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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

4.40 | 1985 ratings
PER UN AMICO
Premiata Forneria Marconi (PFM)
4.39 | 1389 ratings
DARWIN!
Banco Del Mutuo Soccorso
4.37 | 1274 ratings
IO SONO NATO LIBERO
Banco Del Mutuo Soccorso
4.34 | 1564 ratings
STORIA DI UN MINUTO
Premiata Forneria Marconi (PFM)
4.33 | 1052 ratings
ZARATHUSTRA
Museo Rosenbach
4.31 | 1065 ratings
BANCO DEL MUTUO SOCCORSO
Banco Del Mutuo Soccorso
4.27 | 790 ratings
ARBEIT MACHT FREI
Area
4.25 | 1110 ratings
FELONA E SORONA
Orme, Le
4.25 | 717 ratings
YS
Balletto Di Bronzo, Il
4.26 | 597 ratings
MAXOPHONE
Maxophone
4.23 | 802 ratings
UOMO DI PEZZA
Orme, Le
4.21 | 1008 ratings
L'ISOLA DI NIENTE
Premiata Forneria Marconi (PFM)
4.24 | 476 ratings
PALEPOLI
Osanna
4.24 | 446 ratings
CRAC !
Area
4.23 | 371 ratings
DISCESA AGL'INFERI D'UN GIOVANE AMANTE
Bacio Della Medusa, Il
4.19 | 393 ratings
L'ENIGMA DELLA VITA
Logos
4.18 | 356 ratings
CELESTE [AKA: PRINCIPE DI UN GIORNO]
Celeste
4.18 | 357 ratings
CONTAMINAZIONE
Rovescio Della Medaglia, Il
4.14 | 461 ratings
ALPHATAURUS
Alphataurus
4.15 | 412 ratings
QUELLA VECCHIA LOCANDA
Quella Vecchia Locanda
4.19 | 255 ratings
SADAKO E LE MILLE GRU DI CARTA
Logos

Rock Progressivo Italiano overlooked and obscure gems albums new


Random 3 (reload page for new list) | As selected by the Rock Progressivo Italiano experts team

BUON VECCHIO CHARLIE
Buon Vecchio Charlie
HYBLA ACT 1
Randone
MELOS
Cervello

Latest Rock Progressivo Italiano Music Reviews


 Schiere Di Sudditi by LA CRUNA DEL LAGO album cover Studio Album, 2022
3.57 | 9 ratings

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Schiere Di Sudditi
La Cruna Del Lago Rock Progressivo Italiano

Review by Finnforest
Special Collaborator Honorary Collaborator

3 stars A tale of two sounds

La Cruna del Lago from Tuscany formed in 2021 and consists of seasoned musicians Andrea Bruni, Matteo Tuci, Pino Polistina, and Carmelo Arena. These gentlemen have had a very successful launch of the band over the past few years since their debut album dropped. They have released some nice-looking deluxe yellow LPs along with CD/digital, been part of a prog DVD collection, and played to good-sized, enthusiastic crowds. Three of the band members had played with '70s RPI band Il Rovescio della Medaglia a few years back, so no doubt some good musical connections were made.

Their 2022 debut is another interesting entry blending a crisp modernity to the more traditional progressive rock tendencies. Their sound is often closest to "heavy prog" to my ear. I think they would appeal to fans of early '90s Rush or even Wilson's Insurgentes blending heaviness with atmospheric mood. Some of the most interesting diversions were the quieter, contemplative "electro/acoustic" moments that start with the third track "Illogica Distanza" and its lovely melody and harmony over acoustic guitar. "Interludio" is next and moves almost into a Battiato realm with environment effects, swirling, swelling, soft sounds---loved this. "Elettrodrama" is similarly experimental but with an accessible, almost Alan Parsons vibe. As usual, I have no idea what is happening lyrically, but Andrea wrote that the band has stated this is a "concept album dealing with the consequences of a declining society." Perfect timing then.

These guys have absolutely monster chops, their production is excellent, and the album's artwork is very cool. Those middle three songs are really good too, but I'm afraid I connected emotionally to only those middle three tracks. I was less convinced by the other half of the album, the heavier tracks, and thus this is a split decision for me. However, I think many progressive rock fans will likely dig the four heavier tracks as well. If that's the case, this album will knock your socks off.

 Maxophone by MAXOPHONE album cover Studio Album, 1975
4.26 | 597 ratings

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Maxophone
Maxophone Rock Progressivo Italiano

Review by Nickmannion

4 stars Back in the day, there used to be a regular seller/trader on Wigan Market and he always had a good crate or two 'for those in the know' and his knowledge of all things esoteric, especially anything from mainland Europe, was second to none. Here is one he put my way...oh 44 years ago now! My Italian prog was just starting to expand beyond Banco and PFM and this gem showed me there was a lot else to discover. It is the Italian vox version I have. The first track touches several bases from the classical piano opening...which almost goes Locomotive Breath...before the heavy Crimson like riffage breaks the spell. The vocal style when they arrive is in the ELP camp and the only 'meh' section is a jaunty almost trad jazz passage which thankfully disappears and the track becomes an atypical mid 70's lush prog thing to fade... Fase has a hard rock guitar opening and a Kraan type sax break and a Familyesque vibes part with ELP hints re keys and phased guitar. It's all damned good but slightly incoherent as the changes seem almost random and even with years of listening I would have to come down on the side of 'for the sake of it' even though each part is meritorious...the jazz/latin flute bit included! Al Macanto has a folkier feel from the Spanish classical guitar opening via the perhaps first sustained melody lines from the accompanying flute before stacked vocals. The woodwind parts recall Gentle Giant and although my Italian is all but none existent, the vocals seem to flow in what is probably a more musical tongue than English. We do get a keys riff rock out to take the track forward and, again, as great as the convolution's that follow are, I would have preferred the opening part/s sustained throughout. Elzeviro starts off a bit symphonic but we get some very Crimson twisty turny rifferama and Yes/Nice keys and some very jazz rocky interludes. Err yes, they do seem to be doing more 'for the sake of it' changes but it is hard to argue when each change is a bit marvellous...am throwing in Refugee as a reference now! Mercanti even hauls in the harp...no, not a harmonica but the big Harpo Marx thing...and yup it works! A bit of Tull circa Heavy Horses (yes I know it came later) both pastoral and rockier elements and I hear John Abercrombie in the guitar. BJH must have popped in too. The closer has a more recognisable theme in the opening even with the prog keys barrage that drives it. The harmony vox are very Yes, maybe even CSNY and (yet another unfathomable PA omission) Heron and the track has a very JRF feel throughout with even a bit of cathedral type organ that screams Focus.

I didn't read any other reviews so I may go and scan to see if others get slightly hung up on all the random changes although it isn't a big criticism. Over 40 odd years of listening and it is still a keeper if not going to challenge a 5 star rating. Just over a 4.25 and worth finding!

 Anima Animus by CELESTE album cover Studio Album, 2025
3.83 | 16 ratings

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Anima Animus
Celeste Rock Progressivo Italiano

Review by BrufordFreak
Collaborator Honorary Collaborator

3 stars The phoenix that is Celeste continues to fly high on its computer keyboard-enriched Prog Lite / NeoProg sound palette. Here the band adds flutist Marco Moro to its full-time cast.

1. "Anima Animus" (8:40) syrupy symphonic Prog Lite schlock. (17.33333/20) 2. "Roots and Leaves" (5:40) something sophisticated and jazzy! I never expected anything like this--especially after hearing all of the album's other songs. Parts of it could almost come from a LAGARTIJA album or perhaps even a NOVICENTO album. (8.875/10) 3. "Cosmic Carnival" (6:59) a little creativity and life showing in this one. (13.25/15) 4. "De Rerum Natura" (9:03) opening with piano like something from a classic classical music piece or perhaps a Broadway musical. Joined by synths the piano then takes a different turn to exhibit a new motif which is joined by guitars, flutes, and the rest of the band. The piano part throughout sounds so much like a kid practicing scales--even through the rather rough edits and splices. I like this one most for its feel of being founded in classical music--though at times it's as annoying as a theme song from a long-running television show. (8.875/10) 5. "Lilith" (6:32) interesting late-1970s/1980s techno/New Wave music that reminds me of The Buggles and Claire Hammill's "Icicle Rain" from her all-voice-generated album, Voices from 1986. (8.6667/10) 6. "El Mundo Perdido" (6:44) a percussion opening that reminds me of MICKEY HART's world music creations facilitated through his Planet Drum albums. Yes, this is definitely more befitting a 1980s World Music smooth jazz album. I was into this music from about 1984 through 1990 and would have definitely purchased an album like this back then. Nice and melodic, but now too schlocky for me. (13/15) 7. "Secret Crime" (6:25) an opening that sounds like a classically-inspired pop-jazz song using both Satie, Minimalism, Mark Isham, and Laurie Anderson for examples. Surprisingly enjoyable even if it is rather schlocky (like something from a MANHATTAN TRANSFER album). (8.875/10) 8. "Moon and Cloud Dancing" (12:01) (syrupy symphonic Prog Lite schlock. The prog-by-numbers drum play is almost sickening. (21/25)

Total Time 62:04

B-/3.5 stars; a pleasant, nice-sounding album of fairly simple, often schlocky tunes that, to my mind, fails to live up to the hype it's been given.

 20.000 Leghe Sotto i Mari by NUOVA ERA album cover Studio Album, 2025
3.97 | 64 ratings

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20.000 Leghe Sotto i Mari
Nuova Era Rock Progressivo Italiano

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. We're not even half way through 2025 but I can tell you that this record will be a top five for me for this year. NUOVA ERA had a four album run from 1988 to 1995 before calling it a day. The music they created at that time does not take a back seat to the seventies masters. Very much a keyboard/vocal driven band with Italian lyrics.

It would be around 2008 that keyboardist Walter Pini would connect with a bass player and drummer to re-record three tracks that were used on those three "Divine Comedy" concept albums, one each. I don't have any of those but I do have the compilation album they released in 2010 which does. By the way the drummer helping out was Davide Guidoni from DAAL. Those three tracks are incredible and a continuation of the amazing music from their 1995 release "Il Passo Del Soldato".

And it was on that 2010 compilation record that we would be introduced to the new singer/guitarist Alex Camaiti who is featured here in 2025 and also with their "Return To The Castle" album from 2016. And while he sang in English on that one, he returns with Italian vocals here. The four piece lineup on this record was the same one on that "Return To The Castle" album. So yes these guys have been playing together for a while now. I have the cd version of this album which comes with a 16 minute bonus track called "Nautilus" which is as good as the main 36 minute plus title track.

The other cool thing about having the cd is that it opens up to reveal the two panel art work. So we see what one of the members is smiling at looking to his right. As in a castle which usually graces their art work. But also instruments that are all at the bottom of the ocean. This truly is the Walter Pini show. The only original member left, and the composer. I have to give props to the singer for his beautiful voice which is full of character. He doesn't add a ton of guitar but when he does it is often angular. The rhythm section has some chemistry and they form such an impressive bedrock of sounds throughout. The bassist is playing a Fender Jazz bass.

So one long 36 plus minute piece. I always write out what I'm hearing but this review is already long enough. I like how they add the splashing water sounds to open the album, but then they reprise those sounds several more times to tie this concept together. Walter blesses us with mellotron as well. But he mainly is ripping it up on the organ but adds plenty of piano and synths. There's something about those synths that I really like when they are leading. I like how this album ends with such a climax of sounds after 35 minutes.

Thankyou Mr. Pini for all the wonderful music, and I am so happy you are still making relevant music after all of these years. And for the rest of the band, you make me proud for building on the legacy of this great band. This is about as good as anything they had done previously except for maybe "Il Passo Del Soldato" but it's close enough, and also subjective.

 Fogli d'acqua sparsi by COOPERATIVA DEL LATTE album cover Studio Album, 2023
3.47 | 9 ratings

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Fogli d'acqua sparsi
Cooperativa Del Latte Rock Progressivo Italiano

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars In the 1970s, In most of the arts and in fashion, trends were speedily diffused and as just as expeditiously dispensed with, much like the adult phase of the appropriately named Ephemeroptera. Taking the RPI world as a microcosm of these phenomena, a few short years passed between LE ORME's luscious "Felona e Serona" and their pre punk "Verita Nascoste". Fast forward to the 1990s and Italy nurtured the blossoming of several bands dedicated to reviving that peak period sound, which some had lived through directly, others through their parents or some oddball fetish. COOPERATIVA DELLA LATTE was, judging from the photos and videos available online, from the former group, with a wistful debut "Il Risveglio" touching more than a few aging hearts partial to the gentler side of the genre.

Fast forward a quarter century and, while the band membership and the romantic piano based avenue remains cleared, if leafier and shadier, this might be their "Verita Nascoste", slightly more hard edged in parts and more accessible to those who may have never heard "The Musical Box", Lord help them. It's at its best early, peaking with "idrofilla", an upbeat almost folky number, and "Oltre l'uragano" ("Beyond the Hurricane"), more balladic but just as literary, abetted by Gabriele Benfatto's tender voice and Pierluigi Piccoli's keyboard base. "Altimo estremo" is heavier as these things go, with more rhythm guitar, spat vocals and ominous synths, but just as impactful.

From here, the impact diminishes, though only the chaotic "Fiume" really flops, even though one could argue it was worth the try. The remainder have their moments, particularly the bass atop the outro of "Tensione Superficiale", but it's clear the album was front loaded, and who could blame them? I'd rather have half a great album than wait another 20 years for a whole one, and "Fogli d'acqua sparsi" is not merely water under the bridge. Kudos and here's to a few more milk runs from these amiable characters.

 Sotto il segno della lampreda by IL BUCO DEL BACO album cover Studio Album, 2021
3.57 | 11 ratings

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Sotto il segno della lampreda
Il Buco del Baco Rock Progressivo Italiano

Review by Finnforest
Special Collaborator Honorary Collaborator

4 stars A Vintage RPI Mirage?

The 1970s RPI movement had the occasional jester band that would hide behind pseudonyms or have no pictures or names. Other groups had tongue-in-cheek band histories that would prompt more questions than they answered, and sometimes myth and legend creeped in to fill in the blanks. Just a couple that come to mind would be Ballettirosadimacchia, Jacula/Antonius Rex, and Horus, but I know there are more. The latest would be Milan's Il Buco Del Baco. I'm not going into their fantastical yarn-spinning myself, but you are welcome to read Andrea's biography of them on their ProgArchives artist page if you want to start digging into their mysterious past. I will comment only on their recent recording Sotto il Segno della Lampreda, which may be homage to the great bands of the '70s RPI scene presented with all sincerity and heart.

I'm not going to pretend these guys have Banco/PFM/Area levels of chops because they don't, but you don't need to be king of the hill to make a compelling album. And I loved this deep bench RPI album with its contrast of the reserved with the splendored. First off, as it should be if you're trying to do homage to RPI, we have a short 32-minute album. Perfect running time. Less is more. This philosophy carries into the songwriting as well. The album has a sparseness to it that I find so appealing. It is not the wall-to-wall density and bombast so common on many prog titles. Instead the players let each other have space while what they are playing is relatively slow to the point of sounding a bit understated, ditto the vocals. It ends up finding its own quirkiness in sound style and reminds me of past albums like Bibbo's Diapason, MO.DO, Persimfans, or Apoteosi. The relatively lonely keyboard lines used to move things forward have a wonderfully uneasy sense of melody, feeling almost like the distant sound of a carnival ride across the fairgrounds. While it's supposed to be a happy sound, it ends up feeling a bit strange and off-putting. That's how this album makes me feel, and it is unique to find something quite like this.

Some may call this album a mirage or write it off as more of an oddity than a "real" prog rock title, but I find it to be a marvelous re-creation of some of the more obscure titles that were around in the mid-'70s. I think they achieved beautifully what they were trying to accomplish. There is a lot of to-the-fore bass lines, vintage keyboard sounds, flute, and perhaps less guitar than many rock titles. At times the vibe will shift from symphonic into psych trippiness, even occasionally getting close to avant-garde or light electronic before pulling back. And then suddenly, quickly as it started, it is over. The older I get, the more I appreciate an effort like this: brimming with creativity, surreal, and yet instead of trying to recreate the wheel or bash you over the head with volume, speed, or dazzle, they simply slow things down and paint with thoughtful, endearing brushstrokes while conjuring contemplation of our collective mystery of existence---or, in this case, pursuing affairs of the heart under the deep blue sea. I can see this album getting some low ratings for the same reasons I rate it highly. They have an approach that is not going to work for everyone, but that is more than okay. The people for whom the approach does connect---the dreamy set---are in for a treat.

 Barbarica by MUSEO ROSENBACH album cover Studio Album, 2013
3.62 | 100 ratings

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Barbarica
Museo Rosenbach Rock Progressivo Italiano

Review by Andis

4 stars In 1973, Museo Rosenbach delivered the greatest album of all time, a masterpiece that withstands the test of time with its brilliance in progressive rock. In 2013, a *true* follow-up was released; Barbarica.

Museo rosenbach plays progressive rock with clear roots in the classic Italian prog tradition. On Barbarica, influences from their debut album are evident, but with a more modern sound. The music shifts between lighter and heavier sections, creating a dynamic whole. In some parts, one can sense similarities to Banco del Mutuo Soccorso, although these elements are limited, by and large, it's the band's own sound that dominates.

The instrumentation is varied and well-balanced, with the guitar taking a slightly more prominent role than the keyboard. The guitars deliver both heavy riffs and melodic elements, while the keyboards contribute atmosphere and complexity. Flute and acoustic guitar also appear, broadening the soundscape. The production is of good quality, with a relatively well-balanced mix between the instruments. The sound quality is clear and crisp, allowing the nuances in the arrangements to shine through. The modern production values are combined with a sound that recalls the band's earlier work, preserving their characteristic style.

The vocals are strong and expressive, and the singer sounds as if he hasn't aged at all. His voice still carries a majestic quality that fits well within the progressive context. The singing is both melodic and powerful, serving as a natural part of the whole.

The songwriting is consistently high in quality, and within the context of Museo Rosenbach's discography, Barbarica stands as a worthy successor. It's an album that offers familiarity while clearly aiming to bridge the old with the new. Highlights include the powerful opening track and the quality of the vocals. Overall, it's a strong album, though if one were to critique something, it would be that the last two songs have unclear structures and occasionally lack a clear thread, but this is a minor issue. The album shows that the band still has much to offer, and they do it very well here.

 Presa di Coscienza by I GIULLARI DI CORTE album cover Studio Album, 2020
3.04 | 7 ratings

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Presa di Coscienza
I Giullari Di Corte Rock Progressivo Italiano

Review by Finnforest
Special Collaborator Honorary Collaborator

3 stars No jest - pure time travel

Legend goes that I Giullari Di Corte (The Court Jesters) were born on a stormy night in distant 2002. After many years of inactivity, they came together again in 2017. What a revelation to hear this album released on the eve of the COVID years. For when the trippy opening subsides and "Nautilus" leaps from your speakers, it feels like you're experiencing some vintage RPI from the dawn of the '70s. While it may be symphonic prog, this is old school RPI of the gritty, slightly garage variety delivered by just three men, Alessio De Angelis, Matteo "Divac" Ballestrazzi, and Paolo Zacchi. This is not highly refined, "pretty" bench RPI with soft pillowy background, violin, and angelic harmonies. This is sweaty jamming with a hearty appreciation for hard rock along with the symphonic swirl.

When drawing parallels to who these guys reminded me of, my brain first flashed to Exploit's very rare Crisi album (where an original vinyl will cost you thousands if you believe Discog). Like Exploit, this is three-piece that thrives on an inventive and workmanlike approach to jamming to get where they're going, although Exploit used no guitar and these guys do. Other sound comparisons could be Capitolo 6 and Osage Tribe. I saw someone mention Le Orme, but I feel that is a more distant comparison. Not too many albums these days will eschew the myriad modern influences of the last few decades such as prog-metal and PT-type stuff, but the largely vintage instrumental Presi di Coscienza took me on a mind-trip to the fall of 1970, imagining a couple of barefoot teens sitting in an upstairs room cranking out the latest metamorphosis of rock, drifting into what we now call RPI. This is a unique and special album that frankly easily exceeds what Exploit did even if it falls a bit short of the Orme tag some give it.

I love the melancholic lilt in the many melodic adventures they undertake, so many beautiful piano/keyboard runs backed by fiercely belted-out bass lines and lively drumming. Vocals are used sparingly but effectively throughout. It is the large middle section of this album (from "Sherlock Holmes" through "Il Messicano") that shines the most, a truly excellent run of music. I found the second track and the last two tracks somewhat less convincing, but that's just me. I appreciated the symphonic/keyboard-led material more than the hard rock/guitar-led stuff. In any case, there is great potential here. The production could be criticized I suppose as there are times I feel the sound is too thin, and yet the compositional creativity and obvious passion for authenticity surpass all concerns about sound. This album brings the sauce, and we shall blast it down the halls of the villa. Really in the 7/10 range for me, but a whisker shy of getting to 4 stars. A second album is in the works, so keep your ears to the ground for that one.

 Synkretiko by FUCCI, CLAUDIO album cover Studio Album, 2006
3.00 | 1 ratings

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Synkretiko
Claudio Fucci Rock Progressivo Italiano

Review by Finnforest
Special Collaborator Honorary Collaborator

— First review of this album —
3 stars A Wonderful Nightcap

Claudio Fucci was born circa 1952 in the town of Carosino near Taranto, later living in Milan. He started writings songs in the late 1960s, and by the '70s he was collaborating with the likes of Come Le Foglie and Banco. After the release of his own 1974 self-titled work produced by Eugenio Finardi, he would work with keyboardist Dario Piana again on the Le Mani project. But aside from a soundtrack project, it would be over 30 years before Fucci followed up his 1974 debut. The resulting Synkretiko is a country mile from anything resembling 21st century progressive rock, but it is a surprisingly warm and engaging return for Fucci nonetheless. This is not a progressive rock album even to the extent of his earlier work, but it is a good pop/rock album with a heavy dose of that wonderful Italian touch. It's very well decorated with two dozen great musicians including his old buddies, Eugenio Finardi and Dario Piana.

Synkretiko is an album for people who already know they like stuff like Battisti, Stephano Testa, Mario Barbaja, Gigi Pascal, or Gianni D'errico. The songs run the typical pop song template and length, but they are catchy, fun, and colorful. "Graffiti Italiani" is a festive opener with a bouncy folk feel adorned with fiddle. "Il Silenzio E Il Tuono" is another with a folky-country rock vibe that sounds great with Fucci's gregarious voice. "Sebastiano" is more bluesy with raucous electric guitar and organ that reminded me of Faces "Stay with Me." "Come Un Poeta" veers into a light and melodic jazz groove. And "Via C. Baroni" is a grand, romantic-sounding ballad. As you can see, the album's style is free and engaging, but the quality is very high. These songs will stick in your ears for days after. For such a late entry in the game, Fucci succeeds here. If this is to be his nightcap, it is sweet on the lips indeed. La musica della vita!

 Dopo Il Buio La Luce by SALIS album cover Studio Album, 1979
4.05 | 44 ratings

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Dopo Il Buio La Luce
Salis Rock Progressivo Italiano

Review by Stoneburner

5 stars One of the forgotten gems of the vast Italian progressive scene of the 1970s.

The Salis brothers, Antonio and Francesco, from Santa Giusta, Oristano (Sardinia), began their musical career in the early 1960s under the name Barrittas. They released several singles throughout that decade. With the help of their older cousin, Lucio, who produced them, they changed their name to Salis'n'Salis in 1969. By the time their first album was released, they were simply Salis.

Their debut, Sa vida ita est (1971), is a charming blend of 1960s-inspired pop and psychedelia, with subtle hints of progressive rock. It's a good album, but sadly it went unnoticed and didn't receive the attention it deserved.

By this time, the band had moved to northern Italy, near Cremona, in Lombardy. Their lineup also changed, with the addition of two musicians from Brescia: Pier Paderni and Paolo Gerardini. Both had played in JB Club, a group that once included Mauro Pagani. They replaced Mariano Tunerini and Nino Scalas, who had decided to return to Sardinia. This version of the band lasted until 1972. Briefly, in 1973, back in Sardinia, the lineup included bassist Pino Martini and drummer Salvatore Garau, who would later become the rhythm section of Stormy Six.

In 1974, a second album was released. This was more of a solo album by Antonio Salis than a complete band effort.

One of the first quadraphonic albums released in Italy, it was released on EMI's CiPiTi label and was later reissued by La Strega, a small label run by Lucio, who also wrote the lyrics for all of their songs. Musically, the album leans more toward pop/progressive than their debut and shares some similarities with another Sardinian band, Gruppo 2001. Antonio was accompanied by his brother Francesco, guitarist Gianni Serra, keyboardist Dario Baldan Bembo, and drummers Andy Suray and Furio Bozzetti.

Five years later, a new version of Salis returned with a revamped lineup and released Dopo il buio la luce, their third album. This is a completely different record: more focused, more progressive, and mostly instrumental. It's a keyboard-driven record that shows a completely different side of the band's potential.

The album is cleaner than the band's previous albums. The instruments flow and blend into a solid sound, guided by beautiful guitar and keyboard arpeggios. Dopo il buio la luce reminds me a bit of Arti e Mestieri and their 1974 album, Tilt, but with a more melancholic tone.

Dopo il buio la luce is another hidden gem of the great Italian progressive scene. Can you imagine? I've been listening to Italian progressive for almost 40 years and I'd never heard of this band. There are so many, and most of them are incredible. Nowadays, getting a physical copy of the album is almost impossible, but luckily there are digital versions so you can enjoy this wonderful record.

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
IL CAMBIO DELLA GUARDIA Italy
CAMERA ASTRALIS Italy
JURI CAMISASCA Italy
CAMPO DI MARTE Italy
CANTINA SOCIALE Italy
CAPITOLO 6 Italy
CAPRICORN COLLEGE Italy
CAPSICUM RED Italy
CAPSIDE Italy
ENZO CAPUANO Italy
CARAVAGGIO 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
CINEMA STYGE 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
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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
AMOS GHIRARDELLI 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
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ISPROJECT Italy
J.E.T. Italy
JACULA Italy
JANUS Italy
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JUMBO Italy
JUS PRIMAE NOCTIS Italy
KALISANTROPE Italy
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LA CRUNA DEL LAGO Italy
IL LABIRINTO DI ALICE Italy
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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
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MELTING CLOCK Italy
MESSAGGIO 73 Italy
METAMORFOSI Italy
MINDFLOWER Italy
MINSTREL Italy
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MO.DO. Italy
MÖBIUS PROJECT Italy
I MODIUM Italy
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MONTEFELTRO Italy
MOSAICO Italy
IL MUCCHIO Italy
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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
OLOGRAM 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
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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
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LA SORGENTE Italy
ALAN SORRENTI Italy
SPECTRVM 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
LE VELE DI ONIRIDE Italy
VERGANTI Italy
VIA MODESTA VALENTI 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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