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ROCK PROGRESSIVO ITALIANO

A Progressive Rock Sub-genre


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Rock Progressivo Italiano definition

aka "RPI"


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


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

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


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

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

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


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

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

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

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

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

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


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

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

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

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

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


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

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

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

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

For the Mick.
29 July 2009



Current RPI Team
Todd
rdtprog (Louis)
progaardvark (Ken)
zeuhl1 (Paul)




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

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

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

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

Movimenti Prog
http://www.movimentiprog.net

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

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

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


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

Rock Progressivo Italiano Top Albums


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

4.41 | 1866 ratings
PER UN AMICO
Premiata Forneria Marconi (PFM)
4.39 | 1295 ratings
DARWIN!
Banco Del Mutuo Soccorso
4.37 | 1185 ratings
IO SONO NATO LIBERO
Banco Del Mutuo Soccorso
4.33 | 1481 ratings
STORIA DI UN MINUTO
Premiata Forneria Marconi (PFM)
4.33 | 982 ratings
ZARATHUSTRA
Museo Rosenbach
4.31 | 991 ratings
BANCO DEL MUTUO SOCCORSO
Banco Del Mutuo Soccorso
4.25 | 1036 ratings
FELONA E SORONA
Orme, Le
4.27 | 731 ratings
ARBEIT MACHT FREI
Area
4.27 | 551 ratings
MAXOPHONE
Maxophone
4.25 | 666 ratings
YS
Balletto Di Bronzo, Il
4.22 | 749 ratings
UOMO DI PEZZA
Orme, Le
4.20 | 952 ratings
L'ISOLA DI NIENTE
Premiata Forneria Marconi (PFM)
4.25 | 453 ratings
PALEPOLI
Osanna
4.24 | 410 ratings
CRAC !
Area
4.22 | 352 ratings
DISCESA AGL'INFERI D'UN GIOVANE AMANTE
Bacio Della Medusa, Il
4.19 | 381 ratings
L' ENIGMA DELLA VITA
Logos
4.23 | 241 ratings
SADAKO E LE MILLE GRU DI CARTA
Logos
4.18 | 341 ratings
CONTAMINAZIONE
Rovescio Della Medaglia, Il
4.17 | 327 ratings
CELESTE [AKA: PRINCIPE DI UN GIORNO]
Celeste
4.15 | 398 ratings
LA CRUDELTÀ DI APRILE
Unreal City

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

OPERA PRIMA
Rustichelli & Bordini
PROFONDO ROSSO [AKA: DEEP RED] (OST)
Goblin
LA DIVINA COMMEDIA
Giro Strano, Il
ASRAVA
Logos

Latest Rock Progressivo Italiano Music Reviews


 Appartenenza by MACCHINA PNEUMATICA album cover Studio Album, 2022
3.96 | 6 ratings

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Appartenenza
Macchina Pneumatica Rock Progressivo Italiano

Review by andrea
Prog Reviewer

4 stars "Appartenenza" is the second album by Milanese prog band Macchina Pneumatica and was released in 2022 on the independent Black Widow Records label with a confirmed line up featuring Raffaele Gigliotti (lead vocals, backing vocals, guitars), Carlo Fiore (synth, Hammond, electric and acoustic piano, backing vocals), Carlo Giustiniani (bass, backing vocals) and Vincenzo Vitagliano (drums) plus the guest and co-producer Alberto Ravasini (former member of historic Italian prog band Maxophone - backing vocals). The new album reflects all the good qualities of its predecessor with its excellent mix of vintage sounds and original ideas. The colourful art work by Beatrice Traversin probably describes the musical and lyrical content better than my all words...

The raging opener 'Appartenenza' (Belonging) conjures up a dark atmosphere with heavy electric guitar riffs and powerful organ passages. The music and lyrics evoke a dystopic society where different groups of humans act like packs of wolves avoiding to mix with each other. Whites with whites, blacks with blacks, reds with reds, that's the way to preserve their spawn...

The nightmarish, bluesy 'Pazzo' (Mad) gives voice to an outcast, a stranger in his own home city who is going through a personal crises and is sinking in a sea of doubts. He can't find a way out and is rejected by the conformist people who look at him like at an old king who has lost his crown and now is useless and helpless. He can feel the contempt of the straight against the different and that's driving him insane. Then a kind of nursery rhyme sung in German leads to the disquieting finale...

'Fuoco d'agosto' (August fire) tells in music and words of a desperate story of alienation. In August, in an empty city, a lonely boy sets himself on fire as a consequence of his inner desert. He's alone in his room with his television and his mobile phone when calls a live television broadcast announcing his self-immolation. In a few moments his naked skin burns under the summer sun and on all the TV screens...

The long, hypnotic instrumental 'Il cerchio' (The circle) is an excellent track that leads to the following 'Rendimento garantito' (Guaranteed performance), a disquieting piece about human commodification and blind conformism. The lyrics evoke images of misleading elections, losers supported and comforted by analysts, old people crossing the streets without paying attention to the traffic, men queuing up to donate their blood to the pawnshop...

The last track, 'Venerd' sera' (Friday evening), starts by a delicate piano introduction, then the rhythm rises while the music and lyrics depict the effort of the protagonist to escape from his daily grind evoking a dream of absolute freedom and excess, a dangerous plunge into the nightlife under a false name in search for fun and lust. The protagonist seems to get lost while devils and witches play with his thoughts and the border between virtual reality and real life melts...

On the whole, a very good work!

 Il Tempo di Far la Fantasia by MONTEFELTRO album cover Studio Album, 1992
3.73 | 62 ratings

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Il Tempo di Far la Fantasia
Montefeltro Rock Progressivo Italiano

Review by Mellotron Storm
Prog Reviewer

3 stars I really have mixed feeling for this album. Not the best sound quality and the drumming is quite pedestrian while the singer fails when compared to the RPI singers of the 70's. There's guitar on here? The keyboards are outstanding and the draw for me here but the negative is the Tony Banks love that's going on. A very GENESIS sounding album and to be fair not a lot of vocals on this one and they aren't bad at all just not up to RPI standards in my opinion.

The 90's were hard on RPI so I would easily put this in the top 20 of that decade with NUOVA ERA's "Il Passo Del Soldato" standing alone at the top. This is a four piece with the guitarist also being the singer. The side long opener "Canto No.1" is just under 23 minutes and without question the highlight. There are orchestral bits on this record along with strings so I don't know if they are sampled. Another uncredited instrument that I hear is the harpsichord. Like others have mentioned I hear a Neo-Prog vibe at times but this is more Symphonic.

A keyboard album no doubt and in a style that most of us love, but there's too many issues for me to go 4 stars here.

 Aurora Lunare by AURORA LUNARE album cover Studio Album, 2013
4.10 | 35 ratings

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Aurora Lunare
Aurora Lunare Rock Progressivo Italiano

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. For some musicians they get into the music business for the girls and the money or you get bands like AURORA LUNARE who are simply into it for the love of music. Formed in 1978 they composed their own music but for the next decade or so played a lot of live gigs covering the music of their heroes like PFM, LE ORME, GENESIS, ELP etc. before breaking up in the early nineties only to reunite in the 00's and still it was another decade before finally releasing this their sole studio album in 2013. A labour of love indeed. Most of the songs are from the late 70's that have been given a modern makeover. They end the album with a two part LE ORME cover that ends the record perfectly in my opinion.

While I would describe this as symphonic music they do change it up, I mean they were fans of AREA as well and we get that vibe on a couple of tracks. Lots of synths, great melodies, classic vocals in the Italian tradition that make me proud. Lots of guests helping out like the LA MASCERA DI CERA guitarist and singer. How about the guest guitarist on the LE ORME closer Tolo Marton who won the world-wide guitar competition in Seattle put on by the Hendrix family in 1998, yes this man can play. By the way the keyboardist for this band is a Jazz man playing in a number of Jazz bands while also getting involved with AURORA LUNARE at some point. The original keyboardist while composing some of these songs back in the late seventies has a very limited role here.

Man this music just clicks with me big time, I'm really surprised with this one. It's the whole package though when you get a guy like Mauro Pini who sings with such emotion, just a pleasure really. All seasoned musicians and Mauro adds some unusual synths like synth-glockenspiel on a couple of songs as well as synth-bassoon on the fifth track "Corsa Senza Mota" which is a dark piece with lots of atmosphere and it's experimental. Sounds come and go like whispered words, flute, percussion and more. Piano and bass will also help out and man this is avant before 4 minutes and it will turn powerful with guitar but still "out there".

Another highlight is that opener, maybe their most famous or treasured melody that gets repeated throughout. Marching drums and lots of atmosphere before that melody arrives after 1 1/2 minutes and vocals not until after 4 minutes. Some more beautiful melodies on that second track which is the longest at over 9 minutes but I prefer the third tune "Mondo Fantasmatico" to it with the opening flute before guitar and synths dominate but the flute will return. Some awesome atmosphere here too in this almost 9 minute piece. More darkness on "Riflessi Indicativi" along with melancholy but before that the vocals and melodies are gorgeous. The short 2 minute "Interlunio" is somewhat dark with flute helping out then we get that two part LE ORME closer that is simply a joy and what a way to give a nod to their heroes and at the same time end the album with such class.

Over 30 years coming yet worth the wait? You bet! It's like this was custom made for me. Not sure why I'm not giving this 5 stars like Andrea offered but maybe down the road because this is going with the best of my RPI collection.

 Storia Di Un Minuto by PREMIATA FORNERIA MARCONI (PFM) album cover Studio Album, 1972
4.33 | 1481 ratings

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Storia Di Un Minuto
Premiata Forneria Marconi (PFM) Rock Progressivo Italiano

Review by WJA-K

3 stars This album is absolutely fantastic. But I don't love it as much as their third.

Introduzione - Sets the stage for this album nicely 8/10

Impressioni di Settembre - Instrumentally, I like the song a lot. I'm not as fond of the vocals on this one. It sounds a bit thin to me. I love the ending the most. Epic. 8/10

E' Festa -Straightforward start, but the keys bring variety to the song. It jumps all over the place in tone and style. And I like that. 8.5/10

Dove... Quando... (Parte I) - Beautiful song. Well played and quietly paced 8.5/10

Dove... Quando... (Parte II) - A mishmash of styles on this one. As on an adventure. Still, it sounds a bit outdated to me 8/10

La Carrozza di Hans -Another song that everything but the kitchen sink. Pleasant, a good listen, but not knocking me off my feet 8/10

Grazie Davvero- Nice closer. No more and no less. 8/10

I don't see the appeal for this one. It pales in comparison with contemporary work. I rate it 3 stars. Which means it is good.

 Gommalacca by BATTIATO, FRANCO album cover Studio Album, 1998
4.17 | 29 ratings

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Gommalacca
Franco Battiato Rock Progressivo Italiano

Review by Mellotron Storm
Prog Reviewer

4 stars Franco Battiato is a legendary composer, multi-instrumentalist and singer out of Italy who has released over 40 studio albums alone let alone other recordings. So I really am not "up" to how his career has changed musically since the early seventies but I do consider his 1973 release "Sulle Corde Di Aries" to be a masterpiece. "Gommalacca" is from 1998 and I sought it out based on a lot of very complimentary reviews. My first couple of spins had me scratching my head as to why people considered it so highly but after a few more man I am 100% sold on this.

It reminds me of THE LEGENDARY PINK DOTS with the experimental and artsy songs. Vocals of course are very different and it's almost all in Italian here but for some English bits. The other difference is that this record is very uniform in sound which I like plus Franco is the king of contrasting styles here on all but one track. Whatever Battiato did here it all works so well. He adds electronics, drums, keys, bass, vocals and guitar plus he arranged, composed and produced this record. And hold the presses! Gavin Harrison is his drummer here! What!? This is 1998 which had me searching as to when Gavin started playing on records and saw that he released his first solo album in 1997 with Mick Karn, Richard Barbieri and the legendary Dave Stewart. Man I'm learning stuff.

Back to "Gommalacca" and we get several vocalists helping out plus some extra guitar and piano. Oh and synths on three tracks as well besides Franco's input on all of the above. There's not a lot of English on here but that opener "Shock In My Town" is an exception with the title being repeated often. There's more Italian on here though as far as lyrics go. There's a surprising section where he kicks into a "Rock" mode out of the blue and that section becomes a contrast. My first top five. The other top four tracks are songs five to eight where we get this awesome section of music right in the middle. Now that closer also needs to be mentioned at 8 1/2 minutes the longest by far and a little different from the rest.

Easily 4 stars and I have such an appreciation for this man's talents.

 Pangea e le tre Lune by CERCHIO D'ORO, IL album cover Studio Album, 2023
4.17 | 3 ratings

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Pangea e le tre Lune
Il Cerchio D'Oro Rock Progressivo Italiano

Review by Agnenrecords

4 stars I've just returned from Genoa after going to see the album launch of PANGEA E LE TRE LUNE by Il Cerchio d'Oro, opening for Balletto di Bronzo who were presenting their first new album for 51 years, LEMURES, with limited edition copies of both new LPs in my cotton record bag. PANGEA E LE TRE LUNE is the fourth and last in a sequence of albums representing each of the basic elements water (IL VIAGGIO DI COLOMBO), air (DEDALO E ICARO), fire (IL FUOCO SOTTO LA CENERE) and earth and whereas its immediate predecessor was a collection of disparate songs which all concerned a different meaning of 'fire', PANGEA E LE TRE LUNE is a return to the linear narrative style of the first two albums in the sequence, following an imaginary creation story written by the band's long-term lyricist Pino Paolino where Earth (Pangea) is transformed from a flaming ball of gas to a green planet full of life. Pangea originally had three moons, each with different aspects and characteristics. Mirroring human foibles, a cataclysmic quarrel between two of the moons results in their mutual destruction, leaving nothing but 'a million stars'. The remaining moon is destined to become the satellite we know, imbued with the qualities of comfort and romance.

As with their previous three albums the music is predominantly in the style of 70's symphonic progressivo italiano, though there are moments of bright synthesizer and guitar which adds a hint of neo-prog but the overwhelming feel is an album of melodic prog with effortless changes of time signature. Il Cerchio d'Oro are known for their attention to sonic detail and once again great care has been taken over the selection of analogue keyboard sounds, for example Franco Piccolini's Hammond solo on third track DIALOGO. Another key component of the definitive Cerchio d'Oro sound is the use of Rickenbacker bass, an instrument that's surprisingly uncommon in Italian prog, but which is used to great effect by Giuseppe Terribile. I've previously been a little critical of some of the vocals but I'm unable to fault Piuccio Pradal or the Terribile brothers, who on this release are particularly effective singing in harmony.

There's a nice link between past and present through Armando Mancini who provided the cover illustration. Mancini has designed a lot of album sleeves including the first LP by Quella Vecchia Locanda where American violinist Donald Lax was featured in the line-up; Lax was invited to play on PANGEA E LE TRE LUNE as a guest along with other well-known characters from the local prog scene, Ricky Belloni (Nuova Idea, New Trolls) and Tolo Marton (Le Orme). 

The LP contains three tracks per side but the CD has a bonus track, CRISI, a single dating from 1981 when the band had reinvented themselves as a heavy rock outfit called Black Out. The beauty of the LP is that CRISI doesn't really fit the Il Cerchio d'Oro template or the album concept (they played it at the gig with a guest appearance from former Black Out guitarist Valerio Piccioli which was warmly appreciated by the audience) so its absence from the vinyl format is quite appropriate.

PANGEA E LE TRE LUNE's production is gorgeous with crystal clarity and good separation of instruments; the songwriting and playing are faultless, making it an enjoyable listen from beginning to end.

An easy 4.5 stars

 Zarathustra by MUSEO ROSENBACH album cover Studio Album, 1973
4.33 | 982 ratings

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Zarathustra
Museo Rosenbach Rock Progressivo Italiano

Review by Boojieboy

3 stars After researching French prog, I've been making inroads into Italian prog. Since this one always gets on the lists, I had to check it out.

I really can't say it's very impressive. Sure, it has all the trademark "prog" elements. If you just want to listen to something that's characteristically prog, this could meet the requirements. But there's nothing unique or special about it. Nothing that stands out, and gives this a special taste or sound. It's just a rehash of other prog that was out there at the time this was recorded. I can't believe people are just falling in line, checking the boxes, and not listening and requiring for something worthy of the high praise.

 Dialoghi del presente by CILIO, LUCIANO album cover Studio Album, 1977
4.37 | 28 ratings

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Dialoghi del presente
Luciano Cilio Rock Progressivo Italiano

Review by Mellotron Storm
Prog Reviewer

4 stars Luciano Cilio was a self taught multi-instrumentalist who released this lone album back in 1977. He was sadly taken from us at the young age of 33 not many years after this release. When I think of "Dialoghi Del Presente" I can't think of a better example of a musical legacy to leave the world with. This 30 minute record with eight talented people helping out has made a lot of people think. It reminds me of POPOL VUH or less so of BETWEEN's "And The Waters Opened". Kind of a classical/chamber rock thing happening. There's a spiritual thing going on as well, it's beautiful, it's sadness in spades, it gets dark at times.

I marvel at how quick each track goes by when they are so sparse. I guess waiting for the next thing to happen perhaps? I just get drawn in, in an unusual way. A special recording. This is pastoral, reflective and warm. It's hard to believe all the musicians that are on here. It feels so personal like one on one as each comes and goes. The female wordless vocals are well worth talking about for being unique and expressive in different ways. They certainly add to the aura of this album. Love the flute played by Cilio himself, the tone especially. We also get sax, oboe, english horn, double bass, violin, cello, mandolin, piano, guitars and drums/percussion.

This is maybe one of the best examples of "you need to hear this" out there in music. Descriptions fail. This might grow to 5 stars, all I know is that I'm keeping this around for more spins before it gets put anywhere.

 Alphataurus by ALPHATAURUS album cover Studio Album, 1973
4.13 | 416 ratings

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Alphataurus
Alphataurus Rock Progressivo Italiano

Review by AJ Junior

5 stars What an album from one of the greatest short-lived Italian Prog bands ever. Alphataurus, the underground quintet from Milan, produced their first and last album, a self-titled 1973 effort, "Alphataurus." From front to back, this album is purely amazing. Michele Bavaro (vocals) and Pietro Pellegrini (Keyboards) carry this album. There isn't much backstory behind this album, and it's mostly just a case of 5 great musicians coming together to create one of the most iconic Italian Prog records to date (with some sick classic cover art as well).

The album begins with a jazzy interlude from the 12-minute epic "Peccato D'Orgoglio" which quickly transitions into a prog masterclass. After an acoustic section, during which we are introduced to the wonderful voice of Michele Bavaro, the drums and synth pick up the song as Michele's voice reaches new heights right off the bat. Around the 4-minute mark, a drum roll brings us to the next section with heavy Moog, and Hammond Organ. This leads into a beautiful church organ section with a heavily distorted Hammond Organ providing bass. After an extremely Yessian transition, the song goes into an impressive Hammond section which displays the musicianship of Pietro Pellegrini (who would go on to play with PFM). The riff takes a lot of variations with tons of great Moog usage and vocals with more Yessian guitars and tempo. The song goes back to the church organ section, before going back into the heavy Moog riff from earlier in the song to close it out. After the absolute masterpiece, the second song "Dopo l'uragano," is probably the weakest on the album (Although it is by no means bad). It opens with wailing screams from Michele Bavaro over the guitar before going into the organ and guitar-dominated verse section. Halfway through the song, a phased-drum solo brings us into an interesting shorter instrumental part. The song closes on the acoustic theme from the beginning.

"Croma," is the shortest song on the album and acts as a bridge between the two pairs of songs. This song is extremely synth and strings-dominated switching between the jumpy, bach-esque build-up sections and the grand violin sections that make the song great. Organ comes in at the end to close out what might be the most Italian prog-sounding song of all time. "La mente vola," marks the second great epic of the album, clocking in at 9:00. It opens up with very impressive Moog work from Pellegrini for about 3 minutes. It then transitions into a piano-driven section with soft guitars and some of Michele Bavaro's best vocal work on the album. The first chorus leads back into the verse pretty normally, but by the second chorus, we get an iconic Moog solo from Pellegrini to go back into the verse, during which we hear an unexpected Xylophone solo. The song ends on the same Moog solo from before. The album closes on my personal favorite song, "Ombra Muta" which is just a little longer than the prior song. After an organ-dominated intro, we get one of Bavaro's most underrated vocal performances ever. The song then transitions into a fast section where Pellegrini solos on the Hammond over his own bass line. The guitar work from guitarist Guido Wassermann is really impressive here too. After an amazing Moog solo from Pellegrini, the fast-paced section finally comes to an end transitioning back into the intro with the ethereal guitars of Guido Wassermann over the echoing organ of Pietro Pellegrini. The song closes out on a high note (ignoring the weird instrumental things that they do for a few seconds in the end) and it's a perfect close to the album.

I really wish bands like Alphataurus and Alphataurus themselves had made more albums, but it seems like circumstances always got the best of these guys. They had the potential to have long careers with dozens of albums, but alas we are left with a 40-minute snapshot of what could've been. This album is about 4.7 stars for me, but I'll round it to a 5 because of the stunning musicianship. Highly recommended to all prog fans.

 Per Un Amico by PREMIATA FORNERIA MARCONI (PFM) album cover Studio Album, 1972
4.41 | 1866 ratings

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

Review by WJA-K

5 stars This album is right up my alley. I love this one so much. This is a highlight in the prog genre. This again shows how great the early seventies were and how stale many current albums are in comparison. It says enough for me that I rate this one so high despite the other gems that came out around that time. This is one of the better ones indeed.

Appena un Po' - is a great opener showing all the skills this band has 9/10

Generale - A bit more funky but still very varied. Another nice pone 8.5/10

Per un Amico - Very delicate but still nicely developing song 9/10

Il Banchetto - The highlight of the album for me 10/10

Geranio - Perfect closer of the album 9/10

This is a must-listen for the prog fan. Easy 5 stars album.

Data cached

Rock Progressivo Italiano bands/artists list

Bands/Artists Country
A PIEDI NUDI Italy
A.S.T.R.A Italy
ABISSI INFINITI Italy
ABSENTHIA Italy
ACQUA FRAGILE Italy
AD MAIORA Italy
ADHARMA Italy
AELEMENTI Italy
STEFANO AGNINI Italy
AINUR Italy
AKRON Italy
L' ALBERO DEL VELENO Italy
ALGEBRA Italy
ALIANTE Italy
ALESSANDRO ALISCIONI Italy
ALLEGRI LEPROTTI Italy
GLI ALLUMINOGENI Italy
ALPHATAURUS Italy
ALTARE THOTEMICO Italy
ALUSA FALLAX Italy
AMMINISTRAZIONE CAOS POPOLARE Italy
ANACONDIA Italy
ANCESTRY Italy
ANCIENT VEIL Italy
ANTONIUS REX Italy
GLI APOSTHOLI Italy
APOTEOSI Italy
APRYL Italy
AQUAEL / EX MAURY E I PRONOMI Italy
ARCAMIRI Italy
ARCHITRAVE INDIPENDENTE Italy
AREA Italy
ARIES Italy
ARJUNA Italy
ARMONITE Italy
ARPIA Italy
ARS NOVA (ITA) Italy
ASSEMBLEA MUSICALE TEATRALE Italy
ASSENZIO Italy
ASTROLABIO / EX ELETTROSMOG Italy
ATON'S Italy
ATTI PUBBLICI IN LUOGO OSCENO Italy
ATTO IV Italy
AUDIO Italy
AURORA LUNARE Italy
AVALON LEGEND Italy
B-RAIN Italy
IL BABAU & I MALEDETTI CRETINI Italy
SOPHYA BACCINI Italy
IL BACIO DELLA MEDUSA Italy
THE BADGE Italy
BALLETTIROSADIMACCHIA Italy
IL BALLETTO DI BRONZO Italy
IL BALLO DELLE CASTAGNE Italy
THE BALMUNG Italy
LA BAMBIBANDA E MELODIE Italy
BANCO DEL MUTUO SOCCORSO Italy
BANDA BELZONI Italy
BARABBA Italy
MARIO BARBAJA Italy
BARO PROG-JETS Italy
BAROQUE Italy
BARROCK Italy
LUCIANO BASSO Italy
LA BATTERIA Italy
FRANCO BATTIATO Italy
PIERPAOLO BIBBO Italy
BIGLIETTO PER L'INFERNO Italy
BLOCCO MENTALE Italy
LA BOCCA DELLA VERITÀ Italy
BONDAGE Italy
BORNIDOL Italy
LA BOTTEGA DELL'ARTE Italy
BRAEN'S MACHINE Italy
BRAINDEAD Italy
ANGELO BRANDUARDI Italy
BRIGHT HORIZON Italy
BUON VECCHIO CHARLIE Italy
BUTTERFLY SYSTEM Italy
CAGE Italy
I CALIFFI Italy
CALLIOPE Italy
CAMERA ASTRALIS Italy
JURI CAMISASCA Italy
CAMPO DI MARTE Italy
CANTINA SOCIALE Italy
CAPITOLO 6 Italy
CAPRICORN COLLEGE Italy
CAPSICUM RED Italy
ENZO CAPUANO Italy
CARPINETA Italy
IL CASTELLO DELLE UOVA Italy
IL CASTELLO DI ATLANTE Italy
CAVALLI COCCHI.LANZETTI.ROVERSI Italy
CELESTE Italy
IL CERCHIO D'ORO Italy
CERVELLO Italy
CHERRY FIVE Italy
CHIAVE DI VOLTA Italy
CHRISTADORO Italy
LUCIANO CILIO Italy
THE CINEMA SHOW Italy
CIRCLE OF FAIRIES Italy
CITTÀ FRONTALE Italy
CIVICO 23 Italy
CLEPSYDRA Italy
I COCAI Italy
ROBERTO COLOMBO Italy
CONDOR Italy
CONQUEROR Italy
CONSORZIO ACQUA POTABILE Italy
MICHELE CONTA Italy
CONTRAPPUNTO Italy
CONTROTEMPO Italy
COOPERATIVA DEL LATTE Italy
CORAL CAVES Italy
CORMORANO Italy
CORPORESANO Italy
EMANUELE CORREANI Italy
CORTE AULICA Italy
CORTE DEI MIRACOLI Italy
LA COSCIENZA DI ZENO Italy
MARIO COTTARELLI Italy
COURT Italy
CRYSTALS Italy
LA CURVA DI LESMO Italy
GINO D'ELISO Italy
GIANNI D'ERRICO Italy
DALLAGLIO Italy
DALTON Italy
DE DE LIND Italy
DELIRIUM Italy
MAURIZIO DI TOLLO Italy
I DIK DIK Italy
DISEQUAZIONE Italy
DISTILLERIE DI MALTO Italy
DIVAE Italy
LA DOTTRINA DEGLI OPPOSTI Italy
DUEMILA12 Italy
ECFONETICA Italy
ECLISSE Italy
EDERA Italy
EDGAR ALLAN POE Italy
EGO Italy
EGONON Italy
ELISIR D'AMBROSIA Italy
EMPIRE Italy
ENEIDE Italy
ENIMA Italy
ENTITY Italy
EPISCOPIO VISTARAMA Italy
EQUIPE 84 Italy
ERA DI ACQUARIO Italy
ERIS PLUVIA Italy
ERRATA CORRIGE Italy
L' ESTATE DI SAN MARTINO Italy
EURASIA Italy
EUTHYMIA Italy
EXPLOIT Italy
LA FABBRICA DELL'ASSOLUTO Italy
FABIO CELI E GLI INFERMIERI Italy
FALENA Italy
IL FAUNO DI MARMO / EX THE REBUS Italy
IL FEDELISSIMO BRACCO BRANCO Italy
FEM PROG BAND / FORZA ELETTROMOTRICE Italy
FESTA MOBILE Italy
FILARMONICA MUNICIPALE LACRISI Italy
FILORITMIA Italy
FINISTERRE Italy
FLEA Italy
FLOATING STATE Italy
RICCARDO FOGLI Italy
FOGLIE DI VETRO Italy
FONETICA Italy
FORMULA 3 Italy
THE FORTY DAYS Italy
FOSCHIA Italy
FABIO FRIZZI Italy
CLAUDIO FUCCI Italy
FUFLUNS Italy
STEFANO LUPO GALIFI Italy
GAN EDEN - IL GIARDINO DELLE DELIZIE Italy
GARYBALDI Italy
GENCO PURO & CO. Italy
THE GENERATION Italy
GENFUOCO Italy
GERMINALE Italy
FRANCO MARIA GIANNINI Italy
GIARDINI D'AUTUNNO Italy
I GIGANTI Italy
GIGI PASCAL E LA POP COMPAGNIA MECCANICA Italy
IL GIRO STRANO Italy
GLEEMEN Italy
GOBLIN Italy
GOBLIN REBIRTH Italy
GRAN TURISMO VELOCE Italy
GREENWALL Italy
GRIMALKIN Italy
GRUPPO 2001 Italy
GRUPPO AUTONOMO SUONATORI Italy
GUERCIA Italy
H2O Italy
HOPO Italy
HORA PRIMA Italy
HORUS Italy
HÖSTSONATEN Italy
HUMANA PROG Italy
HUNKA MUNKA Italy
I GIULLARI DI CORTE Italy
IANVA Italy
IBIS Italy
IL BUCO DEL BACO Italy
IL PORTO DI VENERE Italy
IL TESTAMENTO DEGLI ARCADI Italy
INGRANAGGI DELLA VALLE Italy
ISPROJECT Italy
J.E.T. Italy
JACULA Italy
JANUS Italy
JESTER'S JOKE Italy
JET LAG Italy
JUMBO Italy
JUS PRIMAE NOCTIS Italy
KALISANTROPE Italy
KUNDALINI SHAKTI DEVI Italy
LA CRUNA DEL LAGO Italy
IL LABIRINTO DI ALICE Italy
LABIRINTO DI SPECCHI Italy
LAGARTIJA Italy
LAPERA Italy
LASER Italy
LATTE E MIELE Italy
LUCIANO LAURINI Italy
LEO NERO Italy
I LEONI Italy
LETHE Italy
LIBRA Italy
LIMITE ACQUE SICURE Italy
LINEATEORICA Italy
LOCANDA DELLE FATE Italy
EMILIO LOCURCIO Italy
LOCUS AMOENUS Italy
LOGOS Italy
LOST TALES Italy
LOTHLORIEN Italy
MACCHINA PNEUMATICA Italy
MACROSCREAM Italy
MAD CRAYON Italy
MADRUGADA Italy
MAGNOLIA Italy
MALAAVIA Italy
MALIBRAN Italy
MALLEUS Italy
MANGALA VALLIS Italy
LE MANI Italy
MARCHESI SCAMORZA Italy
LA MASCHERA DI CERA Italy
MAXOPHONE Italy
MEDITERRANEA Italy
MELLONTA TAUTA Italy
MELTING CLOCK Italy
MESSAGGIO 73 Italy
METAMORFOSI Italy
MINDFLOWER Italy
MINSTREL Italy
MIRAGE Italy
MO.DO. Italy
MÖBIUS PROJECT Italy
I MODIUM Italy
LORENZO MONNI Italy
MONTEFELTRO Italy
MOSAICO Italy
IL MUCCHIO Italy
MURPLE Italy
MUSEO ROSENBACH Italy
FRANCO MUSSIDA Italy
MYROS Italy
LA N.A.V.E. Italy
NARROW PASS Italy
NASCITA DELLA SFERA Italy
NATHAN Italy
NEW TROLLS Italy
NEW TROLLS ATOMIC SYSTEM Italy
NICOSIA & C. INDUSTRIA MUSICALE Italy
NODO GORDIANO Italy
NOTABENE Italy
I NUMI Italy
NUOVA ERA Italy
NUOVA IDEA Italy
OBSCURA Italy
THE ODEJA Italy
ODISSEA Italy
OFFICINA MECCANICA Italy
L' OMBRA DELLA SERA Italy
OMBRALUCE Italy
OPHICINA Italy
OPRA MEDITERRANEA Italy
ANDREA ORLANDO Italy
LE ORME Italy
ORNITHOS Italy
OSAGE TRIBE Italy
OSANNA Italy
OSCILLAZIONI ALCHEMICO KREATIVE (O.A.K.) Italy
OVERTURE Italy
IL PAESE DEI BALOCCHI Italy
MAURO PAGANI Italy
PANDA FIGHT CLUB Italy
PANDORA Italy
PANE Italy
PANGEA Italy
PANNA FREDDA Italy
MARIO PANSERI Italy
PANTHER & C. Italy
PARADISO A BASSO PREZZO Italy
IL PARADISO DEGLI ORCHI Italy
NICOLA PARDINI Italy
MAURO PELOSI Italy
I PENNELLI DI VERMEER Italy
LA PENTOLA DI PAPIN Italy
PERDIO Italy
PERIFERIA DEL MONDO Italy
PERIPLO Italy
PERSIMFANS Italy
PHAEDRA Italy
PHOLAS DACTYLUS Italy
GIORGIO FICO PIAZZA Italy
GIAN PIERETTI Italy
PIERO E I COTTONFIELDS Italy
PIERO EZIO E TINO Italy
PLANETARIUM Italy
PLENILUNIO Italy
PLURIMA MUNDI Italy
LE PORTE NON APERTE Italy
POSTO BLOCCO 19 Italy
PREGHIERA DI SASSO Italy
PREMIATA FORNERIA MARCONI (PFM) Italy
PRESENCE Italy
PROCESSION Italy
PROGENESI Italy
PROMENADE Italy
PROMETHEO Italy
PROPHEXY Italy
PROTOCOLLO C Italy
PROWLERS Italy
PSICOSUONO Italy
PSYCHO PRAXIS Italy
QIRSH Italy
QUARTO VUOTO Italy
QUASAR LUX SYMPHONIAE Italy
QUEL CHE DISSE IL TUONO Italy
QUEL GIORNO DI UVE ROSSE Italy
QUELLA VECCHIA LOCANDA Italy
RACCOMANDATA RICEVUTA RITORNO Italy
I RAMINGHI Italy
RANDONE Italy
RANESTRANE Italy
REALE ACCADEMIA DI MUSICA Italy
RES GESTA Italy
RICORDI D'INFANZIA Italy
CLAUDIO ROCCHI Italy
ROCKY'S FILJ Italy
IL ROVESCIO DELLA MEDAGLIA Italy
IL RUMORE BIANCO Italy
IL RUSCELLO Italy
RUSTICHELLI & BORDINI Italy
SACKA Italy
SALIS Italy
SAMADHI Italy
SAMSARA Italy
TITO JR. SCHIPA Italy
LA SECONDA GENESI Italy
SECRET TALES Italy
IL SEGNO DEL COMANDO Italy
SELDON Italy
SEMIRAMIS Italy
LE SENSAZIONI Italy
SENSITIVA IMMAGINE Italy
IL SENTIERO DI TAUS Italy
SENZA NOME Italy
SEZIONE FRENANTE Italy
SFARATTHONS Italy
SHOWMEN 2 Italy
PAOLO SIANI FT. NUOVA IDEA Italy
SIDE C Italy
SINTESI DEL VIAGGIO DI ES Italy
SINTONIA DISTORTA Italy
IL SISTEMA Italy
SITHONIA Italy
SLOGANS Italy
IL SOGNO DI RUBIK Italy
LA SORGENTE Italy
ALAN SORRENTI Italy
ST.-TROPEZ Italy
UNA STAGIONE ALL' INFERNO Italy
LA STAZIONE DELLE FREQUENZE Italy
LE STELLE DI MARIO SCHIFANO Italy
STRANAFONIA Italy
DEMETRIO STRATOS Italy
SUBMARINE SILENCE Italy
SUNSCAPE Italy
SYNDÉRESI Italy
SYNDONE Italy
TACITA INTESA Italy
TAPROBAN Italy
IL TEMPIO DELLE CLESSIDRE Italy
TENEBRAE Italy
I TEOREMI Italy
STEFANO TESTA Italy
THREE MONKS Italy
TILION Italy
TOTO TORQUATI Italy
LA TORRE DELL'ALCHIMISTA Italy
TRIADE Italy
THE TRIP Italy
IL TRONO DEI RICORDI Italy
TUGS Italy
UBI MAIOR Italy
ULTIMA SPIAGGIA Italy
UNA VOLTA ERAVAMO IN SETTE Italy
UNO Italy
UNREAL CITY Italy
L' UOVO DI COLOMBO Italy
UTOPIA 239 Italy
VEDDA TRIBE Italy
VERGANTI Italy
VIEUX CARRE Italy
VITTORIO DE SCALZI - LA STORIA DEI NEW TROLLS Italy
IL VOLO DI ICARO Italy
IL VOLO Italy
VUOTI A RENDERE Italy
WILSON PROJECT Italy
RICCARDO ZAPPA Italy
ZAUM Italy
ZED & I BOLIDI LENTI Italy

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