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 ā la Jethro Tull, Deep Purple and Led Zeppelin, intense drama a la Van der Graaf Generator (whose albums were revered in Italy), singer-songwriter, proto-metal, blues, avant tendencies, pop, psych, dark/occult, electronic-the list goes on. Even more amazing, these differences in style can often be found to varying degrees on one album, and still feel natural in the distinct stylistic framework mentioned above.
No overview of RPI would be complete without mentioning the use of the Italian language, by many considered one of the most musical languages in the world. It could be safely stated that the use of Italian is inherent to the soul of RPI, a critical component to the full appreciation of the subgenre. In fact, even if some key RPI albums were translated into English in an attempt to gain international recognition, most of them fail to impress. They feel as if one of the basic ingredients of what makes RPI such a successful concoction is missing. While most serious RPI fans consider Italian vocals essential to their listening experience, it is fair to say that some believe English lyrics are not so detrimental-even if in most cases the odd phrasing, incorrect emphasis, and heavy Italian accent of the singers detract significantly from an authentic overall effect. While some prog fans can find the gregarious Italian vocal style challenging at first, newbies are encouraged to simply stick with it for a while. With only a modest effort any RPI newbie will soon find they cannot imagine this music without traditional Italian vocals-they truly are the icing on the cake.
One common misconception that must be addressed is the belief that any prog band from Italy is an RPI band. There are bands from Italy more appropriate for other genres. As an example, a pure and obvious post-rock band who just happen to be from Rome are going to be in the post-rock sub, not RPI. A pure jazz-fusion band with no RPI characteristics to their sound could be easily placed in the Jazz/Fusion subgenre. The RPI team will work hard to evaluate bands that fit the characteristics and the feel of the subgenre, and those whose primary sound is more suited for another sub are recommended to them.
"Progressive is basically a blending of three elements: the song, the improvisation inspired by jazz and the composition in classical style. This cocktail is interpreted in different ways in every country: in England, for instance, Celtic, rock and blues influences prevail. In Italy we have to cope with our classical tradition: the melodramma, Respighi, Puccini, Mascagni but also all the contemporary classical composers. It's in this legacy, in my opinion, that the specificity of the Italian Progressive Rock is concealed." -Franco Mussida, PFM
5. RPI in the new century
As recently as the 90s and early 2000s RPI again proved its longevity to the prog community. Scores of the classic albums were re-pressed in Japan, then specialized independent labels such as BTF, Mellow and Black Widow (the latter responsible for rescuing the likes of Jacula and Antonius Rex from oblivion) started to re-issue many of the classic albums. As a consequence RPI has not only reached a new generation of fans, but the increased interest and appreciation have led to new material being released. Artists whose recordings have never been in circulation, bands that are as new to our ears as they are to many of those who were there when it happened, now have a new-found audience creating an ironic worm-hole effect: brand new music straight from prog's golden years.
With the revival clearly under way the 90s produced some stellar Italian albums and the beginning of CD reissue fever. In the 2000s the trend has continued to a much more successful degree. RPI is back and fan interest has exploded for both the classic period and the new bands of today like Il Bacio Della Medusa, Pandora, Lagartija, Conqueror, Il Ruscello, Senza Nome, Coral Caves, J'Accuse, Ubi Maior, and the projects of Fabio Zuffanti to name just a few. Italian progressive rock today covers a wide range of styles and influences, but many of the bands ground a portion of their sound in the RPI tradition. Moreover, this first decade of the 21st century has seen a new round of publications (both in print and in electronic format) covering various aspects of Italian prog, as well as the creation of a number of excellent websites dedicated to the subgenre, which are extremely influential as regards the promotion of new bands and artists.
The commercial success of RPI has always been modest compared to the big bands from other countries. However, the quality of the music past and present, from its unique compositions to fiercely independent spirit, has earned the RPI subgenre some of prog's most loyal followers.
By:
Raffaella Berry
Michael Berry
Ryan Olsen
Jim Russell
Linus Wikström
Todd Dudley
For the Mick.
29 July 2009
Current RPI Team
Todd
Aussie-Byrd-Brother (Michael)
rdtprog (Louis)
Additional information:
Italian Prog - A dedicated RPI site
http://www.italianprog.com
Italian Prog Map - A superb blog by RPI writer Andrea Parentin
http://italianprogmap.blogspot.com/
Andrea Parentin's history of RPI (essential reading)
http://www.progarchives.com/forum/forum_posts.asp?TID=33377&PID=2345095#2345095
Andrea Parentin's contemporary Italian prog (newer bands)
http://www.progarchives.com/forum/forum_posts.asp?TID=62150&FID=58
Movimenti Prog
http://www.movimentiprog.net
Centro Studi per il Progressive Italiano
http://www.centrostudiprogitaliano.it
John's Classic RPI blog - Another good blog on the "classic" era
http://classikrock.blogspot.com/
Arlequins - A prog rock webzine with much RPI content
http://www.arlequins.it/gb/index.asp
Where to buy Italian prog
Syn-phonic (USA) - http://www.synphonicmusic.com
Doug Larson (USA) - http://www.douglarsonimports.com
Kinesis (USA) - http://www.kinesiscd.com/index.html
Wayside (USA) - http://www.waysidemusic.com/
Mellow Records (Italy) - http://www.mellowrecords.com
BTF (Italy) - http://www.btf.it
Black Widow Records (Italy) - http://www.blackwidow.it
Camelot Music Store (Italy) - http://www.semanticweb.it/camelotstore/
Discogs - www.discogs.com
Rock Progressivo Italiano Top Albums
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Rock Progressivo Italiano overlooked and obscure gems albums
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BUON VECCHIO CHARLIEBuon Vecchio Charlie |
UNOPanna Fredda |
STORIA MAI SCRITTACapuano, Enzo |
ADOLESCENZAPanseri, Mario |
Latest Rock Progressivo Italiano Music Reviews
Il Tempio delle Clessidre Rock Progressivo Italiano
Review by
kev rowland
Special Collaborator Crossover Prog Team
I was quite a fan of this Italian progressive rock band's previous album, 'alieNatura', which was released in 2013: this was their second
release, but the first with singer Francesco Ciapic. Again, there has been a change in membership between albums, as drummer Paolo
Tixi has been replaced by Mattias Olsson (Änglagård, White Willow, Necromonkey), while Anna Holmgren (also of Änglagård) adds her
delicate flute to one number. This is a progressive rock album that is dominated by the vocals, and to my ears it works incredibly well.
Musically this has a lot in common with the early Seventies progressive rock and hard rock scene, and the use of a strong singer in the
hard rock style certainly provides this music with some additional edge. Which is sadly often missing from the progressive scene.
Too many bands seem to forget the "rock" section of "progressive rock", and they can concentrate too much on keyboards and delicacy, but here ITDC are using plenty of dynamics, with light and shade emphasising both areas. But, these guys are still first and foremost a progressive band, it's just that they are refusing to be bound by what many feel is the sort of music that should be coming out of the RPI scene. I really enjoy Francesco's singing style, as his vocals carry emotion and although he can sing higher when he wishes to, he generally stays in the lower registers and this allows emotion to really shine through.
My one regret is that I don't understand Italian, so have no idea at all what he is singing about, but feel that if this had been in English then it would have diminished it somewhat. Yet again this is an incredibly strong release from Black Widow, and well worth investigating.
Goblin Rock Progressivo Italiano
Review by
kev rowland
Special Collaborator Crossover Prog Team
There is no doubt in my mind, and nor in many other's I would imagine, that Goblin are the finest progressive rock bands ever to come out of Italy. Their 1977 soundtrack to the cult horror 'Suspiria' is an amazing album, and I was lucky enough to see a version of the band play live in front of a showing of the film in Auckland a few years ago. But there's the problem, their history has been a little problematic, and in 2015 there were two different versions of the bands doing the rounds. I am a little unsure if this is a Goblin album, or a 4Goblin album, as it doesn't appear on the discography of their official website, and a '4' appears inside the capital 'G' on all places, and not long before this album came out in 2015 there was a band called New Goblin. In addition, Claudio Simonetti also has a version of Goblin, but he is the only member of the 'Suspiria' quartet missing from this line-up, his place taken by Maurizio Guarini who joined the band in 2003.
Originally released by Backtothefudda in 2015, Black Widow have pulled out the stops with this release as there is a booklet, slip sleeve, and even four playing card aces featuring cartoons of the musicians. But, it is easy to see why, as here is a band that may have left the scene for quite a few years in this career, but they are back with an absolute vengeance. The production is spot on, which allows each of the musicians to really shine on this instrumental album. It shouts class from the first note to the very last, and it is incredible to realise that this band was formed more than forty years ago yet is still producing music that is important and relevant today. Massimo Morante has the same delicate touch on guitar as always, and this brings the music together in a fashion that allows the others to create space and depth throughout. This is yet another Goblin classic to add to their canon, and I hope that I manage to catch these guys in concert again. Superb.
Franco Battiato Rock Progressivo Italiano
Review by
siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams
FRANCO BATTIATO is known as one of the most popular pop singer / songwriters in all of Italian musical history having covered
everything from new wave, new age and beat as well as venturing into other arenas such as free jazz and musique concrčte, however
his origins were much more rooted in the world of experimental electronic music and in the early 70s began releasing his own albums
which fall into the world of progressive rock beginning with his debut album FETUS. This album was released in both Italian and English
and is a concept album about the development of, yep, you guessed it? a gestating FETUS! It does however seem that the tracks are
moved around depending which album you are experiencing. Personally i ALWAYS prefer Italian bands to sing in their native language
because not only does it sound more natural and less stilted but the Italian language was created to sound friggin great and especially
beautiful on more complex progressive pieces where the operatic vocals soar like eagles.By the time BATTIATO got to recording his debut release he had already become quite the sensational songwriter and it's quite clear even from this early experimental stage of his career how he was able to carry on into becoming a pop sensation in his native land. FETUS is the perfect balance between catchy hooks in mostly a rock and folk styles accompanied by lots of electronic effects and progressive touches that make FETUS a true pleasure to experience. Laced with classical music as blatantly heard on "Meccanica," FETUS takes extremely strong melodies and contorts them into bizarre electronic coated rhythmic dances that meander from folk guitar passages to organ fuzzed out psychedelic frenzies. BATTIATO's vocals are quite powerful as are the brilliant arrangement that juggle dynamics, tempos and genre characteristics like a top performer at a Cirque du Soleil show. While the time run is a mere half hour, each track packs a punch with a wealth of ideas and changes crammed into every nook and cranny.
While i haven't experienced the English version, i can tell by the music that the theme that begins with a human heartbeat continues to evolve much like a gestating human in the womb as the tracks add more layers of content although are fairly short in duration. FETUS comes across as a typical Italian progressive rock album of the era with pastoral passages trading off with more bombastic ones along with BATTIATO's vocal bravado in full operatic style in the forefront. While there are plenty of experimental touches, they take a backseat to the strong melodic developments and only exist to enhance the overall song structures, not impede them. FRANCO BATTIATO created his first gem with his debut FETUS and despite appearing on the tripper's guide to psych, the Nurse With Wound List, FETUS is actually a very accessible album for the pop sensibilities are already quite developed in BATTIATO's early stages. In fact i would probably consider this progressive pop rock more than anything but labels matter not to me when music is this beautifully sublime.
Il Tempio delle Clessidre Rock Progressivo Italiano
Review by
Matti
Prog Reviewer
The tradition of Rock Progressivo Italiano has been very vital in recent years. Numerous classic
bands of the 70's have re-activated and released new music, and several new bands carry on in the
retro style. Il Tempio delle Clessidre was formed in 2007 but it had a link to the classic era: the
original vocalist Stefano Galifi sung on the milestone album Zarathustra (1973) by Museo Rosenbach.
He was replaced by Francesco Ciapica already on the second Tempio album AlieNatura (2013). I'm not
familiar with the preceding albums, so I can't say anything about the way the group may have matured
or maintained/updated their style. But perhaps I could say that the recent output of Black Widow
Records is very interesting and diverse, and against that background this album, for me, is not
among the ones to write home about.My early impression is that while the slightly heavy sound is pretty much what one expects from RPI (well, maybe not quite as keyboard oriented as with many other bands), the compositions have a bit too much emphasis on the vocals. The brief opener is basically an instrumental (featuring some distorted voice-over) but frankly it functions only as a prologue. If it manages to raise some expectations of a dynamic and epic album entity, they are not fulfilled. There's not a single proper instrumental which certainly would have done good. 'Dentro la mia mente' is over 7 minutes long and I hoped to get some more symphonic instrumental passages, but instead there are again spoken words. I'm not fond of Ciapica's low-ish voice.
I'd lie if I said there aren't a lot of dynamic playing within the tracks, even fine solos, without forgetting some acoustic, delicate moments amidst the powerful band sound. But in the end the songs (mostly 4-6 minutes long) fail to make a deeper impression on me. Perhaps the best one is the longest, 'La Spirale del Vento' (8:43). Yes it is, thanks to the instrumental, symphonically inspired final part. This is not a bad album. It's well produced, and doubtlessly it will please many friends of Italian prog scene, especially those who like also the heavier, less pastoral side of it (Il Balletto di Bronzo, Museo Rosenbach, ...). It just isn't MY ideal RPI album.
Museo Rosenbach Rock Progressivo Italiano
Review by Luqueasaur
The perfect introduction for Rock Progressivo Italiano: 9/10If you know a little about the progressive niche and its peculiarities - including subgenres - you might have a certain idea of what is RPI. Certainly, then, MUSEO's paradoxical debut will meet your expectations accordingly, mostly because they're an allegory of it. Explosive keyboards and organ sweeps, straightforward melodies, good exploitation of odd time signatures - y'now, those songs that even though are alternating measure, still feel fluid as 4/4; that is, while internally is complex, externally, sounds pleasant and not like technical showcase - and most importantly a superb and intense performance by the singer Stefano Galifi; all those elements are vividly present in ZARATHRUSTA. Their style is really reminiscent of BANCO DEL MUTUO SOCCORSO, for all fans out there.
One of prog rock's propositions is particularly perceptible throughout the album. The absurd influence from classical music (disclaimer: when I say "classical" I don't mean the characteristics of that musical period specifically but what us laypeople think of as 'classical', that is, anything from Baroque to Romantic) spices the performance.
I mentioned earlier this album is paradoxical. This happens because it suffered from vicious critical uproar for its polemical conceptuality (Nietzchean philosophy & Mussolini, two things that Italians deemed as fascist), met with misunderstanding at its release, but eventually, rightfully regarded as a towering masterpiece. But just like most artists' magnum opus, first, critics bash it, then, they love it.
Panther & C Rock Progressivo Italiano
Review by
Matti
Prog Reviewer
4Ŋ stars really! Here's another discovery from the Black Widow Records' catalogue, the second album of an RPI group from
Genova. I don't like the cover art at all, but that's the only bad thing on the whole album. For the very first minute when I listened
to it, I felt a bit prejudiced: the familiar intensity in playing, and a totally uncultivated vocalist who sings in a nearly shouting
manner. These features are too often present in modern RPI. However, pretty soon the opening track progresses in a much
more enjoyable direction, and the flute raises a happy smile on my face. Also the vocals turn out to be more nuanced than at the
very beginning. The band's excellently produced sound is keyboard oriented and has a good dose of Neo Prog reminding clarity.
Within a same song there may be a moment resembling the classic 70's bands (ELP, Genesis) and after that an emotionally
loaded, melodic section in the style of Marillion and such.Three of the five tracks are between 11 and 14 minutes in length, two being 4Ŋ minutes; the highly progressive compositions are well crafted, and the balance between instrumentality and the appearance of vocals is perfect. For example 'Giusto equilibrio' (13:30) has, after the fast beginning, a gorgeous slow vocal section with Neo-ish synth orientation, followed by several tempo changes, a classically flavoured keyboard solo, reappearance of vocals, and finally a great, pretty much Marillion-like electric guitar solo. If there was also the flute absent on this track, nothing could be better.
'Oric' is a ballad-like song with less progression (except for the Genesis-reminding instrumental tail featuring flute), which only makes the whole more dynamic and varied. 'Fuga dal Lago' (11:27) is an instrumental with many turns. I really love it, with all the soloing for keys, flute and guitar, and the soft, Camel-like melodicism. The long final track starts slowly, building the expectations of epicness that are luxuriously filled. I'm really happy to find out that this album sounds better with each subsequent listening. If you're into melodic symph prog as well as Neo Prog, and have a friendly attitude towards several influences shining through, this is to you. I'm sure that Il Guesto Equilibrio will appear on my list of the year's best albums.
Metamorfosi Rock Progressivo Italiano
Review by
Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team
The path of Italian RPI group Metamorfosi has been an interesting one. Starting, like many of the future defining Italian prog acts, with a humble little debut that mixed Sixties pop, gospel and folk elements (1972's `...E Fu il Sesto Giorno'), a year later they would deliver what would become one of THE legendary Italian progressive works with `Inferno', also one of the greatest keyboard-dominated albums in all of the genre, based around one part of the epic `Divina Commedia' (Divine Comedy) poem, a source that would continue as inspiration for continued Metamorfosi works over the decades. Despite a third album being written soon after the seminal 1973 work, the band split and it would remain unrecorded, at least until a version of the group reformed in the Nineties with a new bassist/guitarist and drummer, to be finally released as the gentler `Paradiso' in 2004. But with grand singer Jimmy Spitaleri finished with his commitments to fellow notable Italian proggers Le Orme (having performed lead vocals on their `Prog Files - Live in Rome' set and very underrated `La Via Della Setta' studio album between 2010-11), 2016 brings us the middle `Purgatorio' chapter of the tome, and while it doesn't hold too many genuine surprises, it's sublime, bombastic and lavish symphonic progressive music as only the Italian bands do so well.A quick and overly simplified history lesson - The `Divina Commedia' is a long narrative poem written by Dante Alighieri, begun in 1308 and completed in 1320, and is considered a preeminent work in Italian literature. The poem presents an imaginative vision of the afterlife, separated into three sections - Inferno (Hell), Purgatorio (Purgatory) and Paridiso (Paradise). Written in the first person, the poem tells of Dante's journey through these three realms, guided by Roman poet Virgil through the first two, then by his courtly love interest Beatrice through Heaven.
The notion of purgatory is regarded as the intermediate state between life and death, in some beliefs a place a person goes to be judged to determine where their soul's eternal destiny is assigned - heavy going stuff! Sure enough, it means that `Purgatorio' is a much more frequently dramatic and darker work than the previous `Paradiso', one that allows for plenty of the classical bombast and theatrical flourishes expected of the group over lengthy and continuous suites of music. Throughout the album, they offer passages and lyrics based around the surreal events detailed in the poem, so please excuse the rather awkward descriptions that follow!
Right from the start, `Eco dagli Inferi' (Echo from Hell) is a foreboding gothic spoken-word narration over cavernous keyboard atmospheres that launches right into strident rocker `Catone' with Enrico Olivieri's humming Hammond organ and whirring synths, Fabio Moresco's pounding drums and Jimmy Spitaleri's commanding boisterous croon detailing a meeting with Cato, once a Roman military leader who now serves as warden to the entrance of the mountain of Purgatory. `Angelo Nocchiero' is a reflective interlude to convey a beautiful white angel in charge of transporting the souls residing in purgatory by boat, `Negligenti' a swooning lament detailing an encounter with those doomed to wait outside the entrance of Purgatory for a term equal to their lives on Earth, and the playfully malevolent `La Malastriscia', full of frantic instrumental organ pomp and a heavy wild vocal conveying a confrontation between a serpent/devil and the two angels that drive it away.
Covered over the following ten tracks, the arrival at the gates of Purgatory (`Porta del Purgatorio') leads to journeying through the seven terraces that represent the seven roots of sinfulness. `Superbi' (Pride) has relentless scathing synth-emulated orchestration and choirs, `Invidiosi' (Envy) is a sorrowful and thoughtful piano reflection and `Iracondi' (Wrath) is an infectious whirring keyboard theme with a jazzy electric piano solo in the middle. `Accidiosi' (Sloth) is a propulsive organ and harpsichord-laced interlude, `Golosi' (Gluttony) has a playful lurch to its slithering keyboard and electric piano stabs, and `Avari e Prodighi's upfront lead synth themes (with nice bass soloing from Leonardo Gallucci) and the electronic-dominated `Lussuriosi Purgatorio' convey Avarice and Lust.
At the summit of Mount Purgatory lies the Earthly Paradise (the Garden of Eden), perfectly represented by the purely instrumental `Paradiso Terrestre', an extended showcase for Enrico Olivieri's calming and victorious piano soloing and proud keyboard fancy. `Beatrice', the woman who symbolizes Dante's path to God, is a piano and vocal swoon, `Il Carro e L'aquila' details her triumphant arrival on griffin-drawn chariot and is grand keyboard-dominated pomp, and closer `E Rinnovato Volo' (renewed flight) is a stirring symphonic finale. With a glorious sweeping vocal, Leonardo's sweetly gliding bass and precious guitar chimes and a heavenly choral climax, it's a dignified and emotional tune to soundtrack her rebuking of his sins, his drinking from the River Lethe which erases his memory of past sin and restores his good memories, and prepares him for his ascent to Heaven (the third act of the Divina Commedia, which was adapted by the band on their 2004 album `Paradisio').
Please be aware - completely frustratingly, there is a world of difference between the LP and CD versions, with the vinyl edition leaving out seven tracks from the album. Admittedly the full album is definitely overlong at just over 56 minutes, but despite how amazing Giuseppina Laura Tarantola's watercolour cover art must look on the larger package, these sort of `highlights compilation' rearrangements to fit an ill-fitting format that here leaves out over 16 minutes of music is completely inexcusable (especially considering some of the stand-out pieces on the album like the instrumental `Paradiso Terrestre' are removed). If you're interested in the album and want the full experience the way it is meant to be heard, the CD edition is your only option.
`Purgatorio' was never going to be an `Inferno' beater (honestly, would ever would?), and some listeners may find that this really doesn't offer anything new when compared to many of the recent `comeback' albums from important vintage period Italian prog bands. But the amount of effort gone into painstakingly writing, producing and performing an interpretation of such a multi-layered and complex work is hugely commendable of the group, and their efforts actually encourage further study of the origin of the material that proves richly rewarding. In addition to Laura Tarantola's above-mentioned cover art and the gorgeous illustrations inside the accompanying CD booklet from Bruno Tarantola that have to be seen to be believed, `Purgatorio' ticks all the right boxes fans could want to Italian progressive music and the grand symphonic music of that country, truly `RPI' in its purest form, and anything less than top marks would be grossly insulting.
Five stars.
Il Tempio delle Clessidre Rock Progressivo Italiano
Review by progpromoter
ITDC is Back! After three years from "AlieNatura" the wise band from Genoa, now enriched with the (not only) drummer Mattias Olsson (ex-Anglagard, Necromonkey, White Willow), is out with its third studio album.
As the preceding album, also in this case the title is a word game. The union of latin verb "ludere", that means 'the act of playing', with the italian article "il" generates a dualism between "il giocare" (the act of playing) and the verb "illudere", that means 'to deceive' or 'to generate expectations that will never be satisfied'
Actually, along the lyrics find place the sweet illusion to have the world at your feet when you're very young, the sad reality to face when you're adult, the tricks, the games, the consequences of love and the need to come back to act and think as a child, to go beyond obstacles otherwise insurmountable, if faced with an adult mind.
All is supported by ITDC's Music, every time rich and refined in arrangements, but here a bit different with the respect of past albums: now all the musicians are involved in composition, not only Fabio Gremo and Elisa Montaldo. This leads to more heterogeneus sounds, more rock oriented, though the lovely presence of Gremo's classic guitar works moderates the effect. There is more electric guitar, but Giulio Canepa takes away the usual RPI jazzy polite register, substituting it with more opened and distorted effects, very near to heavy rock. In the meantime Elisa Montaldo's great work of searching new fascinating sounds, unusual harmonizations and atmospheres sometimes ethereal, sometimes sumptuos and anxious takes place. The searching of new effects is extended also to vocals: always warm and emphatic the one from Francesco Ciapica, always sweet and touching the other from Elisa Montaldo, helped in the chorus line from Canepa and Gremo. Also Mattias Olsson, with his huge amount of percussion and samplers has given his contribution to the new aspects of ITDC sound.
In my opinion the best moments are "La Parola Magica", "Prospettive", "Nuova Alchimia" and "La Spirale del Vento", while "Manitou", with its evoking melodic line and the wise Olson's drumming, gives me a pleasant sensation of ethereal melancholy. I've heard both versions of this song: one sung in Italian by Ciapica (on CD) and the other sung in Japanese by Elisa (Live) and I prefer the second one because feminine voice and Japanese language render it more evoking and ethereal. You may find the Japanese version of this song only on CD Japanese edition. "Spettro del Palco" is the single come out to anticipate the album. The lyrics, the music and the video pay their tribute to Tim Burton and Danny Elfman and has the virtue to be quite catchy, but not too easy. "Gnaffe' " is the bonus track: it's inspired by Boccaccio's Decameron novels. It's a music trick, as to refer to album title.
Track by Track shivers
"Le Regole del Gioco" The album opens with sounds and atmospheres which bring you away, a nice piano arpeggio that seems to anticipate something unnamed, and footsteps with english conversation...
"La Parola Magica" Powerful track, but what has given me shivers is that crazy synth effect which jumps from right to left at the beginning of the second verse! If I know a bit Elisa Montaldo, she could have lost her sleep until she has found it in the right way!
"Come nelle Favole" It's an heavy rock song, quite unusual for ITDC. Here Francesco Ciapica shows his great vocal range. Great strong ending with two powerful solos: guitar and keys.
"Dentro la mia mente" It has a long coda (ending part), widely used in RPI. In this case it's enriched with histrionic Ciapica's vocalism who experiments a double voice effect as in the second track.
"Spettro del Palco" It's a good single song. It takes place in your mind even if it's not easy-listening as well. Once more I have to remark Ciapica's great interpretative vein. Please notice how does it change the sense of the words "nella mia mente" in the two different situations: in the first he is sweethearted in love, in the second he is hoplessly desperate! The piano coda anticipates the main theme of "La Spirale del Vento" ... and also this means "to play with music"!
"Prospettive" Starting from this song until the end of "La Spirale del Vento" in my opinion there's the best part of the entire album. Starting with an intro with classic guitar and piano, after the keys crescendo (with that bass chords I truly love!) the music seems to spirally close into itself to give space to Canepa loud screaming guitar, very inspired along the whole track. After the 6/8 bridges his solo is powerful and full of feeling. The coda is heart breaking. Very beautiful!
"Manitou" is ethereal, spiritual and sweet. The continual but suffused Olsson's percussion and his almost tribal drumming render this song a priceless musical pearl.
"Nuova Alchimia" is the track less easy to bear in mind. It practically hasn't an intro, almost showing an urgency of expression. The up-tempo singing, the solemnity of keys and the unbelievable atmosphere that lingers in the whole track find their fulfillment in the opera-symphonic ending, with the astonishing Elisa's chorals which give us pure emotion. Great!
"La Spirale del Vento" Beautiful piano intro with Olson's delicate cymbals work. The lyrics are almost autobiographical and talk about the choices we make, that seem crazy to others. The powerful synth solo opens the incredible epic and overwhelming ending. I must confess that I'd have preferred that the album would come to end with this track, because the bonus track misrepresents the fulfilment sensation that lets you to play the entire CD another time.
"Gnaffe' " It's almost a goliardic game, as mentioned before. Well played in mediaeval way, as it is.
At the end, "il-ludere" is a very good album. It takes a bit distance from typical RPI stylistics (we don't find long epic songs and continuous tempo variations) but still chained to it by the enriched arrangements (instrumental and vocal) and the search of unusual rhythm solutions and in something new or unexpected, which is the vital lymph for music REAL lovers. ITDC original and characteristic sound remains almost untouched, even if it pays a great tribute to past glorious prog bands
Please don't miss to listen to this album, you would bitterly repent!
![Preludio, Tema, Variazioni, Canzona [Aka: Milano Calibro 9 (OST)] by OSANNA album cover](http://www.progarchives.com/progressive_rock_discography_covers/276/cover_23482582009.jpg)
Osanna Rock Progressivo Italiano
Review by
siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams
Sandwiched between the group's energetic and eclectic debut "L'Uomo" and the progressive landmark album "Palepoli" which has
immortalized them forever in the progressive rock history books was a short little album that has gone by two titles and barely
clocks in over a half of an hour in running time. Originally released as PRELUDIO, TEMA, VARIAZIONI E CANZONA, this second album
by OSANNA is actually a progressive rock soundtrack for the Italian film MILANO CALIBRO 9 which is also the second title that it has
been released as. While credited as an OSANNA album proper as it is performed exclusively by the face-painting band from Naples,
several of the tracks were written by the pianist and composer Luiz Enrique Bacalov who not only wrote several of the tracks but
also tackled the arrangements as well as serving as director of the orchestrations.Despite this not being a total-control type of OSANNA album and designed to serve the mood of the film (which i've never seen) it still sounds very much like the same musicians who performed on "L'Uomo" and "Palepoli." The film itself was based on the book of the same name CALIBRO 9 (meaning "caliber 9") and was about a small-time gangster who, once released from prison, had to convince the police, his friends and his girlfriend that he was going straight and done with the criminal world however everyone around him believes he has a stash of cash nearing the 300,000$ range hidden somewhere. The music is primarily instrumental with a couple tracks offering Lino Vairetti's signature vocal style. The music despite being suited for a soundtrack sounds very much like the eclectic OSANNA of the surrounding albums with Danilo Rustici's signature guitar riffing, Elio D'Anna's distinct flute and sax contributions and Massimo Guarino's equally unambiguous drum patterns.
Soundtracks are tricky beasts to rate and review since they are more often than not so inextricably intertwined with the theme and mood of the film in which they appear, so i personally have to have a connection with the music independently since a soundtrack without the film is and should be held up to scrutiny independently. This soundtrack to MILANO CALIBRO 9 certainly does just that. While i have no idea how it fits in to the movie itself, i actually find this one a beautiful listening experience. OSANNA may have fewer rocking moments compared to other albums as this one is very much a trade off of harder rock with symphonic classical orchestrated segments but it works quite successfully. While the classical parts may sound more like a generic soundtrack material, OSANNA more than adds enough of their idiosyncratic take on progressive rock so as to leave no doubt as to who the stars of this show are.
While based in a melodramatic classical style, OSANNA let's loose with raucous heavy rocking guitar and freaked out electronica. There are a number of effects like back masking that are quite effective and the OSANNA type song structures as heard on "L'Uomo" are plentiful. For me this one more than works as a musical statement outside of the context of the film's theme and delivers a very satisfying mix of stellar written tracks that take the approach of "L'Uomo" and create a fully formed fusion with classical soundtrack type score music. Nothing seems forced as the two styles play around together and except for the rather insipid ballad type vocal number "Canzona (There Will Be Time)" which ends the album, i'm actually quite fond of every other track. OSANNA would fizzle out quickly after "Palepoli" but on this one they still flaunt their musical mojo even if they weren't calling all the shots.
Raccomandata Ricevuta Ritorno Rock Progressivo Italiano
Review by Asiostygius
Excellent and supposedly the only official live release of (La Nuova) Raccomandata con Ricevuta di Ritorno. Performed in December 2013 at Teatro Dei Vigilanti di Portoferraio, Elba Island.Good set list with both old and new (from the very good "Il Pittore Volant" album) compositions, and three very well performed covers of Led Zeppelin, Arthur Brown and Jimi Hendrix! I was particularly pleased by the saxophone in Led Zep's Babe I'm Gonna Leave You.
Luciano Regoli's voice continues as good as 45 years ago (!) and the female vocals by Cristina Cioni is a nice addition to some of the songs. All musicians perform superbly and my only "complaint" is that I would like some 15-30 min more added to this relatively short (64 min) live set.
In conclusion, a ****1/2 stars, rounded to five stars.
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