Orme in a long time. Maybe not quite a masterpiece but nevertheless it is a superb piece of music.

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 Felona E Sorona by ORME, LE album cover Studio Album, 1973
4.27 | 684 ratings

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Felona E Sorona
Le Orme Rock Progressivo Italiano

Review by BrufordFreak

3 stars I loved LE ORME's Uomo di pezza upon first listen and continue to do so to this day. But, try as I might, the magic that so many prog lovers feel for Felona e Sorona has completely eluded me. The recording of the electronic keyboards is unusually bad--almost painful to my ears. I have listened to this album for almost six years. I even went so far as to buy it about a year ago--in hopes that the physical presence might help win me over. But it just doesn't work. The drums and bass are so elementary. The vocals don't have any of the melodic hooks that I fell for in Uomo di pizza. Sure, there are awesome, memorable moments or passages, but overall, in my opinion, it does not maintain the highs of a prog classic. The opening number makes me feel as if I'm at cheesy county fair--though it does have a wonderful final two minutes. The second number is best for its recorder at the end. The third song is best in its sparseness--the piano accompanying Aldo. The upbeat fourth song is most remarkable for its keyboard beginning--which is similar to, and predates, The Lamb Lies Down on Broadway by a year or more. The fifth song is sparse with guitar supplanting keyboards but really goes nowhere. "Attesa" is scarred (to my ears) by the odd sliding bass riff repeating itself over the disco drumming. "Rittrato" is simple and anthemic (and has the album's best drumming and best overall mix--until the L channel el gtr starts to get louder). "All'infuori" is the most daringly experimental on the album with its unusual drum opening, quick organ flourish and then guitar foundation all eventually coming together in a very medieaval sounding presentation--and then breaking down into a spacious gap of nothingness mid song. Again, simplicity and procession seem to reign here. The album's best song is its finale, "Ritorno" (from which, understandably, La Maschera de Cera found their inspiration to create their 2013 Felona e Sorona 'continuation,' La Porte del Domani), an instrumental which finally uses all of its band members' sounds in interesting and innovative fashion. Anyway, perhaps if I knew Italian the impact of the lyrics would boost this one for me. Otherwise, this is but a three and a half star production for me: better than good but not an album that I'm going to rave about on a "highly recommended" list.

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 In Concerto  by ORME, LE album cover Live, 1974
3.59 | 38 ratings

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In Concerto
Le Orme Rock Progressivo Italiano

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

3 stars Released in the same year as their studio album `Contrappunti', Le Orme's 1974 live album `In Concerto' is a bruised, rough but occasionally beautiful gem, a fascinating document of the band quite far away from their lush and dreamy studio works. Admittedly the actual recording quality borders on that of a somewhat murky bootleg, but it's not unlistenable, and in addition to a new side-long composition not to be found on any studio album from the band, it highlights a selection of favourite works from their first three progressive albums in slightly reworked arrangements that are well worth listening to, especially if those much-loved studio discs are over-familiar at this point.

The first three minutes of the two part `Truck of Fire' deceptively opens with slightly malevolent pounding gothic classical piano, just a hint of tension, but no sign at all of the outright violence to come! When the tornado of noise hits, it's like a snarling, dirty gnashing and smashing punch to the face as you run head-first into a brick wall. This is the most cacophonous explosion we've ever heard from the band, a vile and addictive free-form jazz tsunami, a frantic race of Tony Pagliuca's deranged infernal Hammond violation, apocalyptic whip-storm powerhouse drumming from Michi Dei Rossi and sludgy wet bass from Aldo Tagliapietra. Witness whirling dancing nubile native Moogs, virgin-sacrificing ritualistic maddening cult-like drum soloing and loopy ambient electronic weirdness that suggests R2-D2 is recording the whole thing! There's even little traces of the early psychedelic days of Pink Floyd and the Soft Machine here, and I love how the piece plays with expectations of what is probably expected of the band, in other words the more lovely and soothing passages found on their studio albums. The second half starts as a more dreamy vocal section, curiously sung in English (although the band had released an English language version of `Felona e Sorona' by this point), but it's not worth complaining about the language choice because the voice passages are only very short and definitely not the focus here. Alternatively floating then imperialistic synths with repetitive punchy bass lines and confident outbursts, the whole piece quickly dissolves back into wild unhinged noise before finally imploding.

The band then runs through a selection of tracks from their previous studio albums, and all have a wonderful ragged and more loose quality that is quite thrilling to hear in comparison. There's the beautiful humming Hammond, electric piano and bouncy bass on `Sguardo Verso Il Cielo', and in particular it's nice to hear Aldo a little rougher around the edges, not being able to take the time to carefully perfect his voice as usual in the studio. `Preludio a Era Inverno' is a nightmarish and suspenseful thick electronic interlude with tiny glistening raindrops of organ and sharp percussion, with an atmospheric and doomy outro. Aldo's vocals are again coarse and commanding on `Era Inverno', given a more powerful interpretation with a wonderfully urgent and deranged drum and Hammond sprint in the middle. Then there's a thrilling pulse-quickening rendition of the closing number from the `Felona...' album, `Ritorno Al Nulla', and a snappy run-through of the addictive and pompous church organ instrumental `Collage' that opened the album of the same name to finish on.

It has to be said that `In Concerto' is probably not a good representation of the kind of works usually associated with Le Orme, but like only the best live albums, this one stands apart from the studio discs and takes on a character all it's own. Many listeners will have extreme issues with the sound quality (that's why I'm marking the disc down a little more than it probably deserves), but especially for the `Trucks of Fire' first side, it adds a darker energy to the performance and creates an intense atmosphere. This is definitely one live album worth investigating after you've made your way through their classic studio albums from the same period.

Three stars.

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 Contrappunti by ORME, LE album cover Studio Album, 1974
3.92 | 198 ratings

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Contrappunti
Le Orme Rock Progressivo Italiano

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Poor old `Contrappunti'...coming after three of Le Orme's more defining and higher regarded albums such as `Collage', `Uomo di Pezza' and `Felona e Sorona', this solid work is frequently seen as something of a step down in comparison to the quality of those ones. This despite the fact there's not a bad track to be found here, and a whole lot of different styles and sounds that show the band experimenting and challenging themselves. Mixing acoustic ballads with daring instrumental pieces and experimental passages, the album is well titled in `Counterpoints', and it greatly improves on repeated listens to quickly prove it's worth alongside their other early 70's classics in it's own right.

`Contappunti' is definitely not the band merely on auto-pilot and lazily recreating music in the same style as what has come before. Right from the opening title track instrumental, the band is more bombastic, frantic and noisier that anything heard on their previous discs. It's perhaps a little modelled after Emerson, Lake and Palmer, but some that dismiss this piece because of that are being a little harsh. It's a bombardment of heavy Hammond organ crunching, eerie Moog and creeping piano with Michi Dei Rossi's furious drumming, but there's a lovely ambient floating synth passage in the middle too. There's such a threatening menace to the urgency in the final minute as well! `Frutto Acerbo' is a nice come-down, a sweetly warm and sedate acoustic ballad, full of dreamy haziness through a wistful vocal from Aldo Tagliapetra and the slightest of Mellotron wisps. `Aliante' is a noodly experimental piece that almost ends up quite symphonic in parts, full of stop/start patterns of punchy drumming and Tony Pagliuca's loopy electronic shimmers. There's psychedelic unease with some thick ominious bass throughout `India', spiced with seriously disorientating clockwork-like synth loops, ghostly faraway Mellotron choir calls and an intoxicating middle-eastern vibe.

`La Fabbricante...' that opens the second side is a gentle acoustic rocker that includes a twinkling-star synth pulse, Renaissance-like piano pomp and a joyous Mellotron melody around a heartfelt and comforting vocal from Aldo, all over deceptively busy drum-work and a blustery Yes-styled finale. `Notturno' is a restrained and achingly beautiful piano, Mellotron and organ interlude with a creepy suspensful and bent middle paired with a pulsing drum-beat that makes it truly perfect for night-time listening. The band close on a complex nine minute number `Maggio', overloaded with warped wavering quirky synth freakouts, hypnotic bass and intricate drum-patterns around a main tune that is truly a joyous flight of fancy, with plenty of upbeat positivity and the band truly brimming with confidence.

It says a lot to me that several of the people I think so highly of on the Prog Archives rate this album very highly, and I've sure come to love it in the same way. Besides, `Smogmagica' was to show up only a year later, and considering this album is sometimes considered a little unspecial, there's nothing here that's even close to the same level of disappointment to be discovered with the mostly average material on that one. As far as I'm concerned, Le Orme had a terrific run of five albums in a row (the above mentioned as well as the live `In Concerto' LP), and `Contrappunti' is an excellent addition for followers of Le Orme, and for curious newcomers wanting to look into this classic Italian prog band after they've checked out the previous works from the group.

Four stars.

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 Felona E Sorona by ORME, LE album cover Studio Album, 1973
4.27 | 684 ratings

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Felona E Sorona
Le Orme Rock Progressivo Italiano

Review by ebil0505

5 stars As someone who doesn't know any Italian vocabulary whatsoever, I have mixed emotions towards this masterpiece. On the one hand, I am blown away by Le Orme's ability to alter the mood of their album so successfully. On the other hand, I am saddened that I will most likely never get to fully appreciate the lyrical value of the story of "Felona E Sorona". I am told it is about two planet's who fall in love, and when I listen to the music I find it easy to believe. Here we have one of the most well-renowned and respected bands of the progressive Italian scene and what's more is they have outdone themselves with a concept album that explores practically all conceivable emotions (in the known universe). There is an airy presence at times as though one is gliding through the cosmos; the true love that only planets know. All the elements of RPI are here, and everything is executed at the exact time it should be executed. I cannot find one complaint on this entire album, and it is no surprise to me why it is so highly rated on this site.

Breaking the boundaries of the foreign language, there is an unquestionable respect I have for bands that can achieve such a concept for people like me who don't even understand what they're saying.

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 Felona E Sorona by ORME, LE album cover Studio Album, 1973
4.27 | 684 ratings

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Felona E Sorona
Le Orme Rock Progressivo Italiano

Review by Mr. Mustard

4 stars What the band achieved in their previous album they perfected to form one of the most essential Italian prog albums, Felona De Sorona. It is in all respects identical in sound to their previous such that it could be considered an extension of it, yet the songwrting is even more solid. The eclectic nature of the band is still present, combing the sounds of symphonic rock, jazz, and the intensity and beauty of RPI.

Like the previous album, the songs are for the most part consistent, and cover a plethora of styles and sounds. The opening song is example enough, switching from high energy prog, to beautifully defined themes, to delicate yet brooding atmospheres. Besides this, the band can slow the intensity a bit to achieve the melodic fun of songs like 'Felona.' Each song is a constant surprise, yet nothing out of the realm of the band's sound. Perhaps the most astonishing fact is that it is all achieved in only 33 minutes. The succinct nature of the album is probably its strongest point, as it could have easily gone for another 10 minutes, but it needn't.

Perhaps the only weak point is in the middle, with the two song series of 'Serona' and 'Attesa Inerte,' whose song structures are a bit repetitive and without any real dynamic melodies. But this can be overlooked with the strength of the rest of the album.

Overall, Felona De Sorona is a great follow up to their previous, and is a good example of an album that achieves dramatic intensity and melodic prowess, all while retaining that classic Italian prog sound.

8/10

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 Uomo Di Pezza by ORME, LE album cover Studio Album, 1972
4.23 | 529 ratings

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Uomo Di Pezza
Le Orme Rock Progressivo Italiano

Review by Mr. Mustard

4 stars Le Orme is considered one of the big three of Italian Progressive Rock along with Banco and PFM, and not unlike these two, the band plays a very unique style of music that has elements of symphonic, jazz, and the melodic leanings of pop music to form a truly eclectic experience. A continuation of the sound established on their first couple albums, Uomo Di Pezza is probably the band's first essential album and has its fair share of exciting, dramatic, and beautiful moments alike.

The general sound is similar to the previous two, which is best stated as a combination of PFM, Banco, and ELP. The keyboard is the dominant instrument, along with drums high in the mix. Each song offers something unique as there is nothing really weak. There are some highs and lows, but overall the musical journey is fairly consistent from beginning to end, albeit a rather short one at only 32 minutes. Nonetheless, the variety of songs is fantastic; straight up bombastic prog can be heard in most songs, especially the lengthier 'La Porta Chiusa,' but they have no problem with slowing down in parts, and have their fair share of melodic moments, such as in the short but sweet 'Gioco Di Bimba,' or the darker and disconcerting 'Breve Immagine.'

Le Orme certainly hit the mark on this album that wasn't quite reached in their previous. Though not quite as strong as the following album, the strong songwriting with a successful intertwining of melody, atmosphere, and progressive intensity makes this one of Italy's better offerings.

7/10

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