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La Batteria biography
Founded in Rome, Italy in 2015

LA BATTERIA are a new Italian instrumental band hailing from a wide variety of musical backgrounds performing music in the style of horror soundtrack kings GOBLIN and also influenced by the soundtrack works of Ennio Morricone, Stelvio Cipriani, Alessandro Alessandroni and Bruno Nicolai. Despite playing on vintage instruments, the band are hardly a mere `retro-prog' exercise, instead incorporating many modern sounds and styles into their original compositions such as dance music, hip-hop, electronic, alternative rock and synth-pop, and they are sometimes comparable to other groups who perform in a similar manner such as ZOLTAN, ANIMA MORTE and ZOMBI.

But frequently at heart on many of their pieces lie that precious warmer romantic Italian quality that links them gently to RPI and other Goblin-esque bands such as L'ALBERO DEL VELENO that share a similar music ethic, and their superb self-titled work `La Batteria' was released in January of 2015.

Biography by Michael Hodgson (Aussie-Byrd-Brother).

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La BatteriaLa Batteria
Penny Records 2015
$16.08 (used)
Penny Records 2019
$18.18 (used)

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LA BATTERIA discography

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LA BATTERIA top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.03 | 10 ratings
La Batteria
3.69 | 33 ratings
La Batteria II

LA BATTERIA Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

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

4.00 | 1 ratings
Tossico Amore (OST)


Showing last 10 reviews only
 La Batteria II by BATTERIA, LA album cover Studio Album, 2019
3.69 | 33 ratings

La Batteria II
La Batteria Rock Progressivo Italiano

Review by TCat
Collaborator Eclectic Team

4 stars La Batteria is a Rock Progressive Italiano band that was founded in Rome, Italy in 2015. They cite their influences as those bands and artists that have made soundtrack style music like "Goblin", Ennio Morricone and others. They typically use traditional instruments, but have been known to mix styles with their own instrumental cinematic styles.

Their 2nd album, released in April of 2019, is called simply "La Batteria II" and is made up of 18 tracks, with only one that exceeds the 5 minute mark and overall lasting about 70 minutes. The band lineup consists of Emanuele Bultrini on vocals, electric, acoustic and classical guitar; David Nerattini on drums; Paolo Pecorielli on Bass; and Stefano Vicarelli on keys and synths. Along with this core lineup is several guest musicians and instruments.

The album starts off with "Prologo" which features a synth introduction that eventually leads into a heavier section with electric guitars providing a dramatic theme aided by a twinkling synth loop and other keyboards with a mid tempo rhythm. "Largo" continues with this style, but is later enhanced with vibraphone and a scratching guitar giving it a real Italian or European feel and finishing with a dramatic, but up tempo sound. "Fuga" features a fast moving keyboard loop and a small chorus of guests providing wordless vocals. The band comes in later and the track takes on the Morricone vibe with deep guitars and keys. "Monica Vitti" is a nice pastoral track with acoustic guitar, vibraphone and flute. Later a synth is added and rhythm section follows.

"Dogma" has a much heavier and dark sound with a solid electric guitar punch to it. "Moviola" is a funky, upbeat and jazzy track that uses a basic theme and variation style. "Antenna" is more straightforward led mostly by synths at first and then an electric guitar repeating the theme and then building off of that. "Stiletto" has a mysterious feel to it, almost spy-movie-like. Towards the middle, things get more psychedelic sounding with some cool effects and an eerie, experimental feel. "Intermezzo" is a short piano interlude in a rhapsodic style and helped along by bass and vibraphone.

"Diva" is the longest track at 5:30. It starts off with electronic loops and effects and the band builds off of this. A funky vibe comes off of this with a heavy electric guitar providing a thematic element. Later, brighter guitars bring in a jazz element supported by synth and Vocoder. "Affresco" features the "With Us Choir" singing light harmonized wordless vocals accompanied by keys and light guitars. A heavier sound comes in around 2 minutes as a psychedelic vibe comes in with the full band. "Spirale" has a distinct electronica sound to it along the lines of an upbeat Tangerine Dream style, but later gets support from guitars in accompaniment and a solo.

"Furfante Amedeo" plays off of a funky synth riff with jazz undertones. "Intervallo" is another short track led by flute and supported by synth, harpsichord and acoustic guitar. "Romanzo" follows with a nice romantic style using acoustic guitar and piano, but with an unsettling sound from feedback increasing in the background. Almost halfway through, the rhythm section kicks in with a moderate tempo and a darker feel as the electric guitars take over the thematic element for a dramatic feel. "Megalopoli" immediately begins heavy with a guitar riff and synths playing the melody against a steady rock beat. Later, things get heavier with the guitars and an organ playing the theme. "Eldorado" has a smoother jazz / funk feel with a fast moving percussion section. Wordless vocals provided by a guest come in halfway through as things take on an airier feel with strong European sound. The album finishes up with "2170 Ultima Speranza" which has an electronic beginning which finally brings in the full band, however, the keys and effects have most of the say here, until a lovely trumpet solo comes in giving things a Spanish flair.

The music, overall, is mostly instrumental, and, even though there is the underlying soundtrack / cinematic style throughout every track, each song still has its own individual sound. The individual songs each follow a singular format, each one concentrating on a style or mood. This differs from bands like Secret Chiefs or Fantomas who like to use the same cinematic inspirations, but tend to be more progressive by jumping around to different styles and moods within a single track. In that respect, these individual tracks are more focused on a singular style. It also differs from the soundtracks of bands like Art Zoyd and Goblin that have produced soundtracks to past cinema in that it is not in the avant-garde style of those bands, but much more accessible with strong traditional themes that are built upon during the individual tracks. The style is a simple theme and variation style, but this sound is spread out among several differing instruments thus providing a lot of dynamic in the overall sound.

The album is enjoyable, but also quite accessible in most cases. The songs are mostly around the 4 minute mark, but still well developed, keeping with a simple theme as a driving force through most of the tracks. Again, with the variation in the use of instruments, you still get a feeling of variety, so it never really grows very stale. The album is well produced and laid out. The cinematic style also gives a somewhat unique sound to each and every track here. This is a strong album and easily earns the four stars that I give it for a rating.

 La Batteria by BATTERIA, LA album cover Studio Album, 2015
4.03 | 10 ratings

La Batteria
La Batteria Rock Progressivo Italiano

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

4 stars La Batteria are a new Italian instrumental band who's starting point are the horror soundtrack legends Goblin, but perhaps in part to the four musicians who make up the group all coming from a wide variety of music backgrounds, they work in a bunch of modern styles on top of the Seventies-flavoured horror movie style themes on their self-titled 2015 debut. But unusually for this sort of band, their eerie pieces are fairly compact and frequently up-tempo, full of heavy grooves that might go on to include traces of dance music, electronic, alternative rock and synth-pop. In some ways they're similar to bands such as Zoltan, Zombi, Anima Morte and Morte Macabre, but those groups are much more interested in building atmosphere and lengthy drawn-out moods, whereas La Batteria prefer energetic shorter bursts and having a lot of fun while they're doing it!

One thing that instantly stands out warmly and richly are the instruments the band play with, Stefano Vicarelli's army of vintage synths that are plied all over the disc being especially lovely. It gives the disc a sweet retro flavour, but to dismiss the group as some mere recreation of the Sixties and Seventies would be completely wrong, as the group mix in a wonderfully eclectic variety of modern sounds. At heart, most every single piece here holds some similarity to the classic Goblin albums, but it's where the group take their all-original compositions from there that makes things really interesting!

Classy album opener `Chimera' will instantly remind of the classic Italian horror band, a dreamy and haunting theme of chiming romantic acoustic guitars and doomed scratchy Mellotron. The funky `Vigilante' works in Emanuele Bultrini's snarling guitar grunt over bristling Hammond organ and Davide Nerattini's head-bobbing drumbeat, `Scenario' fuses lurking electric- piano footsteps with Sixties psychedelic coolness, and `Formula' crosses Seventies horror synth eeriness with a spy-like theme, slinking dance beats and runaway Fender Rhodes soloing. `Vice Versa' shimmers with wah-wah guitars, a sauntering beat and Paolo Pecorelli's mud-thick bass, and `Manifesto' is a gorgeous Morricone-esque soundtrack complete with a whistling melody, sighing female cries and dusty acoustic strums with an unexpected up-tempo momentum.

`Dilemna' bristles with creaky Mellotron, acoustic guitar ripples and devilish bass mischievously darting in and out, but there's a lively and cheeky energy to the piece that Goblin fans will go nuts for. Sure enough, `Expresso' bounces with perky groovy vibes and plentiful floating synths, the evocative accordion from guest player Feliciano Zacchia and constant organ of `Incognito' bring a little more atmosphere, and `Scenario 2' reprises an earlier theme with spikier guitar work and is dominated by thick fluid bass. `Zero' is a break-neck heavier blast with a spectral female voice, and album closer `Persona Non Grata' works in harpisichord-like keys, ghostly church organ and ethereal choir Mellotron in the classic Goblin manner.

It's definitely a stretch to place La Batteria under the RPI tag, but they take many elements from Goblin and several of the darker bands such as L'Albero del Veleno that are filed under that banner, just expanding them in new and fresh directions, although for some Italian prog purists that will likely not be enough. Admittedly perhaps twelve tracks and even a forty-six minute running time here is a little excessive, as some of the pieces don't have a lot in the way of depth to offer, the group instead preferring great sounding surface thrills, however there's no denying the skill of the players and just what a terrific sounding album they've delivered - perhaps it's best to think of them as the equivalent of a `Goblin party band'?! But `La Batteria' is still a very addictive and effortlessly cool little album from a band with immense promise and impeccable skills, that have the potential to find a strong crossover appeal that could easily even catch the ear of listeners who have no interest or knowledge in prog-rock at all.

Three and a half stars, rounded up to four.

Thanks to aussie-byrd-brother for the artist addition. and to Quinino for the last updates

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