ROCK PROGRESSIVO ITALIANO
A Progressive Rock Sub-genre
From Progarchives.com, the ultimate progressive rock music website
Rock Progressivo Italiano definition
aka "RPI""So it's an established fact that in Italy during the period between 1971-1974, a music movement existed where bands would challenge each other to see who could be the most imaginative, who could create the album for the ages. They were all painters and sculptors just as in Renaissance Italy." -Tom Hayes/Gnosis
1. The background
As the 60s drew to an end, Italy experienced a wave of new ideas and ideals which coincided with the new musical era being born. It would not be exaggeration to state that the 70s were a watershed period in the history of the country. Even though the 60s are generally remembered as the years of the 'economic boom', it was only in the following decade that Italy made the long, difficult change from a relatively poor, traditional country into a fully developed Western society. A look at any timeline for 70s Italy will show an incredible concentration of events that changed the fabric of Italian society irrevocably: laws and acts were passed which affected worker's rights, family and divorce law, and women's rights and reproductive health. In a country where the physical presence of the Catholic Church has always been impossible to overlook, not least because of its open intervention in the country's political affairs, the introduction of such radical changes was no small feat.
Most of those changes were made possible by the presence of a strong left-wing component in Italian political life, even if regarded with extreme suspicion by both the Church and Italy's main ally, the United States. Though the existence of a party that openly called itself Communist was not exclusive to Italy, at the time the PCI (Partito Comunista Italiano) was considered more of a danger than, for instance, its French equivalent - mainly due to Italy's strategic position in the Mediterranean area, as well as the party's obvious connection with the Soviet Union. Such a peculiar, potentially explosive situation sadly became a breeding ground for a number of extremist groups, who were responsible for the season of violence and unrest commonly known as the 'Anni di piombo' ('years of lead'), which lasted well into the first half of the Eighties. The number of casualties due to terror acts and rioting was quite high, involving people from all walks of life. However, the defining episode of the decade was the kidnapping and subsequent murder of well-known politician Aldo Moro (a left-leaning Christian Democrat) by the notorious Brigate Rosse ('Red Brigades') in the spring of 1978.
2. The birth of a movement
The turbulent times affected countless musicians looking for something new-some way to parallel the political climate through artistic media. Ranging from highly educated conservatory students to local singer-songwriters, this spirit managed to captivate an entire country within a few short years. Young people were restless, bursting with a burning desire to change the staid, suffocating atmosphere of Italian society starting with one of its symbols, its venerable musical tradition. Most musicians had more or less strong left-wing leanings (the prime example being Area), while the few examples of openly right-wing bands never managed to break out of obscurity, or gain more than a strictly cult following.
Without a strong rock tradition in the 60s Italy had mainly produced beat bands of varying quality, as well as singers well-versed in the long-standing canzone tradition of the country. As the tidal wave of counter-culture swept in, it brought revolution not only in the form of progressive rock, but also differing forms of heavier, continental rock which was establishing itself around the same time. Psychedelic influences and the incorporation of classical music may have been the same stepping stones used by most other progressive scenes around the globe during the same period, but even at this embryonic stage there was a whiff of something else in the air. In the late 60s when the beat scene was already heading towards a decline, a number of bands formed, some of them releasing singles (or even albums) that bridged the gap between beat, conventional Italian easy listening music (musica leggera), and the new ideas coming from Great Britain - among them, New Trolls, Le Orme, Panna Fredda, I Quelli (later to become Premiata Forneria Marconi), Il Mucchio, and Fabio Celi e gli Infermieri.
"We wanted to put some improvisations between the singing parts and we had to make up our minds about the style to follow... After having been to the Isle of Wight festival, it was clear to all of us that we couldn't keep on playing the usual songs with verses and refrains." -Toni Pagliuca, Le Orme
3. The golden years
The beginning of the new decade saw the rise of a countless number of bands and artists, some of whom would go on to become successful acts. PFM, Banco del Mutuo Soccorso, Osanna, Il Balletto di Bronzo, Quella Vecchia Locanda belong to this group, with all but the latter being still active at the time of writing. Some others only managed to release one album (or even just a handful of singles) before they disbanded. The prog-rock bug became so widespread in Italy that some experts say every artist and band in Italy produced at least one progressive album during this time. A number of well-known mainstream artists started their career with a prog album, like singer-songwriters Riccardo Cocciante (with Mu) and Ivano Fossati (with the first Delirium album, Dolce acqua). Or, like Lucio Battisti or Fabrizio De André, they released strongly prog-influenced albums when the movement was at its height.
During the peak years of the RPI movement in the early 70s, countless bands showcased their talent in the many pop festivals organized throughout Italy. The festivals were often free of charge and boasted a level artistic freedom and competition seldom seen in popular music. Fans witnessed bands rise from obscurity to compete on the same stage as the heavy hitters. This musical competition created something of an upward spiral; everyone tried to outdo each other, producing unique sounds and incorporating disparate influences into their music. The variety of the music went through the roof, with every band sharing the same aspirations, though seldom the same sound. It must also be made clear that despite the beliefs of those who write off Italian prog as simply a British counterfeit, many of these bands were creating music that was phenomenally original, experimental, free-spirited, and creatively successful. While bands from abroad helped influence and inspire Italian bands, Italy's young bands quickly took the ball and ran with it. It is ludicrous to suggest the scene a mere imitation. The upward spiral also meant an over saturated market, in which many bands only managed to put out one or two releases with minimal budget and intense recording. Some of the best, most genuine and treasured albums of Rock Progressivo Italiano can be found in this group: Semiramis' "Dedicato a Frazz", Pholas Dactylus' "Concerto delle menti", Raccomandata Ricevuta di Ritorno's "Per un mondo di cristallo", Museo Rosenbach's "Zarathustra", and Balletto di Bronzo's "Ys" to name just a few.
"We had to tackle this tradition, we had to fight against the conventions and refuse to be integrated. The New Sounds hadn't arrived yet, there was no music for the young people, there was nothing, you had to invent and build up your space. Perhaps this was the mainspring that unchained such a creative strength." -Gianni Leone
With time some of the biggest bands achieved international success, with PFM as the best-known example. Lyricist Peter Sinfield, known from his work with giants like King Crimson and ELP, even wrote for the band, while Peter Hammill provided English lyrics for Le Orme's "Felona e Sorona". Ironically this success often meant a detour from the roots of the RPI sounds, making these albums more aligned to the British scene than the bulk of the artists and albums in the archives. Look beneath the surface in order to discover hidden (or not so hidden) gems. While the oft-mentioned big 3 of Italian prog (PFM, Banco, and Le Orme) are conveniently considered the peak by those casually mentioning this scene, RPI enthusiasts know the river runs so much deeper, and many of our personal favourites are found outside of these popular groups. Those who search beyond the surface will discover that the most daring and provocative works were often made by more obscure groups who released one fantastic album and then vanished into thin air. This common syndrome of Italian "one-shot" bands became the bane of many RPI fans.
Since so many different musicians experimented with the progressive format, you will also find a broad musical scope within RPI, something which has kept the subgenre fresh and vital over time. Examples include Franco Battiato (still a very successful artist in Italy), Picchio dal Pozzo, Opus Avantra, Stormy Six and Area, who each in their own individual way, show a more cosmopolitan flavour and range of influences than most other acts.
After its explosive development in the early 70s, the movement followed the same path as other progressive musical movements around the world as the 80s approached. Some influential artists continued to release new albums though never with the same success as in the halcyon days. Others changed with the times and became highly successful mainstream artists both in Italy and internationally. As elsewhere in the prog universe the quantity and quality of RPI began to dry up a bit in the late 70s and early 80s, although there were some quality releases from that period. These titles tended to be more melodic and less brashly avant-garde than the classic period but were respectable nonetheless. To name but a few there were Locanda Delle Fate, Stefano Testa, Pierpaolo Bibbo, and L'Estate de San Martino. Area, Stormy Six, and PFM had a good title or two left in them as well.
4. Musical features of RPI
Italian symphonic prog is notable for the prominence of classical influences, often providing the driving force behind the music. The new listener will discover that this particular branch of RPI feels more like classical music in a rock setting as opposed to occasional classical influences on top of the rock format. Furthermore, the rich, diverse musical traditions of Italy permeate the albums, creating a strong national and even regional character. The "textbook" RPI groups can usually be identified by a pervasive sense of romantic melancholy and earthy flair, sometimes enhanced by baroque elements, sometimes by more ethnic ones. Other distinctive features include overt opera and operetta influences, wild and uncontrolled storytelling, and as a general rule, bold and highly emotional vocals. There is extroverted, operatic gallantry and panache or mellow balladry; exciting use of all sorts of keyboards, with sounds heard nowhere else but in this particular scene; exotic instruments such as aggeggi, ottavino, mandoloncello, clavicembalo- names that tickle the imagination and leave their distinct mark on the music. There is a uniquely magical marriage of the traditional to the modern, of the warm to the wild. The combination of flute, piano and violin is often encountered, and the interplay between the first two instruments in particular supplies the subgenre with a fair share of its identity and flavour.
Though the symphonic element is indeed the most common in RPI, the genre would be better characterized as eclectic. Jazz-fusion, folk, hard rock riffing à la Jethro Tull, Deep Purple and Led Zeppelin, intense drama a la Van der Graaf Generator (whose albums were revered in Italy), singer-songwriter, proto-metal, blues, avant tendencies, pop, psych, dark/occult, electronic-the list goes on. Even more amazing, these differences in style can often be found to varying degrees on one album, and still feel natural in the distinct stylistic framework mentioned above.
No overview of RPI would be complete without mentioning the use of the Italian language, by many considered one of the most musical languages in the world. It could be safely stated that the use of Italian is inherent to the soul of RPI, a critical component to the full appreciation of the subgenre. In fact, even if some key RPI albums were translated into English in an attempt to gain international recognition, most of them fail to impress. They feel as if one of the basic ingredients of what makes RPI such a successful concoction is missing. While most serious RPI fans consider Italian vocals essential to their listening experience, it is fair to say that some believe English lyrics are not so detrimental-even if in most cases the odd phrasing, incorrect emphasis, and heavy Italian accent of the singers detract significantly from an authentic overall effect. While some prog fans can find the gregarious Italian vocal style challenging at first, newbies are encouraged to simply stick with it for a while. With only a modest effort any RPI newbie will soon find they cannot imagine this music without traditional Italian vocals-they truly are the icing on the cake.
One common misconception that must be addressed is the belief that any prog band from Italy is an RPI band. There are bands from Italy more appropriate for other genres. As an example, a pure and obvious post-rock band who just happen to be from Rome are going to be in the post-rock sub, not RPI. A pure jazz-fusion band with no RPI characteristics to their sound could be easily placed in the Jazz/Fusion subgenre. The RPI team will work hard to evaluate bands that fit the characteristics and the feel of the subgenre, and those whose primary sound is more suited for another sub are recommended to them.
"Progressive is basically a blending of three elements: the song, the improvisation inspired by jazz and the composition in classical style. This cocktail is interpreted in different ways in every country: in England, for instance, Celtic, rock and blues influences prevail. In Italy we have to cope with our classical tradition: the melodramma, Respighi, Puccini, Mascagni but also all the contemporary classical composers. It's in this legacy, in my opinion, that the specificity of the Italian Progressive Rock is concealed." -Franco Mussida, PFM
5. RPI in the new century
As recently as the 90s and early 2000s RPI again proved its longevity to the prog community. Scores of the classic albums were re-pressed in Japan, then specialized independent labels such as BTF, Mellow and Black Widow (the latter responsible for rescuing the likes of Jacula and Antonius Rex from oblivion) started to re-issue many of the classic albums. As a consequence RPI has not only reached a new generation of fans, but the increased interest and appreciation have led to new material being released. Artists whose recordings have never been in circulation, bands that are as new to our ears as they are to many of those who were there when it happened, now have a new-found audience creating an ironic worm-hole effect: brand new music straight from prog's golden years.
With the revival clearly under way the 90s produced some stellar Italian albums and the beginning of CD reissue fever. In the 2000s the trend has continued to a much more successful degree. RPI is back and fan interest has exploded for both the classic period and the new bands of today like Il Bacio Della Medusa, Pandora, Lagartija, Conqueror, Il Ruscello, Senza Nome, Coral Caves, J'Accuse, Ubi Maior, and the projects of Fabio Zuffanti to name just a few. Italian progressive rock today covers a wide range of styles and influences, but many of the bands ground a portion of their sound in the RPI tradition. Moreover, this first decade of the 21st century has seen a new round of publications (both in print and in electronic format) covering various aspects of Italian prog, as well as the creation of a number of excellent websites dedicated to the subgenre, which are extremely influential as regards the promotion of new bands and artists.
The commercial success of RPI has always been modest compared to the big bands from other countries. However, the quality of the music past and present, from its unique compositions to fiercely independent spirit, has earned the RPI subgenre some of prog's most loyal followers.
By:
Raffaella Berry
Michael Berry
Ryan Olsen
Jim Russell
Linus Wikström
Todd Dudley
For the Mick.
29 July 2009
Current RPI Team
Todd
Aussie-Byrd-Brother (Michael)
rdtprog (Louis)
Additional information:
Italian Prog - A dedicated RPI site
http://www.italianprog.com
Italian Prog Map - A superb blog by RPI writer Andrea Parentin
http://italianprogmap.blogspot.com/
Andrea Parentin's history of RPI (essential reading)
http://www.progarchives.com/forum/forum_posts.asp?TID=33377&PID=2345095#2345095
Andrea Parentin's contemporary Italian prog (newer bands)
http://www.progarchives.com/forum/forum_posts.asp?TID=62150&FID=58
Movimenti Prog
http://www.movimentiprog.net
Centro Studi per il Progressive Italiano
http://www.centrostudiprogitaliano.it
John's Classic RPI blog - Another good blog on the "classic" era
http://classikrock.blogspot.com/
Arlequins - A prog rock webzine with much RPI content
http://www.arlequins.it/gb/index.asp
Where to buy Italian prog
Syn-phonic (USA) - http://www.synphonicmusic.com
Doug Larson (USA) - http://www.douglarsonimports.com
Kinesis (USA) - http://www.kinesiscd.com/index.html
Wayside (USA) - http://www.waysidemusic.com/
Mellow Records (Italy) - http://www.mellowrecords.com
BTF (Italy) - http://www.btf.it
Black Widow Records (Italy) - http://www.blackwidow.it
Camelot Music Store (Italy) - http://www.semanticweb.it/camelotstore/
Discogs - www.discogs.com
Rock Progressivo Italiano Top Albums
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Rock Progressivo Italiano overlooked and obscure gems albums
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Latest Rock Progressivo Italiano Music Reviews
Le Orme Rock Progressivo Italiano
Review by nikitasv777
In 1979 Le Orme released an album of classically inspired music, tinted with progressive elements.They managed to
do something completely different from what they had done before. Violin, cello, piano, acoustic guitar, glockenspiel,
bouzouki, harpsichord, harmonium, vibraphone and mandola, which is mainly used in Italian folk music are the
instruments used here. Aldo Tagliapietra voice is good.
Florian very short album, just over 30 minutes, but is a very underrated album and I think it deserves more attention.
Florian is not only an album: it is an experience. Sure it is not perfect, but not many albums are perfect. 4 stars.
Le Orme Rock Progressivo Italiano
Review by
Warthur
Prog Reviewer
The prospect of a prog rock acoustic album is a tricky one to contemplate. Marillion attempted one not so long ago
with Less Is More, but this was a set of earlier material adapted to the format and I found it underwhelming in the long
run. On the other hand, given the healthy overlap between 1970s prog and the more adventurous folk music of the
time - think of the various prog flutists and violinists we've celebrated over the years - you'd think that a leap into an
outright acoustic mode would be viable given suitable material.For this 1979 release, Le Orme undertook the exercise of putting out an all-acoustic album, taking a two-year break after their preceding album specifically to hone their mastery of the instruments in question. Out are electric guitars and synths; in comes acoustic and classical guitar, harpsicord, harmonium and piano.
The end result is a masterful bit of acoustic folk-prog in the RPI mode. It's graced with one of the most winter-y prog album covers ever executed - reminiscent of those from Genesis' Wind and Wuthering, or Galadriel's Muttered Promises From an Ageless Pond, and whilst the three albums each have a differing musical approach they all share the same sense of melancholy so aptly captured by their varying bits of mostly-monochrome cover art.
Nuova Era Rock Progressivo Italiano
Review by
kenethlevine
Special Collaborator Prog-Folk Team
This second generation RPI band takes a step back on their second release. Perhaps conceived as their answer
to "Felona and Serona", the LE ORME classic, "Dopo Infinito" is divided into 2 parts: the title suite and "Planeta
Transparente", which are both further subdivided.
The first is by far the better, with a well measured blend of romantic vocals, keyboards and guitars, none overstaying their welcome. The opening section "Nella Nulla" is perhaps the high point, beginning with mesmerizing piano that cedes to harpsichord sounding keys before a spacey theme introduces the sung sections. Unfortunately, the second suite sounds as if the band had to return the arsenal of keyboards to the rent-a-center and were overdue. It's all too much and too long, irritatingly extended by the most feeble drawn out codas that would have been regarded as uncouth even in the 1970s.
I have tried listening to "Planeta Transparente" first to see if it's the cumulative effect of 45 minutes of racing to the finish line with too many clothes that ultimately tests one's endurance, and, while there is some truth to this theory, it remains that the quality control deteriorates with each passing minute. Barely 3 stars, and more for the enthusiastic playing than the compositions and arrangements.
Premiata Forneria Marconi (PFM) Rock Progressivo Italiano
Review by peblo
This is the worst record PFM has put out in their entire career. Electronic, autotuned and un-imagintative. The only
song I can enjoy is freedom square. The drums sound like garbage, I dont know how they managed to make that
samples sound that bad in 2017. The keyboards sound like crap too, If I wanted a record with [&*!#]ty korg triton sound
on it I'd be listening to Dream Theater.
Got the special edition vinyl as a gift from a fella at Metal Hammer who had it as a presskit and I confirmed its utter
crap. I use it to calibrate my turntable and the CD's to keep the birds from [&*!#]ting at my window fence. Disgusting
Ad Maiora Rock Progressivo Italiano
Review by
andrea
Prog Reviewer
Repetita Iuvant is the second album by Ad Maiora, a band from Milan influenced by the likes of Genesis, King Crimson,
Gentle Giant, Yes, Pink Floyd, Premiata Forneria Marconi or Banco del Mutuo Soccorso. It was self-released in 2016
with a consolidated line up featuring Enzo Giardina (drums), Flavio Carnovali (electric guitar), Moreno Piva (bass,
classical guitar), Paolo Callioni (vocals) and Sergio Caleca (keyboards) and follows the very promising debut work, Ad
Maiora!, from 2014, confirming all the good qualities of the band in mixing vintage and modern sounds with brio and
gusto. The art cover by Marcella Arganese in some way seems to portray this attitude: one glance towards the future
and another one towards the past... The opener 'Molokheya' is a dark, melancholic track with Middle Eastern flavours. The title refers to a typical dish of the Egyptian cuisine that here evokes a strange sense of nostalgia. It's sung in English and the music and lyrics tell about one of the many recent tragic stories of illegal migration in the Mediterranean sea depicting men and hopes that sink in a dark and stormy night along with an old, battered ship overloaded with desperate people trying to escape from their bitter present made of misery and war...
'Life' in another committed track sung in English. It's against racism and religious hate, against the murders and slaughters committed in the name of God, against lust and greed. The music is tense, the rhythm is nervous, the music and words express indignation, rage and a desperate need for mercy...
The surreal 'Fermati' (Stop) is a kind of tribute to Premiata Forneria Marconi with smells of geraniums and sounds of strange carriages in the background. The sense of the naive lyrics is that you can't change the world and burn down everything if your lighter is empty and you have no matches but, to be honest, to find a meaning for this piece would be like promenade a puzzle...
The long, complex 'Torba' (Turf) is a beautiful instrumental piece where dark organ waves and soaring electric guitar solos are blended and shaped with maestria and painted with crimson touches of brush' Then it's the turn of the ironic 'Invisibile' (Invisible), a track that stigmatizes the subtle means used by the media to push you into the vortex of consumerism creating artificial needs to sell useless items. The music and lyrics depict the invisible threads that influence your behaviour, you can almost see cool advertising flyers vibrating in the air like confetti to promote status- symbols objects without consistency but essentials for your ego...
Next comes the excellent instrumental title track, 'Repetita Iuvant', with its mysterious atmosphere underlined by pulsing bass lines and haunting organ waves. The title refers to a Latin maxim meaning repeating things helps and usually said to defend the speaker's choice to repeat some important piece of information to ensure reception by the audience...
The following 'Etereo' (Ethereal) begins by a nervous electric guitar solo, then the atmosphere gets more relaxed. The music and lyrics tell about the transition from this world to the unknown in the eternal cycle of life, a passage full of doubts about what is going to happen. Imagine to walk the last steps of your life in a state of disquieting serenity and calm anxiety, under an ethereal, starred sky, pure and intangible. Your sweet memories and all your regrets are starting to melt...
The lively, swinging instrumental 'Never Mind' could be a good finale for this interesting work, but there's still room for a bonus track, a cover of 'Whaling Stories' by Procol Harum previously released on a compilation by Mellow Records entitled Shine On Magic Hotel.
On the whole, a very good album and an excellent addition to any prog collection!
You can listen to the complete album on bandcamp.
Rustichelli & Bordini Rock Progressivo Italiano
Review by
Mellotron Storm
Prog Reviewer
I want to dedicate this review to my old friend Finnforest(Jim) who is one of the resident RPI experts and someone I've conversed with on here for 10 years or so. And hey being from Minnesota he might as well be Canadian. This is an album I checked out early on in my journey through Prog and initially I took a pass on it, just not being a big fan of the cover art or the title of the album. Well I eventually picked it up and I'm so glad I did. They were a duo only with no guests. Rustichelli is the keyboard man playing piano, synths, mellotron and organ along with singing and man can he sing. Bordini is the drummer and after this lone album he would eventually join CHERRY FIVE playing on their amazing debut. Rustichelli is the composer as well and after this he would eventually make film music following in his dad's footsteps. No guitar or bass and ELP seems to be the inspiration."Nativita" is the opening instrumental that is so impressive. Pulsating piano with drums and some depth to start as the mellotron sweeps in. Organ to the fore around a minute and soon it's pulsating as well. There's a calm just before 2 1/2 minutes and it's quite beautiful with piano and mellotron, very uplifting. The organ is back as the sound kicks back in but then another calm arrives as contrasts continue. It kicks in again before 5 minutes as the pulsating organ continues. An almost silent calm follows then it kicks back in more powerful than ever. Mellotron as well. A final beautiful calm arrives 7 minutes in. A great start.
"I Caro" is my favourite track on here. Organ to start as laid back vocals join in. Great sound here when that organ kicks in hard after a minute with drums as the vocals step aside until after 1 1/2 minutes when he returns with passion and character. A lot of people don't like his vocals but man what character! Organ is the focus after 2 minutes as the vocals stop. Piano joins the organ and drums. A change after 3 minutes to a catchy rhythm and an amazing vocal display. A haunting calm after 4 1/2 minutes then it kicks in again after 5 minutes to an uptempo organ, drum and piano section. I like the organ before 6 minutes and the vocals return a minute later returning like a king they are so dramatic.
"Dolce Sorella" opens with some relaxed organ as reserved vocals join in. Drums join in as well as it picks up some as the vocals and organ continue. When the vocals stop and the organ becomes more prominent it really reminds me of ELP after 2 1/2 minutes. The vocals and that laid back sound are back before 3 1/2 minutes then it ends in a dramatic manner with piano, synths and more.
"Un Cane" opens with piano as vocals and a fuller sound arrive before 1 1/2 minutes. Man I know his vocals are an acquired taste but I'm so into them. Piano only after 4 1/2 minutes like the intro.
"E Sveglarsi In Un Giorno" starts out with organ as synths and drums kick in quickly then vocals. Check out the vocals before 2 1/2 minutes(haha). Synths to the fore before 3 minutes as the vocals step aside. A calm before 3 1/2 minutes with drums and organ, mellotron too. Nice section. Synths to the fore again around 4 minutes then the vocals are back!
"Cammeliandia" is the closer and longest track at close to 9 minutes. Relaxed piano to start then it kicks in with pulsating organ and upfront drumming a minute in. This continues until it settles before 4 1/2 minutes. A haunting calm arrives a minute later then mellotron after 6 1/2 minutes becomes the focus then back to the pulsating organ although the mellotron will return once more.
A very solid 4 stars although I considered 4.5 stars. Rustichelli really is the star here with his incredible keyboard work and vocals. The latter often sounds like he's about to cough up a huge hair-ball but I'm so into them.
Eurasia Rock Progressivo Italiano
Review by
Rivertree
Special Collaborator PSIKE Team & Band Submissions
EURASIA is a promising new fusion band. Though this not exclusively, as the distinctiveness evolves
from diverse flirts with other prog styles. Well, at least when it comes to this debut album so far.
Initially the guitar blatantly reminded me at Allan Holdsworth, but then suddenly a breathy voice in
Italian language appeared ... okay, back to start anyway. Yes, this is fairly focussed on the vocals
furthermore. One important point is that Moreno Delsignore's versatile singing perfectly matches the
overall smoothy atmosphere. Diego Marzi's drumming is jazz styled all over the course and Simone
Torriano varies a lot on rhodes, organ and standard piano.Due to the second song Fatti I Fatti Tuoi the band makes a move with lively bass and drums. But Il Buio Nero then marks a fallback again into a slight lounge style. My favourite Vado Contro offers a stronger rock orientation with slicing electric guitars. The excellent Bispensiero comes with a proper Zeuhl touch close to Runaway Totem. Partially this sounds like an Italian SBB incarnation somehow. Stylistically rather unpredictable 'Il Mondo Arovescio' really has surprised me, a splendid album worth a try.
La Maschera Di Cera Rock Progressivo Italiano
Review by
Warthur
Prog Reviewer
La Maschera di Cera may be only one of many projects by Finisterre bassist Fabio Zuffanti, but it should be the first
port of call for anyone seeking to find new music in the classic Italian prog style of the 1970s. Zuffanti and his
colleagues assemble a grand collection of vintage gear (just look at Agostino Macor's range of keyboards, synths, and
other electronic toys - there's even a theremin!) and put out an album which, if they'd told me it had been left in a
vault for 30 years, I could easily be fooled.Which isn't to say that this is a pure nostalgia trip, mind - LuxAde interweaves dark majesty approached only, perhaps, by the most thunderous moments of Banco del Mutuo Soccorso with strands of great beauty in a mixture which is the band's own. Very much worth it for all Rock Progressivo Italiano fans.
Banco Del Mutuo Soccorso Rock Progressivo Italiano
Review by
siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams
Out of the multitude of Italian prog that emerged in the 70s, of which there are too many greats to mention, only a few reached the
top tier status that placed them as the crown jewels of Italian progressive rock. Alongside critically acclaimed acts such as Premiata
Forneria Marconi and Le Orme came another Italian great from the city of Rome and like an episode of punctuated equilibrium, a
term that describes a sudden burst of evolution rather than a gradual ascent, BANCO DEL MUTUO SOCCORSO or BANCO for short
unleashed their second album of 1972 and expanded their musical paradigm a millionfold on their sophomore release DARWIN!
Named after the famous evolutionary theorist Charles Darwin, the band crafted a concept album based on his theories about the
birth and evolution of all species on the planet. Like the self-titled debut the music is driven by the powerful classical trained
keyboard counterpoints of brothers Vittorio and Gianni Nocenzi alongside the powerful rhythm section and the operatic
powerhouse vocal style of Francesco Di Giacomo.Much of the Italian prog scene was influenced by the British bands such as Genesis, Van Der Graaf Generator and Emerson, Lake and Palmer who often found more enthusiastic fans abroad than in their homeland. While each respective Italian band shared similar elements from the abundance of imported influences, they each managed to find a different recipe in which to refine the ingredients. In the case of BANCO, the band continued their heavy driving double keyboard drama with an outstanding emphasis on overlapping classical attacks of bombastic ELP styled Hammond organ runs along with Moog synthesizers and the tender yet stylistically challenging piano riffs. While many bands were about showcasing their virtuosity, BANCO found a way to tamp down those primeval impulses and implemented their talents in the context of a theme which gives DARWIN! a very mature and sophisticated overall feel. In addition to these imported influences, BANCO utilized healthy doses of the beautiful Italian folk as well as pan-European classical music in general.
Due to the fact that like many Italian bands of the day, BANCO crafts their tales exclusively in their native lingo which means the storyline is completely null and void to non-speakers but even with no lyrical context, the music delivers a spine-tingling prowess that delves into a dizzying array of stylistic shifts throughout the album's seven track run. "L'Evoluzione (Evolution)," the lengthiest track running just shy of the 14 minute mark begins much like the expected symphonic prog band of the era hinting at a pastoral Genesis inspired dreamscape with lush classical passages and Giacomo's romantic soothing vocals. But as such a title would indicate many changes, the passionate lulling placidity ratchets up the tempo as classical piano runs are joined by rock and bass guitar and heavy percussive drive. The truck erupts into an organ frenzy venturing into a frenetic ELP inspired assault that becomes the main motif of the track's duration.
"La Conquista Della Posizione Eretta (The Conquest Of The Upright Stance)" switches gears showing immediately that DARWIN! is a multi-faceted beast. The ostinato bass line provides a buzzing drone effect while the keys and flute are allowed to leapfrog all over each other. The track develops a melody and rhythmic drive that sounds sort of like a James Bond movie theme getting crashed by the mafia. "Danza Dei Grandi Rettili (Dance Of The Big Reptiles)" shifts gears again and transports the listener into some clandestine speakeasy jazz club with a sultry swinging groove augmented by the unusual sound of the Hammond organ runs crashing the party. "Cento Mani E Cento Occhi (One Hundred Hands And One Hundred Eyes)" deceives as it sounds like a victory dance at a Medieval festival and then plays the old switcheroonie as it jumps into a bombastic hyperdrive that finds BANCO in full hard rock mode making it the heaviest rock track on the album without sacrificing the Chopin-esque classical piano chops with ELP organ bombast.
"750,000 Anni Fa ... L'Amore? (750,000 Years Ago?.Love?)" takes a complete 180 and tackles a passionate Italian pop piano ballad with no trace of neither progressiveness nor rock. "Miserere Alla Storia (Misery To History)" struts its swanky groove as a heavy bass line augments a heavy organ and piano intro but the tracks dramatically shifts to a sophisticated mellower track that exceeds in dynamic counterpoints that culminate in a dramatic Italian rant that sounds like something out of Phantom Of The Opera but ultimately finds resolution as a hyperactive jazzy-funk groove with out-of-sync synthesizer runs haunting the background. This track has a lot of changing parts with classical piano runs breaking in and stealing the thunder. One of my personal faves.
"Ed Ora Lo Domando Tempo Al Tempo Ed Egli Mi Risponde ... Non Ne Ho! (And Now I Ask For Time For More Time And He Answers Me?I Don't Have Any!)" is a bizarre little ender to a very ambitious album as it is a short piece that is inspired by merry-go-round music. While that seems completely out of place it becomes clear if you understand how the music corresponds to the track titles since it seems to insinuate the cosmic wheel of life going round and round but very much on the clock. In fact the album makes a lot more sense at least understanding the meaning of the titles as they give some sort of reference to the musicality taking place. While the album may seem totally off-kilter in all its arrangement prowess gone astray, logic occurs in the context of the evolutionary themes of life on the planet and as a biology major myself, a thematic content that i'm quite enthralled with on a personal level.
While DARWIN! has stood the test of time and remained one of the pinnacles of the Italian prog scene, it is by no means an instantly attainable album for the uninitiated. While melodies and moments of symphonic beauty can pacify the soul, this collection of progressive rock workouts can just as easily sound jarring and disorienting as angular rhythms and bombastic outbursts pummel away at the nerves. The sophistication of which the whole thing is stitched together takes a few spins to come to grips with and i by no means found this to be the masterpiece it's made out to be upon first encounter. After all is said and done (and a fair number of attentive listening experiences later), one can only conclude that this is indeed one of Italy's finest moments in a progressive rock context and deservingly stands up to such greats of PFM, Le Orme or Area in its unapologetic and idiosyncratic delivery of disparate ideas sewn together in a bizarre new concoction. While BANCO would churn out a few more excellent albums, none of them are quite as startling as hearing DARWIN! for the very first time.
Latte E Miele Rock Progressivo Italiano
Review by TenYearsAfter
After their outstanding and very promising return with the live album entitled Live Tasting from 2008, Latte E Miele
released a new studio album in 2009, a concept about Marco Polo's journey to China. Listening to Marco Polo Sogni E Viaggi I conclude that their recent sound is in the vein of their last Seventies album Aquile E Scoiattoli from 1976: a melodic and harmonic blend of classical, rock and symphonic, reminding me of the fantastic early The Enid. But Latte E Miele sounds more varied, inventive and virtuosic, just listen to the tracks I Crociati (compelling final part with howling guitar and sumptuous classical orchestrations), Pechino (strong interplay between guitar and Hammond organ) and La Battaglia Di Curzola (splendid keyboard work). And every time I play this CD, I discover new things, there is so much to enjoy and that is what progrock makes so captivating and compelling: from changing climates and surprising breaks to awesome soli, on a wide range of instruments, it all happens on this album.
Bombastic organ with howling guitar runs in the opener San Marco.
From propulsive drums with piano and classical orchestrations to dreamy with cello in Carnival.
Warm classical guitar, vocals and piano in Il Matrimonio Del Bimbi Nel Vento.
A fluent rhythm with sweeping drums and exciting interplay between guitar and Hammond in La Battaglia Di Curzola.
Wah-wah guitar and synthesizer runs in the alternating Sogno Incrociato.
And a compelling bombastic climate featuring lush Hammond and moving guitar in the wonderful final track Ritorno A San Marco.
What a return from this Italian Classic Prog formation, a big hand for the 'new' Latte E Miele on this album.
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