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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 | 1821 ratings
PER UN AMICO
Premiata Forneria Marconi (PFM)
4.39 | 1262 ratings
DARWIN!
Banco Del Mutuo Soccorso
4.37 | 1155 ratings
IO SONO NATO LIBERO
Banco Del Mutuo Soccorso
4.34 | 1446 ratings
STORIA DI UN MINUTO
Premiata Forneria Marconi (PFM)
4.32 | 951 ratings
ZARATHUSTRA
Museo Rosenbach
4.30 | 963 ratings
BANCO DEL MUTUO SOCCORSO
Banco Del Mutuo Soccorso
4.27 | 718 ratings
ARBEIT MACHT FREI
Area
4.25 | 1010 ratings
FELONA E SORONA
Orme, Le
4.27 | 534 ratings
MAXOPHONE
Maxophone
4.25 | 646 ratings
YS
Balletto Di Bronzo, Il
4.21 | 930 ratings
L'ISOLA DI NIENTE
Premiata Forneria Marconi (PFM)
4.22 | 727 ratings
UOMO DI PEZZA
Orme, Le
4.25 | 437 ratings
PALEPOLI
Osanna
4.24 | 402 ratings
CRAC !
Area
4.23 | 348 ratings
DISCESA AGL'INFERI D'UN GIOVANE AMANTE
Bacio Della Medusa, Il
4.21 | 376 ratings
L' ENIGMA DELLA VITA
Logos
4.18 | 334 ratings
CONTAMINAZIONE
Rovescio Della Medaglia, Il
4.21 | 233 ratings
SADAKO E LE MILLE GRU DI CARTA
Logos
4.15 | 392 ratings
LA CRUDELTÀ DI APRILE
Unreal City
4.15 | 376 ratings
QUELLA VECCHIA LOCANDA
Quella Vecchia Locanda

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

POA
Blocco Mentale
MELOS
Cervello
ASRAVA
Logos
OPERA PRIMA
Rustichelli & Bordini

Latest Rock Progressivo Italiano Music Reviews


 Apoteosi by APOTEOSI album cover Studio Album, 1975
3.92 | 193 ratings

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Apoteosi
Apoteosi Rock Progressivo Italiano

Review by VianaProghead
Prog Reviewer

4 stars Review Nº 544

Apoteosi was an Italian progressive rock band. Apoteosi was a very rare, if not the one and only progressive rock band coming from Palmi of the Calabria region. Apoteosi was one of those bands that only released one album and then disappeared. It was formed shortly before releasing their eponymous single album. Apoteosi was an excellent quality Italian quintet led by the three young brothers Idà and produced by the father himself. The band was a very familiar thing. In fact, the father of Idàs, Salvatore, practically gave them the release of their album in his own company Said Records, and the album was edited by Massimo Idà himself. Although its members were very young, the group had been playing together for some time, but the album was only released in 1975 by the small label Said, with a limited edition and local distribution, which made of it a rare album. The original LP fetched absurd prices among collectors. The band never recorded live, and for lack of support and stability, break up due the different decisions of each brother.

So, "Apoteosi" is the eponymous debut and only album of Apoteosi and was released in 1975. The line up on the album is Silvana Idà (vocals), Franco Vinci (vocals, acoustic and electric guitars), Massimo Idà (grand piano, Hammond B3, Eminent organ and ARP Pro Soloist synthesizer), Federico Idà (bass and flute) and Marcello Surace (drums). The album had also the participation of Coro Alessandroni (chorus vocals) on the track "Oratorio", as a guest artist.

Apoteosi plays a progressive symphonic rock with a great sound with something of some foreign bands especially the greatest names of the English symphonic prog bands at the time, but keeping some typically Italian characteristics. Its main musical characteristics are supported by piano, flute and beautiful melodies with a light folk influence that is closer to Renaissance and that sometimes reminds us to a lot of Genesis and Premiata Forneria Marconi too. Behind it, there's a greater influence of the 18th century classical music. The sound alternates between quiet, acoustic moments and heavier electric parts. The quality of the piano parts stands out on the album. It's a little sweet but very beautiful and sophisticated that often is compared to Osanna's work for its experimentation, although the album is actually a bit more symphonic. This is one of the best "copies" of this sub- genre, the RPI, with eight tracks, but with two long suites.

It's driven by Silvana's beautiful vocals that give a very nice feminine touch to the Italian progressive rock, which is commonly performed by strong male vocals. So, with a female vocalist, the vocals are a little different, but Silvana uses her beautiful and delicate voice very well. Besides Silvana, we have her brother Massimo that was only 14 years old when the album was released. The kid was driving a piano, a Hammond and a Moog with such excellence and familiarity that certainly leaves any renowned keyboard player to shame. Federico also gives a show on flutes making the album even more spectacular. His solos remind us of Gabriel's wonderful phase in Genesis. Marcello also stands out for beautiful drum passages and great turns. Franco made a discreet but very effective guitar work, completing the picture.

"Embrion" opens the album as an aperitif with a keyboard tour the force and shows compositional qualities, too. The song ends with organ chords. "Prima Realta/Frammentaria Rivolta" is the central piece on the album which, in fact, is two tracks floating into each other. It has gentle keyboards, lyrical flute, classically inspired piano and the beautiful singing of Silvana. In between there are always interesting Moog solos. "Il Grande Disumano/Oratorio (Chorale)/Attesa" is no less good with a festive atmosphere with keyboards and elegant piano notes, few heavier guitar passages before complex drums with the bass join. The second half becomes almost sacred with the beautiful choral vocal harmonies section. "Dimensione Da Sogno" is a pastoral piece with plenty of awesome moments and reaches its climax towards the end when the vocals get more intensive and guitar pulls of a nice solo. "Apoteosi" is different from the rest of the album. It seems to be a more jam-based fully instrumental and less heterogonous than the other tracks. It's more an atmospheric track aimed at soloing and not so strong compositionally. It's more in the psychedelic/space rock style.

Conclusion: The only album of Apoteosi offers melodic progressive rock surprisingly easily accessible of the Italian progressive rock of the 70's. The overall sound reminds me of early Premiata Forneria Marconi, yet not quite as direct. Driven by keyboards and guitar, with occasional vocals, this is quintessential progressive rock. All the right elements are there, complex musical interplay, a solid rhythm section, time changes, and so on. The romantic female singing and the symphonic keyboard entries are a real pleasure. In addition, there is magical flute playing, which rounds off this gem of the symphonic prog rock. My only complaint is that the production is a little bit thin and has too much treble. But the music itself is very good, so you should check out the album anyway. All in all, this is a recommendable album, especially for all the Italo progressive lovers and surely a pleaser to all fans of the mellow symphonic progressive rock.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Fiore di Metallo by CALIFFI, I album cover Studio Album, 1973
3.35 | 59 ratings

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Fiore di Metallo
I Califfi Rock Progressivo Italiano

Review by JohnProg

4 stars It is good to find, among all the eclecticism that is Italian progressive rock, more austere productions, without many pretensions, but no less interesting for that. Fiore di Metallo is an album with basic instrumentation, without extravagant arrangements or avant-garde interests; on the contrary, the songs vary from a certain pop romanticism, to the classic hard rock of the 70's, passing through the instrumentals "Varius" and "campane", (the latter closer to the traditions of progressive rock, perhaps more complex , but very accessible). If we add to this the fact that the songs are of a short duration, then we have a highly recommended work for those who want to start in the world of Italian progressive rock.
 Acqua Fragile by ACQUA FRAGILE album cover Studio Album, 1973
3.16 | 128 ratings

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Acqua Fragile
Acqua Fragile Rock Progressivo Italiano

Review by JohnProg

4 stars I have always thought that any Italian progressive rock album made in the classical period (1969 - 1975 approximately) is almost a must-listen - not only because of the quality of the music, but also because of the small number of albums that were made in that period. - , regardless of whether it is not a masterpiece or "an original work", as is the case with the debut of Acqua Fragile, an album that is not afraid not to hide its influences, even knowing that it can be accused of being a " clone work" (due to its slight resemblances to Genesis and Gentle Giant), a label I disagree with.

If we review carefully we will realize that almost no work is 100% original, and what we sometimes call "original" is nothing more than a development of style, which consists of building and ordering a composition - musical in this case - from different forms. In a progressive rock album we can hear elements of Jazz, classical music or traditional rock, and yet we know that we are not dealing with an album purely of the aforementioned genres. This is what every band has done from King Crimson, Genesis to any current band; develop a style - playing and experimenting - based on the musical interests of the various members of the band.

Having said all this, and knowing that Genesis and Gentle Giant were one of the leading progressive rock bands of the 70s, it seems normal to me that Acqua Fragile wanted to follow in their footsteps and add folk and Italian music scene elements to their style. Perhaps the only thing we should do is trust the quality of what we hear regardless of whether it is "original" or not.

 Donna Plautilla by BANCO DEL MUTUO SOCCORSO album cover Studio Album, 1989
2.47 | 54 ratings

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Donna Plautilla
Banco Del Mutuo Soccorso Rock Progressivo Italiano

Review by AJ Junior

4 stars Donna Plautilla is often considered one of the less essential and masterful works of Banco, but I beg to differ. The album has an interesting early 70's prog/60s psych sound that I really enjoy. The keyboard work in particular is quite exquisite on many tracks, whether it be piano, hammond, or another synth sound.

The album opens with the up-beat "Ed io Canto" which has an amazing opening riff. The vocal performance Francesco Di Giacomo. It is my personal favorite track off the album also because of the hammond in the song. The next song "Cantico" is not a particularly special acoustic piece but it is a little nice song. It probably one of my least favorite tracks off the album. However, the follow up "Piazza dell'oro (eh, eh)" is a great track off the album. The opening seconds show the piano riff with the great bass-line. In my opinion the song has a really full sound, especially with the vocals. The keyboard solo with piano and organ in the middle of the song is a really nice touch.

Mille Poesie is another highlight off the album. The slow start with the pick up, vocals, and then the guitar lick that takes it into a new section is just really great. The song includes amazing harmonies from Francesco Di Giacomo that make it even better. After Mille Posesie is "Un giorno di sole." I think it is a really Beatles-esque song that really does it for me. The piano and bass work is once again amazing. The beautiful vocals that fade out, really remind me of a late 60s psychadelic song by The Beatles or Beach Boys. Following Un giorno di sole, is Un uomo solo. An another total Beatles/Beach Boys rip off. The Beginning of the song is literally "Michelle" of Rubber Soul. Then it it goes into this harmony that resembles that off something of Pet Sounds by the Beach Boys or Rubber Soul by the Beatles. I really love it though because the added hammond makes it like a proggy version of those bands, which I already love on my own.

"Bla Bla Bla" is by far the weakest song on the album. Not because the material is nessecarily bad, but it is too repetitive of the songs off the album before it. It opens with the closing riff from "Ed io Canto" then does a slightly revamped version of "Un giorno di sole" for the rest of it's run time. It's follow-up is probably the closest thing to their earlier work. It opens opens with haunting voices and hammond chords, that lead into spectacular vocals. Then it takes a faster pace, with great piano, hammond, woodwind, and percussion. Then for about a minute the song goes into a keyboard solo that fades out, but then a short drum solo pulls the song into a jazzy little interlude that closes off the song, resembling something off of Io sono Nato Libero. The title track closer is actually very good. It has great piano and hammond riffs along with a great bass line. It is total early 70s hammond prog. Then the harmonied vocals come in in short interludes, and it's just amazing. The song continues on the same pace for a while with a short keyboard solo, then closes of the album with the main riff.

Overall I love this album and think it's a great addition to anyone who is a fan of bands like The Beatles, Focus, The Beach Boys, and Early Banco music. I think it gets too much critisicm for the amount of great tracks on here. There are only 1 or 2 bad tracks in my opinion, so if you haven't check out the album!

 Io Sono Murple by MURPLE album cover Studio Album, 1974
3.91 | 172 ratings

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Io Sono Murple
Murple Rock Progressivo Italiano

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars While the prog world of the early 1970s found many a band releasing a single album and then fading into oblivion, Italy seems to have had more than its share of one shot wonders that existed for a few years, found the opportunity to release a sole album and then disappear into the ethers at least for the next several decades until the world caught up to their artistic visions. Italy also seemed to have generated some of the best one shots whose albums today are considered classics and hold up surprisingly well after many decades after their initial release.

Such is the case of the one album IO SONO MURPLE by the band MURPLE. This band came to life in 1971 Rome as the result of two friends, bassist Mario Garbarino and percussionist Duilio Sorrenti sharing a musical passion for the up-and-coming Italian prog scene. The pals quickly recruited keyboardist Pier Carlo Zanco and guitarist / vocalist Giuseppe "Pino" Santamaria and after encountering an American friend who claimed he chatted with an invisible penguin named MURPLE, the band was so amused by it all that they adopted MURPLE as their moniker and composed a concept album around this fictions penguin who would become a mascot.

The band was known to perform with an inflatable penguin on stage during its existence from 1971 to 1973. MURPLE's solo album was recorded during this time but didn't find an actually release date until 1974 due to the pass the ball attitude of various Italian record labels. The album eventually found a home on the German label Basf which did next to nothing to promote the album thus leaving MURPLE a mere footnote in Italian prog history until the prog revival of the 1990s rediscovered long lost treasures and gave them new life with proper modern musical formats.

Much like an early version of Camel's "The Snow Goose," MURPLE was a symphonic prog band that crafted beautiful melodic compositions based on classical music and added the heft of 70s rock music. Each side of the original vinyl featured two long suites each divided into six movements. This concept album narrated the tale of a penguin named MURPLE who was bored with his everyday existence in the frigid Antarctic and decided to move to the world of humanity where he gets captured and thrown in a zoo. The tale is dictated by the musical motifs and although the lyrics are in the same mold as other Italian prog acts such as PFM and Banco, MURPLE used them sparingly and opted to use sounds as a means of storytelling.

The album features both lush symphonic soundscapes that are light and breezy as well as heavier rock passages with choppy time signature complexities however the album is more on the mellow side and although not as technically challenging as some of the Italian contemporaries, MURPLE relied more on rich sound textures, complex motifs and ambience thus putting Zanco in the spotlight for much of the album's run. Like almost all Italian prog, IO SONO MURPLE was sung in Italian but also like much Italian prog the concept of the album really doesn't matter at all with music that is this well constructed.

Like many excellent bands of the day, IO SONO MURPLE features complex strolls down prog alley with hairpin turns and exciting musical developments that oft surprise when least expected without sacrificing the overall melodic flow. All in all this album very much makes me think of what "The Snow Goose" would sound like if Camel was Italian rather than English because the musical developments and subject matter of a single bird as the star of the show is so similar. MURPLE wouldn't last beyond this release but has since reformed in the 21st century and has released two more albums decades after this album faded into obscurity. Luckily it has been saved for the rest of time which is a blessing considering how beautifully designed this intricate Italian symphonic prog sounds even by today's standards.

 De Rossi e Bordini: De Rossi e Bordini by CHERRY FIVE album cover Studio Album, 2022
3.76 | 12 ratings

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De Rossi e Bordini: De Rossi e Bordini
Cherry Five Rock Progressivo Italiano

Review by WJA-K

3 stars These two have a long history in (prog) music. Bordini has been around for more than fifty years. Notably with Rustichelli and Bordini. It's no coincidence that the two last tracks are live versions of that duo.

If you are wondering what this album sounds like, picture your favourite keyboard-heavy prog greats of the early 70s. So don't expect anything groundbreaking. But if you are looking for high quality 70's prog, then this is for you.

De Rossi plays several keyboards masterfully. Creating typical 70's soundscapes. Meanwhile, Bordini is doing some great drumming. Both first tracks have enough ebb and flow to keep you interested. They sound very pleasantly, somehow soothing.

The last two tracks prove to us that fifty years may be between the two albums, but the sound has stayed very much similar.

If you are looking to expand your collection of 70-related prog music, then this album can be a good choice. don't expect anything shocking. But it certainly is a great listen.

3 stars.

 Zarathustra by MUSEO ROSENBACH album cover Studio Album, 1973
4.32 | 951 ratings

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Zarathustra
Museo Rosenbach Rock Progressivo Italiano

Review by VianaProghead
Prog Reviewer

5 stars Review Nº 534

Everything really began when a group, initially named Inaugurazione Museo Rosenbach, was created around 1971 from the fusion of two late 60's bands from Sanremo, La Quinta Strada and Il Sistema. Their first line up included the future Celeste's member Leonardo Lagorio on sax and flute, and the future guitarist of Museo Rosenbach, Enzo Merogno.

La Quinta Strada and Il Sistema had played mostly songs by some other popular artists at the time like Jimi Hendrix and rock groups such as The Kinks, The Animals and Steppenwolf and by Rhythm & Blues stars like Otis Redding and Wilson Pickett. Somehow, towards the end of the 60's, the Sanremo's groups, La Quinta Strada and Il Sistema, were two of the first Italian rock bands to spread progressive rock in Italy, even though they had never recorded a single album.

Everytime that the name of Museo Rosenbach is pronounced, you can see a sparkle in the eyes of every European truly progressive rock fan. Their album "Zarathustra" is usually considered as one of the best examples of the genre to come from outside England. However, the band wasn't successful at the time. They were accused of right-wing inclinations for the Mussolini image in the front cover collage on an all-black background and because Nietzsche inspired the lyrics. Both things contributed to limit the diffusion of their name and their album. So, it's not strange that Museo Rosenbach had a very short life, splitting soon after their album "Zarathustra" and some good live concerts in the summer of 1973.

"Zarathustra" is, undoubtedly, one of the most impressive Italian prog rock albums ever, with an astonishing blend of hard and symphonic progressive rock. It's still a perfect example of the Italian powerful idiosyncratic musical creativity. It's not hard to understand why this is regarded as one of the main albums of the Italian prog rock. This is symphonic progressive rock with a rough edge, but without becoming too much heavy progressive. The arrangements are heavily loaded with Mellotron, organ, piano, aggressive guitar and furious drumming. Everything is amazingly played. The compositions are flawless. It's a complex album with many time changes which is something that happens all the time.

Though the music is generally dark and heavy, it still manages to remain very melodic and fluid. The traditional rock ensemble of electric guitar, bass and drums has plenty to offer, with the Mellotron and Hammond organ capable of taking on both lead and supporting roles. The continually captivating interplay is a result of wicked distorted electric guitar, varied and beautifully arranged keyboards, a versatile rhythm section and strong expressive Italian vocals. Stefano Lupo Galifi's singing is bold and passionate, elevating the rest of the music to a higher level. It all comes together in a constant tension, topped by the majestic outbursts of Mellotron, which is the main hallmark of the album.

In the original vinyl version, side A was entirely occupied by the long "Zarathustra" suite, consisting of five tracks with the duration of about twenty minutes. "L'Ultimo Uomo" is the segment that opens the album between solemn and emphatic sounds and King Crimson's solutions. Hammond, piano and Mellotron introduce "Il Re Di Ieri", the second chapter of "Zarathustra" in which Museum Rosenbach manages to blend the symphony of the early King Crimson with the darker sounds of the Italian prog. "Al Di Là Del Bene E Del Male", is a song that deepens and expands the prog demands of the band. "Superuomo" is the most changeable episode of the all "Zarathustra" suite. The fifth and final chapter, "Il Tempio Delle Clessidre", returns to the final theme of "L'Ultimo Uomo", a pompous and grand instrumental.

The three other tracks on the album maintain the same high standard. "Degli Uomini" opens the B side of the vinyl. The initial Mellotron foreshadows the violent attack by Merogno's riffs, who contend for the scene at Corradi's Hammond and Golzi's battery pyrotechnics. "Della Natura" moves to a more jazz rock territory, with Hammond, Mellotron and guitar always in evidence with the rhythmic section, with Moreno's pulsating and nervous bass to underline the frenetic drumming of Golzi and where Galifi softens the atmosphere for a few moments before the usual jazz rock assaults. The equally beautiful "Dell'Eterno Ritorno" closes the album, an eclectic prog track with the typical Mediterranean sound.

Conclusion: There are so many outstanding melodies and themes on this album that it's not without reason that "Zarathustra" is considered one of the milestones on the Italian prog rock scene in the 70's. The band dedicated itself to the powerful and rocking version of symphonic rock music, where they managed the balancing act from rough, hard rock to more intellectually shaped, complex rock with flying colours. In fact, it's almost a definitive example. Here you have the big keyboards, organ and Mellotron, a passionate and strong vocalist, a drummer who's clearly a jazzier and compositions that are both dramatic and rocking at once. Hardly any other work can develop such a harmony between hard guitar riffs and soft Mellotron carpets. Wrap it up in one of the finest covers of the era and you have a perfect package. "Zarathustra" is, undoubtedly, one of the universally recognized masterpieces of the Italian prog rock scene.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Il Tempio delle Clessidre by TEMPIO DELLE CLESSIDRE, IL album cover Studio Album, 2010
4.05 | 375 ratings

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Il Tempio delle Clessidre
Il Tempio Delle Clessidre Rock Progressivo Italiano

Review by VianaProghead
Prog Reviewer

5 stars Review Nº 531

Il Tempio Delle Clessidre is an Italian progressive rock band founded in Genoa in 2006. The band intends to express ideas and music with the typical sound of the 70's progressive rock music. Elisa Montaldo, keyboardist and composer passionate by the progressive rock and Stefano 'Lupo' Galifi, the vocalist of the album 'Zarathustra', the progressive masterpiece of the famous Italian band Museo Rosenbach met in Genoa in 2006 and gave life to the project, which takes the evocative name 'Il Tempio Delle Clessidre', the final piece of the suite 'Zarathustra', then revised in meaning and concept. The band performs the entire album 'Zarathustra' live, so that Galifi's voice can return to the audience with its original strength and its typical blues nuance. The band begins to work on new ideas for their own compositions. The study, improvisation and sound research are crucial elements for the birth of their eponymous debut work from 2010.

So, 'Il Tempio Delle Clessidre' is the debut studio album of Il Tempio Delle Clessidre that was released in 2010. The line up on 'Il Tempio Delle Clessidre' is Stefano 'Lupo' Galifi (lead vocals), Giulio Canepa (guitars), Elisa Montaldo (vocals, piano, organ, keyboards and concertina), Fabio Gremo (bass guitar) and Paolo Tixi (drums). The album had also the participation of Antonio Fantinuoli (cello) and Max Manfredi (narration).

On 'Il Tempio Celle Clessidre' the compositions are tightly organized and strike the right balance between the melody and the complexity, without a second wasted and with enough changes of pace to make the most demanding prog fan happy. Although the singing is strongly emphasized, there is also a lot of room for the instrumentalists to display their considerable chops. Indeed, the pristine sound quality allows each of the musicians' performances to shine, and captures every nuance of Galifi's seasoned vocal delivery, honed in years of fronting blues-rock bands, while the melodic bent tempers the intensity of the lyrics and the esoteric symbolism of the cover art and booklet of the album.

'Verso L'Alba' is an instrumental track, relatively short that immediately sets the high standard of the music. It sets the scene with the deep, Gothic sound of the organ. It immediately sounded to me as a fine Italian prog album of the 70's. 'Insolita Parte Di Me' is a piece with a lot of rhythm changes, alternating quieter passages with more dramatic ones, dominated keyboards. It's amazing how they manage to achieve the complexity of prog without sacrificing the melody. 'Boccadasse' is a more conventionally structured song with a great diversity. The instrumental parts are followed by the melodic vocal parts with beautiful melodies, catchy chorus and a beautiful melodic guitar solo. The end is great too. 'Le Due Met' Della Notte' is a splendid keyboard showcase that combines melody and intensity. It slowly builds featuring the piano, vocals and a rhythm section, to the full bombastic splendor of the best symphonic prog in its finale. 'La Stanza Nascosta' is a ballad largely acoustic in its nature. It's a very beautiful and delicate track with a lot of classical influences. The piano and the stunning vocals conjure a melancholic and meditative atmosphere. It's superb. 'Danza Esoterica Di Datura' features a varied array of sound images, abetted from a Shakespeare's extract of Macbeth recited by Elisa. It develops into a great prog track with great keyboard melodies combined with very complex rhythms. 'Faldistorium' is full of rhythm and wonderful parts full of keyboard strings. The story is spoken by guest Manfredi, reciting a short text in an emphatic, melodic yet slightly ominous, reinforced by the closing strains of a church organ. 'L'Attesa' is an up-tempo track, a rich and energetic keyboard fest. It's very much in the vein of classic Italian heavy prog acts of the 70's. It has jazzy bass, Hammond organ, Mellotron strings, romantic piano and the great voice of Galifi. 'Il Centro Sottile' is a solemnly melodic track where all the instruments strive to create a lush texture with romantic and classical piano parts, beautiful vocal lines, melodic guitar work always supported by tasteful keyboards. To complete, the fairground and firework sounds on the finale and can add emotionality to the listener. It's simply amazing. 'Antidoto Mentale' closes the album with the leading role for Galifi. This includes lots of vintage keyboards played pleasantly too.

Conclusion: Il Tempio Delle Clessidre deserves to be hailed by their debut. Blending the warmth and melodic flair of the Mediterranean musical tradition with the driving energy of rock and the artistic ambition of prog, the band released one of the best albums to have come out of Italy. While taking their cue from the prog music produced in the 70's the band manages to sound fresh and up-to-date, and not a mere exercise of nostalgia. Il Tempio Delle Clessidre delivered quite an achievement with an album that they can be very proud of. A flawlessly performed, lovingly presented effort, Il Tempio delle Clessidre will surely bring a lot of listening pleasure to the many fans of the Italian progressive rock style. It's highly recommended for people who enjoy the music of the 70's made by Genesis, Yes, Camel, Emerson, Lake & Palmer, Premiata Forneria Marconi, Banco Del Mutuo Soccorso and Le Orme. You should definitely invest in this band.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Il Manuale dei Piccoli Discorsi by DISTILLERIE DI MALTO album cover Studio Album, 2001
3.65 | 28 ratings

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Il Manuale dei Piccoli Discorsi
Distillerie di Malto Rock Progressivo Italiano

Review by andrea
Prog Reviewer

3 stars Distillerie di Malto took shape in 1988 in Ortona, in the province of Chieti. After a long period spent playing covers, composing and honing their skills, in 2001 the band finally managed to self-release an interesting debut album entitled "Il manuale dei piccoli discorsi" (The handbook of the little speeches) with a line up featuring Fabrizio Pellicciaro (vocals, electric and acoustic guitar, recorder), Fabiano Cudazzo (keyboards), Marco Angelone (electric and nylon-string guitar), Maurizio Di Tollo (drums, percussion, vocals) and Salvatore Marchesano (bass) plus the guest Luca Latini (flute). It's a labour of love, largely influenced by seventies sounds but not without a touch of originality. The art cover, that in some way tries to depict the musical content, reproduces a famous tableau by René Magritte, "La condition humaine", 1933, one of the painter's earliest treatments of the theme of window painting and of painting within a painting...

The opener "Allegro con brio" starts with a dramatic crescendo that leads to a more dynamic part and ends with a short vocal part sung in English that conjures up the image of a young woman sitting on the legs of a stranger, still waiting to find the right man... Then comes the long, complex "Phoebus" that every now and again could recall Genesis and Gentle Giant. It's sung in English and tells in music and words the dark story of a dwarf that kills for vengeance and runs away but, in my opinion, this track is heavily penalised by vocals that here are not completely up to the task...

The dreamy atmospheres of the instrumental "Melodia di fine autunno" (Melody of late autumn) lead to the reflective "Aria e vento" (Air and wind), an intricate piece that, as you can guess from the subtitle, is about the doubts you can experience when confronted with the disclosure of your own anxieties. Confess or not confess you sins? Can you trust other people and open your heart feeling a sense of freedom or is it better keeping your secrets well locked up in a tower without windows nor walls? Sometimes it's a hard choice and maybe you'd better take it easy and follow your fate... This time the vocals are in Italian and succeed in delivering a strong emotional impact.

The last track, "5/5/1555", is a suite that recalls Banco del Mutuo Soccorso and is divided into three parts. It stages an imaginary dialogue, set on May 5, 1955, between the duke of Parma and his son about the combined marriage with the daughter of the king of France. The young man is in love with another girl, but the father tries to push him to take a decision with his brain and not with his heart. The first part is subtitled "Mattina" (Morning) and here we can listen to the duke telling his son to bury his bravery and to keep quiet his pride. The son is bewildered, confused, he can't think... The second part is subtitled "Pomeriggio" (Afternoon) and is completely instrumental, it's up to the your imagination figuring out the troubles of the young man who has to choose between love and power... The third part is subtitled "Sera" (Evening) and it's where the son makes up his mind: although he cries for a while, his love slowly fades away in the name of the reason of the state...

On the whole, a good album that deserves a try!

 Sensitività by COSCIENZA DI ZENO, LA album cover Studio Album, 2013
3.98 | 200 ratings

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Sensitività
La Coscienza Di Zeno Rock Progressivo Italiano

Review by andrea
Prog Reviewer

5 stars "Sensitività" is the second album by La Coscienza di Zeno and was released in 2013 on the independent Altrock - Fading Records label with a renewed line up featuring Alessio Calandriello (vocals), Gabriele Guidi Colombi (bass), Andrea Orlando (drums, percussion), Stefano Agnini (synthesizers), Davide Serpico (guitars) and Luca Scherani (piano, synth, Mellotron, accordion, bouzuki) plus the guests Joanne Roan (flute), Sylvia Trabucco (violin), Melissa Del Lucchese (cello) and Rossano Villa (Mellotron). The musical palette is extremely rich and refined, inspired by seventies sounds but not stuck in the past. The overall atmosphere is a bit dark, as you can guess from the art cover by Paolo "Ske" Botta and the images that you find in the booklet...

The title of the opener "La città di Dite" (The city of Dite) refers to an imaginary infernal city described by Dante Alighieri in his Divine Comedy. According to the sommo poeta, Dite is the place where the heretics, buried in red-hot stone graves, pay for their sins. Here the music and words deal with the inner hell of the protagonist. The piece starts by a dramatic piano solo intro then the other instruments come in as the vocalist plays the role of a disturbed man, one who fears climbing the slippery stairs that lead from the heart to the brain. If you fall from that damned staircase you'll land with your broken spine where the devil's tail lies...

The long, complex, "Sensitività" (Sensitivity), is an amazing track that evokes in music and words the effort of transmuting and sublimating the energy of a person in an inner alchemy to improve the ability to feel, to have sensations, to perceive stimuli through the senses with the aim of finding the way towards truth and self-consciousness. Here the lyrics are like brush strokes of colour quoting holy scriptures and philosophical works, literature and obscure, esoteric rites focused on the reaffirmation of the human connection with the supernatural world...

Then comes the ethereal, melancholic "Tenue" (Tenuous). There are no liner notes to explain the lyrics of this track but they seem to be inspired by the life of Valentina Vladimirovna Tereshkova, Russian astronaut known for being the first and youngest woman in space, having flown a solo mission on the Vostok 6 on 16 June 1963. Later in her life she got involved in her country political life, when there was not much left of the Red Russia and its application of real socialism. The dreams and ideals of the old Soviet Union turn to ashes on the sounds of distant radio frequencies, fading away like memories soon destined for oblivion...

The following "Chiusa 1915" evokes a beautiful, dizzying landscape and memories of war soaring from the woods. This beautiful piece is about the construction of the Val Gardena Railway or Klausen-Plan, a narrow gauge railway operating in the Dolomites. It was constructed during the first World War, when the region was part of the Austro-Hungarian Empire. The works begun in September 1915 and the line was completed and opened on 6 February 1916, thanks to the conscripted labour of some 6,000 Russian prisoners of war, here depicted as sad living shadows pushed by the steam of a crazy gear. The railway was 32.5 km long and was the highest line operated by the Italian Railways with a summit of 1,595m above sea level. It closed on 28 May 1960 and now a long section between Santa Cristina Val Gardena and Ortisei is a beautiful public footpath, the Val Gardena Railway Trail...

Then it's the turn of "Tensegrità" (Tensegrity), a reflection about child abuse and the way the monsters of childhood contribute to shape a mature person with the floating compression of his emotions and feelings. This piece ends with an invocation to Hecate, a goddess in ancient Greek religion and mythology with domains in sky, earth, and sea that is variously associated with crossroads, entrance-ways, night, light, magic, witchcraft and more. The protagonist, to have his real nature revealed prays the goddess to take him with her in a long journey across the three worlds...

The title of the following "Pauvre Misère" refers to a 1953 song by French singer-songwriter Georges Brassens evoking the situation of agricultural workers and small landowners who toil on small farms and go on, modestly, without complaint. Here the music and lyrics update the concept and draw a bleak tableau of urban desolation conjuring up the image of a country that devours his inhabitants, a city full of lights and fake smiles where a poor man, an underclass worker, can only look at the show of consumerism. The face of Che Guevara printed on the tight tee-shirt of a young woman, stretched under her bosom, becomes the symbol of a faded revolution turning into something else...

The long, complex "La temperanza" (The temperance) ends the album and refers to the fourteenth trump or Major Arcana card in most traditional Tarot decks. Temperance is usually depicted as a winged angel pouring liquid from one cup into another to represent the dilution of wine with water, a symbol of moderation. Here the music and the hermetic lyrics draw disquieting images where you can find obscure symbolism and floating memories to describe the fragments of a life spent with too much moderation and without enthusiasm...

On the whole, and excellent work that grows spin after spin!

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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
BUTTERFLY SYSTEM Italy
CAGE Italy
I CALIFFI Italy
CALLIOPE Italy
CAMERA ASTRALIS Italy
JURI CAMISASCA Italy
CAMPO DI MARTE Italy
CANTINA SOCIALE Italy
CAPITOLO 6 Italy
CAPRICORN COLLEGE Italy
CAPSICUM RED Italy
ENZO CAPUANO Italy
CARPINETA Italy
IL CASTELLO DELLE UOVA Italy
IL CASTELLO DI ATLANTE Italy
CAVALLI COCCHI.LANZETTI.ROVERSI Italy
CELESTE Italy
IL CERCHIO D'ORO Italy
CERVELLO Italy
CHERRY FIVE Italy
CHIAVE DI VOLTA Italy
CHRISTADORO Italy
LUCIANO CILIO Italy
THE CINEMA SHOW Italy
CIRCLE OF FAIRIES Italy
CITTÀ FRONTALE Italy
CIVICO 23 Italy
CLEPSYDRA Italy
I COCAI Italy
ROBERTO COLOMBO Italy
CONDOR Italy
CONQUEROR Italy
CONSORZIO ACQUA POTABILE Italy
MICHELE CONTA Italy
CONTRAPPUNTO Italy
CONTROTEMPO Italy
COOPERATIVA DEL LATTE Italy
CORAL CAVES Italy
CORMORANO Italy
CORPORESANO Italy
EMANUELE CORREANI Italy
CORTE AULICA Italy
CORTE DEI MIRACOLI Italy
LA COSCIENZA DI ZENO Italy
MARIO COTTARELLI Italy
COURT Italy
CRYSTALS Italy
LA CURVA DI LESMO Italy
GINO D'ELISO Italy
GIANNI D'ERRICO Italy
DALLAGLIO Italy
DALTON Italy
DE DE LIND Italy
DELIRIUM Italy
MAURIZIO DI TOLLO Italy
I DIK DIK Italy
DISEQUAZIONE Italy
DISTILLERIE DI MALTO Italy
DIVAE Italy
LA DOTTRINA DEGLI OPPOSTI Italy
DUEMILA12 Italy
ECFONETICA Italy
ECLISSE Italy
EDERA Italy
EDGAR ALLAN POE Italy
EGO Italy
EGONON Italy
ELISIR D'AMBROSIA Italy
EMPIRE Italy
ENEIDE Italy
ENIMA Italy
ENTITY Italy
EPISCOPIO VISTARAMA Italy
EQUIPE 84 Italy
ERA DI ACQUARIO Italy
ERIS PLUVIA Italy
ERRATA CORRIGE Italy
L' ESTATE DI SAN MARTINO Italy
EURASIA Italy
EUTHYMIA Italy
EXPLOIT Italy
LA FABBRICA DELL'ASSOLUTO Italy
FABIO CELI E GLI INFERMIERI Italy
FALENA Italy
IL FEDELISSIMO BRACCO BRANCO Italy
FEM PROG BAND / FORZA ELETTROMOTRICE Italy
FESTA MOBILE Italy
FILARMONICA MUNICIPALE LACRISI Italy
FILORITMIA Italy
FINISTERRE Italy
FLEA Italy
FLOATING STATE Italy
RICCARDO FOGLI Italy
FOGLIE DI VETRO Italy
FONETICA Italy
FORMULA 3 Italy
THE FORTY DAYS Italy
FOSCHIA Italy
FABIO FRIZZI Italy
CLAUDIO FUCCI Italy
FUFLUNS Italy
STEFANO LUPO GALIFI Italy
GAN EDEN - IL GIARDINO DELLE DELIZIE Italy
GARYBALDI Italy
GENCO PURO & CO. Italy
THE GENERATION Italy
GENFUOCO Italy
GERMINALE Italy
FRANCO MARIA GIANNINI Italy
GIARDINI D'AUTUNNO Italy
I GIGANTI Italy
GIGI PASCAL E LA POP COMPAGNIA MECCANICA Italy
IL GIRO STRANO Italy
GLEEMEN Italy
GOBLIN Italy
GOBLIN REBIRTH Italy
GRAN TURISMO VELOCE Italy
GREENWALL Italy
GRIMALKIN Italy
GRUPPO 2001 Italy
GRUPPO AUTONOMO SUONATORI Italy
GUERCIA Italy
H2O Italy
HOPO Italy
HORA PRIMA Italy
HORUS Italy
HÖSTSONATEN Italy
HUMANA PROG Italy
HUNKA MUNKA Italy
I GIULLARI DI CORTE Italy
IANVA Italy
IBIS Italy
IL BUCO DEL BACO Italy
IL PORTO DI VENERE Italy
IL TESTAMENTO DEGLI ARCADI Italy
INGRANAGGI DELLA VALLE Italy
ISPROJECT Italy
J.E.T. Italy
JACULA Italy
JANUS Italy
JESTER'S JOKE Italy
JET LAG Italy
JUMBO Italy
JUS PRIMAE NOCTIS Italy
KALISANTROPE Italy
KUNDALINI SHAKTI DEVI Italy
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
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