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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)
rdtprog (Louis)
zeuhl1 (Paul)




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 | 1783 ratings
PER UN AMICO
Premiata Forneria Marconi (PFM)
4.38 | 1232 ratings
DARWIN!
Banco Del Mutuo Soccorso
4.38 | 1129 ratings
IO SONO NATO LIBERO
Banco Del Mutuo Soccorso
4.34 | 1413 ratings
STORIA DI UN MINUTO
Premiata Forneria Marconi (PFM)
4.31 | 930 ratings
ZARATHUSTRA
Museo Rosenbach
4.30 | 939 ratings
BANCO DEL MUTUO SOCCORSO
Banco Del Mutuo Soccorso
4.27 | 704 ratings
ARBEIT MACHT FREI
Area
4.25 | 994 ratings
FELONA E SORONA
Orme, Le
4.27 | 522 ratings
MAXOPHONE
Maxophone
4.25 | 626 ratings
YS
Balletto Di Bronzo, Il
4.22 | 907 ratings
L'ISOLA DI NIENTE
Premiata Forneria Marconi (PFM)
4.22 | 709 ratings
UOMO DI PEZZA
Orme, Le
4.26 | 427 ratings
PALEPOLI
Osanna
4.24 | 392 ratings
CRAC !
Area
4.24 | 343 ratings
DISCESA AGL'INFERI D'UN GIOVANE AMANTE
Bacio Della Medusa, Il
4.20 | 367 ratings
L' ENIGMA DELLA VITA
Logos
4.19 | 332 ratings
CONTAMINAZIONE
Rovescio Della Medaglia, Il
4.25 | 215 ratings
SADAKO E LE MILLE GRU DI CARTA
Logos
4.16 | 316 ratings
CELESTE [AKA: PRINCIPE DI UN GIORNO]
Celeste
4.14 | 366 ratings
QUELLA VECCHIA LOCANDA
Quella Vecchia Locanda

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

UNO
Panna Fredda
MELOS
Cervello
HYBLA ACT 1
Randone
IL PAESE DEI BALOCCHI
Paese Dei Balocchi, Il

Latest Rock Progressivo Italiano Music Reviews


 Banco Del Mutuo Soccorso by BANCO DEL MUTUO SOCCORSO album cover Studio Album, 1972
4.30 | 939 ratings

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Banco Del Mutuo Soccorso
Banco Del Mutuo Soccorso Rock Progressivo Italiano

Review by Antonio Giacomin

5 stars "Banco Del Mutuo Soccorso"

Mr. Ian Gillan is an excellent musician. As a singer and front man, he is one of the best; second IMHO only to Mr. Robert Plant. When you hear songs like "Fools" (Fireball), "Place In Line" (Who Do We Think Think We Are), or "Mitzi Dupree" (House Of Blue Light), you see he is able to elevate songs quality; an average one turns into excellent. Few more singers are able to do this; ones like David Coverdale, R.J. Dio and Bruce Dickinson among them.

In the realm of hard rock, a front man is essencial; this is a kind of the style demanding it. But in the progressive rock, it seems that technique rules. You can see introspective guys singing in excellent ways, no screaming, no sexual energy being set at audience disposal. So, we speak less about front man here (does not matter if Deep Purple and Led Zeppelin are in this site; they are prog related), we see less bands where the singer is crucial. Spock´s Beard, Marillion, Genesis, a lot more changed front man and in one way or another, quality was still present. Ok, Ian Anderson is a fantastic front man, but I guess his voice is not above average.

Now that we reached this point, what I woud like to say is that in progressive rock I don´t find exceptional singers as much as in hard rock. One example here is, of course, Jon Anderson, of course, but I don´t know if he is human or an Angel.

Then I found Banco Del Mutuo Soccorso. Everything I want from a front man I found in Francesco Di Giacomo; and I mean that skill of "elevating" song´s quality. He has an operatic way of singing, and although I cannot appreciate opera, the fusion he performed mixing this style with progressive rock was very well performed. The band, of course, has others qualities. The doubled keyboard players (the brothers Nocenzi); and the crucial capacity of writing excellent melodies turns them into one of the "sacred three" most known Italian progressive bands (Le Orme and Premiata Forneria Marconi being the others two).

I won´t talk about details in this album, other reviewers performed very well this task. I only would like to call attention to their singer, the fantastic Francesco di Giacomo, who unfortunately passed away few years ago in an accident, I suppose. He is one of the core reasons for this album (and the others two next), deserving a five star rating.

 Per Un Amico by PREMIATA FORNERIA MARCONI (PFM) album cover Studio Album, 1972
4.40 | 1783 ratings

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Per Un Amico
Premiata Forneria Marconi (PFM) Rock Progressivo Italiano

Review by Gallifrey

3 stars Listening diary 18th September 2021: Premiata Forneria Marconi - Per Un Amico (symphonic prog, 1972)

Arguably the defining album of the Rock Progressivo Italiano scene, and you can definitely tell - every one of the hallmarks of that sound is here in abundance, from the dancing keyboards to the impassioned vocals to the long solo sections. And like a lot of RPI, I respect it, but I stop just short of truly liking it. It certainly attempts to put a bit of passion into what was a very pompous and occasionally soulless subgenre, particularly outside of the big names, but the overt instrumental showiness is still there, as is the aversion to anything remotely memorable or catchy. It's well performed and has an endearing conviction to the long-winded jam sessions, but it doesn't resonate with me much beyond surface level.

5.8 (3rd listen)

Part of my listening diary from my facebook music blog - www.facebook.com/TheExoskeletalJunction

 Foreste Interstellari by HUNKA  MUNKA album cover Studio Album, 2021
3.00 | 1 ratings

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Foreste Interstellari
Hunka Munka Rock Progressivo Italiano

Review by TenYearsAfter

— First review of this album —
3 stars And now for something completely different, the return of Classic Italian Prog

Almost 50 years after the release of its first and only solo album Dedicato A Giovanna G. (from 1972) Hunka Munka (the nickname for keyboard player Roberto Carlotto) is back, and this time it is not a quirky, Hammond friendly blend of prog, rock and pop, but vintage keyboard drenched 24-carat prog!

Most of the 9 compositions deliver bombastic mid and up-tempo beats, featuring cascades of Hammond, Minimoog and Mellotron, some heavy guitar leads, pleasant Italian vocals, and a powerful rhythm-section. Often Dutch Trace and Japanese Ars Nova and Gerard come to my mind. Especially in La Dama Della Foresta (from church Hammond intro and dazzling Minimoog flights to majestic Mellotron choirs, topped with rock guitar riffs and propulsie drums) and the epic titletrack (between mellow and bombastic, from dreamy piano to orchestral keyboards and lots of Hammond). The shorter tracks are instrumental sound collages, with piano and celestial female voices in La Solitudini Delle Stelle, and atmospheric in L'Uomo Dei Trenini and La Stanza Dei Botini.

A strong and varied track is I Cancelli di Andromeda. It starts with a slow rhythm and soaring Hammond, then powerful drums, spectacular Minimoog, in a bombastic up-tempo, and finally a heavy guitar solo.

But my highlight is Idee Maledette. The intro features an awesome Mellotron choir sound, then a sumptuous mid- tempo with rock guitar, Minimoog and slightly theatrical vocals, next a break with sensational synthesizer sounds, and in the second part again that awesome Mellotron choir sound, blended with rock guitar riffs and flashy Minimoog flights, wow!

My rating: 3,5 star.

New interesting Italian prog that is not on PA: Unalei, Blind Golem and Alessandro Corvaglia (ex-Delirium).

 Samir by PARADISO DEGLI ORCHI, IL album cover Studio Album, 2020
3.73 | 13 ratings

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Samir
Il Paradiso degli Orchi Rock Progressivo Italiano

Review by TenYearsAfter

4 stars The Italian prog sextet Il Paradiso Degli Orchi is rooted in 2009, their eponymous debut album was released in 2011, delivering a variety of styles, from ethnic and prog to electronic and psychedelia. In 2014 the group started to collaborate with the known and prolific Italian prog musician Fabio Zuffanti, culminating in the concept album Il Corponauta. And now, late 2020, six years after the previous album, Il Paradiso Degli Orchi presents its new album entitled Samir.

I am not familiar with this band but I am a huge fan of Italian prog since I started to listen to PFM and Banco in the late Seventies. Especially the last two decades I have discovered many gems from the Classic Italian prog era (from Museo Rosenbach to Le Orme), and listened to tons of new Italian prog bands. I am fascinated by the blend of skills, adventurous minds and variety in the music in so many Italian bands, old and new. Listening to Il Paradiso Degli Orchi I quickly conclude that this is a typical interesting Italian prog band: adventurous and varied, good musicians, and lots of tension and dynamics in the music. It will not always be everybody's cup of tea, but for adventurous prog minds there is plenty to enjoy.

The first two tracks (between 4 and 6 minutes) turn out to be 'trademark' Il Paradiso Degli Orchi. Introinduzione delivers a dynamic sound with fiery guitar and powerful flute, in between a break with jazzy guitar, mellow flute and hypnotizing percussion. The Italian vocals are strong. Then the track Slowgun, also dynamic but more varied, from rock and mellow to experimental, embellished with pleasant work on flute, guitars, keyboards and powerful vocals,

Next the long titletrack Samir, the Arabian name is the inspiration for a captivating sultry atmosphere with Middle- East sounding flute, percussion and synthesizer. This strongly reminds me of the Arabian side of my beloved Rock Andaluz (like Azahar and early Medina Azahara). I am delighted about the rock guitar (including wah wah), in combination with sparkling flute and theatrical 'churchy' vocals, unique and exciting prog!

Now Mente, the most alternating and adventurous composition. From sumptuous with sparkling flute and heavy guitar to mellow with soaring flute, in between parts that sound experimental and psychedelic. In the end the music builds to a compelling and bombastic closing section with rock guitar and powerful vocals, like the climax of a rock opera.

Finally the track Ali Di Gabbiano, another strong example of the bands its varied and adventurous musical attitude. First tender classical piano runs, then slow rhythm with a tight beat, melancholical vocals, freaky synthesizer and soaring flute. Then a part with slightly distorted vocals. Halfway a break with Floydian slide guitar, followed by tender piano and flute. In the end a compelling climate featuring flute, rock guitar, freaky synthesizer, wonderful Italian vocals and delicate piano. What an interesting prog this new Italian band delivers!

 Banda Belzoni by BANDA BELZONI album cover Studio Album, 2019
3.29 | 5 ratings

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Banda Belzoni
Banda Belzoni Rock Progressivo Italiano

Review by TenYearsAfter

3 stars The Italian formation Banda Belzoni is a musical project by Gigi Venegoni on guitar and keyboards (from Classic Italian Prog band Arti+ Mestieri) and Sandro Bellu on guitar, bass and keyboards. The duo is joined by a range of guest musicians, including Lino Vairetti (Classic Italian Prog legend Osanna) and the known and prolific musician of the New Italian Prog Fabio Zuffanti (Finisterre, Hostsonaten). This eponymous debut album from 2019 is a rock opera, inspired by the true story of Giovanni Battista Belzoni (1778-1823) who concluded his extraordinary ride along the Nile, after four years of sensational discoveries. More than two meters tall, beard and copper-colored curly hair, the Paduan giant established himself as the first man to have entered the temple of Abu Simbel and in the pyramid of Chefren, a record holder for tombs discovered in the Valley of the Kings, author of the first best seller of Egyptology , and organizer of the first Egyptological exhibition (in London) with a catalog. An exceptional and contagious life, an engine of passions. Now, how about the musical translation?

Well, most of the 10 melodic and harmonic, very tastefully arranged compositions (between 3 and 7 minutes) shift between mellow atmospheres and slow rhythms. At some moments the climates changes into bombastic eruptions or powerful accellarations. The music is wonderfully embellished with varied work on keyboards and guitars: from swinging piano and pitchben driven synthesizer to soaring Hammond and majestic Mellotron violins, and from tender acoustic guitar runs to sensitive ? and fiery rock guitar. I am also very pleased with the vocal contributions of the different singers, all in the beautiful Italian language, a big bonus!

My highlights.

The instrumental Il Gigante Del Nilo. First a slow rhythm featuring moving guitar runs, and a fiery solo (jazzrock inspired). Then sparkling piano play and pleasant synthesizer flights, in the end a dreamy with echo guitar.

Il Sorriso Del Re. The music alternates between dreamy and a slow and compelling rhythm, topped with an awesome Mellotron violins sound (evoking King Crimson and Anekdoten), strong vocals, a moving guitar solo, and a fluent rhythm-section, top notch symphonic rock!

La Curva. A mellow atmosphere delivering tender piano and vocals, gradually the sound turns into more powerful and emotional, with acoustic guitar runs. Halfway a lush and compelling sound with strong vocals, followed by a churchy Hammond, a long and strongly build-up, very moving electric guitar solo, and an acoustic guitar solo with soaring Hammond. In the final part first a slow synthesizer solo with again soaring Hammond, and then acoustic guitar runs, a warm and pleasant variety. Variety rules in this mid-long composition.

And La Città Perduta featuring a dreamy climate with acoustic guitar, then a slow rhythm with moving electric guitar, moving vocals, and powerful guitar leads. Again the band uses very subtle dynamics.

My rating: 3,5 star.

 Caronte 50 Years Later by TRIP, THE album cover Studio Album, 2021
4.00 | 8 ratings

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Caronte 50 Years Later
The Trip Rock Progressivo Italiano

Review by TenYearsAfter

4 stars FIRST REVIEW OF THIS ALBUM

The return of Classic Italian Prog.

The Trip released four albums in the first half of the seventies. The eponymous debut LP (1970) and Caronte (1971) contain a blend of rock, prog and psychedelia, with a lot of harder-edged guitar and powerful organ. On the third effort entitled Atlantide (1972) The Trip plays as a trio without a guitar player. The eight songs sound pleasant and varied with decent English vocals and strong work on keyboards (The Nice and ELP inspired). Their final effort Time Of Change (1973) is jazzy oriented with ELP sounding keyboards. In 2010 the reunion of the 72-73 trio line-up took place, then The Trip performed at the Prog Exhibition in Rome. This event was released in a lush 7-CD and 4-DVD box set, entitled Prog Exhibition ' 40 Anni Di Musica Immaginifica ( also featuring bands like Banco, PFM, Osanna and La Maschera Di Cera). In 2011 The Trip played in Japan, the death of Andersen in 2012 and especially the lost of Vescovi in 2014 (another original member Billy Gray had passed away in 1984) marked the end of this highly acclaimed formation. In 2015 The Trip only original member drummer Pino Sinnone continued the rebirth of The Trip, and one year later Black Widow Records released the CD Live 1972, recorded at the legendary The Piper in Rome. The new line-up since 2019 still includes only one original member, drummer Pino Sinnone. In 2020 The Trip released a new version of the 1971 Carone album entitled Caronte 50 Years Later.

Early Seventies Hammond drenched prog, re-recorded in 2021, what an interesting combination! The 8 compositions deliver a pleasant variety. Psychedelic in the short instrumental opener Acheronte. Bombastic and dynamic with The Nice inspired Hammond work and fiery guitar in Caronte 1 and II. A ballad with piano and decent English vocals in Little Janie. Heavy guitar and swirling Hammond like Atomic Rooster, topped with strong Italian vocals and a boogie woogie piano in Una Pietra Colorata. And a blend of Seventies Uriah Heep and early Classic Italian Prog with slightly theatrical Italian vocals in Fantasia.

My highlight on this album is the longest track L'Ultima Ora E Ode A Jimi Hendrix (10 minutes). First a slow rhythm featuring soaring Hammond and powerful vocals. Then the music turns into bombastic and compelling, with dramatic vocals and lush Hammond. The sound reminds me of Seventies Uriah Heep. Halfway a wonderful Hammond solo, followed by an accelarion with lush Hammond and powerful drums. Next a fiery guitar solo and a Hammond solo with strong classical hints. The second part is a warm tribute to Jimi Hendrix, translated in a moving way by howling electric guitar runs, very intense.

Good job by this new The Trip line-up, fuelled by only original member drummer Pino Sinnone. Especially keyboard player Andrea "Dave" D'Avino colours the The Trip sound in an exciting way with his mighty Hammond."

 And Mouth Disappears by EDERA album cover Studio Album, 2005
3.43 | 18 ratings

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And Mouth Disappears
Edera Rock Progressivo Italiano

Review by Gallifrey

3 stars Listening diary 6th August 2021: Edera - And Mouth Disappears (progressive rock, 2006)

Better than I was expecting - Italian symphonic prog in the 2000s didn't exactly give me high hopes, but I checked it out regardless. This is a little bit removed from the original Italian symphonic sound, with some Pink Floyd influences parts cropping up, and an impassioned vocalist who reminded me the most of Sylvan's Marco Glühmann. Some nice melodies crop up, but it is still too much in the mold of tired old progressive rock clichés to get a ringing endorsement from me.

5.8 (1st listen)

Part of my listening diary from my facebook music blog - www.facebook.com/TheExoskeletalJunction

 Il Principe del Regno Perduto by CELESTE album cover Studio Album, 2020
3.74 | 16 ratings

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Il Principe del Regno Perduto
Celeste Rock Progressivo Italiano

Review by TenYearsAfter

3 stars This Italian band was founded in 1972 and released its highly acclaimed debut LP entitled Principe Di Un Giorno in 1976. The music is often described as pastoral prog: very mellow, embellished with a lush instrumentation, including lots of wonderful Mellotron layers, like early King Crimson and The Moody Blues. In 1991 Mellow Records released Celeste II (with songs written just before the band call it a day in 1977) and in 1992 I Suoni In Una Sfera (1974 material, meant as a soundtrack). In 2016 Celeste was refounded as a four piece formation, featuring multi- instrumentalist Ciro Perrino as the only original member. In 2019 this line-up released a new album entitled Il Risveglio Del Principe, still pastoral prog, but superior to its Seventies music, more elaborate and varied. I am sure fans of Anthony Phillips, Gandalf and the mellow side of early Genesis and The Moody Blues will be pleased with this very tasteful prog featuring pleasant Italian vocals and an omnipresent Mellotron. One year later Celeste releases the successor entitled Il Principe Del Regno Perduto, as a six-piece formation with additional guest musicians. The prime mover is keyboard player Ciro Perrino with an impressive array of analogue keyboards: the unsurpassed Mellotron, a Solina - and Elka string-ensemble, the Farfisa - and Hammond organ, and Minimoog, ARP 2600 and ARP Odyssey synthesizers.

The sound on this new Celeste album is similar to the previous effort from 2019, but the saxophone has a more important role. Most of the 7 compositions deliver the distinctive Celeste pastoral prog: very melodic and harmonic, dreamy atmospheres and slow rhythm, warm male and female vocals, and wonderfully coloured by often the flute, acoustic guitar, Mellotron violins, spacey synthesizer flights and tender piano. Some tracks contain a folky flavour, due to the use of the duduk and tin-whistle, a pleasant variety. The most dynamic track is Il Passaggio Di Un Gigante Gentile: it starts with classical piano, then a slow rhtyhm with mellow saxophone and the duduk, gradually the music turns into more lush featuring a fluent rhythm-section. The highlight on this new album is the epic L'Ultimo Viaggio del Principe (close to 25 minutes), it contains a wide range of instruments. From twanging acoustic guitar, flute, piano, string-ensemble, Mellotron violins and the duduk to a sparkling violin solo, a male choir singing in Latin, a female opera voice, saxophone and violin. In the final part soft synthesizer drops and acoustic guitar, the soaring string-ensemble sound, and in the end intense Mellotron violin work, simply wonderful.

If you are into laidback prog (like the mellow side of early Genesis and Camel) this new album is a pleasant musical experience.

My rating: 3,5 star.

 Storie Di Uomini E Non by ROCKY'S FILJ album cover Studio Album, 1973
4.17 | 68 ratings

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Storie Di Uomini E Non
Rocky's Filj Rock Progressivo Italiano

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars Great sound, remarkable sound engineering (for the time), and wonderful whole-band musicianship--even on multiple instruments--by each individual band member! A real surprise and gem of a find!

1. "L'Ultima Spiaggia" (13:15) jumps out to a fast, though stop-and-go, start with electric guitar and saxophone playing lead over the very busy, driving rhythm section. At 1:15 things slow down--check that, the bottom drops out- -and we're left with a very spacious section of several individual inputs: mainly clarinet, double bass, flute, and trombone. Very cool; very classical sounding. The music then transitions into a nice, slow section of beautifully picked electric guitar and busy electric bass over which vocalist Rocky Rossi unleashes some very dynamic singing. At 4:40 we shift back into the more classical-yet-this time jazzier section, keeping the electric guitar and electric bass. Eventually the drums and sax and electric guitar join the bass in not one but two little sections of interesting Crimsonian RPI. The sax play in the second half of the seventh minute is almost that of a rhaita (Morrocan oboe). At 7:15 there is yet another shift, this time into a groovy jazz section in which bass and electric guitar get busy running all over their respective fretboards while drummer Rubino Colasante keeps a solid time. At 8:38 another shift into a rapid speed CHICAGO-like section with saxes and guitars trading aggressive ejaculations with singer Rossi. Long sax solo is finally coerced into a slowdown section with bass keeping the song going as Rocky sings his heart out over the top. Very theatric vocal performance--here with an aggressive whisper voice doubling him up. Sax joins in until 11:30 when distorted rhythm guitar strums bridge into a kind of circus tent of disorganized sound before a chord hit allows a brief drum solo which the whole band then joins for the rock ending. Pretty amazing and complex composition! (28/30)

2. "Il Soldato" (6:17) Starts out quite slow with gently picked and strummed electric guitar over which Rocky's distorted voice sings plaintively. Bowed double bass joins in making it a trio before the end of the first verse and is then joined by trombone in the second. Instrumental passage following the second verse features a complex, polyrhythmic weave of all three of these instruments with Rocky's alto sax. Quite lovely! The bowed bass and sax really have the lead as trombone fades out. Then we are left with only the double bass and beautifully picked electric guitar: Roby Grablovitz truly excels at this unusual skill! Rocky's treated voice returns with the guitar, bowed bass and trombone for another verse and then finally a chorus to end the song. Beautiful! And so unique and distinctive! (10/10)

3. "E" (3:57) opens with full band in full swing with electric guitar and sax presenting the rather complicated and fast-moving melody line over bass and drums. Sax gets a little more space and freedom to go off on his own over the first half of the song but then the guitar drops an octave and gets dirtier, louder, before switching to an awesome rhythm section in support of a sax solo. The rhythm section is so tight and the sax really good but this guitarist is mesmerizing! Great jazz-rock song with really tight band cohesion yet not as melodic as I'd like. (9/10)

4. "Io Robot" (7:41) clarinet and bowed double bass open this one and are rapidly joined by delicately picked and strummed jazz guitar and electric bass before singer Rocky Rossi enters with a powerful singing performance. Late in the second minute Rocky finishes and the band shifts into third gear with some really nice chord and melodic play before shifting again into a quick-time bass-led backed-off drums section in which sax solos wildly, testing the effects that can be made with breath. Roby drops his nicely strummed rhythm guitar in order to step in with some quite dynamic flute play before the band shifts into a bridge of crazed sound-making signalling a shift back to the quick-time bass and backed-off drum motif. This doesn't last long as electric guitar picking and cymbal play make room for Rocky to play some sax with a series of long held notes. Quite beautiful! Drums pick it up a bit as Rocky continues this remarkable display of breath capacity ... to the song's end. (14/15)

5. "Martino" (5:41) another song in which the band jumps in whole-hog into a fast-paced jazz-rock instrumental. A minute into the song everybody slows down into a kind of New Orleans funeral march--but this doesn't last long as the band recoups and burst down a side street so that Rocky can let loose with his powerful singing. What I find interesting is that by this point in the album I find myself getting a little bored or inured of the sound made by this band. There is a lot of repetition of form and sound and a lot of short shifts with sudden turns and not quite enough interesting melody for my tastes. Very skilled musicians with some nice creative ideas (that they can pull off!) but not always the most "pleasing" music to listen to. The chord and melodic structures of the second half of the song are more accessible and engaging than the first, which is nice. (9.25/10)

Total Time: 36:51

A/five stars; a masterpiece of dynamic and highly skilled jazz-rock fusion. Why people don't know more about this album I don't know, but they should!

 Roller by GOBLIN album cover Studio Album, 1976
4.02 | 269 ratings

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Roller
Goblin Rock Progressivo Italiano

Review by prog_traveller!!

4 stars I would like to pay tribute to an album that definitely surprised me, in a positive way. I consider it an excellent example of instrumental prog-rock, even if the record, unfortunately, did not attract the attention of other Italian groups of the period. In fact it is one of the few non-soundtrack Goblin albums, and this has allowed the five proggers to compose and play much more freely. And this is precisely the problem: the Goblin discography is mostly composed of soundtracks (especially for horror films), and this has made them victims of a cliché that has not allowed them, at other times, to fully express their their skill. Sin. If before listening to "Roller" I expected it to be quite wacky (as the ELPs were a bit), I then instead appreciated an unprecedented compositional ability, combined with an instrumental technique that has nothing to envy to a band far more noble.

The title track is a gothic piece, made even more obscure by the sadness of the organ (I think hammond): it is very reminiscent of the atmosphere of Profondo Rosso, but in my opinion it is more effective. "Aquaman" unfolds between acoustic arpeggios and a very intense central part, which is very reminiscent of the Pinkfloydian sound in the psychedic-dreamy atmosphere. "Snip Snap" is a more relaxed episode, and in my opinion it is a song in which the band shows great harmony: kitchen-scratch guitar in full funky style (wow!), Impeccable rhythm section, tasty space reserved for Guarini's electric piano . "The Snake Awakens" is instead a piano interlude enriched by numerous effects and by the intervention of the clarinet in the final part. "Goblin" is an ambitious, very long piece, a suite that presents different moments. The beginning is excellent, even if in the first four minutes the group in my opinion lacks a bit of virtuosity. The second part, on the other hand, is exceptional, the keyboard intertwining is spectacular and really creates a "spatial" atmosphere. I also find the final piece, "Dr. Frankenstein", excellent, which introduces us to a disturbing atmosphere through an original drumming style and a good use of electronic effects. In conclusion, in my opinion the album is original, in the sense that it does not take its cue from British bands in a manneristic way. Despite this, it is slightly reminiscent of Genesis in some more frenetic parts and has a mysterious atmosphere that can be approached to the contemporary debut lp of the Alan Parsons Project.

In my opinion, the Goblins are no longer able to make a work so free from the rigid schemes of the horror soundtrack, and I'm sorry. "Roller" is a disc rich in nuances, varied in settings and superbly recorded, thus making it very modern; excellent harmonies and a really mature use of the keyboards (many), without falling into the baroque style that takes away intensity from the composition. A cult for fans.

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Rock Progressivo Italiano bands/artists list

Bands/Artists Country
A PIEDI NUDI Italy
A.S.T.R.A Italy
ABISSI INFINITI Italy
ABSENTHIA Italy
ACQUA FRAGILE Italy
AD MAIORA Italy
ADHARMA Italy
AELEMENTI Italy
STEFANO AGNINI Italy
AINUR Italy
AKRON Italy
L' ALBERO DEL VELENO Italy
ALGEBRA Italy
ALIANTE 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
ANCIENT VEIL Italy
ANTONIUS REX Italy
GLI APOSTHOLI Italy
APOTEOSI Italy
APRYL Italy
ARCAMIRI 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
ATTI PUBBLICI IN LUOGO OSCENO Italy
ATTO IV Italy
AUDIO Italy
AURORA LUNARE Italy
AVALON LEGEND Italy
B-RAIN 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
BANDA BELZONI Italy
BARABBA Italy
MARIO BARBAJA Italy
BARO PROG-JETS 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
BUTTERFLY SYSTEM 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
CARPINETA 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
THE CINEMA SHOW 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
MICHELE CONTA Italy
CONTRAPPUNTO Italy
CONTROTEMPO Italy
COOPERATIVA DEL LATTE Italy
CORAL CAVES Italy
CORMORANO Italy
CORPORESANO 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
DISEQUAZIONE Italy
DISTILLERIE DI MALTO Italy
DIVAE Italy
LA DOTTRINA DEGLI OPPOSTI Italy
DUEMILA12 Italy
ECFONETICA Italy
ECLISSE Italy
EDERA Italy
EDGAR ALLAN POE Italy
EGO Italy
EGONON Italy
ELISIR D'AMBROSIA Italy
EMPIRE Italy
ENEIDE Italy
ENIMA Italy
ENTITY Italy
EPISCOPIO VISTARAMA Italy
EQUIPE 84 Italy
ERA DI ACQUARIO Italy
ERIS PLUVIA Italy
ERRATA CORRIGE Italy
L' ESTATE DI SAN MARTINO Italy
EURASIA Italy
EUTHYMIA Italy
EXPLOIT Italy
LA FABBRICA DELL'ASSOLUTO Italy
FABIO CELI E GLI INFERMIERI Italy
FALENA Italy
IL FEDELISSIMO BRACCO BRANCO Italy
FEM PROG BAND / FORZA ELETTROMOTRICE 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
THE FORTY DAYS Italy
FOSCHIA Italy
FABIO FRIZZI Italy
CLAUDIO FUCCI Italy
FUFLUNS Italy
GAN EDEN - IL GIARDINO DELLE DELIZIE Italy
GARYBALDI Italy
GENCO PURO & CO. Italy
THE GENERATION 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
HOPO Italy
HORA PRIMA Italy
HORUS Italy
HÖSTSONATEN Italy
HUMANA PROG Italy
HUNKA MUNKA Italy
IANVA Italy
IBIS Italy
INGRANAGGI DELLA VALLE Italy
ISPROJECT Italy
J.E.T. Italy
JACULA Italy
JANUS Italy
JESTER'S JOKE Italy
JET LAG Italy
JUMBO Italy
JUS PRIMAE NOCTIS Italy
KALISANTROPE Italy
KUNDALINI SHAKTI DEVI Italy
IL LABIRINTO DI ALICE 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
MACCHINA PNEUMATICA 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
MELTING CLOCK Italy
MESSAGGIO 73 Italy
METAMORFOSI Italy
MINDFLOWER Italy
MINSTREL Italy
MIRAGE Italy
MO.DO. Italy
MÖBIUS PROJECT Italy
I MODIUM 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
OPHICINA Italy
OPRA MEDITERRANEA Italy
ANDREA ORLANDO Italy
LE ORME Italy
ORNITHOS Italy
OSAGE TRIBE Italy
OSANNA Italy
OSCILLAZIONI ALCHEMICO KREATIVE (O.A.K.) Italy
OVERTURE 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
NICOLA PARDINI 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
GIORGIO FICO PIAZZA 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
PROMETHEO Italy
PROPHEXY Italy
PROTOCOLLO C Italy
PROWLERS Italy
PSICOSUONO Italy
PSYCHO PRAXIS Italy
QIRSH Italy
QUARTO VUOTO Italy
QUASAR LUX SYMPHONIAE Italy
QUEL CHE DISSE IL TUONO 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
THE REBUS / IL FAUNO DI MARMO 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
IL SENTIERO DI TAUS Italy
SENZA NOME Italy
SEZIONE FRENANTE Italy
SFARATTHONS Italy
SHOWMEN 2 Italy
PAOLO SIANI FT. NUOVA IDEA Italy
SIDE C Italy
SINTESI DEL VIAGGIO DI ES Italy
SINTONIA DISTORTA Italy
IL SISTEMA Italy
SITHONIA Italy
SLOGANS Italy
LA SORGENTE Italy
ALAN SORRENTI Italy
ST.-TROPEZ Italy
UNA STAGIONE ALL' INFERNO Italy
LA STAZIONE DELLE FREQUENZE 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
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
VERGANTI 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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