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SPETTRI

Heavy Prog • Italy


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Spettri biography
Founded in Florence, Italy in 1964 (originally as "Gli Spettri") - Disbanded in 1975 - Reformed in 2011

SPETTRI was a five-piece band from Florence, formed by brothers Ugo and Raffaele Ponticiello in 1964. They had a fairly long career and released several singles during the height of the Italian beat era although their sound gradually evolved and by the turn of the decade they had turned to performing covers of songs by contemporary heavy rock groups from the UK and USA. The band also underwent a number of personnel changes during the intervening years and among the musicians who came and went was drummer Mauro Sarti of CAMPO DI MARTE fame. The youngest member of the Ponticiello clan, Vincenzo, joined in 1971 thus making the venture a real family affair.

Between 1970-71 the band had also written enough original material for a full-length album that was later recorded in a single session on 13 October 1972, with a sound that is rather primitive and badly produced. However, the album never saw the light of day until 2011 when Black Widow Records released a re-mastered version of the self-titled work almost on the eve of its 40th anniversary. It's a concept album that portrays one man's search for his inner self by means of a séance, although it's also an allegory on the selfishness and hypocrisy of modern society and the erosion of humanity. The protagonist's journey to the abyss is aptly accompanied by a dark atmosphere of heavy guitar riffs and Hammond organ that together sounds like a collision of BLACK SABBATH and DEEP PURPLE.

SPETTRI had a good live activity but eventually disbanded in 1975; according to the album's liner notes the various band members followed different musical paths due to ''growing public indifference to refined music'' around that time. Describing SPETTRI as ''refined'' might strain the listener's credulity somewhat as the main appeal of this band seems to be characterised by its very defects, its rawness and its sheer exuberance.

- seventhsojourn

See also:
- WiKi
- HERE

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2.99 | 29 ratings
Spettri
2011
4.01 | 26 ratings
2973 - La Nemica Dei Ricordi
2015

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SPETTRI Reviews


Showing last 10 reviews only
 2973 - La Nemica Dei Ricordi by SPETTRI album cover Studio Album, 2015
4.01 | 26 ratings

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2973 - La Nemica Dei Ricordi
Spettri Heavy Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nº 678

Spettri is an Italian progressive rock band from Florence which appeared during the height of the Italian golden era of the 70's. The history of Spettri is a bit strange and not easy to follow. Spettri was formed in 1964 in Florence and they disbanded in 1975. For some reason, their eponymous debut studio album which was written in 1970/71 and was recorded in 1972 was only released in 2011. Black Widow Records released it in 2011, almost forty years later and brought it to a larger audience. Now suddenly, out of the blue, another album of this band is released by the same label five years after their debut came out. I'm talking about their second album "2973 MMCMLXXIII - La Nemica Dei Ricordi".

So, we can say that in the seemingly endless pool of the Italian progressive bands, Spettri is another new name, but the term "new" is not really appropriate in this context. As I mentioned before, this band already existed in the early 70's. Okay, maybe a bit thick, Spettri probably didn't have more than insider status, especially outside of Italy. And more than the untitled debut from 1972, re-released 39 years later by Black Widow, didn't exist for a long time either. But now it came to a reunion in almost complete original cast around the three Ponticiello brothers, the real formers of Spettri.

Their debut album, "Spettri", is a conceptual album about a young man who wants to find answers to war, violence and economic power. During this search, he only hears reflections from himself. His story continues on this album. "2973 MMCMLXXIII - La Nemica Dei Ricordi" is just like its predecessor, a sequel of it. The protagonist is again in the centre of the story. 1001 years later, in 2973, he sets out on another journey that will make him realize that nothing will ever change, if he doesn't first wins his fears and inner struggles. During a night walk on a deserted beach, a seagull shows him the way to a mysterious ship that takes him on a journey that will finally take him to a new level of consciousness.

The long interval between the albums is integrated into the underlying concept of this album. The music was actually composed in the early days, namely 1972. The story around it's narrated from the perspective of the year 2973. So, "1001 years later", much has allegedly nothing changed by then. The band stresses having used the same instruments that were used "1001 years ago". And so we are in the expected typical Italian progressive rock music of the 70's in a mixture of symphonic prog and hard rock. The keyboardist Stefano Melani drives the usual equipment, the Hammond organ dominates this clearly, but also a Mellotron appears. The singing is performed in native language and is in some places a bit getting used to. Short jazz sounds are also occasionally heard, especially when Biancalani intervenes with his saxophone in the action. A beautiful female voice on a song, which seems familiar and not unfounded, appears here. Elisa Montaldo, who should be known as the keyboardist and singer of IL Tempio Delle Clessidre, performs here.

The sound of Spettri is dark, with many thick layers of keyboards including Hammond organ, Wurlitzer and Mellotron. The guitar is sharp and raw, and at times with the saxophone it sounds brilliant. The vocals are flooded with character and they fit the music perfectly well. On the band's debut you can hear that they were influenced by Jethro Tull, Black Sabbath, Spirit, Colosseum and Deep Purple. Music wise it wasn't bad at all, but when you hear the new album you only can say the musicians have developed very strongly. The level is much higher and therefore even more enjoyable to listen to compared to the band's predecessor. As far as the influences go it has to be said that Deep Purple and Black Sabbath can be heard again, but you can add a few of new names to them. Thanks to the expansion of the keyboards bands such as Emerson, Lake & Palmer and Uriah Heep certainly must have been an inspiration when they wrote this new album. Tasteful solos can be heard a lot of times and that's just what I like to hear on progressive rock albums. Also King Crimson and Van der Graaf Generator are never far away, thanks to the use of a saxophone player. The parts performed on this instrument are very well done and never annoying. The addition of more keyboards and the presence of a saxophone give the band a more varied and above all a fuller sound. This is a sound that suits the band very well.

Conclusion: With "2973 MMCMLXXIII - La Nemica Dei Ricordi" we can feel like turning back the clock. We go back in time when heavy prog were very much in command and demand with plenty of Hammond organ, Mellotron, Leslie effects, etc. This Italian band has resurfaced that many years later with a second album. Their music is still locked in time a la 70's with that unmistakable Italian prog influence and style. All you can dream of regarding classic prog rock sounds, time signatures, complex themes and often heavy musical excursions are to be had on this fine release. Founders and brothers Ugo and Rafaelle Ponticiello are still here in the six musician's line up. It doesn't bother me if they sound like forty years ago. As long as everything is tasteful, it's ok. So, welcome back Spettri, you came back with a bang. A musical time travel well worth your time and money, that is, if you are into said genre and mentioned bands.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Spettri by SPETTRI album cover Studio Album, 2011
2.99 | 29 ratings

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Spettri
Spettri Heavy Prog

Review by VianaProghead
Prog Reviewer

3 stars Review Nº 677

Once I read something wrote by someone that in Italy in the 70's there were more prog rock bands than there were fans. As such there were plenty of fine bands who fell through the cracks and never got that record deal and a chance to reach for the ring of wider recognition and fame. Spettri was one such band. Founded in the mid of the 60's by brothers Ugo and Raffaele Ponticiello (vocals and guitar respectively) and two other musicians to round out the line up, they managed to release a few singles during those early years in the then prevalent beat style, but as the decade closed, after many personnel changes, their style turned to a more ambitious prog bluesy hard rock style, influenced by their British contemporaries bands such as Deep Purple, Black Sabbath, Atomic Rooster, Uriah Heep, early Tull, and others.

The story of Spettri is very romantic, really. Strangely enough, Spettri recorded their eponymous debut studio album in 1972. However, the album had to wait until 2011 to can see the light of the day, where it was remastered and released by Black Widow records. Tough I have heard of some albums going through production hell and it's a shame that Spettri did not get a chance to burst onto a more global scene. Although this debut album from Spettri often feels more like a promising demo than a legitimate full length, the self-titled "Spettri" gives a glance into the past that the vast majority of proggers will not have been able to hear until now. It sounds to me like something from the past, a proto-prog album.

First and foremost, the production will catch a listener's ear as being quite raw, perhaps too raw even for Spettri's hard rock leanings. While the demo-calibre studio quality certainly fits Spettri more than an elaborate overproduction, I can't help but hear the music as if it were a work-in-progress. The musicianship is strong, but it feels as if Spettri hadn't got smoothed out the rough currents in their performance yet. Ugo Ponticello's vocals hang beneath the rest of the sound, spouting metaphysical Italian lyrics. Ponticello's vocals sound much more influenced by the UK bluesmen than most Italian progressive singers, although his delivery, like the rest of the performance, feels just a pitch under the weather.

This eponymous conceptual album appears to be a concept that portrays a man's search for his inner self by means of a séance, although it's also an allegory of the selfishness and hypocrisy of modern society and the decline of humanity.

The ambitious four-part suite that comprises the entirety of this 1972 recording was written over the previous two years and features many novel ideas along with changes in tempo and dynamics, with blazing aggressive guitar and Hammond organ leading the way, fronted by the Ugo's powerful voice style. By this time the younger sibling Vincenzo Ponticiello had joined on bass, along with drummer Giorgio di Ruvo and keyboardist Stefano Melani. For all the positives, the down side is that this recording was basically a demo, not professionally produced and one listen on the headphones will reveal a world of hiss and noise that might not be noticeable otherwise. Black Widow did what they could to clean up the sound, and because of their effort we have a chance to hear this proto-progressive good album.

What I like about the album is that it doesn't have "normal" songs. They only appear as a string of experimental songs of dark tone but not subtracting the much creativity and some supreme elegance on the album. So most songs aren't very original, but that doesn't mean that they aren't worth listening to. The guitarist and organist play rather strong and I heard enough fine musical moments. Take for example the track "Terza Parte: Essere" that starts excellently with an acoustic guitar followed by some fine playing on the Hammond. When the rest of the band joins in, the music certainly has its fine moments, really. The vocalist has a strong voice and he sings in his native language, the Italian, which is a common point with most of RPI bands. It might have been the main reason they never made it abroad and split in 1975.

But, the real standout here are the keyboards, and this is what I think Spettri would have become "known" for, had they gone forth with their music. Stefano Melani's Hammond organ has a rich, organic sound to it, and most of the band's compositions are wrapped around this, their greatest strength. The parts performed on the Hammond organ could have been done by Jon Lord or Ken Hensley. But it also reminded me at times Dave Greenslade. Even the early albums of their fellow countrymen Le Orme could have been an inspiration for Spettri due to the keyboards of Antonio Pagliuca.

Conclusion: This debut album of Spettri is a great archival discovery. They emerged out of the beat scene and went for a more progressive sound. They were obviously influenced by British bands such as Deep Purple, Black Sabbath, Uriah Heep and even Jethro Tull. The band never hit the studio proper. This features recordings that were done live in the studio in 1972. But don't worry. The sound quality of the album is fine enough. It's a conceptual work with some spoken narration. Fans of hard rock with a progressive edge should find "Spettri" enjoyable, although even the album's greatest moments feel imperfect by nature. An obscure album, but one scratched and scarred by a weak studio execution. However, I would recommend to give the music of "Spettri" a try, even if the album is forty years late, really.

Prog is my Ferrari. Jem Godfrey (Frost*)

 2973 - La Nemica Dei Ricordi by SPETTRI album cover Studio Album, 2015
4.01 | 26 ratings

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2973 - La Nemica Dei Ricordi
Spettri Heavy Prog

Review by Conor Fynes
Prog Reviewer

4 stars 'Spettri 2973 MMCMLXXIII La Nemica dei Ricordi' - Spettri (74/100)

Spettri have one of the most obscure band histories I have ever come across. As a band, they technically formed all the way back in 1964 between brothers Ugo and Raffaele Ponticiello. Jumping on the progressive hard rock bandwagon at the turn of the 70s, they recorded a self-titled debut in 1972. This album, however, never saw a real release until 2011, when Black Widow Records dusted off the cobwebs and finally gave it the release it had lacked for decades. In other words Spettri really are the sort of band we shouldn't have even had a chance to talk about. For the longest time, they were ghosts in the Italian progressive rock scene very few even knew still haunted the 70s.

I actually listened to Spettri's debut when it was finally unveiled in 2011. Though there was definitely some part of me that was hoping for a truly obscure gem to leap out at me, Spettri left no impression on me outside of the fact that it sounded amateurish and only intermittently promising. Considering over 40 years have passed between now and the time that album was recorded, I would have never expected to hear a second album out of Spettri, let alone one that hits as hard as 2973 MMCMLXXIII La Nemica dei Ricordi. Spettri's second album was the follow-up no one was expecting nor truthfully excited about, but it comes with a vengeance I've seldom heard in other heavy prog released this side of the new millennium.

Italy's progressive scene has remained stalwart in large part because they're one of the very few that have widely embraced their own heritage as part of the music. Even beyond the Italian-spoken lyrics with Spettri, there's a rich taste of Italy in their music. The organ-laden heavy rock of bands like Deep Purple or Uriah Heep are a good place to start thinking of Spettri, but that may be best seen as the structural foundation to a sound that above all embraces Italy's own progressive traditions, which for those who have not yet dived into legends like Premiata Forneria Marconi or Banco del Mutuo Soccorso, tends to sound like British symphonic prog forcefed through the overtly theatrical lens of a Fellini film.

To a major extent, Spettri are playing progressive rock that would have befit the 70s; mind you, this is frightfully common amongst artists in a genre that once had right to claim it was pushing boundaries. A truly retro sound doesn't bother me like it used to, especially when it's in capable hands such as this, and I don't think the past few decades of music have crept beyond Spettri's gaze either. The atmosphere throughout the album is rather dark, and they'll occasionally weave riffs into the framework that don't sound a world away from metal. Spettri's composition may impress me more riff-for-riff than in terms of their overall songwriting, but there are plenty of these ideas that stuck with me from the first listen onward. Matteo Biancalani's saxophone leadwork is consistently brilliant in the way it's woven in, at times downright reminding me of Van der Graaf Generator between the jazz interference and foreboding atmosphere.

Spettri enjoys the presence of some other RPI scene stalwarts. Stefano Corsi (of Whisky Trail) administers some Celtic harp here as a refreshing change from their heavy mainstay, and Elisa Montaldo of the ever-brilliant Il Tempio delle Clessidre lends her voice here for a brief but memorable moment. Between these guest spots and the longstanding support with Black Widow Records, it sounds as though Spettri have brought themselves away from the brink of obscurity to take active part in a scene that doesn't get near as much regard today as it deserves. 2973 isn't such a fresh-sounding album stylistically, but it sounds like such a far cry from the primitive dabblings of the archival self-titled that I cannot help but feel surprised and impressed with what they've accomplished here.

 2973 - La Nemica Dei Ricordi by SPETTRI album cover Studio Album, 2015
4.01 | 26 ratings

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2973 - La Nemica Dei Ricordi
Spettri Heavy Prog

Review by Matti
Prog Reviewer

4 stars It's amazing to think this band was founded already in 1964 - and half a century later they have recorded a strong Heavy Prog album which continues the concept of their vintage eponymous album from 1972. And they have all the energy and inspiration to do it 100% all the way, as if there wasn't many decades in between. Yes, this music is totally retro in style and sound. Both the instruments used and the studio work (playing live on a 2-inch tape recorder with very few overtakes) are the same as in 1972.

Although Heavy isn't my cup of tea, I actually like this one as a representation of the genre, maybe exactly because it's so old school style, in the vein of classic BLACK SABBATH and DEEP PURPLE with lots of Hammond. There's also a notable ELP influence in the keyboard playing. Add some saxophone and flute (bringing occasional associations to VDGG) and you really have a full blown Heavy/RPI near-masterpiece guaranteed to please the listeners of vintage recordings of this kind. There are Symphonic Prog elements, maybe there should be a bit more in the songwriting before one could call this a masterpiece of Heavy Prog, but the music is firmly rooted in the Heavy soil. That is, the tempo is mostly quite fast and the vocals slightly angry - but luckily not plain aggressive or growly like nowadays so often.

Not that I can follow the story at all, but a few words on the concept: "Spettri" (1972; haven't heard that album) was about a young man searching for an answer and an alternative to the violence etc, and as the answer he gets in the afterlife(?) is the reflection of himself, he goes crazy. Or something like that. "In this new record we started from where the story ended... 1001 years after, in 2973, not much has changed... he tries a new journey that will lead him to realize that nothing will ever change unless he wins his fears and interior battles first. While walking at night on a solitary beach a seagull shows him the way to a mysterious ship which will take him on a journey that at last will land him on a new level of consciousness." Pretty deep and esoteric...

The attempt to follow the track list (and therefor to talk of separate tracks) is confusing since the list in the backcover misses the track numbers and both the division of one track in two plus three bonus tracks as represented here in the album info. A minus from that! And when I try to follow the Italian lyrics it seems even that track listing might be somehow faulty... Anyway, somewhere halfway there was a calm song with female vocals (Elisa Montaldo) which nicely brings variety, as well as the 8th track, a gentle acoustic instrumental ('La Stiva'? - but there are lyrics in the leaflet under that title?? Quite confusing really!)

But these problems don't steal the music's power. If that's what matters to you more than demands of originality or bringing something new to the genre, and enjoy both vintage Heavy and ELP-ish organ prog, and Italian lyrics, then this is your album.

 2973 - La Nemica Dei Ricordi by SPETTRI album cover Studio Album, 2015
4.01 | 26 ratings

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2973 - La Nemica Dei Ricordi
Spettri Heavy Prog

Review by rdtprog
Special Collaborator Heavy, RPI, Symph, JR/F Canterbury Teams

4 stars This is their second album for this heavy Prog band. The music still maintain that dark symphonic sound with the Italian Prog influence and the music of the British scene like Black Sabbath, Emerson, Lake and Palmer and King Crimson, the latter specifically in the song "La Stiva". The keyboards, the old Hammond, and the saxophone are stealing the show to the guitars leaving them in the background most of the times. The music is played at the fast pace, bombastic, with some slower passages to get a little breather and with the final song "L'Approdo" who is a beautiful ballad with some flute and piano passages. In the song "Onda Di Fuoco", we are very close to the Emerson, Lake and Palmer style and sound. All songs are excellent from my point of view, like it was my cup of tea. This is a nice improvement from their first album who has more psychedelic tones and guitars.
 Spettri by SPETTRI album cover Studio Album, 2011
2.99 | 29 ratings

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Spettri
Spettri Heavy Prog

Review by apps79
Special Collaborator Honorary Collaborator

3 stars Gli Spettri were formed in 1964 in Florence by brothers Ugo and Raffaele Ponticiello on vocals and guitars respectively along with bassist Giuliano Giunti and drummer Ubaldo Palanti, replaced later by Mauro Sarti, future drummer of Campo Di Marte and Bella Band.They had a few singles out around mid-60's, evolving slowly from a Beat to a Hard Rock band.By 1968 the line-up included Giorgio Di Ruvo and a couple of years later keyboardist Stefano Meloni and bassist Vincenzo Ponticiello enter the scene.In 1970 they started working on an ambitious long Hard Rock suite, finished in 1971 and recorded the next year.This work never got an issue, only released 40 years later by the team of Black Widow Records as a self-titled album.

''Spettri'' is a 39-min. long Hard Prog epic piece, divided in four movements, where the Hard Rock influences of the group come in evidence with strong vibes from DEEP PURPLE and even plagiarizing the style of LED ZEPPELIN in the guitar parts, nevertheless this is an interesting and highly energetic epic track with guitars and organ in the forefront.The whole piece is based on Ugo Ponticiello's poetic lyrics with fiery grooves from guitars and keyboards, sometimes entering more complex realms akin to MUSEO ROSENBACH minus the symphonic influences, while there are still some certain psychedelic overtones around.The long parts eventually lead the band to intense psychedelic jams with sharp organ fanfares and the rhythm section in great shape in an attempt to combine the emerging fundamentals of a more complicated Rock music with old-styled atmospheres.The tracks contain some great breaks and even smooth passages with lyrical moments in a storytelling mood, bursting usually into organ-driven Heavy/Hard Rock with endless solos.The longest movement ''Essere'' seems to be the most interesting as well with impressive organ work, calmer vocal parts and complex themes.

Informations say that Spettri kept playing, even if failing to release this work on time, while changing their musical style until their demise, propably sometime during the 70's.

Powerful, bombastic, old-school Hard Prog/Rock with thematic variations and solid performances.Not very diverse, but certainly well-played and enjoyable music.Recommended.

 Spettri by SPETTRI album cover Studio Album, 2011
2.99 | 29 ratings

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Spettri
Spettri Heavy Prog

Review by Conor Fynes
Prog Reviewer

3 stars 'Spettri' - Spettri (6/10)

As far as the current 'scene' of progressive rock goes, I don't think anyone would bat an eye at the prospect of a new band harkening back to the 'classic' sound of the 1970's. Taking a look at its 2011 release date alone, I might have been inclined to see this as a group of musicians paying a rough tribute to some of their favourites. Strangely enough, Spettri recorded their debut in 1972, but it has not seen the light of day until 2011, where it was remastered and released by Black Widow records. Although I have heard of some albums going through production hell, it is a shame that Spettri did not get a chance to burst onto a more global scene. Although this debut often feels more like a promising demo than a legitimate full-length, the self-titled "Spettri" gives a glance into the past that the vast majority of proggers will not have been able to hear until now.

I like to think of Spettri as an Italian equivalent to Deep Purple. Although they don't go for the same heavy metal punch as the Purple, Spettri share the formula, that being one of organ- driven hard rock. Black Sabbath is another staunch comparison, at least as far as their trudging compositions go. Although I cannot say that Spettri would have changed the course of prog rock had they enjoyed a release closer to the time of the actual recording, there is a great deal of promise in their sound. 'Promise' and 'potential' are words that come to mind when listening to the album; although their fields are fertile, there are a few things holding them back from excellence.

First and foremost, the production will catch a listener's ear as being quite raw, perhaps too raw even for Spettri's hard rock leanings. While the demo-calibre studio quality certainly fits Spettri more than an elaborate overproduction, I can't help but hear the music as if it were a work-in-progress. The musicianship is strong, but it feels as if Spettri had not get smoothed out the rough currents in their performance yet. Ugo Ponticello's vocals hang beneath the rest of the sound, spouting metaphysical lyrics (in their native Italian). Ponticello's vocals sound much more influenced by the UK bluesmen than most Italian progressive singers, although his delivery- like the rest of the performance- feels just a pitch under the weather.

The real standout here are the keyboards, and this is what I think Spettri would have become 'known' for, had they gone forth with their music. Stefano Melani's Hammond organ has a rich, organic sound to it, and most of the band's compositions are wrapped around this, their greatest strength. Fans of hard rock with a progressive edge should find "Spettri" enjoyable, although even the album's greatest moments feel imperfect by nature. An obscure gem, but one scratched and scarred by a weak studio execution.

 Spettri by SPETTRI album cover Studio Album, 2011
2.99 | 29 ratings

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Spettri
Spettri Heavy Prog

Review by stefro
Prog Reviewer

3 stars Super-rare Italian psych from '72, this one-and-only album from the ultra-obscure outfit Spettri finally received a release almost four decades after it's creation, demonstrating even now, in 2012, that there are still many undiscovered nuggets buried deep in the vaults of various record companies just waiting to be unleashed on the unsuspecting public. A hazy, mystic, organ-doused slice of heavy psychedelia, this self- titled effort conjures up the kind of occult-styled atmospheric grandeur found on albums by the likes of British group Black Widow and Germany's similarly-styled Virus, the bulk of the four tracks featuring a gothic brew of relentlessly grinding guitars, meaty organ fills and some suitably impenetrable lyrics( all in Italian of course) nicely bolstered by the rough 'n' ready production that gives the impression that 'Spettri' might just have been recorded in some kind of dark, cobweb-covered crypt, possibly(or probably) beneath a graveyard or Transylvanian castle. This writer wouldn't be surprised if it was. Interestingly, Spettri apparently feature several former members of progressive outfit 'Biglietto Per L'inferno' - another one-hit group who recorded a stone-cold classic in the shape of their 1974 debut - in their line-up, though the origins of the group are, rather suitably it must be said, shrowded in mystery. Although Biglietto Per L'inferno's career wouldn't last much longer than Spettri's, there are several musical touchstones linking the two, especially in both outfit's employment of wildly emphatic vocals, metallic guitar riffs and the warm organ coating that proves so important to both group's overall stylistic ambience. However, whilst the former produced a more refined brand of symphonic-style progressive rock, the latter are seem much more influenced by the likes of Black Sabbath, Jimi Hendrix and Iron Butterfly, though their music still exhibits a strong progressive streak. Those with a fondness for gritty psychedelia, juicy organ-led prog and heavy rock should more than warm to 'Spettri' then, especially the two lengthy tracks on side 2 - 'Terza Parte: Essere' and 'Quarta Parte: Incubo' - that take the album deeper into progressive sonic realms, though the sound quality(this is a remastered released) might prove a slight distraction for some, especially in the album's quieter moments. That said, the rough-hewn production does lend 'Spettri' a rather authentic glaze sadly absent from most modern progressive rock, adding to the album's unique atmosphere and showing just how difficult it is to replicate the sounds and styles of the 1960s and 1970s, something that only a handful of groups have managed to achieve in the technically-enhanced 21st century(I'm looking at you Astra and Wooden Shjips). So, deliberate or not, what we have here is the real thing. An exciting little gem, 'Spettri' blends hazy psychedelic flourishes and bruising heavy rock riffs with a surprisingly deft instrumental touch, serving up a welcome dose of gritty Italian psych-rock from the genre's genuine glory days. Not very subtle then, but pretty effective all the same.

STEFAN TURNER, STOKE NEWINGTON, 2012

 Spettri by SPETTRI album cover Studio Album, 2011
2.99 | 29 ratings

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Spettri
Spettri Heavy Prog

Review by Guldbamsen
Special Collaborator Retired Admin

3 stars Dreaming yourself away from the terrors of modern society - Road-trip soundtrack

It doesn't take Sherlock Holmes with a couple of stethoscopes to find out what this band is all about. Spettri's story has been handed over quite nicely in the preceding reviews, but to those of you who are too lazy to click on the orange skull beside this review; these guys started playing way back in the sixties - going through various band members for then to record this, their sole album, in 1972. It then laid on somebody's shelf for the next 40 years, when Black Widow Records finally gave the guys a fair break and released it.

As Chris mentions in his brilliant biography, the album itself revolves around a man who by way of a spiritual séance encounters the backside of the coin - the other side of the mirror. He investigates and practically throws himself into the metaphysical abyss to conjure up reasons to live. As described in many other such tales, this is indeed a path one must walk alone, and so he does - finding what can only be described as some kind of spiritual sanctuary - only to be sabotaged and obliterated by the strange and dehumanizing essence of modern society.

Musically we are never far away from the early 70s - maybe late 60s. I get Deep Purple, Led Zeppelin, Black Sabbath and Uriah Heep although the beautiful bubbling Hammond organ at times reminds me of Dave Greenslade's powerful sound from Valentyne Suite. I really love the way this organ sounds. Almost omnipresent, it delivers a potent underlining to the proceedings here, which again reek of those early heavy prog days with loads of blues based riffing - although turned way up with a good ass-kicking of distortion. Finally we get belting raw vocals that to me personally works when they're trying to relegate something docile. When they're going a hundred miles and hour, they sound slightly forced and unconvincing to me.

If you love the sounds of the heavier Italian outfits such as Biglietto per L'Inferno and Metamorfosi, then imagine these without the synths and you're not entirely far off Spettri's sound. What I personally miss a tad is the kind of sweet and, gulp I can't believe I'm saying this, romantic vibe most other acts from the scene were utilizing. Yes there are snippets of acoustic guitars scattered throughout this record, but I'd just wish they would have incorporated them more into the thing. Battered the dough with just a touch more pomodoro and vino.

My fave thing about it is the way the snarling guitar raptures from time to time - heavily supported by some catatonic frenzied organ work that seems to rise slowly up from the ground - effectively merging the dark utopian metaphysics with the feel of the band.

This one is highly recommended to fans of early progressive hard rock with an overload of Hammond organ. It's the kind of thing you put on, when you're off on a road-trip in a dirty beat down truck with beers in the trunk and fuel in your stomach.

 Spettri by SPETTRI album cover Studio Album, 2011
2.99 | 29 ratings

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Spettri
Spettri Heavy Prog

Review by memowakeman
Special Collaborator Honorary Collaborator

3 stars A nice Italian album from the old times!

This is a curious case, because Spettri was a five-piece band who started playing in 1964 and recorded their first album until 1972, the fact is that it was never released until 2011 via Black Widow Records, so it was a lost gem which was fortunately rescued. This self-titled album consists of five compositions that make a total time of 40 minutes in which you will listen to classic RPI music with heavy rock tendencies.

It opens with "Introduzione" which as you can imagine, is a short track that works as an introduction. This first minute has only a voice speaking, letting us know what this story is about. They talk about a criticism to the modern society, and a man who is looking for answers in the metaphysical world. This track leads to "Parte Prima: Stare Solo" in which for the first time the instruments appear: drums, bass, guitar and keyboards that remind me of Deep Purple, Jethro Tull or even Black Sabbath. After a minute and a half vocals enter, singing for the first time in the album. After four minutes there is a cool guitar solo, then it stops and the structure returns to the way it begun.

The next three songs are long epics, the first one is actually the shortest, reaching almost the ten minute mark. It is called "Parte Seconda: Medium", and starts with a church organ and seconds later drums and guitars join and the music begins to flow. Here the reminiscence to Iron Butterfly is evident, though in that time Spettri was trying to create their own style. This track has some changes, but overall it follows the same structure and sound. Kind of psychedelic, heavy progressive rock with a clear 60s-70s feeling.

"Parte Terza: essere" is the longest one with twelve minutes length. It starts with soft acoustic guitar. A minute later it begins to progress little by little, creating new figures with different elements, offering their inherent hard rock sound and blending it with their essential progressive rock soul. At minute four vocals appear in a soft way, with that particular Italian accent; it is accompanied by an organ and some bass notes. It is flowing and reaches a climax before the seventh minute, when the intensity increases and the voice is more emotional. Then it is a short pause and the music begins to sound once again, giving us a very cool instrumental passage.

The album finishes with "Parte Quarta: Incubo". The first two minutes show a cool instrumental passage, then vocals join and a new structure is being created, with a tense and dark atmosphere. The keyboard work is great all the time, the drums are constant and heavy while the strings make some cool notes and riffs in some moments. There are some changes in mood and tempo, but overall the song flows naturally, without being forced at all. Actually, I would say this is their finest track, or at least my favorite one.

It was a good decision to rescue this album and release it now on CD, though the music is nothing extraordinary, it is worth listening, because it is one example more of the wave of high-quality bands Italy had in the 60s and 70s. My final grade will be three stars.

Enjoy it!

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

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