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ROCK PROGRESSIVO ITALIANO

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

Rock Progressivo Italiano definition

aka "RPI"


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


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

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


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

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

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


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

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

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

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

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

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


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

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

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

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

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


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

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

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

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

For the Mick.
29 July 2009



Current RPI Team
Todd
Aussie-Byrd-Brother (Michael)
rdtprog (Louis)




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 | 1469 ratings
PER UN AMICO
Premiata Forneria Marconi (PFM)
4.36 | 1173 ratings
STORIA DI UN MINUTO
Premiata Forneria Marconi (PFM)
4.36 | 994 ratings
DARWIN!
Banco Del Mutuo Soccorso
4.37 | 920 ratings
IO SONO NATO LIBERO
Banco Del Mutuo Soccorso
4.29 | 746 ratings
ZARATHUSTRA
Museo Rosenbach
4.28 | 767 ratings
BANCO DEL MUTUO SOCCORSO
Banco Del Mutuo Soccorso
4.26 | 570 ratings
ARBEIT MACHT FREI
Area
4.23 | 819 ratings
FELONA E SORONA
Orme, Le
4.23 | 749 ratings
L'ISOLA DI NIENTE
Premiata Forneria Marconi (PFM)
4.23 | 503 ratings
YS
Balletto di Bronzo, Il
4.22 | 607 ratings
UOMO DI PEZZA
Orme, Le
4.25 | 395 ratings
MAXOPHONE
Maxophone
4.24 | 353 ratings
PALEPOLI
Osanna
4.22 | 312 ratings
CRAC !
Area
4.22 | 279 ratings
DISCESA AGL'INFERI D'UN GIOVANE AMANTE
Bacio Della Medusa, Il
4.20 | 289 ratings
L' ENIGMA DELLA VITA
Logos
4.17 | 277 ratings
CONTAMINAZIONE
Rovescio Della Medaglia, Il
4.18 | 245 ratings
CELESTE [AKA: PRINCIPE DI UN GIORNO]
Celeste
4.14 | 333 ratings
LA CRUDELTÀ DI APRILE
Unreal City
4.21 | 176 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

ODISSEA
Odissea
TERRA IN BOCCA
Giganti, I
PROFONDO ROSSO [AKA: DEEP RED] (OST)
Goblin
IL NOME DEL VENTO
Delirium

Latest Rock Progressivo Italiano Music Reviews


 In Hoc Signo by INGRANAGGI DELLA VALLE album cover Studio Album, 2013
4.05 | 230 ratings

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In Hoc Signo
Ingranaggi della Valle Rock Progressivo Italiano

Review by FragileKings
Prog Reviewer

4 stars I probably have more fingers than I have Italian prog rock albums. But that doesn't mean I don't like what I have. One reason why I don't have more is simply that I fear that once I tap into RPI, I may well set myself up for yet even further spending of obscene amounts of money on buying albums. The day may yet come, however. Wallet, watch out!

Well, I may not have many albums and so my opinion of Ingranaggi della Valle's "In Hoc Signo" is by no means based on an extensive background of Italian prog. However, I am familiar with some of the most important classics as well as some more modern material, and I can honestly say that this album here really treads solidly in the line of the classic era of Italian prog. This is a very seventies-sounding album, complete with organ solos, rock guitar, violin, jazzy rhythms, and songs of unpredictable turns and time signature twists. Ingranaggi della Valle has taken all the best lessons in the RPI text books and masterfully created their own classic sound album for the year 2013.

One thing that can always win me over is some pretty hard rocking guitar sound in a non-hard rock context. The early seventies was good for that: organ and hard rock guitar doing a pas de deux to jazz influenced rhythms and drumming. This album so wonderfully revives that sound and style of writing and performing. Add violin as a key instrument and thoughts may go to Premiata Forneria Marconi classic works. There may be more lurking among those serpentine guitar solos and rolling organ keys. "Fuga da Amman" brings to mind some Allan Holdsworth and Bill Bruford in places; "Via Egnatia" draws me back to early seventies Pink Floyd; and the intro to "Jangala Mem" reminds me of classic Saga. "Masqat" really encapsulates that seventies jazz fusion instrumental prog jam style. But then again, much of the album does.

I can only say that to my ears, the music of this album is exquisitely written and performed, a very wonderful blend of classic seventies Italian prog and late seventies jazz fusion. It's definitely worth a four-star rating and I'd not hesitate to suggest a five-star rating to anyone who really adores Italian prog.

 Four Of A Kind by GOBLIN album cover Studio Album, 2015
3.85 | 39 ratings

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Four Of A Kind
Goblin Rock Progressivo Italiano

Review by Matti
Prog Reviewer

4 stars Goblin is among the great Italian classic prog bands from the seventies, and perhaps the greatest of the instrumentally oriented ones. Often they have made music for films, especially for Italian horror flicks. In recent years there have been more than one Goblin-related line-ups around, but I'm not going into those details here. Former review of Kev Rowland already speculates also about the slight uncertainty on the band name (Goblin or 4Goblin?) I'll put all that rather frustrating mess aside and try to share my reception on this album alone. My Goblin listening history isn't very big: I have the classic non-soundtrack album Roller (1976) and the recent live double disc by Goblin Rebirth.

Four of a Kind saw a re-release this year from Black Widow, and it contains 'Goblin' (Recorded Live in Austin, April 29, 2014) as a bonus track. By the way, I threw the four miniature playing cards away as totally valueless to me... OK, onto the music, which is completely instrumental. The strong and intensive opener 'Uneven Times', featuring the guest appearance of saxophonist Antonio Marangolo, adjusts the level very high. This is truly the same group (give or take one member) that recorded all those classic albums in the 70's. The sound is tight, clear and extremely dynamic. Especially a large variety of synthesizers are used a lot. There certainly are no weak links in this seasoned quartet of keyboardist, guitarist, bassist and drummer. More or less each track is graced with sonic richness and emotional power. Personally, I'm very pleased to hear prog music that is "powerful" without being metal-ish. It does approach "heaviness" here and there, but quite free of Heavy/Metal mannerism. For example the electric guitar completely avoids the metal edginess.

The entire album is pretty even and strong, which means it's not so easy to spot clear highlights. 'Dark Blue(s)' sticks out stylistically, being bluesy, but I'm not convinced by the Gothic male choir addition. 'Love & Hate' contains the most delicate moments, without losing any of the dynamics. '008' that ends the studio album is probably my least fave, and it's not bad at all. Tszirmay's theory of the title referring to the next secret agent after James Bond is right on the spot without any doubt.

The 12-minute live version of 'Goblin' (originally from Roller) is a nice extra, a reminder of how tight this group is also on stage. Five stars wouldn't be totally out of question for this release, but in the end it may be too "even" (in the lack of a better word) for being a timeless masterpiece. But yes, if you're a fan of Goblin, you simply have to have this album.

 Frammenti Notturni by UNREAL CITY album cover Studio Album, 2017
3.95 | 76 ratings

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Frammenti Notturni
Unreal City Rock Progressivo Italiano

Review by omphaloskepsis

5 stars 93/100 At first I thought "Fammenti Notturni" translated to " Night Families". However Francesca Zanetta (Unreal City's guitarist) corrected my faux pas and provided an explanation for the title Fammenti Notturni,

"Night Fragments. This is not a concept album, so there not a common theme for the entire album but every song is a sort of fleeting glimpse whose object is the darkness, the nocturnal darkness which lives in men, relationships, societies and cities."

Dark shadows abound down the wet unlit backstreets of Unreal City. Unreal City must have made a deal with the devil to deliver this beauty. Hope it's a 10 album deal. Unreal City pushed previous boundaries, evolved, and basically did what all great prog bands do. They moved on. Unwilling to sit upon their laurels, Unreal City progressed, delved far, deep and wide, fermenting into a fine vintage wine.

"Fammenti Notturni finds Unreal City charting virgin territory while retaining the signature sound which originally attracted me to Unreal City's world. "One for all and all for one" rings pure and drives the Unreal City train. The musician set an Italian table of delights for lead vocalist Emanuele Tarasconi passionate romantic vocals. Eamanuele also contributes piano, synth, Mellotron, clavinet, theremin, acoustatic guitar. Dario Pessina bass and backing vocals are as crucial to the Unreal City sound as the Mike Mill's bass and harmonies to REM'.

I wish I could describe "Frammenti Notturni" as well as Progachive Collaborator "Aussie-Byrd-Brother's" prose poem review of "Frammenti Notturni" fleshes out each section with razor sharp incites revealing vivid cathedral aural frescos plastered across the album that is "Frmmenti Notturni". I'll stick to my stick figure cave drawn review. I recommend you peruse Aussie-Byrd-Brothers most illuminating resplendent descriptions, historical background, and insightful observations on Unreal City and "Fammenti Notturni."

It was the best of times, it was the worst of times. In the best of times we find ourselves smack dab in the middle of a golden era of modern prog. Admit it! We're living thru a glorious prog revival! For sure the subgenre of RPI is experiencing a lovely renaissance. Led by three bands of youngsters... Unreal City, Ingranaggi Della Valle, and IL Tempio Delle Clessidre. Three ambitious Italian bands like Jason and the Argonauts before them, slay the hydra, fleece the golden fleece and tame the three headed hell hound of Hades, as Cyerbus nuzzles Persephone's pomegranate cheeks and lips. Inspired, Pluto's concubine composes epic poetry and the members of Unreal City snatch out of the ether. It's magic! "Fammenti Notturni" bubbles and boils melodic riffs, proggy woodpecker reincarnated into powerful percussion , snappy bass basted in velvety vestal vocal sause. So happy to taste the newest addition to mega talented RPI bands leading the electric charge into a breathtaking Italian renaissance Shangri-La .

Someday, many years from now, music critics will point to this vintage Italian revival and Unreal City as the "good old days." On a more personal note, my wife and I are obsessive RPI buffs. Guided by progachive reviews, we've purchased over 70 RPI albums in the last 8 years. I may not be an expert, however fancy myself as a RPI connoisseur, I can claim with confidence the Italian renaissance is upon us. Enjoy it while you can! Smoke 'em while you got 'em!

Since the postman delivered my copy of "Fammenti Notturni" I've spun the vinyl at least 15 times. It's a rare prog album I immediately liked and yet "Fammenti Notturni" grows on me too. Like all primo prog albums, each listen reveals secret treaties, deeper depth, hidden jewels, shivers down the spine, and "Ah-ha" epiphanies missed the first time around.

I rank "Fammenti Notturni" as Unreal Cities 2nd best album, barely behind their debut Masterpiece- "La Crudelta Di Arprile" However, all three Unreal City albums weave intricate dazzling tapestries threading the needle, splintering the sweet spot, mysterious luxurious keyboards, juicy yet eclectic drumming of Marco Garbin. Marco adds tone and groovy flourishes that surprise and make me smile. Francesca Zanetta's guitar licks adorn songs beauteously without overpowering the core composition and I got to say- Francesca is my new mellotron muse! Emanuele Tarasconi's vocals are romantically divine and to die for. The members of Unreal City are an aural stream of consciousness that seeps, runs, finally rapidly bursts into brooks and silvery streams feeding a riotous river of red wine and honey. Speaking of red wine music...

I'm tempted to splurge on a bottles of deep dry red vintage Italian vinos, when immersing myself into "Fammenti Notturni". Pardon my boldness but may I take the liberty to recommend 5 delicious Italian Vino Rossos corresponding to "Fammenti Notturni's" 5 compositions? In order: Barolo, Barbaresco, Amarone, Gattinara, and Brunello.

Women? My wife and other women friends find themselves swooning into Francesca's licks and Unreal City's melodic, hypnotic romanticism. Not something you see often in prog circles.

In my opinion "Fammenti Notturni" = Best RPI album of 2017 ...so far! Don't be surprised if Unreal City continues to top themselves album after album after album. 5 out of 5 spicy, wooden, oaken vintage Italian Profundo Rosso Vinos. Essential addition to Italian Prog Collectors!

 I Paralumi Della Ragione by ASTROLABIO / ELETTROSMOG album cover Studio Album, 2017
3.82 | 25 ratings

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I Paralumi Della Ragione
Astrolabio / Elettrosmog Rock Progressivo Italiano

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

4 stars Out of the ashes of Italian group Elettrosmog, Astrolabio rose and delivered a superb debut album `L'Isolamento dei Numeri Pari' back in 2014, and one of the unexpected highlights of Italian prog of that year it turned out to be. Next up here is album number two, 2017's `I Paralumi della Ragione' (The Shades of Reason), and it sees the band delivering another fine work that is as full of colour, variety and unexpected direction changes (and loopy humour!) as the debut, performed with great vest and infectious energy by a talented group of younger (well, not far from their Forties!) musicians. The band cheekily describe themselves as `Rock Degressivo Italiano' which means that, although they still retain some of the pure RPI characteristics, they strip their music back to tuneful basics and avoid too much of the grandiose classical elements, stuffy theatrical vocals, production polish and overwhelming instrumental showboating, instead carefully implementing those finer Italian Prog flavours in more restrained and subtle ways throughout their eclectic and unpredictable sounds!

Fleeting little opening introduction `Dormiveglia #1 (Black)' teases the listener that they might be in for a pretty and pastoral prog album full of the lovely symphonic acoustics of Premiata Forneria Marconi (P.F.M for the muggles!), but it's instantly blasted by `Nuovo Evo's slinking electronics over Michele Antonelli's twisting gruff guitars and Alessandro Pontone's rambunctious drumming that almost has more in common with Van der Graaf Generator. The track manages to fit in nasty dirty grooves and a lightly catchy chorus, and guitarist Michele's voice jumps between gutsy toughness, raspy lip-smacking purring and whooping glee.

Carefully deranged, lightly playful and peppered with little flares of danger, `Una Cosa' drifts in and out of dream-like electric piano tiptoes between boisterous vocal outbursts and Massimo Babbi's aggressive spacey keyboard wig-outs, and the flute floats between placid airiness and huffing wildness. It slinks right into `Pubblico Impiego', loaded with plenty of grooving Hammond organ, a throat-shredding raw vocal and subtly heavier guitars laced with a snarling, slightly `off' tone, and the extended instrumental flute-driven break in the middle is sublime whilst still retaining an eerie unease.

One of the standout moments of the disc, the pristine and genuine `Arte(Fatto)' instantly impresses with its peaceful acoustic guitars and a thoughtful, softly melancholic lead vocal. Massimo's delicate piano is teeming with life constantly throughout, and it even reminds of some of the early folky and fragile Pink Floyd pieces that had standout soloing from Rick Wright. Ultimately, the piece displays a great maturity and keen ear for subtlety and poise. In comparison, and perhaps a reaction to sounding so `grown-up' at this point, `Otto Oche Ottuse' is likely to divide some listeners, being something of a comical throwaway flute-driven piece that's quite cheerful and silly! But it will no doubt be embraced by drunken fans at Astrolabio's live shows with its sing-along chanting - never accuse the band of being predictable!

There's endless foot-tapping chugging grooves throughout `La Casa Di Davide', powered by scratchy heavier guitar riffing, pounding drums and Michele's malevolent crooning, but the track also coasts into dark psychedelic territory tickled with Hammond organ. Overall it's a showcase for Paolo Iemmi's melodically murmuring and relentless thick bass that retains just a touch of aggression to its grumbling tone, and it's sure to be a favourite track for listeners! Subtle mystery and delicate build permeate `Sui Muri', the band throwing in everything from quivering electronics, a touch of Tool to the granite-like heavy guitar riffing up and down, a dignified defiant vocal and sparkling piano, and the piece even leaps into bouncing up-tempo Yes-like jubilance! The album culminates in a reprise of the opening intro, `Dormiveglia #2 (Bird)', a final acoustic guitar and flute meditation to close out the disc.

Some parts are more successful than others, and perhaps older listeners may not appreciate the frequently heavier guitars, but the kind of fractured, somewhat baffling approach here is no doubt everything Astrolabio wants and gets a kick out of, destroying any preconceived ideas of what an Italian prog band should sound like. That attitude helps make `I Paralumi della Ragione' another strong effort from this underappreciated Italian band, one that straddles the line between a more youthful energy and burgeoning maturity, making it very exciting to see what they come up with next.

Four stars - well done again, Astrolabio!

 Anto/Logicamente by AREA album cover Boxset/Compilation, 1977
3.04 | 5 ratings

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Anto/Logicamente
Area Rock Progressivo Italiano

Review by Neu!mann
Prog Reviewer

3 stars The earliest compilation from Italy's weirdest band collects a random half-dozen tracks off their first (and best) four albums, released between 1973 and 1976. According to the CD booklet (which I haven't seen: my copy is a library download) the selections were meant to follow the odder angles in an already obtuse musical geometry, in retrospect an easy task with this group of virtuoso misfits.

One thing is certain: the music isn't Rock Progressivo Italiano, despite the heading on their page in these Archives. This is pure, unadulterated Avant-Prog of a sort to strike a familiar chord in any Zappaholic, midway between the funny bone and the solar plexus: an incredibly busy and often bizarre mix of jazz/rock/what-the-fck fusion, featuring a lead vocalist whose demented mock-operatic warbling was a unique instrument all by itself.

Area at its creative peak was a challenging band, to say the least, and lots of fun when heard the right way: with both ears bent into pretzel-shaped knots. But the constraints of a vinyl didn't allow room for anything more than a limited, lopsided view of their music, in this case making it sound even more obscure than it actually is. And with the exception of the 1974 B-side "Citazione da George L. Jackson" - a short atonal improvisation played over spoken text - there isn't any unfamiliar music here.

Consider it instead a sonic litmus test for adventurous newcomers: if you can safely navigate this quick, 40-minute sampler by all means tackle the full albums. There are only four of them from this time-frame, each one fairly short and all essential.

So: three stars, for beginners only. Otherwise the collection is aimed at completists who can't live without hearing the one (somewhat disposable) non-LP track.

 Palepolitana by OSANNA album cover Studio Album, 2015
3.49 | 72 ratings

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Palepolitana
Osanna Rock Progressivo Italiano

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

3 stars While Italian progressive rock band OSANNA was one of the hottest tickets on the Rock Progressivo Italiano (RPI) scene in the early 70s, the band pretty much fizzled out after their landmark masterpiece "Palepoli" unleashed in 1973 which after its release band infighting and musical interests ripped them apart. After a couple less than perfect albums that followed they called it quits, however lead singer Lino Vairetti has been trying mostly in vain to resurrect the band's original lineup ever since with a couple of lackluster albums in the early 21st century under the OSANNA name with different lineups. It took me by surprise that a good 42 years after the release of their most celebrated album "Palepoli" that Vairetti would put together a totally new lineup under the OSANNA moniker and not only release an album of new material but include a second disc which is a completely new recording of their 1973 classic. Cleverly titled PALEPOLITANA, this new album is clearly making references to those glory days in the hopes of reviving interest if not a bonafide rekindling of the past. While OSANNA in their heyday never consisted of more than five band members, this new era of the band consists of six official band members with an additional five guest vocalists and musicians including David Jackson of Van Der Graaf Generator on sax and flute.

Needless to say, i have never been a fan of albums such as "Landscape Of Life" and "Suddance" as they were very much downers after the progressive rock brilliance of "Palepoli" which has weaseled its way into my top 100 album list of all time (if listening time counts for these things.) So awaiting a new OSANNA album has never really been on my radar as i count them as down and out and nothing, absolutely nothing could ever rekindle the magic afoot on the first three albums which culminated on their third. And just as i predicted, after all the expectations that just maybe the unthinkable be true, turns out was just a false alarm. That's not to say PALEPOLITANA isn't a worthy effort by any means but certainly not the return to past glories that propelled them to the top of Italy's prog scene. Like the albums of the old days, all lyrics are sung in Italian just like a good Italian prog album should be. In fact i swear that Italians have immortal vocal chords because Vairetti sounds like he hasn't lost one little iota of his vocal prowess over the four decades since OSANNA was at their peak.

Disc One consists of the album PALEPOLITANA and despite a slow symphonic start that gave me a gut wrenching fear that the album was recorded in a nursing home somewhere outside of Naples complete with aging groupies to pick up any dentures that may have been spit out in the making of the album, i soon realized that in many ways Vairetti still has his magic mojo as one track after another churns out rather well polished addictive melodies completely frosted with Neapolitan folk hooks, heavy rock embellishments and gutsy sax and harmonica solos that harken to the good old days for the band. In fact, musically speaking, PALEPOLITANA is the best thing that has been put out under the OSANNA name SINCE "Palepoli." The disc is a varied one with a preponderance of Italian folk fueled rockers like "Santa Lucia," tender ballads such as "Anni Di Piombo" and more progressive hard rocking numbers such as the title track that is the one that most reminds me of past greatness. Perhaps the most out of character track on the entire disc is the super sappy "Canzone Amara" which is a duet between Vairetti and Sophya Baccini which makes me think of a winner of Italy's version of American Idol or even worse yet the worst of American AOR from the 80s.

Disc Two is a completely reworked and recorded version of "Palepoli." Ugh, i dreaded listening to this one. I mean, i can understand re-recording an album that you got wrong in the past but why in the world would you want to mar your magnum opus? Granted they tagged this on more as a bonus disc rather than an album itself but still?. WHY?!!!! Ok, after the shock and awe of knowing one of my favorite albums was about to be "updated" and presumably "perfected," i took a deep breath and then i pushed play. OK. It starts out similar. The notes seem to be all the same. The band really can keep up with the demanding frenetic workouts that this album contains BUT?. it's not the same of course. First of all, I DID NOT WANT a remake of "Palepoli." I DID WANT a remastering though. The differences are stark despite the band's best attempts to remain as faithful to the original as possible. While Vairetti absolutely nails his vocal parts to a T showing him to be a singer of the utmost caliber, the main problem is that this version lacks the crazy freneticism and spontaneity that the original displayed in full force. This new version sounds way too polished and the production is far too slick for its own good with subtle atmospheric embellishments creeping in and castrated guitar licks where once hyperactive jittery freak outs once existed. I should be clear that this is beautifully done. If this was the very first time i ever heard this, i'd give it four stars as it blows away almost anything of recent memory in compositional prowess. However, this is not the very first time and this version just doesn't hold a candle to the original as it is far too calculated and a "light" version of the past glory.

Overall, i'm conflicted about PALEPOLITANA. While my initial listen left me cold and i shelved it for over a year before i tackled it again, i have to say that a few more listens has left me with a warmer reception of it. I'm talking about the new tracks. The remake of "Palepoli" still rubs me the wrong way but i listened to it again for the sake of this review and while very well performed, seems by the numbers and lacks the fiery passion of the original. The main problem i have with PALEPOLITANA is not that it doesn't contain twelve beautifully crafted tracks that are catchy and well performed, it's more that OSANNA has always been a progressive rock band in my book and the progressive part is what's really on low flame on this one. This is more of a catchy pop rock type of album designed for some commercial crossover potential. While i'm not against that kind of music in any way, it has left me a little underwhelmed in this case simply because of the rekindled connections to the band's most prized contribution to the prog rock world. While i'm not sorry that i sought this out and have placed it in my collection, i at the same time can only consider this a very good supplemental album to my RPI collection and not essential in any way.

 La Fabbrica Delle Nuvole by MAXOPHONE album cover Studio Album, 2017
3.68 | 25 ratings

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La Fabbrica Delle Nuvole
Maxophone Rock Progressivo Italiano

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

4 stars There used to be something of a running joke that Italy was home to a ton of doomed vintage prog bands that delivered one single album in their prime active years and then promptly vanished, leaving it their sole legacy. That rule has been somewhat shattered over the last few years as a ton of Italian groups have reunited and delivered long-belated follow-ups - yes, the likes of Museo Rosenbach, Murple, even Cherry Five and countless others - and now it's Maxophone's turn! Although `La Fabbrica delle Nuvole' doesn't often sound like their much-loved self-titled 1975 debut and only singer Alberto Ravasini and keyboardist Sergio Lattuada remain from the original line-up (although utilising the same talented new musicians that performed on their 2014 `Live in Tokyo' release), it's a varied and lavish assortment of rock pieces grafted to fancy classical-flavoured symphonic pomp that remains melodic and approachable without being overly simple.

Unpredictable and cool rocker `Un Ciclone sul Pacifico' opens the LP around teases of orchestration and cool slinking grooves from electric piano, with heavier punchy bursts kicking in and out around slick backing harmonies, and Alberto Ravasini's voice has remained in fine raspy and charismatic form (with all the vocals performed in Italian, no two versions including English offered this time around, thank you very much!). `Perdo il Colore Blu' is book-ended with twisting/turning up-tempo sprints, and there's a light jazziness to the Hammond organ and cheerful swagger of the piece with brief rollicking PFM-like trilling synth runs, and `Il Passo delle Ore', one of the loveliest tunes of the album, is a gentler romantic moment with a catchy clever chorus, soft violin and crisp electric guitar themes.

The title track `La Fabbrica delle Nuvole' is the first big `wow' moment of the disc, a fully-instrumental crossover of whimsical keyboard prettiness, light jazz-fusion guitar grooves and colourful symphonic themes (Marco Croci's slinking thick bass is a real highlight here too) all in under six minutes, and in parts it doesn't sound unlike Italian discs of the last few years like Progenesi's `Ulisse l'Alfiere Nero', Moogg's `Italian Luxury Style' or the last F.E.M album `Sulla Bolla di Sapone'. Folk aromas permeate intricate rocker `La Luna e la Lepre' with a dancing Baroque fanciness of madrigal-flavoured Gryphon and Gentle Giant-like sophistication and whimsy, plenty of ravishing acoustic guitars and intricate multi-part group harmonies, and dreamy synths, silken acoustic guitars and ruminative sax throughout the tasteful and classy `Estate '41' could almost have hailed from a Steve Hackett solo disc.

`Nel Fiume dei Giorni i Tuoi Capelli' is busily schizophrenic for a track that doesn't even run four minutes, bouncing through everything from dream-like careful soft rock with elegant violin and sparkling electric piano tiptoes to delicate folk and frantic contorting guitar races, ultimately sounding closer to something like the modern version of Swedish symphonic proggers Kaipa. Those baroque and chamber prog flavours pop up again throughout `Il Matto e l'Aquilone' thanks to warm folk-flecked acoustic guitars and prancing violin whilst alternating back and forth with snappy jazz-fusion turns and infectious keyboard-driven symphonic prog sprints, and `Le Parole Che non vi Ho Detto' is a short and giddy violin/piano closer.

While it can't possibly live up to the status that the popular 1975 debut enjoys, `La Fabbrica delle Nuvole's strength lies in the fact that it's a real grower that impresses more and more with every listen. It's an eclectic, colourful and tastefully performed comeback with plenty to recommend about it, and another example that no country delivers better and more rewarding modern prog albums from older acts than Italy. Lovers of Maxophone and Italian prog fans in general should end up having a terrific time with this unexpectedly vital, highly surprising and greatly inspired work.

Four stars.

 Frammenti Notturni by UNREAL CITY album cover Studio Album, 2017
3.95 | 76 ratings

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Frammenti Notturni
Unreal City Rock Progressivo Italiano

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

5 stars RPI band Unreal City made an instant splash in modern progressive rock circles when their debut `La Crudeltà Di Aprile' arrived back in 2013, an energetic and confident first work given a profile boost by the backing of modern Italian prog icon Fabio Zuffanti. The young and talented-beyond-their-years group followed it up two years later with the possibly even superior `Il Paese del Tramonto', and a further two on from that brings us to the crucial third album, `Frammenti Notturi'. It's wonderful to discover that it maintains the exact same quality of their first two discs, as well as frequently introducing a new and fresh approach that ensures the band confirms they have plenty of fiery inspiration and ideas left to be realised in the future!

`Frammenti Notturi' may hold plenty of the usual Unreal City characteristics - doomed symphonic and romantic moods blasted with constant instrumental flights-of-fancy delivered with a youthful zest - check! But this time, the band have frequently given their music a heavier grunt as well as a wickedly addictive dirtier (and more dangerous!) instrumental backing, they've placed a lot of prominence on the addition of violin in the first half to further acknowledge their vintage Italian prog heritage, they've incorporated some subtle and unexpected electronics, and they've even dialled back on the more overly swooning catchier vocal moments of the first two discs. But most importantly, `Frammenti Notturi' also proves to be their most grandiose and often equally (and very importantly) subtle and richly detailed artistic musical statement to date, even more evidence of their growing maturity and surety as a group.

Of the five pieces on offer, the band open with the five-part suite `La Grande Festa In Maschera', and a boisterous, aggressive and tasty behemoth it is, with three of the core founding line-up, joined by new drummer Marco Garbin, battering through a range of loopy and high-energy instrumental symphonic themes. But this time around, there's plenty of distortion and wilder noise throughout to a heavier guitar approach and jazzier touches, and guest violinist Matteo Bertani is given free reign to weave through the bluster and stormy attack with searing feeling. The standouts are Dario Pessina's upfront thick bass bouncing with ferocious purpose around Marco's versatile and peppy drumming, Francesca Zanetta's maddening King Crimson-like guitar splinters and vocalist Emanuele Tarasconi's jagged piano stabbings, and his fuzzed-up noisy Fender Rhodes-like soloing in the climax gives the Italian Canterbury sound band The Winstons a run for their money! Play this piece loud, and especially listen out for the deeply sexy distortion rumbles that start at about the 9:55 mark!

`Le Luci delle Case (Spente)' is dramatic and...even a little playful! Francesca's guitars melt into erupting molten electric distortion and slick electric piano glistenings have the piece taking on a seductive heavy groove early on, and Emanuele's charismatic voice purrs with charm and roars with chest-beating pride in the finale. In it's upbeat jovial moments with rollicking synths and scratchy violin, the track actually almost embraces a fancier and whimsical quality that may remind some listeners of seminal Italian prog band Premiata Forneria Marconi (PFM).

The shortest piece at just under six minutes, `Barricate' is perhaps the closest to a `traditional' lovingly melancholic and romantic Unreal City tune, but teasing a low-key jazzy buoyancy from electric piano tiptoes. It then proceeds to gently introduce spacey fizzing electronics and diverts into an aggressive solo spot in the middle highlighted by supremely dirty Hammond organ and grumbling bass, and the ringing guitar shimmers sound like they've wandered off a modern Marillion album. The stuttering bass stabs, whirring keyboards and snappy drumming of horror tale `Il Nido delle Succubi' suggest the musical approach of Unreal City's current touring friends, fellow young Italian band Kalisantrope, might be rubbing off on them, but the piece eventually comes to resemble a captivating spectral pantomime laced with prancing harpsichord, ghostly Mellotron choirs and eclectic Steve Hackett/Genesis-flavoured regal synths.

But what a closer `Arrivi all'Aurora' turns out to be...where in some moments on the earlier discs the band have giddily raced off into delirious extended keyboard soloing and busy instrumental interplay at many opportunities, here they strip things back for a sombre and elegant piano-driven ballad that eventually takes flight into joyful skies. Emanuele's weary voice moves between wounded romance and eerie treated moments, and the more slower-paced, restrained soloing from the whole band in the second half shows great poise and genuine emotion, making this finale come across as a very important piece in the continuing development of the group.

`Frammenti Notturi' is everything a third album should be - not a band merely coasting on past successes, but taking their recognisable sound and fusing it with dynamic new ideas as well as only beginning to hint at possible new directions and fresh sounds to be explored on albums to come. It's also admirable that the group, despite their much-loved status in the current Italian Prog community, have defiantly refused to not only streamline their music into overtly melodic and catchier shorter pieces to try and lure in more commercial audiences, but resisted the urge to sing in English, and if anything, this disc seems designed to appeal much more to long-term fans of the group than newcomers (who might be better off checking out the previous two albums to start off with).

This is classic Italian symphonic music given a proudly `pure prog' bombastic approach with a modern sensibility delivered by an impeccably skilled young band in Unreal City, who've not only released their third exceptional disc in a row, but have absolutely delivered one of the standout Italian prog works of 2017 that will be greatly loved by their fans.

Five stars.

 Elegie d'Inverno by CONTRAPPUNTO album cover Studio Album, 2004
2.72 | 13 ratings

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Elegie d'Inverno
Contrappunto Rock Progressivo Italiano

Review by proghaven

5 stars Not prog, not neo-classical, not avant garde, not new age. Or on the contrary, if you prefer, neo-classical plus avant garde plus new age... but still minus prog sensu stricto. This unusual and charming album is partially influenced by Banco ...Di Terra (there are some obvious thematic parallels in Vivaci Acrobazie), though the 1978 Banco's orchestral album is full of dynamics, while Elegie d'Inverno sounds slightly weird and more or less slowed down, captivated, bewitched if you like, especially La Nebbia. And, unlike Banco ...Di Terra, this 'post- Contrappunto' album is played not by band plus orchestra but by small orchestra or, more precisely, chamber ensemble as a band. I think those who classify Elegie d'Inverno as modern chamber music are completely right. Surprisingly, some psychedelic tunes can be heard in the second half of La Nebbia, and being performed by chamber ensemble they sound quite piquantly. Surely the album stands by itself, and gives a reason as to say that it does not belong to prog music at all, so to contend that it widens the idea of prog music.
 Il Giusto Equilibrio by PANTHER & C album cover Studio Album, 2017
3.98 | 31 ratings

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Il Giusto Equilibrio
Panther & C Rock Progressivo Italiano

Review by CeeJayGee

4 stars This is a delightful album. The band Panther & C is new to me and I must search out their debut album L'epoca Di Un Altro... released in 2014 as I am mightily impressed by their 2017 release Il Giusto Equilibrio. The album has five tracks with three over 10 minutes long and the other two just under five minutes long. What struck me most on listening to the album was the long and strongly melodic instrumentals, reminiscent of early Genesis. There are also some lovely guitar solos that reminded me of Steve Rothery at his best. There are vocals but they are used sparingly. I have been listening to the album on repeat for some time and recommend anyone to give it a try. I rate it a strong four stars.
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Rock Progressivo Italiano bands/artists list

Bands/Artists Country
A PIEDI NUDI Italy
ABISSI INFINITI Italy
ABSENTHIA Italy
ACQUA FRAGILE Italy
AD MAIORA Italy
ADHARMA Italy
AINUR Italy
AKRON Italy
L' ALBERO DEL VELENO Italy
ALGEBRA Italy
ALESSANDRO ALISCIONI Italy
ALLEGRI LEPROTTI Italy
GLI ALLUMINOGENI Italy
ALPHATAURUS Italy
ALTARE THOTEMICO Italy
ALUSA FALLAX Italy
AMMINISTRAZIONE CAOS POPOLARE Italy
ANACONDIA Italy
ANCESTRY Italy
THE ANCIENT VEIL Italy
ANTONIUS REX Italy
GLI APOSTHOLI Italy
APOTEOSI Italy
APRYL Italy
ARCHITRAVE INDIPENDENTE Italy
AREA Italy
ARIES Italy
ARJUNA Italy
ARMONITE Italy
ARPIA Italy
ARS NOVA (ITA) Italy
ASSEMBLEA MUSICALE TEATRALE Italy
ASSENZIO Italy
ASTROLABIO / ELETTROSMOG Italy
ATON'S Italy
ATTO IV Italy
AUDIO Italy
AURORA LUNARE Italy
AVALON LEGEND 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
BARABBA Italy
MARIO BARBAJA 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
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
CIRCLE OF FAIRIES Italy
CITTÀ FRONTALE Italy
CIVICO 23 Italy
CLEPSYDRA Italy
I COCAI Italy
ROBERTO COLOMBO Italy
CONDOR Italy
CONQUEROR Italy
CONSORZIO ACQUA POTABILE Italy
CONTRAPPUNTO Italy
CONTROTEMPO Italy
COOPERATIVA DEL LATTE Italy
CORAL CAVES Italy
CORMORANO Italy
EMANUELE CORREANI Italy
CORTE AULICA Italy
CORTE DEI MIRACOLI Italy
LA COSCIENZA DI ZENO Italy
MARIO COTTARELLI Italy
COURT Italy
CRYSTALS Italy
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
DISTILLERIE DI MALTO Italy
DIVAE Italy
DUEMILA12 Italy
ECLISSE Italy
EDERA Italy
EDGAR ALLAN POE Italy
EGO Italy
EGONON Italy
EMPIRE Italy
ENEIDE Italy
ENIMA Italy
ENTITY Italy
EQUIPE 84 Italy
ERA DI ACQUARIO Italy
ERIS PLUVIA Italy
ERRATA CORRIGE Italy
L' ESTATE DI SAN MARTINO Italy
EUTHYMIA Italy
EXPLOIT Italy
LA FABBRICA DELL'ASSOLUTO Italy
FABIO CELI E GLI INFERMIERI Italy
FALENA Italy
FEM PROG BAND Italy
FESTA MOBILE Italy
FILARMONICA MUNICIPALE LACRISI Italy
FILORITMIA Italy
FINISTERRE Italy
FLEA Italy
FLOATING STATE Italy
RICCARDO FOGLI Italy
FOGLIE DI VETRO Italy
FONETICA Italy
FORMULA 3 Italy
FABIO FRIZZI Italy
CLAUDIO FUCCI Italy
FUFLUNS Italy
GAN EDEN - IL GIARDINO DELLE DELIZIE Italy
GARYBALDI Italy
GENCO PURO & CO. 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
IL FAUNO DI MARMO / THE REBUS Italy
INGRANAGGI DELLA VALLE Italy
J.E.T. Italy
JACULA Italy
JANUS Italy
JESTER'S JOKE Italy
JET LAG Italy
JUMBO Italy
KALISANTROPE Italy
KUNDALINI SHAKTI DEVI 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
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
MESSAGGIO 73 Italy
METAMORFOSI Italy
MINDFLOWER Italy
MINSTREL Italy
MIRAGE Italy
MO.DO. Italy
MÖBIUS PROJECT 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
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