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
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PER... UN MONDO DI CRISTALLO Raccomandata Ricevuta Ritorno |
VOCIBasso, Luciano |
MELOSCervello |
TERRA IN BOCCAGiganti, I |
Latest Rock Progressivo Italiano Music Reviews
Premiata Forneria Marconi (PFM) Rock Progressivo Italiano
Review by TenYearsAfter
If you are (hardly) not familiar with PFM this double CD is an excellent introduction to the highly appreciated Classic Italian prog band. Because it spans the time between 1973 and 1977, PFM released four studio-albums in that era and were at their artistic pinnacle. This 2-CD also includes additional live material and an unreleased B-side of an UK single.CD 1 focuses on the albums Photos Of Ghosts (1973) and The World Became The World (1974, the English version of L'Isola Di Niente) with additional the previously unreleased track La Carozza Di Hans (B-side of the UK single, this version fails to keep my attention) and songs from the live LP Cook (aka Live In The USA) from 1975. PFM their music has obvious hints of early King Crimson (mainly their debut album). But the inventive arrangements with captivating musical ideas, the both tasteful as virtuosic work on guitar, keyboards and violin and the shifting moods and changing styles turns PFM into an unique progrock formation. For example, in River Of Life PFM flowingly changes from classical with flute, acoustic guitar and harpsichord to mellow symphonic rock with Mellotron and Minimoog. And Photos Of Ghosts delivers a thrilling acceleration while in Il Banchetto we can enjoy a shift from classical to lush keyboard oriented symphonic rock in which the harp is subtly blended, concluded with virtuosic Grand piano. The way PFM succeeds to generate excitement and surprise is breathtaking! In the composition The World Became The World I notice a very delicate mix of Fender Rhodes electric piano and warm vocals, then a sumptuous eruption featuring majestic violin-Mellotron but the fat Minimoog flights give a special favour to the music. In the live track Four Holes In The Ground the band showcases their heavy side with fiery guitar leads and use of the wah-wah pedal.
But my highlight on CD1 is the long final track Alta Loma Nine Till Five (around 15 minutes). It opens with bluesy guitar and dreamy Mellotron, then the guitar gradually turns into more heavy, the interplay with the Mellotron is awesome. Halfway there's a break with bass guitar, then a strongly build-up violin solo, now the keyboard support is from the Hammond organ. In the end PFM delivers a grand finale with catchy violin work, culminating in a version of Rossini's Willem Tell Overture with fat Minimoog runs, goose bumps!
CD 2 opens with a 15 minute previously unreleased live version of Is My Face On Straight (USA 1974), the vocals lack a bit power but I am carried away by the cascades of solos, from flute and guitar (with biting wah-wah) to accordion, sensational Minimoog and delicate Fender Rhodes electric piano. The sound is not really optimal but PFM the remastering of the almost 35 years old material is good. The 3 songs of the LP Chocolate Kings (from 1975), immediately you can recognize Bernardo Lanzetti his distinctive, theatrical voice (like in Harlequin featuring an exiting break with swirling violin) and PFM their sound has move more towards early Yes (Howe and Wakeman sound), especially in From Under. Then 3 live previously non released tracks from 1976, these sound a bit sloppy but how classy PFM plays like the Fender piano intro in Dove Quando and the violin with Hammond in Out Of The Roundabout. Finally 3 tracks from the LP Jet Lag from 1977, now PFM their musical direction has moved more towards jazz-rock, especially in Storia In L.A. (fluent synthesizer solo) and the title track (wonderful Fender piano with powerful bass).
I don't know how many fans are pleased with both PFM their symphonic rock - as the jazzrock sound. But this double CD delivers a comprehensive view on their era between 1973 and 1977, embellished with interesting live material from 1974 and 1976.
Il Ballo delle Castagne Rock Progressivo Italiano
Review by TenYearsAfter
The funny name of this Italian band is derived from a perverse Medieval play, dancing naked ladies picked up a
'ballo delle castagne' with their mouth from the floor. In 2009 this band released their debut CD entitled 108, the
first part of a trilogy, then the second part named Kalachakra (from 2011), one year later followed by their third
effort Surpassing All Other Kings. In 2015 Il Ballo Delle Castagne released their fourth studio album entitled
Soundtrack For An Unreleased Herzog Movie and the Live Studio CD. This review is about their second album.
I read that the band members consider themselves as a tribute to a variety of Italian artists and to the Classic Italian
Prog era.Indeed, but not only the atmospheres evoke these Italian artists and Classic Italian Prog bands, also the way Il Ballo Delle Castagne deliver variety, adventure and creativity in their music, blended with skills, strongly reminds me of that.
Most of the compositions are drenched into psychedelic atmospheres, in which a huge variety of instruments (from guitar and organ to sitar, synthesizer and violin) are used to create hypnotizing and atmospheric music. A few examples where Il Ballo Delle Castagne succeed to generate these very 'pleasant mellow moods'.
Fat synthesizer flights and howling Floydian guitar runs in Tutte Le Anime Saranno Pesate.
A hypnotizing climate with varied samples (especially the sitar) in the titletrack.
A wonderful combination of vocals, Hammond and sensitive electric guitar in the opener Passioni Diabolische.
At some moments the music turns into harder-edged, like in the propulsive and sumptuous La Terra Trema (strong vocals and exciting guitar riffs), also including a break with mid-tempo featuring swirling organ and guitar.
More experimental is de final track Ballo Delle Castagne, it contains a variety of synthesizer sounds and monotone drum beats.
Here's another interesting Italian prog album, varied and adventurous.
My rating: 3,5 star.
Vieux Carre Rock Progressivo Italiano
Review by TenYearsAfter
This Italian band started under the name Chiaroscuro, after the release of a demo (including 2 Genesis covers), they
decided to change their name into Vieux Carre in 2005. Three years later the band delivered its debut CD entitled
Glispiriti Icorpi Elementi. So a French band name and an Italian debut album title, not a pretty common combination in
prog.The music has obvious hints of Classic Italian Prog bands, mainly PFM but also Banco and Le Orme. And of course early Genesis, especially the vocals are in the vein of Peter Gabriel. The singer uses the Italian language (evoking Angelo Branduardi) but he also sings in English, with hints from Bernardo Lanzetti (PFM, Acqua Fragile and Mangala Vallis), but less theatrical.
Despite the references, Vieux Carre do their best to blend own ideas, using a tasteful variety: from 24-carat symphonic rock in Palignesi (with fat Moog sounds, jazzy piano and Fripperian guitar) to a 'folky twist'in Greed, Grand piano in Palnodia and finally a jazzrock climate featuring a long and fiery guitar solo in Riconciliazione.
A promising debut album that sounds pleasant and varied.
My rating: 3,5 star.
Isproject Rock Progressivo Italiano
Review by
Quinino
Special Collaborator Errors & Omissions Team
What a nice little surprise from southern Italy - a young architect also musical educated suddenly
surfaces with a modern, wonderfully crafted album full of maturity.
Composer and lead vocalist, Ivan is the true creator of this great first Opus, but a special
mention is deserved to the other half of the duo, the lovely harmony vocals of Ilenia (also
co-arranger).The musicality is very modern, synths and power chords and all, but plenty of grand piano, flute and acoustic guitars all-around give a classy feel (not retro, mind you) to the whole. The band delivers at high level, very cohesive and tight, which might be somehow attributed to the participation of Fabio Zuffanti, credited with Conducting and Art Direction.
Just bought the digital version from Bandcamp and, though it was actually a passion at first sight, after 3 full spins I am loving it even more, discovering details and renewed pleasure each time.
So a full 4 stars to me, without a doubt !
Gran Turismo Veloce Rock Progressivo Italiano
Review by TenYearsAfter
This is an Italian four piece band from 2008, their name is derived from a famous Seventies sports car. Three years
later the band released their debut CD, four elements impress me: the passionate Italian vocals (lots of expression and
emotion), a huge tension beween the mellow and bombastic pieces, the build ups to compelling final parts (ending in Prog Rock Heaven) and the stunning covert art (in the vein of Magritte).Especialy the two longer compositions are pure prog pleasure.
Quantocamia : alternating, powerful guitar work, a varied keyboard sound.
L'Indice E l'Occhio : a splendid build up with jawdropping and varied vintage keyboard play (Grand piano, classical orchestrations, Minimoog and Mellotron violins and choirs).
In the shorter Misera Venera (reprise) we can also enjoy that lush keyboard sound, very pleasantly supported by fiery guitar and fat Moog Taurus bass pedals. Along a wonderful part with a flute solo and Mellotron waves.
In L'Estremo Viaggiatore the band showcases their harder-edged side. First an intro with fat Minimoog runs, then an up-tempo beat with a bombastic climate and a thunderous rhtyhm-section, heavy Hammond and blistering guitar, The climate alternates between Heavy Prog and prog metal, pretty exciting.
In L'Artista the opposite sound: dreamy with subdued vocals, moving Hackett-like guitar and in the end wonderfully blended with Grand piano, what a beautiful sound.
And what a beautiful debut album, varied and elaborate, in the genuine Italian prog tradition. Unfortunately it remained silent after this very promising debut release from 2011.
Alphataurus Rock Progressivo Italiano
Review by
siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams
The year 1973 saw the peak of the progressive rock scene all across Europe and by this time it seemed like everyone was getting in
on the act. While many bands were ratcheting up their progressiveness to grandiose pompous excess, many bands were just getting
started and leaving behind one small trace of their imprint on the scene before disbanding seemingly as quickly as they emerged.
Milan's ALPHATAURUS were in that category of flash in the pan artists that while forming in 1970 took three years to release their
eponymous debut and then the very same year while attempting to record a follow up were riddled with personal conflicts and
called it a day. Despite this short burst onto stage during the glory days of Italy's prog scene, this Milan unit nevertheless delivered a
well respected and eternal slice of the prog rock universe that continues to see a steady growth in both interest and sales, so much
so that the band reformed in 2010 to restart their career forty years after they began.ALPHATAURUS were virtually unknown yet scored some festivals in 1972 when Vittorio De Scalzi of New Trolls scouted them out for his first musical act to be released on his nascent Magma Records. While fitting in with the overall sound spectrum of the Rock Progressive Italiano scene ALPHATAURUS was also notable for utilizing outsider influences such as England's Uriah Heep with their heavy rock approach as well as Van Der Graaf Generator with their moody moog saturated melodic passages that schizophrenically shapeshifted without notice. The band consisted of five members: Guido Wasserman on guitar, Pietro Pellegrini on piano, Hammond organ, Moog, vibraphone and spinet, Alfonso Oliva on bass, Giorgio Santandrea on drums, timpani, congas and Michele Bavaro as the passionately romantic lead vocalist. Their sole album of the 70s also consists of five tracks with three lengthy pieces as well as two shorter with each track having its own distinct identity making ALPHATAURUS' debut a nice diverse listening experience.
The opener "Le Chamedere (Peccato D'Orgoglio) delivers all the classic Italian sounding goods. Moody moog opening sequence followed by the pastoral Genesis inspired acoustic guitar passages that build into heavier and more dynamic crescendoes to follow. Stylistically Bavaro's vocal performances often remind me of Osanna's Lino Vairetti with his passionate pleas subtly ratcheting up into aggressive frenzies. Likewise some of the musical pieces can at times carry an Osanna tinged flavor albeit without the Neapolitan flavors that exist in the Southern Italy regions. ALPHATAURUS also borrow a lot from fellow country dwellers PFM with heavy Hammond organ attacks that hint of an ELP approach but crafted into strong flavors rather than bombastic head butts. "Dopo L'Uragano" follows suit with arpeggiated guitars buttressed with classical piano tinklings and Uriah Heep styled power chord progressions but catches the listener off guard by detouring into funk rock as well as with a roller coaster ride of changes that follow.
"Croma," the tiny track sandwiched between the others is a way cool spinet performance that cedes into a dramatic symphonic dreamscape. "La Mente Vola" features a wickedly cool moog and spinet combo intro with the track progressing into myriad different styles and shapeshifting gymnastics on its way to the ending smoking hot vibraphone solo workout. Augmented by a strong bass line, the guitar is allowed to soar in atmospheric free fall or in tasty blues fashion. Bavaro's vocal antics are hardly a one-trick pony. Versatile in all respects not only reminds of Osanna's Vairetti but has the chops to bring PFM, Banco and Museo Rosenbach to mind as well with sing-along style melodies that take progressive liberties with oft utilized time signature deviations and classically infused piano runs. "Ombra Muta" the near ten minute closer which continues the subtly seductive intro that ratchets up the dynamics scale until it builds into a Moog dominated soundscape with a pumping beefy ostinato bass line, heavy percussive drive and tastily delivered guitar chops complete with soloing techniques.
ALPHATAURUS may not stand out as totally original on the first couple listens as they evoke the other better known acts of the day with aspects adopted from all of them, however this band had an interesting way of presenting those elements in a distinct new form and added dynamics such as the often "reserved for jazz only" vibraphone to the mix with pleasing results. The harmonically rich melodic romps through the by then classic Rock Progressivo Italiano sound is as refined as a diamond cut from the deepest mines in Botswana. Romantic and pacifying, ALPHATAURUS flirted with bombast without ever fully diving in. While not as deftly virtuosic as Banco or PFM, nor as aggressively astute as Osanna, Area or Il Balletto Di Bronzo, ALPHATAURUS was about delivering heavily melodic compositional constructs that took the smoothness of bands like Le Orme and Il Balletto Di Bronzo and added a few new twists and turns. While some regard this as one of the greatest albums of the scene, as good as it is, it seems like it could've offered a few more original takes and not rely as much on the tricks and trinkets of their fellow countrymen. Nevertheless, this debut album is indeed a classic that kicks ass and delivers all the Italian prog goods in perfect pitch and that is a good thing.
MO.DO. Rock Progressivo Italiano
Review by TenYearsAfter
This is a (pretty overlooked) five-piece formation that was founded in 1978 by Walter Locatelli, who was the drummer of
the well-known Classic Italian Prog band Dalton. Unfortunately MO.DO turned out to be another fine Italian prog one-
shot band. The LP La Scimmia Sulla Schiena Del Re was released in 1980 and re-issued on CD in 1993 by Italian
progrock label Mellow Records. To me the music sounds as an interesting blend of typical melodic Classic Italian Prog bands (in the vein of PFM and Banco) and the more complex oriented Seventies UK prog rock, like Gentle Giant. The eight compositions deliver lots of instrumental parts with good work on guitar, vintage keyboards (like the distinctive soaring sound of the Solina string-ensemble and the fat Moog synthesizers) and flute, along pleasant vocal harmonies. La Scimmia Sulla Schiena Del Re is a fine album to discover, and a good example of the prolific and varied Italian prog.
My rating: 3,5 star.
Pandora Rock Progressivo Italiano
Review by TenYearsAfter
After their exciting debut CD entitled Dramma Di Un Poeta Ubriaco from 2008, I declared Pandora as my favourite
new Italian progrock band, even above Il Bacio Della Medusa and VIII Strada, so I was very curious to this successor.
Well, it sounds overwhelming, what a thrilling blend of Classic Italian Prog (Banco, PFM, New Trolls), Seventies
Symphonic Rock (Genesis, ELP) and Prog Metal (Dream Theatre). And this very promising four piece band even
sounds better, more mature and tighter. Over one hour we can enjoy a lot of variety, fluent shifting moods, musical surprises and craftsmanship. The new album starts with a stunning sumptuous classical sound in Re Degli Scemi, halfway mixed with fat Minimoog flights. Then four captivating and alternating compositions.
Lush vintage keyboards (Moog, Hammond, Fender electric piano) with a sensational duel between a fiery guitar and flashy synthesizer in L'Altare Del Sacrificio.
Passionate vocals, a swirling rhythm-section and wonderful work on guitar and keyboards in L'Inccantesimo Del Druido.
Warm acoustic guitar and vocals with soaring Mellotron violins in the beautiful Dicesa Attraverso Lo Stige
Ade, Sensazione Di Paura contains a strong tension between dreamy and bombastic featuring great vintage keyboards and strong guitar play.
The sixth song entitled 03-02-1974 is a very fine tribute to early Genesis. The booklet contains a painting in which we recognize Peter Gabriel with his flower mask. The music delivers twanging acoustic guitar, swinging piano and majestic Mellotron choirs, subtly blended with small parts of The Knife, Cinema Show and Supper's Ready. Then the short but strongly build-up track La Formula Finale Di Chad-Bat, the final part takes us to Progheaven: Mellotron choirs, propulsive drums and intense vocals. It's a perfect bridge to the epic final composition Sempre E Ovunque (more than 20 minutes) that delivers plenty of excitement and variety.
We can enjoy: orchestral keyboards, a Spanish oriented guitar solo, an interlude with jazzy piano, a prog metal climate with heavy guitar, swirling keyboards and thundering drums, a dreamy part with warm vocals, acoustic guitar and mellow flute play and in between lots of sumptuous keyboards and powerful interplay. The 'grand finale' is very compelling with fiery guitar, fat Moog runs, a heavy Hammond sound and again majestic Mellotron choirs, supported by a dynamic, pretty propulsive rhythm-section, impressive!
Impressive is also my conclusion about this excellent second album by Pandora, in my opinion one of the best 'new Italian progrock' efforts in the last two decades. I am sure that almost 10 years later Pandora their thrilling blend of Classic Italian Prog, Seventies symphonic rock and prog metal will appeal to many progheads and symphomaniacs, so highly recommended!
Il Tempio Delle Clessidre Rock Progressivo Italiano
Review by TenYearsAfter
One of my favourite Classic Italian Prog albums is Zarathustra from Museo Rosenbach, the final part of the epic
titletrack delivers the most glorious and compelling Mellotron eruptions I have ever heard! The name of that part is
Il Tempio Delle Clessidre, I got exited when I stumbled upon a new Italian band with the name Il Tempio Delle
Clessidre and their eponymous debut CD. Well, no coincidence, the singer of Il Tempio Delle Clessidre is Stefano
"Lupo" Galifi, once the singer of that legendary and highly acclaimed Museo Rosenbach. We can enjoy outstanding, very passionate vocals, an awesome vintage keyboard sound, exciting guitarplay (loaded with propulsive riffs and fiery runs) and a fluent rhythm-section. The inventive compositions contain a huge variety and lots of dynamics, in the vein of the Classic Italian Prog bands.
The start in the first short and instrumental track Verso L'Alba is Vintage Keyboard Heaven: a heavy Hammond and powerful guitar, accompanied by Mellotron violins and a fat Minimoog solo, I love this compelling sumptuous prog! This turns out to be Il Tempio Delle Clessidre their trademark, only the song Boccadasse is a bit of a maverick: a polished sound, at some moments even a bit smooth but wonderful interplay between fiery guitar and sumptuous keyboards.
My highlights.
Insolita Parte Di Me : majestic Mellotron, sparkling piano, a flashy synthesizer solo and a wonderful final part with emotional vocals.
La Stanza Nascota : a classical atmosphere with acoustic guitar, violin, piano and tender vocals, wonderfully build up to a compelling final part with lush Mellotron choirs, goose bumps!
Danza Esoterica Di Narura: very alternating, from fiery electric guitar to swirling Grand piano, like Keith Emerson.
Faldistorium: bombastic Hammond, powerful guitar with intense Mellotron violins and finally a church organ sound.
In L'Attesa the band rocks, with strong electric guitar and bombastic keyboard outbursts (Hammond and Moog) in the vein of Seventies ELP, topped by passionate vocals, again an extra dimension!
Il Centro Sottile : strong vocals, sensitive electric guitar and another great vintage keyboard sound in the final part (Grand piano, Mellotron and Moog).
What an outstanding debut CD, another stunning Italian progrock highlight in the last two decades.
After this debut album the band released two other studio-albums (alieNatura in 2013 and Il-Lūdĕre in 2017) and a live DVD featuring a new version of the legendary epic Zarathustra by Museo Rosenbach.
Ingranaggi Della Valle Rock Progressivo Italiano
Review by
VianaProghead
Prog Reviewer
Review Nº 181Ingranaggi Della Valle is an Italian progressive rock band from Rome which was created in 2010. The band was created with the goal of evoking the sound and atmospheres of the historical progressive rock of the 70's, creating their own music open to fusion, ethnic and jazz-rock influences. The band released two studio albums until now. Their debut album 'In Hoc Signo', which was released in 2013, is a conceptual album with its concept focused about the times when the first Crusade was made. We can say this is a perfect representative manifesto of their music and philosophy. Just over three years later of their debut, Ingranaggi Della Valle returned with their second album 'Warm Spaced Blue'.
While their debut studio album 'In Hoc Signo' was a tribute to 70's progressive rock music, where the focus was mainly on the instruments and the playing, and less on the song writing and the actual songs, with 'Warm Spaced Blue', they took a different approach and decided to put the focus more on the song writing. But there is another main difference. Also, the tone of this album is darker and reflects the members' personal feelings and situations in their life.
Since their debut album some changes on the line up of the band occurred. But, the main difference was the change of their singer. The change to their new front man David Savarese resulted in the lyrics on this follow up effort, as the title suggests, to be sung in English. And yet with that significant change and one that may bring the band to wider notice, one thing remains clear, lyrics are secondary on this traditional, symphonic, but clearly Italian progressive agenda.
On 'Warm Spaced Blue' the band tried to maintain their stylistic unity without setting boundaries in the arrangement by choosing from a wide range of instruments. All bands' members use a wide range of instruments. While maintaining a jazz approach for writing harmonies the band acquired a big structured rock sound and, as I mentioned before, they introduced English as the singing language. 'Warm Spaced Blue' really highlights some differences from the past.
The line up on the album is Davide Savarese (lead vocals, glockenspiel and Rhodes), Flavio Gonnellini (backing vocals and guitar), Alessandro Di Sciullo (backing vocals, electric and acoustic guitars, Moog Minitaur; Mellotron, Roland TR 808/TR 909, Akai MPC Touch, Korg Kaoss Pad KP 3 and electronics), Mattia Liberati (backing vocals, Hammond B3 , Mellotron, Fender Rodhes Mk V, MiniMoog, MiniMoog Voyager and piano), Marco Gennarini (backing vocaks and bass), Antonio Coronato (bass) and Shanti Colucci (drums and percusiion). The album had also the participation of Fabio Pignatelli (bass and Fx), Stefano Vicarelli (synthesizers), Paolo Lucini (flute) and Florian Lechner (narration).
About the songs, 'Warm Spaced Blue' has only six tracks. The majority of this album is reserved for the suite 'Call For Cthulhu', with more than 20 minutes, which is divided into three parts, 'Orbison', 'Through The Stars' and 'Promise'. In between those three tracks we can find three other songs, 'Inntal', 'Lada Niva' and 'Ayida Wedo'. What is more interesting about the suite is that 'Call For Cthulhu' is separated between the other songs. So, the suite is separated by the first, third and sixth tracks. 'Call For Cthulhu' has an experimental character by the use of modern electronics. Through the suite we can immediately know this is a very special album and a special band. This is true progressive rock music and I had to think of bands like Anglagard and Echolyn, not because their music is sounding like the music of those bands but because this band is also in the premiership of progressive rock. Certainly it wasn't a coincidence that Mattias Olsson of Anglagard participated on their debut. 'Inntal' is a song with great flute atmospheres. It's a real jazz-rock song, also with great guitar parts. Somehow it reminds me of King Crimson and Anekdoten, which isn't a strange think due to the use of the Mellotron. 'Lada Niva' develops itself also into a 70's progressive rock song, with some jazzy influences. It's a great song with great diversity. On 'Ayida Wedo' the sound gets more or less stronger and is a little bit aggressive. The song is instrumental. I confess the vocals aren't in the lead of this album, as I wrote before.
Conclusion: 'Warm Spaced Blue' is a brilliant album. Interestingly, Italian progressive rock has its own style, slightly baroque and absolutely opinionated. This is a real interesting approach of composing music. It's indicated for lovers of jazz rock/fusion. But above all, it's particularly indicated for lovers of the 70's progressive rock music if you love instruments in their real and own mode. However, this isn't an easy album to digest. There is a high standard of playing and of song writing but the album is very hard to grasp after the just one hearing. One definitely needs to listen to it more often, to get the whole thing and to keep up with the quick changes of passages and moods. This is heavy stuff, but still very well played and more original than some other bands that just copy their heroes' styles. But I'm sure you will like it if you like real progressive rock music with a dark atmosphere and if you love the Mellotron work, as I do, this album is for you. It's highly recommended especially for lovers of bands like King Crimson, Anglagard and Anekdoten.
Prog is my Ferrari. Jem Godfrey (Frost*)
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