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ROCK PROGRESSIVO ITALIANO

A Progressive Rock Sub-genre


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Rock Progressivo Italiano definition

aka "RPI"


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


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

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


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

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

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


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

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

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

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

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

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


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

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

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

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

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


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

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

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

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

For the Mick.
29 July 2009



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




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

4.42 | 1586 ratings
PER UN AMICO
Premiata Forneria Marconi (PFM)
4.37 | 1082 ratings
DARWIN!
Banco Del Mutuo Soccorso
4.36 | 1268 ratings
STORIA DI UN MINUTO
Premiata Forneria Marconi (PFM)
4.36 | 999 ratings
IO SONO NATO LIBERO
Banco Del Mutuo Soccorso
4.31 | 820 ratings
ZARATHUSTRA
Museo Rosenbach
4.28 | 825 ratings
BANCO DEL MUTUO SOCCORSO
Banco Del Mutuo Soccorso
4.24 | 880 ratings
FELONA E SORONA
Orme, Le
4.26 | 608 ratings
ARBEIT MACHT FREI
Area
4.23 | 811 ratings
L'ISOLA DI NIENTE
Premiata Forneria Marconi (PFM)
4.26 | 434 ratings
MAXOPHONE
Maxophone
4.23 | 542 ratings
YS
Balletto Di Bronzo, Il
4.21 | 647 ratings
UOMO DI PEZZA
Orme, Le
4.23 | 383 ratings
PALEPOLI
Osanna
4.24 | 341 ratings
CRAC !
Area
4.22 | 309 ratings
DISCESA AGL'INFERI D'UN GIOVANE AMANTE
Bacio Della Medusa, Il
4.18 | 317 ratings
L' ENIGMA DELLA VITA
Logos
4.18 | 283 ratings
CELESTE [AKA: PRINCIPE DI UN GIORNO]
Celeste
4.17 | 302 ratings
CONTAMINAZIONE
Rovescio Della Medaglia, Il
4.14 | 356 ratings
LA CRUDELTÀ DI APRILE
Unreal City
4.19 | 204 ratings
MELOS
Cervello

Rock Progressivo Italiano overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Rock Progressivo Italiano experts team

ODISSEA
Odissea
CAMPO DI MARTE
Campo Di Marte
INFERNO
Metamorfosi
ASRAVA
Logos

Latest Rock Progressivo Italiano Music Reviews


 ...Canta Fabrizio De Andre by GAN EDEN - IL GIARDINO DELLE DELIZIE album cover Studio Album, 2019
3.00 | 1 ratings

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...Canta Fabrizio De Andre
Gan Eden - Il Giardino Delle Delizie Rock Progressivo Italiano

Review by TCat
Prog Reviewer

— First review of this album —
3 stars The name of this Rock Progressivo Italiano band is "Gan Eden-Il Giardino delle Delizie". Gan Eden is Hebrew for Garden of Eden and Il Giardino delle Delizie is Italian for The Garden of Delights. The band was founded in 2004 by Angelo Santo Lombardi who is a keyboardist for the band who utilizes several artists for backup on his different albums. His 5th album is called ". . . Canta Fabrizio de Andre" where Lombardi plays all the instruments except for guest Gabriele Paganoni who plays additional acoustic and electric guitars, bass, drums and effects.

The music here is a nice mix of Italian folk prog utilizing mostly acoustic guitars with frequent keyboards. The music isn't really heavy in the prog department, but there are places where there are tricky meters in certain songs, the proggiest of which are "Creuza de Ma" and "Nei Miandri dell'Alba". The vocals are all in Italian and are quite pleasant sounding, supported many times with background singers and possibly even a small chorus of singers.

The individual tracks tend to be inspired by folk dance styles and a few lean towards a ballad style like "La Guerra di Piero", which is led mostly by piano, or towards a pastoral sound as in "Giordie", which also features a female vocalist and a lovely orchestration of acoustic instruments.

The music is nice and mostly pastoral, the vocals don't really change much as far as timbre is concerned, but Lombardi doesn't stretch beyond his capabilities and the songs are interesting enough to help carry the variety in style. But, he isn't a bad singer either and is quite confident in his sound. The occasional female vocals also help add variety. The instruments are pretty much mostly acoustic with the only track with discernable electric guitar riffs is the final track. So, this is a good album for those who like their music on the folk side, pastoral in sound with occasional hints of progressiveness.

 Celebration - Live in Nottingham 1976 by PREMIATA FORNERIA MARCONI (PFM) album cover Live, 2019
3.00 | 1 ratings

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Celebration - Live in Nottingham 1976
Premiata Forneria Marconi (PFM) Rock Progressivo Italiano

Review by Matti
Prog Reviewer

— First review of this album —
3 stars For years I've been appreciating the releases of the British label Esoteric Recordings. Usually they are reissues of old albums, very often from the 70's, covering both highly regarded classic artists and less known acts and their hard-to-find-as-originals albums. The well written liner notes and some bonus material on discs are an essential part of it all. And what's best, progressive rock plays a significant part in ER's impressive and ever growing catalogue.

This recent release offers something new, ie. previously unreleased material. P.F.M. is without a question the most notable of Italian prog bands, and the first one to reach wide international success. The ELP fellows Greg Lake and Peter Sinfield were to thank for that; in December 1972 Lake witnessed PFM's homeland gig and invited them to England, and Sinfield wrote English lyrics for them and produced albums released via ELP's own label Manticore. The whole history of PFM is once again told (by the label boss Mark Powell) in the liner notes of this 2-CD.

The end of 1975 saw the Italian release of the album Chocolate Kings with the new vocalist Bernardo Lanzetti (formerly of Acqua Fragile), and Manticore's UK/USA release followed in April 1976, coinciding with a UK tour. This particular gig was held at the University of Nottingham, and it was captured on tape by Manticore Records and broadcast on a local radio. The line-up is Lanzetti, Flavio Premoli (keyboards), Franco Mussida (guitar), Mauro Pagani (woodwinds, violin), Patrick Djivas (bass) and Franz Di Cioccio (drums). I haven't listened to the mentioned studio album, which contains five tracks, three of them included here. The set opens with 'Paper Charms', a 10-minute piece of Yes & King Crimson influenced intense prog rock in which Lanzetti's vocals come and go. His raspy voice has always reminded me of Family's Roger Chapman. On the heavily extended version of 'Four Holes in the Ground' (originally from The World Became the World, 1974) Pagani plays both flute and violin. The energy of the band at the top of their game is strongly felt. In fact for a large part Lanzetti, fluent enough in English but not very brilliant vocalist technically, remains in a pretty small role, which is actually positive. As he raises his voice he sounds also like the rockiest voice in Gentle Giant (whichever Shulman he was, Derek?).

The third track widens the dynamics towards the more delicate end of the spectre: 'Dove... quando' is on PFM's debut album Storia di un minuto (1972) an acoustically oriented, calm and folky song, and pretty well its thoughtful spirit was captured in this gig too, although I think that for example the electric piano makes it a bit different. 5-minute 'Acoustic Guitar Solo' proves that Franco Mussida's competence doesn't badly pale in comparison to Howe or Hackett. The 1st disc is finished by two further Chocolate Kings tracks. There are effective riffs and strong playing, but all in all I'm missing the Mellotron-contained, more pastoral prog style of PFM's earliest albums.

Two further early tracks come on 2nd disc, the jolly near-instrumental 'Celebration' and 'La Carrozza di Hans' which are to me more rewarding in this set than the "thicker" Lanzetti-era material. The live sound is relatively good, just slightly stuffy, but the live energy makes up for little imperfections. This is a fairly recommended release if you're a fan of PFM and especially if you're fond of live albums in general. 3½ stars.

 Dietro l'Uragano by ALPHATAURUS album cover Studio Album, 1992
2.85 | 70 ratings

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Dietro l'Uragano
Alphataurus Rock Progressivo Italiano

Review by sgtpepper

3 stars Even without reading anything about this album first, you notice from the start that this is likely a demo collection - the recording quality below average.However, some tracks

are on par with the debut album. The first track certainly matches them - it provides the needed instrumental complexity.

The second track is also adventureous but has the unfinished feel. I'd like to highlight the work of the drummer here which is put quite heavy in the mix.

Claudette has, despite poor sound quality, nice keyboard layers and emotions.

This album has three stars but if the recording quality were better, add another half-star to it.

 Alphataurus by ALPHATAURUS album cover Studio Album, 1973
4.11 | 336 ratings

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Alphataurus
Alphataurus Rock Progressivo Italiano

Review by sgtpepper

4 stars The debut album by Alphataurus contains all typical ingredients of Rock Progressivo Italiano: multiple keyboard layers, passionate vocals, Italian lyrics, quite strong melodies and decent experimenting.

However, guitar is more present than on a typical RPI album.

Three compositions reach over 9 minutes and the band have enough space to develop the music ideas.

Vocals remind me of early Kaipa because of the expression and voice colour. Guitar player is skilled and shows inclination to hard rock. Keyboards are almost always present and creative, from piano, organ to synthesizers.

The bass and drums greatly support the leading instruments.

My favourite parts are instrumental sections when the whole group shines on and these is evidenced in each song.

The first track sums up the band skills and inspiration. Changes of dynamism won't allow listeners to rest on laurels.

"Dopo l'uragano" has a more rock/hard-rock flavour than progressive rock but can be called anthemic. "Croma" is probably my favourite section on the album because it is so symphonic and solemn with keyboards in the foreground.

"La mente vola" has a nice vibraphone-sounding solo and a clear melody heavily dominated by keyboards.

"Ombra muta" is instrumentally the most complex song with plenty of interactions and it could have been more coherently done without brief vocals.

A good addition to anyone's RPI collection.

 Dalla Vita Autentica by ORLANDO, ANDREA album cover Studio Album, 2017
4.05 | 11 ratings

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Dalla Vita Autentica
Andrea Orlando Rock Progressivo Italiano

Review by b_olariu
Prog Reviewer

4 stars Andrea Orlando drummer of La Coscienza di Zeno and aswell member of Malombra, or colaborations with Finisterre manage to release his first solo album in 2017 named very simple but very effective Dalla vita autentica. Well, absolutely excellent album, one of the most intresting prog rock albums from italian school I've heared in last years. Smooth and elegant music. For example Cadi con me simply kills, marvelous female voice and all instrumental arrangements, the rest are also top pieces. Very strong musicianship all over, the whole album smells of golden age of prog '70s but with a modern twist in production. Another pieces worth mentioned are Oltre domani, the guitar work is great, remind me of some Camel best moments or Cinque Giorni D'Autunno. The vocals are provided by La Maschera di Cera voice - Alessandro Corvaglia on some pieces, there are instrumental pieces aswell. So, all in all very strong release, at least for me, it sounding fresh and without any boring moment, musicians play for pleasure and is shown in every tune. 4 stars for sure. Nice art work
 Tales from Another Time by ERIS PLUVIA album cover Studio Album, 2019
3.16 | 6 ratings

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Tales from Another Time
Eris Pluvia Rock Progressivo Italiano

Review by TCat
Prog Reviewer

3 stars Eris Pluvia is a band from Genoa, Italy playing a style of RPI that has influences of symphonic prog and folk evident in their music. Their first album was released in 1991 and received a lot of praise from critics. However, their next album wasn't released until almost two decades later in 2010, a 3rd album in 2016, and finally, this album called "Tales from Another Time", released in March 2019. The current line up consists of lyrics and guitars by Alessandro Cavatorti; bass, piano, keyboards and drums by Marco Forella; vocals by Roberto Minniti; and Roberta Pitas on flute. This album consists of 6 tracks that together span almost an hour in total run time, 3 that are standard length of about 5 minutes, and 3 others that are multi-part suites lasting 11 to 17 minutes. Most of the lyrics are sung in English.

The album starts with 2 of the shorter tracks. "When Love Dies" is an instrumental that starts peacefully with piano and flute playing a pastoral ballad with acoustic guitar joining later. At 2 minutes, keyboards and a more traditional rock feeling comes in with drums, but it remains soft and melodic. Intensity comes in later with guitar and then synthesized vocal effects as the band reaches into its Floydian bag of tricks. "Lost in the Sands of Time" starts quite mellow with atmospheric guitars and processed percussion before vocals come in. The band comes in later with a driving rhythm and synth riff and vocals become more intense. The track is fairly typical however, not really offering much and sounding a bit forced as they try to get in a progressive sound in the time allotted one way or another.

The first epic is over 17 minutes. "La Chanson de Jeanne" is a 3 part suite. It starts with a guitar intro with the full band behind before the vocals start. Later, guest vocalist Ludovica Strizoli sings the 2nd verse. As the track continues, it seems quite shallow and the keys sound dated. The only real good thing here is the guitar solo, but it is played against a boring background. After 5 minutes, the 2nd part begins with a minimal keyboard playing sustained chords and other effects. Spoken word vocals echo in the background for a short time. Finally, after 8 minutes, soft flute and guitar stars and the guest vocalist sings a lackluster part that is supposed to have that prog-folk feeling, but unfortunately, there is hardly any feeling there at all. The beat finally picks up with the regular singing and a lilting flute. Again, there is still no real heart in the music, it feels flat and the playing seems canned as keys and guitar take turns at solos. The 3rd part begins about 14 minutes in with organ and strummed guitar supporting a synthesizer melody and guitar solo then a pastoral flute ending with fade out.

"The Call of Cthulu" is another 3 part suite lasting about 12 minutes. It starts out a bit more heavy when the guitar comes in with drums playing a more solid beat. As the instrumental beginning continues, organ, synth and so on play their parts as this track promises to be a bit better. Before the 4 minute mark, things get eerie with dark and mysterious sounds, which is expected considering the subject matter, then the ominous organ comes in preceding vocals. The vocals are much to mellow however and bring the believability down a bit. A steady, moderate beat begins, more vocals, then guitar. At 8 minutes, the rhythm becomes slightly more complex and the vocals a bit more intense, but then everything is lost when this stops and the 3rd part begins. Cue the final guitar solo, then more eerie atmospherics. At the end of it all, you realize that even at almost 12 minutes, the development still lacks because it just seems like a lot of little parts that had to be put in here or there, everything had to be in its place that there wasn't any room for development anywhere.

Next, there is the 3rd short track "Last Train to Atlana". This is again another pastoral instrumental with flute and acoustic guitar (with squeaky strings) with some light percussion. The flute melody is quite uninteresting though.

The last track is another epic at over 14 minutes. "The Hum" is a 5 part suite. This one shoots for a more progressive sound in the introductory section with tricky rhythms, organ and guitar. Later, a slow piano section brings in the vocals for a ballad style section. The organ, piano and guitar in the instrumental break are nice and the melody here is probably the most heartfelt. After this, the complexity returns with a more progressive section, but this ends too quickly as things get quiet except for tolling bells and atmospherics. Then the flute carries a melody with a soft orchestral effect. This is interrupted after the 10 minute mark with the complex progressive sound coming back as the full band kicks in but soon settles into a steady beat with the flute still leading the way, but this time with a little more intensity. After a while, the guitar takes the flute melody and runs away with it.

For the most part, this album seems to try to be more than what it really is. Yes you have the long epic songs, but, other than "The Hum", which is the highlight of the album, they just seem too forced and lack emotion. The shorter tracks don't really help to bring it all together, and in the end it seems a bit disjointed. For the most part, unless they are playing a solo, the musicians just seem to be there playing automatically. Other times, it seems they are in a hurry to fit everything in and end up without developing anything. What makes "The Hum" more interesting is for some reason, there is more heart and soul in the song, but even it has it's problems, it's just that it is a more interesting track too. The music could stand to be somewhat looser and emotional and not just playing for the sake of playing. The album squeaks by with a 3 star rating, but only because of the last track.

 Il Paese Dei Balocchi by PAESE DEI BALOCCHI, IL album cover Studio Album, 1972
3.63 | 103 ratings

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Il Paese Dei Balocchi
Il Paese Dei Balocchi Rock Progressivo Italiano

Review by Cleansoul

5 stars I consider a masterpiece those albums that are unique and I want to hear from head to toe and the concept is meaningful, logical and the music and lyrics complement each other filling its "atmosphere". Il Paese Dei Balocchi has all these qualities with an important social message and awareness. It is a true progressive rock album, that stands up for what I consider the main characteristic of progressive music, it changes all the time, evolving along the piece. I believe it is a "must-have". I may be carried away by the fact that it used to be played at ELDOPOP, an open-air radio station in Rio de Janeiro, that played only progressive music during the '70s when I was teen and old love dies hard. Either way, it is a great addition to any collection. Thank you for your music.
 A Space Odyssey, Final Part - Starchild by RANESTRANE album cover Studio Album, 2018
3.96 | 80 ratings

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A Space Odyssey, Final Part - Starchild
RanestRane Rock Progressivo Italiano

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

4 stars Formed back in 1996, Italian project RanestRane have spent the last two-plus decades crafting ambitious concept work adaptations of legendary horror and science fiction films (`Nosferatu' and `The Shining' being two previous examples), but their latest disc from 2018 is their third and final of a trilogy based on the `2001: A Space Odyssey' movie, sub-titled `Final Part: Starchild'. While it would be preferable to have the earlier `Monolith' and `H.A.L' volumes from the past couple of years, `Starchild' still manages to stand as its own musical statement, because, despite taking inspiration from another source, the lyrics constantly convey a very surreal quality all their own. And if that wasn't intriguing enough, the band have also enlisted the aid of Marillion members Steve Rothery and Steve Hogarth to provide some quality contributions!

One thing to point out about RanestRane immediately is that the group are as far from the RPI/Rock Progressivo Italiano sound as possible, as there's none of the classical or theatrical touches that are often signature components of that tag (mind you, several members of RanestRane have also pulled double duty as members of reworked versions of legendary vintage Italian proggers Il Rovescio della Medaglia!). Instead, RanestRane have a firmly modern sound that shares much more in common with the most dramatic Pink Floyd moments, Marillion, as well as little touches of Riverside and Aryen Luccassen's Ayreon projects without merely lazily resorting to the heavier guitar riffing. RPI or not, it really makes no difference, because RanestRane are an exceptionally skilled and exciting band who deliver a first-rate album here with their latest effort.

Opener `L'insieme delle Cose' is a reflective soft rocker that grows in power as it progresses, full of icy Neo-Prog-like synths, the chiming guitars of the Hogarth-fronted era of Marillion and some frequently recurring wordless sighing harmonies. The tune, sung in Italian by drummer Daniele Pomo with a great and weary dignity, ultimately proves defiant with victoriously chest-beating moments. Instrumental `Do You Read Me H.A.L.?' is a space-rock sound collage interspersed with soundbites from the movie that borrows greatly from Pink Floyd's `One of These Days', all slide guitar and shimmering organ slivers (and the CD booklet even cheekily refers to it as the `Meddle Variation'!). `Ambasciatore delle Lacrime' is a tougher rocker with plenty of moody guitars courtesy of Steve Rothery but a more relaxed chorus, and `Sognero Mai' shakes things up with some colder electronics, gloomy organ and snarling guitars that bristle with desperation before a haunting acoustic climax.

Very few prog albums are without their longer epic, and the near-fifteen minute `Stargate' certainly delivers, with three of its four sections being fully instrumental. Combining everything from lulling piano interludes, heroic guitar passages and deep- space synth journeys, there's also breathless up-tempo sprints powered by coursing bass and touching acoustic breaks. The various segments all flow together effortlessly, and this multi-part piece is full of warmth and carries a quietly powerful beauty. `Prometeo tra le Stelle' is more of the same, perhaps just a little unengaging and probably could have been left off altogether without lessening the disc, but a fancy harpsichord-like break in the middle is likely the closest the disc comes to a teasing RPI-like moment here. The short `Abandoned' is then a pristine and sobering electric piano ballad finale given a stream-of-consciousness narration from Steve Hogarth, and the overall piece probably wouldn't have sounded out of place on any recent Marillion album.

The amount of variety and alternating vocal/instrumental passages means `Starchild' keeps constantly surprising. Just when the disc seems like it's settling into a song-driven format where the tune is the priority, the band break out a gorgeous instrumental passage, or subtly incorporate everything from electronic, spacerock and ambient styles into different corners of the album. Add in charismatic vocals that hold a very seasoned and dignified rasp, and you have a superb all-round progressive rock band making greatly inspired music, and `Starchild' is a very grand and rousing Italian highlight of 2018.

Four and a half stars.

(Note - well done to Ranestrane including English language translations in the CD booklet for all the Italian lyrics. This is something that many more bands from that country should do, as it provides a welcome entry-point for a wider range of worldwide listeners!)

 Felona E Sorona by ORME, LE album cover Studio Album, 1973
4.24 | 880 ratings

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Felona E Sorona
Le Orme Rock Progressivo Italiano

Review by jamesbaldwin
Prog Reviewer

5 stars After the settling step of "Uomo di Pezza", Le Orme aim higher, that is to combine music and lyrics in a real concept album (the previous two were not in all the respects) on a universe made up of two planets and a creator.

The first piece, "Sospesi nell'Incredibile" (Suspended in the Incredible), almost nine minutes, the only long track in the whole Lp, is an absolute masterpiece (vote 9), thanks to the technique of the three musicians and the compositional skills of the trio (always helped by the master G.P. Reverberi). Pagliuca bases an engaging melody, playing, in some passages, four types of different keyboards (I suppose: organ, synth, electric piano, mellotron), two for each listening channel. After about three minutes comes the voice by Tagliapetra to introduce the theme of the concept album, centered on the two planets of Felona (always illuminated) and Sorona (always in the darkness). First there is a strophe and then a progression that leads to a more acute melody, which would be the refrain if it were not that "Le Orme" don't respect the conventional song, preferring to give space, in this first track, to instrumental excursions and in fact after the singing by Tagliapetra comes a melody dictated by his bass, which is deep while De Rossi performs a work of absolute value, unstable, to the drums. Finally comes the synth by Pagliuca that plays a variation on the theme, which slowly fades, leaving space to the gigantic work of De Rossi, uncontanaible. Masterpiece.

Following are three songs linked together (Felona; La Solitudine di Chi Protegge il Mondo: The Solitude of the One Who Protects the World; L'equilibrio: The Balance; overall score 8). The first starts with the party bells, it's a simple folk acoustic ballad dominated by guitars. "Donne e cicale discorrono d'amore": "Women and cicadas talk of love", is a phrase that well represents the piece. After about two minutes there is a melodic passage on keyboards that leads to the next song, with a very dreamlike atmosphere that soon gives way to a melancholy melody; after another two minutes the fourth track arrives, which involves an aggressive rhythm, like the initial one, to underline the void between the two planets, the abyss that separates the two worlds. The music is perfectly in line with the text. This section lasts almost 4 minutes and has a beautiful instrumental tail, first conducted by the synth, then by a classical piano, then again by the synth, until the melodic, angelic part of the ending arrives. End of the first side. Applause.

The second side opens with another short piece (Sorona, two and a half minutes), which with a sad, subdued tone, talks about the death of wheat and plants on the planet Sorona. The austere, almost church-like vocals by Tagliapetra gives a sound that is always very Spartan, Catholic, to the piece. It looks like a litany of a penitential act. Mixed to this ethereal mood, comes a more aggressive sound to the keyboards, "Attesa Inerte" (Inert Wait) withot a melodic development. The sequence of these two tracks is the weakest of the album (vote 7+). It joins an atmospheric piece ("Ritratto di un Mattino": Portrait of a Morning: vote 8), suffused, in which the voice of Tagliapetra sings the maximum of the album: "La Felicità non puoi trovarla in te ma nell'amore che agli altri un giorno darai: You can'not find happiness in you, but in the love you'll give to others one day" followed by a melodic piece in solemn, triumphal "crescendo", with lots of final bells. The piano finally mixes this track with the next one ("All'Infuori del Tempo: Outside of Time", vote 7,5) "that overlaps with the acoustic guitars reminding the second song for arrangement and mood and melody, which is serene but less festive. Again it's an acoustic folk ballad. The voice tells the happy ending: "Due Mondi Felici Vibrano Insieme Nell'Arco del Cielo e Del Dolore Non c'è Ricordo, Soltanto Oggi Comincia la Vita: Two happy worlds vibrate together in the sky and there is no memory of sorrow, only today begins life"... Then the music stops, the acoustic guitar starts again and the bitter end arrives: "but while it still rejoices Sorona, Felona begins the Slow Inexorable Decline the Night Goes Down and the Balance Soon Ends, the End is the Circle, the Circle is Life, and is Destroyed and then Build Always Waits for Our Day, Doesn't Change Anything Outside of Time". Very inspired lyrics. The last part is narrated with the same serenity of the beginning, as the end of a fable, which however bitter must be accepted knowing that life is a circle where it is destroyed to rebuild. Final moment with keyboards and bass. The ninth track, "Ritorno al Nulla" (Return to Nothing/Nowhere, vote 8+), is a titanic final piece, to seal the return to nothingness. Led by Pagliuca with the synths, without the beating on the snare, it seems the end of the world is coming... And in fact it's an end of the world!

The concept album structure makes "Felona e Sorona", compared to "Uomo di Pezza", and especially to "Collage", an album much more narrated by the voice of Tagliapetra, formed by so many short sequences that don't leave much room for long instrumental digressions, which only focus in the last and in the first piece. The Lp almost seems like a theme music (Hector Berlioz) or a symphonic poem (Franz Liszt), where the lyrical part is sung. In any case, compared to Collage, what "Felona e Sorona" loses in surprise and originality and musical improvisation, it gains in homogeneity of arrangement and in the synergy of the union between lyrics and music that is really inspired and completely in unison. This album is the second small masterpiece signed "Le Orme".

Medium quality of the songs: 8. Vote album: 9. Rating: Five Stars.

 Echoes From The Undertow by B-RAIN album cover Studio Album, 2018
3.74 | 6 ratings

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Echoes From The Undertow
B-Rain Rock Progressivo Italiano

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars DAAL's DAvide Guidoni issues the 2018 result of a solo project he'd been working on outside of his work with ALfio Costa. Very nice progressive electronic music.

Track 1, "Far from the Madding Crowd" (2:56) sounds like disc 2 of David Sylvian's "Gone to Earth" with slower sections/interludes similar to Rick Wakeman's "Six Wives of Henry VIII." (8/10)

Track 2, "Lakeshore" (6:01) opens sounding like something from Hans Zimmer's "The Last Samurai" soundtrack before moving on to emulate violin-dominated work of Peter Gabriel collaborator SHANKAR on "The Last Temptation of Christ soundtrack," the work of Canadian electronic violinist Hugh Marsh with Bruce Cockburn in the 1980s and solo thereafter, as well as the work of many prog electronic artists including STEVE ROACH, ROBERT RICH, and YVES POTIN (JazzComputer.org). (9/10)

Track 3, "Overwhelming" (4:58) sounds as if it could come from PULSAR's "Halloween" as well as some of KLAUS SCHULZE's 1970s and soundtrack music. Mostly sound effects, creepy voices, and distorted sound until the symphonic second half. (8.5/10)

Track 4, "Echoes from the Undertow" (6:10) This one sounds like music from Belgian masters of cinematic music, BATTLESTATIONS, with the addition of treated trumpet á la Kenny Wheeler, Mark Isham, or early Jon HASSELL with DAVID SYLVIAN. GREAT song! It's only flaw is it's lack of dynamic development over its six minute course. (9/10)

Track 5, "The Cold Time of Solitude" (5:37) cello and viola over progressive electronic music alternating with primo STEVE HACKETT electric guitar soloing. Great tension and engaging melody (á la Maestro Hackett) throughout. (9.5/10)

Track 6, "Descending Mist" (a 20 minute epic!) (20:28) could come straight out of the musical repertoire of ALIO DIE, ROBERT RICH, STEVE ROACH, early TANGERINE DREAM and KLAUS SCHULZE, as well as so many 21st Century Prog Electronic songs and artists. Cool, eerie song! (34/40)

Track 7, "Homeward Bound" (5:38) is interchangeable with any symphonic cinematic concept album outro, like from the SEVEN REIZH albums, FREQUENCY DRIFT, LEBOWSKI, ALAN PARSONS PROJECT, MY EDUCATION, even Genesis artists' solo albums (HACKETT, BANKS, RUTHERFORD, COLLINS). (7.75/10)

Four stars; a collection of great cinematic music in the tradition of such masters as PULSAR, TANGERINE DREAM, STEVE HACKETT, PETER GABRIEL, LEBOWSKI, KLAUS SCHULZE, and even GOBLIN. An excellent contribution to the progressive electronic subgenre!

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Rock Progressivo Italiano bands/artists list

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A PIEDI NUDI Italy
ABISSI INFINITI Italy
ABSENTHIA Italy
ACQUA FRAGILE Italy
AD MAIORA Italy
ADHARMA Italy
AELEMENTI Italy
STEFANO AGNINI Italy
AINUR Italy
AKRON Italy
L' ALBERO DEL VELENO Italy
ALGEBRA Italy
ALIANTE Italy
ALESSANDRO ALISCIONI Italy
ALLEGRI LEPROTTI Italy
GLI ALLUMINOGENI Italy
ALPHATAURUS Italy
ALTARE THOTEMICO Italy
ALUSA FALLAX Italy
AMMINISTRAZIONE CAOS POPOLARE Italy
ANACONDIA Italy
ANCESTRY Italy
ANCIENT VEIL Italy
ANTONIUS REX Italy
GLI APOSTHOLI Italy
APOTEOSI Italy
APRYL Italy
ARCAMIRI Italy
ARCHITRAVE INDIPENDENTE Italy
AREA Italy
ARIES Italy
ARJUNA Italy
ARMONITE Italy
ARPIA Italy
ARS NOVA (ITA) Italy
ASSEMBLEA MUSICALE TEATRALE Italy
ASSENZIO Italy
ASTROLABIO / ELETTROSMOG Italy
ATON'S Italy
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
BARABBA Italy
MARIO BARBAJA Italy
BAROQUE Italy
BARROCK Italy
LUCIANO BASSO Italy
LA BATTERIA Italy
FRANCO BATTIATO Italy
PIERPAOLO BIBBO Italy
BIGLIETTO PER L'INFERNO Italy
BLOCCO MENTALE Italy
LA BOCCA DELLA VERITÀ Italy
BONDAGE Italy
BORNIDOL Italy
LA BOTTEGA DELL'ARTE Italy
BRAEN'S MACHINE Italy
BRAINDEAD Italy
ANGELO BRANDUARDI Italy
BRIGHT HORIZON Italy
BUON VECCHIO CHARLIE Italy
CAGE Italy
I CALIFFI Italy
CALLIOPE Italy
CAMERA ASTRALIS Italy
JURI CAMISASCA Italy
CAMPO DI MARTE Italy
CANTINA SOCIALE Italy
CAPITOLO 6 Italy
CAPRICORN COLLEGE Italy
CAPSICUM RED Italy
ENZO CAPUANO Italy
CARPINETA Italy
IL CASTELLO DELLE UOVA Italy
IL CASTELLO DI ATLANTE Italy
CAVALLI COCCHI LANZETTI ROVERSI Italy
CELESTE Italy
IL CERCHIO D'ORO Italy
CERVELLO Italy
CHERRY FIVE Italy
CHIAVE DI VOLTA Italy
CHRISTADORO Italy
LUCIANO CILIO Italy
THE CINEMA SHOW Italy
CIRCLE OF FAIRIES Italy
CITTÀ FRONTALE Italy
CIVICO 23 Italy
CLEPSYDRA Italy
I COCAI Italy
ROBERTO COLOMBO Italy
CONDOR Italy
CONQUEROR Italy
CONSORZIO ACQUA POTABILE Italy
CONTRAPPUNTO Italy
CONTROTEMPO Italy
COOPERATIVA DEL LATTE Italy
CORAL CAVES Italy
CORMORANO Italy
EMANUELE CORREANI Italy
CORTE AULICA Italy
CORTE DEI MIRACOLI Italy
LA COSCIENZA DI ZENO Italy
MARIO COTTARELLI Italy
COURT Italy
CRYSTALS Italy
LA CURVA DI LESMO Italy
GINO D'ELISO Italy
GIANNI D'ERRICO Italy
DALLAGLIO Italy
DALTON Italy
DE DE LIND Italy
DELIRIUM Italy
MAURIZIO DI TOLLO Italy
I DIK DIK Italy
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
EMPIRE Italy
ENEIDE Italy
ENIMA Italy
ENTITY Italy
EQUIPE 84 Italy
ERA DI ACQUARIO Italy
ERIS PLUVIA Italy
ERRATA CORRIGE Italy
L' ESTATE DI SAN MARTINO Italy
EURASIA Italy
EUTHYMIA Italy
EXPLOIT Italy
LA FABBRICA DELL'ASSOLUTO Italy
FABIO CELI E GLI INFERMIERI Italy
FALENA Italy
IL FEDELISSIMO BRACCO BRANCO Italy
FEM PROG BAND / FORZA ELETTROMOTRICE Italy
FESTA MOBILE Italy
FILARMONICA MUNICIPALE LACRISI Italy
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FINISTERRE Italy
FLEA Italy
FLOATING STATE Italy
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FORMULA 3 Italy
THE FORTY DAYS Italy
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CLAUDIO FUCCI Italy
FUFLUNS Italy
GAN EDEN - IL GIARDINO DELLE DELIZIE Italy
GARYBALDI Italy
GENCO PURO & CO. Italy
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GERMINALE Italy
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GLEEMEN Italy
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GRAN TURISMO VELOCE Italy
GREENWALL Italy
GRIMALKIN Italy
GRUPPO 2001 Italy
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H2O Italy
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I LEONI Italy
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I NUMI Italy
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ORNITHOS Italy
OSAGE TRIBE Italy
OSANNA Italy
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OVERTURE Italy
IL PAESE DEI BALOCCHI Italy
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PANDA FIGHT CLUB Italy
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PANE Italy
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MARIO PANSERI Italy
PANTHER & C. Italy
PARADISO A BASSO PREZZO Italy
IL PARADISO DEGLI ORCHI Italy
MAURO PELOSI Italy
I PENNELLI DI VERMEER Italy
LA PENTOLA DI PAPIN Italy
PERDIO Italy
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PERIPLO Italy
PERSIMFANS Italy
PHAEDRA Italy
PHOLAS DACTYLUS Italy
GIAN PIERETTI Italy
PIERO E I COTTONFIELDS Italy
PIERO EZIO E TINO Italy
PLANETARIUM Italy
PLENILUNIO Italy
PLURIMA MUNDI Italy
LE PORTE NON APERTE Italy
POSTO BLOCCO 19 Italy
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PRESENCE Italy
PROCESSION Italy
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PROPHEXY Italy
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PSYCHO PRAXIS Italy
QIRSH Italy
QUARTO VUOTO Italy
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QUEL GIORNO DI UVE ROSSE Italy
QUELLA VECCHIA LOCANDA Italy
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I RAMINGHI Italy
RANDONE Italy
RANESTRANE Italy
REALE ACCADEMIA DI MUSICA Italy
RES GESTA Italy
RICORDI D'INFANZIA Italy
CLAUDIO ROCCHI Italy
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IL ROVESCIO DELLA MEDAGLIA Italy
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SAMADHI Italy
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TITO JR. SCHIPA Italy
LA SECONDA GENESI Italy
SECRET TALES Italy
IL SEGNO DEL COMANDO Italy
SELDON Italy
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LE SENSAZIONI Italy
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IL SENTIERO DI TAUS Italy
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SFARATTHONS Italy
SHOWMEN 2 Italy
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SIDE C Italy
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IL SISTEMA Italy
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ALAN SORRENTI Italy
ST.-TROPEZ Italy
UNA STAGIONE ALL' INFERNO Italy
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DEMETRIO STRATOS Italy
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SUNSCAPE Italy
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SYNDONE Italy
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IL TEMPIO DELLE CLESSIDRE Italy
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I TEOREMI Italy
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THEGENERATION Italy
THREE MONKS Italy
TILION Italy
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LA TORRE DELL'ALCHIMISTA Italy
TRIADE Italy
THE TRIP Italy
IL TRONO DEI RICORDI Italy
TUGS Italy
UBI MAIOR Italy
ULTIMA SPIAGGIA Italy
UNA VOLTA ERAVAMO IN SETTE Italy
UNO Italy
UNREAL CITY Italy
L' UOVO DI COLOMBO Italy
VEDDA TRIBE Italy
VERGANTI Italy
VIEUX CARRE Italy
VITTORIO DE SCALZI - LA STORIA DEI NEW TROLLS Italy
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IL VOLO Italy
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ZAUM Italy

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