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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)




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

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

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

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

Movimenti Prog
http://www.movimentiprog.net

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

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

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

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


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

Rock Progressivo Italiano Top Albums


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

4.42 | 1180 ratings
PER UN AMICO
Premiata Forneria Marconi (PFM)
4.42 | 747 ratings
IO SONO NATO LIBERO
Banco Del Mutuo Soccorso
4.39 | 926 ratings
STORIA DI UN MINUTO
Premiata Forneria Marconi (PFM)
4.38 | 800 ratings
DARWIN!
Banco Del Mutuo Soccorso
4.30 | 593 ratings
ZARATHUSTRA
Museo Rosenbach
4.31 | 453 ratings
ARBEIT MACHT FREI
Area
4.28 | 608 ratings
BANCO DEL MUTUO SOCCORSO
Banco Del Mutuo Soccorso
4.27 | 669 ratings
FELONA E SORONA
Orme, Le
4.27 | 588 ratings
L'ISOLA DI NIENTE
Premiata Forneria Marconi (PFM)
4.25 | 513 ratings
UOMO DI PEZZA
Orme, Le
4.20 | 417 ratings
YS
Balletto di Bronzo, Il
4.23 | 279 ratings
PALEPOLI
Osanna
4.25 | 234 ratings
DISCESA AGL'INFERI D'UN GIOVANE AMANTE
Bacio Della Medusa, Il
4.20 | 325 ratings
MAXOPHONE
Maxophone
4.23 | 255 ratings
LA CRUDELTÀ DI APRILE
Unreal City
4.21 | 265 ratings
CRAC !
Area
4.20 | 204 ratings
L' ENIGMA DELLA VITA
Logos
4.09 | 391 ratings
PHOTOS OF GHOSTS
Premiata Forneria Marconi (PFM)
4.26 | 120 ratings
RISVEGLIO
Egonon
4.15 | 225 ratings
CONTAMINAZIONE
Rovescio Della Medaglia, Il

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

ALPHATAURUS
Alphataurus
HYBLA ACT 1
Randone
VOCI
Basso, Luciano
UNA VITA UNA BALENA BIANCA E ALTRE COSE
Testa, Stefano

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Latest Rock Progressivo Italiano Music Reviews


 Live Studio by BALLO DELLE CASTAGNE, IL album cover Live, 2015
4.00 | 1 ratings

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Live Studio
Il Ballo delle Castagne Rock Progressivo Italiano

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

— First review of this album —
4 stars Lurking in the shadowy corner where the darker Italian prog bands dwell, Il Ballo delle Castagne closed out their 2014 with the recording of a live album simply entitled `Live Studio'. Performed live, sure enough, at the Nadir studio in Genova in the Spring of 2014, main composer Vinz Aquarian and his cohort Diego Banchero from fellow Italian dark prog masters Il Segno del Comando, along with other members of the band, played a selection of Castagne pieces and an interesting choice of covers by artists as diverse as Franco Battiato, psychedelic band Ya Ho Wa 13 and even German symphonic prog legends Eloy! The results are a superb little forty minute vinyl length live release, and fans of the band should greatly enjoy the results!

Marina Larcher's hissing chants and gothic priestess wail weaves around Vinz's weary vocal that's seemingly carved from a cursed altar stone throughout opener `Tema di Gilgamesh'. Heavy slab guitars and sprinkles of organ ploddingly lurch along until spacey swirling synths flitter around strangled electric guitar soloing in the climax. The slow burn bluesy/acid rock guitar strutting that quickly turns wailing throughout `La Terra Trema' over spectral church organ instantly calls to mind Antonio Bartoccetti's Antonius Rex, and Diego gets some playful jazzy bass soloing before Fernando Cherchi's drumming erupts to life with fiery purpose. Lusty foot-tapping guitar grooves saunter through the hallucinogenic synths and ghoulish female beckonings of `Il Viaggio', the most subtle of jazzy flavours dancing throughout, and a rollicking piece originating from one of Diego's side projects Egida Aurea, `Odore di Benzina', offers frantic dark funk, his relentless bass purring with wicked delight.

`I Giorni della Memoria Terrena' is a dramatic and dreamy reinterpretation of German band Eloy's `Appearance of the Voice', Vinz's distorted spoken vocal (with new Italian lyrics) groaning over reflective and tasteful guitars replacing those shimmering synth lines of the original. A further cover of Italian legend Franco Battiato's `Areknames' is given a frantic new-wave punky sprightly pop/rock makeover. A ranting narrated introduction over rising church organ builds a brooding mysterious menace throughout `Omega' before the band twist it into a devilish Black Sabbath stomp, and the band close on Ya Ho Wa 13's acid-rocker `Fire in the Sky', where endless scorching electric guitar soloing burns with hellfire intent, the repeated chanted chorus crushes your precious hold on sanity and a repetitive bass-line smashes down on your skull over and over for all eternity!

`Live Studio' is limited to just over a hundred copies, and despite it being a CD release, it comes in a glossy fold-out 7" LP sized sleeve, with the disc carefully placed in a plastic pocket inside. It's a beautiful presentation for a special little live document that, although not essential, offers a frequently exciting live performance with plenty of spontaneous fire and rough intimidating gloom from a fascinating darker Italian band. It's meant as a friendly gesture of thanks to fans for supporting the band, and while it's definitely recommended, the March 2015 release of their next studio album, `Soundtrack for an Unreleased Herzog Movie' promises to surely be even more exciting!

Four stars nonetheless.

 Sensitività by COSCIENZA DI ZENO, LA album cover Studio Album, 2013
3.89 | 162 ratings

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Sensitività
La Coscienza di Zeno Rock Progressivo Italiano

Review by apps79
Special Collaborator Neo Prog Team

3 stars ''La Coscienza di zeno'' became a sellout within a few months of its original release date, no wonder when considering its amazing quality.The band was still busy, after accepting the invitation to participate in two Musea compilations, ''Decameron: Ten days in 100 novellas - Part 1'' and ''The stories of H.P. Lovecraft''.Meanwhile, sometime in March 2012, they would welcome veteran keyboardist Luca Scherani in the place of the departing Andrea Lotti.Several lives would follow during the year, some of them next to Italian Prog legends such as Locanda delle Fate, Maxophone and Garybaldi.La Coscienza di Zeno then signed with AltRock Productions' sublabel Fading Records and in summer 2013 comes the second album of the band ''Sensitivita'', recorded with a few guests on flute, strings and Mellotron.

This is a case of a rather flawless album, a clean production, a powerful, bombastic and grandiose symphonic sound with enough twists and turns to satisfy even the most demanding Prog fan and very good Italian vocals, split between hard and warmer singing.Moreover the tracks are quite long with thematic variations and rhythm alternations, the music is both romantic and dramatic and the composing level remains pretty high.The main problem with La Coscienza di Zeno's second album is the more pronounced use of the synthesizers and acoustic piano over the analog keyboards, showing the band moving slightly from the retro aesthetics of their debut, plus this album is executed with perfect performances on instruments and vocals, but seems to lack the pair of killer compositions and atmospheric intelligence of the first work.It strangely sounds however a bit more balanced with a tight and confident sound, passing through soft and dynamic arrangements, showing some love for Classical Music and jumping in the same wagon with LA MASCHERA DI CERA.Very Italian-sounding with evident inspirations from P.F.M., BANCO DEL MUTUO SOCCORSO, MUSEO ROSENBACH, CORTE DEI MIRACOLI (propably the best comparison here) and IL BALLETO DI BRONZO, featuring extended instrumental variety, flavored by some strings and flute and even some slight theatrical edges.

It would be unfair to compare this work with the band's debut, because such masterful albums come out once in a while.''Sensitivita'' is a great work of Classic Italian Prog, the vocals are simply fantastic and the arrangements are mostly very interesting with series of impressive and inspiring moments.Strongly recommended...3.5 stars.

 Uomo Di Pezza by ORME, LE album cover Studio Album, 1972
4.25 | 513 ratings

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Uomo Di Pezza
Le Orme Rock Progressivo Italiano

Review by presdoug

5 stars After the important and groundbreaking album "Collage", a definite musical step in the right direction for Italy's Le Orme, next comes this excellent follow up album "Uomo Di Pezza". Any way you look at this album, technically, emotionally, spiritually, dramatically, it is a winner.

The great thing about this record is that there are no weak or out of place elements to it. Aldo Tagliapietra's voice is as emotional and moving as ever (my not knowing the Italian language does not hamper me in appreciating his fine vocal delivery), and instrumentally, the band is firing on all six cylinders; inventive drumming by Michi dei Rossi, who always has that perfect sense of timing and dramatics, the well crafted and executed bass and six-string guitar of Aldo's, and of course great, classically inspired to the fore keys playing by Tony Pagliuca, all co-existing to make a wonderful recording. And the resultant atmosphere created by these musicians is unique in it's way, despite comparisons with Emerson, Lake and Palmer's sound.

This album is the perfect transition from the previous "Collage" to the next one, "Felona e Sorona". No look at, or appreciation of, this band would be complete without "Uomo di Pezza". Actually, no seventies prog collection, period would be complete without this masterpiece-it is that essential. 5 stars, no less.

 Kundalini Shakti Devi by KUNDALINI SHAKTI DEVI album cover Studio Album, 2013
3.52 | 6 ratings

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Kundalini Shakti Devi
Kundalini Shakti Devi Rock Progressivo Italiano

Review by apps79
Special Collaborator Neo Prog Team

3 stars During the 70's Italian Roberto "Paramhansa" Puddu was playing the sax in various Pop/Dance bands, but at the same time he was intrigued by the fascinating sound of the Italian Prog bands of the era.So, he decided to gather some musicians together and compose music in a similar vein.The procedure was quite hard, most of the members, who eventually helped him had a background in Classic Rock and Puddu had to reveal their more experimental side in order to fully capture the spirit of the project.With him on sax, flute and lead vocals and Massimiliano Moretti, Gianni Lecchi on guitars/vocals, Claudio Capetta, Alfonso Oliva on bass, Enrico Radaelli, Tony Ognibene on keyboards and Ampelio Biffi on drums the team managed to record three tracks in 1974 , but failed to convince any label to sign the band.40 years later the music was discovered by AMS' Mathias Scheller and an archival release under the name of Kundalini Shakti Devi was launched without second thoughts in 2013, both on CD and vinyl formats.

Not only was Puddu fascinated by the progressive trend of the time, but he apparently made on attempt on the more difficult side of Prog Rock, composing long tracks with multiple influences.His self-confidence as a composer and player are evident already from the opening 19-min. ''Flash'', an excellent take on soft Symphonic/Jazz Rock with slight psychedelic elements on the organ-drenched parts and the singing lines, a loose feeling on the instrumental parts and obvious Classical inspirations on the flute/keyboards interactions.A very nice long epic with some dramatic keyboard and guitar work, smooth lyrical moments with a mellow jazzy background and good pastoral soundscapes with lots of flute.''Museo galattico'' is about 15 minutes long and comes closer to the dark Prog vein of VAN DER GRAAF GENERATOR and compatriots OFFICINA MECCANICA, it's mostly jazzy Prog Rock with again some singing psychedelia and a vastly more experimental sound.Symphonic elements are not absent either, especially during the synth-led atmospheric passages with the romantic vocals, but the major length is dedicated to mid-tempo instrumental flexibility with lots of sax, organ and guitar.The 14-min. ''Sensitivita'' closes the album in a more symphonic style with discreet jazzy elements.The music is somewhere between ALPHATAURUS and IL VOLO, jazzy-spiced Symphonic Rock with the standard Italian romanticism, based on great organ parts, lovely guitar work, melodic saxes and peaceful synthesizers, the atmosphere is absolutely great and the arrangements sound more refined than raw.

An archival, almost classic work of 70's Italian Prog.Excellent document on how many unsigned bands were playing with a free spirit around the time, this is some serious Jazz/Sympho Rock with elegant sax and flute work and numerous guitar and keyboard dominations.Strongly recommended...3.5 stars,

 Posidonian Fields  by TAPROBAN album cover Studio Album, 2006
3.28 | 30 ratings

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Posidonian Fields
Taproban Rock Progressivo Italiano

Review by andrea
Prog Reviewer

4 stars Posidonian Fields is the third album by Taproban, a band from Rome formed in 1996. It was released in 2006 on the independent label Mellow Records with a line up featuring Gianluca De Rossi (keyboards), Guglielmo Mariotti (bass, guitars, vocals) and Davide Guidoni (drums, percussion). It's a concept album containing three long suites that tell about a journey through an imaginary submarine abyss, a metaphorical one way trip in the subconscious. The lyrics by Davide Guidoni are loosely based on Altered States, a 1980 American science fiction-horror film directed by Ken Russell and are based on a novel by the same name by playwright and screenwriter Paddy Chayefsky about a sensory deprivation research conducted in isolation tanks under the influence of psychoactive drugs. Davide Guidoni took also charge of the art work that in some way depicts the content of the album... Anyway here words, images and notes are like touches of colour used to stir your imagination and you have to fill the gaps. As for the music, every now and again the overall sound could recall bands such as Emerson, Lake & Palmer or Le Orme, with the use of a wide range of vintage instruments such as Hammond C3 organ or Minimoog, but the song-writing is brilliant the final result perfectly fits the storyline.

The first suite, "Chapter One: Immersion", is divided into three parts and begins softly, with the narrative vocals in Greek and the mysterious atmosphere of "EvapZis". The second part, "Immersion", begins by a dreamy acoustic guitar arpeggio and floating vocals to bid farewell to reality... The one way journey to the unknown begins while colourful psychedelic images appear and melt during the long dive into the submarine kingdom of Poseidon... On the third part, "Caronte's Ship Imponderability", the rhythm rises while frenzied keyboards waves and rough, nervous bass lines take you across the Styx to a kind of blue hell...

The second suite, "Chapter Two: Suspension", is divided into four parts and begins by the surreal calm of "Riding in Posidonian Fields" that depicts in music and lyrics the meeting with a strange creature. A strummed acoustic guitar pattern reminds you that the ocean is like a desert with its life underground where you can find nameless seahorses and other creatures riding into the blue... The second part is the instrumental "Entwinings" that conjures up the image of a mysterious dance into the deep and fades into "Suspension" where you can hear the echoes of a choir of submerged voices coming from a world that you can't reach. Then you relax, you get lost in your dreams, among corals and fishes you become someone or something else in a kind of new Genesis... The fourth part, "Octopus!", suggest what could be the result of this metamorphosis...

The last suite, "Chapter Three: Oblivion", is divided into three parts and begins by the dark, nightmarish "Uncontrolled Dreams", where you risk to get trapped behind a series of doors corroded by time... The rhythm is frenzied and the tension is higher and higher while you seem unable to climb out from the abyss... Well, an altered state of consciousness is a condition which is significantly different from a normal waking beta wave state and the expression describes induced changes in one's mental state, almost always temporary... But beware! Sometimes there's no way out and the following part "No Return" marks a new awareness while you realize that you can't turn back and that it's too late to escape from the fog of your subconscious. The mystical final part, "Farewell (including Rebirth)", marks the beginning of a new journey towards the eternal mystery of the afterlife while your soul spreads beyond the infinite...

On the whole, an interesting concept and a very nice album, although I think that's a pity that the band did not exploit their mother language for the lyrics as in their previous works.

 La Notte Anche di Giorno by COSCIENZA DI ZENO, LA album cover Studio Album, 2015
4.24 | 41 ratings

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La Notte Anche di Giorno
La Coscienza di Zeno Rock Progressivo Italiano

Review by Andis

5 stars This is... this is just... brilliant! I thought their second album Sensitività released 2013 was that years best album and my excitement was huge for this album. Preordering it from BTF so I was sure to get it as fast as I could possibly get and after many spins in my CD I am just amazed how great this is.

In my humble opinion this is how italian progressive rock should sound like, what it is all about. The albums contains just about a ton of great melodies with lots of twists and turns, tempo changes and influences from a wide range of musicial styles. Although everything is all about italian progressive rock and everything is 100 % La coscienza di zeno.

Comparing to the previous albums I'd say this albums is a little more mature and more well balanced, it all flows better together, not just that most of the songs really do fit together, it's like two long suites. The first suite "Giovane figlia" contains songs 1-6 and the second "Madre antica" contains songs 7-10. The albums sounds a little more keyboard oriented than before and the violin is more dominant than before. Maybie it's just a feeling but I also feel it's a little more vocals than previous albums, with this great singer that can only be a good thing.

It all starts of really great and it just keeps getting better, my favourite songs is the second and third wich both has a great melodies and lots of beautiful melodic parts.

This is what progressive rock is all about and you'll better run to get this brilliant CD. I dare to say this is essential.

 Night on the bare mountain by NEW TROLLS album cover Studio Album, 1974
3.40 | 11 ratings

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Night on the bare mountain
New Trolls Rock Progressivo Italiano

Review by GruvanDahlman
Prog Reviewer

3 stars New Trolls is an interesting band, for sure. They developed from ye olde beat and pop/ rock of the sixties into an ever more progressive and eclectic band. I love the 'Concerto grosso', 'Searching for a new land' and 'UT'. Especially 'UT'. I find that album to be very varied, hard rocking and challenging album that grows on you. At first I didn't get it at all but it revealed itself after some time. Great album by a great band. 'Night on bare mountain' seems to be the following album and is quite interesting aswell.

Musically New Trolls stands in both classical elements and hard rock, creating a wonderful brew of progressive rock that spans across the universe. Quite evident is their love of jazz and folk, which adds to the great flavor of the album. I would say, however, that the music is less challenging on this one, compared to 'UT', but ot the other hand it feels more cohesive and held together. The good thing is that the songs are presented in a sort of uniform state, the problem is that the songs actually are similar to each other, resulting in an album of great material but nothing really stand out.

There is an abundance of marvellous instrumentation on this album. The title track is an electronic sounding, pulsating thing with an overly classical reference which works great. The massive amounts of keyboards, not to mention organ, is a treat and being a fan of keyboards I cannot be anything other than amused. There is a delicate feel to it all that is at times abruptly interrupted by outbursts of heavy rock. That is very enjoyable and one is kept on ones toes, actually.

As far as individual tracks are concerned, every song is great and better. When I listen to the album I really nod my head in recognition. 'This is so great', I find myself saying, and I mean it. The music is really great in all it's jazzy progressive rock. It is wonderful. But I cannot really pick any one track out, apart from the title track. I cannot hum them. That is a shame, because the songs are really good. Maybe it's the similarities they share that is to blame? I don't really know. Or perhaps this album marks a decline in the fortunes of the New Trolls? Whatever the reason, I find that 'Night on bare mountain' is really enjoyable and well performed, simply not outstanding. I wish for it to be released on CD, some day, because then I will buy it. If you haven't listened to New Trolls, start with 'Concerto grosso' or 'UT'. Save this one for later.

 Mondi Nuovi by PROWLERS album cover Studio Album, 2014
3.81 | 8 ratings

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Mondi Nuovi
Prowlers Rock Progressivo Italiano

Review by tszirmay
Special Collaborator Crossover Team

4 stars Italian progressive group Prowlers seem to find themselves in a precarious position of not garnering very much interest within the prog community, in fact not all that much talk among the RPI fans about them either! Their 5 album discography is basically unknown, with few reviews. It is a pity, as there is some very serious talent at hand, namely in the person of Alfio Costa, a tremendous keyboard player who has a thrilling band with his pal and drummer Davide Guidone called Daal, which has been busy drawing rave reviews worldwide. His work with Daal is perhaps more modern and sophisticated using a fair amount of experimental effects and sounds. With Prowlers, Alfio bivouacs with the more traditional keyboard stylings associated with neo or RPI genres, to weave massive symphonic coloration instead of being in the spotlight. Bassist Bobo Aiolfi is one of those masters of the 4 string monster who is valiant in his upfront approach, concocting fascinating flurries of notes that provide both foundation and melody. Original guitarist Stefano Piazzi returns to the fold, adding some crunchy riffs and licks as well as acoustic guitar flashes when called upon. Drummer Giana Vezzoli provides all the percussive propellant one would hope for. Singer Laura Mombrini has a fine earthy voice, some daring even to anoint her as the "Italian Annie Haslam", not as highly technical but very emotive which means she can easily adapt to the modern score.

New worlds indeed, as "Mondi Nuovi" scoots into earshot, Alfio's sparkling piano at the helm, as the roaming Aiolfi bass takes the spotlight (a brilliant technical player who has dexterity down pat!). The melody is spectacular, a fabulous opener, egged on by a 'dirty' guitar style that I particularly enjoy, rekindling memories of that amazing one shot 1996 RPI wonder Foglie di Vetro (who sadly, got little love from the community). "Viva Ancora" features the same scenario, the intrepid bass carving a masterful path for the others, flirting with the hard blues-stained guitar of Stefano Piazzi and winking at Alfio's various ivories, be it organ, piano or synths. Laura modulates her voice in fine fashion, showing off some great pipes.

Things get appropriately spooky (a trait well m mastered with Daal) and more developed on the longer "Guardando dentro Te", a nearly 8 minute bubbly joyride that has everything sparkling like vintage Prosecco. An astonishing melody, an extraordinary vocal that takes the jugular firmly and some seriously addictive atmospherics all reign supreme, again led by that fluid bass and slick guitar licks. The strings add a huge orchestral depth that clashes nicely with the tingling guitar motifs, while the piano outro seals the deal. Classic track.

A tribute to Mother Nature, "La Danza di Matre Natura" follows right in the preceding track's genius, with an effect-laden background of warbling birds and Laura's spangled voice, multiple mellotron flashes where it matters most (which is often) and a mature coalescence of ensemble playing, the adventurous bass is always a delight to follow. Alfio whips out his dynamic synths in order to deliver some sweeping flurries to the mix, then switches over to shimmering Hammond organ as the e-guitar provides backbone. Another great one. The pastoral "Melaquadro" is more concise, a medieval acoustic guitar adorning the canvas, Laura's light nasal delivery becoming even more appealing as one gets used to it. A whistling melody is the crowning moment. Simple.

"Giovane Falco" is a more brooding affair, armed with a Jon Lord-like organ passage, though very far from "Space Truckin'", the piece is way more redolent and gentle than any Purple song. The suave, slow-handed guitar solo brightens up the piece with deliberate finesse and a promise for another loop around the track. The big revelation is the singing Native American cameo that defies description and again saves the track from an otherwise predictable outcome. "Capriccio in A" is the accompanying keyboard spot, showing off Alfio's classical heritage.

Things revert to melancholia on the spectacular "Ultima Notte", slowly building up to a raging guitar fest , with little winks at Clapton's "Layla" and Laura's ongoing vocal expertise, the feel resolutely more blues-based with little dabs of psychedelic fervor. Piazzi does some tough work on his axe, Alfio enjoying his piano immensely. The last few minutes incorporate faraway thunder and a circus-like dirge, slamming door and bizarre street noise.

The epic 10 minute+ "Disordinaria" represents the high-point here, as there is little haste in building up the main theme, a simple riff that has Gothic appeal, binary drums and a ghostly sheen. The piano and the cello congeal as a masterful union, a definite eerie feel, especially in the stark guitar lines and the somber fret-less bass furrow. The following searing axe solo is intense, volcanic and expressive to the max. This is a clear masterstroke, a dream within a dream, a sonic voyage that keeps its feet on the ground as the head soars among the clouds. In my humble opinion, the disc should have ended with this masterpiece.

The album is finished off by a tired soldier ("Soldato Stanco"), essentially a voice and piano duet lamenting the pain of life and death, highly expressive orchestrations enter the fray as well as a spastic guitar splash before reverting to a mid-tempo piano-led ballad. The explosive guitar solo catches you by surprise, full of verve and spite as the reverb slithers out of range. This is a tasty album that has a few outright winners and a few lesser gems, certainly not a classic RPI album but a great addition nevertheless.

4 Modern worlds

 Passio Secundum Mattheum: The Complete Work by LATTE E MIELE album cover Studio Album, 2014
4.15 | 121 ratings

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Passio Secundum Mattheum: The Complete Work
Latte e Miele Rock Progressivo Italiano

Review by tszirmay
Special Collaborator Crossover Team

5 stars History can be an integral part of subject matter in the world of progressive music, a look back at past events and how they shaped music and how music shaped events, a symbiotic relationship that has often been the source of sonic masterpieces. Thankfully, or perhaps even more mercifully, the list is endless and would take an eternity to name all 800 or so. In the early 70s, Italy was witnessing and relishing in the great gentrification of rock, now staffed by schooled musicians who are unafraid to show their mettle. Some old history first: Latte e Miele released a thrilling album in 1973 which did some serious damage back then and remains a classic RPI monument to this day, with heaps of written praise around the globe. The band has sort of followed in the footsteps of La Maschera di Cera who dared to record their version of Le Orme's legendary "Felona e Sorona", except that the creators were entirely a different band. The exact same Latte e Miele trio that recorded the Passio Secundum is back (Dellacasa, Lacagnina and Vitanza) and re-recorded as well as edited a newer version that is simply stupendous, in fact slinging the thing into the upper echelons of bliss. The stellar melodies have been polished up, in some cases reinvigorated, especially the orchestral and choral parts which are now focused and grandiose. New compositions have been added as well as shifting the flow into a more concise, complete piece of work, as well as including a vast cast of guests that are well listed in other reviews. In terms of historical perspective, the subject matter was, is and will be forever attached to the Italian fascination for Christ, as established by a state called the Vatican (and its considerable power and money) not only within Italy but even within its proud capital city, the once mighty Rome.

Time Log: Jesus Christ is crucified. Place: Jerusalem. The preparatory "Introduzione" sets the tone with typical Middle Eastern serenity and empirical Roman bombast , setting a time and place for the story to unfold , as the annual Jewish Passover holiday is set to begin, amid great tumult between the local populace and the invader legions. The glorious melody on harpsichord settles as the freshly baked matzah emerges from the oven, and the last supper has finally arrived (Supper's Ready), the sound alternating between historic narrations, massive choir arrangements and titillating keyboard flourishes. The melody on "Ultima Cena" is achingly poignant, revealing a glimpse of the upcoming tragedy. The bread and blood of the alliance refers to the benedict sharing of wine and sustenance, forged by a gentle acoustic guitar phrasing that elevates the soaring vocal, escorted by a gliding lead guitar that weeps and cries with splendor. Sweeping mellotron ushers in colossal choir work that veers closer to opera, another Italian 'trouvaille' that has lived on. Celestial synths adorn the arrangement as the story unfolds.

As with the original, "Getzemani" remains that thunderous melody with a masterful arrangement that elevates the sound to heavenly heights, generally marshaled by a sublime synth foray, this continues to be a highlight that can only surpass the loftiest hopes. Stirringly emotional and densely spiritual, the pure sounds blur the line between musical genres, with that blasted harpsichord seducing the soul once again. Alfio Vitanza's drums are crisp, bold and riveting, providing the foundation for the intense choir section, fueled by both the blissful mellotron and the parping synthesizers. "I Falsi Testimoni" only enhances the flow, with roiling organ, narration and huge choir interventions. The ELP-like instrumental section gets a guitar impulsion that only temporarily hides the moog solo, straight out of Emerson's Lucky Man.

"Il Pianto" is a direct lift from the former USSR anthem (same as the current Russian anthem with different lyrics) written by Alexander Alexandrov, a drop-dead gorgeous melody that is too short for my tastes and segues into the more somber dramatics that edge closer and closer to the intolerable finale. "Il Prezzo del Sangre" slings a sizzling guitar into a maelstrom of orchestral strings as the price of blood becomes self- evident and the fate of a precocious Christ is sealed by both the occupiers and the occupied, another young prophet brought down for daring to shake the tree. A brief nod to "Giuda"'s weakness dwells only briefly, the voice being the main focus here, swelled by Lacagnina's slippery synth and a regal guitar solo from Dellacasa. The option of Barrabas or Jesus comes up as a collision of choirs entangled, the spectral church organ finding its place in the score with cavernous appeal ("Toccata per Organo"), all leading up to the painful Calvary where the Romans had prepared the cross.

"Il Calvario" is a hurricane of emotions, imagine if you will dark choral clouds that loom above the Mount of Olives, distant thunder and occasional lightning crawling the flesh, as the massed voices exult in pained distress. Agonizing guitar bursts and distraught mellotron rule the stage, as the point of no return arrives. The tears of blood stain the cross of Roman punishment, the future consequences impossibly divine for future billions of souls. The "Aria della Croce" remains strangely upbeat for those reasons. Things get tumultuous with dense orchestrations that flirt with wild dissonance a la Orff, with hard guitars and raging chorale, a reprise of the Il Pianto" anthem, gentle as the warm wind is meant to provide hope and perhaps even salvation.

The deed is done, the moment when history has been forever altered for better or worse, the music highlighting the importance of his being still venerated by many worshipers. The work does not come across as a religious artifact but a rather well-crafted re-working of a classic story that no one can deny. Latte e Miele is another fine example of the 'resurrection' of progressive rock music, a genre gaudily crucified in the late 70s as pompous and elitist by primitive music scribes who somehow seized power of the journalism world and prepared the nails that slammed through prog's arms and legs. Needless to say, the entire package is first class, artwork, booklet, production and sound.

5 revivifications

 Il Viaggio by MURPLE album cover Studio Album, 2014
4.00 | 3 ratings

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Il Viaggio
Murple Rock Progressivo Italiano

Review by andrea
Prog Reviewer

4 stars Il Viaggio (The journey) is the third album by Murple, a Roman band whose roots date back to the seventies. It was released in 2014 on the independent label AMS/Btf with a renewed line up featuring historic members Pier Carlo Zanco (piano, keyboards, vocals), Duilio Sorrenti (drums, percussion) and Mario Garbarino (bass) along with the new recruits Mauro Arnò (guitars) and Claudia D'Ottavi (vocals). After a long hiatus, the band came back to life in 2007 and in 2008 released a long awaited second album, Quadri di un'esposizione, followed by a good live activity. In my opinion this new work is better than the previous one, here the mix between vintage and modern sounds is more calibrated and all the new compositions are convincing and well performed. Forty years have passed since the wonderful 1974 debut album Io Sono Murple, but the band is still alive and kicking and the new members are able to give new energy to the overall sound with excellent results.

The opener "Il viaggio" (The journey) begins by a short acoustic guitar intro. The guitar is played with a bottleneck and this is rather unusual for an Italian prog album... Then the other instruments come in and conjure up the black and white images of an old railway station. The lyrics compare life to a metaphorical journey where everyone has a train to take. There are so many rails, stations, connections, the other passengers are ever changing, someone gets out while others come in... No one can know where his journey will end but one day you will hear your train slackening and you'll arrive in a black and white station lost in the mist, from where you won't set off any more...

Next comes the beautiful, mysterious "Alejandra". The title seems to refer to a charming woman of Hispanic ancestry while the music blends dark keyboards passages with more solar parts where electric guitar and synthesizer bring a touch of joyful lightness evoking the suggestive evolutions of a dance under the full moon.

According to the band, the following "Nani e clown" (Dwarfs and clown) was composed in 1973 and performed live at the Be-In festival in Naples. Starting from an old tape, the band re-arranged and properly recorded it in the studio breathing a new life into this piece that describes in music and words an acrobat who walks on a tightrope during a circus show. Dwarfs and clowns are his only family and he enjoys the spotlight when he puts his life at stake for the delight of the public... The music goes through many changes in mood and rhythm underlying the acrobat's feelings and the emotions of the crowd gathered below him... Excellent!

Next comes the calm, dreamy "Angelika", an instrumental track that could make you think of a wonderful woman in the ethereal, breathtaking atmosphere of a Nordic landscape. It leads to the melancholic "Per una volta" (For once) where the music and lyrics depict a proud, vain man without ideals who is wasting his days looking for something that does not exist... The charming voice of Claudia D'Ottavi warns him to change and to break down the wall that he has built around him before it's too late.

Then it's the turn of "La battaglia" (The battle), a sumptuous instrumental track with baroque echoes and a lively pace that conjures up the image of an army on its way to the battlefield... Then the ironic "Sirene" (Sirens) ends the album. A beautiful voice warns you that nowadays sirens are not half-women and half-fish as in the old lores and legends but they can still threaten and kill evil men with their spells. They were born from a beautiful woman in love, cheated by her husband who pushed her from a high cliff. Instead of dying into the sea, the woman was transformed into a siren... Now her spawn look like every other woman but they're hungry of vengeance: beware! If you listen to their singing you'll die!

On the whole, this is a very nice album that's really worth listening to (despite the dangers evoked by the final song!). The art cover by Cesare Pietroiusti portrays the shapes of three men, three ghosts coming from afar but still able to give us some excellent music. I really hope that this will not be the last leg of their journey and I'm looking forward to Murple's next work.

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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
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
IL BABAU & I MALEDETTI CRETINI Italy
SOPHYA BACCINI Italy
IL BACIO DELLA MEDUSA Italy
BALLETTIROSADIMACCHIA Italy
IL BALLETTO DI BRONZO Italy
IL BALLO DELLE CASTAGNE Italy
THE BALMUNG Italy
LA BAMBIBANDA E MELODIE Italy
BANCO DEL MUTUO SOCCORSO Italy
BARABBA Italy
MARIO BARBAJA Italy
BAROQUE Italy
BARROCK Italy
LUCIANO BASSO Italy
FRANCO BATTIATO Italy
PIERPAOLO BIBBO Italy
BIGLIETTO PER L'INFERNO Italy
BLOCCO MENTALE Italy
BONDAGE Italy
LA BOTTEGA DELL'ARTE Italy
BRAEN'S MACHINE Italy
BRAINDEAD Italy
ANGELO BRANDUARDI Italy
BRIGHT HORIZON Italy
BUON VECCHIO CHARLIE Italy
CAGE Italy
I CALIFFI Italy
CALLIOPE Italy
CAMERA ASTRALIS Italy
JURI CAMISASCA Italy
CAMPO DI MARTE Italy
CANTINA SOCIALE Italy
CAPITOLO 6 Italy
CAPRICORN COLLEGE Italy
CAPSICUM RED Italy
ENZO CAPUANO Italy
IL CASTELLO DELLE UOVA Italy
IL CASTELLO DI ATLANTE Italy
CAVALLI COCCHI LANZETTI ROVERSI Italy
CELESTE Italy
IL CERCHIO D'ORO Italy
CERVELLO Italy
CHERRY FIVE Italy
CHIAVE DI VOLTA Italy
LUCIANO CILIO Italy
CIRCLE OF FAIRIES Italy
CITTÀ FRONTALE Italy
CIVICO 23 Italy
CLEPSYDRA Italy
I COCAI Italy
ROBERTO COLOMBO Italy
CONDOR Italy
CONQUEROR Italy
CONSORZIO ACQUA POTABILE Italy
CONTRAPPUNTO Italy
CONTROTEMPO Italy
COOPERATIVA DEL LATTE Italy
CORAL CAVES Italy
CORMORANO Italy
EMANUELE CORREANI Italy
CORTE AULICA Italy
CORTE DEI MIRACOLI Italy
LA COSCIENZA DI ZENO Italy
MARIO COTTARELLI Italy
COURT Italy
CRYSTALS Italy
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
FABIO CELI E GLI INFERMIERI Italy
FALENA Italy
FEM PROG BAND Italy
FESTA MOBILE Italy
FILARMONICA MUNICIPALE LACRISI Italy
FILORITMIA Italy
FINISTERRE Italy
FLEA Italy
FLOATING STATE Italy
RICCARDO FOGLI Italy
FOGLIE DI VETRO Italy
FORMULA 3 Italy
FABIO FRIZZI Italy
CLAUDIO FUCCI Italy
GARYBALDI Italy
GENCO PURO & CO. Italy
GENFUOCO Italy
GERMINALE Italy
FRANCO MARIA GIANNINI Italy
GIARDINI D'AUTUNNO Italy
GIARDINO DELLE DELIZIE Italy
I GIGANTI Italy
GIGI PASCAL E LA POP COMPAGNIA MECCANICA Italy
IL GIRO STRANO Italy
GLEEMEN Italy
GOBLIN Italy
GRAN TURISMO VELOCE Italy
GREENWALL Italy
GRIMALKIN Italy
GRUPPO 2001 Italy
GUERCIA Italy
H2O Italy
HOMUNCULUS RES Italy
HOPO Italy
HORUS Italy
HOSTSONATEN Italy
HUNKA MUNKA Italy
IANVA Italy
IBIS Italy
IL FAUNO DI MARMO / THE REBUS Italy
INGRANAGGI DELLA VALLE Italy
J.E.T. Italy
JACULA Italy
JANUS Italy
JESTER'S JOKE Italy
JET LAG Italy
JUMBO Italy
KUNDALINI SHAKTI DEVI Italy
LABIRINTO DI SPECCHI Italy
LAGARTIJA Italy
LASER Italy
LATTE E MIELE Italy
LUCIANO LAURINI Italy
LEO NERO Italy
I LEONI Italy
LETHE Italy
LIBRA Italy
LINEATEORICA Italy
LOCANDA DELLE FATE Italy
EMILIO LOCURCIO Italy
LOCUS AMOENUS Italy
LOGOS Italy
LOST TALES Italy
LOTHLORIEN Italy
MACROSCREAM Italy
MAD CRAYON Italy
MAD FELLAZ Italy
MADRUGADA Italy
MAGNOLIA Italy
MALAAVIA Italy
MALIBRAN Italy
MALLEUS Italy
MANGALA VALLIS Italy
LE MANI Italy
MARCHESI SCAMORZA Italy
LA MASCHERA DI CERA Italy
MAURY E I PRONOMI / AQUAEL Italy
MAXOPHONE Italy
MEDITERRANEA Italy
MELLONTA TAUTA Italy
MESSAGGIO 73 Italy
METAMORFOSI Italy
MINDFLOWER Italy
MINSTREL Italy
MIRAGE Italy
MO.DO. Italy
LORENZO MONNI Italy
MONTEFELTRO Italy
IL MUCCHIO Italy
MURPLE Italy
MUSEO ROSENBACH Italy
FRANCO MUSSIDA Italy
MYROS Italy
LA N.A.V.E. Italy
NARROW PASS Italy
NASCITA DELLA SFERA Italy
NEW TROLLS Italy
NEW TROLLS ATOMIC SYSTEM Italy
NICOSIA & C. INDUSTRIA MUSICALE Italy
NODO GORDIANO Italy
NOTABENE Italy
I NUMI Italy
NUOVA ERA Italy
NUOVA IDEA Italy
OBSCURA Italy
THE ODEJA Italy
ODISSEA Italy
OFFICINA MECCANICA Italy
L' OMBRA DELLA SERA Italy
OMBRALUCE Italy
LE ORME Italy
ORNITHOS Italy
OSAGE TRIBE Italy
OSANNA Italy
IL PAESE DEI BALOCCHI Italy
MAURO PAGANI Italy
PANDORA Italy
PANE Italy
PANGEA Italy
PANNA FREDDA Italy
MARIO PANSERI Italy
PARADISO A BASSO PREZZO Italy
MAURO PELOSI Italy
I PENNELLI DI VERMEER Italy
LA PENTOLA DI PAPIN Italy
PERDIO Italy
PERIFERIA DEL MONDO Italy
PERSIMFANS Italy
PHAEDRA Italy
PHOLAS DACTYLUS Italy
GIAN PIERETTI Italy
PIERO E I COTTONFIELDS Italy
PIERO EZIO E TINO Italy
PLANETARIUM Italy
PLENILUNIO Italy
PLURIMA MUNDI Italy
LE PORTE NON APERTE Italy
PREGHIERA DI SASSO Italy
PREMIATA FORNERIA MARCONI (PFM) Italy
PRESENCE Italy
PROCESSION Italy
PROGENESI Italy
PROPHEXY Italy
PROWLERS Italy
PSYCHO PRAXIS Italy
QIRSH Italy
QUARTO VUOTO Italy
QUASAR LUX SYMPHONIAE Italy
QUEL GIORNO DI UVE ROSSE Italy
QUELLA VECCHIA LOCANDA Italy
RACCOMANDATA RICEVUTA RITORNO Italy
I RAMINGHI Italy
RANDONE Italy
RANESTRANE Italy
REALE ACCADEMIA DI MUSICA Italy
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
SEMIRAMIS Italy
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