Header

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
Nightfly (Paul)
SeventhSojourn (Chris)
Aussie-Byrd-Brother (Michael)




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

Mats Italian Prog Site
http://www.italianprogrock.com/index.php

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.synphonic.8m.com/index.htm
Doug Larson (USA) - http://www.hicom.net/~dlarson/
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/

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 | 1123 ratings
PER UN AMICO
Premiata Forneria Marconi (PFM)
4.42 | 706 ratings
IO SONO NATO LIBERO
Banco Del Mutuo Soccorso
4.38 | 876 ratings
STORIA DI UN MINUTO
Premiata Forneria Marconi (PFM)
4.37 | 758 ratings
DARWIN!
Banco Del Mutuo Soccorso
4.29 | 553 ratings
ZARATHUSTRA
Museo Rosenbach
4.28 | 569 ratings
BANCO DEL MUTUO SOCCORSO
Banco Del Mutuo Soccorso
4.30 | 420 ratings
ARBEIT MACHT FREI
Area
4.27 | 548 ratings
L'ISOLA DI NIENTE
Premiata Forneria Marconi (PFM)
4.26 | 628 ratings
FELONA E SORONA
Orme, Le
4.23 | 480 ratings
UOMO DI PEZZA
Orme, Le
4.21 | 394 ratings
YS
Balletto di Bronzo, Il
4.24 | 263 ratings
PALEPOLI
Osanna
4.21 | 313 ratings
MAXOPHONE
Maxophone
4.24 | 223 ratings
DISCESA AGL'INFERI D'UN GIOVANE AMANTE
Bacio Della Medusa, Il
4.21 | 250 ratings
CRAC !
Area
4.20 | 180 ratings
LA CRUDELTÀ DI APRILE
Unreal City
4.16 | 213 ratings
CONTAMINAZIONE
Rovescio Della Medaglia, Il
4.29 | 110 ratings
RISVEGLIO
Egonon
4.27 | 116 ratings
L' ENIGMA DELLA VITA
Logos
4.09 | 372 ratings
PHOTOS OF GHOSTS
Premiata Forneria Marconi (PFM)

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

UNO
Panna Fredda
INFERNO
Metamorfosi
IL PAESE DEI BALOCCHI
Paese dei Balocchi, Il
CAMPO DI MARTE
Campo di Marte

Download (Stream) Free Rock Progressivo Italiano MP3


Open player in a new window

Download (Stream) Free Rock Progressivo Italiano MP3

Latest Rock Progressivo Italiano Music Reviews


 Canti d'innocenza, Canti d'esperienza... by IBIS album cover Studio Album, 1973
3.28 | 29 ratings

BUY
Canti d'innocenza, Canti d'esperienza...
Ibis Rock Progressivo Italiano

Review by GruvanDahlman
Prog Reviewer

4 stars Some time had passed since I last listened to this album. I had nearly forgotten how great it is. I suppose most people look to the second album, Sun supreme, if one one is to go by yhe number of ratings, but I think this one is as equally (or more) interesting. Like their fellow countrymen New Trolls Ibis performs a jazzy, classically infused hard prog that to me is very urgent and potent.

So, when the time had passed and many moons gone by I reconnected with this album, one morning on my way to work through a snowy Stockholm. It hadn't gone more than a few notes into the first track before I came to realize just how good this album really is. The blend of jazz, classical and furious hard rock is really a treat. The hard rock of the album is more prominent but the inclusion of said genres makes it an interesting listen. I sometimes think there are similarities to Rovescio Della Medaglia's Contaminazione, only more leaning towards hard rock and less of the classical bits.

The opening track "Innocenza esperienza" is classic hard rock/prog with a great drive, riff and lots of energy. The vocals are soaring and sort of takes my breath away. Very classy!

"Signorina Carolina" has a calm opening leading into a classical piece played on the piano in the middle. A very impressive piece at that. It all ends wiith a hard rock section. Then there's the respite, "Simona" which is a short ballad. Quite nice.

"L'amico della porta accanto" is again very hard rock in it's approch. This track holds a magnificent organ and intense guitar solo. Really good stuff.

"Vecchia amica" is yet again a hard rock/prog track with great variation and depth. It has everything. A great and simple riff, calm middle section, scorching organ and a jazzy ending, like icing on the cake. Terrific and one of my favorites. "Angelo invecchiato" ends it all on a mellow, spacey and dreamy note.

This album, sporting this great question-mark, is an extremely well crafted piece of art. So many things goes on and yet it never loses sight or focus. Apart from all the great musicianship, which is flawless, this album holds, which I really adore, a very raw and dirty sound. It never gets slick. The hard rock tendencies are allowed to fly the flag without restraint while the jazzy bits brings some peace to the ears. That to me is impressive and makes this album a real gem within the RPI genre.

Though time passes and other albums take the frontseat, I seem to come back to this album and it has become one of my favorite works of prog. I do not mean that only in the sense of RPI but rather in sense of prog by large. So, do take a listen. At least you won't have wasted your time entirely.

 Nous by NODO GORDIANO album cover Studio Album, 2014
4.24 | 11 ratings

BUY
Nous
Nodo Gordiano Rock Progressivo Italiano

Review by andrea
Prog Reviewer

5 stars Nous is the fourth album by Nodo Gordiano, an Italian prog band based in Rome whose roots date back to 1994. It was released in 2014 on the independent label AMS/Btf with a renewed line up featuring founder member Andrea De Luca (bass, guitar, synthesizers) along with Carlo Fattorini (drums, percussion, vibraphone, glockenspiel) and Fabrizio Santoro (electric guitar, synthesizers, bass). Some guest musicians such as Silvia Scozzi (vocals), Gianluca Cottarelli (electric piano) and Valerio Di Giovanni (guitar) took part to the recording sessions and helped the band to enrich their sound. The result is this excellent concept album sui generis where the musicians managed to shape a very personal blend of tradition and new ideas. The artwork, music and lyrics draw dreamy landscapes and beckon you to embark on a voyage for fair unknown shores...

The opener "Portonovo" begins by a calm, dreamy acoustic passage that reminds me of Francesco Guccini's L'isola non trovata. Soaring vocals conjure up the image of a ship and invite you to casting off and set sail at dawn. You fatherland is over there and your fantasy is already gliding on the sea. Then the rhythm rises, the wind begins to blow and you're carried away by the waves... Well, in some way this track makes me think of a short story by H.P. Lovecraft, The White Ship..."Out of the South it was that the White Ship used to come when the moon was full and high in the heavens. Out of the South it would glide very smoothly and silently over the sea. And whether the sea was rough or calm, and whether the wind was friendly or adverse, it would always glide smoothly and silently, its sails distant and its long strange tiers of oars moving rhythmically...".

"Aion" is a beautiful instrumental track that every now and again recalls Pink Floyd. The image chosen to describe it in the booklet is an ouroboros, a serpent eating its own tail that usually symbolizes something constantly re-creating itself, the eternal return. It features spacey, psychedelic atmospheres and dark energies running like hell all along the band's particular wall of sound. Then comes "Apologia del Nolano", a celebration of musical freedom that reminds me slightly of bands such as Area and BMS. The music and lyrics here evoke infinite spaces, nomadic songs breaking free from their prisons, kingdoms of unreachable echoes, uncountable worlds and distant lands where the people speak different languages that you can't understand and where the free breath of your soul can shine brightly.

The ethereal "Nous" is a long, complex instrumental piece full of psychedelic nuances. The image the band chose to describe it in the booklet represents an old, surreal world map... It leads to the dreamy "Officina" where you get lost at dawn on the limit between reveries and reality. Then you enter into a strange, magic workshop where you can exercise your crafts... Next comes the beautiful, alchemical "Arturiana", a charming instrumental track with a mysterious atmosphere described with the image of a sword in a circle and where you can almost perceive the ghosts of King Arthur and his knights of the round table riding through clouds and enchanted woods.

The closer "Stella Maris" is depicted by a ship sailing across a storming sea. It's another beautiful instrumental piece where the female vocals of Siliva Schiozzi are used as an instrument and seem to evoke the hypnotic singing of a mermaid... "I walked out over the waters to the White Ship on a bridge of moonbeams. The man who had beckoned now spoke a welcome to me in a soft language I seemed to know well, and the hours were filled with soft songs of the oarsmen as we glided away into a mysterious South, golden with the glow of that full, mellow moon..." (H.P. Lovecraft, The White Ship).

On the whole, I think that this is a very good album, an essential one for every Italianprog collector!

 A New Day by NARROW PASS album cover Studio Album, 2014
4.00 | 1 ratings

BUY
A New Day
Narrow Pass Rock Progressivo Italiano

Review by Lear'sFool

— First review of this album —
4 stars Some great modern RPI featuring wonderful flutes and piano. The album ends up covering a nice bit of territory from standard symphonic wonder to solo piano, and atmospheric sections. All important: the singing. A central part of the sound, it is also important to note that it is in English, but it works quite well. The flutes and guitars really carry the day, excellently laid down. John Hackett in particular just plays the flute beautifully, adding so much to the already rich soundscapes. Serri and Marra, a man and a woman, are the vocalists, and that combination, with the good work they managed to do in English, is impressive and adds even more. Nothing sticks out in particular, but the results are still spectacular and pretty. A great listen, symphonic fans will love it, and RPI fans will in all likelihood do as well, if they can get past the English lyrics by way of them being good. Recommended.
 Il Falso Centro by ENTITY album cover Studio Album, 2013
4.32 | 11 ratings

BUY
Il Falso Centro
Entity Rock Progressivo Italiano

Review by andrea
Prog Reviewer

5 stars The roots of Entity date back to 1994 when Gigi Longu and Mauro Mulas, two skilled musicians based in Cagliari, formed the original nucleus of the band. After many years of hard work, personnel changes, some demos and a good live activity, in 2013 the band finally released an official full length album on the independent label Lizard Records with a consolidated line up featuring Mauro Mulas (keyboards), Gigi Longu (bass, guitar), Marco Panzino (drums), Marcello Mulas (guitars) and Sergio Calafiura (vocals). It's titled Il falso centro (The false centre) and is a conceptual work about an identity crisis based upon some introspective poems written by Yuri Deriu, an old friend of the band, that form a kind of screenplay that the musicians interpret with passion and enthusiasm. The music is rich in ideas, the influences range from classical music to jazz, from the Italian prog masters of the seventies to more recent sounds and the final result is excellent. If you like bands such as Le Orme or Il Banco del Mutuo Soccorso I'm sure you'll enjoy this album as well.

The opener "Davanti allo specchio" (In front of the mirror) is a charming instrumental piece that sets the atmosphere. It starts by an oblique waltz, you can imagine a kind of ghastly dance in front of a mirror where you can have a close look at your face and try to dig in your hidden thoughts. It's a perfect introduction to the following "Il desiderio" (Desire), a long, complex track where melancholia and desire run one after each other on a dangerous path leading nowhere. Are you really what you appear to be? Now you're nothing but an empty shape, drawn away by a vortex of passions, unable to break through the protective shell where you are trapped. Your desires are a continuous renewal of old wounds, they are burning you out but you can't help it, you are not able to stop, to come back from a labyrinth with no exit door... The music is powerful and evocative, the heartfelt vocal parts convey emotions and feelings... A great track!

"Il tempo" (Time) is a dark, melancholic piece about time passing by. The atmosphere is ethereal and perfectly fits the poetical force of the lyrics. Time is a great deceiver and too often it doesn't keep its promises, so you beg useless delays, lost in an endless waiting. You keep your memories in your heart, you keep your head down, you're always busy but you know that this is nothing but an alibi. It's like if you were flying into the glass of a window like a fly while the days inexorably fall from your hands like sand in an hourglass...

The music of the beautiful "Il trip dell'ego" (Ego trip) recalls Le Orme and their brilliant counterpoints while the short vocal part evokes the loss of the sense of identity and a lack of direction. Then comes the romantic "ANT", a piece dealing with ideal, eternal love and the alchemy of feelings. It begins by a beautiful piano pattern, then Procol Harum could come to mind while the music and lyrics paint deep emotional landscapes, dreams carried away by liquid sentences and getting drowned in a lake of words, poisoned by troubled thoughts and desire.

The disquieting "L'armatura" (The armour) opens with grazing electric guitar riffs and dark organ waves conjuring up a nightmarish atmosphere. Your sweet-hart, your idealized love is gone and you feel the need of a shield to protect you from a falling sky, you feel like a trunk after a shipwreck, you're floating on the waves of life thanks to natural laws and not because of your will. But your armour is melting, you can't run away from your faults, you can't deceive yourself anymore, now you look in the mirror and for the first time you begin to perceive your real face...

The delicate, cathartic "La notte oscura dell'anima" (The dark night of the soul) concludes the album and comes like the calm after the storm, on the notes of a nocturnal piano passage. Finally, in a dark winter night you feel empty and distant from everything. Now you wear no armour but you feel lighter without the weight of your ego: a part of you is dead but you can start a new life with a new awareness...

Well, on he whole I think that this is a really good album, full of musical nuances and poetical strength: a must-have for very Italianprog collection!

 Strigma by TAPROBAN album cover Studio Album, 2013
4.07 | 59 ratings

BUY
Strigma
Taproban Rock Progressivo Italiano

Review by apps79
Special Collaborator Neo Prog Team

3 stars In 2007 both Davide Guidoni and Guglielmo Mariotti left Taproban, the first went on to form Daal with Alfio Costa, the second joined The Watch as a bassist and both helped Walter Pini to reincarnate Nuova Era.Gianluca di Rossi found again himself alone in the line-up, he paused the activities of the band for a couple of years to collaborate with legendary drummer Carlo Bordini on two tracks, recorded for the Dante-related series of Musea.In 2011 Di Rossi recruited young drummer Francesco Pandico and bassist/guitarist Roberto Vitelli to reform Taproban and in early 2012 the trio was again on stage, while they started composing material for a new album.French label Musea signed the band and Taproban returned in 2013 with the fourth studio album ''Strigma''.

The album is only about 40 minutes long, but contains three long progressive suites in the typical Taproban style, which see the band turning to a more dark and haunting sound, as proposed by the 15-min. opener ''Nesia al notturno congresso delle streghe''.While there are certain moments, when the group still simulates the dreamy synth lines of GENESIS and the powerful keyboard symphonicism of NUOVA ERA, its majority follows a fairly sinister keyboard-driven sound with choirs, quirky Hammond organ and slow, psychedelic themes with a bit of electric tunes, which remind me of IL BALLETO DI BRONZO.As expected, this one passes through various climates and tempos and contains heavy Classical/symphonic orientations, which are still displayed in the 9-min. follower ''Lo sguardo di Emily''.This one comes as a logical step following the opening sound, introducing the echoes of the harsichord, offering multiple piano interludes in an approach towards Classical-drenched music, featuring some nice flute and strings throughout and eventually being highlighted by a grand finale on church organ and synths with the most dramatic mood of the whole album, much in the vein of old NUOVA ERA.''La porta nel buio'' is an almost 19-min.closer with the band still sinking into haunting and virtuosic keyboard Prog with several LE ORME, IL BALLETO DI BRONZO and LATTE E MIELE comparisons.Lots of E.L.P.-ish virtuosic Hammond organ parts and neurotic synthesizers, melancholic piano variations, but also some excellent guitar/organ melodic duets, which still hold an odd, almost Gothic atmosphere.Another very good composition, propably the most intense on the album and the only one to feature some nice, expressive Italian vocals.

IL BALLETO DI BRONZO are still alive...but this time they are named Taproban.The darkest work of the band with an impresive keyboard palette and flexible moods in a nostalgic trip through the world of Italian SymphoRock.Strongly recommended...3.5 stars.

 In This World And Beyond by NARROW PASS album cover Studio Album, 2009
3.44 | 18 ratings

BUY
In This World And Beyond
Narrow Pass Rock Progressivo Italiano

Review by b_olariu
Prog Reviewer

3 stars Narrow Pass one of the lesser known italian bands formed in the 80s by Mauro Montobbi who is probably known by some prog fans from Eris Pluvia fame gathered around him some guest musicins and the Narrow Pass was in good shape to release the debut who will be released only in 2006. In 2009 is coming the sophomore release In this world and beyong. Well, the music is a combination of folk/celtic parts with acustic guitars , symphonic prog arrangements and even some neo passages are to be found here, all melted giving the sound of Narrow Pass. The album is well performed with beautiful instrumental sections like on Beyond a 7 min great example of how talented is Mauro Montobbi on keyboards, the rest of the pieces are also good but not excellent. All in all an ok release with plenty to enjoy but not really in same league with other releases from italian school from this period. Similar or influenced by bands as Eris luvia, Camel, Genesis or La Maschera di Cera. 3 stars maybe rounded to 3.5 in places. A nice art work.

 Sola Andata by QIRSH album cover Studio Album, 2013
3.98 | 4 ratings

BUY
Sola Andata
Qirsh Rock Progressivo Italiano

Review by tszirmay
Special Collaborator Crossover Team

4 stars This one was like a crowded hospital, it took a lot of patience (pun on patients), biding my time until the cd finally arrived in my sweat-drenched hands , as I had heard this one on progstreaming, then read Aussie-Byrd- Brother's exuberant critique and , as is often the case with my Oz pal, I ordered it subito. I am glad to report the wait was more than worthy, as this is a truly impressive package from the glittering artwork, the sublime cover (ah, yellow dresses , wink wink !) and a magnificent production and pristine sound. 'The perspiration on my upper lip area' (grazie Franco) grew in intensity as the thin clear plastic was mercilessly torn from the cardboard and the disc slid into my player like Ricky Henderson stealing home plate. These ragazzi have created a thoroughly modern RPI classic that should be the talk of Italian prog, gifted in all facets of instrumental prowess as well as singing their collective hearts out. Have to say that this new breed of Italian proggers have really adapted the illustrious ingredients of past glories and fused them with all the modern accoutrements that make the scene still oh so vibrant. The band's makeup (no, not like Kiss, silly!) is partly responsible, offering dual guitarists, 'duel' keyboardists and a bass/drum tandem of the very highest order. The other main characteristic is the plethora of world-class melodies they come up with and adorning them with amazing sounds and astounding ideas. Bass player Andrea Torello in particular really gets it, shepherding the remaining squadra with tight 10th Legion-like discipline and Pirlo-esque artistic savvy. Old school meets new school, Bravo!

To begin the cheery festivities, the band wastes little time with warming up excuses, though "Artico" is anything but frigid, probably influenced by the sweltering sun-baked beach scene on the cover, a stimulating escapade into classic RPI storytelling (Italians are good at stories). The vocalized imagery conveys inimitable enthusiasm, the buoyed vibrancy of the driving rhythm section going for the beat jugular and not letting go until this album is 'finito'. A truly shimmering introduction to their craft.

If anything, Italians like to leave their foot on the Bugatti pedal so, the highly theatrical and chatty "Mercato Ghardaia" remains a palpitating affair, supremely confident and utterly delightful in all manners of musical expression both vocally and instrumentally. The swoon is overtly Mediterranean, mottled with Carthagian sprinklings, little desert sand in the linguini. Damn, this is great music two tracks in, that old style guitar solo, wow! Brake? We break for lunch, some nice porchetta , eeh!

Sleek like a shining vintage Maserati , "Mayflower" is clearly intended as a quaint reminder of past glories, a whopping PFM-styled melody on the synthesizer that recalls their 70s classic period, you could easily close your eyes and imagine Flavio Premoli massaging his keys with that special flair for the dramatic. "Figli dello Piccolo Padre" owns a bass onslaught that left me panting for air, a scurrying heat-seeking missile that never misses it mark, a spectacular 8 minute+ throbbing rocket urging the screaming synths into even deeper delirium. The sheer pushy remorselessness of the piece is worthy of legendary status, finishing off with a mellotron eargasm. This is a track you fans need to hear, it is startling!

"Finestrino" is another shorter ambient 'pezzo', an interlude between two gargantuan classics, a piano pied piper leading the mood, introducing a violin (real or sampled) and suave orchestration in the background, rolling distant thunder and church bells. I am in awe! Dual ivorymen Leonardo Digilio and Pasquale Arico put on quite a creative display as they do throughout the entire album.

The insistent vocal splendor on the adrenaline-charged "Rianimazione" is immediately seared into one's brain, as the addictive Ultravox-like pulse , courtesy of Marco Fazio seems to hammer away at any glassy attempt to conform, Torello's bopping bass scouring like some famished reptilian monster avid for a meal. This should be anointed as a modern RPI classic, it's that splendid! When the two guitarists Daniele Olia and Michele Torello strap on their axes, the mood gets even more frantic, slashes and screeches becoming the norm.

Enter the 21st century with the tectonic "Malaria", an electro-prog arrangement that will kick you in the Ferraro Rocher nuts, as insistent vocoded effects of the very highest caliber are propelled by a fearsome bass, chunky drumming and carnal guitar rants, as the battery of smoking synths illuminate the stars. This is also extraordinary in both quality and creativity, probably my fave cut here.

Back to more classic style with the lyrical storytelling of "Vento Delle Isole", a breezy, almost pastoral canzone, loaded with accordion, acoustic guitar, mellotron and choir humming. Yes, I said 'choir humming'! The two-part finale "La Nebbia" offers a dense melancholia that will tear at one's heartstrings, something these lads do oh so very well. Moody, lively, spectral and impassioned, the meandering melodies evoke profound passions and the mood is quite exceptional.

My grandfather once famously stated "Italy is not a country, it's a theater!". Yes, so they talk with the hands, they live life like a Ferrari, live to eat, drink and love. And do it kind of stylishly. Qirsh has a killer debut in "Sola Andata", right up there with new debutantes Mad Fellaz, Ad Maiora, Egonon, Ingranaggi dele Valle, Phoenix Again and Unreal City. The future bodes well for 'la bella Italia'. 4.5 No U-turns

 Shock by LIBRA album cover Studio Album, 1977
3.60 | 14 ratings

BUY
Shock
Libra Rock Progressivo Italiano

Review by apps79
Special Collaborator Neo Prog Team

3 stars After touring in Italy, supporting Banco Del Mutuo Soccordo, Libra had a great chance to meet success when offered a 10-album contract by the US label Motown, the management of which had listened to the English version of the debut.They travelled to the States, playing alongside Frank Zappa, Chicago, and Steppenwolf and recorded the album ''Winter day's nightmare'' in 1976, which ended up to be a complete bust, far from the prog roots of the band.After conflicts with their manager they returned to Italy at the end of the year, only to dissolve a bit later.But in 1977 Sandro Centofanti, Dino Cappa and Walter Martino joined forces with Goblin's keyboardist Maurizio Guarini and Etna's/Flea's guitarist Carlo Pennisi to record the soundtrack of Mario Bava's horror film ''Shock''.The album was released on Cinevox.

Guarini's presence and, of course, Bava's Horror Film background somewhat inspired Libra, which now sounded a lot like GOBLIN, displaying a turn towards cinematic music with experimental flashes and, still, some strong progressive elements.The album ended up to be actually a mixed bag of sights and sounds, containing the obvious and expected leanings towards Classical and Electronic Music, but -unlike GOBLIN- they even flirted with FRANCO BATTIATO-like Avant-Garde/cosmic/minimalistic edges with lots of percussion and weird keyboard lines.''Shock'' scans different aspects and excerpts of the film and thus comes as a genuine mix of Symphonic Rock, Fusion, abstract electronics and Experimental Rock, showing flashes of a trully talented line-up and promises of a solid chemistry, which apparently didn't last long.Certain moments come close to the melodic, artistic and gentle vibe of IL VOLO with symphonic and jazzy keyboards on smooth rhythm lines, other pieces are completely outlandish with odd sound effects, a dark minimalism and a cinematic background.Apart from some chants there are no vocals to be found in the album, which often moves away from the typical music theory and delivers sinister echoes, attached to the film, usually breaking shortly afterwards in piano interludes, nice dual keyboard parts and even some grandiose organ-drenched Classicism.

The sole album by this short-lived and unconvential Libra line-up.All musicians from this formation remained involved in the music industry with decent to less succesful careers.Band's leader Nicola Di Staso continued his musical journey as a session man, playing also with Claudio Simonetti in his Daemonia project.Former guitarist Federico D'Andrea died tragically in 1978 at the age of 30, after he was ran over by a car.

GOBLIN-like diverse Prog/Avant-Garde/Experimental Rock with connections to horror movies.Really a great effort, when you're in the mood for something more cinematic and haunting.Warmly recommended, Cinevox has also made a CD reissue available.

 Inconsapevole Viaggio by ENIMA album cover Studio Album, 2012
4.05 | 2 ratings

BUY
Inconsapevole Viaggio
Enima Rock Progressivo Italiano

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

4 stars Formed back in Tuscany, Florence in 2003, female fronted Italian prog band Enima finally released their proper debut album `Insonsapevole Viaggio' in 2012. With a title that translates to `Unconscious Journey', this album certainly travels through a number of different styles and sounds, frequently full of colour and a range of emotions. Comprised of symphonic/Neo prog, melodic rock and some RPI-styled compositions based around strong vocal melodies with carefully implemented tasteful instrumental passages, there's a frequent positivity and upbeat quality throughout that's balanced perfectly with a gentle melancholy that never turns depressing. The secret weapon of the band is lead singer Ilaria Boero. She's not merely some pretty window dressing singer (although she is lovely to look at!), instead she is a singer with real character in her voice, and a welcome purring snarl to give the music a little more edge! Thankfully she sings in Italian, allowing her true personality to shine.

Bravely, the band open with the most accessible and straight-forward piece. `Frammenti di Specchio' is an atmospheric adult pop/rocker in the vein of Karnataka and Materya, an appealing tune with a warm vocal, catchy chorus and pleasing harmonies. It's the most undemanding piece on the album, but the lightly unravelling sax solo in the finale hints at the proper RPI flavours to come later on. Little traces instantly reminding of early Marillion and the Neo Prog bands start to emerge throughout the next several tracks. `Alpha Ursae Minoris' opens peppy and up-tempo, with a dreamy vocal, atmospheric ringing guitar strains and a gutsy confident chorus to follow. `Il Sogno' brings a surprising heaviness, Ilaria welcoming the chance to deliver a more baying vocal around hard guitars and Stefano Sciolè's ice-cool synths with a whirring Moog finale. There's a lingering sombre atmosphere that permeates `Notte nel Deserto', with moody narration, thoughtful piano and glistening keyboards weaving together again reminding of Fish-era Marillion, while the soaring extended electric guitar solo from Mauro Strozzieri in the finale instantly calls to mind Jadis.

The band deliver in their own self-titled track with `Enima', a lovely and beautiful romantic instrumental. A gliding melody takes flight with upbeat piano, trilling Moogs and cooling synths, the second half taking a more driving guitar turn. They then raise the intensity for the delicious `Intuizioni', dark slinking grooves powered by Giacomo Cipriani's thick pulsing bass and Federico Ottati's dominating and punishing hypnotic drum patterns, a lustful biting vocal from Ilaria and wild guitar wailing to finish on. To close the album, the band finally deliver a proper RPI epic in `Motore Immobile'. With eleven extended minutes, the group challenge themselves to stretch their music here, and that means plenty of the symphonic bombast and drama of vintage Italian progressive music. Spirited acoustic guitar strums, glistening classical piano, lively saxophone, dazzling synth runs and Mellotron waves weave around Ilaria's ravishing vocal, the piece unwinding in numerous unhurried direction changes. It's the absolute highlight of an already strong album, and the band they should definitely further explore pieces like this on future albums!

Enima have their influences, but they don't merely lazily recreate past artist and sounds, instead offering great spirit and a distinctive modern musical personality all their own to truly stand out, with plenty of variety as well. There is so much potential with this band, a winning mix of a charming vocalist, talented musicians playing with taste and restraint, and most importantly strong material, and it will be exciting to see where the band head from here. `Insonsapevole Viaggio' is a very pleasant surprise to discover, so make sure to catch up with this band!

Four stars.

 1978 Gli Dei Se Ne Vanno, Gli Arrabbiati Restano by AREA album cover Studio Album, 1978
3.95 | 120 ratings

BUY
1978 Gli Dei Se Ne Vanno, Gli Arrabbiati Restano
Area Rock Progressivo Italiano

Review by siLLy puPPy
Prog Reviewer

4 stars The bizarre musical outfit known as AREA who was one of the most unique entities to emerge from the avant-prog and jazz-fusion scene in Italy continued their string of challenging and eclectic releases with their fifth studio album 1978 GLI DEI SE NE VANNO, GLI ARRABBIATI RESTANO which translates into "The gods depart and the angry ones remain!" This album immediately sounds like AREA but it also feels different than the previous four and there are legit reasons. Firstly Paolo Tofani had left as guitarist and there is less guitar as a result. Bassist Ares Tavolazzi picks up any needed guitar parts on this which mostly shine through as acoustic. They are now a quartet and there also lacks the ensemble of guest musicians who helped out previously. Demetrio Stratos also contributes as a composer on GLI DEI... something he had not done before.

The feel of this album is totally different. Many of the songs seem to be more accessible. There are plenty of avant-jazz passages and frenzied instrumental "noodling" to be found but the tracks are primarily composed of catchier melodies more akin to "Crac" than the other albums but even more so by incorporating funky disco and poppy fol and even some Mothers inspired doowop. The tempo is slower on this one with fewer blitzkrieg fusion attacks but not totally devoid of them either.

AREA is one of my faves because I really love their uniqueness and fearless approach but I have to admit that on this album it starts to feel like they are beginning to recycle many of their ideas and that they are one album away from becoming a total parody of themselves. Thankfully that doesn't happen here as there are plenty of fresh influences to keep this album interesting from beginning to start. Although I don't understand Italian fluently I don't mind the spoken parts as the vocal style is so emotive as to convey the mood of what's being said.

Sadly this would be the last album with Demetrio Stratos before he died from complications caused by a severe case of aplastic anemia at the age of 34. It is so sad that such a talent was taken from the world but at the very least the band was wise enough not to try to replace the irreplaceable and decided to call it quits keeping the legacy from falling into mediocrity like many innovative bands from the 70s did. This album, while not their best, is still an excellent addition to any avant-prog lover's collection but I do recommend skipping the horrible all instrumental album "Tic & Tac" that several members released under the AREA name a few years later.

Data cached

Rock Progressivo Italiano bands/artists list

Bands/Artists Country
A PIEDI NUDI Italy
ABISSI INFINITI Italy
ABSENTHIA Italy
ACQUA FRAGILE Italy
AD MAIORA Italy
ADHARMA Italy
AINUR Italy
AKRON Italy
L' ALBERO DEL VELENO Italy
ALGEBRA Italy
ALESSANDRO ALISCIONI Italy
ALLEGRI LEPROTTI Italy
GLI ALLUMINOGENI Italy
ALPHATAURUS Italy
ALTARE THOTEMICO Italy
ALUSA FALLAX Italy
ANACONDIA Italy
ANCESTRY Italy
THE ANCIENT VEIL Italy
ANTONIUS REX Italy
GLI APOSTHOLI Italy
APOTEOSI Italy
APRYL 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
IL BABAU & I MALEDETTI CRETINI Italy
SOPHYA BACCINI Italy
IL BACIO DELLA MEDUSA 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
FRANCO BATTIATO Italy
PIERPAOLO BIBBO Italy
BIGLIETTO PER L'INFERNO Italy
BLOCCO MENTALE Italy
BONDAGE 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
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
LUCIANO CILIO 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
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
DISTILLERIE DI MALTO Italy
DIVAE Italy
DUEMILA12 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
EUTHYMIA Italy
EXPLOIT Italy
FABIO CELI E GLI INFERMIERI Italy
FALENA Italy
FEM PROG BAND Italy
FESTA MOBILE Italy
FILARMONICA MUNICIPALE LACRISI Italy
FILORITMIA Italy
FINISTERRE Italy
FLEA Italy
FLOATING STATE Italy
RICCARDO FOGLI Italy
FOGLIE DI VETRO Italy
FORMULA 3 Italy
FABIO FRIZZI Italy
CLAUDIO FUCCI Italy
GARYBALDI Italy
GENCO PURO & CO. Italy
GENFUOCO Italy
GERMINALE Italy
FRANCO MARIA GIANNINI Italy
GIARDINI D'AUTUNNO Italy
GIARDINO DELLE DELIZIE Italy
I GIGANTI Italy
GIGI PASCAL E LA POP COMPAGNIA MECCANICA Italy
IL GIRO STRANO Italy
GLEEMEN Italy
GOBLIN Italy
GRAN TURISMO VELOCE Italy
GREENWALL Italy
GRIMALKIN Italy
GRUPPO 2001 Italy
GUERCIA Italy
H2O Italy
HOMUNCULUS RES Italy
HOPO Italy
HORUS Italy
HOSTSONATEN Italy
HUNKA MUNKA Italy
IANVA Italy
IBIS Italy
IL FAUNO DI MARMO / THE REBUS Italy
INGRANAGGI DELLA VALLE Italy
J.E.T. Italy
JACULA Italy
JANUS Italy
JESTER'S JOKE Italy
JET LAG Italy
JUMBO Italy
KUNDALINI SHAKTI DEVI Italy
LABIRINTO DI SPECCHI Italy
LAGARTIJA Italy
LASER Italy
LATTE E MIELE Italy
LUCIANO LAURINI Italy
LEO NERO Italy
I LEONI Italy
LETHE Italy
LIBRA Italy
LINEATEORICA Italy
LOCANDA DELLE FATE Italy
EMILIO LOCURCIO Italy
LOCUS AMOENUS Italy
LOGOS Italy
LOST TALES Italy
LOTHLORIEN Italy
MACROSCREAM Italy
MAD CRAYON Italy
MAD FELLAZ Italy
MADRUGADA Italy
MAGNOLIA Italy
MALAAVIA Italy
MALIBRAN Italy
MALLEUS Italy
MANGALA VALLIS Italy
LE MANI Italy
MARCHESI SCAMORZA Italy
LA MASCHERA DI CERA Italy
MAURY E I PRONOMI / AQUAEL Italy
MAXOPHONE Italy
MEDITERRANEA Italy
MELLONTA TAUTA Italy
MESSAGGIO 73 Italy
METAMORFOSI Italy
MINDFLOWER Italy
MINSTREL Italy
MIRAGE Italy
MO.DO. Italy
LORENZO MONNI Italy
MONTEFELTRO Italy
IL MUCCHIO Italy
MURPLE Italy
MUSEO ROSENBACH Italy
FRANCO MUSSIDA Italy
MYROS Italy
LA N.A.V.E. Italy
NARROW PASS Italy
NASCITA DELLA SFERA Italy
NEW TROLLS Italy
NEW TROLLS ATOMIC SYSTEM Italy
NICOSIA & C. INDUSTRIA MUSICALE Italy
NODO GORDIANO Italy
NOTABENE Italy
I NUMI Italy
NUOVA ERA Italy
NUOVA IDEA Italy
OBSCURA Italy
THE ODEJA Italy
ODISSEA Italy
OFFICINA MECCANICA Italy
L' OMBRA DELLA SERA Italy
OMBRALUCE Italy
LE ORME Italy
ORNITHOS Italy
OSAGE TRIBE Italy
OSANNA Italy
IL PAESE DEI BALOCCHI Italy
MAURO PAGANI Italy
PANDORA Italy
PANE Italy
PANGEA Italy
PANNA FREDDA Italy
MARIO PANSERI Italy
PARADISO A BASSO PREZZO Italy
MAURO PELOSI Italy
I PENNELLI DI VERMEER Italy
LA PENTOLA DI PAPIN Italy
PERDIO Italy
PERIFERIA DEL MONDO 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
PREGHIERA DI SASSO Italy
PREMIATA FORNERIA MARCONI (PFM) Italy
PRESENCE Italy
PROCESSION Italy
PROGENESI Italy
PROPHEXY Italy
PROWLERS Italy
PSYCHO PRAXIS Italy
QIRSH Italy
QUARTO VUOTO Italy
QUASAR LUX SYMPHONIAE Italy
QUEL GIORNO DI UVE ROSSE Italy
QUELLA VECCHIA LOCANDA Italy
RACCOMANDATA RICEVUTA RITORNO Italy
I RAMINGHI Italy
RANDONE Italy
RANESTRANE Italy
REALE ACCADEMIA DI MUSICA Italy
RICORDI D'INFANZIA Italy
CLAUDIO ROCCHI Italy
ROCKY'S FILJ Italy
IL ROVESCIO DELLA MEDAGLIA Italy
IL RUMORE BIANCO Italy
IL RUSCELLO Italy
RUSTICHELLI & BORDINI Italy
SACKA Italy
SALIS Italy
SAMADHI Italy
SAMSARA Italy
TITO JR. SCHIPA Italy
LA SECONDA GENESI Italy
IL SEGNO DEL COMANDO Italy
SEMIRAMIS Italy
LE SENSAZIONI Italy
SENSITIVA IMMAGINE Italy
SENZA NOME Italy
SHOWMEN 2 Italy
PAOLO SIANI & FRIENDS FEAT. NUOVA IDEA Italy
SIDE C Italy
IL SISTEMA Italy
SITHONIA Italy
SLOGANS Italy
LA SORGENTE Italy
ALAN SORRENTI Italy
ST.-TROPEZ Italy
LE STELLE DI MARIO SCHIFANO Italy
STRANAFONIA Italy
DEMETRIO STRATOS Italy
SUBMARINE SILENCE Italy
SUNSCAPE Italy
SYNDÉRESI Italy
SYNDONE Italy
TACITA INTESA Italy
TAPROBAN Italy
IL TEMPIO DELLE CLESSIDRE Italy
TENEBRAE Italy
I TEOREMI Italy
STEFANO TESTA Italy
THEGENERATION Italy
THREE MONKS Italy
TILION Italy
TOTO TORQUATI Italy
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
VIEUX CARRE Italy
VITTORIO DE SCALZI - LA STORIA DEI NEW TROLLS Italy
IL VOLO DI ICARO Italy
IL VOLO Italy
RICCARDO ZAPPA Italy
ZAUM Italy

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — the ultimate jazz music virtual community | MetalMusicArchives.com — the ultimate metal music virtual community


Server processing time: 0.16 seconds