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)
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
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Rock Progressivo Italiano overlooked and obscure gems albums
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VIETATO AI MINORI DI 18 ANNI ?Jumbo |
POABlocco Mentale |
DEDICATO A FRAZZSemiramis |
GLI OCCHI DI UN BAMBINOTorquati, Toto |
Latest Rock Progressivo Italiano Music Reviews
Il Fauno di Marmo / The Rebus Rock Progressivo Italiano
Review by
b_olariu
Prog Reviewer
Il Fauno Di Marmo an italian heavy prog band founded in 2001, initialy they were named The Rebus
but chanced in Il Fauno di Marmo in 2012. The Rebus released 2 little known albums Homonymous in
2002 and Acroterius in 2005, both good but gone under the radar in prog circles.In 2012 they changed their name into Il Fauno Di Marmo after making a deal with the Italian label Andromeda Relix. Currently the line-up consists of Francesco Bonavita (keyboards), Alberto Ballare (bass), Luca Sterle (vocals, flute), Luca Carboni (drums) and Valerio Collella (guitars).
Il Fauno di Marmo released so far a single album in 2013 named canti, raconti e battaglei. Well, I like lot this one, this type of heavy prog I can listen every day, mellotron, hammond all over, bands like Delirium, Abiogenesi or A Piedi Nudi are certenly similar, Ossana is another influence. Nice vocals, nice flute, all musicians shine from start to finish
The opening piece Benvenuti Al Circe is a great up-tempo prog rock track lots of a Hammond organ, emotionally sung lyrics by Luca Sterle and second voice Frederique Sterle, and with lots of tempo changes and a nice violin solo. Madre Nature is a short but nice folk rock song in the vein of Jethro Tull. There is also an instrumental Nova Res, who is quite intresting, the longest Hop Frog is killer, 11 min of Biglietto per L'Inferno meets P.F.M. but all done in Il Fauno di Marmo style nice flute and sophisticated hammond.
All in all, more then great release, at least for me, excellent art work aswell, one of the most intristing heavy prog albums I've heared in last years from italian school, still little known in prog circles, even the album was released 5 years ago. 4 stars for sure.
Quella Vecchia Locanda Rock Progressivo Italiano
Review by
siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams
QUELLA VECCHIA LOCANDA (That Old Inn in English) emerged at the height of the Italian prog boom in the early 70s, released only two
gems of the genre and then sadly disbanded but in their brief yet productive career they released not only their stunning masterpiece
of a self-titled debut but a second classic in the form of IL TEMPO DELLA GIOIA (The Age Of Joy). In the two years since the debut there
had been a significant lineup change that steered the band's sound in a new direction. Violinist Donald Lax was replaced by Claudio
Filice and bassist Massimo Giorgi (from the band Il Ritratto di Dorian Gray) took over for Romualdo Coletta. The debut album gained
the band a prominent role in the Italian prog scene and in the two year gap they caught the attention of RCA records which meant a
stealthier production job for their sophomore release.One of the most startling differences between QUELLA VECCHIA LOCANDA's debut and IL TEMPO DELLA GIOIA is the absence of the madman violinist Donald Lax who was one of the key components of the debut. In his stead, the more relaxed Claudio Filice is quite subdued and the band follows suit making album number two a much mellower romp through the prog universe with longer tracks that develop into intricate parts but eschew the frenetic youthful energy that permeated the eponymous debut. Another distinct feature of IL TEMPO is that is includes the guest sax player Rodolfo Bianchi who adds some rather jazzy touches strewn about although never taking center stage. There are also some beautiful choral moments.
At its core QUELLA VECCHIA LOCANDA's general musical approach centers around complex classically driven piano and keyboard parts that break into heavy rock enthusiasm less often than album #1. As mentioned Claudio Filice doesn't compete in the sheer madman approach of Lax and even on tracks like "Un Giorno, Un Amico" where he lets loose, he still sounds quite inhibited which ultimately affected the entire band's performance. While this may sound like a bad thing, it's a testament to how the members of the band were a cohesive unit and worked together within the confines of every member making IL TEMPO DELLA GIOIA, which makes it a true GIOA (Joy) to listen to. Each of the five compositions has a distinct identity and offers each musical instrument to have a day in the sunlight.
While initially i was disappointed by the approach of QUELLA VECCHIA LOCANDA's mellow second album since it clearly makes less of an impact, there is no doubt that this is the same band with the same compositional approach of beautifully designed symphonic Italian prog of the era. While the sheer intensity of the debut has been dampened, the focus has shifted to more melodic driven symphonic touches and instrumental interchange. Once again the members play tightly constructed pieces that flow together perfectly. This album is almost exclusively instrumental with only occasional dynamic vocals from founding member Giorgio Giorgi whose vocal prowess matches any of the operatic greats of the day. Despite playing second best to their debut, IL TEMPO DELLA GIOIA is still an excellent slice of early 70s Italian prog not to be missed.
I Leoni Rock Progressivo Italiano
Review by
Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team
So in your RPI/Italian prog collection you've got your Banco's, your PFM's, your Osanna's, maybe
you've even looked into your more obscure yet still highly regarded De De Lind's, your Cervello's
and your Apoteosi's, but still you crave more? How about taking a walk down more unknown paths
into literally...a forest! Led by keyboardist/vocalist Carlo Riccardi, Italian trio I Leoni were a little
known act from Tortona who only delivered a scant few singles and this gentle little 1971 debut in
their brief career, and like the first albums of many of the later legendary RPI acts that crossed the
line between R&B, Sixties Beat-pop and psychedelic ditties, `La Foresta' favours melodic vocal
tunes instead of lengthy soloing, but it still offers adventurous instrumental interludes here and
there woven in.Looking at some of the highlights, pin-drop piano tendrils, softly whirring synths and gently pattering drums hover behind opener `L'Alba's sighing melancholic lead vocal and stark spoken word climax. Ruminative flute, trickles of organ and delicate bass murmurings drift through the next dreamy ballad `Il Rinoceronte', and murkier interlude `Jena Ridens' (the first piece to really suggest a weightier, more intriguing album) lurks with stalking drum rattles and grotty organ drones, a snarling loopy vocal briefly taking the piece almost closer to a Syd Barrett/early Floyd feel.
The same careful daring continues into the exotic `Lo Stregone' where manic percussion rumbles, ethnic raga strains and tribal chanting weaves around possessed spoken word rantings reminding of both I Raminghi and even extreme RPI occultists Jacula! The first side then concludes with a beautifully sung glorious popper `L'Incendio' to lift the mood again. Flip-side instrumental `Le Scimmie' jangles with guitar funkiness over sprightly huffing flute and cool bass slitherings, `Le Giraffe' bristles with Beatles-esque pop grooves (and dig that very cool runaway jazzy instrumental race in the final minute!), the sauntering `Sesso' is mellow and a touch bluesy, and closing tasteful instrumental `Il Tramonto' blissfully lifts into comforting heavens.
Despite expanding with a guitarist after this release and diving into plenty of live concert activity, the group folded by '73, which makes this sole long-player from them all the more precious. Not an album to ever be confused with being a true RPI classic, but damned if `La Foresta' isn't pretty, warmly charming and deceptively daring in just the right moments. It's also an addictive LP that keeps bringing you back for more listens, and one that RPI listeners wanting to expand their collection with underappreciated and little known gems should keep an eye out for.
Three and a half stars.
Il Fedelissimo Bracco Branco Rock Progressivo Italiano
Review by
andrea
Prog Reviewer
Il Fedelissimo Bracco Branco came to life in 2013 in Motta di Livenza, a small town near Treviso, when Guido Morossi
(drums) and Loris Ceccato (bass) teamed up with Federico Panighel (accordion, keyboards, lead vocals) to play original
compositions inspired by classic and progressive rock. In 2014 guitarist Stefano Crovato joined them and, after a good
live activity on the local scene, in 2017 the band self-released an excellent debut album entitled Appunti di navigazione
(Navigation notes), a conceptual work dedicated to the sea. In my opinion it's an excellent work, fresh and rich in ideas.
The use of accordion and the theatrical vocals give a particular touch of colour to pieces where vintage echoes are
perfectly blended with more modern sounds while the packaging and booklet are enhanced by Erika De Pieri's
wonderful paintings that in some way convey the musical content through visual art. Strong melodies against the tides,
timeless adventurers sailing free across unknown seas dreaming of new discoveries and promised lands? Are you
ready to set off? The brilliant opener "Levate l'ancora" (Weigh anchor) introduces the subject matter: here the lyrics are loosely based on the Dialogue between Christopher Columbus and Peter Gutierrez from the Small Moral Works by Italian poet and philosopher Giacomo Leopardi while the music evokes open seas and the longing for adventure and freedom... "Just as we care nothing for many benefits as soon as we possess them; so sailors cherish and value, very greatly, numerous things that are far from being good, simply because they are deprived of them... Once on terra firma, the mere consciousness of being free to go where we please will suffice to make us happy for several days..." (Giacomo Leopardi, translated by Charles Edwardes).
The music and words of the following "La zattera nel fosso" (The raft in the ditch) tell about the desire of adventure of a child who looks at the ships leaving a seaport for unknown destinations: he dreams to leave behind him the misery and boredom of his present life becoming a sailor like in a Stevenson's novel... "Soon the anchor was short up; soon it was hanging dripping at the bows; soon the sails began to draw, and the land and shipping to flit by on either side; and before I could lie down to snatch an hour of slumber the Hispaniola had begun her voyage to the Isle of Treasure...". Just a short quote from the novel Treasure Island to give you an idea of what this track is about!
"Nella tana del mostro" (In the monster's lair) is about the desperate fighting of the seamen against stormy weather and raging waves. Heavy electric guitar riffs and bold voices against the wind... You can hear here lightning, fire, the black fury of the sea but most of all the strength to fight together as a team to survive, to overcome every adversity...
"Scegliendo la rotta" (Choosing the course) depicts the tension and doubts of a brave captain who has to make up his mind about the course to follow, defying his destiny and that of his crew. The captain prefers to risk his life rather than to go back with empty hands... Beware men, this is the final rush! Now the wind is with us, have faith!
The melancholic "La ballata dell'arruolamento forzato" (Ballad of the forced enlistment) depicts the feelings of a sailor who was caught by the press-gang and forced to serve on warship, a vessel called Surprise. Every day he thinks of his lost sweetheart and family and hopes to go back home as soon as the war is over. Unfortunately, a cannonball takes his life before that day...
The evocative instrumental "I pescatori dei banchi" (The fishermen of the banks) begins softly with a delicate piano solo pattern, then heavy guitars and the rhythm section come in... There are many changes in mood and atmosphere but result in my opinion is amazing. It's a perfect soundtrack for a fishing adventure on an exotic, dangerous sea...
The theatrical "Il ponte bagnato di sangue" (The bloody deck) depicts in music and words the failed attempt to capture a pirate ship. The narrator is the captain of a Navy vessel that is sure to beat his enemy. After a long hunt he sees the ship of the famous pirate Roger Spitfire... He can hear the bold, careless singing of the pirates. You can't put in chains wolves like those and stop their wish for freedom...
"Spartisci il bottino" (Share the loot) is a lively, beautiful instrumental piece that recalls the scores of the Italian films of the seventies called poliziotteschi. It leads to the dramatic "Sophie", a caustic love song that depicts the feelings of a man still in love for a bad girl who cheated on him and stole his money. The trauma changed his life and transformed him into a cruel pirate. But he still longs for her...
"Lo scontro finale" (The final clash) is full of positive energy and depicts the moment of the discovery of a new world: it's the moment when the land appears on the horizon, slowly materializing through the fog. Beyond the unknown there's always a new world for the brave but doubts are endless and a new discovery can never satisfy an adventurer...
The closer "L'incrociatore" (The cruiser) is another beautiful instrumental track where aggressive riffs and calmer passages alternate giving a sense of dreamy adventure... On the booklet the picture chosen to describe this piece portrays a child with a toy war ship and a tiny soldier in his hands...
On the whole, I think that this is really an excellent album, one of my favourites in 2017!
L' Albero Del Veleno Rock Progressivo Italiano
Review by Lewa
Sparse post horror release missing suspension and darkness. The good things about this are the vintage keyboards, the flute and the viola. The keyboards especially evoke a Gobin-like atmosphere without being too cheesy. The bass is quite prominent and worth a listen. I like the overall sound of the instruments.
On the other side, the album plots along rather politely for a "horror" release. The atmosphere is mellow, soft, relaxed and in parts even ambient. Of course, some listeners may like this. Just be warned that there is no suspension here. All tracks are pretty much one tempo, one volume and one level of excitement throughout. Maybe sometimes it could be called slighty eerie. (But to be honest it seems like a stretch to me.)
A thing that should be mentioned, is the very high level of repetition. I am an avid Zeuhl and (Post)Minimalism / Totalism fan and therefore not inherently against repetition. However, here, phrases are repeated to death. It seems pointless most of the time, as repetitions are not used for suspension or to get the songs somewhere. In my opinion, Clotho could have been made three minutes shorter by cutting out repeated phrases and it would still be pretty much the same song. The repetitions give this a post rock/post metal like feel - it is post horror, if you will and listeners might appreciate it for this. A post horror approach is quite unique, as far as I know.
Another thing on this album, is that the band seems to be keen on a " one instrument after the other" approach. It seems like an exercise in 'now the keyboards play, and now it is the viola's turn after that, now the keyboards play again, now the flute plays for one minute...". If we are very lucky, maybe the bass might be allowed in at the same time as one of those instruments. I am exaggerating a tiny bit, but the music here is definitely sparse. Of course, this might be a plus for listeners who like their music not to be very busy. (To better decide if this might be for you, you should know that I personally quite like the concept of every instrument soloing at the same time. The Mars Volta, Koenjihyakkei and a lot of Free Jazz are just the right level of busy for me. So might look at this from a slightly extreme standpoint.)
To summarise: They shaped post horror and the instruments sound great. It is a bit unique, but also a bit frustrating because of missing suspension, too many repetitions, compositional simplicity and general politeness. Still definitely a band to watch out for.
Antonius Rex Rock Progressivo Italiano
Review by TenYearsAfter
This is one of the weirdest Italian progrock albums from the Seventies I have heard (1979). The prime mover is
Antonio Bartoccetti (guitar, bass, vocals), his almost hallucinating compositions are based upon seances and the
cooperation of a medium! Female singer Fiamma Dello Spirito (also flute and violin) sounds like a nice witch,
keyboardplayer acts like the alter ego of Christopher Lee with his chilling church organ sound and medium Franz
Parthenzy seems to come straight from hell. If you like horror and progrock and you want to sublimate some
satanic urges, this CD could be a deadly serious experience!Antonius Rex is the pseudonym for the adventurous and wayward guitarplayer/singer Antonio Bartoccetti. He started his carreer with the fascinating musical project Jacula, a group musicians that was led by Antonio and Doris Norton (aka Fiamma Dallo Spirito). In 1969 they released the debut LP entitled In Cauda Semper Stat Venenum, in 1972 followed by Tardo Pede In Magiam Versus featuring dark prog with majestic church organ work (blended with ominous female vocals, very special, to say the least! Two years later Antonio and Doris kept on making music as Antonius Rex. In between they released a serie of studio-albums, Ralefun from 1979 is considered as their best from that era.
The music is very alternating, from dreamy and psychedelic to atmospheric and powerful rock. The strong point in their music is de colouring with flute, guitar and keyboards.
A heavy church organ sound and then a tight rhythm in the previously unreleased bonustrack Proxima Luna.
Dreamy with warm vocals and flute in Agonia Per Un Amore.
Powerful rock with fiery guitar and Jethro Tull-like flute in Witch Dance,
Minimoog synthesizer runs and sensitive guitar in Magic Sadness.
And atmospheric with flute and keyboards in the long but a bit unstructured Enchanted Wood.
An interesting project, but I prefer the more captivating and adventurous Jacula.
My rating: 3,5 star.
P.s.: If you like more dark prog, see my social comment here, with a review about Italian prog band L'Impero Delle Ombre (not on PA).
Banco Del Mutuo Soccorso Rock Progressivo Italiano
Review by opmanso
In March 2014, I went to Milan for a meeting. I stayed there for four days. In the same street of the hotel where I was
staying there was a record store. So, I went there many times late in the afternoon, after work. You know how people
say "When in Rome..." so I decided it was time to finally get to know some of the famous italian prog rock. I learned in
the Internet about Banco del Mutuo Soccorso and Premiata Forneria Marconi being the two most popular bands of
the genre. In the shop, I found several records from these bands but I could only buy one of each. Since I couldn't
remember which albums were regarded as best, I decided based on the covers and titles of albums.In the end, I came out of that store with «Per un Amico» by PFM and «Banco» by Banco del Mutuo Soccorso. I thought «Banco» was their first album because often debut albums are self-titled. The date on the back cover didn't help because it is written "2006" and I thought that should be a reissue from an early seventies record. Only later I discovered that I have chosen a 1983 album and one from the weakest period of the band.
It's very hard to review this album because to be prepared to write a revier one should listen carefully to an album as many times as possible and in different occasions. I must admit this is an album I've listened only 3 or 4 times since I bought it in March 2014. It's not an album I want to play to anyone. It's not an album I want to go back. Sometimes, after not listening to it for many months I start thinking: "well, maybe it is not so bad". Then, I give it another try and the conclusion is always the same: this album is one of the worst I have ever listened to.
Everything is bad: songs are uninspired, production is awful. I know a lot of people like Francesco Di Giacomo powerful operatic voice (and I respect their opinions) but that is not the case with me. His voice reminds me too much of Demis Roussos (Aphrodite's Child). Trying really hard, I can pick a not-so-bad song: «Moby Dick». Most of the rest is hard to get over. «Lontano Da» and «Velocità» are absolutely ridiculous.
Later I discovered the album «Io Sono Nato Libero» and was able to somehow reconcile with this band but I must say that back in March 2014 the disappointment with this album was highly compensated by the discovery of the beautiful «Per un Amico» by Premiata Forneria Marconi.
Buon Vecchio Charlie Rock Progressivo Italiano
Review by
GruvanDahlman
Collaborator Heavy Prog Team
Short and sweet. That is the best summary I can muster of this album. Three tracks and a mere 33 minutes in total it is the bare
essentials and sports no filler, no unnecessary stuff. It is simply pure prog bliss. Keyboard heavy in nature one do think of the
classic ELP, not only regarding setting but also the classical elements within the music. The opener, for example, uses "In the
hall of the mountain king" to great effect and really rocks the living daylights out of it. Wonder what Grieg would have said but I
don't care. I love it. The saxophone solo is great aswell. The short track (?), "Evviva la contea di lane", starts off gently with guitar and drums before a wonderful organ hits the stage. Flute and vocals bringing early King Crimson to mind. The track is beautiful and gentle, which is welcome after the frantic opener. Then there's the majestic last track, "All'Uomo Che Raccoglie I Cartoni", a five part suite lasting 15 minutes. Now, this is brilliance. In a nutshell. It ranges from highly melodic and gentle to frantic and nigh on avant garde at times, with classical guitar, jazzy interludes and hard rocking fury. Oh, my goodness. This track is to die for.
33 minutes can be a lifetime but in the case of Buon Vecchio Charlie's sole album it is like closing your eyes for a minute and then opening them again. 33 minutes passes like a moment in time, too fast. But that is really a compliment. That means you had a really great time and I swear I had. Raw and rough but highly accomplished and deliciously executed this is classic and unmissable RPI.
Quarto Vuoto Rock Progressivo Italiano
Review by
Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team
Back in 2014, young Italian band Quarto Vuoto released a short self-titled half-hour debut in the
bold symphonic sound of the Seventies RPI legends, and the lovingly retro-flavoured album
embraced the same flavours as classic Italian prog legends Quella Vecchia Locanda due to the
way the music was dominated by elegant violin. The fairly small number of RPI fans who heard the
EP felt it was very special, but that it only hinted at the potential that the band could show if they
delivered a full-length work. Well, three years later we have that proper follow-up, and it's likely to
be perceived as quite a controversial release, sure to either disappoint or very much excite,
depending on which way you look at it and/or your history with the band.Right from the start of the new CD, it's pretty clear that `Illusioni', and the band themselves, are no longer your `Dad's Prog'. Mostly gone are the retro flavours, the overt soloing and pretty much any connection to the Italian prog masters of old, and it's probably no coincidence to find that the first album's vocalist/violinist Federico Lorenzon has departed in the years since that debut. The remaining players have opted to carry on in an instrumental form, and 2017's `Illusioni' is a distinctly modern sounding mix of post-rock reaches, ambient atmospheres and psychedelic improvisations, with the band favouring subtle and careful build over flashy soloing show-boating this time around. Moments of it resemble King Crimson, Steven Wilson, Porcupine Tree or even Diagonal, but this is really the sound of Quarto Vuoto forging their own unique sound and ready to pick up plenty more followers for their winning efforts.
Heavenly breezes flit in and out of opener `Nei Colori del Silenzio', laced with arching Post Rock- flavoured guitar chimes, sweetly murmuring bass, ethereal synth caresses and only the lightest of cymbals and percussion to exquisitely tease the most restrained of dramatic pinpricks. `Coscienza Sopita's jagged electric piano splinters and thrashing drum tantrums are attacked at every turn by spiky electric guitars that seamlessly shift between shimmering strums, muscular bursts and ragged wailing space-rock soloing, and there's an unease and tension to the piece that wouldn't have sounded out of place on a `Moonloop/Signify'-era Porcupine Tree album.
`Impasse' unfolds over almost twelve minutes, stark electronic droning white-noise and faraway lurking drum rumbles that almost take on a tribal-like hypnotic intensity one moment, whirring kaleidoscopic soloing and fuzzy guitar ruminations laced with a defiant joyous freedom the next. Despite being punctuated with gutsy Anekdoten-like blasts, `Apofis' quickly captures a similar ragged gloominess to the metallic guitar ringings, rattling percussion and darkly lit jazzy sax wafting of King Crimson's `Islands' period before it diverts into a beautifully melancholic piano solo climax.
Psychedelic ambience that channels early Pink Floyd with dream-like guitar ripples float through `Due'Io' whenever it's not being attacked with crunching heavy Riverside/Porcupine Tree-like driving riffing guitars, with the band ably navigating a range of quick-change tempos back and forth in the second half. Finally, dignified and graceful violin (although not courtesy of the above mentioned former member Lorenzon) swoons beside uplifting guitar soloing in `Tornerò', with icy synths holding just the lightest touch of the Eighties Neo-Prog sound, and all up it makes for a very pretty and genuinely emotional close to the album.
It's a bit of a shame that Quarto Vuoto now in no way resemble that promising RPI group of their beginnings, but initial disappointment of what once was can be turned around if the proper time is taken to really explore what these young musicians are now doing (and if you're new to the band, none of that will matter anyway!). In many ways the situation mirrors the approach taken by fellow modern Italian proggers Ingranaggi della Valle - by ditching the slavish fascination to prog sounds of old after nailing it on their first recording, they instead branched out in their own style on the follow-up in not only a completely different manner, but diverted in numerous directions at once and are now brimming with a new and thrilling approach in its place.
But in the end, all that matters is that `Illusioni' is a sublime modern progressive rock album from a talented bunch of musicians, one that came be easily embraced by younger audiences and fans not wanting a mere rehash of the classic prog era, who enjoy exploratory improvisations that never aimlessly meander, and it can easily be placed among the standout Italian, and purely instrumental, works of the last twelve months.
Four stars.
Città Frontale Rock Progressivo Italiano
Review by TenYearsAfter
This is the realm of Classic Italian Prog: Citta Ftontale was founded in 1975 by two members of the legendary Osanna
(famous for their 1972 Palepoli album), in the same year the band released their debut LP entitled El Tor, on the Fonit
Cetra label, this was in 2010 re-released as CD on the Vinyl Magic label. Citta Frontale their sound is a captivating blend
of varied styles, from folk and jazz to classical and 'flower power'.The album opens with the instrumental Alba Di Una Citta, the folky climate reminds me of early Mike Olfdield, due to the twanging acoustic guitars, flute and percussion. Also the jazzy track Mutatione is instrumental, here we can enjoy sparkling Fender Rhodes electric piano and strong interplay between the guitar and saxophone.
The other six songs deliver a lot of variety and feature that distinctive late Sixties/early Seventies climate: between dreamy with warm classical guitar and flute, and bluesy with mouth organ to powerful with fiery guitars and jazz with swinging saxophone.
Strong elements in Citta Frontale their music are the flowing shifting moods and accellarations, the Italian vocals and the soli on a wide range of instruments.
This is a delicate example of the eclectic approach and adventurous mind of the Classic Italian prog.
My rating: 3,5 star.
P.s.: Thanks that you really Liked my reviews, especially to the incredible amount of Heepsters. And thumbs up to my PA friend Tarcisio, PA member Cindy, my Dutch PA friends Wilco and Paul and band members from Flamborough Head, Museo Rosenbach and Twelfth Night for their kind 'social comments' on my PA reviews.
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