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ROCK PROGRESSIVO ITALIANO

A Progressive Rock Sub-genre


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Rock Progressivo Italiano definition

aka "RPI"


"So it's an established fact that in Italy during the period between 1971-1974, a music movement existed where bands would challenge each other to see who could be the most imaginative, who could create the album for the ages. They were all painters and sculptors just as in Renaissance Italy." -Tom Hayes/Gnosis


1. The background
As the 60s drew to an end, Italy experienced a wave of new ideas and ideals which coincided with the new musical era being born. It would not be exaggeration to state that the 70s were a watershed period in the history of the country. Even though the 60s are generally remembered as the years of the 'economic boom', it was only in the following decade that Italy made the long, difficult change from a relatively poor, traditional country into a fully developed Western society. A look at any timeline for 70s Italy will show an incredible concentration of events that changed the fabric of Italian society irrevocably: laws and acts were passed which affected worker's rights, family and divorce law, and women's rights and reproductive health. In a country where the physical presence of the Catholic Church has always been impossible to overlook, not least because of its open intervention in the country's political affairs, the introduction of such radical changes was no small feat.

Most of those changes were made possible by the presence of a strong left-wing component in Italian political life, even if regarded with extreme suspicion by both the Church and Italy's main ally, the United States. Though the existence of a party that openly called itself Communist was not exclusive to Italy, at the time the PCI (Partito Comunista Italiano) was considered more of a danger than, for instance, its French equivalent - mainly due to Italy's strategic position in the Mediterranean area, as well as the party's obvious connection with the Soviet Union. Such a peculiar, potentially explosive situation sadly became a breeding ground for a number of extremist groups, who were responsible for the season of violence and unrest commonly known as the 'Anni di piombo' ('years of lead'), which lasted well into the first half of the Eighties. The number of casualties due to terror acts and rioting was quite high, involving people from all walks of life. However, the defining episode of the decade was the kidnapping and subsequent murder of well-known politician Aldo Moro (a left-leaning Christian Democrat) by the notorious Brigate Rosse ('Red Brigades') in the spring of 1978.


2. The birth of a movement
The turbulent times affected countless musicians looking for something new-some way to parallel the political climate through artistic media. Ranging from highly educated conservatory students to local singer-songwriters, this spirit managed to captivate an entire country within a few short years. Young people were restless, bursting with a burning desire to change the staid, suffocating atmosphere of Italian society starting with one of its symbols, its venerable musical tradition. Most musicians had more or less strong left-wing leanings (the prime example being Area), while the few examples of openly right-wing bands never managed to break out of obscurity, or gain more than a strictly cult following.

Without a strong rock tradition in the 60s Italy had mainly produced beat bands of varying quality, as well as singers well-versed in the long-standing canzone tradition of the country. As the tidal wave of counter-culture swept in, it brought revolution not only in the form of progressive rock, but also differing forms of heavier, continental rock which was establishing itself around the same time. Psychedelic influences and the incorporation of classical music may have been the same stepping stones used by most other progressive scenes around the globe during the same period, but even at this embryonic stage there was a whiff of something else in the air. In the late 60s when the beat scene was already heading towards a decline, a number of bands formed, some of them releasing singles (or even albums) that bridged the gap between beat, conventional Italian easy listening music (musica leggera), and the new ideas coming from Great Britain - among them, New Trolls, Le Orme, Panna Fredda, I Quelli (later to become Premiata Forneria Marconi), Il Mucchio, and Fabio Celi e gli Infermieri.

"We wanted to put some improvisations between the singing parts and we had to make up our minds about the style to follow... After having been to the Isle of Wight festival, it was clear to all of us that we couldn't keep on playing the usual songs with verses and refrains." -Toni Pagliuca, Le Orme


3. The golden years
The beginning of the new decade saw the rise of a countless number of bands and artists, some of whom would go on to become successful acts. PFM, Banco del Mutuo Soccorso, Osanna, Il Balletto di Bronzo, Quella Vecchia Locanda belong to this group, with all but the latter being still active at the time of writing. Some others only managed to release one album (or even just a handful of singles) before they disbanded. The prog-rock bug became so widespread in Italy that some experts say every artist and band in Italy produced at least one progressive album during this time. A number of well-known mainstream artists started their career with a prog album, like singer-songwriters Riccardo Cocciante (with Mu) and Ivano Fossati (with the first Delirium album, Dolce acqua). Or, like Lucio Battisti or Fabrizio De André, they released strongly prog-influenced albums when the movement was at its height.

During the peak years of the RPI movement in the early 70s, countless bands showcased their talent in the many pop festivals organized throughout Italy. The festivals were often free of charge and boasted a level artistic freedom and competition seldom seen in popular music. Fans witnessed bands rise from obscurity to compete on the same stage as the heavy hitters. This musical competition created something of an upward spiral; everyone tried to outdo each other, producing unique sounds and incorporating disparate influences into their music. The variety of the music went through the roof, with every band sharing the same aspirations, though seldom the same sound. It must also be made clear that despite the beliefs of those who write off Italian prog as simply a British counterfeit, many of these bands were creating music that was phenomenally original, experimental, free-spirited, and creatively successful. While bands from abroad helped influence and inspire Italian bands, Italy's young bands quickly took the ball and ran with it. It is ludicrous to suggest the scene a mere imitation. The upward spiral also meant an over saturated market, in which many bands only managed to put out one or two releases with minimal budget and intense recording. Some of the best, most genuine and treasured albums of Rock Progressivo Italiano can be found in this group: Semiramis' "Dedicato a Frazz", Pholas Dactylus' "Concerto delle menti", Raccomandata Ricevuta di Ritorno's "Per un mondo di cristallo", Museo Rosenbach's "Zarathustra", and Balletto di Bronzo's "Ys" to name just a few.

"We had to tackle this tradition, we had to fight against the conventions and refuse to be integrated. The New Sounds hadn't arrived yet, there was no music for the young people, there was nothing, you had to invent and build up your space. Perhaps this was the mainspring that unchained such a creative strength." -Gianni Leone

With time some of the biggest bands achieved international success, with PFM as the best-known example. Lyricist Peter Sinfield, known from his work with giants like King Crimson and ELP, even wrote for the band, while Peter Hammill provided English lyrics for Le Orme's "Felona e Sorona". Ironically this success often meant a detour from the roots of the RPI sounds, making these albums more aligned to the British scene than the bulk of the artists and albums in the archives. Look beneath the surface in order to discover hidden (or not so hidden) gems. While the oft-mentioned big 3 of Italian prog (PFM, Banco, and Le Orme) are conveniently considered the peak by those casually mentioning this scene, RPI enthusiasts know the river runs so much deeper, and many of our personal favourites are found outside of these popular groups. Those who search beyond the surface will discover that the most daring and provocative works were often made by more obscure groups who released one fantastic album and then vanished into thin air. This common syndrome of Italian "one-shot" bands became the bane of many RPI fans.

Since so many different musicians experimented with the progressive format, you will also find a broad musical scope within RPI, something which has kept the subgenre fresh and vital over time. Examples include Franco Battiato (still a very successful artist in Italy), Picchio dal Pozzo, Opus Avantra, Stormy Six and Area, who each in their own individual way, show a more cosmopolitan flavour and range of influences than most other acts.

After its explosive development in the early 70s, the movement followed the same path as other progressive musical movements around the world as the 80s approached. Some influential artists continued to release new albums though never with the same success as in the halcyon days. Others changed with the times and became highly successful mainstream artists both in Italy and internationally. As elsewhere in the prog universe the quantity and quality of RPI began to dry up a bit in the late 70s and early 80s, although there were some quality releases from that period. These titles tended to be more melodic and less brashly avant-garde than the classic period but were respectable nonetheless. To name but a few there were Locanda Delle Fate, Stefano Testa, Pierpaolo Bibbo, and L'Estate de San Martino. Area, Stormy Six, and PFM had a good title or two left in them as well.


4. Musical features of RPI
Italian symphonic prog is notable for the prominence of classical influences, often providing the driving force behind the music. The new listener will discover that this particular branch of RPI feels more like classical music in a rock setting as opposed to occasional classical influences on top of the rock format. Furthermore, the rich, diverse musical traditions of Italy permeate the albums, creating a strong national and even regional character. The "textbook" RPI groups can usually be identified by a pervasive sense of romantic melancholy and earthy flair, sometimes enhanced by baroque elements, sometimes by more ethnic ones. Other distinctive features include overt opera and operetta influences, wild and uncontrolled storytelling, and as a general rule, bold and highly emotional vocals. There is extroverted, operatic gallantry and panache or mellow balladry; exciting use of all sorts of keyboards, with sounds heard nowhere else but in this particular scene; exotic instruments such as aggeggi, ottavino, mandoloncello, clavicembalo- names that tickle the imagination and leave their distinct mark on the music. There is a uniquely magical marriage of the traditional to the modern, of the warm to the wild. The combination of flute, piano and violin is often encountered, and the interplay between the first two instruments in particular supplies the subgenre with a fair share of its identity and flavour.

Though the symphonic element is indeed the most common in RPI, the genre would be better characterized as eclectic. Jazz-fusion, folk, hard rock riffing à la Jethro Tull, Deep Purple and Led Zeppelin, intense drama a la Van der Graaf Generator (whose albums were revered in Italy), singer-songwriter, proto-metal, blues, avant tendencies, pop, psych, dark/occult, electronic-the list goes on. Even more amazing, these differences in style can often be found to varying degrees on one album, and still feel natural in the distinct stylistic framework mentioned above.

No overview of RPI would be complete without mentioning the use of the Italian language, by many considered one of the most musical languages in the world. It could be safely stated that the use of Italian is inherent to the soul of RPI, a critical component to the full appreciation of the subgenre. In fact, even if some key RPI albums were translated into English in an attempt to gain international recognition, most of them fail to impress. They feel as if one of the basic ingredients of what makes RPI such a successful concoction is missing. While most serious RPI fans consider Italian vocals essential to their listening experience, it is fair to say that some believe English lyrics are not so detrimental-even if in most cases the odd phrasing, incorrect emphasis, and heavy Italian accent of the singers detract significantly from an authentic overall effect. While some prog fans can find the gregarious Italian vocal style challenging at first, newbies are encouraged to simply stick with it for a while. With only a modest effort any RPI newbie will soon find they cannot imagine this music without traditional Italian vocals-they truly are the icing on the cake.

One common misconception that must be addressed is the belief that any prog band from Italy is an RPI band. There are bands from Italy more appropriate for other genres. As an example, a pure and obvious post-rock band who just happen to be from Rome are going to be in the post-rock sub, not RPI. A pure jazz-fusion band with no RPI characteristics to their sound could be easily placed in the Jazz/Fusion subgenre. The RPI team will work hard to evaluate bands that fit the characteristics and the feel of the subgenre, and those whose primary sound is more suited for another sub are recommended to them.

"Progressive is basically a blending of three elements: the song, the improvisation inspired by jazz and the composition in classical style. This cocktail is interpreted in different ways in every country: in England, for instance, Celtic, rock and blues influences prevail. In Italy we have to cope with our classical tradition: the melodramma, Respighi, Puccini, Mascagni but also all the contemporary classical composers. It's in this legacy, in my opinion, that the specificity of the Italian Progressive Rock is concealed." -Franco Mussida, PFM


5. RPI in the new century
As recently as the 90s and early 2000s RPI again proved its longevity to the prog community. Scores of the classic albums were re-pressed in Japan, then specialized independent labels such as BTF, Mellow and Black Widow (the latter responsible for rescuing the likes of Jacula and Antonius Rex from oblivion) started to re-issue many of the classic albums. As a consequence RPI has not only reached a new generation of fans, but the increased interest and appreciation have led to new material being released. Artists whose recordings have never been in circulation, bands that are as new to our ears as they are to many of those who were there when it happened, now have a new-found audience creating an ironic worm-hole effect: brand new music straight from prog's golden years.

With the revival clearly under way the 90s produced some stellar Italian albums and the beginning of CD reissue fever. In the 2000s the trend has continued to a much more successful degree. RPI is back and fan interest has exploded for both the classic period and the new bands of today like Il Bacio Della Medusa, Pandora, Lagartija, Conqueror, Il Ruscello, Senza Nome, Coral Caves, J'Accuse, Ubi Maior, and the projects of Fabio Zuffanti to name just a few. Italian progressive rock today covers a wide range of styles and influences, but many of the bands ground a portion of their sound in the RPI tradition. Moreover, this first decade of the 21st century has seen a new round of publications (both in print and in electronic format) covering various aspects of Italian prog, as well as the creation of a number of excellent websites dedicated to the subgenre, which are extremely influential as regards the promotion of new bands and artists.

The commercial success of RPI has always been modest compared to the big bands from other countries. However, the quality of the music past and present, from its unique compositions to fiercely independent spirit, has earned the RPI subgenre some of prog's most loyal followers.

By:
Raffaella Berry
Michael Berry
Ryan Olsen
Jim Russell
Linus Wikström
Todd Dudley

For the Mick.
29 July 2009



Current RPI Team
Todd
Aussie-Byrd-Brother (Michael)




Additional information:
Italian Prog - A dedicated RPI site
http://www.italianprog.com

Italian Prog Map - A superb blog by RPI writer Andrea Parentin
http://italianprogmap.blogspot.com/

Andrea Parentin's history of RPI (essential reading)
http://www.progarchives.com/forum/forum_posts.asp?TID=33377&PID=2345095#2345095

Andrea Parentin's contemporary Italian prog (newer bands)
http://www.progarchives.com/forum/forum_posts.asp?TID=62150&FID=58

Movimenti Prog
http://www.movimentiprog.net

Centro Studi per il Progressive Italiano
http://www.centrostudiprogitaliano.it

Mats Italian Prog Site
http://www.italianprogrock.com/index.php

John's Classic RPI blog - Another good blog on the "classic" era
http://classikrock.blogspot.com/

Arlequins - A prog rock webzine with much RPI content
http://www.arlequins.it/gb/index.asp


Where to buy Italian prog
Syn-phonic (USA) - http://www.synphonic.8m.com/index.htm
Doug Larson (USA) - http://www.hicom.net/~dlarson/
Kinesis (USA) - http://www.kinesiscd.com/index.html
Wayside (USA) - http://www.waysidemusic.com/
Mellow Records (Italy) - http://www.mellowrecords.com
BTF (Italy) - http://www.btf.it
Black Widow Records (Italy) - http://www.blackwidow.it
Camelot Music Store (Italy) - http://www.semanticweb.it/camelotstore/

Rock Progressivo Italiano Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Rock Progressivo Italiano | More Top Prog lists and filters

4.41 | 1305 ratings
PER UN AMICO
Premiata Forneria Marconi (PFM)
4.38 | 810 ratings
IO SONO NATO LIBERO
Banco Del Mutuo Soccorso
4.37 | 877 ratings
DARWIN!
Banco Del Mutuo Soccorso
4.36 | 1030 ratings
STORIA DI UN MINUTO
Premiata Forneria Marconi (PFM)
4.29 | 660 ratings
BANCO DEL MUTUO SOCCORSO
Banco Del Mutuo Soccorso
4.28 | 645 ratings
ZARATHUSTRA
Museo Rosenbach
4.29 | 493 ratings
ARBEIT MACHT FREI
Area
4.26 | 655 ratings
L'ISOLA DI NIENTE
Premiata Forneria Marconi (PFM)
4.24 | 724 ratings
FELONA E SORONA
Orme, Le
4.23 | 543 ratings
UOMO DI PEZZA
Orme, Le
4.25 | 316 ratings
PALEPOLI
Osanna
4.21 | 452 ratings
YS
Balletto di Bronzo, Il
4.23 | 344 ratings
MAXOPHONE
Maxophone
4.23 | 273 ratings
CRAC !
Area
4.22 | 253 ratings
DISCESA AGL'INFERI D'UN GIOVANE AMANTE
Bacio Della Medusa, Il
4.22 | 248 ratings
L' ENIGMA DELLA VITA
Logos
4.20 | 279 ratings
LA CRUDELTÀ DI APRILE
Unreal City
4.18 | 221 ratings
PRINCIPE DI UN GIORNO
Celeste
4.15 | 239 ratings
CONTAMINAZIONE
Rovescio Della Medaglia, Il
4.26 | 132 ratings
RISVEGLIO
Egonon

Rock Progressivo Italiano overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Rock Progressivo Italiano experts team

TERRA IN BOCCA
Giganti, I
VIETATO AI MINORI DI 18 ANNI
Jumbo
ODISSEA
Odissea
IL PAESE DEI BALOCCHI
Paese dei Balocchi, Il

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Latest Rock Progressivo Italiano Music Reviews


 E Fu IL Sesto Giorno  by METAMORFOSI album cover Studio Album, 1972
2.95 | 44 ratings

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E Fu IL Sesto Giorno
Metamorfosi Rock Progressivo Italiano

Review by siLLy puPPy
Collaborator PSIKE Team

2 stars Back in 1972 the Italian prog rock scene was in full swing and the nation set itself apart from many other European by taking the most interest in the exploding prog rock style and also was one of the few nations that utilized their own language for lyrics. In addition to the bigwigs of PFM, Bnaco, Area and the Celeste type acts out there, there were a gazillion smaller acts that blossomed into an equal amount of directions making the Italian prog rock scene one of the most fruitful and diverse in Europe with countless bands forming, recording an album or two and then disappearing into obscurity.

METAMORFOSI was one of those lesser known bands that came from Rome and managed to pump out two releases before they would take a hiatus until their 2004 comeback "Paradiso" Better known for their second release "Inferno," their debut release E FU IL SESTO GIORNO (And It Was The Sixth Day) came out in the height of the RPI craze. The band formed way back in 1969 and was originally part of the late 60s beatnik scene before heading into the realms of progressive rock and on this debut album can be heard some of the remnants of their pop years which in all honesty makes this album a little tame in comparison to the other bands of the period.

What begins sounding like one of the Andean folk bands with those unique sounding flutes and even the style i was beginning to think that someone slipped a Los Jaivas album in my METAMORFOSI digipak, but lo and behold the lyrics come out Italian and it starts sounding like the pastoral symphonic prog the Italians were pumping out at breakneck speed in '72. Many of the bands prog elements are in play here. This is first and foremost a classically keyboard album focusing on the playing of Enrico Olivieri who delivers nice hooks and pleasing melodies accompanied by the operatic vocal approach of Jimmy Spitaleri. One of the things that separates METAMORFOSI from other bands is that the guitar parts were kept to a minimum and when the very few solos occur they are usually accompanied by the flute.

For an RPI album of 1972 this is pretty weak. At this point the band hadn't stepped too far beyond the 60s and the songs are very boring compared to the explosion of creativity all around them. What we get is simple song structures that never really develop into much of interest. The melodies are pretty straight forward and there are literally no surprises like on "Inferno." This one plays it way too safe and suffers from a serious lack of imagination. After coming to this one after "Inferno" i was way underwhelmed. While nothing on here is bad by any means, nothing is memorable either. This is Italian pop rock that has a just a bit of prog lite that leaves me unsatisfied. Luckily they would step it up big time for their followup.

 Ultreia (Canzoni Sulla Via - Atto 1) by RANDONE album cover Studio Album, 2014
4.01 | 27 ratings

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Ultreia (Canzoni Sulla Via - Atto 1)
Randone Rock Progressivo Italiano

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Italian project RANDONE is the creative vehicle of composer and musician Nicola Randone, and first appeared on the scene in 2002 with the album "Morte Di Un Amore". Since then Randone has been a stable and active creator of music, with one collection, a DVD and 6 studio albums released under this moniker to date. "Ultreia (Canzoni Sulla Via ? Atto 1)" is the most recent of the latter, and was released through Italian label Electromantic Music in 2014.

When dealing with Italian artists exploring progressive rock, you are bound to encounter the expression RPI at some point. This three letter expression is short for Rock Progressivo Italiano, and signifies that for at least some people, there is a marked difference between at least some progressive rock made in Italy and progressive rock made in other parts of the world. There has been calls for similar subsections in some progressive rock environments of course, but so far Italy stands alone as a nation in being given their very own subgenre in progressive rock, and one that only applies to some rather than all artists originating from that nation at that.

Those who are in favor of this specific description, and that has an understanding about what it signifies to them, should treasure this album by Randone, as it does fulfill most if not all of the criterias I have been quoted will make an artist or an album to be placed under this niche umbrella. Stylistic variety, clear and distinct references to vintage progressive rock and, most important of all, the use of the Italian language for the lead vocals.

This is an album that orients itself firmly towards keyboard driven progressive rock, where both the organ and the Mellotron are used liberally throughout, with splendid support from what mainly sounds like other vintage keyboards. Occasional jazz-oriented instrument details have their place here, and an even more frequent detail added to the proceedings are folk music, both by way of instrument details and vocals, but also with some key arrangements having a more firm folk-oriented direction. That there's space and room for dramatic, operatic type lead vocals here isn't all that surprising, and that occasional orchestral touches are added in is also a good and somewhat expected but still effective detail of note. That some beefy and occasional fiery electric guitar details are used liberally as well, up to and including some guitar solo runs with more of a shred style touch, is perhaps a bit more unexpected I guess. The use of what sounds like electronic instrument details, at times in a rather dominating manner, may be another detail that isn't as common on productions of this kind, but by and large they work well in this setting.

What may be a bit more detrimental, at least for those not fluent in the Italian language, is the cinematic nature of this album. A feature increasingly more dominant are interludes of spoken voices, in form coming across as sampled dialogue of the kind you'll find in movies where ordinary people are talking to themselves, to others or with others, with appropriate daily life sound effects. Not just at the start and end of songs, but also as interludes within the songs. I get a strong cinema movie feeling at times with this album, and as this is the first of what presumably is a series of albums, there is a concept explored here and a story being told that will remain hidden for those not fairly well versed in Italian I guess. Presumably this perhaps not so slight detail will be a strong positive for any Italian progressive rock fans, but as I am not fluent in that language myself I just have no way of knowing how well this is executed.

All in all I find "Ultreia (Canzoni Sulla Via ? Atto 1)" to be a well made and versatile production, in substance and style adhering fairly closely to my understanding of the elements needed for residing inside the progressive rock subgenre RPI. Besides those who have a specific interest in this subset of progressive rock, I would guess that symphonic progressive rock fans with a fairly versatile and liberal taste in music of that orientation might want to have a go at this one.

 Come Si Diventa Ciò Che Si Era by HOMUNCULUS RES album cover Studio Album, 2015
4.02 | 16 ratings

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Come Si Diventa Ciò Che Si Era
Homunculus Res Rock Progressivo Italiano

Review by DamoXt7942
Forum & Site Admin Group Moderator

4 stars A tremendous emotion given to me.

Listened to HOMUNCULUS RES' stuff for the first time, and enjoyed much. They have attractive variation of progressive rock essence fusioned with Canterbury / Jazz Rock, and in addition, seasoned with Italian easygoing temperature and a tad sensitive racial character ... such a musical appearance can sometimes sound ironic, and sometimes purely childish. Yes looks like they play completely what they want to do upon this album turf, and it's simple and natural for them and also the audience.

Wondering where would they like to go via this album "Come Si Diventa Ciò Che Si Era". No nervous touch nor strong persistence but somewhat their great enthusiasm to create "such a music pleasure" can be heard ... "Vesica Piscis", as if the title (in English "Independent Noises"?) musically designed, tells us what they would produce with noisy rock sound elements. They might convert noises via instruments into a cup of dramatic, sensational sound stew. They notify us this work be not difficult when the production might be done with much delight and sincerity.

And it's magical and attractive that we can receive such a complex melody line based upon multi-rhythmic origin as a natural music phenomenon. Via such an amazing fact, we can find this should be one of their emotional strategies. Even through a short track like "La Felicità" or "Egg Soup" their safe and sound presence of musical condition (but slightly distorted fantastically) can be heard. Some slimy stuffs remind us of jazzy Krautrock like Electrip (Xhol Caravan). On the other hand, the longest one "Ospedale Civico" (Civic Hospital) can be felt as a Soft Machine-ary crooked, mobbed sound treasure seasoned with Italian words and tempos peculiar to RPI. Let me say their soundscape is such a lunatic (in a fine sense) (why can a civic hospital sound psychic, btw?).

No complicated or tortuous opinion needed. Taking a listen to this album above all, let me say, and we can feel as though our musical field of vision should expand forward in addition to Rock Progressivo Italiano or Canterbury Scene without any doubt. An amazing stuff really.

 Chocolate Kings  by PREMIATA FORNERIA MARCONI (PFM) album cover Studio Album, 1975
3.95 | 374 ratings

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Chocolate Kings
Premiata Forneria Marconi (PFM) Rock Progressivo Italiano

Review by Groucho Barks

5 stars Ok, context: One wonderful summer, when I was young enough to do daft things like this, I spent with the perfect hippie chick and this was the soundtrack to those late night chats and drinking black coffee while watching the sun rise type interludes. So yes there may be a bias here but surely most music evokes a time and a place and people..... Anyhow, mumble, mumble years on, how does Chocolate Kings stand up? It was their first album as a 6 piece and featured the new vocals of Bernado Lanzetti...who was fluent in English...and this shows in comparison to the vocals on earlier albums (those versions sung in English). Also, as my intro to PFM then this was the touchstone and, as much as I like earlier output (discovered later), they don't work for me as the vocals are weak. Kings just transports me back but actually sounds astonishingly fresh, again listening to any 1975 prog as comparison. Actually that is my first problem here. Who to compare to? This has become so much my template that I usually compare others to PFM/Chocolate Kings! Ok, being on ELP's Manticore label then it is churlish not to mention them in passing....but this is not a keys heavy drum driven thing....PFM always had the light and shade balance of multi instruments. Yes it does have some real kick ass sections, the opening track 'From Under' as one example but they can segue seamlessly into gorgeous acoustic passages as in 'Harlequin'. The electric violin that appears throughout makes Curved Air (for one) sound rather limited and PFM used it as 'part of' rather than bolt on or 'lead' even allowing for its prominence in 'Out On The Roundabout'...so perhaps Jean- Luc Ponty has to be mentioned in passing.....without the fusion! The title track is the most 'commercial', perhaps looking for the 'Celebration' groove again. Everything bears the hallmarks of superb musician ship and the interplay between them, especially on the mirrored lines in 'Roundabout', is breathtakingly dexterous. No song has anything other than balanced dynamics and the longer 4 tracks make 7 plus minutes feel short, although they do perhaps allow 'Paper Charms' to over stay its suspended keyboard chord atmospherics welcome...for all the flute/sounding distractions...and it never quite breaks out in as smooth a way as previous tracks. But it does have a great Genesis type rolling hook once it gets in to stride. So being objective, how does the listening go, without the summer and previously mentioned person as accompaniment? It goes damned well and I had been guilty of seeing the album as the background when in fact it should have been the foreground! This is as good as it gets in a 4 000 album collection....although I would add an extra star if I could for Lady Stef...where ever she may be! Perfection!
 Come Si Diventa Ciò Che Si Era by HOMUNCULUS RES album cover Studio Album, 2015
4.02 | 16 ratings

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Come Si Diventa Ciò Che Si Era
Homunculus Res Rock Progressivo Italiano

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. I'm a huge fan of this band having given 4.5 stars for their debut as well. This is very much Italian Canterbury with plenty of humour and distorted keyboards. This time they include an almost 18 minute epic and we get a special guest in THE MUFFINS Dave Newhouse offering up a variety of saxes as well as bass clarinet all on two tracks. Udi Koomran mastered this recording so it sounds amazing.

"Operazione Simpatia" is the bright and upbeat opener with the drums and keys standing out although we also get English horn and aboe chipping in as well. I love the distorted keyboards ala CARAVAN after a minute. "Doppiofondo Del Burile" features vocals for the first time on this disc and there's such a feel-good sound to the opening instrumental. After the vocals stop we get another excellent instrumental section. Love this stuff. Distorted keys before 2 1/2 minutes. "Vesica Piscis" has an upbeat start as the vocals join in. This is catchy and warm. Some laughter follows and we get lots of intricate sounds when the vocals stop. It's all so interesting. A change 3 1/2 minutes in as we get more of a determined rhythm with background synths and more. Sax 5 minutes in as the driving rhythm continues almost to the end of the song. "Dogface Reprise" has these vocal melodies that bring Wyatt to mind before the vocals kick in before a minute. "Opodeldoc" has a relaxed sound of keys, drums and sax but it does get fuller before another calm arrives before 2 minutes. It's building again and I adore the distorted keys before 4 minutes. "La Felicita" is light and whimsical with vocals, glockenspiel, mellotron and synths.

"Ottaedro" opens with fuzzed out keys and bass. Man this sounds amazing! A calm after 2 minutes with bass and floating organ. "Egg Soup" is less than a minute long and man I'm reminded of WIGWAM here with the piano and other sounds. "Belacqua" and the next track feature Dave Newhouse on horns. This one is laid back to start but it picks up quickly. It's the keys/ drums show 1 1/2 minutes in before it turns pastoral late to end it. "Ospedale Civico" is the epic and it's catchy early on with vocals. Love the Wyatt-like vocals 1 1/2 minutes in. Newhouse offers up a variety of saxes as well as bass clarinet. An experimental calm 7 minutes in but then it turns fuller before 8 minutes as the tempo and mood continue to shift. "Dogface" is a breezy tune with vocals, bass and synths standing out. It becomes more passionate late. "S Invertita" is less than a minute of synths, bass and keys mostly. "Paum/" is interesting when the vocal melodies arrive because they remind me of the Gilmore Girls. "Schermaglie" ends the album and it's led by alto sax and drums.

Another winner for these Italians and I think this one is slightly better than the debut. Talk about a feel good listen. For Canterbury fans.

 Storia o leggenda by ORME, LE album cover Studio Album, 1977
3.50 | 108 ratings

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Storia o leggenda
Le Orme Rock Progressivo Italiano

Review by Neu!mann
Prog Reviewer

4 stars The last album released by Le Orme in their Progressive Rock heyday is, despite its fairly modest score in these Archives, one of the highlights of their Golden Age discography. The music was gentler than the keyboard-heavy workouts of earlier albums, and more obviously song-driven. But the songs themselves are some of the warmest and richest in the greater Orme catalogue, and no less affecting for being so economical, with every track falling neatly into a radio-friendly four to five minute range.

It's also arguably the band's most well-rounded and balanced effort since becoming a quartet: more classic GENESIS than classical ELP, although both are lazy comparisons. Le Orme always had its own voice, regardless of the influence: lyrical, romantic, and genuinely emotional, as only the best Progressive Rock can be, especially in Italy during the mid-1970s.

The striking cover illustration by Walter Mac Mazzieri pays tribute to his own artwork for one of Le Orme's best-loved albums ("Uomo di Pezza', 1972), but the newer LP was never meant as a re-tread. The band instead took the simpler musical arrangements of "Smogmagica" and "Verità Nascoste", and gilded them with a delicate magic, leading even the unlikely ersatz-reggae verses of "Tenerci per Mano" toward a soaring RPI chorus.

I shouldn't have to remind regular visitors to these pages that a softer, more accessible Prog album doesn't indicate an immediate sell-out. The music here might be easier on the ears, but from start to finish it's pure Rock Progressivo Italiano, beautifully written and performed. And the album closes with a real humdinger, in the aggressive throwback instrumental "Al Mercato della Pulci" (The Flea Market), in retrospect four of the strongest minutes in Le Orme's later history. It's hard to imagine a more dynamic or appropriate ending, to the album and to the era itself.

 1984 - L'Ultimo Uomo d'Europa by FABBRICA DELL'ASSOLUTO, LA album cover Studio Album, 2015
4.29 | 51 ratings

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1984 - L'Ultimo Uomo d'Europa
La Fabbrica dell'Assoluto Rock Progressivo Italiano

Review by Olape

5 stars La Fabbrica Dell'Assoluto / 1984-L'ultimo uomo d'Europa (2015)

The contemporary italian prog rock scene is very interesting and has given us several masterpieces in recent time. La Fabbrica Dell'Assoluto offers other gem to RPI lovers, one of the highlights of the past year.

Like other reviewers said, the musicians are awesome, we got heavy guitars, thrilling vocals, calmer keyboard dominated parts and everything comes together in a great musical trip.

For me, this album is in the same league as Il Rovescio Della Medaglia's "Contaminazione", Museo Rosenbach's "Zarathustra" or Metamorfosi's "Inferno", due to the development of a concept and the different moods that provokes in the listener. If you like these, don't let it pass!

Five big stars.

 1984 - L'Ultimo Uomo d'Europa by FABBRICA DELL'ASSOLUTO, LA album cover Studio Album, 2015
4.29 | 51 ratings

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1984 - L'Ultimo Uomo d'Europa
La Fabbrica dell'Assoluto Rock Progressivo Italiano

Review by Mellotron Storm
Prog Reviewer

5 stars Until I heard this debut from LA FABBRICA DELL'ASSOLUTO I can honestly say I've never heard a band that sounded anything like IL BALETTO DI BRONZO. Yes this is a huge compliment and I also thought of ELP and NUOVA ERA thanks to those filthy organ expressions on here. This is a concept album based on George Orwell's classic book but it's all lost on me since I don't know Italian.

"I Due Minuti Dell'odio" opens with some powerful atmosphere before sampled words and sounds take over. When the music kicks in around a minute it's so impressive, especially the organ. Amazing sound after 2 minutes, it's like I'm in heaven. "4 Aprile 1984" is where we hear the vocals for the first time and they are very good to say the least in the Italian tradition. The organ creates atmosphere but then it all becomes more passionate including the vocals and it's so emotional. Synths cry out followed by guitar. "Chi Controlla Il Passato..." opens with some heavy guitar as the vocals kick in with power. The guitar counters the synths which sounds cool then the vocals return as themes are repeated.

"O'Brien" has a powerful intro with crazy synths as the vocals cry out. A calm follows as we get a powerful atmosphere that vibrates the soundscape as fragile vocals join in. It picks up then we get some sampled words late. "Bispensiero" is dark with liquid keys sprinkled in along with experimental sounds. Man this is like classic Krautrock, very "out there" if you know what I mean. The guitar comes in before 2 1/2 minutes and fires off some rounds as whispered vocals come and go. What a song! "La Ballata Dei Prolet" has a lot of tension throughout with strong vocals and prominent organ. "L'occhio Del Teleschermo" features some killer pulsating organ as the guitar and drums try to keep pace. Vocals join in. Great sound!

"Giulia" has lots of floating organ on it. "Lo Sguardo Nel Quadro" has fast paced organ expressions and drums as the vocals join in briefly. "Processo Di Omologazione" is by the far the longest track at around 12 1/2 minutes. Heavy guitar to start as drums and bass join in. Nice. A bass solo follows then some organ runs followed by passionate vocals. More filthy organ runs before 3 minutes with vocals, guitar and more. Check out the synths after 3 1/2 minutes. Great sound before 5 1/2 minutes as well. Another calm before 7 minutes which is a beautiful section then it kicks back in around 8 1/2 minutes briefly before turning pastoral again as contrasts continue. Big finish.

"La Stanza 101" opens with floating organ and I love the liquid keys with drums that follow. Reserved vocals are next and they turn more passionate after 2 1/2 minutes. It picks back up 4 1/2 minutes in. "La Canzone Del Castagno" features guest vocals from the singer for IL ROVESCIO DELLA MEDAGLIA. It opens with acoustic guitars then picks up some as the organ and drums join in and more. The fragile vocals 1 1/2 minutes in quickly turn theatrical as these contrasts continue. So much emotion. "Amava Il Grande Fratello" like the opening track has sampled words and sounds followed by orchestral music then spoken words. We then get a long silence until the piano arrives 5 minutes in to the end.

What more can I say? This is my favourite RPI album of 2015 hands down and of course it will be on my "album of the year" list.

 Odissea by RES GESTA album cover Studio Album, 2015
4.95 | 3 ratings

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Odissea
Res Gesta Rock Progressivo Italiano

Review by andrea
Prog Reviewer

5 stars Res Gesta come from San Giovanni in Persiceto, a small town in the province of Bologna and have been around for more than thirty years as a cover band, trying to give new life to old seventies progressive rock pieces. In 2015 they finally self released a debut album of original compositions with a line up featuring Enea Vezzali (drums), Luigi Cerasuolo (bass), Cesare Cavalli (guitar), Simone Muzzi (keyboards) and Roberto Bergamini (vocals). The album is entitled Odissea and is a conceptual one, a sparkling rock opera with more than 73 minutes of good music and strong melodies. Years of hard work have resulted in a very mature sound and although you can hear on this album some influences from the past the band managed to add their own ideas and personality with excellent results. As you can guess, the story-line was inspired by the Odyssey but the band interpreted it in a very personal way trying to link Homer's immortal poetry to our contemporary society...

The beautiful, long opener "Overture" starts softly with an instrumental section for piano that could recall Goblin, then the rhythm takes off. In the night you're welcomed on board of a mysterious ship that is setting off on a journey across a raging sea, towards unknown lands where you will find war, ambiguities, unreality and ferocious ogres to deceive. You are troubled by your own fragility and you feel lost, you don't know what are you looking for... Who can save you?

The disquieting "Guerra" (War) is a metaphor of all the wars in human history. It begins by the sound of distant hooters and obsessive bass lines, then recitative vocals evoke the image of a powerful army debarking on a beach from their battle ships under a gray asphalt sky, the rhythm rises... You can see the heroes ready to conquer and defeat their enemy: there's no room for agreements, any mediation is out of question and all the dreams of peace have to be closed in a box, put away and hidden in a remote part of the mind, because war is more remunerative than peace and money is the only real God. From the ancient walls of Troy to the Twin Towers, billions of people have been walking through the flames of an eternal hell between blood and treason, damned forever in the name of their God!

"Il giorno dopo" (The day after) is a dreamy, acoustic ballad filled with emotion and melody that comes like the calm after the storm. The day after the final battle there is still fire on the ruins of the conquered city. The night of tragedy and death is over and all stands still in this morning without heroes, there's no crowd in the streets and you feel stranded and broken inside. Now the fire is behind you and you have to wake up and set off on another journey. In front of you there are sleepless night filled with the desperate voices of your memories but you have no time to waste, you have to go on following a new route towards the horizon, to reach what you can't reach, to see what you can't see, to feel what you can't feel...

The following "Lotofagi" (Lotus-eaters) begins by an exotic percussion pattern and features a strange, mysterious atmosphere. The rhythm is slow, inebriated by the sacred flowers of the Gods you're floating among the clouds of an unreal sky, lost in a kind of artificial psychedelic peace that shines like a light into oblivion... Then the rhythm rises while soaring vocals wake you up from your seep cutting like a knife the curtain of illusion that makes you blind. Now you're back on your route across the see...

"Ciclope" (Cyclops) is a long, complex track that deals with a terrible, murderous danger that you can meet during your peregrinations. In Greek mythology a cyclops was a member of a primordial race of men-eaters giants, each with a single eye in the middle of his forehead. Polyphemus was the name of the one Odysseus met during his mythical journey but here the lyrics use the cyclops just as a metaphor to warn you about the cynicism of media and trash TV. It's described as a dangerous eye that can judge and condemn, it can destroy everything, tame people and make a man special... A wild modern monster that in some way is depicted on the album cover as well!

"Circe" is a lively, sarcastic track where the voice of Roberto Bergamini reminds me more than ever of Francesco Di Giacomo from Banco del Mutuo Soccorso. In Greek mythology Circe is a goddess of magic (or sometimes a nymph, witch, enchantress or sorceress) but here she's depicted just as a hard-headed, wise woman who fights for her peace and her moral values. She's not a witch nor a supernatural creature, she's not more wicked than a powerful king can be or than a greedy, egoist business man in our sad contemporary reality where there's no pity for the losers. All in all, if she has transformed some people into swines it's just because so they are the mirror of clergymen and merciless butchers...

"Sirene" (Sirens) is beautiful, evocative track with a Gothic atmosphere and a suggestive sense of mystery. No need for lyrics here, just the female vocals a cappella of the guests from the Macramé choir, Michela Pedrini, Serena Pecoraro and Elisabetta Dell'Argine, who weave seducing harmonies leading to the following "Calipso", a long, romantic piece describing the moment of Odysseus departure from his golden captivity in the island of the nymph Calypso. Well, it's a nice way to describe the end of an intense, complicated relationship with strong melodies, a pinch of blues and a beautiful instrumental coda that could recall a wonderful springtime song...

On "Déjà vu" the rhythm rises again, the mood is dark while aggressive electric guitar riffs are intertwined with raging keyboards waves. The lyrics describe the feelings of a man who seems to have lost his identity, the borders between reality and unreality are blurred by infinite waves and new horizons. Lost memories dance in sleepless nights... Is it magic or madness?

The dreamy, poetical "Eolo" (Aeolus) and "Overture (Reprise)" end the album leading you to a new awareness. You're riding on the wind, flying high in the silence, breathing the intensity of a moment that no one can tell. Well, your journey was nothing but a dream, now the dark night is just a distant memory and you are walking in the present, maker of you own destiny in a world that conjures up strange shadows and illusions that after a while are thrown away... You're playing a big game and now you know where the wind's blowing: get the chance and set off on another journey, pace after pace!

On the whole, I enjoyed very much this album and I'm sure that Italian prog lovers will appreciate it as well. Contact the band to get the CD...

 1984 - L'Ultimo Uomo d'Europa by FABBRICA DELL'ASSOLUTO, LA album cover Studio Album, 2015
4.29 | 51 ratings

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1984 - L'Ultimo Uomo d'Europa
La Fabbrica dell'Assoluto Rock Progressivo Italiano

Review by Progfan97402

4 stars La Fabbrica Dell'Assoluto is another new Italian band (actually they formed in 2007, but only released their debut in 2015) that is nothing short of amazing. Heavy Italian prog in the vein of ELP, RDM, Metamorfosi, Museo Rosenbach, Biglietto per L'Inferno, in that ballpark, meaning you'll love this if you're a fan of said groups. This is another one of those albums inspired by George Orwell, but sung in Italian, so as a non-speaker of the language, I'm not sure what they're on about, but even if you don't know Italian, you still get a clue if you're familiar with Orwell. This album is full of great analog keys like Hammond organ, Mini Moog (original, not the Voyager), Davoli synth, and Logan String Melody, with Clavia Nord Stage 2 for the piano and Mellotron parts. Then you get plenty of great guitar passages, as well as Pino Ballarini of RDM making an appearance here (he and the band even did some material off Contaminazione live). I noticed one passage that sounded like it was taken right off Le Orme's Collage. There are some spacy experimental passages, but by and large this is heavy Italian prog, and great stuff to boot. I can't believe what Black Widow Records have been offering of recent. They appear to be on the forefront of an Italian prog renaissance (another great example: Ingranaggi Della Valle's In Hoc Sogno) and La Fabbrica Dell'Assoluto is another great example that comes highly recommended!
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Rock Progressivo Italiano bands/artists list

Bands/Artists Country
A PIEDI NUDI Italy
ABISSI INFINITI Italy
ABSENTHIA Italy
ACQUA FRAGILE Italy
AD MAIORA Italy
ADHARMA Italy
AINUR Italy
AKRON Italy
L' ALBERO DEL VELENO Italy
ALGEBRA Italy
ALESSANDRO ALISCIONI Italy
ALLEGRI LEPROTTI Italy
GLI ALLUMINOGENI Italy
ALPHATAURUS Italy
ALTARE THOTEMICO Italy
ALUSA FALLAX Italy
AMMINISTRAZIONE CAOS POPOLARE Italy
ANACONDIA Italy
ANCESTRY Italy
THE ANCIENT VEIL Italy
ANTONIUS REX Italy
GLI APOSTHOLI Italy
APOTEOSI Italy
APRYL Italy
ARCHITRAVE INDIPENDENTE Italy
AREA Italy
ARIES Italy
ARJUNA Italy
ARMONITE Italy
ARPIA Italy
ARS NOVA (ITA) Italy
ASSEMBLEA MUSICALE TEATRALE Italy
ASSENZIO Italy
ASTROLABIO / ELETTROSMOG Italy
ATON'S Italy
ATTO IV Italy
AUDIO Italy
AURORA LUNARE Italy
AVALON LEGEND Italy
IL BABAU & I MALEDETTI CRETINI Italy
SOPHYA BACCINI Italy
IL BACIO DELLA MEDUSA Italy
THE BADGE Italy
BALLETTIROSADIMACCHIA Italy
IL BALLETTO DI BRONZO Italy
IL BALLO DELLE CASTAGNE Italy
THE BALMUNG Italy
LA BAMBIBANDA E MELODIE Italy
BANCO DEL MUTUO SOCCORSO Italy
BARABBA Italy
MARIO BARBAJA Italy
BAROQUE Italy
BARROCK Italy
LUCIANO BASSO Italy
FRANCO BATTIATO Italy
PIERPAOLO BIBBO Italy
BIGLIETTO PER L'INFERNO Italy
BLOCCO MENTALE Italy
BONDAGE Italy
BORNIDOL Italy
LA BOTTEGA DELL'ARTE Italy
BRAEN'S MACHINE Italy
BRAINDEAD Italy
ANGELO BRANDUARDI Italy
BRIGHT HORIZON Italy
BUON VECCHIO CHARLIE Italy
CAGE Italy
I CALIFFI Italy
CALLIOPE Italy
CAMERA ASTRALIS Italy
JURI CAMISASCA Italy
CAMPO DI MARTE Italy
CANTINA SOCIALE Italy
CAPITOLO 6 Italy
CAPRICORN COLLEGE Italy
CAPSICUM RED Italy
ENZO CAPUANO Italy
IL CASTELLO DELLE UOVA Italy
IL CASTELLO DI ATLANTE Italy
CAVALLI COCCHI LANZETTI ROVERSI Italy
CELESTE Italy
IL CERCHIO D'ORO Italy
CERVELLO Italy
CHERRY FIVE Italy
CHIAVE DI VOLTA Italy
LUCIANO CILIO Italy
CIRCLE OF FAIRIES Italy
CITTÀ FRONTALE Italy
CIVICO 23 Italy
CLEPSYDRA Italy
I COCAI Italy
ROBERTO COLOMBO Italy
CONDOR Italy
CONQUEROR Italy
CONSORZIO ACQUA POTABILE Italy
CONTRAPPUNTO Italy
CONTROTEMPO Italy
COOPERATIVA DEL LATTE Italy
CORAL CAVES Italy
CORMORANO Italy
EMANUELE CORREANI Italy
CORTE AULICA Italy
CORTE DEI MIRACOLI Italy
LA COSCIENZA DI ZENO Italy
MARIO COTTARELLI Italy
COURT Italy
CRYSTALS Italy
LA CURVA DI LESMO Italy
GINO D'ELISO Italy
GIANNI D'ERRICO Italy
DALLAGLIO Italy
DALTON Italy
DE DE LIND Italy
DELIRIUM Italy
MAURIZIO DI TOLLO Italy
I DIK DIK Italy
DISTILLERIE DI MALTO Italy
DIVAE Italy
DUEMILA12 Italy
ECLISSE Italy
EDERA Italy
EDGAR ALLAN POE Italy
EGO Italy
EGONON Italy
EMPIRE Italy
ENEIDE Italy
ENIMA Italy
ENTITY Italy
EQUIPE 84 Italy
ERA DI ACQUARIO Italy
ERIS PLUVIA Italy
ERRATA CORRIGE Italy
L' ESTATE DI SAN MARTINO Italy
EUTHYMIA Italy
EXPLOIT Italy
LA FABBRICA DELL'ASSOLUTO Italy
FABIO CELI E GLI INFERMIERI Italy
FALENA Italy
FEM PROG BAND Italy
FESTA MOBILE Italy
FILARMONICA MUNICIPALE LACRISI Italy
FILORITMIA Italy
FINISTERRE Italy
FLEA Italy
FLOATING STATE Italy
RICCARDO FOGLI Italy
FOGLIE DI VETRO Italy
FORMULA 3 Italy
FABIO FRIZZI Italy
CLAUDIO FUCCI Italy
GARYBALDI Italy
GENCO PURO & CO. Italy
GENFUOCO Italy
GERMINALE Italy
FRANCO MARIA GIANNINI Italy
GIARDINI D'AUTUNNO Italy
GIARDINO DELLE DELIZIE Italy
I GIGANTI Italy
GIGI PASCAL E LA POP COMPAGNIA MECCANICA Italy
IL GIRO STRANO Italy
GLEEMEN Italy
GOBLIN Italy
GOBLIN REBIRTH Italy
GRAN TURISMO VELOCE Italy
GREENWALL Italy
GRIMALKIN Italy
GRUPPO 2001 Italy
GUERCIA Italy
H2O Italy
HOMUNCULUS RES Italy
HOPO Italy
HORUS Italy
HOSTSONATEN Italy
HUNKA MUNKA Italy
IANVA Italy
IBIS Italy
IL FAUNO DI MARMO / THE REBUS Italy
INGRANAGGI DELLA VALLE Italy
J.E.T. Italy
JACULA Italy
JANUS Italy
JESTER'S JOKE Italy
JET LAG Italy
JUMBO Italy
KALISANTROPE Italy
KUNDALINI SHAKTI DEVI Italy
LABIRINTO DI SPECCHI Italy
LAGARTIJA Italy
LAPERA Italy
LASER Italy
LATTE E MIELE Italy
LUCIANO LAURINI Italy
LEO NERO Italy
I LEONI Italy
LETHE Italy
LIBRA Italy
LINEATEORICA Italy
LOCANDA DELLE FATE Italy
EMILIO LOCURCIO Italy
LOCUS AMOENUS Italy
LOGOS Italy
LOST TALES Italy
LOTHLORIEN Italy
MACROSCREAM Italy
MAD CRAYON Italy
MAD FELLAZ Italy
MADRUGADA Italy
MAGNOLIA Italy
MALAAVIA Italy
MALIBRAN Italy
MALLEUS Italy
MANGALA VALLIS Italy
LE MANI Italy
MARCHESI SCAMORZA Italy
LA MASCHERA DI CERA Italy
MAURY E I PRONOMI / AQUAEL Italy
MAXOPHONE Italy
MEDITERRANEA Italy
MELLONTA TAUTA Italy
MESSAGGIO 73 Italy
METAMORFOSI Italy
MINDFLOWER Italy
MINSTREL Italy
MIRAGE Italy
MO.DO. Italy
MÖBIUS PROJECT Italy
LORENZO MONNI Italy
MONTEFELTRO Italy
MOSAICO Italy
IL MUCCHIO Italy
MURPLE Italy
MUSEO ROSENBACH Italy
FRANCO MUSSIDA Italy
MYROS Italy
LA N.A.V.E. Italy
NARROW PASS Italy
NASCITA DELLA SFERA Italy
NEW TROLLS Italy
NEW TROLLS ATOMIC SYSTEM Italy
NICOSIA & C. INDUSTRIA MUSICALE Italy
NODO GORDIANO Italy
NOTABENE Italy
I NUMI Italy
NUOVA ERA Italy
NUOVA IDEA Italy
OBSCURA Italy
THE ODEJA Italy
ODISSEA Italy
OFFICINA MECCANICA Italy
L' OMBRA DELLA SERA Italy
OMBRALUCE Italy
LE ORME Italy
ORNITHOS Italy
OSAGE TRIBE Italy
OSANNA Italy
IL PAESE DEI BALOCCHI Italy
MAURO PAGANI Italy
PANDORA Italy
PANE Italy
PANGEA Italy
PANNA FREDDA Italy
MARIO PANSERI Italy
PARADISO A BASSO PREZZO Italy
MAURO PELOSI Italy
I PENNELLI DI VERMEER Italy
LA PENTOLA DI PAPIN Italy
PERDIO Italy
PERIFERIA DEL MONDO Italy
PERSIMFANS Italy
PHAEDRA Italy
PHOLAS DACTYLUS Italy
GIAN PIERETTI Italy
PIERO E I COTTONFIELDS Italy
PIERO EZIO E TINO Italy
PLANETARIUM Italy
PLENILUNIO Italy
PLURIMA MUNDI Italy
LE PORTE NON APERTE Italy
PREGHIERA DI SASSO Italy
PREMIATA FORNERIA MARCONI (PFM) Italy
PRESENCE Italy
PROCESSION Italy
PROGENESI Italy
PROPHEXY Italy
PROWLERS Italy
PSYCHO PRAXIS Italy
QIRSH Italy
QUARTO VUOTO Italy
QUASAR LUX SYMPHONIAE Italy
QUEL GIORNO DI UVE ROSSE Italy
QUELLA VECCHIA LOCANDA Italy
RACCOMANDATA RICEVUTA RITORNO Italy
I RAMINGHI Italy
RANDONE Italy
RANESTRANE Italy
REALE ACCADEMIA DI MUSICA Italy
RES GESTA Italy
RICORDI D'INFANZIA Italy
CLAUDIO ROCCHI Italy
ROCKY'S FILJ Italy
IL ROVESCIO DELLA MEDAGLIA Italy
IL RUMORE BIANCO Italy
IL RUSCELLO Italy
RUSTICHELLI & BORDINI Italy
SACKA Italy
SALIS Italy
SAMADHI Italy
SAMSARA Italy
TITO JR. SCHIPA Italy
LA SECONDA GENESI Italy
SECRET TALES Italy
IL SEGNO DEL COMANDO Italy
SELDON Italy
SEMIRAMIS Italy
LE SENSAZIONI Italy
SENSITIVA IMMAGINE Italy
SENZA NOME Italy
SEZIONE FRENANTE Italy
SHOWMEN 2 Italy
PAOLO SIANI & FRIENDS FEAT. NUOVA IDEA Italy
SIDE C Italy
IL SISTEMA Italy
SITHONIA Italy
SLOGANS Italy
LA SORGENTE Italy
ALAN SORRENTI Italy
ST.-TROPEZ Italy
LE STELLE DI MARIO SCHIFANO Italy
STRANAFONIA Italy
DEMETRIO STRATOS Italy
SUBMARINE SILENCE Italy
SUNSCAPE Italy
SYNDÉRESI Italy
SYNDONE Italy
TACITA INTESA Italy
TAPROBAN Italy
IL TEMPIO DELLE CLESSIDRE Italy
TENEBRAE Italy
I TEOREMI Italy
STEFANO TESTA Italy
THEGENERATION Italy
THREE MONKS Italy
TILION Italy
TOTO TORQUATI Italy
LA TORRE DELL ALCHIMISTA Italy
TRIADE Italy
THE TRIP Italy
IL TRONO DEI RICORDI Italy
TUGS Italy
UBI MAIOR Italy
ULTIMA SPIAGGIA Italy
UNA VOLTA ERAVAMO IN SETTE Italy
UNO Italy
UNREAL CITY Italy
L' UOVO DI COLOMBO Italy
VEDDA TRIBE Italy
VIEUX CARRE Italy
VITTORIO DE SCALZI - LA STORIA DEI NEW TROLLS Italy
IL VOLO DI ICARO Italy
IL VOLO Italy
VUOTI A RENDERE Italy
RICCARDO ZAPPA Italy
ZAUM Italy

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