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ROCK PROGRESSIVO ITALIANO

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

Rock Progressivo Italiano definition

aka "RPI"


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


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

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


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

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

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


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

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

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

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

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

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


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

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

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

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

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


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

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

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

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

For the Mick.
29 July 2009



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




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

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

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

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

Movimenti Prog
http://www.movimentiprog.net

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

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

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


Where to buy Italian prog
Syn-phonic (USA) - http://www.synphonicmusic.com
Doug Larson (USA) - http://www.douglarsonimports.com
Kinesis (USA) - http://www.kinesiscd.com/index.html
Wayside (USA) - http://www.waysidemusic.com/
Mellow Records (Italy) - http://www.mellowrecords.com
BTF (Italy) - http://www.btf.it
Black Widow Records (Italy) - http://www.blackwidow.it
Camelot Music Store (Italy) - http://www.semanticweb.it/camelotstore/
Discogs - www.discogs.com

Rock Progressivo Italiano Top Albums


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

4.40 | 1429 ratings
PER UN AMICO
Premiata Forneria Marconi (PFM)
4.37 | 964 ratings
DARWIN!
Banco Del Mutuo Soccorso
4.37 | 894 ratings
IO SONO NATO LIBERO
Banco Del Mutuo Soccorso
4.36 | 1132 ratings
STORIA DI UN MINUTO
Premiata Forneria Marconi (PFM)
4.30 | 725 ratings
ZARATHUSTRA
Museo Rosenbach
4.29 | 746 ratings
BANCO DEL MUTUO SOCCORSO
Banco Del Mutuo Soccorso
4.27 | 555 ratings
ARBEIT MACHT FREI
Area
4.24 | 723 ratings
L'ISOLA DI NIENTE
Premiata Forneria Marconi (PFM)
4.23 | 799 ratings
FELONA E SORONA
Orme, Le
4.22 | 595 ratings
UOMO DI PEZZA
Orme, Le
4.25 | 378 ratings
MAXOPHONE
Maxophone
4.23 | 491 ratings
YS
Balletto di Bronzo, Il
4.24 | 341 ratings
PALEPOLI
Osanna
4.23 | 306 ratings
CRAC !
Area
4.22 | 273 ratings
DISCESA AGL'INFERI D'UN GIOVANE AMANTE
Bacio Della Medusa, Il
4.20 | 280 ratings
L' ENIGMA DELLA VITA
Logos
4.18 | 269 ratings
CONTAMINAZIONE
Rovescio Della Medaglia, Il
4.19 | 240 ratings
CELESTE [AKA: PRINCIPE DI UN GIORNO]
Celeste
4.15 | 321 ratings
LA CRUDELTÀ DI APRILE
Unreal City
4.25 | 154 ratings
RISVEGLIO
Egonon

Rock Progressivo Italiano overlooked and obscure gems albums new


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

IL PAESE DEI BALOCCHI
Paese dei Balocchi, Il
STORIA MAI SCRITTA
Capuano, Enzo
CAMPO DI MARTE
Campo di Marte
RIFLESSIONI: IDEA D'INFINITO
Dalton

Latest Rock Progressivo Italiano Music Reviews


 L'Uomo by OSANNA album cover Studio Album, 1971
3.65 | 125 ratings

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L'Uomo
Osanna Rock Progressivo Italiano

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars Emerging in the shadow of Mt Vesuvius in the southern Italian city of Napoli (Naples), one of Italy's premiere progressive rocking bands OSANNA set the stage for many others to follow. The band consisted of Lino Vairetti (vocals, 12-string guitar, harmonica, organ, synth), Danilo Rustici (guitar, organ), Massimo Guarino (drums), Elio D'anna (flute, piccolo, saxes) and Lello Brandi (bass) and although they would only delivery three albums before the band members began ruffling each others feathers and the friction would smother the creative juices, none of that appears on their debut L'UOMO (The man or mankind.) Right from the start OSANNA were attention getters in their live setting by wearing long cult leader like vests and were amongst the very first rock acts to don face paint and engage in theatrical stage antics. Rumor has it that Genesis who chose them to open up for them in those early days very well may have taken some of these influential performance tricks with them once the bands went their own ways.

While it is almost universally accepted that OSANNA's creative peak was with the grandiose and masterful "Palepoli," it would be a mistake to write off the earlier albums as mere warm-ups for that shining moment of Rock Progressivo Italiano. All their trademark elements are already fully functional on this debut. Lino Vairetti lures you in with his signature rock vocal style while Danilo Rustici nailed it with his best heavy psych / blues rock meets Neopolitan and Mediterranean riffing styles. Add in the 60s acid flashbacks of psychedelic effects, high-powered heavy rock attacks from out of the blue interspersed with soft and sensual acoustic segments often decorated with the jazzy touches of a sax, the sensuousness of folky flute and down-home country feel of a harmonica and you will realize that OSANNA mastered a great number of musical moods, timbres and genres and mixed them so well that you can hardly tell that they're not supposed to be there!

For a progressive rock album, L'UOMO is very much a collection of shorter tracks that despite having progressive touches was still in that transition phase of straight forward heavy rock and full-blown progressive rock pomp and awe. This album was designed to be accessible and awe-inspiring simultaneously and achieves the marriage of both aspects of rock quite successfully. The beauty of early OSANNA is how they can nurture the most addictive melodies and manage to pass the baton from musician to musician as they can manage to fit acoustic guitar, flute solos, harmonica wailing and heavy filthy rock augmented by sax and psychedelia often within the same track! After some careful examination it would appear that the classic "Palepoli" merely sews all the elements laid out here albeit in a more sophisticated fashion under the guise of single tracks whereas on L'UOMO it's a tad more disjointed and displays the freneticism of a passionate energetic band getting their feet wet.

While the Italian rock scene stalwartly incorporated their native Italian language to their music, OSANNA was testing the ground with three tracks in English most likely observing the huge success of the British invasion and other neighboring European nations jumping on the English language bandwagon. These three tracks are certainly the most hard rocking numbers of the album however i feel they detract from the overall continuity of the album a bit and i would definitely prefer that L'UOMO would have been exclusively in the beautiful Italian language. Despite the ability to put L'UOMO under the microscope for decades and reveal its flaws, this debut album remains a steadfast place marker in Italian progressive rock history where the 60s and 70s were getting all cozy with each other and ultimately spawning new offspring and not to mention that this is a damn good listen to boot! Yeah, "Palepoli" wins the progressive rock wars but L'UOMO remains a more light-hearted collection of instantly addictive tracks that elevate this one to the ranking as my second favorite OSANNA album!

 La Fabbrica Delle Nuvole by MAXOPHONE album cover Studio Album, 2017
3.32 | 13 ratings

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La Fabbrica Delle Nuvole
Maxophone Rock Progressivo Italiano

Review by Chalcobalt

3 stars Baroque strings set the tone for this album in a classic Italian prog rock feeling. Keyboard-based style with plenty of guitars, horns and violin. There are really bright moments here, lovely melodies, paces and intricate changes in these. The symphonic parts with folky and classical incorporations are the most enjoyable, and there are also beautiful piano to be found occassionally. The guitar is on the other hand quite eclectic at times in sections not as interesting for me. In prog measures, most songs are short. With the musical skill and the range of instruments obviously possessed and mastered, I think the band could compose elongate epic masterpiece tracks if such ambitions would appear to them. But the songs rather orientate into rock tunes in a more standard appearance. Because of this, most tracks becomes increasingly tedious upon repeated listening instead of growing with time. Don't get me totally here though, there are a lot of these genious moments on the record, but no song that I absolutely admire from start to end. 'Un ciclone su Pacifico' is my honourable mention apart from the piano- and bass-driven instrumental title track that really tickles progressive nerve cells. Medieval tunes at boths ends of an otherwise really eclectic 'La luna e la Lepre' are also among the most exciting parts. I'm left with the sense that it could have been so much more, in many senses, but this is nevertheless recommendable high quality prog rock.
 I Am Changing by ANCIENT VEIL, THE album cover Studio Album, 2017
3.08 | 11 ratings

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I Am Changing
The Ancient Veil Rock Progressivo Italiano

Review by Chalcobalt

3 stars Italian symphonic prog music as beautiful and tender as anything in the genre. Not much rock, but instead neat melodies on piano and acoustic guitars accompanied by fine flutes and lush mellotron sounds. I would probably have been just fine with the vocals and given the album a high rating, if it would have been in the native language of the vocalists. It would feel so much more authentic without that strong accent, although the female singer is considerably more comfortable with english. Because the male voice appears way more often than her, 'Chime of Times' and the instrumental songs 'Bright Autumn Dawn' and 'Fading Lights' are clearly most enjoyable, despite that most songs have excellent composition and quiet but grand epic soundscapes.
 Four Of A Kind by GOBLIN album cover Studio Album, 2015
3.81 | 34 ratings

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Four Of A Kind
Goblin Rock Progressivo Italiano

Review by tszirmay
Special Collaborator Crossover Team

4 stars Goblin surprised the Prog world by releasing 2 albums in 2015, Goblin Rebirth being an off-shoot band that kept the magnificent rhythmic tandem of Fabio Pignatelli and Agostino Marangolo together while infusing 3 talented players, creating a memorable self-titled album that I anointed with the highest praise. On 'Four of a Kind', the two are joined by initial members Massimo Morante on guitars and keyboardist Maurizio Guarini. Only Claudio Simonetti is missing but he has his own version of Goblin. For a bass fiend like me, an instrumental album that puts Pignatelli's instrument up front and center can only be another blissful pleasure. Since there are no vocals, I sort of see this 43 minute musical gnome as a one multi-part suite.

The usual Goblin characteristic is omnipresent throughout the 10 tracks , a dark, brooding, at times menacing atmosphere that permeates the arrangements, steered by that carving Rickenbacker bass, thankfully pushed forward in the mix, ably supported by Marangolo's decidedly Bonham-ian approach to percussive beats. Lather on top some profuse synthesizer weavings, shrill Hammond organ flashes and occasional piano eloquence. Finally the electric guitar frills add tension and sizzle to the bombastic expanse. The 7 minute+ 'Uneven Times' possesses all those characteristics, only including a brief sax venture from Marangolo's presumed relative, Antonio. The synth- heavy 'In the Name of Goblin' proposes troubling musical shifts and obscure patterns, kept in line by the Pignatelli 4 string magic. Morante constructs some complex axe phrasings that scratches the surface of some epidermal fear of the unknown, a classic Goblin trait. It starts out fairly homogenous, armed with a classic guitar melody before veering into a murky cemetery-like dirge middle section that reverts back to the beginning. The clavicembalo (a mythical RPI instrument) that is nothing more than a harpsichord, makes a brief intro on' Mousse Roll' before vaulting into a beefy leviathan of sound and fury, relentlessly pummeled by both the feisty bass and the cruel drumming, assisted by acoustic and electric guitar incursions. 'Bon Ton' keeps the rhythmic assault forceful, a very binary onslaught with zealous distortions and lightning blitzes that suddenly evolves into a complicated but surreal atmosphere where only the bass seems to be on target while the others float around in some semi-state, before resuming the bombast with even more aplomb. Morante makes his fret board scream and rage, it's a beautiful feeling as the choir mellotron howls in the background. The exit is phenomenally suave. 'Kingdom' flutters at first, elegant piano and orchestral gravity set the tone, a solo guitar serenade in the high notes introduces a more avid piano melody that is boosted by more choir mellotron, synths twinkling mechanically in the back ground. 'Dark Blue(s)', as the title may imply, is a bluesy affair, highly surprising under the circumstances but Goblin pull it off rather brilliantly, Morante showing decades of experience and chops on the guitar and he simply shines. Part Roy Buchanan, part Gary Moore, he bears his soul on the fret board, knowing the three others are right behind him, the genial background choir doing immense positive damage to the arrangement. Almost a Gothic religious feel to it that ends with a heartbeat. Amazing! 'Love & Hate' is back to the classic infernal dichotomy between two extremes, starting off all bothered and sweaty before slipping into radiant sweetness, the synths and piano in maximum lullaby overdrive. Achingly gorgeous, divine in spirit and expertly delivered by mature, talented musicians. You guessed it, on a dime, it reverts to almost Crimsonian bluster, angry Wetton-like bass blasting feverishly and slashing guitar scimitars doing serious damage. '008' is perhaps dedicated to James Bond's next agent in the line of fire, a rambling Hammond-fueled soundtrack for a raging Aston Martin barreling down the autostrada, a Beretta popping off synthesized bullets and some suave bambina looking back at you with a furtive glance. Sexy, sizzling and suave finale to a thrilling album that can easily offer future pleasures to the discriminating fan. Just listening to the bass and drums has more than enough interest for the audiophile

Can we please have some more music like this, per favore?

4.5 gargoyles

On a side note, it took 3 months for this disc to arrive in the mail, proving once gain that I have more patience than a hospital (wink)

 Christadoro by CHRISTADORO album cover Studio Album, 2017
4.00 | 5 ratings

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Christadoro
Christadoro Rock Progressivo Italiano

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

4 stars Christadoro is a surprising but very welcome collaboration between modern Italian prog notable Fabio Zuffanti (Finisterre, La Maschera di Cera, Hostsonaten and his own superb solo work) and thirty-year Italian music veteran and drummer Mox Cristadoro that also boasts a band comprised of members of Yugen, Not a Good Sign and the modern incarnation of Il Biglietto per L'Inferno. On their self-titled 2017 debut album, the Christadoro band bring fresh and very different life to a range of pieces from a diverse selection of vintage Italian acts, often of the Italian canzone d'autore/singer-songwriter tradition such as Franco Battiato, Lucio Dalla, Giorgio Gaber, Roberto Vecchioni, Antonello Vendetti, Claudio Baglioni and even New Wave/Punk group Decibel, and of special interest to long-time RPI fans, it also includes contributions from Franco Mussida of Premiata Forneria Marconi and Giuseppe `Pilli' Cossa of the original version of Il Biglietto per L'Inferno.

Moody opener `L'Operaio Gerolamo' ripples with danger, as eerie background synths, Fabio's low-key murmuring bass and Andrea Dal Santo's increasingly intense treated vocal maintain the relentlessness of the Lucio Dalla original but gives it a firm modern grounding with a suitably stormy ending of wild strangled electric guitar. After a moody spoken word passages `Il Sosia' throws in plenty of Paolo Botta's sleek Mellotron and whirring synth lines, Mox Cristadoro's slinking drums and dirty wailing ever-so-slightly bluesy guitars behind Andrea's raspy purring vocal, and `L'ultimo Spettacolo' turns more uplifting with an early `Fat Old Sun'/Pink Floyd-like dreaminess (guitarist Pier Panzeri doing a fine impression of late Sixties David Gilmour) weaving around its stirring and spirited David Bowie-esque vocal - and watch out for the wild second-half direction change!

Both `Figli di...' and `Lo Stambecco Ferito' flirt with different kinds of heavy metal, the grinding guitars and heavy Hammond organ blasts of the punchy former almost reminding of underrated heavy Italian groups like L'Impero Delle Ombre and I Compagni di Baal, and the latter sustains plenty of Black Sabbath-like atmosphere throughout its harder riffs and alternatively creeping/pleading vocal that culminates in a big proggy finale - just listen to Fabio's chunky bass! `Solo' keeps up the heaviness with grinding mule-kick heavy guitars, ghostly Mellotron and sparkling Fender Rhodes electric piano runs, and `Ricercare...' is a doleful improvised acoustic guitar interlude. `L'Ombra della Luce' proves to be an uplifting closer with sweetly chiming guitars, Andrea's soaring vocal takes on the briefest of lovely falsetto moments, with the track almost sounding like a more focused and to-the-point version of the Steve Hogarth-fronted version of Marillion or a modern Anathema piece, with the same slow build with maximum pay-off those groups deliver when the achieve greatness.

Do yourself a favour - explore the original songs, so you can see how much effort the group here has put into reinterpreting the pieces in a complex, intelligent and completely exciting manner that also gives them a distinctly modern and `progged-up' appeal (one not so far removed in parts from Zuffanti's own 2014 solo work `La Quarta Vittima' actually). Even if you don't know the originals or have no connection to them, please don't dismiss this as simply a mere `covers' album or allow it to quietly vanish without a trace. It truly stands up as a superior frequently heavy modern Italian prog stunner, helping make `Christadoro' a consistently effective and unexpectedly powerful debut that's also one of the strongest releases from Italy so far in 2017, so let's hope the band come together again for further works in the future.

Four stars.

 1998 - La Storia Di Sabazio by TRIADE album cover Studio Album, 1973
3.69 | 52 ratings

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1998 - La Storia Di Sabazio
Triade Rock Progressivo Italiano

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

5 stars 1973's `1998: La Storia di Sabazio' by obscure Italian prog trio Triade is something of a best kept secret in progressive music circles. A lavish and ambitious classical flavoured tour-du-force, their sole barely thirty-one minute gem is often considered a near-masterpiece by those who adore it, and the rest...well, they just haven't heard it yet! The easiest (if laziest but not entirely untrue) comparison would be a sound like Le Orme crossed with Emerson, Lake and Palmer to cover the first instrumental side, but the flip reveals a collection of exquisite, possibly even superior vocal pieces to make the album the complete package.

Part of the reason the album maintains a great reputation is the continuous twelve minute, four-part `Sabazio' instrumental suite that occupies the first side, reminding a little of the title track opener of Le Orme's `Contrappunti' or keyboard heavy Italian albums like Rustichelli & Bordini's `Opera Prima' (but without the dirty menace!). The bass, keyboard and drum trio dart through a fleeting array of eclectic (and maybe even a touch schizophrenic!) symphonic themes, with the opening a brewing caress of organ ambience and Giorgio Sorano's rising cymbals about to explode, and after a searing implosion the trio tears through some bombastic and frantic little maddening bursts that sometimes hold a maniacal, light gothic glee. The third part `Il Viaggio' offers Agostino Nobile's lurking murmuring bass and calming reflective moments via glorious shimmering organ dreaminess, and the closing section `Vita Nouva' is a final showcase of fancy classical piano prettiness. It's staggering to think that keyboardist Vincenzo Coccimiglio was only 18 years old at the time this was recorded, because, despite a couple of the themes not being quite as fully developed as they could have been, his playing shows so much energetic precision and lightness of touch when necessary.

But, oh...the gems that still await on the second side...`Il Circo' is a final vocal-free moment, a short and peppy little instrumental rocker, but potentially the album highlight is `Espressione', a gentle acoustic guitar ballad that also holds dreamy whirring keyboards offering the lightest of elevating symphonic themes, where pristine piano and Agostino's warm tender voice takes the piece and album overall to another level. The wilder `Caro Fratello' opens as a propulsive rocker that pulses with thick grumbling bass, aggressive swirling Hammond organ and relentless drumming before floating into the sweetest of mellow acoustic symphonic atmospheres and another soothing Agostino vocal. After some jangling acoustic guitars spiked with an soft uneasy tension and urgent drumming , closer `1998 (Millenovecentonovantotto)' turns more uplifting with joyful humming synths in the final moments that perhaps brings the album the closest to a Premiata Forneria Marconi-like moment.

The lack of electric guitar puts Triade in the company of other obscure Italian groups such as Corte dei Miracoli (whose self-titled sole work from 1976 is equally as essential), and you can even hear their influence on terrific up-and-coming younger Italian bands like Kalisantrope. It's a shame they were only to deliver a sole album before vanishing, a curse that befell quite a few Italian acts at the time, so it just makes this dynamic and relentless mix of ravishing instrumental and charming vocal pieces even more precious. Once you've moved past the big names like the Banco's, the P.F.M's (actually two bands that Triade supported live in concert in their short time together) and the Osanna's, etc, it's time to start delving into the rich selection of more obscure Italian works, and there's no better example of a very special one than "1998: La Storia di Sabazio".

Five stars

(and be sure to check the Italian Prog page for wonderful interviews with both Vincenzo and Agostino, who recalls a lovely moment supporting Banco del Mutuo Soccorso - http://www.italianprog.com/a_triade.htm )

 I Am Changing by ANCIENT VEIL, THE album cover Studio Album, 2017
3.08 | 11 ratings

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I Am Changing
The Ancient Veil Rock Progressivo Italiano

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars While it's been 22 years since Edmondo Romano and Alessandro Serri released the first ANCIENT VEIL album, they have been somewhat active in the interim, particularly Romano who has played on all three releases by NARROW PASS. Serri handled vocals on that group's latest "A New Day". With their earlier group ERIS PLUVIA having issued a couple of their own creations in the interim, it's only fitting that ANCIENT VEIL return, and, with the assistance of associates from all of the above, "I am Changing" is the result.

Those familiar with the light chamber prog of their 1995 album will feel at home here. Reserved and controlled English vocals; delicate string woodwind, and brass arrangements; wind accompaniment, and nimbly plucked acoustic guitar remain the cornerstones here. A few more aggressive junctures are negotiated by electric guitar, particularly on the instrumentals "Bright Autumn Dawn", which appears as a mashup of ideas conceived over a couple of decades, and the more integrated "Fading Light". Serri's lead guitar style bears comparisons to Dave Gilmour and Andy Latimer, particularly in passages reminiscent of the quieter moments of "Dust and Dreams".

Ultimately, the production is vocal oriented, and its strength must be measured by the quality of the songs, which, while graceful and elegant, are somewhat precious and precise, lacking the warmth and emotion of earlier releases which the members have enriched. The lyrical themes don't seem especially adventurous and hardly match the pledge of the magnificent cover. My favourite is "Chime of the Times", thanks to the welcome vocal of long time associate Valeria Caucino and, about halfway through, a return of a recycled theme from the first album, offering one of the only passages that is the symphonic equal of early ERIS PLUVIA. "A Mountain of Dust" approaches this level thanks to more spirited singing and instrumental passages including recorders and pipes.

While i do think that this is probably the weakest release yet by any ERIS PLUVIA/NARROW PASS related band, and of limited interest to most fans of prog and rock in general, it does reflects the duo's admirable skill and dedication to craft, stalwart musical ideals in the face of so much change. 2.5 stars rounded up.

 Per Aspera Ad Astra by TAPROBAN album cover Studio Album, 2017
3.90 | 56 ratings

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Per Aspera Ad Astra
Taproban Rock Progressivo Italiano

Review by Gaia

5 stars Listening to the the new Taproban album PER ASPERA AD ASTRA, it seems as if you began a journey into an inner world, where opposing rhytms alternate themselves, as in the tumultuous life of a metropolis of the future. In the lyrics you can find the same human conflict you feel in the music, as well as the beautiful cover image, the "Sunset On The Sea " by Daniela Ventrone, best expresses the concept of modern man's discomfort, with which, however, he has learned to live with. I believe, in fact, that the common thread connecting the 9 tracks, although expressed in each of them differently, as in a colourful musical allegory, it is precisely the theme of uman contrasts. It's worthwhile to note the great sax intro to "Nexus", by the guest star Antonio Marangolo, and the rhythmic changes of the multiform and sprawling "Octopus".
 Jet Lag by PREMIATA FORNERIA MARCONI (PFM) album cover Studio Album, 1977
3.17 | 258 ratings

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Jet Lag
Premiata Forneria Marconi (PFM) Rock Progressivo Italiano

Review by Walkscore

2 stars Decent music, but the singing ruins it.

This is the second album w/ singer Bernardo Lanzetti. The music is actually pretty decent in most places, but the singing RUINS it. Unfortunately, on this album Lanzetti really exaggerates his vibrato at every turn, making otherwise just-weak vocals now completely unlistenable. Maybe they thought this would differentiate the new electric PFM sound from the other prog-rock bands, or make PFM sound identifiably Italian, or something, but it just doesn't work. Songs like "Jet Lag" and "Traveler" could have been decent, but are *completely* ruined. In fact, the only vocal song I can listen to on this album is "Cerco La Lingua", on which the vibrato is not quite so over-done. Otherwise, it is the instrumentals that are worth hearing. The opener, "Peninsula", a short acoustic guitar instrumental, is the best track on the album, followed by the fusion-y Meridiani (which has some great jazzy bass playing and a good guitar solo). The song "Left-Handed Theory" has a vocal, but that only appears in the middle third of the piece, so if you cut that out (easily done in the age of digital nowadays), you get another great instrumental track. But those 4 pieces are pretty-much it. This is on the low end of 2 PA stars. I give it 3.6 out of 10 on my 10-point scale.

 Chocolate Kings by PREMIATA FORNERIA MARCONI (PFM) album cover Studio Album, 1975
3.94 | 406 ratings

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Chocolate Kings
Premiata Forneria Marconi (PFM) Rock Progressivo Italiano

Review by Walkscore

3 stars A Step Down.

Thinking PFM could compete with/mirror the success of the big UK prog-rock bands like ELP and Yes, they were encouraged to hire an English singer, and to switch completely to English-language lyrics. To do this, they brought on Bernardo Lanzetti as lead singer. They also went full-tilt electric. The result is a big shift in their sound, but it is a major step down from the beauty that defined their earlier work. There is by now very little subtlety, and they go for a louder arena-rock style. They are still writing decent music though. "From Under", "Harlequin" and "Out on the Roundabout" provide good examples of mid-70s progressive rock. Lanzetti's vocals, however, are really inferior, and to my mind would ruin their subsequent album (Jet Lag). On this album, they were able to rain him in enough to make listening to the singing here passable, but at every turn you are just waiting for the instrumental passages. "Chocolate Kings" is OK, but goes on to long and the singing makes one want to hit skip. "Paper Charms" would have been great music, but the singing here is the worst on the album, thus leaving a bad taste in one's mouth, particularly after repeated listenings. After many years, I can hardly sit through this in one go. I give it 6.3 out of 10 on my 10-point scale, which is on the low side of 3 PA stars.

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Rock Progressivo Italiano bands/artists list

Bands/Artists Country
A PIEDI NUDI Italy
ABISSI INFINITI Italy
ABSENTHIA Italy
ACQUA FRAGILE Italy
AD MAIORA Italy
ADHARMA Italy
AINUR Italy
AKRON Italy
L' ALBERO DEL VELENO Italy
ALGEBRA Italy
ALESSANDRO ALISCIONI Italy
ALLEGRI LEPROTTI Italy
GLI ALLUMINOGENI Italy
ALPHATAURUS Italy
ALTARE THOTEMICO Italy
ALUSA FALLAX Italy
AMMINISTRAZIONE CAOS POPOLARE Italy
ANACONDIA Italy
ANCESTRY Italy
THE ANCIENT VEIL Italy
ANTONIUS REX Italy
GLI APOSTHOLI Italy
APOTEOSI Italy
APRYL Italy
ARCHITRAVE INDIPENDENTE Italy
AREA Italy
ARIES Italy
ARJUNA Italy
ARMONITE Italy
ARPIA Italy
ARS NOVA (ITA) Italy
ASSEMBLEA MUSICALE TEATRALE Italy
ASSENZIO Italy
ASTROLABIO / ELETTROSMOG Italy
ATON'S Italy
ATTO IV Italy
AUDIO Italy
AURORA LUNARE Italy
AVALON LEGEND Italy
IL BABAU & I MALEDETTI CRETINI Italy
SOPHYA BACCINI Italy
IL BACIO DELLA MEDUSA Italy
THE BADGE Italy
BALLETTIROSADIMACCHIA Italy
IL BALLETTO DI BRONZO Italy
IL BALLO DELLE CASTAGNE Italy
THE BALMUNG Italy
LA BAMBIBANDA E MELODIE Italy
BANCO DEL MUTUO SOCCORSO Italy
BARABBA Italy
MARIO BARBAJA Italy
BAROQUE Italy
BARROCK Italy
LUCIANO BASSO Italy
LA BATTERIA Italy
FRANCO BATTIATO Italy
PIERPAOLO BIBBO Italy
BIGLIETTO PER L'INFERNO Italy
BLOCCO MENTALE Italy
LA BOCCA DELLA VERITÀ Italy
BONDAGE Italy
BORNIDOL Italy
LA BOTTEGA DELL'ARTE Italy
BRAEN'S MACHINE Italy
BRAINDEAD Italy
ANGELO BRANDUARDI Italy
BRIGHT HORIZON Italy
BUON VECCHIO CHARLIE Italy
CAGE Italy
I CALIFFI Italy
CALLIOPE Italy
CAMERA ASTRALIS Italy
JURI CAMISASCA Italy
CAMPO DI MARTE Italy
CANTINA SOCIALE Italy
CAPITOLO 6 Italy
CAPRICORN COLLEGE Italy
CAPSICUM RED Italy
ENZO CAPUANO Italy
IL CASTELLO DELLE UOVA Italy
IL CASTELLO DI ATLANTE Italy
CAVALLI COCCHI LANZETTI ROVERSI Italy
CELESTE Italy
IL CERCHIO D'ORO Italy
CERVELLO Italy
CHERRY FIVE Italy
CHIAVE DI VOLTA Italy
CHRISTADORO Italy
LUCIANO CILIO Italy
CIRCLE OF FAIRIES Italy
CITTÀ FRONTALE Italy
CIVICO 23 Italy
CLEPSYDRA Italy
I COCAI Italy
ROBERTO COLOMBO Italy
CONDOR Italy
CONQUEROR Italy
CONSORZIO ACQUA POTABILE Italy
CONTRAPPUNTO Italy
CONTROTEMPO Italy
COOPERATIVA DEL LATTE Italy
CORAL CAVES Italy
CORMORANO Italy
EMANUELE CORREANI Italy
CORTE AULICA Italy
CORTE DEI MIRACOLI Italy
LA COSCIENZA DI ZENO Italy
MARIO COTTARELLI Italy
COURT Italy
CRYSTALS Italy
LA CURVA DI LESMO Italy
GINO D'ELISO Italy
GIANNI D'ERRICO Italy
DALLAGLIO Italy
DALTON Italy
DE DE LIND Italy
DELIRIUM Italy
MAURIZIO DI TOLLO Italy
I DIK DIK Italy
DISTILLERIE DI MALTO Italy
DIVAE Italy
DUEMILA12 Italy
ECLISSE Italy
EDERA Italy
EDGAR ALLAN POE Italy
EGO Italy
EGONON Italy
EMPIRE Italy
ENEIDE Italy
ENIMA Italy
ENTITY Italy
EQUIPE 84 Italy
ERA DI ACQUARIO Italy
ERIS PLUVIA Italy
ERRATA CORRIGE Italy
L' ESTATE DI SAN MARTINO Italy
EUTHYMIA Italy
EXPLOIT Italy
LA FABBRICA DELL'ASSOLUTO Italy
FABIO CELI E GLI INFERMIERI Italy
FALENA Italy
FEM PROG BAND Italy
FESTA MOBILE Italy
FILARMONICA MUNICIPALE LACRISI Italy
FILORITMIA Italy
FINISTERRE Italy
FLEA Italy
FLOATING STATE Italy
RICCARDO FOGLI Italy
FOGLIE DI VETRO Italy
FONETICA Italy
FORMULA 3 Italy
FABIO FRIZZI Italy
CLAUDIO FUCCI Italy
FUFLUNS Italy
GARYBALDI Italy
GENCO PURO & CO. Italy
GENFUOCO Italy
GERMINALE Italy
FRANCO MARIA GIANNINI Italy
GIARDINI D'AUTUNNO Italy
GIARDINO DELLE DELIZIE Italy
I GIGANTI Italy
GIGI PASCAL E LA POP COMPAGNIA MECCANICA Italy
IL GIRO STRANO Italy
GLEEMEN Italy
GOBLIN Italy
GOBLIN REBIRTH Italy
GRAN TURISMO VELOCE Italy
GREENWALL Italy
GRIMALKIN Italy
GRUPPO 2001 Italy
GUERCIA Italy
H2O Italy
HOMUNCULUS RES Italy
HOPO Italy
HORUS Italy
HÖSTSONATEN Italy
HUNKA MUNKA Italy
IANVA Italy
IBIS Italy
IL FAUNO DI MARMO / THE REBUS Italy
INGRANAGGI DELLA VALLE Italy
J.E.T. Italy
JACULA Italy
JANUS Italy
JESTER'S JOKE Italy
JET LAG Italy
JUMBO Italy
KALISANTROPE Italy
KUNDALINI SHAKTI DEVI Italy
LABIRINTO DI SPECCHI Italy
LAGARTIJA Italy
LAPERA Italy
LASER Italy
LATTE E MIELE Italy
LUCIANO LAURINI Italy
LEO NERO Italy
I LEONI Italy
LETHE Italy
LIBRA Italy
LINEATEORICA Italy
LOCANDA DELLE FATE Italy
EMILIO LOCURCIO Italy
LOCUS AMOENUS Italy
LOGOS Italy
LOST TALES Italy
LOTHLORIEN Italy
MACROSCREAM Italy
MAD CRAYON Italy
MADRUGADA Italy
MAGNOLIA Italy
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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
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MINDFLOWER Italy
MINSTREL Italy
MIRAGE Italy
MO.DO. Italy
MÖBIUS PROJECT Italy
LORENZO MONNI Italy
MONTEFELTRO Italy
MOSAICO Italy
IL MUCCHIO Italy
MURPLE Italy
MUSEO ROSENBACH Italy
FRANCO MUSSIDA Italy
MYROS Italy
LA N.A.V.E. Italy
NARROW PASS Italy
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NATHAN Italy
NEW TROLLS Italy
NEW TROLLS ATOMIC SYSTEM Italy
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NOTABENE Italy
I NUMI Italy
NUOVA ERA Italy
NUOVA IDEA Italy
OBSCURA Italy
THE ODEJA Italy
ODISSEA Italy
OFFICINA MECCANICA Italy
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OMBRALUCE Italy
LE ORME Italy
ORNITHOS Italy
OSAGE TRIBE Italy
OSANNA Italy
IL PAESE DEI BALOCCHI Italy
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PANDA FIGHT CLUB Italy
PANDORA Italy
PANE Italy
PANGEA Italy
PANNA FREDDA Italy
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PANTHER & C Italy
PARADISO A BASSO PREZZO Italy
IL PARADISO DEGLI ORCHI Italy
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I PENNELLI DI VERMEER Italy
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PERDIO Italy
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PERIPLO Italy
PERSIMFANS Italy
PHAEDRA Italy
PHOLAS DACTYLUS Italy
GIAN PIERETTI Italy
PIERO E I COTTONFIELDS Italy
PIERO EZIO E TINO Italy
PLANETARIUM Italy
PLENILUNIO Italy
PLURIMA MUNDI Italy
LE PORTE NON APERTE Italy
POSTO BLOCCO 19 Italy
PREGHIERA DI SASSO Italy
PREMIATA FORNERIA MARCONI (PFM) Italy
PRESENCE Italy
PROCESSION Italy
PROGENESI Italy
PROMENADE Italy
PROPHEXY Italy
PROWLERS Italy
PSYCHO PRAXIS Italy
QIRSH Italy
QUARTO VUOTO Italy
QUASAR LUX SYMPHONIAE Italy
QUEL GIORNO DI UVE ROSSE Italy
QUELLA VECCHIA LOCANDA Italy
RACCOMANDATA RICEVUTA RITORNO Italy
I RAMINGHI Italy
RANDONE Italy
RANESTRANE Italy
REALE ACCADEMIA DI MUSICA Italy
RES GESTA Italy
RICORDI D'INFANZIA Italy
CLAUDIO ROCCHI Italy
ROCKY'S FILJ Italy
IL ROVESCIO DELLA MEDAGLIA Italy
IL RUMORE BIANCO Italy
IL RUSCELLO Italy
RUSTICHELLI & BORDINI Italy
SACKA Italy
SALIS Italy
SAMADHI Italy
SAMSARA Italy
TITO JR. SCHIPA Italy
LA SECONDA GENESI Italy
SECRET TALES Italy
IL SEGNO DEL COMANDO Italy
SELDON Italy
SEMIRAMIS Italy
LE SENSAZIONI Italy
SENSITIVA IMMAGINE Italy
SENZA NOME Italy
SEZIONE FRENANTE Italy
SHOWMEN 2 Italy
PAOLO SIANI & FRIENDS FEAT. NUOVA IDEA Italy
SIDE C Italy
IL SISTEMA Italy
SITHONIA Italy
SLOGANS Italy
LA SORGENTE Italy
ALAN SORRENTI Italy
ST.-TROPEZ Italy
LE STELLE DI MARIO SCHIFANO Italy
STRANAFONIA Italy
DEMETRIO STRATOS Italy
SUBMARINE SILENCE Italy
SUNSCAPE Italy
SYNDÉRESI Italy
SYNDONE Italy
TACITA INTESA Italy
TAPROBAN Italy
IL TEMPIO DELLE CLESSIDRE Italy
TENEBRAE Italy
I TEOREMI Italy
STEFANO TESTA Italy
THEGENERATION Italy
THREE MONKS Italy
TILION Italy
TOTO TORQUATI Italy
LA TORRE DELL ALCHIMISTA Italy
TRIADE Italy
THE TRIP Italy
IL TRONO DEI RICORDI Italy
TUGS Italy
UBI MAIOR Italy
ULTIMA SPIAGGIA Italy
UNA VOLTA ERAVAMO IN SETTE Italy
UNO Italy
UNREAL CITY Italy
L' UOVO DI COLOMBO Italy
VEDDA TRIBE Italy
VIEUX CARRE Italy
VITTORIO DE SCALZI - LA STORIA DEI NEW TROLLS Italy
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IL VOLO Italy
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ZAUM Italy

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