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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
Aussie-Byrd-Brother (Michael)
rdtprog (Louis)
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 | 1731 ratings
PER UN AMICO
Premiata Forneria Marconi (PFM)
4.38 | 1190 ratings
DARWIN!
Banco Del Mutuo Soccorso
4.38 | 1093 ratings
IO SONO NATO LIBERO
Banco Del Mutuo Soccorso
4.34 | 1376 ratings
STORIA DI UN MINUTO
Premiata Forneria Marconi (PFM)
4.31 | 905 ratings
ZARATHUSTRA
Museo Rosenbach
4.28 | 908 ratings
BANCO DEL MUTUO SOCCORSO
Banco Del Mutuo Soccorso
4.28 | 675 ratings
ARBEIT MACHT FREI
Area
4.24 | 964 ratings
FELONA E SORONA
Orme, Le
4.27 | 502 ratings
MAXOPHONE
Maxophone
4.22 | 881 ratings
L'ISOLA DI NIENTE
Premiata Forneria Marconi (PFM)
4.23 | 597 ratings
YS
Balletto Di Bronzo, Il
4.21 | 690 ratings
UOMO DI PEZZA
Orme, Le
4.25 | 412 ratings
PALEPOLI
Osanna
4.25 | 375 ratings
CRAC !
Area
4.23 | 330 ratings
DISCESA AGL'INFERI D'UN GIOVANE AMANTE
Bacio Della Medusa, Il
4.18 | 349 ratings
L' ENIGMA DELLA VITA
Logos
4.17 | 319 ratings
CONTAMINAZIONE
Rovescio Della Medaglia, Il
4.16 | 305 ratings
CELESTE [AKA: PRINCIPE DI UN GIORNO]
Celeste
4.14 | 350 ratings
QUELLA VECCHIA LOCANDA
Quella Vecchia Locanda
4.19 | 221 ratings
MELOS
Cervello

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

VOCI
Basso, Luciano
CONCERTO DELLE MENTI
Pholas Dactylus
RICORDI?
Lagartija
NOSTOS
Ubi Maior

Latest Rock Progressivo Italiano Music Reviews


 Insolitariamente by TILION album cover Studio Album, 2003
3.33 | 14 ratings

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Insolitariamente
Tilion Rock Progressivo Italiano

Review by progaardvark
Prog Reviewer

4 stars Tilion had its origins back in November 1998 in Bergamo, Italy. It was formed out of the ashes of a 1990s Italian group called the Prowlers. The band is made up of bassist Roberto "Bobo" Aiolfi, drummer Paolo Cassago, keyboardist Alfio Costa (credited with Hammond organ, Minimoog, and Mellotron, plus others), guitarist Flavio Costa, and lead singer Andrea Ricci. On their debut album, recorded in the summer of 2002 and released the following year, the group is accompanied by guests Vincenzo Zitello on harps and flute, Laura Mombrini on vocals, and Adriano Ossoli on saxophone.

"Insolitariamente" almost seems like its a concept album, but my lack of understanding of the Italian language prevents me from ascertaining this based on the lyrics. However musically, the album has a prologue, an epilogue, and multiple short interludes between the main songs. This is the only thing that hints at that possibility. Online translators don't really help and my fellow reviewers here and elsewhere aren't hinting at that either. Oh well, let's move on...

The music on this one is generally a dark mix of psych and symphonic prog. But that just touches the surface. Not only are there influences from bands like Banco del Mutuo Soccorso and Le Orme, but also from King Crimson, Trespass-era Genesis, and even soundscapes that remind me of the Ozric Tentacles, plus occasional heavy guitar work. Some of the piano work is beautiful and sort of hints at Tale Cue. There are lots of quiet-to-loud and back to quiet transitions, all done seamlessly. The interplay of the members is fantastic. I think the one thing that bothers me most about the arrangement of the album is that the interlude tracks seem like filler. They often sound like short experiments that didn't lead anywhere and seem more like a distraction from the more important songs. The album to me would be better without them. All the meat is in the main tracks that range from six to over sixteen minutes long.

As for the production, this sounds very retro. It definitely has a 1970s sound rather than 2003. Whether that's on purpose is something I cannot answer for sure. The mix is sometimes inconsistent across the album. Bassist Roberto Aiolfi is an amazing player. He sort of reminds me of an Italian Mike Rutherford that can also slap the bass. Many times his playing is drowned out by the other instruments, however on Torpore Celebrale he's mixed in at the right level to show off his skills. Throughout the album, the snare drum comes off louder than I think it should. For some reason, most of the keyboard solos are placed slightly on the left side of the mix, rather than having them centered or evenly distributed across the stereo spectrum. I don't know if these slight flaws were due to limitations of the recording equipment or maybe they made some mixing decisions while being distracted with eggs or chickens or something. Nonetheless, these flaws don't distract my ears seriously enough from the enjoyment, the energy, and the powerful delivery of the music. It's a really great debut album.

If the flaws I mention above seem like they would bother you enough that you couldn't enjoy the music, then maybe this isn't the album for you. For RPI fans, this is well worth your time.

9/10 stars: Buio; Dietro i Ricordi (the two longest tracks) --- 8.5/10 stars: Luna --- 8/10 stars: Orizzonti sintetizzati; Torpore Celebrale --- 7.5/10 stars: Prologo; Epilogo --- 7/10 stars: Il Custode; Corale Tribale --- 6/10 stars: Solitaria Mente; Il pensiero dal Basso.

Overall rating: 8.25/10 (4.13 PA)

 Andiamo in Giro di Notte e ci Consumiamo nel Fuoco by HOMUNCULUS RES album cover Studio Album, 2020
3.93 | 57 ratings

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Andiamo in Giro di Notte e ci Consumiamo nel Fuoco
Homunculus Res Rock Progressivo Italiano

Review by felonafan

5 stars The album titled "Della stessa sostenza dei sogni" by the Italian - more precisely, by the Sicilian - band Homuncuus Res, released in 2018, turned out to be Album of the Year for me, along with the debut release of the project organized by the bass player of Anglagard (by this project I mean All Traps on Earth) ... On July 23 this year, the fourth full-length studio disc of Italians was released - with an even more intricate title "Andiamo in giro di notte e ci consumiamo nel fuoco". And again we hear songs, Canterbury "in spirit", but sung in Italian. And again, these songs are built mainly on jazz harmonies and are characterized by a complex structure, odd and changing time signatures and frequent changes in musical patterns, but at the same time they sound relaxed and even pop, if the word "pop" is not taken as a "curse". In general, it is believed that the first "Italian response to the Canterbury" was made in the second half of the 1970s by the Picchio Dal Pozzo, but the music of Homunculus Res is prettier, brighter, more pleasant, more accessible, and, I must say, almost does not look like the work just the mentioned ensemble. So if they tell you somewhere that Homunculus Res is almost the same as Picchio Dal Pozzo - don't believe it! At the same time, the music of the heroes of the review is not at all perceived as secondary - in comparison, say, with Hatfield and the North - the quintet from Palermo led by composer, vocalist and multi-instrumentalist Dario d'Alessandro has its own face, claiming uniqueness, not without reason! The main point is the following. What Homunculus Res is doing is by no means reduced to "Canterbury". Musicians are open to different influences. Their compositions organically "include" both vocal chants a la Yes ("La Salamandra"), and a direct quote from "Hey Jude" by the Beatles ("La Luccicanza") and elements of music that could easily become a soundtrack for films by Fellini or other Italian directors ("Non Dire No"). Complexity, beauty, jazz, sensual melodies, irony, detachment - everything is combined into a single whole in this work of Homunculus Res. The musicians approach the development of the compositions, perhaps even more carefully even in the 2018 album, as a result of which they turn out to be longer and, possibly, "unified". This is in stark contrast to the first two Homunculus Res albums - 2013 and 2015 - which were full of short pieces, often lasting 1-2 minutes - the music was very interesting, exciting, but often unnecessarily fragmentary. The new disc contains no songs shorter than three and a half minutes. True, the detailed "elaboratedness" of the opuses often turns out to be boring, which the first three albums of the Sicilians were almost deprived of. Some fragments in some compositions are somewhat tiring. Therefore, at the moment I like the new disc a little less than the previous one, but it still "catches", and with each listening it gets stronger. Among the best pieces here, along with the aforementioned "La Luccicanza" and "Non Dire No", I would include the brilliant "Supermercato" with a gorgeous ending played by a whole ensemble of musicians playing wind and strings. These people are mostly guests. And once again I will say about the concluding track "Non Dire No" - you will not find anything like it in releases by Soft Machine, National Health or Hatfield and the North - this is a very beautiful, tender, sad and lyrical song in the form of a waltz, very Italian in spirit. Summary: The album "Andiamo in giro di notte e ci consumiamo nel fuoco" is excellent, one of the candidates for the title of the best in 2020!
 Felona E Sorona by ORME, LE album cover Studio Album, 1973
4.24 | 964 ratings

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Felona E Sorona
Le Orme Rock Progressivo Italiano

Review by sgtpepper

5 stars This is clearly one of the best output of the progressive rock in Italy - Rock Progressive Italiano. All clicks well together - emotional vocals, strong instrumental moments when keyboards and drums/bass take the progressive lead like on the first track. You can hear synths, organ, piano so typical minimal prog keyboard player equipmen at these times. The first track has a fantastic development from a bit majestic early sound of prog, then vocals come in and with some tension in the synth. The bass is quite audible and muscular. The speed increases and the powerful rhythm trio is excelling turning into a futuristic Moog solo while closely supported by bass and drums. "Felona" and "Serona" are two lovely stripped-down ballads. "L'equilibrio" has a certain Genesis organ feeling in the first part; no worries because the instrumental peak with keyboard/synths chops is arriving at 2:40 - a perfect culmination albeit too short before sliding into a retrospective vocal led part. "Attese Inerte" is a showcase for the bass guitar."All'Infuori Del Tempo" gives majestic feelings with solemn keyboards and finally we distinctly hear some guitar - acoustic one. "Ritorno al nulla" sounds like an apex, all instrumentalists being busy and intense but mainly the drummer.

Excellent album; I just regret that the compositions aren't longer - the album deserves it indeed!

 S.E.I. by MASCHERA DI CERA, LA album cover Studio Album, 2020
4.20 | 76 ratings

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S.E.I.
La Maschera Di Cera Rock Progressivo Italiano

Review by *ChristianRO*

5 stars Rock Progressivo Italiano is my favourite prog rock genre and La Maschera Di Cera is my favourite RPI band. So when I have heard about this new album from them I was more excited than ever. And my expectation were highly rewarded. Although this new release is very different from their last release (Le Porte Del Domani) in terms of structure, SEI is equally good and rewarding. There are only three songs but epic ones, regarding the lenght, the shorter one being 10 minutes long and the first is about 22 minutes long. As you can guess, the album is full of grandiose vintage keyboards, great vocals and a perfect bass. Of course the italian language is compulsory for a RPI release. Separazione / Egolatria / Inganno is by far my favourite album of 2020 and it can be my favourite La Maschera Di Cera album. Time will tell. Strong five stars album!!
 Zarathustra by MUSEO ROSENBACH album cover Studio Album, 1973
4.31 | 905 ratings

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Zarathustra
Museo Rosenbach Rock Progressivo Italiano

Review by boa

4 stars This is soooo good! It did take me a while to really get into it though. I had read so many good things about this album, so when i first heard it, i was a bit disappointed. Then after perhaps 3-4 listening, i noticed i began to sing the songs to myself while outside walking, and i figured "maybe there's something here after all". And it really was! It's the kind of music which need to sink in, which for me often is the best kind. The listening experience and enjoyment seems to "last longer" for some reason in such cases. The keyboards, drums and vocals are specially fantastic. The guitar sounds a bit muddy and heavy, so it's a bit acquired taste perhaps, but all over just really great! Lovely melodies, and interesting compositions.
 Vivo Controvento by PLENILUNIO album cover Studio Album, 2017
3.07 | 8 ratings

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Vivo Controvento
Plenilunio Rock Progressivo Italiano

Review by b_olariu
Prog Reviewer

3 stars Plenilunio (full moon in english) is one of the unknown italian bands from RPI scene from recent years. Formed around 2010 in Piemonte, Italy, they put 2 albums on market, one in 2012 and second Vivo controvento in 2017. Evem their music is fairly progressive in many parts, they aproach a more melodic less intricate romantic side of prog, very similar with lets say Kerygmatic Project or with Davide Spitalieri Uomo irregolare also from Italy.

The music is passionate, with nice warm vocal parts sung in italian by Roberto Maggioto who is also responsable for druming, also the kyboards are quite good and guitars aswell. The balance between italian pop sensibilities and symphonic manuveres is quite well put, there are in places more symphonic prog passages then pop, that is giving to Plenilunio a RPI status.

Forte pieces, opening Via da te, the title track, Copie simili has some good keyboards, bass lines and guitars, senza fiato is to me the best tune of the album (sounding like was taken from any Kerygmatic Project album, really, what a coincidence), it sounds like it is from '80s music.

All in all decent efort by this gone under the radar band, and sure this type of prog is too light for pure symphonic lovers and too prog for pop listners, I think they incorporate both genres quite well and both albums desearve attention, even is just for couple of spins. I particulary like what I heared on Vivo controvento, warm beautiful romatic melodic prog, tipical italian in sound.. A nice art work aswell.

Give them a chance, 3 solid stars.

 Sadako e le mille gru di carta by LOGOS album cover Studio Album, 2020
4.22 | 150 ratings

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Sadako e le mille gru di carta
Logos Rock Progressivo Italiano

Review by nick_h_nz

4 stars [Originally published at The Progressive Aspect]

Even if I did not already have great interest in a new LogoS album, the title and artwork would have settled it for me. Without knowing Italian, it's clear enough that this is an album that references Sasaki Sadako and the one thousand origami cranes she folded before her death. It's a story I learnt at primary school, and one of very few memories I have from those school days. We learnt of the symbolism of the origami crane (orizuru), and additional symbolism when 1,000 are strung together (senbazuru). We attempted to fold 1,000 as a class. I can't remember if we did, but it was a good way of showing just what an achievement it was for Sadako, particularly when she was literally on her deathbed. I've never forgotten her story, so to hear it played out in music was an attractive prospect. My only worry was that LogoS might fall prey to attempting to integrate Japanese instruments or instrumentation into their lush RPI sound, something I'm not sure could work terribly well, and far too easily be tokenism at best, and appropriation at worst. I need not have worried.

The album begins with the short instrumental piece, Origami in SOL-, providing a powerful and intense opening. It's quite incredible, and far too short. I could definitely have done with this track carrying on a little longer. Paesaggi di Insonnia, which follows, is even more frantic ? tossing and turning as one with insomnia might. (I admit I've not attempted to find the translations of the titles, but 'Insonnia' looks enough like insomnia to me?). If it were not already obvious with Origami in SOL-, Paesaggi di Insonnia makes it clear that this album, like the one that preceded it, is beautifully produced and mixed. The sound is perfect and crystal clear. There's no muddiness, every instrument has its space. And just to add to the already wonderful mix, an additional instrument is brought into the mix, thanks to the saxophone of Federica Zoccatelli.

Paesaggi di Insonnia is a thoroughly enjoyable and unpredictable romp through many moods, with the always excellent Luca Zerman, who may well be my favourite Italian vocalist (I love his tone and expression), with Claudio Antolini on keyboards kicking up a storm (why have one keyboard player, when you can have two?), and the vibrant and strong rhythm section of Fabio Gaspari on bass (and also occasionally guitar, mandolin and vocals) and Alessandro Perbellini on drums, definitely not hiding in the background. I'm really happy Perbellini is now a member of the band (he drummed on only one track on the previous album), as his powerful presence on this album provides much enjoyment.

Indeed, if anything, the rhythm section are right out in front for the following Un Lieto Inquietarsi. This comes across as quite an evil piece of music. It may not be intended to be, but it just sounds mean and nasty to me. Well, for the first half, at least. After a remarkably serene mid-section, the second half of the song has a far more optimistic air. But even more serene is Il Sarto, which is a quite beautiful ballad. The sort I would probably hate if it were sung in English, but which Italian vocals just seem perfect for ? full of emotion and expression that sounds genuine and rich, rather than corny and cheesy. Another guest, Elisa Montaldo, sings on this track and she really adds to the magic. It's a pastoral gem, rich in the classic RPI sound of the '70s, yet still sounding completely modern. This is what LogoS do so well, time and time again.

Zaini di Elio is a rousing return to the more manic music of the first few tracks, with some wonderfully choppy and changing passages, and an absolute star turn from Perbellini on the drums. Definitely my favourite drumming on the album. Most RPI bands at one point or another get compared to ELP. I guess it's because I've never really liked ELP, but I've never heard that. In fact, I'm more likely to be reminded of Genesis, and this song is one where I could make that comparison. As for the keys, these are as often reminiscent of Wakeman as they are of Emerson, but the swirling and twirling of the two keyboard players is distinctly their own. Any of these comparisons do a disservice, too, for they give an impression that this music might sound (out)dated and stale. This is not retro music. It doesn't sound like it's trying to emulate the sounds of the '70s as so many modern bands seem to be doing. Rather, it's using those sounds as a template for a modern album, in the same way Quel Che Disse Il Tuono did earlier this year. These two bands have not just released the best RPI albums of the year, but of the last few years ? taking sounds of RPI somewhere new, rather than merely reflecting on the past.

The band save the best for last, with the title track. Sasaki Sadako was two years old when the bomb fell on Hiroshima. The effects of the radiation were not immediately apparent. She was hospitalised in February 1955, and started folding paper planes, hoping that she might achieve her wish to get well. By August Sadako had completed her senbazuru and, not getting any better, began folding more. By the time she died in October of that year (aged twelve), she had folded approximately 1,300 to 1,400 orizuru (the exact number is unknown). A novel based on her life changed the story to suggest she did not complete a senbazuru, so her friends and family kept folding for her, so that she might have 1,000. It might make a nice story, but somehow knowing that she folded them all herself, and kept going, is more impressive to me. And impressive is what this approximately 20 minute song is. A fitting end to a wonderful album. Anyone who loved the previous LogoS album, 2014's L'Enigma della Vita, and was worried that the band might struggle to follow it up with something as good need not worry. Anyone who doesn't yet know the band is simply in for a treat.

 Genemesi by BIBBO, PIERPAOLO album cover Studio Album, 2012
3.53 | 5 ratings

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Genemesi
Pierpaolo Bibbo Rock Progressivo Italiano

Review by b_olariu
Prog Reviewer

4 stars Pierpaolo Bibbo - one of the lesser known musicians in RPI field, but with debut being quite good and well performed, Diapason from 1980. This album got positive feedback in prog rock circles, but after this album was issued he remain in obscurity many years until Mellow records re release the album on CD in 1994. His name become in attention of younger geneartions of that period, including me.

When no one expecting another work from him, he pop out in 2012 a new work named Gnemesi, after 30 years of silence. A very solid album, to me his best work from the 3 released so far, it has another one in 2018 Via Lattea.

Keeping the atmosphere on melodic side of italian prog but with some more edgy passages on guitar, but aswell the keyboards and all are well done and played. Only complain is that is computer druming.

I like very much the atmosphere on this album, the vocal parts, all is quite good from the start to finish. Bibbò's voice and keyboards are excellent all through the album, with a plus on pieces like opening Il viaggio, the smooth Fratelo, or Metastasi d'autunno. Aswell Fabio Orecchioni did a fantastic job on guitar.

For me a nice yet very unnoticed album in prog circles, this is pretty much well worth investigate. Musicaly elegant in typical italian style, melodic yet. 4 stars for sure, unfairly unnoticed album.

 Maxophone by MAXOPHONE album cover Studio Album, 1975
4.27 | 502 ratings

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Maxophone
Maxophone Rock Progressivo Italiano

Review by sgtpepper

4 stars Expect one of the most versatile Italian prog albums if this really still falls into the RPI genre. The bunch of very gifted musicians (both composers and instrumentalists) meet to release a very sophisticated and mature debut album. Soft melodic moments full of harmony ("Al Mancato Compleanno Di Una Farfalla"), more typical Italian prog tracks with excellent orchestra instruments (C'E Un Paese Al Mondo), instrumental tracks of pure progressive heaven with flute, keyboards ("Fase"), slight Canterbury influence with ("Elzeviro") and even some classick rock and blues-rock licks, this is a very appealing combination and balance of skilled composing and playing.

The voice is soothing and fits greatly for an Italian Prog band sung in Italian. Italian prog puts strong emphasis on keyboards and also here we have multiple instrumentalists capable to playing some "key" instruments, which results in keyboard layers and fine sound. Highly recommended as it stands on its own in the vast RPI set of albums.

 Frammenti D'Incanto by SINTONIA DISTORTA album cover Studio Album, 2015
3.04 | 6 ratings

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Frammenti D'Incanto
Sintonia Distorta Rock Progressivo Italiano

Review by b_olariu
Prog Reviewer

3 stars One of the pleasent surprise was italian prog band named Sintonia Distorta, who managing to release their debut in 2015 named Frammenti d'incanto. Issued at Lizard label, this first release show good potential, nice compositions, musicianship is more then ok and pleasent voice. Te music is symphonic with a touch of heavy prog bordering prog metal, but without being a prog metal band in the end. The atmosphere is typical towards italian school with majestic arrangements, quite leghty in places with romantic and energic passages in same time.

All in all quite good debut, I really like it, and aswell very nice the artwork. Definetly 3.5 stars from my side.

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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
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 / 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
CAGE Italy
I CALIFFI Italy
CALLIOPE Italy
CAMERA ASTRALIS Italy
JURI CAMISASCA Italy
CAMPO DI MARTE Italy
CANTINA SOCIALE Italy
CAPITOLO 6 Italy
CAPRICORN COLLEGE Italy
CAPSICUM RED Italy
ENZO CAPUANO Italy
CARPINETA Italy
IL CASTELLO DELLE UOVA Italy
IL CASTELLO DI ATLANTE Italy
CAVALLI COCCHI.LANZETTI.ROVERSI Italy
CELESTE Italy
IL CERCHIO D'ORO Italy
CERVELLO Italy
CHERRY FIVE Italy
CHIAVE DI VOLTA Italy
CHRISTADORO Italy
LUCIANO CILIO Italy
THE CINEMA SHOW Italy
CIRCLE OF FAIRIES Italy
CITTÀ FRONTALE Italy
CIVICO 23 Italy
CLEPSYDRA Italy
I COCAI Italy
ROBERTO COLOMBO Italy
CONDOR Italy
CONQUEROR Italy
CONSORZIO ACQUA POTABILE Italy
MICHELE CONTA Italy
CONTRAPPUNTO Italy
CONTROTEMPO Italy
COOPERATIVA DEL LATTE Italy
CORAL CAVES Italy
CORMORANO Italy
CORPORESANO Italy
EMANUELE CORREANI Italy
CORTE AULICA Italy
CORTE DEI MIRACOLI Italy
LA COSCIENZA DI ZENO Italy
MARIO COTTARELLI Italy
COURT Italy
CRYSTALS Italy
LA CURVA DI LESMO Italy
GINO D'ELISO Italy
GIANNI D'ERRICO Italy
DALLAGLIO Italy
DALTON Italy
DE DE LIND Italy
DELIRIUM Italy
MAURIZIO DI TOLLO Italy
I DIK DIK Italy
DISEQUAZIONE Italy
DISTILLERIE DI MALTO Italy
DIVAE Italy
LA DOTTRINA DEGLI OPPOSTI Italy
DUEMILA12 Italy
ECFONETICA Italy
ECLISSE Italy
EDERA Italy
EDGAR ALLAN POE Italy
EGO Italy
EGONON Italy
ELISIR D'AMBROSIA Italy
EMPIRE Italy
ENEIDE Italy
ENIMA Italy
ENTITY Italy
EPISCOPIO VISTARAMA Italy
EQUIPE 84 Italy
ERA DI ACQUARIO Italy
ERIS PLUVIA Italy
ERRATA CORRIGE Italy
L' ESTATE DI SAN MARTINO Italy
EURASIA Italy
EUTHYMIA Italy
EXPLOIT Italy
LA FABBRICA DELL'ASSOLUTO Italy
FABIO CELI E GLI INFERMIERI Italy
FALENA Italy
IL 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
GAN EDEN - IL GIARDINO DELLE DELIZIE Italy
GARYBALDI Italy
GENCO PURO & CO. Italy
THE GENERATION Italy
GENFUOCO Italy
GERMINALE Italy
FRANCO MARIA GIANNINI Italy
GIARDINI D'AUTUNNO Italy
I GIGANTI Italy
GIGI PASCAL E LA POP COMPAGNIA MECCANICA Italy
IL GIRO STRANO Italy
GLEEMEN Italy
GOBLIN Italy
GOBLIN REBIRTH Italy
GRAN TURISMO VELOCE Italy
GREENWALL Italy
GRIMALKIN Italy
GRUPPO 2001 Italy
GUERCIA Italy
H2O Italy
HOMUNCULUS RES Italy
HOPO Italy
HORUS Italy
HÖSTSONATEN Italy
HUMANA PROG Italy
HUNKA MUNKA Italy
IANVA Italy
IBIS Italy
INGRANAGGI DELLA VALLE Italy
ISPROJECT Italy
J.E.T. Italy
JACULA Italy
JANUS Italy
JESTER'S JOKE Italy
JET LAG Italy
JUMBO Italy
JUS PRIMAE NOCTIS Italy
KALISANTROPE Italy
KUNDALINI SHAKTI DEVI Italy
IL LABIRINTO DI ALICE Italy
LABIRINTO DI SPECCHI Italy
LAGARTIJA Italy
LAPERA Italy
LASER Italy
LATTE E MIELE Italy
LUCIANO LAURINI Italy
LEO NERO Italy
I LEONI Italy
LETHE Italy
LIBRA Italy
LINEATEORICA Italy
LOCANDA DELLE FATE Italy
EMILIO LOCURCIO Italy
LOCUS AMOENUS Italy
LOGOS Italy
LOST TALES Italy
LOTHLORIEN Italy
MACCHINA PNEUMATICA Italy
MACROSCREAM Italy
MAD CRAYON Italy
MADRUGADA Italy
MAGNOLIA Italy
MALAAVIA Italy
MALIBRAN Italy
MALLEUS Italy
MANGALA VALLIS Italy
LE MANI Italy
MARCHESI SCAMORZA Italy
LA MASCHERA DI CERA Italy
MAURY E I PRONOMI / AQUAEL Italy
MAXOPHONE Italy
MEDITERRANEA Italy
MELLONTA TAUTA Italy
MELTING CLOCK Italy
MESSAGGIO 73 Italy
METAMORFOSI Italy
MINDFLOWER Italy
MINSTREL Italy
MIRAGE Italy
MO.DO. Italy
MÖBIUS PROJECT Italy
I MODIUM Italy
LORENZO MONNI Italy
MONTEFELTRO Italy
MOSAICO Italy
IL MUCCHIO Italy
MURPLE Italy
MUSEO ROSENBACH Italy
FRANCO MUSSIDA Italy
MYROS Italy
LA N.A.V.E. Italy
NARROW PASS Italy
NASCITA DELLA SFERA Italy
NATHAN Italy
NEW TROLLS Italy
NEW TROLLS ATOMIC SYSTEM Italy
NICOSIA & C. INDUSTRIA MUSICALE Italy
NODO GORDIANO Italy
NOTABENE Italy
I NUMI Italy
NUOVA ERA Italy
NUOVA IDEA Italy
OBSCURA Italy
THE ODEJA Italy
ODISSEA Italy
OFFICINA MECCANICA Italy
L' OMBRA DELLA SERA Italy
OMBRALUCE Italy
OPHICINA Italy
OPRA MEDITERRANEA Italy
ANDREA ORLANDO Italy
LE ORME Italy
ORNITHOS Italy
OSAGE TRIBE Italy
OSANNA Italy
OSCILLAZIONI ALCHEMICO KREATIVE (O.A.K.) Italy
OVERTURE Italy
IL PAESE DEI BALOCCHI Italy
MAURO PAGANI Italy
PANDA FIGHT CLUB Italy
PANDORA Italy
PANE Italy
PANGEA Italy
PANNA FREDDA Italy
MARIO PANSERI Italy
PANTHER & C. Italy
PARADISO A BASSO PREZZO Italy
IL PARADISO DEGLI ORCHI Italy
NICOLA PARDINI Italy
MAURO PELOSI Italy
I PENNELLI DI VERMEER Italy
LA PENTOLA DI PAPIN Italy
PERDIO Italy
PERIFERIA DEL MONDO Italy
PERIPLO Italy
PERSIMFANS Italy
PHAEDRA Italy
PHOLAS DACTYLUS Italy
GIORGIO FICO PIAZZA Italy
GIAN PIERETTI Italy
PIERO E I COTTONFIELDS Italy
PIERO EZIO E TINO Italy
PLANETARIUM Italy
PLENILUNIO Italy
PLURIMA MUNDI Italy
LE PORTE NON APERTE Italy
POSTO BLOCCO 19 Italy
PREGHIERA DI SASSO Italy
PREMIATA FORNERIA MARCONI (PFM) Italy
PRESENCE Italy
PROCESSION Italy
PROGENESI Italy
PROMENADE Italy
PROMETHEO Italy
PROPHEXY Italy
PROTOCOLLO C Italy
PROWLERS Italy
PSICOSUONO Italy
PSYCHO PRAXIS Italy
QIRSH Italy
QUARTO VUOTO Italy
QUASAR LUX SYMPHONIAE Italy
QUEL CHE DISSE IL TUONO Italy
QUEL GIORNO DI UVE ROSSE Italy
QUELLA VECCHIA LOCANDA Italy
RACCOMANDATA RICEVUTA RITORNO Italy
I RAMINGHI Italy
RANDONE Italy
RANESTRANE Italy
REALE ACCADEMIA DI MUSICA Italy
THE REBUS / IL FAUNO DI MARMO Italy
RES GESTA Italy
RICORDI D'INFANZIA Italy
CLAUDIO ROCCHI Italy
ROCKY'S FILJ Italy
IL ROVESCIO DELLA MEDAGLIA Italy
IL RUMORE BIANCO Italy
IL RUSCELLO Italy
RUSTICHELLI & BORDINI Italy
SACKA Italy
SALIS Italy
SAMADHI Italy
SAMSARA Italy
TITO JR. SCHIPA Italy
LA SECONDA GENESI Italy
SECRET TALES Italy
IL SEGNO DEL COMANDO Italy
SELDON Italy
SEMIRAMIS Italy
LE SENSAZIONI Italy
SENSITIVA IMMAGINE Italy
IL SENTIERO DI TAUS Italy
SENZA NOME Italy
SEZIONE FRENANTE Italy
SFARATTHONS Italy
SHOWMEN 2 Italy
PAOLO SIANI FT. NUOVA IDEA Italy
SIDE C Italy
SINTESI DEL VIAGGIO DI ES Italy
SINTONIA DISTORTA Italy
IL SISTEMA Italy
SITHONIA Italy
SLOGANS Italy
LA SORGENTE Italy
ALAN SORRENTI Italy
ST.-TROPEZ Italy
UNA STAGIONE ALL' INFERNO 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
VEDDA TRIBE Italy
VERGANTI Italy
VIEUX CARRE Italy
VITTORIO DE SCALZI - LA STORIA DEI NEW TROLLS Italy
IL VOLO DI ICARO Italy
IL VOLO Italy
VUOTI A RENDERE Italy
RICCARDO ZAPPA Italy
ZAUM Italy

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