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ROCK PROGRESSIVO ITALIANO

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

Rock Progressivo Italiano definition

aka "RPI"


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


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

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


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

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

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


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

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

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

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

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

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


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

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

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

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

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


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

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

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

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

For the Mick.
29 July 2009



Current RPI Team
Todd
Nightfly (Paul)
SeventhSojourn (Chris)
Aussie-Byrd-Brother (Michael)




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

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

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

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

Movimenti Prog
http://www.movimentiprog.net

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

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

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

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


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

Rock Progressivo Italiano Top Albums


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

4.42 | 1096 ratings
PER UN AMICO
Premiata Forneria Marconi (PFM)
4.41 | 687 ratings
IO SONO NATO LIBERO
Banco Del Mutuo Soccorso
4.38 | 845 ratings
STORIA DI UN MINUTO
Premiata Forneria Marconi (PFM)
4.38 | 736 ratings
DARWIN!
Banco Del Mutuo Soccorso
4.30 | 532 ratings
ZARATHUSTRA
Museo Rosenbach
4.29 | 553 ratings
BANCO DEL MUTUO SOCCORSO
Banco Del Mutuo Soccorso
4.30 | 408 ratings
ARBEIT MACHT FREI
Area
4.27 | 528 ratings
L'ISOLA DI NIENTE
Premiata Forneria Marconi (PFM)
4.26 | 614 ratings
FELONA E SORONA
Orme, Le
4.22 | 483 ratings
UOMO DI PEZZA
Orme, Le
4.26 | 245 ratings
CRAC !
Area
4.21 | 389 ratings
YS
Balletto di Bronzo, Il
4.20 | 321 ratings
MAXOPHONE
Maxophone
4.25 | 216 ratings
DISCESA AGL'INFERI D'UN GIOVANE AMANTE
Bacio Della Medusa, Il
4.22 | 270 ratings
PALEPOLI
Osanna
4.19 | 212 ratings
CONTAMINAZIONE
Rovescio Della Medaglia, Il
4.28 | 110 ratings
RISVEGLIO
Egonon
4.09 | 362 ratings
PHOTOS OF GHOSTS
Premiata Forneria Marconi (PFM)
4.10 | 316 ratings
STATI DI IMMAGINAZIONE
Premiata Forneria Marconi (PFM)
4.17 | 175 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

DIARIO DI VIAGGIO DELLA FESTA MOBILE
Festa Mobile
UNO
Panna Fredda
LA DIVINA COMMEDIA
Giro Strano, Il
RICORDI?
Lagartija

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Latest Rock Progressivo Italiano Music Reviews


 L' enigma della vita by LOGOS album cover Studio Album, 2014
4.17 | 74 ratings

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L' enigma della vita
Logos Rock Progressivo Italiano

Review by presdoug

4 stars LogoS are new to me, having been approached by the band to write a review of their latest album "L'enigma della vita", released in the spring of 2014. They have been creating music since 1996, and this most recent album took them 13 years to write and record. Some of the group's favorite bands are Genesis, King Crimson, Le Orme, and Banco, and it shows in their quite capable music of their own. The following is a breakdown, track by track, of L'enigma della vita, with some of my observations.

"Antifona"-This album intro is kind of spacey and dark, with a kind of foreboding vibe to it, and it grabs your attention right away.

"Venivo da un lungo sonno"-Now, when the drums and bass fully kick in, the band are playing tight, but full of feeling-the developing keys and guitar are layered in an almost architectural fashion. The vocals on this sort of remind of Latte e Miele's Marcello della Casa, a definite compliment, as he is a great vocalist! This song is great travelling music; there is great guitar and keys playing, with the guitar especially soaring to lofty heights.

"In fuga"-This starts in a laid back fashion, with keys playing full of feeling. The band all show their love for old school classic Italian progressive rock, but have a refreshing and bright take on it, as well. Both guitar and keys are given free reign to express themselves.

"All fine dell'ultimo"-This starts off a little more straightforward, and there are more vocals here, but things progress along to become more, great, "travelling music". There is some great, intricate bass work, with some nice synths in the last three minutes.

"N.a.s."-This starts with a strong beat, an almost Rush like intensity with both guitars and synths doing some inventive things-things are quite lyrical and powerfull. As the song progresses, there is some great guitar soloing, with the drummer creating quite the wall of sound, then there being some eloquent synth work-nice.

"L'enigma della vita"-There is great bass rhythm as the song progresses and unfolds-also some super vocals and beautiful synth work with some quirky time changes that are well played. At the end is a rising crescendo-perfect!

"In principio"-A lovely and beautiful intro with keys and acoustic guitar and vocals with so much feeling! This is my favorite track.It has some absolutely top notch keys work from the two players, with things evolving into a real Italian 70s prog rock vibe which is super nice. The different layers of sound creat quite a musical synergy which is quite remarkable. 8 minutes into things, the guitar really lets loose with some great drum work as well in the mix. Then things slow down, kind of atmospheric-cool!

"Completamente estranei"-A beautiful keys intro, and then bass and drums create a somewhat choppy but sustainable rhythm. Then there are some vocals in an almost Le Orme fashion. This song really travels! Lovely synth and guitar work throughout.

"In quale luogo si fermo il mio tempo"-This is a beautiful and eloquent piece for solo piano-reminiscent of Le Orme in a way.

"Pioggia in campagna"- Starting off with a rising march, there is a nice section for vocals with the rest of the band playing with their hearts open. Some great guitar and piano work throughout, spiced up with some well done organ work in between things, then ending with some great synths reminiscent of early solo Steve Hackett's band.

"Il rumore dell'aria"-A song with dripping water, and spoken word! And like the album's beginning, a kind of sinister foreboding.

I give them four stars, this album is an excellent addition!

 Strigma by TAPROBAN album cover Studio Album, 2013
4.13 | 62 ratings

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Strigma
Taproban Rock Progressivo Italiano

Review by rdtprog
Special Collaborator Heavy Prog Team

5 stars From the first and best track of this release "Nesia al notturno congresso delle streghe", we are in known territory of the great big bands of Progressive Rock. After some hunting keyboard lines in the atmosphere and sound of Anglagard, we go in a almost copy of a passage from Genesis "Cinema Sow". The band plays some long instrumental sections with multiple breaks going from heavy to soft moments. The second song "Lo sguardo di Emily" is more in the tradition of the Italian bands from the past. Despite this numerous movements in the 3 songs, the melody flows naturally with all his beautiful tones that will seduce all the keyboards lovers. Overall, the sound is reminiscent of ELP and Ars Nova. This is 40 minutes of excellence, not a single boring moment, let's take that trip back to the 70's with that bass pedals sound and those nice melodies.
 Odysséas by SYNDONE album cover Studio Album, 2014
3.82 | 37 ratings

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Odysséas
Syndone Rock Progressivo Italiano

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

4 stars Five albums in almost twenty years isn't exactly moving at a fast rate, but it's a true sign of an artist slowly honing and perfecting their craft, not feeling the need to simply put out new product annually. Judging by the very impressive efforts on the latest Syndone album `Odysséas', the slower work-rate has paid off beautifully. Despite a back catalogue of somewhat inconsistent yet promising previous works, the Syndone project, a trio comprised of vocalist Riccardo Ruggeri, keyboardist Nik Comoglio and vibraphone player Francesco Pinetti (not the usual prog trio set-up, eh?) finally delivers a truly memorable, thrilling album, their most defining release to date, and it's another triumph that keeps up the tradition of high quality recent RPI works.

An exclamation on the beautiful Mini LP CD sleeve proudly proclaims `No electric guitars!', and this will no doubt be familiar to fans of the early Queen albums, where Freddie and the boys would boast of `No synthesizers'! In that similarity lies a clue to a big influence to parts of this album, as frontman Riccardo Ruggeri has a definite theatrical purr very much modeled on the amazing Mr Mercury. He swoons, he woops, he croons...truly seductive, ravishing and full of that typically passionate delivery associated with endless classic RPI works. The rest of the main band is supported by guests playing flute (John `brother of Steve' Hackett), acoustic guitar (sublime work from Pino Russo) and Marco Minnemann's up-front drums, with Federico Marchesano's bass a constant highlight throughout, as well as some grand orchestration.

Just listen to how exquisitely Riccardo sings the classical guitar and piano ballad `Il Tempo Che Ne Ho', one of the most sweetly romantic and deeply moving pieces I've heard on an album, Italian prog or otherwise, all year. Riccardo perfectly controls his voice for maximum emotion, and it's an instant classic. The sweeping orchestration made me instantly think of Il Rovescio della Medaglia's `Contaminazione', and it has an impossibly dramatic climax. One of the must stunning tracks in all of 2014.

Elsewhere on the disc you get ripping vibraphone loaded jazz/fusion instrumental runs like the opener `Invocazione Alla Musa' (bristling with cool Hammond), `Circe' (lovely spiraling piano and frantic drumming) and `Eayoepia', all very much in the manner of 70's Pierre Moerlin's Gong albums. `Poseidon' and `Eros and Thanatos' are bombastic E.L.P/Triumvirat Hammond organ driven bombastic workouts, and `Focus' is a horn-led hard rocker with screeching, dangerous wild vocals. `Penelope' is a lonely late-night piano reflection with a sorrowful vocal but moments of real prettiness, and it's very much in the manner of an early Queen solo Freddie piece such as `You Take My Breath Away'. There's full-on vintage flavoured symphonic prog workouts like `Ade' and `Nemesis', and all these different styles come together in the finale `Daimones', a triumphant theme with lovely shimmering electric piano and positive Genesis-styled synth themes.

Highly recommended for fans of Seventies Queen and the most over-the-top classical and theatrical inspired Italian prog works, it will be exciting to see just how Syndone attempt to top this new personal standard on their next release. It's also very refreshing to hear an album not resort to dark and gloom, instead favouring plenty of life, energy and joy, and the band are full of inspiration and passion, Riccardo soaring high with the best vocals to appear on an Italian prog album all year. These factors help make `Odysséas' one of the most varied, lavish and tasty RPI releases of 2014!

Four and a half stars.

 The Legend Of The Holy Circle by THREE MONKS album cover Studio Album, 2013
4.08 | 40 ratings

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The Legend Of The Holy Circle
Three Monks Rock Progressivo Italiano

Review by andrea
Prog Reviewer

4 stars The Legend Of The Holy Circle is the second album by Three Monks, an instrumental project from Arezzo led by composer and organist Paolo "Julius" Lazzari and bassist Maurizio "Bozorius" Bozzi. As on the previous album, during the recording sessions they were helped by Claudio "Ursinius" Cuseri and Roberto "Placidus" Bichi who, in turns, took charge of drums. In my opinion, this work, released in 2013 on Black Widow Records, confirms all the good qualities of its predecessor and goes even further with the musicians trying elaborate a real storyline through their music: in fact, according to an interview with the band, this is a concept album, a kind of score for a film that you have to build up. Anyway, there are no liner notes to explain the plot and there's nothing but the music, the art cover by Margherita Zanotti, some pictures and the titles of the tracks to suggest how the story unfurls. All the rest is left to the sensibility and imagination of the listener...

The opener "The Holy Circle" sets the atmosphere with dark pipe organ rides and frenzied bass lines. Traditionally, circles were believed by ritual magicians to form a protective barrier between themselves and what they summoned and the Holy Circle is supposed to be the main line of defence against the forces of the Outside. On the art cover you can see three mysterious characters with their hands stretched out on a strange sphere where shines the light of a dangerous, powerful force while here the music evokes esoteric practices and infernal dances...

The following "Into Mystery" begins by threatening, obsessive bass lines and a hypnotic marching beat, then solemn church-like organ notes soar taking you across dark places where strange rituals are celebrated. It could be the perfect background for the reading of the works of H. P. Lovecraft or Gustav Meyrink...

"The Battle Of Marduk" is even tenser. It seems to describe a raging battle against the devils summoned from the other-world. What kind of devils? Well, Marduk is the Babylonian name of a late-generation god from ancient Mesopotamia associated with water, vegetation, judgement, and magic... Scenes from films like The Mummy or The Scorpion King could come to mind while listening to the different passages of this complex track full of dark energy.

"The Rest Of The Sacred Swarm" comes like the calm after the storm. It's a beautiful adagio for pipe organ solo that draws you between the desert aisles of a Gothic cathedral. It leads to "Rieger" where you can experience a breathtaking mystical experience surrounded by strong smells of incense. Th title of this track refers to the Austrian master organ-builder from the XIX century Franz Rieger and in the inner sleeve you can admire a picture of a sumptuous pipe organ in Prague Cathedral...

Next comes the long, complex epic "The Strife Of Souls", a magnificent track that every now and again reminds me of Emerson, Lake & Palmer and drives you through the many different moods and situations of a terrible conflict between Good and Evil, with angels and demons fighting all around. The brilliant "Toccata Neogotica #5 (Epilogue)" closes the circle evoking the immense force of destiny and waking you up from your uneasy dreams... On the whole a great album that everyone is free to interpret as he likes but that is absolutely worth listening to!

 Clessidra by LOCUS AMOENUS album cover Studio Album, 2013
4.00 | 3 ratings

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Clessidra
Locus Amoenus Rock Progressivo Italiano

Review by andrea
Prog Reviewer

4 stars Locus Amoenus began life in 2010 in San Michele di Serino, a small town in the province of Avellino, in an area called Irpinia. The name of the band comes from a literary quote that refers to an ideal place where you can reflect about life and reality: an imaginary, beautiful spot and a real source of inspiration for the mind. After a hard work and a good live activity on the local scene, in 2013 the band self-released an excellent debut album, "Clessidra" (Hourglass), with a line up featuring Alessio Vito (vocals, guitar, flute), Raffaele Purgante (electric guitar), Antonio Di Filippo (sax), Alessandro Ragano (bass) and Mauro Cefalo (drums). The overall sound draws on many sources of inspiration ranging from classical music to jazz, from folk to metal, but the members of the band managed to add a good deal of original ideas, personality and freshness. The result is pretty good and even if on the album you can hear echoes from the seventies you can feel that this is not a clone act at all and, in my opinion, the music is really worth listening to from start to finish with an open mind.

The opener "Tra la mente e gli infiniti inverni dell'anima (Preludio)" (Between the mind and he infinite winters of the soul) sets the atmosphere of this work. It's a beautiful instrumental piece that starts at the sound of a bell and features many changes in mood and rhythm. The title is in some way related to the art cover by Davide Panarella that, according to an interview with the band, tries to capture the spirit of the whole album representing a glance through the soul's eye over an arid, cold reality.

Then comes the long, complex "Inverno" (Winter) that every now and again recalls bands such as Osanna, Van der Graaf Generator and Jethro Tull, with a good interaction between sax and flute. The music and lyrics depict an eye in the sky observing the bitter destiny of the earth: it looks at the earth's defeat from above while a tear wets its hermitage, sweeping away its malignity. Cold winds blow shaking the dry branches of a tree, then the tree drops its fruits and disquieting instrumental passages evoke a never ending winter. Clouds of smoke cover the sky and the light gets lost into the darkness while the tired eye keeps on looking at the gloomy landscape below, crying...

The following "Il suono di Lei" (Her sound) is another long, complex track. The mood is lighter, here the music and lyrics try to conjure up a mystical character, a goddess who can breath a new life into a bleak reality, waking up the senses with her singing. It's almost a parable about the cathartic power of music: there's no hope without the charming sounds coming out from some mysterious, enchanted woods... Only those sounds can break the chains of the daily grind!

"Lettera di un folle" (Letter from a madman) begins by the sound of a quill writing frantically on paper and a delicate acoustic guitar arpeggio, then the rhythm rises. There are many changes in rhythm and mood, some soft passages remind me of Banco del Mutuo Soccorso, some others are wilder and remind me of Area and Il Balletto di Bronzo. The music and lyrics depict a man halfway between lucidity and folly who's drawing some images taken from a blurred reality that Time is blotting out. The words are moving on the paper like leafs falling from a tree: tired, they get lost along the way, in an eternal quest for a Love that whips the heart...

At over six minutes in length, "Amleto" (Hamlet) is the shortest track on the whole album but it's not not an easy listening one. In fact, this is an experimental piece featuring a free jazzy approach and confused voices in the background declaiming some verses from Shakespeare's Hamlet. The atmosphere is dark, suspended between dream and nightmare...

Next comes the melancholic "Anima" (Soul), a bitter-sweet reflection about life and afterlife where for a moment your soul breaks through and your mind begins to fly across a crying sky, over dreams and illusions, over hopes and disappointments, towards a fairy land where there's no room for pain. The come back to reality is hard when the parallel world you were dreaming of suddenly clashes with the usual routine of a life where everything is normal and boring.

The dreamy "I segni del Mio tempo" (The signs of My time) closes the album with a touching reflection about the effects of consumerism. In a world where materialism and money rule without mercy there's no room for real beauty and feelings. Music dies and poetry fades away while freedom fails... Well, after a silent pause there's still time for a sudden, hidden burst of rage and indignation!

On the whole, I think that this is a very good album where the poetical lyrics perfectly fit the music drawing melancholic, beautiful wintry landscapes suspended between dream and reality. Anyway, have a try and judge by yourselves: you can listen in streaming to the complete album on bandcamp!

 Clessidra by LOCUS AMOENUS album cover Studio Album, 2013
4.00 | 3 ratings

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Clessidra
Locus Amoenus Rock Progressivo Italiano

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

4 stars Forming back in 2010 at Irpinia, Italy, and spending a couple of years touring and eventually recording, Locus Amoenus released their debut album `Clessidra' (Hourglass) on September 28th 2013, and it keeps up the strong tradition of dynamic Italian progressive releases from recent years. However, what sets them instantly apart is that band work at the darker, noisier and dirtier end of RPI, more influenced by the likes of Biglietto per L'Inferno and the dark jazz of Delirium due to the heavy attacking presence of sax and flute. The musicians contrast soft and heavy, electric and acoustic passages with plenty of building, brooding atmosphere, and despite moments of heavy riffing, they never simply fall back on heavy metal clichés.  Listeners who don't enjoy the often pristine and polished production of modern RPI albums should appreciate this one more too, as the band favour a scuzzy, more dangerous murkiness to their sound.

The opening instrumental `Tra La Mente...' welcomes droning immersive and slightly creeping feedback atmosphere, metallic King Crimson-styled electric guitar razor blade slices through sludgy stomping riffs over huffing flute and filthy mucky sax. A skipping beat over `Inverno's looping electronics and galloping bass quickly turn to harsh noise, buzzsaw electric guitar wailing and thundering drumming. There's wild disorientating flute, unexpected tempo-change surges back and forth and passionate pleading vocals, with just dark addictive grooves all around. The next two tracks lull you into a false sense of security, `Il Suono Di Lei' beginning with more gentle chiming guitars, an up-tempo beat and warmer voices, `Lettera di un Folle' a reassuring classical acoustic guitar warmth and soft soothing vocal. But before long, the band roars into aggressive tsunamis of Osanna and Van der Graaf Generator-styled sax violence, smoky dark Delirium-like jazz strolls with nimble little fiery electric guitar fills and thick bass eruptions.

Flute flitters around cool mysterious electronics and ranting droning fragments of other-wordly treated voices on the disturbing psychedelic jazz of `Amleto', the sombre `Anima' twists into a boisterous storm of hard guitars and urgent forceful vocals. The final track is the deeply melancholic `I Segni Del Mio Tempo', lost flute and careful acoustic guitar beauty offers a great deal of loneliness, with drifting lonely saxophone and blistering electric guitar filled with a grinding frustration that ensures it's a deeply emotional and powerful closer.

Confronting, powerful, often frightening...there's a grit, an unpredictable approach and a sense of daring that reminds of the best vintage RPI albums to this band that is often missing from modern Italian prog groups, and fans who don't mind getting a bit of dirt under their nails should investigate this exceptional debut right away. By adding a youthful heaviness, Locus Amoenus are a very modern sounding kind of RPI that respects and acknowledges the vintage masters without ever feeling the need to merely imitate them, while also bringing them screaming into the present era, and the band have more than enough talent and edge to make a strong impact in the modern RPI scene.

Four stars.

 L' enigma della vita by LOGOS album cover Studio Album, 2014
4.17 | 74 ratings

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L' enigma della vita
Logos Rock Progressivo Italiano

Review by Menswear
Prog Reviewer

4 stars Molto Bene!

I am always happy to discover new talents and again there is lots to chew when you dip into the Italian scene of progressive rock. The 70's gave us plenty (underline plenty) of acts that made an inprint of the concrete of art rock. Even now, the scene is alive and well with contenders that clearly ate their vegetables and did their push-ups: Logos.

Logos is a band with a certain experience as a Le Orme tribute group; and it shows. It's always good credentials when you gave attention to one of the best bands in the buisness, and Logos is clearly showing us that they're not small potatoes. They are not afraid to pack their opus with long songs that take their time to bring you where they want: the park on the cover. By the way, I immediately liked the art cover, leaving place to your imagination: what is the answer to life? Is it beyond those iron gates?

The songs will not leave you on your appetite, the keys solos are delicious (In Fuga and Completamente) and the guitar work is reminding me of a harder Hackett and sometimes Latimer. Long instrumental passages are always welcome, building up tension and showering vivid images in your mind. I love the modern approach of the title song that makes a change of pace and the simpler approach of In Principo that brought to me theatrical scenarios of foreign planets with strange fauna.

Overall, it's a well sang record with no vocal overboards. And frankly, I like it that way since the RPI genre suffered of over-the-top sentimentality. It's a good balance of old and new that will not be overshadowed by La Maschera di Cera or Il Tempio delle Clessidre.

A BIG round of applause to the band giving us listeners an obviously great album and painted us a dark and hauting canvas that is perfect for these autumn days!

 (Ec)citazioni Neoclassische by MAURY E I PRONOMI / AQUAEL album cover Studio Album, 2004
3.40 | 10 ratings

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(Ec)citazioni Neoclassische
Maury e i Pronomi / Aquael Rock Progressivo Italiano

Review by apps79
Special Collaborator Neo Prog Team

4 stars Coming from Moncalieri, Italy and formed as Aquael in 1979, this band was led by keyboardist Maurizio Galia and founding members Enrico Testera on bass and Nicola Guerriero on guitar.The rise of British Prog during the 80's gave them hope for a succesful career, but, despite changing their sound to more accesible forms and their name to Lego in 1985 (along with the arrival of singer Marco D'Angeli and drummer Alberto Bordone in the place of Aldo Leone) they disbanded at the end of the decade.A new formation with all three original members appears in the 90's and the style returns to the progressive roots, while in 1995 they become Maury E I Promemoria, releasing the album ''Ziqqurat nel canavese'' in 1997.A new change of name follows, the band becomes Maury E I Pronomi and releases a compilation of old and new pieces in 2000, ''Tanganica, il passato ed il futuro'', sold via a pair of websites in the limited number of 150 copies.Apparently they came to the attention of Raoul Caprio of the Kaliphonia label, but as the company demised, they signed a contract with Mellow Records, releasing ''(Ec)citazioni neoclassiche'' in February 2005.Gialia, Guerriero and Testera were supported by young drummer Sergio Ponti with Marco Giacone Griva and Sergio Cagliero as guests on lead guitar and organ respectively.

There are certain signs the band had fully returned to the progressive style of the early years and the grand 26-min. opener ''Il racconto degli Dei'' is the absolute example.This is beautiful Symphonic Rock of the Italian Prog tradition with native vocal language, similar to CONSORZIO ACQUA POTABILE and SITHONIA, having a strong sense of melody and evident influences from bands like PREMIATA FORNERIA MARCONI, CELESTE or SEMIRAMIS.With a lovely combination of synthesizers, piano and organ, an accomplished guitarist with a sensitive touch and Maurizio Galia having taken over the vocal duties with his emotional voice, this composition is full of thematic changes in both dramatic and romantic deliveries with a very symphonic sound, exploring a range of musical colors, either in melodic or more intricate arrangements and eventually offering a palette of Italian Prog colors with Classical influences in evidence.The rest of the displayed material is no less interesting.''Lei e Venezia'' is another long track, clocking at 12 minutes, featuring big symphonic moves on keyboards and impressive guitar work full of emotion, the instrumental parts are long, elaborate and rich and the lyrics are very poetic and expressive, great piece of art by any means.''Voglio cambiare'' is the most rockin' piece in here with a full organ-based sound and touches of harpsicord, supported by great vocal lines and some bombastic synthesizers.''Oceano'' is about 9 minutes long, this one contains organ, synths, flute and sax as the leading instruments, creating a very flexible but still symphonic sound with slight psychedelic edges, while the closing ''L'assenza'' has some OSANNA-like flute work among the familiar Classical-drenched keyboards and the very dramatic sound of guitars.

My only complaint comes from the average production, otherwise this could have been labeled as a masterpiece of Italian Prog.Overlooked band and album, excellent work of Symphonic Rock with masterful arrangements and convincing vocals.No less than highly recommended.

 Neogothic Progressive Toccatas by THREE MONKS album cover Studio Album, 2010
3.97 | 34 ratings

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Neogothic Progressive Toccatas
Three Monks Rock Progressivo Italiano

Review by apps79
Special Collaborator Neo Prog Team

3 stars Unique band from Arezzo, Italy, performing music on pipe organ.The handler of the instrument is Paolo Lazzeri, an experienced composer, who played with some local progressive bands during the 70's.His bandmate Maurizio Bozzi, a bassist and sound engineer, is also an experienced musician and the performing trio was completed, recruiting two drummers, Roberto Bichi and Claudio Cuseri, each one executing his parts on different tracks of Three Monks' debut ''Neogothic progressive toccatas''.The album was originally released as a self-production in 2010, reissued the following year, after Black Widow discovered the trio.

So, things are simple here, only three instruments, a bass, a pipe organ and a drum kit, and a monster dose of Classical influences from the romantic and Baroque periods.The overall sound reminds me of PAR LINDH PROJECT's monumental performances on pipe organ with a bit of RICK WAKEMAN.The album's title is on par with the music.Very much Classical-influenced music with a certain reference to the old progressive bands of the 70's, having also a quite gothic atmosphere with a very dark and mystical approoach, which comes close to the sinister sounds on DEVIL DOLL's albums.The music is extremely bombastic with endless interludes and organ solos and a powerful rhythm section supporting Lazzeri's mascular pipe organ deliveries, while there are moments when the whole thing turns even to be frightening with the ghost-like Gregorian choirs.IL BALLETTO DI BRONZO is the most fair comparison from the Italian scene, as the music features a combination of symphonic atmospheres and heavy parts under a haunting mood.On the other hand the lack of additional keyboards or instruments and the absence of breathing, softer themes can get this listening a bit tiring on the way.Of course this is far from an uninteristing release, I could even say that this is one of the most original works launched within the first decade of the millenium due to the monstrous sound of pipe organ.

For fans of Classical Rock and keyboard Prog Rock with a nostalgic style.Powerful and sinister music with an unmet grandieur and great executions on pipe organ.Recommended.

 Tacita Intesa by TACITA INTESA album cover Studio Album, 2014
4.05 | 8 ratings

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Tacita Intesa
Tacita Intesa Rock Progressivo Italiano

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

4 stars The award for the most unpredictable and schizophrenic Italian prog album of 2014 so far goes to newcomers Tacita Intesa with their self titled debut! Formed in 2008 and hailing from Tuscany, this energetic band embraces both the vintage inspired masters and fresh modern sounds with a youthful vigour, attacking a wide range of styles, meaning their album sounds vital and exciting. There's a strong melodic and accessible sound with varied vocals and compact instrumental runs woven around them on display here, and this short 32 minute work (hey, it's still as long as many of the Italian prog classics!) shows a band trying everything to find their sound, revealing so much potential as they go along.

After a Post Rock-flavoured chiming guitar intro, opener `Ciutikutown' takes the album on the first of its many unexpected direction changes, turning slightly malevolent and brooding with an intense vocal. The band quickly move away from this gloomy path into a more upbeat and almost whimsical joyful stroll, plenty of laidback nimble electric guitar runs (and a nice scorching solo in the finale) and thick punchy bass. `Daigo' is a beautiful classical inspired piano interlude instrumental, but it should have been much longer! `Valzer...' is a dramatic yet still pleasing tune delivered with a stirring vocal and humming Hammond. `Portmanteau' runs barely over a minute and has a rollicking devil-may-care attitude and lusty wicked vocal that would impress Civico 23 and Il Bacio Della Medusa!

The wild variety of the disc is most evident on `Corona', full of power and grandiosity, with Pink Floyd-styled dream-like floating guitar atmospheres, heavy blasts of wild Hammond fuelled attacks and twisting aggressive grooving riffs. `Terzo Rigo...' is one of the finest accessible pieces on an RPI album in 2014, with vibrant sun-kissed catchy verses given flight by warm dreamy vocals that recall P.F.M at their tasteful best, floating whirring synths and a bit of guitar grunt to catch you off guard. Closing instrumental `Periodo Refrattario' - whirring Hammond and symphonic synths with a hint of dark classical drama, repetitive maddening guitar melodies back and forth, a battery of imposing drums and bombastic sonic violation!

On the evidence of this CD, the band still need a bit more time to fully develop and hone their compositions. Some pieces on the album are little more than snippets, even underdeveloped, or occasionally placed alongside unrelated sections which means the album sometimes has a disjointed sense of flow. But this will only improve as they continue to mature and work on their music, as plenty of ideas and styles are pouring out of the band, and I have no doubt their next release will be even stronger. But for now, this gets Tacita Intesa off to a very fine start, and I can't wait to see what they come up with next!

Three and a half stars, rounded up to four for encouragement!

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Rock Progressivo Italiano bands/artists list

Bands/Artists Country
A PIEDI NUDI Italy
ABISSI INFINITI Italy
ABSENTHIA Italy
ACQUA FRAGILE Italy
AD MAIORA Italy
ADHARMA Italy
AINUR Italy
AKRON Italy
L' ALBERO DEL VELENO Italy
ALGEBRA Italy
ALESSANDRO ALISCIONI Italy
ALLEGRI LEPROTTI Italy
GLI ALLUMINOGENI Italy
ALPHATAURUS Italy
ALTARE THOTEMICO Italy
ALUSA FALLAX Italy
ANACONDIA Italy
ANCESTRY Italy
THE ANCIENT VEIL Italy
ANTONIUS REX Italy
GLI APOSTHOLI Italy
APOTEOSI Italy
APRYL Italy
ARCHITRAVE INDIPENDENTE Italy
AREA Italy
ARIES Italy
ARJUNA Italy
ARMONITE Italy
ARPIA Italy
ARS NOVA (ITA) Italy
ASSEMBLEA MUSICALE TEATRALE Italy
ASSENZIO Italy
ASTROLABIO / ELETTROSMOG Italy
ATON'S Italy
ATTO IV Italy
AUDIO Italy
AURORA LUNARE Italy
IL BABAU & I MALEDETTI CRETINI Italy
SOPHYA BACCINI Italy
IL BACIO DELLA MEDUSA Italy
BALLETTIROSADIMACCHIA Italy
IL BALLETTO DI BRONZO Italy
IL BALLO DELLE CASTAGNE Italy
THE BALMUNG Italy
LA BAMBIBANDA E MELODIE Italy
BANCO DEL MUTUO SOCCORSO Italy
BARABBA Italy
MARIO BARBAJA Italy
BAROQUE Italy
BARROCK Italy
LUCIANO BASSO Italy
FRANCO BATTIATO Italy
PIERPAOLO BIBBO Italy
BIGLIETTO PER L'INFERNO Italy
BLOCCO MENTALE Italy
BONDAGE Italy
LA BOTTEGA DELL'ARTE Italy
BRAEN'S MACHINE Italy
BRAINDEAD Italy
ANGELO BRANDUARDI Italy
BRIGHT HORIZON Italy
BUON VECCHIO CHARLIE Italy
CAGE Italy
I CALIFFI Italy
CALLIOPE Italy
CAMERA ASTRALIS Italy
JURI CAMISASCA Italy
CAMPO DI MARTE Italy
CANTINA SOCIALE Italy
CAPITOLO 6 Italy
CAPRICORN COLLEGE Italy
CAPSICUM RED Italy
ENZO CAPUANO Italy
IL CASTELLO DELLE UOVA Italy
IL CASTELLO DI ATLANTE Italy
CAVALLI COCCHI LANZETTI ROVERSI Italy
CELESTE Italy
IL CERCHIO D'ORO Italy
CERVELLO Italy
CHERRY FIVE Italy
CHIAVE DI VOLTA Italy
LUCIANO CILIO Italy
CIRCLE OF FAIRIES Italy
CITTÀ FRONTALE Italy
CIVICO 23 Italy
CLEPSYDRA Italy
I COCAI Italy
ROBERTO COLOMBO Italy
CONDOR Italy
CONQUEROR Italy
CONSORZIO ACQUA POTABILE Italy
CONTRAPPUNTO Italy
CONTROTEMPO Italy
COOPERATIVA DEL LATTE Italy
CORAL CAVES Italy
CORMORANO Italy
EMANUELE CORREANI Italy
CORTE AULICA Italy
CORTE DEI MIRACOLI Italy
LA COSCIENZA DI ZENO Italy
MARIO COTTARELLI Italy
COURT Italy
CRYSTALS Italy
GINO D'ELISO Italy
GIANNI D'ERRICO Italy
DALLAGLIO Italy
DALTON Italy
DE DE LIND Italy
DELIRIUM Italy
MAURIZIO DI TOLLO Italy
I DIK DIK Italy
DISTILLERIE DI MALTO Italy
DIVAE Italy
DUEMILA12 Italy
ECLISSE Italy
EDERA Italy
EDGAR ALLAN POE Italy
EGO Italy
EGONON Italy
EMPIRE Italy
ENEIDE Italy
ENTITY Italy
EQUIPE 84 Italy
ERA DI ACQUARIO Italy
ERIS PLUVIA Italy
ERRATA CORRIGE Italy
L' ESTATE DI SAN MARTINO Italy
EUTHYMIA Italy
EXPLOIT Italy
FABIO CELI E GLI INFERMIERI Italy
FALENA Italy
FEM PROG BAND Italy
FESTA MOBILE Italy
FILARMONICA MUNICIPALE LACRISI Italy
FILORITMIA Italy
FINISTERRE Italy
FLEA Italy
FLOATING STATE Italy
RICCARDO FOGLI Italy
FOGLIE DI VETRO Italy
FORMULA 3 Italy
FABIO FRIZZI Italy
CLAUDIO FUCCI Italy
GARYBALDI Italy
GENCO PURO & CO. Italy
GENFUOCO Italy
GERMINALE Italy
FRANCO MARIA GIANNINI Italy
GIARDINI D'AUTUNNO Italy
GIARDINO DELLE DELIZIE Italy
I GIGANTI Italy
GIGI PASCAL E LA POP COMPAGNIA MECCANICA Italy
IL GIRO STRANO Italy
GLEEMEN Italy
GOBLIN Italy
GRAN TURISMO VELOCE Italy
GREENWALL Italy
GRIMALKIN Italy
GRUPPO 2001 Italy
GUERCIA Italy
H2O Italy
HOMUNCULUS RES Italy
HOPO Italy
HORUS Italy
HOSTSONATEN Italy
HUNKA MUNKA Italy
IANVA Italy
IBIS Italy
IL FAUNO DI MARMO / THE REBUS Italy
INGRANAGGI DELLA VALLE Italy
J.E.T. Italy
JACULA Italy
JANUS Italy
JESTER'S JOKE Italy
JET LAG Italy
JUMBO Italy
KUNDALINI SHAKTI DEVI Italy
LABIRINTO DI SPECCHI Italy
LAGARTIJA Italy
LASER Italy
LATTE E MIELE Italy
LUCIANO LAURINI Italy
LEO NERO Italy
I LEONI Italy
LETHE Italy
LIBRA Italy
LINEATEORICA Italy
LOCANDA DELLE FATE Italy
EMILIO LOCURCIO Italy
LOCUS AMOENUS Italy
LOGOS Italy
LOST TALES Italy
LOTHLORIEN Italy
MACROSCREAM Italy
MAD CRAYON Italy
MAD FELLAZ Italy
MADRUGADA Italy
MAGNOLIA Italy
MALAAVIA Italy
MALIBRAN Italy
MALLEUS Italy
MANGALA VALLIS Italy
LE MANI Italy
MARCHESI SCAMORZA Italy
LA MASCHERA DI CERA Italy
MAURY E I PRONOMI / AQUAEL Italy
MAXOPHONE Italy
MEDITERRANEA Italy
MELLONTA TAUTA Italy
MESSAGGIO 73 Italy
METAMORFOSI Italy
MINDFLOWER Italy
MINSTREL Italy
MIRAGE Italy
MO.DO. Italy
LORENZO MONNI Italy
MONTEFELTRO Italy
IL MUCCHIO Italy
MURPLE Italy
MUSEO ROSENBACH Italy
FRANCO MUSSIDA Italy
MYROS Italy
LA N.A.V.E. Italy
NARROW PASS Italy
NASCITA DELLA SFERA Italy
NEW TROLLS Italy
NEW TROLLS ATOMIC SYSTEM Italy
NICOSIA & C. INDUSTRIA MUSICALE Italy
NODO GORDIANO Italy
NOTABENE Italy
I NUMI Italy
NUOVA ERA Italy
NUOVA IDEA Italy
OBSCURA Italy
THE ODEJA Italy
ODISSEA Italy
OFFICINA MECCANICA Italy
L' OMBRA DELLA SERA Italy
OMBRALUCE Italy
LE ORME Italy
ORNITHOS Italy
OSAGE TRIBE Italy
OSANNA Italy
IL PAESE DEI BALOCCHI Italy
MAURO PAGANI Italy
PANDORA Italy
PANE Italy
PANGEA Italy
PANNA FREDDA Italy
MARIO PANSERI Italy
PARADISO A BASSO PREZZO Italy
MAURO PELOSI Italy
I PENNELLI DI VERMEER Italy
LA PENTOLA DI PAPIN Italy
PERDIO Italy
PERIFERIA DEL MONDO Italy
PERSIMFANS Italy
PHAEDRA Italy
PHOLAS DACTYLUS Italy
GIAN PIERETTI Italy
PIERO E I COTTONFIELDS Italy
PIERO EZIO E TINO Italy
PLANETARIUM Italy
PLENILUNIO Italy
PLURIMA MUNDI Italy
LE PORTE NON APERTE Italy
PREGHIERA DI SASSO Italy
PREMIATA FORNERIA MARCONI (PFM) Italy
PRESENCE Italy
PROCESSION Italy
PROGENESI Italy
PROPHEXY Italy
PROWLERS Italy
PSYCHO PRAXIS Italy
QUARTO VUOTO Italy
QUASAR LUX SYMPHONIAE Italy
QUEL GIORNO DI UVE ROSSE Italy
QUELLA VECCHIA LOCANDA Italy
RACCOMANDATA RICEVUTA RITORNO Italy
I RAMINGHI Italy
RANDONE Italy
RANESTRANE Italy
REALE ACCADEMIA DI MUSICA Italy
RICORDI D'INFANZIA Italy
CLAUDIO ROCCHI Italy
ROCKY'S FILJ Italy
IL ROVESCIO DELLA MEDAGLIA Italy
IL RUMORE BIANCO Italy
IL RUSCELLO Italy
RUSTICHELLI & BORDINI Italy
SACKA Italy
SALIS Italy
SAMADHI Italy
SAMSARA Italy
TITO JR. SCHIPA Italy
LA SECONDA GENESI Italy
IL SEGNO DEL COMANDO Italy
SEMIRAMIS Italy
LE SENSAZIONI Italy
SENSITIVA IMMAGINE Italy
SENZA NOME Italy
SHOWMEN 2 Italy
PAOLO SIANI & FRIENDS FEAT. NUOVA IDEA Italy
SIDE C Italy
IL SISTEMA Italy
SITHONIA Italy
SLOGANS Italy
LA SORGENTE Italy
ALAN SORRENTI Italy
ST.-TROPEZ Italy
LE STELLE DI MARIO SCHIFANO Italy
STRANAFONIA Italy
DEMETRIO STRATOS Italy
SUBMARINE SILENCE Italy
SUNSCAPE Italy
SYNDÉRESI Italy
SYNDONE Italy
TACITA INTESA Italy
TAPROBAN Italy
IL TEMPIO DELLE CLESSIDRE Italy
TENEBRAE Italy
I TEOREMI Italy
STEFANO TESTA Italy
THEGENERATION Italy
THREE MONKS Italy
TILION Italy
TOTO TORQUATI Italy
LA TORRE DELL ALCHIMISTA Italy
TRIADE Italy
THE TRIP Italy
IL TRONO DEI RICORDI Italy
TUGS Italy
UBI MAIOR Italy
ULTIMA SPIAGGIA Italy
UNA VOLTA ERAVAMO IN SETTE Italy
UNO Italy
UNREAL CITY Italy
L' UOVO DI COLOMBO Italy
VEDDA TRIBE Italy
VIEUX CARRE Italy
VITTORIO DE SCALZI - LA STORIA DEI NEW TROLLS Italy
IL VOLO DI ICARO Italy
IL VOLO Italy
RICCARDO ZAPPA Italy
ZAUM Italy

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