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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)




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 | 1356 ratings
PER UN AMICO
Premiata Forneria Marconi (PFM)
4.38 | 910 ratings
DARWIN!
Banco Del Mutuo Soccorso
4.38 | 848 ratings
IO SONO NATO LIBERO
Banco Del Mutuo Soccorso
4.36 | 1072 ratings
STORIA DI UN MINUTO
Premiata Forneria Marconi (PFM)
4.30 | 698 ratings
BANCO DEL MUTUO SOCCORSO
Banco Del Mutuo Soccorso
4.29 | 677 ratings
ZARATHUSTRA
Museo Rosenbach
4.28 | 519 ratings
ARBEIT MACHT FREI
Area
4.24 | 683 ratings
L'ISOLA DI NIENTE
Premiata Forneria Marconi (PFM)
4.23 | 750 ratings
FELONA E SORONA
Orme, Le
4.22 | 570 ratings
UOMO DI PEZZA
Orme, Le
4.25 | 325 ratings
PALEPOLI
Osanna
4.21 | 472 ratings
YS
Balletto di Bronzo, Il
4.23 | 352 ratings
MAXOPHONE
Maxophone
4.22 | 286 ratings
CRAC !
Area
4.21 | 258 ratings
DISCESA AGL'INFERI D'UN GIOVANE AMANTE
Bacio Della Medusa, Il
4.21 | 261 ratings
L' ENIGMA DELLA VITA
Logos
4.18 | 296 ratings
LA CRUDELTÀ DI APRILE
Unreal City
4.19 | 229 ratings
PRINCIPE DI UN GIORNO
Celeste
4.27 | 142 ratings
RISVEGLIO
Egonon
4.16 | 250 ratings
CONTAMINAZIONE
Rovescio Della Medaglia, Il
4.10 | 345 ratings
STATI DI IMMAGINAZIONE
Premiata Forneria Marconi (PFM)
4.08 | 435 ratings
PHOTOS OF GHOSTS
Premiata Forneria Marconi (PFM)
4.10 | 330 ratings
FORSE LE LUCCIOLE NON SI AMANO PIÙ
Locanda delle Fate
4.20 | 153 ratings
MELOS
Cervello
4.20 | 148 ratings
IL PASSO DEL SOLDATO
Nuova Era
4.10 | 276 ratings
ALPHATAURUS
Alphataurus
4.18 | 147 ratings
PASSIO SECUNDUM MATTHEUM: THE COMPLETE WORK
Latte e Miele
4.09 | 264 ratings
QUELLA VECCHIA LOCANDA
Quella Vecchia Locanda
4.09 | 258 ratings
IL TEMPO DELLA GIOIA
Quella Vecchia Locanda
4.09 | 228 ratings
BIGLIETTO PER L'INFERNO
Biglietto Per L'Inferno
4.16 | 142 ratings
REALE ACCADEMIA DI MUSICA
Reale Accademia Di Musica
4.12 | 173 ratings
LA COSCIENZA DI ZENO
Coscienza di Zeno, La
4.09 | 207 ratings
BANCO
Banco Del Mutuo Soccorso
4.26 | 91 ratings
TERRA IN BOCCA
Giganti, I
4.05 | 263 ratings
LE PORTE DEL DOMANI
Maschera Di Cera, La
4.16 | 130 ratings
IL GRANDE LABIRINTO
Maschera Di Cera, La
4.05 | 235 ratings
DEDICATO A FRAZZ
Semiramis
4.17 | 114 ratings
TALSETE DI MARSANTINO
Estate di San Martino, L'
4.02 | 286 ratings
IL PAESE DEL TRAMONTO
Unreal City
4.06 | 201 ratings
ROLLER
Goblin
4.00 | 298 ratings
THE WORLD BECAME THE WORLD
Premiata Forneria Marconi (PFM)
4.00 | 313 ratings
IL TEMPIO DELLE CLESSIDRE
Tempio delle Clessidre, Il
4.13 | 113 ratings
IL NOME DEL VENTO
Delirium
4.04 | 190 ratings
IN HOC SIGNO
Ingranaggi della Valle
4.12 | 118 ratings
VIETATO AI MINORI DI 18 ANNI
Jumbo
3.95 | 384 ratings
CHOCOLATE KINGS
Premiata Forneria Marconi (PFM)
4.04 | 149 ratings
MALEDETTI
Area
4.07 | 118 ratings
WINTERTHROUGH
Hostsonaten
4.00 | 172 ratings
LA NOTTE ANCHE DI GIORNO
Coscienza di Zeno, La
4.01 | 160 ratings
ALIENATURA
Tempio delle Clessidre, Il
4.01 | 160 ratings
INTORNO ALLA MIA CATTIVA EDUCAZIONE
Alusa Fallax
3.98 | 193 ratings
INFERNO
Metamorfosi
3.94 | 274 ratings
SUMMEREVE
Hostsonaten
3.97 | 203 ratings
COME IN UN'ULTIMA CENA
Banco Del Mutuo Soccorso
4.11 | 90 ratings
CAPITOLO 7 - TRA LE ANTICHE MURA
Castello Di Atlante, Il
4.12 | 84 ratings
DELIRIUM III (VIAGGIO NEGLI ARCIPELAGHI DEL TEMPO)
Delirium
4.01 | 133 ratings
LUXADE
Maschera Di Cera, La
4.11 | 79 ratings
IL TRONO DEI RICORDI
Trono Dei Ricordi, Il
3.93 | 203 ratings
CONTRAPPUNTI
Orme, Le
4.05 | 95 ratings
SULLE CORDE DI ARIES
Battiato, Franco
4.19 | 58 ratings
DRAMMA DI UN POETA UBRIACO
Pandora
3.95 | 165 ratings
CAUTION RADIATION AREA
Area
3.99 | 125 ratings
LA MASCHERA DI CERA
Maschera Di Cera, La
4.08 | 78 ratings
STRIGMA
Taproban
4.03 | 86 ratings
CONCERTO GROSSO, THE SEVEN SEASONS
New Trolls
4.00 | 97 ratings
1984 - L'ULTIMO UOMO D'EUROPA
Fabbrica dell'Assoluto, La
3.99 | 99 ratings
AUTUMN SYMPHONY
Hostsonaten
3.91 | 156 ratings
SENSITIVITÀ
Coscienza di Zeno, La
3.93 | 138 ratings
CHERRY FIVE
Cherry Five
3.93 | 124 ratings
APOTEOSI
Apoteosi
3.93 | 119 ratings
PFM IN CLASSIC - DA MOZART A CELEBRATION
Premiata Forneria Marconi (PFM)
4.00 | 82 ratings
ULISSE: L'ALFIERE NERO
Progenesi
3.97 | 96 ratings
DI CARNE, DI ANIMA
Gran Turismo Veloce
3.92 | 124 ratings
PASSIO SECUNDUM MATTHEUM
Latte e Miele
4.00 | 82 ratings
DEDALO E ICARO
Cerchio d'Oro, Il
4.05 | 68 ratings
NOUS
Nodo Gordiano
4.15 | 50 ratings
HYBLA ACT 1
Randone
3.95 | 101 ratings
ODYSSÉAS
Syndone
3.91 | 126 ratings
1978 GLI DEI SE NE VANNO, GLI ARRABBIATI RESTANO
Area
4.20 | 44 ratings
HYSTERO DEMONOPATHY
Antonius Rex
3.99 | 82 ratings
DIARIO DI VIAGGIO DELLA FESTA MOBILE
Festa Mobile
3.91 | 124 ratings
PROFONDO ROSSO O.S.T.
Goblin
3.91 | 120 ratings
IO SONO MURPLE
Murple
3.83 | 241 ratings
COLLAGE
Orme, Le
3.87 | 154 ratings
THE RIME OF THE ANCIENT MARINER - CHAPTER ONE
Hostsonaten
3.90 | 116 ratings
ESSERE O NON ESSERE?
Volo, Il
3.92 | 97 ratings
ATTOSECONDO
Alphataurus
4.15 | 44 ratings
UNA VITA UNA BALENA BIANCA E ALTRE COSE
Testa, Stefano
3.96 | 79 ratings
SULLA BOLLA DI SAPONE
FEM Prog Band
4.14 | 44 ratings
E TUTTO COMINCIÒ COSÌ...
Sensitiva Immagine
4.12 | 45 ratings
STORIE DI UOMINI E NON
Rocky's Filj
3.91 | 95 ratings
DNA
Jumbo
4.09 | 47 ratings
FRONTIERA
Procession
3.86 | 119 ratings
ELEMENTI
Orme, Le
4.30 | 30 ratings
LA BELLA E LA BESTIA
Syndone
3.98 | 66 ratings
L'ISOLAMENTO DEI NUMERI PARI
Astrolabio / Elettrosmog
3.94 | 76 ratings
THE GATES OF TOMORROW
Maschera Di Cera, La
4.07 | 48 ratings
THE LEGEND OF THE HOLY CIRCLE
Three Monks
4.04 | 52 ratings
VOCI
Basso, Luciano
3.82 | 151 ratings
CAMPO DI MARTE
Campo di Marte

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

LA DIVINA COMMEDIA
Giro Strano, Il
IL NOME DEL VENTO
Delirium
INFERNO
Metamorfosi
ALPHATAURUS
Alphataurus

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Latest Rock Progressivo Italiano Music Reviews


 Tunnel by ABISSI INFINITI album cover Studio Album, 1981
2.79 | 32 ratings

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Tunnel
Abissi Infiniti Rock Progressivo Italiano

Review by maryes

2 stars The Italian band ABISSI INFINITI and his only release "Tunel" don't seems to me a classic RPI act.Nothing to compare, with bands like BMS , PFM or Le Orme... In fact the sound from these guys is morre close to pop rock music.However, as soon the music starts in track 1 "Come Bambini Di Sera" the more incautious listener could make this mistake, due to the overture of music. another good moment as in the track 3 "Spirale" a type of hard prog which ends in a mellow ballad. In short , only about 10 min in a 34:23 of duration for whole album. For this reason I can't give more than 2 stars !!!
 A Space Odyssey Part I Monolith by RANESTRANE album cover Studio Album, 2013
4.18 | 35 ratings

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A Space Odyssey Part I Monolith
RanestRane Rock Progressivo Italiano

Review by HarmonyDissonan

4 stars A QUALITY SET OF RECORDINGS (IMHO) PRESENTED TO GIVE HOMAGE TO A MOVIE CLASSIC!

First I would like to thank everyone who has written reviews for PA in the past, especially the prolific reviewers. I understand where the inspiration comes from, obviously the music, but for myself the variety in the reviewing to keep them fresh is a real art. Be they dramatic, unique or specific. Not to mention the time needed to produce said reviews. So, if I were wearing a hat presently, I'd tip it to all of you. There are many very good reviewers here on the site and I'd be here all day if I were to name all that I've come to rely on for viewpoints, but one reviewer has found a niche I've noticed relatively recently that is very interesting and unique to this reviewer. I very much enjoyed Atavachron's interview's with deceased musicians. A unique perspective on critiquing which I appreciate and find very interesting. If I may ask, David, are you a Warlock? Alright, enough kissing up to the reviewers. Thanks again.

Now to the music in question. I already had RanestRane's first album Nosferatu Il Vampiro, which definitely showed potential as a debut recording. I wasn't overly enthralled by the music, but between the music, conception and the album cover, it was more than satisfactory and recommendable. I had noticed that their second album Shinning was also an homage to a classic film release as well. So in keeping with their style, it was no great surprise to see that their third album was based upon another classic film, this time 2001: A Space Odyssey. After noticing that some of the early critique's were positive/very positive, I decided to purchase the A Space Odyssey Part One: Monolith. I am very glad that I did. It is filled with high quality musicianship! There seems to be no missteps in it musically whatsoever. If there was anything that at first I found just a tad negative it would be the slight over abundance of movie dialogue used on several of the tracks. I have become used to them after a couple of listens and actually have come to an appreciation for them with familiarity. I enjoy this album immensely and would highly recommend it to anyone who appreciates quality music with an Italian air.

Also I would like to state that the over-all quality was carried over completely in RanestRane's-A Space Odyssey Part Two: H.A.L. I feel that it is just as good as Part One with both outstanding musicianship and a classy package as well. The music for Part Two is of a very similar vein as found in Part One which makes the set of very good quality and also very homogenous without being repetitious or unimaginative in the least. I have come to appreciate these recordings as some of my personal favorite's from the RPI sub-genre having been released in the last few years. RPI is my personal favorite genre/sub-genre. They're obviously a different style, yet I feel that they're right up with Absenthia and Egonon as a couple of my newer RPI favorites. Although the other two albums by the fore-mentioned groups are outstanding and are needless to say very highly recommended, the RanestRane albums have a certain quality which makes them top end RPI releases as well. If I had to use one word to describe these albums, it would be 'quality'! You won't find ground breaking music here, but quality and inspiration abounds! I would highly recommend both Part's One and Two without any hesitation. I could easily place these two recordings at 4.5 stars if possible!

And to end my critique, showing a small personal homage to the wit and creativeness of fellow PA Collaborator: Atavachron, I would like to slightly plagiarize his hopefully non-copy-written idea with two questions to the deceased former lead singer of the classic RPI group Banco Del Mutuo Soccorso-Francesco Di Giacomo. (Please remember the old saying, David, that imitation is the sincerest form of flattery).

Me: Mr. Giacomo, it is an honor to speak with you today! I wish I could say earlier, but I've been a fan of yours since I joined PA back in June of 2007 and discovered the great Italian progressive music scene! If you don't mind, I would like to ask you two related questions if you please?

Francesco: Yes, of course.

Me: First, have you been able to keep up with any the new progressive musicians and groups that are currently coming out of your home country of Italy?

Francesco: Yes, absolutely! It would very much seem as though there is a substantial resurgence in Italia that is truly rivaling the 1970's heyday for Italian progressive music. Since the turn of the millennia, the Italians have come alive! Sorry, no pun intended there.

Me: Also, if I might ask, I have come to appreciate the Italian group RanestRane. Especially there latest albums Part's One and Two-A Space Odyssey. Are you familiar with them and those particular albums?

Francesco: Oh yes, I am. I would say that these two albums are of the highest quality.

Me: That's interesting, as quality is also the word that I used to describe them. Thank you so much for your time, Mr. Giacomo.

Francesco: You're welcome and please call me Francesco. I'm sorry, but that's all of your earthly time that I can spare for now as I am expecting to meet someone this evening for dinner at The Aroma. Arrivederci!

Thanks for reading and writing! Take care and enjoy God's gift of music!

 Alive by GOBLIN REBIRTH album cover Live, 2016
4.02 | 3 ratings

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Alive
Goblin Rebirth Rock Progressivo Italiano

Review by Matti
Prog Reviewer

4 stars The band bio informs that there are many GOBLIN-related acts around. GOBLIN REBIRTH released a studio album of the same name in 2015, but the double live CD is recorded before that (in Rome, April 22nd, 2011), so it concentrates on the original Goblin output from the mid-seventies onward, a large part of which is film music to horror flicks mostly directed by Dario Argento (the best known of those films are Argento's "Profondo Rosso" and "Suspiria", and George Romero's "Zombi - Dawn of the Dead"). I'm not a connoisseur of that field at all, so I have to take this set as simply 107 minutes of instrumental prog -- with occasional voice samples, to be exact. As I listen to it, I'm not so interested to keep track which particular piece is going on.

That said, I want to clarify right away that this is excellent stuff. The quintet featuring two keyboard players can build very strong atmospheres. The music is not indulgent "skill-masturbation", but the musical competence is evident nevertheless. The musicians' co-operation is extremely precise and organic, slightly in a jazzy way. The compositions are pretty full of melodies too.

Sorry for not describing the music in a more detailed way and pointing out to possible highlights. Also the non-soundtrack classic album Roller (1976) is heavily covered. The band doesn't introduce any pieces as far as I remember, or talk anything else either, and the audience has quite a little time to applause before the next piece starts. This is a good thing, making the concert a continuous musical journey. The leaflet features gig photos; of course it could have given some information on the original recordings, for example. If you don't already have numerous GOBLIN albums, this set is an excellent summation. A connoisseur naturally rather buys the DVD version.

 1984 - L'Ultimo Uomo d'Europa by FABBRICA DELL'ASSOLUTO, LA album cover Studio Album, 2015
4.00 | 97 ratings

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1984 - L'Ultimo Uomo d'Europa
La Fabbrica dell'Assoluto Rock Progressivo Italiano

Review by Matti
Prog Reviewer

4 stars Here's one of the many rock albums inspired by the famous dystopian novel "1984" of George Orwell. And it might also be the most intensive one, but in my case (although I was deeply impressed by the book already in my teens) the intensity of the music has its negative side too. For the rest of my review I handle this album as music, not as a literary adaption -- for which approach I wouldn't have the knowledge on Italian language anyway.

The RPI tradition can be roughly divided into two styles. The first one is more pastoral and romantic (PFM, Celeste, Errata Corrige, ...) and it often involves instruments such as flute and violin. This is very much up to my musical taste. And the second style is heavier, darker, edgier etc, with influences not only from prog bands such as ELP and VdGG but from e.g. DEEP PURPLE and BLACK SABBATH as well. Naturally there's no absolute division into these two styles; both can use elements from the other one and many bands are somewhere in the middle. LA FABBRICA DELL'ASSOLUTO is however clearly closer to the heavy side of RPI. Seemingly this is the case with most of the new RPI bands that sound like they could come from the 70's. Fabbrica's domestic influences might include e.g. ALPHATAURUS, IL BALLETTO DI BRONZO, MUSEO ROSENBACH, PANNA FREDDA and SEMIRAMIS.

The 55-minute work starts with disturbing shouts and a brief dramatic narrative followed by intense Hammond-dominated heavy prog. Soon the proper vocals enter and are intertwined with sharp synth passages. Already at this point the listener can be sure to have one hell of a prog ride. The vocals are mostly a bit shouty, reaching higher notes and being also quite flexible, but the voice itself lacks charisma and depth. Frankly, I don't like them. But the band is truly full of fiery power, especially the many-sided keyboard arsenal with its ELP flavour.

After the nearly seamless flow of highly intense tracks, the more delicate 'Giulia' is a gorgeous highlight. 'La Stanza 101' is another good, melancholic song, but to my taste the whole is too intense and highly strung. And yet, I just can't rate it lower than four strong stars. Definitely one of the most remarkable items in retro-RPI of these times!

 L'ultimo Viaggio  by NUOVA ERA album cover Studio Album, 1988
3.71 | 51 ratings

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L'ultimo Viaggio
Nuova Era Rock Progressivo Italiano

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars Figuratively studying under the keyboard oriented masters of the British (ELP) and Italian scene (METAMORFOSI, ALPHATAURUS) of the previous decade, NUOVA ERA catapulted themselves into RPI history with this 1988 release. Though their fiery style is dominated by the organ and synthesizer of Walter Pini, Alex Camaiti's guitars strike the right note in a supportive role and occasionally hold serve. The wattage of this small but boisterous group rarely wavers for long, even if more ambient passages cloak the mayhem here and there.

The opening two tracks are my favourites, both heavy yet effervescent, with the title cut doing justice to its length through a series of dynamic swings and a few judicious repetitions. The second installment of "Cattivi Pensieri" is the more revved up and appealing of the two, with an organ timbre reminiscent of RICK WAKEMAN's early live work. As the album winds down it softens, with the splendid ballad "Rittorno alla vita" being the best from the home stretch. It's unabashedly romantic but that same passion lies beneath the translucent surface of the harder rock tracks. The bonus track is pleasant in a 1960s way, and was probably kept off the initial release for that reason as well as for its poor production even when stacked against the disappointing standards of the original album.

As with a few other Italian bands that played some role in the RPI revival of the late 1980s and early 1990s, some of the later work of NUOVA ERA is often judged their best, but this debut is quite a statement in itself, and would have done the band proud if, like too many of their contemporaries, their voyage had ultimately ended where it began.

 Dedicato a Frazz by SEMIRAMIS album cover Studio Album, 1973
4.05 | 235 ratings

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Dedicato a Frazz
Semiramis Rock Progressivo Italiano

Review by Tarcisio Moura
Prog Reviewer

4 stars I did not know much about this album until recently. It was one of those records you hear a lot about it but don´t actually have the opportunity to listen to. A friend borrowed it to me a few days ago and I was very impressed. Even more so when I heard they were not successful with this album and that it was the only one Semiramis ever released. A real shame, for this is not only a great album but a promise of even better things to come. But, looking back, maybe it was too different from the average Italian music of the time. Surely, it was melodic and progressive, but it was also heavier and darker than most, with some fiery guitar parts (for the time, of course), lots of driving keys and a few strong jazzier parts.

All the musicians are brilliant and I loved the vibraphone parts drummer Paolo Faenza adds on several cuts. The compositions are very strong and although a bit daring for the period, very melodic and although sometimes sounding a bit incoherent, very well built. Like all prog masterpieces, it takes a little time to sink in, but once you get it, you´re hooked. Vocalist/guitarist Michele Zarrillo has a fine voice for the style. Thanks god everything here is sung in italian. The themes here seems to deal with the concept of madness, which may explain the wild mood swings of some tunes. I was also taken by the high quality production of the CD, very well balanced, with a crystal clear sound. All wrapped up with a dazzling cover art by Gordon Faggeter.

I really loved this album: it sounds like a good mix of Genesis, early King Crimson and Van Der Graff Generator put together, and still they had already built am identity of their own. It really makes me wish they had recorded a follow up.

A real lost prog jewel. Highly recommended for any italian prog rock aficionado.

 Macroscream by MACROSCREAM album cover Studio Album, 2016
3.97 | 11 ratings

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Macroscream
Macroscream Rock Progressivo Italiano

Review by Finnforest
Special Collaborator Honorary Collaborator

4 stars Sunny days!

A celebration of being alive. The music on this diverse, modern work from fine Rome-based Macroscream is like walking the park on a sunny day. The diversions and distractions are everywhere and yet completely pleasant. Roller bladers zooming by, birds cruising this way and that, food vendors calling out, and beautiful people smiling.

MacroScream combine defined elements of Crossover, Folk, Fusion, Avant, RPI, (and thus) Eclectic, I can hear bits of Area, Gentle Giant, and Tull, but they are absolutely updated with today's production values and with good melodic sensibilities. I love the constantly changing, cinematic "scenes" playing out and the penchant for unexpected harmonies and strings here and there, such little details really bring a richness. Flutes, Tablas, violins, Mellotron, Hammond, sound effects, piano, and more---so many sounds dropping to support the standard rock instrumentation, which strives for imaginative jamming and even some funkiness. Six fully fleshed out vignettes into a sound world colorful and inventive, old yet new, friendly and yet sometimes dissonant...or at least uninhibited. Having so many ingredients could be a disaster in the hands of a lesser band but here the compositions feel natural and developed.

This is music for which words fail. I urge you to simply put on your headphones and listen. It's an album that can make you feel high and one of my favorites of this year.

 Symphony N.1: Cupid & Psyche by HOSTSONATEN album cover Studio Album, 2016
3.84 | 55 ratings

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Symphony N.1: Cupid & Psyche
Hostsonaten Rock Progressivo Italiano

Review by tszirmay
Special Collaborator Crossover Team

4 stars If there is any doubt about Fabio Zuffanti being a prog icon, the disbelievers have some kind of chip on their shoulder! This gifted Italian bassist/composer owns a distinguished career one could only dream about, fronting Finisterre back in the late 90s, recharging the dormant RPI School once so prolific in the 70s and then consolidating the legacy with the splendid La Maschera di Cera project. His list of contributions and projects is endless but there was one project that simply just took off like wildfire, Hostsonaten having begun its life as a one shot self-titled endeavour in 1997, drawing universally positive reviews. The four seasons on four separate albums was a veritable tour de force, a modern day Giuseppe Verdi. Both 'Winterthrough' and 'Summereve' were spectacular classics, while 'Springsongs' and 'Autumn Symphony' were totally tasty in their own right. The chemistry has evolved around the keyboard chair with first Boris Valle, then Roberto Viggo, Agostino Macor and now Luca Scherani, all extremely talented keyboardists that have the talent to imprint fresh symphonic ideas into the creative process. Thus the impetus to continue creating lavish works remains invigorated and positive.

The main theme here is decidedly neo-classical , aided by an outright string quartet section, some brass and woodwinds in full regalia, all determined to elevate the arrangements to new heights. On the windswept 'Zephyr', the spirited musicians adopt a sterling vibe full of immense bravado and delirium, highlighted by drummer Paolo Tixi killing it on the skins while Scherani molests his synths with passionate resolve. Italy is the home of romanticism, a mindset splattered all over their glorious culture and when 'amore' becomes the focus, the artful methodology comes oh so naturally, as on the palpitating 'Love Scene', featuring profound emotion (as the gifted Laura Marsano rips off another seductive axe solo), a truly magnificent piece of solemn beauty, allied with some reflective piano and delicate flute. Things do get dissonant and complex with whipping mellotron blasts rivaling the brass section in a stop and go dance that defies logic and suddenly gets real hot under the collar, swerving into very orchestral realms that are insistent, jangled and grandiose. Sofia Bartolini's obsessive bassoon does wonders weaving between Scherani's various ivories, furthered along by Joanne Roan's magical flute. On 'Venus First Trial', the mood is very classical orchestra that slowly veers towards a more rock approach, colossal mellotron waves smashing into the electric guitar, strong brass support and the spotlight rests on some stellar sax work that recalls Traffic's Chris Wood on 'Glad'. This endless ebb and flow between classical music in the shape of string quartet and piano on one hand and the more pugnacious RPI delivery led by strong rhythmic work and searing soloing from both electronic keyboards and electric guitars is what makes this work so compelling. Things also get funky with Scherani's e-piano, linked with some judicious brass work and tick-tack drum patterns, proving that these musicians know a thing or two about soul and feeling. Then having the smarts to blend in both mellotrons and orchestra proves my point perfectly. Then letting Marsano have some bluesy fun on her sexy guitar pushes the pleasure level even higher, keeping the listener constantly stimulated. Then giving the spotlight on Scherani to delve into his keyboard arsenal and let his fingers do the walking and talking ('The Awakening'), playing dipsy-doodle with an errant oboe before laying down some heady cascades of 'tron. A perfect example of instrumental symphonic RPI prog !

Another stellar chapter in the ongoing Hostsonaten discography, a step up from the previous 'The Rime of the Ancient Mariner', we are witness to a slew of incredibly gifted musicians enjoying the style they so obviously adore.

4.5 troubled cherubs

 Banco Del Mutuo Soccorso by BANCO DEL MUTUO SOCCORSO album cover Studio Album, 1972
4.30 | 698 ratings

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Banco Del Mutuo Soccorso
Banco Del Mutuo Soccorso Rock Progressivo Italiano

Review by RisingForce

5 stars Banco del Mutuo Soccorso is the eponymous debut album by Italian Progressive rock band "Banco del Mutuo Soccorso".

The album was recorded for "Dischi Ricordi" in 1972.

The beautiful and original cover of the original vinyl was shaped like a piggy bank; a slit was extracted from a strip of cardboard with the faces of the members of the group.

The image on the cover is by illustrator "Mimmo Mellino".

The album "Banco del Mutuo Soccorso" also called (il salvadanaio) "Money Box" contains six songs, that start with a medieval epic dreamy intro "In Volo", which ends with an obvious what announcement is coming;"Entro il cratere ove gorgoglia, il tempo".

"The time" (Il Tempo), of course, is to "RIP", which comes with all its power Prog and the famous start of timing/tempo on 5/4, which supports a well the tenor voice clear and decisive, which clearly enhances every refinement of musical arrangements and of the lyrics set in a medieval battle and that focuses on the horrors of war.

Each instrument takes place in the solid sound without any prevalence and this, despite the potential timbre of the virtuoso dual keyboards work by the Piano, Hammond organ and Moog of the Brothers "Nocenzi" "Vittorio and Gianni" plus the use of flute reeds (played by some of the members of the band,in addition to their usual instrument), made the sound of "Banco Del Mutuo Soccorso" increasingly.

The personal solos are relatively limited and give the work a solid and consistent groove.

The voice of "Big" Francesco Di Giacomo arrives and retracts like a wave alternating moments of calibrated power to more subtle dynamics.

Follows a short interval Baroque "Passaggio" where "Vittorio Nocenzi" enters an empty room, he plays the harpsichord and singing the melody softly and after comes out the other side of the room, slamming the door.

Closes the first side the album "Metamorfosis" masterful demonstration of balance and skill in which the "Banco Del Mutuo Soccorso" attests to both its complete independence from preconceived Anglo-Saxon and creating an Italian Progressive rock with its ability to make the most its characteristic high skill of "first Mediterranean group in two complementary keyboards."

Only after 8 minutes of articulated Progressive rock of classical and medieval references with baroquisms never extremes that blend in a immovable nucleus where the guitar with counterpoints and original arrangements it leans on an always powerful rhythm section; It appears in the sound the poignant voice of "Francesco Di Giacomo", which is the premise, with a powerful final, to the second side of the album.

The second side of the album is occupied almost entirely (over 18 minutes), from "Il Giardino Del Mago" song in which the band experiments with all its musical narrative potential by developing a balanced symphonic different variants of the theme.

Very tense and romantic moments alternate with break atmospheres of symphonic rock, epic, classical or even space.

The end of the song, pure epic Progressive rock which flows into the closing track "Traccia", synthesis of Baroque rock with radical hard sound and Italian Mediterranean character.

A classic great epic debut album, a load-bearing column of the genre Progressive that keeps the future.

In the same year 1972 "Il Banco Del Mutuo Soccorso" publishes their second album "Darwin!" an evolution of Progressive rock.

 Uomo Di Pezza by ORME, LE album cover Studio Album, 1972
4.22 | 570 ratings

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Uomo Di Pezza
Le Orme Rock Progressivo Italiano

Review by Modrigue
Prog Reviewer

3 stars Romantic and dreamy

First true progressive album by Le Orme, "Uomo di Pezza" ("Rag doll man" in English) offers a music on par with its cover art: sweet, mellow, reassuring, oneiric... The disc can be divided in two sides: Side 1 incorporates classical music elements and could be described as symphonic prog, whereas Side 2 - my favorite - is more dreamy and soothing. However, the compositions possess a proper Italian sensibility that cannot be found on British bands.

Keyboardist Antonio Pagliuca plays synthesizer for the first time on this record.

To be honest, I'm not really a big fan of Side 1. The opening of "Una Dolcezza Nuova" is the introduction of JOHANN SEBASTIAN BACH's chaconne no. 2 in D minor, BWV 1004, played by guest pianist Gian Piero Reverberi. The rest is a delicate ballad, smooth but a little cheesy. Released as a single in Italy, "Gioco Di Bimba" is a gentle naive song, typically Italian, with a slight medieval touch, a bit too sugary for me. Some nice floating passages can be found on "La Porta Chiusa", the longest track of the disc. Influenced by symphonic prog bands such as ELP or KING CRIMSON, the song contains a few changes, but is overall uneven.

Nonetheless, the dream really begins with Side 2. The soft "Breve Immagine" is a pretty moment, touching and enchanting. The spacey ethereal keyboards enhances the oneiric impression. Too short. The delicate "Figure Di Cartone" has a beautiful melancholic melody, while the trippy crystalline "Aspettando L'Alba" seems to come from the unreal world depicted on the cover, somewhere above the clouds. These three songs are simply delightful. The only intruder here could be "Alienazione" and its more oppressive ambiance. This threatening instrumental, jazzy at times, is nevertheless quite nice.

Despite the average tracks of Side 1, Side 2 is well worth the listen alone and make "Uomo di Pezza" an essential record of the genre, possessing its own charm and identity. Furthermore, the music is coherent with the cover art. As a non-Rock Progressivo Italiano fan, I recommend this album to people into symphonic or even space prog wanting to discover this style and, of course, to RPI lovers.

A romantic dream awaits you...

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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
AMMINISTRAZIONE CAOS POPOLARE 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
AVALON LEGEND Italy
IL BABAU & I MALEDETTI CRETINI Italy
SOPHYA BACCINI Italy
IL BACIO DELLA MEDUSA Italy
THE BADGE Italy
BALLETTIROSADIMACCHIA Italy
IL BALLETTO DI BRONZO Italy
IL BALLO DELLE CASTAGNE Italy
THE BALMUNG Italy
LA BAMBIBANDA E MELODIE Italy
BANCO DEL MUTUO SOCCORSO Italy
BARABBA Italy
MARIO BARBAJA Italy
BAROQUE Italy
BARROCK Italy
LUCIANO BASSO Italy
FRANCO BATTIATO Italy
PIERPAOLO BIBBO Italy
BIGLIETTO PER L'INFERNO Italy
BLOCCO MENTALE Italy
BONDAGE Italy
BORNIDOL Italy
LA BOTTEGA DELL'ARTE Italy
BRAEN'S MACHINE Italy
BRAINDEAD Italy
ANGELO BRANDUARDI Italy
BRIGHT HORIZON Italy
BUON VECCHIO CHARLIE Italy
CAGE Italy
I CALIFFI Italy
CALLIOPE Italy
CAMERA ASTRALIS Italy
JURI CAMISASCA Italy
CAMPO DI MARTE Italy
CANTINA SOCIALE Italy
CAPITOLO 6 Italy
CAPRICORN COLLEGE Italy
CAPSICUM RED Italy
ENZO CAPUANO Italy
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
LA CURVA DI LESMO Italy
GINO D'ELISO Italy
GIANNI D'ERRICO Italy
DALLAGLIO Italy
DALTON Italy
DE DE LIND Italy
DELIRIUM Italy
MAURIZIO DI TOLLO Italy
I DIK DIK Italy
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
LA FABBRICA DELL'ASSOLUTO 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
GOBLIN REBIRTH 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
KALISANTROPE Italy
KUNDALINI SHAKTI DEVI Italy
LABIRINTO DI SPECCHI Italy
LAGARTIJA Italy
LAPERA Italy
LASER Italy
LATTE E MIELE Italy
LUCIANO LAURINI Italy
LEO NERO Italy
I LEONI Italy
LETHE Italy
LIBRA Italy
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
MÖBIUS PROJECT Italy
LORENZO MONNI Italy
MONTEFELTRO Italy
MOSAICO Italy
IL MUCCHIO Italy
MURPLE Italy
MUSEO ROSENBACH Italy
FRANCO MUSSIDA Italy
MYROS Italy
LA N.A.V.E. Italy
NARROW PASS Italy
NASCITA DELLA SFERA Italy
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
RES GESTA 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
SECRET TALES Italy
IL SEGNO DEL COMANDO Italy
SELDON Italy
SEMIRAMIS Italy
LE SENSAZIONI Italy
SENSITIVA IMMAGINE Italy
SENZA NOME Italy
SEZIONE FRENANTE 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
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