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ROCK PROGRESSIVO ITALIANO

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

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)
rdtprog (Louis)




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

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.synphonicmusic.com
Doug Larson (USA) - http://www.douglarsonimports.com
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/
Discogs - www.discogs.com

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

4.40 | 1486 ratings
PER UN AMICO
Premiata Forneria Marconi (PFM)
4.36 | 1184 ratings
STORIA DI UN MINUTO
Premiata Forneria Marconi (PFM)
4.37 | 1001 ratings
DARWIN!
Banco Del Mutuo Soccorso
4.37 | 928 ratings
IO SONO NATO LIBERO
Banco Del Mutuo Soccorso
4.29 | 753 ratings
ZARATHUSTRA
Museo Rosenbach
4.29 | 771 ratings
BANCO DEL MUTUO SOCCORSO
Banco Del Mutuo Soccorso
4.26 | 572 ratings
ARBEIT MACHT FREI
Area
4.23 | 823 ratings
FELONA E SORONA
Orme, Le
4.23 | 758 ratings
L'ISOLA DI NIENTE
Premiata Forneria Marconi (PFM)
4.23 | 505 ratings
YS
Balletto di Bronzo, Il
4.22 | 609 ratings
UOMO DI PEZZA
Orme, Le
4.25 | 398 ratings
MAXOPHONE
Maxophone
4.24 | 354 ratings
PALEPOLI
Osanna
4.25 | 313 ratings
CRAC !
Area
4.22 | 280 ratings
DISCESA AGL'INFERI D'UN GIOVANE AMANTE
Bacio Della Medusa, Il
4.20 | 291 ratings
L' ENIGMA DELLA VITA
Logos
4.17 | 280 ratings
CONTAMINAZIONE
Rovescio Della Medaglia, Il
4.18 | 247 ratings
CELESTE [AKA: PRINCIPE DI UN GIORNO]
Celeste
4.14 | 335 ratings
LA CRUDELTÀ DI APRILE
Unreal City
4.21 | 179 ratings
MELOS
Cervello

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

RICORDI?
Lagartija
LA FOLLIA DEL MIMO DI FUOCO
Officina Meccanica
VIETATO AI MINORI DI 18 ANNI ?
Jumbo
UNA VITA UNA BALENA BIANCA E ALTRE COSE
Testa, Stefano

Latest Rock Progressivo Italiano Music Reviews


 A New Day by NARROW PASS album cover Studio Album, 2014
3.61 | 18 ratings

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A New Day
Narrow Pass Rock Progressivo Italiano

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars At times erroneously depicted as an offshoot of ERIS PLUVIA, NARROW PASS was formed in the 1980s by Mauro Montobbio and does count several original members of that band, who now form the ANCIENT VEIL, within their ranks. On "A New Day", Alessandro Serri sings and plays an assortment of instruments, while Edmondo Romano contributes a selection of winds. Balancing female vocals are offered by Anna Marra. But the marquee here is illuminated by JOHN HACKETT, whose flutes grace half the tracks. Given this admixture , it's no surprise that "A New Day" is instantly recognizable as another NARROW PASS production, commensurate with a more soothing GENESIS, CAMEL, or PFM, as well as the aforementioned groups. The focus is on soothing melody and texture, with occasional brief soloing. One track, "Metamorphosis", is harder rocking but remains nonetheless within the breadth of the group. Vocals as before are in English in contrast to most RPI, recounting a science fiction tale so elaborate that the full narrative must be included separate from the lyric sheet. That said, it makes for lovely packaging.

While a uniformly pleasant listen, "A New Day" retains most of the qualities that made prior releases good but not especially memorable. In spite of the skilled work of all parties involved, I find few if any "wow" moments let alone passages, and don't consider the attempts to connect the pieces thematically to be particularly successful. I almost feel guilty for saying this, best laid plans and all, but this new day is a lot like the old one, which makes it seem just a tad longer.

 Quella Vecchia Locanda by QUELLA VECCHIA LOCANDA album cover Studio Album, 1972
4.12 | 287 ratings

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Quella Vecchia Locanda
Quella Vecchia Locanda Rock Progressivo Italiano

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

5 stars QUELLA VECCHIA LOCANDA has so much more of a beautiful ring to the ears than the rather plain sounding English translation 'This Old Inn' which found this band from Rome carrying on the Italian progressive rock tradition of taking on a cutesy band name in the same style as Premiata Forneria Marconi (Award-winning Marconi Bakery) and Banco del Mutuo Soccorso (Bank of Mutual Relief). This quintet formed in 1970 and enjoyed a rather vigorous live setting that helped them become one of the more remembered Italian prog rock bands of the heyday in the early 70s. Their eponymously titled debut emerged in 1972 after a rather pop-oriented beginning which while almost completely faded into history left traces only lingering about on a various artists compilation titled 'Progressive Voyage' (The track is titled 'Io ti amo' or in English 'I love you.' While they would hone their prog rock chops in no time and be ready for the big time, there's no doubt that the pop aspects of this band carried over to their proggier side and allowed them to dish out some of the more melodic flow of compositions in the Italian prog rock scene.

QUELLA VECCHIA LOCANDA only released two albums in their short career with this one being released on the Help label and then finally getting picked up by RCA for their second album 'Il Tempo Della Gioia.' While they only released two albums, both are quite distinct in their style despite both firmly placed in the category of classically infused rock with folk and jazzy touches. This debut album lacks the production prowess of the second album but for my ears is the more interesting album of the two as it unleashes a powerful youthful exuberance and enthusiasm that 'Il Tempo Della Gioia' lacks as they began to slip into a comfort zone but a very beautiful one i must add. The band's main leaders were lead singer and flautist Giorgio Giorgi, guitarist and clarinetist Raimondo Maria Cocco, keyboardist Massimo Roselli and percussionist Patrick Traina who all played together in the earlier pop rock phases of the band but for their more adventurous prog years added Donald Lax to dazzle with his violin skills that added a unique gypsy swing and Paganini element to the band's overall sound that set them apart from many of the purely symphonic rock contemporaries of the day.

'Prologo' bursts onto the scene with a scorching duo between the violin and piano with the guitar bursting in and finally the drums and as the intro cedes into the more symphonic leaning rock segments, the instruments all go crazy on each other. Lax plays both acoustic and electric violins and sometimes delivers frenetic assaults reminiscent of the Mahavishnu Orchestra and at times reminding of the folkier side of the prog rock scene from such bands like Comus or Spirogyra. While not unique to QUELLA VECCHIA LOCANDA, the band mastered the dynamics shifting of soft sensual classical piano oriented pastoral segments with the heavy guitar laden rock sections that allowed Roselli to unleash his best Keith Emerson inspired keyboard wizardry. Certain tracks like 'Un Villaggio,Un'illsione' display Lax's playing around with Bach, Brahms, Corelli and other classical masters and weave them into a more Paganini performance that would be reworked into the rock fusion compositions that start out with classical intros and slowly morph into the heavier guitar, bass and drum action accompanied by the passionate vocal style of Giorgi who had the perfect vocal style for this type of music magic.

It may only last slightly over 34 minutes in duration but the debut album by QUELLA VECCHIA LOCANDA is one of the best offerings the early RPI scene had to offer. These eight tracks are chock full of passionately strewn classically infused rock sophistication very much at a level of the other greats of PFM, Banco, Il Balleto di Bronzo, Le Orme and the rest. The music is as perfectly constructed as the stunningly beautiful album cover and covers so many grounds in such a small amount of time that i can easily put this one on rotation and listen to it repeatedly without getting bored for one second. This band mastered the melodies, the Tull inspired folk feel, the ELP keyboard prowess, the medieval chamber aspects, the freak gypsy folk and the symphonic heavy rock. Chock full of brilliant dynamic shifts and progressive time signature workouts without sacrificing some of the most intricately designed melodic developments, QUELLA VECCHIA LOCANDA is one of the Italian greats of the era. For my money this debut release is one of the absolute best examples of this era of Italian progressive rock that rightfully deserves all the high praise and positive criticism that it has received ever since.

 Frammenti Notturni by UNREAL CITY album cover Studio Album, 2017
3.74 | 90 ratings

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Frammenti Notturni
Unreal City Rock Progressivo Italiano

Review by Mellotron Storm
Prog Reviewer

3 stars Lost another review so here's the short version. This is UNREAl CITY's third studio album and I found the first two studio albums to be very solid 4 star albums slightly preferring the second one. While there has been some glowing reviews for this one it's still rated lower than the first two on this site(before I submitted this review) and I agree with that. I found this a little disappointing despite that over 13 minute opener that to me stands out as the best song on here. The mellotron is sampled like on the first two albums but I still like it, just wish there was more.

"La Grande Festa In Maschera" is my favourite as I just mentioned. Check out the nasty opening, more please! Unfortunately that intensity is missing on this record. Lots of tempo shifts on this one and I like that it's heavier later on.

"Le Luci Delle Case(Spente)" doesn't do much for me until 4 minutes in when it sounds much better as the violin steps aside and a calm follows. Reserved vocals join in as well. It kicks in again as contrasts continue. A change 7 minutes in as the synths come to the fore, not really into this but I do like when it turns fuller including the vocals late.

"Barricate" is more of the same really with the contrasts between the laid back and more fuller sections. I do like the organ led section 4 minutes in which is followed by a guitar solo.

"Il Nido Delle Succubi" has this bouncy start that will come and go. Check out the mellotron though just before 30 seconds. It's so brief but it's the best part of the album for me which says a lot. I don't like that passage that starts before 4 minutes. Is that harpsichord? A sample from a James Stewart movie I believe can be heard as James gets emotional and when that sample stops the music kicks in with power. Nice.

"Arrivi All'Aurora" ends it and it begins with fragile vocals and piano. Piano only after 2 minutes then it turns fuller with bass then more as it builds. Synths lead after 3 minutes then it settles back with mellotron and drums standing out. It starts to wind down late.

For me this is a clear step down from the first two albums but not everyone agrees apparently(haha). Just my two cents worth but I'll stick with their first two albums thankyou!

 Emotional Tattoos by PREMIATA FORNERIA MARCONI (PFM) album cover Studio Album, 2017
2.95 | 43 ratings

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Emotional Tattoos
Premiata Forneria Marconi (PFM) Rock Progressivo Italiano

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

3 stars Legendary Italian proggers Premiata Forneria Marconi (P.F.M) need little introduction, the symphonic band delivering three of the defining RPI LP's back in the early Seventies, and then achieving a commercial momentum once they began offering albums exclusively performed in English in the middle of that decade. Decades of line-up shuffles and musical style changes have been part of the band's history ever since, but this latest version is now led by founding member/drummer Franz Di Cioccio, who also takes on the lead vocals due to the departure of guitarist and fellow founder Franco Mussida a couple of years back, with the rest of the band being comprised of a mix of long-time serving PFM members and newer musicians.

2017's `Emotional Tattoos', the first album for PFM since signing to worldwide prog distribution specialists InsideOut Music, is an equally reliable and inconsistent listen, despite having plenty that can be praised about it. The musicianship, especially Marco Sfogli's guitars, Patrick Djivas' nicely fat upfront bass and Di Cioccio's busy driving drumming are never short of superb, and the latter's voice is confident. However, despite a few exceptions, the prog-rock sophistication of old has been replaced by a collection of melodic yet dignified mid-tempo AOR vocal rockers with little traces of proggy soloing mostly only worked into little thirty-odd second bursts here and there. That's not to say that this is a bad album in any way, just that it's really not what the majority of their fans would have been looking forward to from a new PFM work (although offering both an English version and Italian version is appreciated!), and it's especially disappointing when you consider that their last few studio works, `Stati di Immaginzione' from 2006 and 2010's `AD 2010: La Buona Novella', were superb and full of progressive rock majesty.

Looking at some of what's on offer (and the Italian version should be the preferred edition, which is the one discussed here), opener `Il Regno' evolves out of its weary dreaminess into tough whirring keyboards, heaving guitars and Franz's raspy croon. Lovely murmuring bass from Patrick, Lucio Fabbri's elegant violin licking at the edges and Alessandro Scaglione's zippy keyboarding soloing throughout `Oniro' are the first hint of the classic PFM sound, and sleek darker rocker ` La lezione' pulses with a tougher danger with its strident drums and frequently reprising twisting guitar runs.

`Mayday' is a fairly dull moody rocker lifted by fleeting tense themes, but `La danza degli specchi' is a big improvement. While some of the groovier funky spots try a little desperately to be cool, it sure jumps around in endless different directions and tempo changes in only six minutes, and there's traces of those chiming guitars, vocal flamboyance and racing darting synth runs of the PFM of old scattered throughout! `Il cielo che c'è' is a classy ballad that's easy to enjoy, and `Quartiere generale' is a catchy pop-rocker lifted by fancy reprising violin themes.

The greatest moment of the disc arrives with `Freedom Square', a folk-flecked instrumental loaded with all the spirited acoustic guitars, twirling violin jigs and keyboard driven fanfare pomp that fans forever associate with the classic PFM sound - what a shame that it's one of the shortest pieces on the album at only four and a half minutes! The busy `Dalla Terra alla Luna' grafts an easily melodic tune to heavy crashing bluster with plenty of humming Hammond organ, keyboard wig-outs and rambunctious drumming, `Le Cose Belle' is a sweet romantic ballad with tasteful playing, and closer `Big Bang' is simply another reliably enjoyable tune elevated by sparkling piano, crisp guitar and fluid bass runs (the final minute is truly sublime, and another example of `what could have been' if the album had been made up of more winning moments like this).

It's not surprising to see PFM playing in a mostly fairly straightforward rock manner here, like so many older acts do. But it's a shame when other renowned vintage Italian bands such as Metamorfosi, Cherry Five and Maxophone have all delivered extravagant and ambitious recent works of great vitality, and in comparison there's very little to associate `Emotional Tattoos' with the symphonic rockers of legend that are PFM. Sadly, the album is also overlong at 62 minutes (does InsideOut Music put demands on all the artists that sign for them that the music must have enough material to cover a double vinyl release?) when a nice 45 or so minute single-LP length, with a couple of more overtly `proggy' or symphonic pieces would have made this a much more approachable affair to be replayed more often. Still, it's nice that the band are still active, but perhaps PFM should look to their own past next time for future inspiration on where to take the band in this modern era.

Three stars.

 Per Aspera Ad Astra by TAPROBAN album cover Studio Album, 2017
3.74 | 75 ratings

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Per Aspera Ad Astra
Taproban Rock Progressivo Italiano

Review by Matti
Prog Reviewer

4 stars Here's a good example of retro- and keyboard-oriented progressive rock made in Italy today. The only feature that is slightly less typical for the vital R.P.I. scene is that the vocals are in a very minor role. There are some lyrics in Italian (except for the English- language 'Octopus!' in the end). Taproban is an ELP-kind of trio of keyboardist, bassist-guitarist and drummer, but the keyboardist and composer Gianluca De Rossi handles the sparse vocals. The frontman is even responsible (together with Paolo Carnelli) of the Baroque-like cover art. Which is pretty gorgeous!

On the 15-minute instrumental opener 'Outside Nowhere', the Genesis/Yes -influenced symphonic sound and compositional structure are introduced at full steam. The time signature changes and bombastic keyboard solos follow each other in a grandiose way. Minimoog, Hammond C3, Mellotron, Prophet 5, Roland JX8P and other vintage equipment make a long list below De Rossi's name. There's nothing that wouldn't be heard myriads of times since the seventies and the new rise of symphonic prog with bands such as Kaipa or The Flower Kings, but so what, if you enjoy that kind of stuff. The epic is followed by a brief instrumental and another lengthy track with a brief vocal section. The symphonic vitality is being kept at high level so that the listener hardly pays any attention on the changing of tracks at this point.

Very oddly titled (at least for me and others who have never-ever watched Star Trek!) 'veS ml'taHghach (A Klingon War Dance)' begins in an irritating manner with an angry spoken line and proceeds as a tiring rollercoaster-ride of fast and intense playing, as if there had been a goal of loading as much as possible in under five minutes. To me, it gets impressive only after the most complex intensity has given way to the majestic keyboard-oriented finale, ending with a harpsichord vignette.

The latter half of the album is more uneven and less symphonic. The slow 'Nexus' contains some vocals in Italian, plus in the end, the last words of the Russian cosmonaut crushed into the ground in 1967. "This record is dedicated to him and all the other heroes of space explorations", like the latin phrase as the album title suggests. 'Nexus' also features tenor saxophone, which underlines its 80's-reminding cheesy gloominess.

Android-themed instrumental 'D.IA.N.A.' is the weak link of the album, just B-class electronic music with a steady rhythm. Well, 'Agata Lost in the Mirror Whale' isn't much better, as a composition only a little of progressive nature. Two- minute 'Entwinings' is a pretty simple piano/Mellotron duet with some oceanic effects. It changes seamlessly into 'Octopus!' that returns to the more bombastic and complex prog style. My overall rating is 3½ stars. I round it upwards mainly for the great cover art, but I've heard better prog albums from Italy this year.

 Maxophone by MAXOPHONE album cover Studio Album, 1975
4.25 | 398 ratings

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Maxophone
Maxophone Rock Progressivo Italiano

Review by Walkscore

4 stars A Classic with Tons of Variety

Never boring, Maxophone's one-and-only 70s album stands as one of the classics of the era, shifting between sonic timbres and moods. Although released in 1975, its sound is more like 1971. The drum, electric guitar, and organ sounds in particular avoid the more slick recording quality that dominated the UK and US rock scenes in the mid-to-late 70s. The guitars can sound quite harsh at times, actually, which is somewhat refreshing, and contrast nicely with the sometimes very sweet Italian singing (I have the Italian language version, which I much prefer). The album begins with some amazing piano playing before shifting into one of the better tracks on the album ("C'è Un Paese Al Mondo"). The second track breaks with this sound, instead building around an electric guitar riff (ala 'In-a-gadda-da-vida'). This is to my ears the weakest track on the album, but I still listen to it. The third track is very mixed, moving between styles, including hints of Canterbury-esque time signatures, medieval flute passages, and quirky horn parts. My favourite track is the fourth track ("Elzeviro"), very musical, with an electric mix of styles (from beautiful flute soloing, to sweet Italian singing, to harsh moody guitar). The fifth track is an eclectic mix of harmony vocals, slowish classical music, and a touch of cheese, but with some very interesting and musical chord changes in places. The closing track brings back the horns, mixing more of a rock feel, a great sax solo (and even a synthesizer) and some really interesting changes and quasi-sentimental singing. The song/album closes with a mass- like organ and choir soul ending. While not my favourite RPI album, I still put this on every once in a while. Even the parts that aren't so musical are easy to take, as no section lasts very long, and there are a lot of nice cool sections that follow. I give this 8.1 out of 10 on my 10-point scale, which translates to four PA stars.

 Emotional Tattoos by PREMIATA FORNERIA MARCONI (PFM) album cover Studio Album, 2017
2.95 | 43 ratings

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Emotional Tattoos
Premiata Forneria Marconi (PFM) Rock Progressivo Italiano

Review by proghaven

1 stars PFM? PFM?! No not PFM! Far from PFM. The world monitors their activity for almost half a century and knows very well that there's PFM where and when there's Franco Mussida. No Mussida means no PFM. Mussida was their creative driving force for their best decades and wrote most of their best music. Mussida is missing on Emotional Tattoos - and, as a result, PFM is in fact missing on their newest album... as figuratively so literally. Only one original member participated, the drummer Franz Di Cioccio, and another long surviving (since 1973) member, the bassist Patrick Djivas. I don't know who wrote those 11 primitive and musically lightminded songs, but they clearly show that now, instead of Mussida, the leader of the band is Miss Baker. No matter if she is just a virtual character from long gone 1987, her spirit is still alive, revived and brought back into activity with the PFM's new release. Only Freedom Square reminds music; the rest is straight FM rock mixed with straight FM pop slightly camouflaged with prog of moderate quality. What a pity that this album was released under the holy name of Premiata Forneria Marconi.
 Emotional Tattoos by PREMIATA FORNERIA MARCONI (PFM) album cover Studio Album, 2017
2.95 | 43 ratings

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Emotional Tattoos
Premiata Forneria Marconi (PFM) Rock Progressivo Italiano

Review by Phipz-97

4 stars Since there hasn't been any review of PFM's latest record, I might well just start with my very first review.

I have been a huge fan of PFM ever since I listened to 1972's Per un amico about one and a half years ago. I wasn't only wonderful 34 minutes spent, but also my entry to the world of RPI. And when I heard that they are going to release a new studio album this fall, I was a very lucky guy. One thing more before we begin, as an aforementioned big fan of the band (liking every record from Storia 'till Jet Lag, Suonare Suonare and Stati di Immaginazione) I may just be a little more tolerant than your average RPI fan

Premiata Forneria Marconi is a very strange band, after releasing dozens of albums during the 70s and 80s, just one in the 90s they are a real chameleon in the new millenium, releasing only two real studio efforts with 2000's Serendipity and 2006's Stati Di Immaginazione and some what I call creative experiments with their Dracula Album, Mozart Album and that A.D thing. Stati was a huge thing, entirely instrumental but as the score can tell you it stands with their best, so the level of anticipation was high. 2017's Emotional Tattoos will be a very devisive record - and your attitude towards it will depend on your personal preferences. If you can cope with the first side of 1980's Suonare Suonare and it's fusion of light prog with pop and rock and some killer chroruses, you'll probably like Emotional Tattoos as well - if you can't well you will probably not rate this among 2017's finest records. The first two singles available at this moment give a relatively good impression on what is to be expected. Emotional Tattoos is released in two forms, English and Italian - I never listened to the English Version and probably never will, those vinyl fans out there be warned, only the orange vinyl is italian.

Emotional Tattoos is not as progressive for instance the new Maxophone record, but it's not a simple pop album. First off the albums sounds great though the instruments sound vastly different than those found on Stati but after the first synths on opener "il regno" you'll notice that Patrick Djivas bass playing is incredible, very upfront and varied. The violin is also very dominant much to the dismay of guitar fans - this being the first PFM record without founding member Franco Mussida and though Mario Sfolgi plays just fine, he is barely noticable on this album. With Mussida gone, dummer Franz di Cioccio assumes the role of the sole lead vocalist with is fine from a vocal standpoint - the guy sound great for being 70 - but much less pleasent from a drumming standpoint. Franz is a very skilled drummer, but he is not a god, he probably can't sing a whole song while playing complicated progdrums. This is very noticeable on this album with the only complicated drum pattern being on the instrumental "Freedom Square" which is fantastic by the way.

What we have here is over 60 minutes of good music with sprinkles of prog in it, mostly noticable on the aforementioned instrumental, the middle part of the albums second track "Oniro", the fast and frantic "La danza degli specchi" and "Dalla Terra alla Luna". Other than that we have the pounding bass playing of the albums second single "La Lezione", a very dominant violin on "Quartiere Generale", a beautiful ballad with "Le cose belle" and little bits of filler with "Il cielo che c'è", "Mayday" and sadly the albums closing track "Big Bang". The album would have definetly benefited of a shorter running time. What all of these tracks have in common are killer choruses, giving me earworm after earworm all weekend.

Is Emotional Tattoos good? Well it depends, I liked it quite a lot, it is not as good as Stati, the classic albums or Suonare Suonare's first side, but if you can live with the fact, that the band's not that quiet pastoral acoustic band of the first two records and neither the eclectic one of records three and four and Stati, nor the jazzy one of Jet Lag, you'll find a fine collection of songs with this late years release. Let's hope there will be future records maybe in the vein of old in the future.

(sorry if there are any grammatical errors in this review, I'm a native Austrian)

 La Fabbrica Delle Nuvole by MAXOPHONE album cover Studio Album, 2017
3.54 | 28 ratings

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La Fabbrica Delle Nuvole
Maxophone Rock Progressivo Italiano

Review by Mellotron Storm
Prog Reviewer

3 stars 3.5 stars. A pretty good comeback album from this Italian band who haven't released a studio recording in over 40 years. When compared to the debut this one lacks the variety of horns and flute that the seventies release featured. We do get the same vocalist and he certainly is one of the main reasons I've given this 3.5 stars, I love his voice and it has some character to it. And yes he sings in Italian. The album is all over the place with quite a bit of variety including both modern and commercial sounding music. I really like the romantic RPI vibe but the heaviness with the GARDEN WALL-like guitars not so much. Same with the poppier stuff on here, I'm just not a fan.

"Un Ciclone Sul Pacifico" opens with a violin melody before it kicks into a real good groove. Man I like this part. Piano joins in then vocals. A catchy chorus follows then a guitar solo. Violin only like the intro after 2 minutes then it builds with keys and more. The vocals sound different after 3 minutes and we get a heavier sound.

"Perdo Il Colore Blu" starts with the drums and guitar standing out as keys and bass join in. A good driving sound here before it settles back with vocals. Contrasts continue. Piano only before 1 1/2 minutes as processed vocals join in. Not a fan of this. The heaviness comes and goes. A prolonged instrumental follows including some excellent guitar.

"Il Passo Delle Ore" is my favourite because it has such a classic RPI flavour to it. Great sounding vocals here and one of the rare times I feel emotion from the music, especially on the chorus.

"La Fabbrica Delle Nuvole" sounds so interesting with the percussion and sounds that come and go before some organ arrives. It turns heavy with GARDEN WALL-like guitars which I'm not into. The drumming is killer then after 2 minutes it changes and soon it's piano only before drums and more join in. An instrumental GENTLE GIANT vibe before 2 1/2 minutes. Synths lead later on trading off with the guitar. The bass and drums shine on this one.

"La Luna E La Lepre" is the other song I really like. Intricate guitar and percussion early on. Vocals just before a minute with strummed guitar. Love his singing here. Bass and organ join in as well. Nice guitar solo then back to that earlier sound. Great sound after 3 1/2 minutes as the vocals return. A feel good vibe with that guitar after 4 minutes.

"Estate '41" sounds different to begin with then these emotional vocals arrive before 1 1/2 minutes. Lots of intricate sounds. I like the atmosphere late to end it with violin.

"Nel Fiume Del Giorni I Tuo Capelli" sounds really good until the tempo picks up and this modern feel arrives. Suddenly before 2 minutes we get a GENTLE GIANT section both vocally and instrumentally. You should hear this! GENTLE GIANT all the way, a nice tribute then the guitars turn heavy which seems out of place. Back to the GG vibe as contrasts continue. Piano and violin ends it.

"Il Matto E L'Aquilone" opens with picked guitar then violin before a minute along with bass as relaxed vocals join in. Thankfully it changes after 2 1/2 minutes to a more uptempo and heavier sound that I actually like. Organ, drums and guitar stand out here. A calm after 4 minutes then it kicks in again. "Le Parole Che Non Vi Ho Detto" ends it and it's a short 2 1/2 minute track. Vocals, violin and more in this mellow closer.

Lots to like here but there's lots of sections that I don't like as well. A mixed bag you could say but I'm glad I got to spend some time with it. I'll stick with their classic seventies album in the future though.

 In Hoc Signo by INGRANAGGI DELLA VALLE album cover Studio Album, 2013
4.05 | 232 ratings

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In Hoc Signo
Ingranaggi della Valle Rock Progressivo Italiano

Review by FragileKings
Prog Reviewer

4 stars I probably have more fingers than I have Italian prog rock albums. But that doesn't mean I don't like what I have. One reason why I don't have more is simply that I fear that once I tap into RPI, I may well set myself up for yet even further spending of obscene amounts of money on buying albums. The day may yet come, however. Wallet, watch out!

Well, I may not have many albums and so my opinion of Ingranaggi della Valle's "In Hoc Signo" is by no means based on an extensive background of Italian prog. However, I am familiar with some of the most important classics as well as some more modern material, and I can honestly say that this album here really treads solidly in the line of the classic era of Italian prog. This is a very seventies-sounding album, complete with organ solos, rock guitar, violin, jazzy rhythms, and songs of unpredictable turns and time signature twists. Ingranaggi della Valle has taken all the best lessons in the RPI text books and masterfully created their own classic sound album for the year 2013.

One thing that can always win me over is some pretty hard rocking guitar sound in a non-hard rock context. The early seventies was good for that: organ and hard rock guitar doing a pas de deux to jazz influenced rhythms and drumming. This album so wonderfully revives that sound and style of writing and performing. Add violin as a key instrument and thoughts may go to Premiata Forneria Marconi classic works. There may be more lurking among those serpentine guitar solos and rolling organ keys. "Fuga da Amman" brings to mind some Allan Holdsworth and Bill Bruford in places; "Via Egnatia" draws me back to early seventies Pink Floyd; and the intro to "Jangala Mem" reminds me of classic Saga. "Masqat" really encapsulates that seventies jazz fusion instrumental prog jam style. But then again, much of the album does.

I can only say that to my ears, the music of this album is exquisitely written and performed, a very wonderful blend of classic seventies Italian prog and late seventies jazz fusion. It's definitely worth a four-star rating and I'd not hesitate to suggest a five-star rating to anyone who really adores Italian prog.

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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
LA BATTERIA Italy
FRANCO BATTIATO Italy
PIERPAOLO BIBBO Italy
BIGLIETTO PER L'INFERNO Italy
BLOCCO MENTALE Italy
LA BOCCA DELLA VERITÀ 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
CHRISTADORO 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
FONETICA Italy
FORMULA 3 Italy
FABIO FRIZZI Italy
CLAUDIO FUCCI Italy
FUFLUNS Italy
GAN EDEN - IL GIARDINO DELLE DELIZIE Italy
GARYBALDI Italy
GENCO PURO & CO. Italy
GENFUOCO Italy
GERMINALE Italy
FRANCO MARIA GIANNINI Italy
GIARDINI D'AUTUNNO 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
HÖSTSONATEN Italy
HUMANA PROG 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
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
NATHAN 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
PANDA FIGHT CLUB Italy
PANDORA Italy
PANE Italy
PANGEA Italy
PANNA FREDDA Italy
MARIO PANSERI Italy
PANTHER & C Italy
PARADISO A BASSO PREZZO Italy
IL PARADISO DEGLI ORCHI Italy
MAURO PELOSI Italy
I PENNELLI DI VERMEER Italy
LA PENTOLA DI PAPIN Italy
PERDIO Italy
PERIFERIA DEL MONDO Italy
PERIPLO 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
POSTO BLOCCO 19 Italy
PREGHIERA DI SASSO Italy
PREMIATA FORNERIA MARCONI (PFM) Italy
PRESENCE Italy
PROCESSION Italy
PROGENESI Italy
PROMENADE 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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