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ROCK PROGRESSIVO ITALIANO

A Progressive Rock Sub-genre


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Rock Progressivo Italiano definition

aka "RPI"


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


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

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


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

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

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


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

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

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

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

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

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


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

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

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

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

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


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

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

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

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

For the Mick.
29 July 2009



Current RPI Team
Todd
rdtprog (Louis)
progaardvark (Ken)
zeuhl1 (Paul)




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

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

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

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

Movimenti Prog
http://www.movimentiprog.net

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

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

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


Where to buy Italian prog
Syn-phonic (USA) - http://www.synphonicmusic.com
Doug Larson (USA) - http://www.douglarsonimports.com
Kinesis (USA) - http://www.kinesiscd.com/index.html
Wayside (USA) - http://www.waysidemusic.com/
Mellow Records (Italy) - http://www.mellowrecords.com
BTF (Italy) - http://www.btf.it
Black Widow Records (Italy) - http://www.blackwidow.it
Camelot Music Store (Italy) - http://www.semanticweb.it/camelotstore/
Discogs - www.discogs.com

Rock Progressivo Italiano Top Albums


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

4.40 | 1908 ratings
PER UN AMICO
Premiata Forneria Marconi (PFM)
4.38 | 1337 ratings
DARWIN!
Banco Del Mutuo Soccorso
4.37 | 1227 ratings
IO SONO NATO LIBERO
Banco Del Mutuo Soccorso
4.34 | 1513 ratings
STORIA DI UN MINUTO
Premiata Forneria Marconi (PFM)
4.33 | 1012 ratings
ZARATHUSTRA
Museo Rosenbach
4.31 | 1024 ratings
BANCO DEL MUTUO SOCCORSO
Banco Del Mutuo Soccorso
4.26 | 1070 ratings
FELONA E SORONA
Orme, Le
4.27 | 752 ratings
ARBEIT MACHT FREI
Area
4.27 | 570 ratings
MAXOPHONE
Maxophone
4.25 | 691 ratings
YS
Balletto Di Bronzo, Il
4.23 | 777 ratings
UOMO DI PEZZA
Orme, Le
4.20 | 980 ratings
L'ISOLA DI NIENTE
Premiata Forneria Marconi (PFM)
4.24 | 461 ratings
PALEPOLI
Osanna
4.25 | 420 ratings
CRAC !
Area
4.22 | 362 ratings
DISCESA AGL'INFERI D'UN GIOVANE AMANTE
Bacio Della Medusa, Il
4.19 | 384 ratings
L'ENIGMA DELLA VITA
Logos
4.18 | 346 ratings
CONTAMINAZIONE
Rovescio Della Medaglia, Il
4.17 | 335 ratings
CELESTE [AKA: PRINCIPE DI UN GIORNO]
Celeste
4.15 | 396 ratings
QUELLA VECCHIA LOCANDA
Quella Vecchia Locanda
4.14 | 431 ratings
ALPHATAURUS
Alphataurus

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

HYBLA ACT 1
Randone
NOSTOS
Ubi Maior
TERRA IN BOCCA
Giganti, I
IL PAESE DEI BALOCCHI
Paese Dei Balocchi, Il

Latest Rock Progressivo Italiano Music Reviews


 L'Arca Di Noè by BATTIATO, FRANCO album cover Studio Album, 1982
2.45 | 28 ratings

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L'Arca Di Noè
Franco Battiato Rock Progressivo Italiano

Review by Andrea19011978

3 stars "L'Arca di Noè" è il dodicesimo album di Franco Battiato ed è un album che ha venduto circa 550.000 copie ed è stato uno degli album al n°1 in Italia in quel 1982. The album was recorded at the "Studio Radius" by Alberto Radius, former guitarist of Formula 3 and Il Volo and his trusted collaborator together with Giusto Pio, here in the role of violinist and author. The rhythm section is made up of Paolo Donnarumma (bass) and Alfredo Gollino (drums). Furthermore, Pietro Pellegrini, Luigi Tonet, Shane Dempsey and Filippo Destrieri also play (various keyboards and synthesizers) and the choirs are from I Madrigalisti from Milan. This list of musicians would be enough to say that "L'Arca di Noè" could not be a wrong album.

Musically "L'Arca di Noè" is an album devoted to a POP which I classify as Synth POP although it is very close to a Lite Prog but keeping its distance from it. The use of electronic instruments such as sequencer and Fairlight make the album very interesting but a little cold (which was intentional, at least for me) and, in any case, Alberto Radius is little used (and he is brilliant in "Scalo a Grado" where he his solos are useless). I also mention "Radio Varsavia" linked to the strikes that were underway in Poland and "I want to see you Danzare", a simply brilliant song that I can't fit into a specific genre and which has become an evergreen of Battiato and of all Italian music. Also interesting are "La torre" and "New Frontiers" for their unconventional songwriting.

"L'Arca di Noè" is not a difficult album to listen to. As mentioned, it is very close to Synth POP while remaining in an experimental field. And then it's a very cold album and, at least for me, very calculated as a result: it must be easily listenable and remain imprinted in the mind. However, it remains an experimental product that has aged really well. But, in the end, not Franco Battiato's best album of the POP breakthrough.

 Frontiera by PROCESSION album cover Studio Album, 1972
3.99 | 81 ratings

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Frontiera
Procession Rock Progressivo Italiano

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

4 stars One of the heaviest prog bands from the Italy in the 1970s, PROCESSION emerged from the city of Torino in 1971 and delivered two albums with mostly different lineups and styles before disbanding permanently in 1975. The band was quite active on the live circuit in both incarnations during its four year run but like many talented bands of those years didn't find the fame and fortunate that it deserved. The only two members to appear on both albums were lead vocalist Gianfranco Gaza and guitarist Roby Munciguerra. This debut album FRONTIERA was notably different than the majority of Italian prog acts of the day due to the fact it featured no keyboardist yet some tracks seem to have an uncredited atmospheric keyboard presence. Officially the band featured two guitarists, a bass and percussion. The three remaining members on this debut were guitarist Marcello Capra, bassist Angelo Girardi and drummer Giancarlo Capello.

While existing in a similar classically inspired framework of composiitons led by the exceptional and unique sounding lead vocalist Gianfranca Gaza, PROCESSION's first album was based in hard rock and even reaching proto-metal intensity at times but also fortified with strong acoustic segments including the use of mandolin especially on the track "Incontro." The band was also notable for its lyrical themes revolving around immigration hence the title FRONTIERA which means "Border" in Italian which apparently was a major issue in the Torino region at the time. The band's big sound included dueling guitar action and heavy percussion but although based on the harder rock styles of the early 1970s, the compositions themselves have more in common with the classically infused symphonic prog bands that dominated the Italian scene.

Tracks like "Un Mondo Di Liberta" surely must've been the heaviest rock in prog in the entire nation of Italy with crazy fast tempos, blitzkrieg chunky guitar riffs and lightning fast solos. This particular track could easily qualify as one of the very first prog metal tracks as not only is it seriously intense but the longest track on the album reaching nearly 9 minutes in playing time. But it's not just all crazy metal head banging. Halfway through the track suddenly gives way to a lush acoustic guitar segment with softer contemplative vocals which also finds a nice mandolin strumming session joining in. Surprisingly it never returns to the heavy rock but the following "Solo" continues in a hard boogie rock fashion. Like most of the tracks the band is skilled at creating a mood and dynamic and then changing things up in the middle into something completely unexpected thus adding interesting elements of surprise.

Likewise "Un'Ombra Che Vaga" starts off with heavy metal thunder before completely shifting into a purely acoustic sing-along style of local traditional folk music. The band members all add their harmonies and it's probably the most mainstream sounding track on the album and then the last song "Solo II" delivers a slice of heavy boogie rock and then ends the album without further ado. While hard rock as the main focus in Italian prog wasn't common, there were a few bands like Il Rovescio Della Medaglia who delivered an exclusively hard rock version of prog on its first two releases. The strange thing about PROCESSION is how balls to the wall heavy they were while in hard rock mode and then how soft and romanic they sounded during the softer acoustic passages. The contrast is like night and day and the unpredictable nature of when the heaviness ends and the placidly begins seemed rather random.

This band was truly unique and sounded like no other with blazing twin guitar attacks one minute, ridiculously bombastic riffing the next and then a complete curveball 180 degrees into some of the most melodic classically inspired acoustic rock you could imagine. The operatic prowess of vocalist Gianfranco Gaza really deserves credit for tying it altogether because without his powerful vocal abilities none of it would sound convincing. A truly unique sounding album that wouldn't last for a second round. The band did manage to squeak out a second album with a mostly different lineup but "Fiaba" delivered a more mainstream Italian prog sound with keys, flute and saxophones. Overall this is a weird but satisfying slice of Italian prog.

 Generazioni (Storia di Sempre) by EDGAR ALLAN POE album cover Studio Album, 1974
3.79 | 93 ratings

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Generazioni (Storia di Sempre)
Edgar Allan Poe Rock Progressivo Italiano

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

4 stars Of all the Italian prog artists that came and went throughout the 1970s, perhaps none have remained as obscure and mysterious as the legendary E.A. POE (short for Edgar Allen Poe) from the town of Ornago near Milan. This band has a rather unusual history having started as far back as 1967 in a band called Angelo and the Spaceman. Basically this band consisted of an older man named Angelo and the three remaining members were mere kids ranging from 11 to 12 years of age. When Angelo called it quits in 1969, the three remaining members decided to stay a band and continued on as EDGAR ALLEN POE with the intent to write music reflecting the famous poets themes and subject matter.

As time elapsed though the moniker stuck but the desire to continue the themes of his poetry diminished. While starting out as a mere cover band that focused on popular music from bands like Led Zeppelin, Grand Funk Railroad, Deep Purple, Black Sabbath and The Beatles amongst others, eventually the band members grew quite proficient on their instruments and became veritable songwriters in their own right to the point that by 1974 they released their sole album GENERAZIONI (STORIA DI SEMPRE) as a bonafide progressive rock release that featured a mature developed band style that fit well into the symphonic prog ethos of the day yet sounded completely distinct and unlike any other act.

The album was recorded in a mere three days in September 1974 and released soon after and has remained a rarity with only 500 copies printed on the Kansas label for decades until it was rediscovered and reissued accordingly but the band has remained a mystery for most of that time leaving no traces of its existence beyond this single point in history. The music is on par with countless other exquisitely talented bands of the era which were in no short supply in 1970s Italy. The seven tracks that add up to 34 1/2 minutes all showcase exquisite compositional fortitude with excellent instrumental interplay to bring it all to life. The band consisted of four members: Giorgio Foti (keyboards, vocals), Beppe Ronco (guitar, mandolin), Lello Foti (drums, mandolin) all Marco Maggi (bass), all of whom mastered their parts with perfection.

The music delivers the typically romantic classically inspired musical motifs with a brilliant rhythm section and outstanding excursions into creative forays that set the band apart from the competition. The weakest aspect of E.A. POE were the vocals of Giorgio Foti who didn't quite have the pipes to belt out the operatic bravado like many of his contemporaries but he was by no means a slouch either and delivers within his range quite well. While not perfect, the album is amazing in that it was basically recorded live in the studio with minimal overdubs and eschewed any bells and whistles as it was basically a DIY affair. Garage prog if you will without the shoddy talent. The ingenuity displayed on the tracks showcased a band that would've gone far had they emerged just a couple years prior and received the proper backing.

As a stand alone album that basically went unnoticed and remained so for decades, E.A. POE really is a testament to the creative whirlwind of talent that permeated the Italian prog scene in the 1970s with bands oozing out of every Italian municipality that developed the chops to release such strong material. It always makes me wonder how many bands existed and never even had the opportunity to record a single note. Probably too many to count. While GENERAZIONI (STORIA DI SEMPRE) certainly could've used a more robust production and pretty much everything else that goes into making a great album, it's amazing that this quartet even managed to write such amazingly competent music much less record it and put out an album. One of the lesser known but worthy editions of Italian prog that well deserves its place in the annals of history beyond a mere footnote.

 Ra Me Nivar by MÖBIUS PROJECT album cover Studio Album, 2014
3.77 | 20 ratings

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Ra Me Nivar
Möbius Project Rock Progressivo Italiano

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

3 stars Formed in the southern coastal city of Sapri, Italy, MOBIUS PROJECT began as far back as 2005 with the consistent lineup of Massimiliano Amato (guitar, vocals), Lucio Filizola (guitar, sitar, keyboards, vocals), Tony Guerrieri (bass) and Francesco Magaldi (drums, percussion) but in its near two decade existence has thus far only released this one rather short album titled RA ME NIVAR in 2014. While the album features five tracks including the three-piece closer "L'equilibrista," the album only barely exceeds the 32 minute mark which for a modern Italian progressive rock album is more like a mere EP than a proper album's worth of material.

Nevertheless MOBIUS PROJECT named after the famous Möbius strip in mathematics, delivered a rather authentic modern release of Italian prog coming a long way from their humble origins of covering classics from bands like Led Zeppelin, King Crimson and Deep Purple. The band explains on its Bandcamp site that the title RA ME NIVAR comes from a fictional African language that was presented in the book "Oceano Mare" and means "flying man," so it seems the theme of the album is to overcome challenges perhaps so one can earn their wings? Only a guess since the concept is nebulous at best and lyrics are totally in Italian. The exception is the track "Entanglementalistically Speaking" which is presented in English.

While the title track starts off as a fairly standard sounding rock song with focus on guitar, bass and drums, the album is filled with interesting keyboard work, eerie atmospheres, intricate percussive drive and non-standard compositional flow. The band exhibits a fair amount of creativity in how it ties everything together and offers exotic sounds in the form of the occasional sitar appearance. The album is actually quite eclectic with rock guitars commingling with virtuoso piano runs and the occasional excursion into a jazzy sequence.

Essentially the sound of MOBIUS PROJECT is based on the classic symphonic Italian prog sounds of the decades prior with a bit more license to explore. This is an album i would love to like more but to my ears it seems pretty substandard and even amateurish in too many ways. Guitar riffs are basic, melodies while pleasant never go the extra mile to really suck you in and although there are two lead vocalists, Lucio Filizola and Massimiliano Amato sharing the lyrical delivery, neither one really has a fantastic range which this sort of epic music requires. In short there are many great ideas presented on RA ME NIVAR but not executed in a way that takes things to that next level that blow me away.

Considering this is a debut it's not a bad start but the band seems to have disappeared from the scene after this one release that has become somewhat of a rarity and most easily attained digitally. While i admire the dedication into making the album sound different than the average Italian prog of the 21st century, in the end it just doesn't seem adequately performed and a little haphazardly pieced together. A band that shows great promise but it seems after nearly a decade that perhaps this was a one-off never to be repeated. Whatever the case, an interesting modern take on RPI from a region of Italy where very little in terms of progressive rock has emerged.

 N.T. Atomic System [Aka: Una Notte Sul Monte Calvo] by NEW TROLLS ATOMIC SYSTEM album cover Studio Album, 1973
3.62 | 82 ratings

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N.T. Atomic System [Aka: Una Notte Sul Monte Calvo]
New Trolls Atomic System Rock Progressivo Italiano

Review by Andrea19011978

4 stars After "Searching For A Land", a double album from 1972, an internal struggle broke out in the New Trolls which led Vittorio De Scalzi and Nico di Palo to split up. "Ut", released in the same 1972, sees Vittorio De Scalzi present in only one track ("I cavalieri del lago dell'Ontario") however without having any importance for the final result. "Ut" could therefore be classified as the debut album of "Nico, Gianni, Frank, Maurizio"/ Ibis. Vittorio De Scalzi, sole custodian of the name new Trolls at SIAE, decides to form N.T. Atomic System recalling Giorgio D'Adamo (bass) former New Trollsand adding new musicians (Tullio De Piscopo, Renato Rosset, Giorgio Balocco, Ramasandiran Somusundaram and Anna & Giulietta). While Ibis create a sort of Proto Prog Metal, N. T. Atomic System give themselves to a symphonic Progressive Rock in the most classic Italian tradition complete with Jazz and Blues parts with Heavy sound merged in the symphonic system that Banco Mutuo Soccorso, PFM or Le Orme do so much.

I've basically already described the album. In retrospect, describing the various compositions individually doesn't make much sense because, in the end, there is always the usual mix between VDGG, Jethro Tull, Genesis and Gentle Giant and, for better or worse, here they are reinterpreted very much in Anglo-Saxon style and little in an Italian version (like PFM did, for example). I like to note that in certain moments there are insertions of reinterpretations of Atomic Rooster more Hard Rock in some keyboard scores. Conversely, " Quando l'erba vestiva la terra " is a classic song that can be inserted into the more symphonic Italian melodic POP genre and is, in practice, a Power Ballad which, however, has a baroque insertion (in which a translation by Gentle Giant is heard which then turns into Jazz Rock) which ruins the atmosphere that the band wanted to create. Naturally, "A Night on Bald Mountain" by Modest Mussorgsky (released as a single) is included in the reissues, knowing that he wants to make people understand that N.T. Atomic System are Italian (since it was the fashion for Italian groups to do these Rock versions of classical music classics).

Honestly "N.T. Atomic System" is a beautiful album. Not a masterpiece, OK. However, not knowing him is truly something to be condemned. Especially because it has aged really well and is still an album that could be released today, the same in every way... Even in the production.

 Moving Fragments by ACQUA FRAGILE album cover Studio Album, 2023
3.05 | 10 ratings

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Moving Fragments
Acqua Fragile Rock Progressivo Italiano

Review by alainPP

3 stars A different RPI, younger, modern, with a more accentuated rock connotation, aggressive instrumentation and incisive breaks, without denying their original sound. When the RPI allows itself to evolve and not stay within its singular constraints, we have this album which puts a good dent in the anthill and gives new prog blood to this musical genre which can produce very beautiful things; less jazzy variations, more rock and this RPI sparkles with joy for this new decade. Creativity is good for forgetting that this group started in the 70s!

Lanzetti always sings very well with a depth which seduced me, the orchestration is therefore more rock and honors Anglican prog rock, perhaps their transalpine friends will hate them for precisely that? The album has less classical wind and string instruments and allows to give musical pep, musical novelty which should keep them in the ears of today's progues.

 Puer Aeternus by ANCIENT VEIL album cover Studio Album, 2023
2.76 | 8 ratings

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Puer Aeternus
Ancient Veil Rock Progressivo Italiano

Review by alainPP

2 stars Ancient Veil was founded by Alessandro Serri and Edmondo Romano in 1995 after the killing of Eris Pluvia. A music with folk, jazz and classical roots is marked, especially a sound that smells of the RPI with saxophone and classical wind instruments; in good French I immediately return to Angelo Branduardi and his folk, medieval tunes; I am thinking of the well-known Rondò Veneziano who did not hesitate to cross the rubycon of variety to give an overview of what Italy could create as a genre around baroque, rock and classical; yes some will cry foul but Ancient Veil remains in the RPI straitjacket with the primarily orchestral, jazzy, folk, cottony sound giving pride of place to flutes and other saxophones. Quite diverse but also boring in fact because it remains in this niche from the beginning to the end of the 18 titles without any sequence; yes the low hurts of these titles which lack soul and become remarkably similar over time. To give a more positive note, listen to 'La Nuova Aurora' the last track with a fabulous energetic guitar solo which makes me say that a little more of this rhythm in the album would have been beneficial. Those looking for a little novelty will be left wanting, those who like this vein will undoubtedly find this album perfect, but will not be objective. (2.5)
 Arrow Head by OSAGE TRIBE album cover Studio Album, 1972
3.17 | 55 ratings

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Arrow Head
Osage Tribe Rock Progressivo Italiano

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

4 stars OSAGE TRIBE was perhaps best known as the Italian band from Genova that Franco Battiato started but left after only singing on one mere pop single before embarking on his solo career of musical experimentations and turning it over to an ever-changing lineup that ultimately fell under the control of drummer / vocalist Ninzio "Cucciolo" Fava. The band experienced significant structural changes and struggled to keep going but finally surrendered to the multi-pronged forces in his opposition after less than two years in existence. OSAGE TRIBE was one of Italy's earliest bands to jump on the progressive rock bandwagon in 1971 focusing on a penchant for hard rock with strong progressive influences rather than qualifying as a fully indoctrinated prog rock band in its own right.

After acquiring the fiery guitarist Marco Zoccheddu freshly out of Nova Idea and bass guitarist Bob Callero who would go on to play with Duello Madre and Il Volo, the band existed as a power trio only packed a serious punch with Zoccheddu handling not only the scorching guitar duties but offering smatterings of keyboards and harmonica as well as significant songwriting duties. The band engaged in an active albeit live presence in their day and found their sole album ARROW HEAD coming out on the Bla Bla label in 1972 which while focused primarily on the nascent head banging proto-metal effects of early 70s hard rock, still pulled out enough progressive punches in the form of extravagant jazz moves and time signature deviations and elegant use of dynamic mood shifts.

ARROW HEAD featured five heavy tracks and in many emulated the sounds of the heavier sounds of Led Zeppelin as well as displaying the eye-catching album cover art of a Native American woman tempted by the modern world's lure for money just outside the relative freedoms of her traditional lifestyle which seems to have referred to the band's pop single being used for a popular TV quiz show of the day. With catchy pop infused hooks OSAGE TRIBE certainly delivered a punch with not only instantly exhilarating melodic ear worms but also with a bluesy guitar style that was reminiscent of Cream and the psychedelic rock giants of the 60s including some Hendrix inspired wah-wah moments. The album's use of dynamics is its strongest suit with not only pounding hard rock heft thundering like a stamped of American bison roaming the plains but also for its slower contemplative parts as well as the competent vocals performed exclusively in the Italian language.

Also notably different from other hard rockers of the day was Zoccheddu's use of Native American drumming techniques which made use of the album cover art theme and the deftly blended use of heavy psych in a jazz rock context thus the reason why OSAGE TRIBE despite its hard rock leanings has been indoctrinated into the halls of prog rock as well. Four of the five tracks extend beyond the 7-minute mark and despite some jamming liberties displayed a much wider repertoire of musical ingenuity. The most progressive tracks are expressed on the final tracks "Soffici Bianchi Veli" and "Orizzonti Senza Fine" which gracefully meander through the intricacy of more subdued progressive rock and the more frenetic propensities to let loose into a head banging hard rock banter-fest. In many ways OSAGE TRIBE sounded like the Italian version of what the Canadian band Rush would formulate on its first two albums before Neil Peart took the band into the progosphere.

After the release of ARROW HEAD both Zoccheddu and Callero formed Duello Madre in late 1972, leaving Cucciolo with the name OSAGE TRIBE and a new line-up with former Capsicum Red singer/guitarist Red Canzian and bassist Giampiero Marchiani coming from Forlì. This short-lived lineup was doomed once Cucciolo himself was drafted into the army. Despite this only release seeing the light of day during its initial run, OSAGE TRIBE did find two non-album tracks and "Hajenhanhowa" appearing on the 1972 "Tarzan Compilation" also on the Bla Bla label with Capsicum Red and Black Sunday Flowers. While the band seemed forever lost to circumstance, apparently Cucciolo kept the candle burning and unexpectedly resurrected the band with a completely new lineup and released the 2013 album "Hypnosis." While many seem to piss all over this one, i actually find it exhilarating! Sure it's not the proggiest prog of the lot but it's certainly a very well constructed album and peaks my interest.

 Echi di un Futuro Passato by CELESTE album cover Studio Album, 2024
4.38 | 15 ratings

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Echi di un Futuro Passato
Celeste Rock Progressivo Italiano

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars Two words to start: flute and mellotron. If for whatever odd reason, these two instruments are not among your favourites, please stop reading promptly. Phew, now that we got that out of the way, Celeste will always be remembered for their luminous 1976 debut album "Principe di un Giorno", a perennial monument of classic RPI with massive doses of the two instruments in question. Echoes of a future past is the title's translation, and it perfectly frames the music within the grooves, while the lovely cover art is as typically prog as one can hope for, a variation on the Roger Dean theme. Seven lengthy pieces should occupy your attention for the hour and 4 minutes, an aural voyage where the flute and mellotron mentioned at the start rule most authoritatively, giving enough spotlight to numerous saxophone interventions, ornate piano fluttering, and a solid rhythmic pulse. Two lesser known but legendary keyboard instruments are sprawled all over the album, namely the Eminent (an early Italian string synth) and the Solina (an ARP string ensemble), much to the pleasure of any vintage keyboard fanatic.

Surprisingly, the preliminary seduction is outright jazzy in its groove, the suave guitar and piano breezing along like two tanned lovers on the beach, until the warm mellotron arrives like a zephyr to thrill the skins' senses. "Pigmenti" is a gentle lilt, with a piano, bass and drum mid section that adds a mid-afternoon pace of calm reflection. Soon after, a relaxed vocal line paves the way for a glorious mellotron chorus, where a crowning sax takes the arrangement straight into the sky above, a liquid lead guitar solo adding just the right splash of intensity to the theme.

The lengthiest track appears next on "Sottili Armonie", a nearly 11-minute fluffy musical tapestry with a myriad of 'subtle harmonies' that titillated the senses to no end. Restrained pace, a focus on serenity and an unhurried buildup, still steeped in a jazzy mold, a platform for Francesco Bertone on bass and drummer Enzo Cioffi to set the atmosphere that would be ideal for any kind of introspective reflection, where flute and sax can conjure various pleasant sonic images. A delicate electric guitar solo from Mauro Vero seals the deal, inspired by a sensual Sergio Caputo violin cameo. This could have been Sade without her singing a single note.

Though the title might hint at a more experimental flip side of the coin, "Aspetti Astratti" (Abstract Aspects) actually seeks only to maintain the casual tempo, though a magnificent fretless bass solo is featured front and center, just in time for another radiant brass flight. The mighty 'tron enters the fray briefly, in partnership with the flute, just in time for Bertone to take an additional rubbery flex on his 4 stringed monster. Needless to state, I am gaga over this.

Another 10 minute+ composition, "Attese Sottese" (Underlying Expectations) has the acoustic guitar, flute and piano on the forefront, weaving a filigreed melody of pastoral beauty (a Celeste trademark after all), with an unforeseen saxophone solo blasting through the lace and elevating the tempo as the rhythm section revs up their engines, with Cioffi in particular hitting all the right beats. Bubbly Arp 2600 additions within the massive string synthesizers, give this piece that grandiose orchestral feel unique to Celeste.

Change of pace on the beguiling "Misteri Evoluti" (Evolved Mysteries), again forging a unique arcadian setting with a predominant acoustic guitar immersed in a kaleidoscope of sonic mosaics, before a brash sax takes the lead in flinging the track into a flute and bass romp in the rustic garden. The comfortable jazzy groove is delectably alluring, especially when all the instruments fuse in perfect harmony.

The crushing exquisiteness of "Madrigale" is heart wrenching, the most delicate music one could even dare to imagine, with a timeless melody that squeezes the arteries with loving affection. It has everything, a lingering passion that is skin deep, yet fragile, as expressed by the operatic female aria from guest Ines Aliprandi and a whopping saxophone outburst, one of the most emotionally charged one I have witnessed in ages. Utterly gorgeous.

The outstanding "Circonvoluzioni" (Convolutions) finalizes this melodious masterpiece with the mighty mellotron taking its rightful place as the leading feature, though the Hammond flirts temptingly when called upon, carving a massive symphonic wall of sound. Ines does another appearance on the microphone, adding more sophistication to an arrangement already moored in contemplative intricacy. A playfully whimsical saxophone fades into the celestial horizon.

All keyboards are handled by founding member and composer Ciro Perrino, while the piano was played by Marco Canepa, who also did all the mastering and engineering. A delightfully cohesive assembly of tracks that literally flow into the next one with nary a hint of boredom or rehash, this was quite the revelation, as I perhaps need to revisit my other 2 Celeste albums Il Risveglio del Principe (2019) and Il Principe del Regno Perduto (2021). Definitely candidate for Top album from Italy in 2024.

5 heavenly resonances

 Vietato Ai Minori Di 18 Anni ? by JUMBO album cover Studio Album, 1973
4.21 | 185 ratings

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Vietato Ai Minori Di 18 Anni ?
Jumbo Rock Progressivo Italiano

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

5 stars Perhaps no other band in the entire history of prog underwent an evolution as lightning fast through the course of three albums in rapid succession as Italy's JUMBO did in only two years. JUMBO recorded and released these three distinct albums in the early 70s which began with the rather uninspiring display of blues rock, followed by a much more dedicated prog album before taking a massive leap in creative ingenuity with its third and final offering VIETATO AI MINORI DI 18 ANNI? which has become known as one of the all-time masterpieces of the 70s prog scene.

This is made all the more amazing since JUMBO formed in Milan as far back as 1969 and only released its rather average proto-prog blues rock in the year 1972 when the genre had more than come of its own having delivered some of the most accomplished albums of the entire prog 70s. While the band's second effort "DNA" was a competent display off tertiary Italian prog, it still lacked the overall sophistication of a true classic however it would only take one new drummer and a year for the band's musical DNA to activate and take their musical performances into the stratosphere.

The sudden burst in musical mojo was the result of original drummer Vito Balzano relieving himself of his drumming duties and simply quit the music business altogether. By chance the band had witnessed a phenomenal drummer named Tullio Granatello playing at a local concert. His skills and unparalleled style simply blew band leader Alvaro Fella away with his virtuosic displays of jazz-infused drumming techniques. After a request for him to fill the slot of the band's freshly vacated percussionist's post, Granatello gracefully accepted and single-handedly inspired the band to up their game in every possible way.

After a month of intense rehearsals with the newly established drummer, JUMBO emerged a completely new band that went for the prog jugular with a unique stylistic approach that remained distinct from the burgeoning symphonic prog sounds of PFM and Banco and equally distinct from the more folk-based Le Orme. VIETATO AI MINORI DI 18 ANNI? ( translates as "Forbidden to Minors Under the Age of 18") was then recorded with the help of cutting edge gear such as the amazing VCS3 oscillators lent to the band by Franco Battiato as well as Aktuala percussionist Lino Capra Vaccina's wide assortment of bells, chimes and unique percussive contributions.

To make things even more bizarre the band recorded in a makeshift studio setting that served as Mussolini's press meeting lecture hall during the years of the brutal dictatorship, an unusual circumstance shared only by Latte i Mieli in those days. The lightning speed progression of the band's style gave them the confidence to experiment with not only the wildly avant-garde but also to explore taboo subject matters such drug addiction, prostitution, social injustices, religion, alcoholism and other non-puritan topics that got the band censored by national radio and television broadcasts. The title of the album refers to the unsavory subject matter that wouldn't be considered appropriate for children. Unfortunately the album came out boeuf the free radio broadcast movement caught traction. Minors who do not speak Italian are presumed to be safe however.

VIETATO AI MINORI DI 18 ANNI? was a leap in ingenuity on every conceivable level with stronger melodies, utterly unpredictable transitions between folky lush acoustic guitar led passages, psychedelic excursions, energetic hard rock outbursts and unorthodox compositional creations. Add to that all the wild experimental production techniques offered by the slickest and newest technological breakthrough courtesy of Franco Battiato's appreciated participation. The album wastes no time getting to business by starting things off in full vocal-led song form before transmogrifying through varying styles all delivered by unusual instrumental interplay, over the top catchy melodies and call and response intensity from the instruments.

The opening "Specchio" alone features a bizarre shapeshifting formula that allows hitherto unthinkable juxtaposition of stylistic differences to coincide, yet organized into such a manner that the phrasing finds a logical reprise for each musical motif only decorated in completely new colors. There album continues with one completely original track after another with each offering a distinct personality of its own. The following "Come Vorrei Essere Ugulae A Te," the ONLY track that found any trace of airplay starts off as a feisty piano roll before morphing into a trippy psychedelic folk number only to be overturned by a raucous heavy rock performance. The ending features an interesting tape speed increase which showcased the band's ingenuity in the recording process as well as the superior songwriting skills. Even the short 2-minute instrumental "Il RItorno Del Signor K" showcases an impressive display of flute and guitar tradeoffs before morphing into a bizarre and even hilarious Mediterranean cafe music silliness.

The majority of the album never loses the element of surprise nor the instant hooks of a memorable excellently ever-changing melodic procession. "Via Larga" continues the process however it's the 7-minute plus "Gil" that really stands out as the oddball of the album. Initiated by lead singer Alvaro Fella after the recording process left about 8 minutes of time to fill. The result was a psychedelic jam that featured an acoustic guitar and dreamy mini-moog with the help of Battiato's VCS3 space machine.

The addition of the chimes and bells made it sounds like a comic trip in the spirit of raga rock only drenched is freaky lysergic psychedelia making it one of the most unexpected curveballs that entire album had to offer. While originally a 20-minute cosmic free floater, the band was forced to edit it down to just over 7 but unfortunately didn't think of keeping the entire piece for future posterity. The track is accompanied by Fella's contemplative lyrical prose only this time semi-narrated. The freeform folk style evokes the freewheeling 60s communes much more than what JUMBO dished out on the previous tracks!

The final three tracks: Vangelo?," "40 Gradi" and "Noi" jump back into full on progressive mode with endless variations in drumming techniques, stylistic approaches, instrumental interplay and of course controversial lyrical delivers which of course were only sung in the Italian language. Church organs melded with psychedelia, jazzy interludes ceded to hard rock heft and stop / start ostinato elegance traded off with light breezy flute solos. The band had mastered the art of dynamics shifting and thus featured many alternating motifs within a fairly uniform rhythmic and melodic framework. No other band can i think of mastered the art of soft lush folk one minute and then raucous filthy guitar hard rock the next only followed by classical piano virtuosity and then who knows what next! Remember! This was WAAAAY before Mr Bungle :)

It goes without saying that JUMBO not only crafted its best album but also delivered one of the absolute pinnacles of progressive rock period. The album is flawless in execution, groundbreaking in its approach and startling in its unique delivery system all without sacrificing those attributes that cemented it firmly in the world of Italian progressive rock. Despite existing for another couple of years before the band ceased to exist, JUMBO never recorded again leaving this one prog rock legacy from 1973 behind as its' crowning achievement and one of the most memorable moments of classic Italian progressive rock. This is easily one of the top 10 Italian prog albums of all time and a personal all time favorite of any musical genre. Perhaps i'd even dare to say one of the best albums ever recorded in the entire history of recording music at all. Yep, it's that good and it only gets better every time you give a listen. While it's an instant four star love affair, time will only reveal the subtle genius on multiple levels.

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Rock Progressivo Italiano bands/artists list

Bands/Artists Country
A PIEDI NUDI Italy
A.S.T.R.A Italy
ABISSI INFINITI Italy
ABSENTHIA Italy
ACQUA FRAGILE Italy
AD MAIORA Italy
ADHARMA Italy
AELEMENTI Italy
STEFANO AGNINI Italy
AINUR Italy
AKRON Italy
L' ALBERO DEL VELENO Italy
ALGEBRA Italy
ALIANTE Italy
ALESSANDRO ALISCIONI Italy
ALLEGRI LEPROTTI Italy
GLI ALLUMINOGENI Italy
ALPHATAURUS Italy
ALTARE THOTEMICO Italy
ALUSA FALLAX Italy
AMMINISTRAZIONE CAOS POPOLARE Italy
ANACONDIA Italy
ANCESTRY Italy
ANCIENT VEIL Italy
ANTONIUS REX Italy
GLI APOSTHOLI Italy
APOTEOSI Italy
APRYL Italy
AQUAEL / EX MAURY E I PRONOMI Italy
ARCAMIRI Italy
ARCHITRAVE INDIPENDENTE Italy
AREA Italy
ARIES Italy
ARJUNA Italy
ARMONITE Italy
ARPIA Italy
ARS NOVA (ITA) Italy
ASSEMBLEA MUSICALE TEATRALE Italy
ASSENZIO Italy
ASTROLABIO / EX ELETTROSMOG Italy
ATON'S Italy
ATTI PUBBLICI IN LUOGO OSCENO Italy
ATTO IV Italy
AUDIO Italy
AURORA LUNARE Italy
AVALON LEGEND Italy
B-RAIN Italy
IL BABAU & I MALEDETTI CRETINI Italy
SOPHYA BACCINI Italy
IL BACIO DELLA MEDUSA Italy
THE BADGE Italy
BALLETTIROSADIMACCHIA Italy
IL BALLETTO DI BRONZO Italy
IL BALLO DELLE CASTAGNE Italy
THE BALMUNG Italy
LA BAMBIBANDA E MELODIE Italy
BANCO DEL MUTUO SOCCORSO Italy
BANDA BELZONI Italy
BARABBA Italy
MARIO BARBAJA Italy
BARO PROG-JETS Italy
BAROQUE Italy
BARROCK Italy
LUCIANO BASSO Italy
LA BATTERIA Italy
FRANCO BATTIATO Italy
PIERPAOLO BIBBO Italy
BIGLIETTO PER L'INFERNO Italy
BLOCCO MENTALE Italy
LA BOCCA DELLA VERITÀ Italy
BONDAGE Italy
BORNIDOL Italy
LA BOTTEGA DELL'ARTE Italy
BRAEN'S MACHINE Italy
BRAINDEAD Italy
ANGELO BRANDUARDI Italy
BRIGHT HORIZON Italy
BUON VECCHIO CHARLIE Italy
BUTTERFLY SYSTEM Italy
CAGE Italy
I CALIFFI Italy
CALLIOPE Italy
IL CAMBIO DELLA GUARDIA Italy
CAMERA ASTRALIS Italy
JURI CAMISASCA Italy
CAMPO DI MARTE Italy
CANTINA SOCIALE Italy
CAPITOLO 6 Italy
CAPRICORN COLLEGE Italy
CAPSICUM RED Italy
CAPSIDE Italy
ENZO CAPUANO Italy
CARPINETA Italy
IL CASTELLO DELLE UOVA Italy
IL CASTELLO DI ATLANTE Italy
CAVALLI COCCHI.LANZETTI.ROVERSI Italy
CELESTE Italy
IL CERCHIO D'ORO Italy
CERVELLO Italy
CHERRY FIVE Italy
CHIAVE DI VOLTA Italy
CHRISTADORO Italy
LUCIANO CILIO Italy
THE CINEMA SHOW Italy
CINEMA STYGE Italy
CIRCLE OF FAIRIES Italy
CITTÀ FRONTALE Italy
CIVICO 23 Italy
CLEPSYDRA Italy
I COCAI Italy
ROBERTO COLOMBO Italy
CONDOR Italy
CONQUEROR Italy
CONSORZIO ACQUA POTABILE Italy
MICHELE CONTA Italy
CONTRAPPUNTO Italy
CONTROTEMPO Italy
COOPERATIVA DEL LATTE Italy
CORAL CAVES Italy
CORMORANO Italy
CORPORESANO Italy
EMANUELE CORREANI Italy
CORTE AULICA Italy
CORTE DEI MIRACOLI Italy
LA COSCIENZA DI ZENO Italy
MARIO COTTARELLI Italy
COURT Italy
CRYSTALS Italy
LA CURVA DI LESMO Italy
GINO D'ELISO Italy
GIANNI D'ERRICO Italy
DALLAGLIO Italy
DALTON Italy
DE DE LIND Italy
DELIRIUM Italy
MAURIZIO DI TOLLO Italy
I DIK DIK Italy
DISEQUAZIONE Italy
DISTILLERIE DI MALTO Italy
DIVAE Italy
LA DOTTRINA DEGLI OPPOSTI Italy
DUEMILA12 Italy
ECFONETICA Italy
ECLISSE Italy
EDERA Italy
EDGAR ALLAN POE Italy
EGO Italy
EGONON Italy
ELISIR D'AMBROSIA Italy
EMPIRE Italy
ENEIDE Italy
ENIMA Italy
ENTITY Italy
EPISCOPIO VISTARAMA Italy
EQUIPE 84 Italy
ERA DI ACQUARIO Italy
ERIS PLUVIA Italy
ERRATA CORRIGE Italy
L' ESTATE DI SAN MARTINO Italy
EURASIA Italy
EUTHYMIA Italy
EXPLOIT Italy
LA FABBRICA DELL'ASSOLUTO Italy
FABIO CELI E GLI INFERMIERI Italy
FALENA Italy
IL FAUNO DI MARMO / EX THE REBUS Italy
IL FEDELISSIMO BRACCO BRANCO Italy
FEM PROG BAND / FORZA ELETTROMOTRICE Italy
FESTA MOBILE Italy
FILARMONICA MUNICIPALE LACRISI Italy
FILORITMIA Italy
FINISTERRE Italy
FLEA Italy
FLOATING STATE Italy
RICCARDO FOGLI Italy
FOGLIE DI VETRO Italy
FONETICA Italy
FORMULA 3 Italy
THE FORTY DAYS Italy
FOSCHIA Italy
FABIO FRIZZI Italy
CLAUDIO FUCCI Italy
FUFLUNS Italy
STEFANO LUPO GALIFI Italy
GAN EDEN - IL GIARDINO DELLE DELIZIE Italy
GARYBALDI Italy
GENCO PURO & CO. Italy
THE GENERATION Italy
GENFUOCO Italy
GERMINALE Italy
FRANCO MARIA GIANNINI Italy
GIARDINI D'AUTUNNO Italy
I GIGANTI Italy
GIGI PASCAL E LA POP COMPAGNIA MECCANICA Italy
IL GIRO STRANO Italy
GLEEMEN Italy
GOBLIN Italy
GOBLIN REBIRTH Italy
GRAN TURISMO VELOCE Italy
GREENWALL Italy
GRIMALKIN Italy
GRUPPO 2001 Italy
GRUPPO AUTONOMO SUONATORI Italy
GUERCIA Italy
H2O Italy
HOPO Italy
HORA PRIMA Italy
HORUS Italy
HÖSTSONATEN Italy
HUMANA PROG Italy
HUNKA MUNKA Italy
I GIULLARI DI CORTE Italy
IANVA Italy
IBIS Italy
IL BUCO DEL BACO Italy
IL PORTO DI VENERE Italy
IL TESTAMENTO DEGLI ARCADI Italy
INGRANAGGI DELLA VALLE Italy
ISPROJECT Italy
J.E.T. Italy
JACULA Italy
JANUS Italy
JESTER'S JOKE Italy
JET LAG Italy
JUMBO Italy
JUS PRIMAE NOCTIS Italy
KALISANTROPE Italy
KLIDAS Italy
KUNDALINI SHAKTI DEVI Italy
LA CRUNA DEL LAGO Italy
IL LABIRINTO DI ALICE Italy
LABIRINTO DI SPECCHI Italy
LAGARTIJA Italy
LAPERA Italy
LASER Italy
LATTE E MIELE Italy
LUCIANO LAURINI Italy
LEO NERO Italy
I LEONI Italy
LETHE Italy
LIBRA Italy
LIMITE ACQUE SICURE Italy
LINEATEORICA Italy
LOCANDA DELLE FATE Italy
EMILIO LOCURCIO Italy
LOCUS AMOENUS Italy
LOGOS Italy
LOST TALES Italy
LOTHLORIEN Italy
MACCHINA PNEUMATICA Italy
MACROSCREAM Italy
MAD CRAYON Italy
MADRUGADA Italy
MAGNOLIA Italy
MALAAVIA Italy
MALIBRAN Italy
MALLEUS Italy
MANGALA VALLIS Italy
LE MANI Italy
MARCHESI SCAMORZA Italy
LA MASCHERA DI CERA Italy
MAXOPHONE Italy
MEDITERRANEA Italy
MELLONTA TAUTA Italy
MELTING CLOCK Italy
MESSAGGIO 73 Italy
METAMORFOSI Italy
MINDFLOWER Italy
MINSTREL Italy
MIRAGE Italy
MO.DO. Italy
MÖBIUS PROJECT Italy
I MODIUM Italy
LORENZO MONNI Italy
MONTEFELTRO Italy
MOSAICO Italy
IL MUCCHIO Italy
MURPLE Italy
MUSEO ROSENBACH Italy
FRANCO MUSSIDA Italy
MYROS Italy
LA N.A.V.E. Italy
NARROW PASS Italy
NASCITA DELLA SFERA Italy
NATHAN Italy
NEW TROLLS Italy
NEW TROLLS ATOMIC SYSTEM Italy
NICOSIA & C. INDUSTRIA MUSICALE Italy
NODO GORDIANO Italy
NOTABENE Italy
I NUMI Italy
NUOVA ERA Italy
NUOVA IDEA Italy
OBSCURA Italy
THE ODEJA Italy
ODISSEA Italy
OFFICINA MECCANICA Italy
L' OMBRA DELLA SERA Italy
OMBRALUCE Italy
OPHICINA Italy
OPRA MEDITERRANEA Italy
ANDREA ORLANDO Italy
LE ORME Italy
ORNITHOS Italy
OSAGE TRIBE Italy
OSANNA Italy
OSCILLAZIONI ALCHEMICO KREATIVE (O.A.K.) Italy
OVERTURE Italy
IL PAESE DEI BALOCCHI Italy
MAURO PAGANI Italy
PANDA FIGHT CLUB Italy
PANDORA Italy
PANE Italy
PANGEA Italy
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