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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

4.41 | 1349 ratings
PER UN AMICO
Premiata Forneria Marconi (PFM)
4.38 | 904 ratings
DARWIN!
Banco Del Mutuo Soccorso
4.38 | 840 ratings
IO SONO NATO LIBERO
Banco Del Mutuo Soccorso
4.36 | 1067 ratings
STORIA DI UN MINUTO
Premiata Forneria Marconi (PFM)
4.31 | 691 ratings
BANCO DEL MUTUO SOCCORSO
Banco Del Mutuo Soccorso
4.29 | 673 ratings
ZARATHUSTRA
Museo Rosenbach
4.28 | 515 ratings
ARBEIT MACHT FREI
Area
4.24 | 678 ratings
L'ISOLA DI NIENTE
Premiata Forneria Marconi (PFM)
4.23 | 745 ratings
FELONA E SORONA
Orme, Le
4.23 | 563 ratings
UOMO DI PEZZA
Orme, Le
4.25 | 323 ratings
PALEPOLI
Osanna
4.21 | 470 ratings
YS
Balletto di Bronzo, Il
4.23 | 350 ratings
MAXOPHONE
Maxophone
4.22 | 284 ratings
CRAC !
Area
4.22 | 259 ratings
L' ENIGMA DELLA VITA
Logos
4.21 | 258 ratings
DISCESA AGL'INFERI D'UN GIOVANE AMANTE
Bacio Della Medusa, Il
4.18 | 293 ratings
LA CRUDELTÀ DI APRILE
Unreal City
4.19 | 228 ratings
PRINCIPE DI UN GIORNO
Celeste
4.28 | 139 ratings
RISVEGLIO
Egonon
4.16 | 248 ratings
CONTAMINAZIONE
Rovescio Della Medaglia, Il
4.10 | 344 ratings
STATI DI IMMAGINAZIONE
Premiata Forneria Marconi (PFM)
4.08 | 433 ratings
PHOTOS OF GHOSTS
Premiata Forneria Marconi (PFM)
4.10 | 328 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 | 275 ratings
ALPHATAURUS
Alphataurus
4.19 | 146 ratings
PASSIO SECUNDUM MATTHEUM: THE COMPLETE WORK
Latte e Miele
4.09 | 260 ratings
QUELLA VECCHIA LOCANDA
Quella Vecchia Locanda
4.09 | 254 ratings
IL TEMPO DELLA GIOIA
Quella Vecchia Locanda
4.09 | 228 ratings
BIGLIETTO PER L'INFERNO
Biglietto Per L'Inferno
4.16 | 141 ratings
REALE ACCADEMIA DI MUSICA
Reale Accademia Di Musica
4.12 | 171 ratings
LA COSCIENZA DI ZENO
Coscienza di Zeno, La
4.09 | 205 ratings
BANCO
Banco Del Mutuo Soccorso
4.26 | 91 ratings
TERRA IN BOCCA
Giganti, I
4.05 | 261 ratings
LE PORTE DEL DOMANI
Maschera Di Cera, La
4.18 | 113 ratings
TALSETE DI MARSANTINO
Estate di San Martino, L'
4.06 | 232 ratings
DEDICATO A FRAZZ
Semiramis
4.02 | 312 ratings
IL TEMPIO DELLE CLESSIDRE
Tempio delle Clessidre, Il
4.15 | 130 ratings
IL GRANDE LABIRINTO
Maschera Di Cera, La
4.06 | 198 ratings
ROLLER
Goblin
4.01 | 282 ratings
IL PAESE DEL TRAMONTO
Unreal City
4.00 | 297 ratings
THE WORLD BECAME THE WORLD
Premiata Forneria Marconi (PFM)
4.13 | 111 ratings
IL NOME DEL VENTO
Delirium
4.04 | 188 ratings
IN HOC SIGNO
Ingranaggi della Valle
4.12 | 118 ratings
VIETATO AI MINORI DI 18 ANNI
Jumbo
3.95 | 382 ratings
CHOCOLATE KINGS
Premiata Forneria Marconi (PFM)
4.04 | 148 ratings
MALEDETTI
Area
4.00 | 172 ratings
LA NOTTE ANCHE DI GIORNO
Coscienza di Zeno, La
4.07 | 117 ratings
WINTERTHROUGH
Hostsonaten
4.01 | 158 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 | 273 ratings
SUMMEREVE
Hostsonaten
3.97 | 200 ratings
COME IN UN'ULTIMA CENA
Banco Del Mutuo Soccorso
4.12 | 87 ratings
CAPITOLO 7 - TRA LE ANTICHE MURA
Castello Di Atlante, Il
4.01 | 133 ratings
LUXADE
Maschera Di Cera, La
4.12 | 81 ratings
DELIRIUM III (VIAGGIO NEGLI ARCIPELAGHI DEL TEMPO)
Delirium
4.11 | 79 ratings
IL TRONO DEI RICORDI
Trono Dei Ricordi, Il
3.93 | 202 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 | 163 ratings
CAUTION RADIATION AREA
Area
3.98 | 124 ratings
LA MASCHERA DI CERA
Maschera Di Cera, La
4.09 | 77 ratings
STRIGMA
Taproban
4.03 | 86 ratings
CONCERTO GROSSO, THE SEVEN SEASONS
New Trolls
4.02 | 91 ratings
1984 - L'ULTIMO UOMO D'EUROPA
Fabbrica dell'Assoluto, La
3.92 | 155 ratings
SENSITIVITÀ
Coscienza di Zeno, La
3.93 | 138 ratings
CHERRY FIVE
Cherry Five
3.99 | 98 ratings
AUTUMN SYMPHONY
Hostsonaten
3.93 | 124 ratings
APOTEOSI
Apoteosi
3.93 | 119 ratings
PFM IN CLASSIC: DA MOZART A CELEBRATION
Premiata Forneria Marconi (PFM)
4.01 | 81 ratings
DEDALO E ICARO
Cerchio d'Oro, Il
4.00 | 82 ratings
ULISSE: L'ALFIERE NERO
Progenesi
3.97 | 95 ratings
DI CARNE, DI ANIMA
Gran Turismo Veloce
3.92 | 123 ratings
PASSIO SECUNDUM MATTHEUM
Latte e Miele
3.96 | 98 ratings
ODYSSÉAS
Syndone
4.20 | 44 ratings
HYSTERO DEMONOPATHY
Antonius Rex
3.91 | 126 ratings
1978 GLI DEI SE NE VANNO, GLI ARRABBIATI RESTANO
Area
4.05 | 66 ratings
NOUS
Nodo Gordiano
4.14 | 49 ratings
HYBLA ACT 1
Randone
3.99 | 81 ratings
DIARIO DI VIAGGIO DELLA FESTA MOBILE
Festa Mobile
3.91 | 123 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
3.98 | 76 ratings
SULLA BOLLA DI SAPONE
FEM Prog Band
4.15 | 44 ratings
UNA VITA UNA BALENA BIANCA E ALTRE COSE
Testa, Stefano
3.92 | 96 ratings
ATTOSECONDO
Alphataurus
4.00 | 65 ratings
L'ISOLAMENTO DEI NUMERI PARI
Astrolabio / Elettrosmog
4.09 | 47 ratings
FRONTIERA
Procession
3.91 | 95 ratings
DNA
Jumbo
4.13 | 43 ratings
E TUTTO COMINCIÒ COSÌ...
Sensitiva Immagine
4.11 | 44 ratings
STORIE DI UOMINI E NON
Rocky's Filj
3.86 | 118 ratings
ELEMENTI
Orme, Le
4.07 | 48 ratings
THE LEGEND OF THE HOLY CIRCLE
Three Monks
4.30 | 29 ratings
LA BELLA E LA BESTIA
Syndone
4.04 | 52 ratings
VOCI
Basso, Luciano
3.82 | 150 ratings
CAMPO DI MARTE
Campo di Marte
3.93 | 75 ratings
THE GATES OF TOMORROW
Maschera Di Cera, La

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

ÁSRAVA
Logos
INFERNO
Metamorfosi
MELOS
Cervello
DIARIO DI VIAGGIO DELLA FESTA MOBILE
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Latest Rock Progressivo Italiano Music Reviews


 Passo Dopo Passo by CASTELLO DI ATLANTE, IL album cover Live, 1994
3.29 | 20 ratings

BUY
Passo Dopo Passo
Il Castello Di Atlante Rock Progressivo Italiano

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars You'd have to be a hardhearted soul indeed to fail to be moved by the story of this RPI band. To recap briefly, they formed in 1974 and never really disbanded between then and their 1992 debut on Vinyl Magic. They claim that they were united more as friends than musicians during that period. That may be so but the strength of their friendship is the current that powers their music, an enchanting and lovable blend of 1970s RPI and British symphonic prog. In 1993, when informed that their debut had surpassed the lofty sales peak of 3000 units, they were asked, nay commanded, to dispatch a second album pronto. What to do? They had yet to fully tap their significant repertoire amassed during 18 years sans record deal, but they had no time to lavish the same loving kindness on the other chestnuts as they had on "Sono Io Il Signore Delle Terre A Nord". So they made the only logical choice - they raided the vaults and the result is "Passo dopo Passo", a mostly live compilation of hitherto unreleased bootleg quality material from the 1974-1984 period, much of it live.

The result is bittersweet. If the band had been given sufficient time, many of these pieces could have found their way onto subsequent studio efforts, edited and produced in a manner that does justice to their underlying strengths. As far as I can tell, only one, "Cavalcando tra le nuvole" has been resuscitated in the intervening 22 years, and this is a minor tragedy. The lengthier tracks are just a few washed out bridges from being up to the level of subsequent recordings, while the mid length songs could have graced the debut album and not been out of place with minor cleanup. In particular, the ballad "Alice" (pronounced appropriately as ah-lee-chay), "Omer", the masterful mini epic "La Guerra del Topi", and the dazzling instrumental, "Chorale" (which reminds me oddly of the title cut to CAMEL's "Rain Dances") outshine their skimpy treatment. But honestly, nothing here is weak, particularly given the context. I especially enjoy the prominence of violin and flute as well as the washes of string synthesizer throughout, and the rhythm section is stalwart and accomplished.

The positive aspect to wasting these compositions in this manner is that the band could no longer depend primarily on archive material from then on. After "L'Ippogrifo", released fairly quickly the following year, they became very much a going concern in terms of songwriting, production and performance, and have released several high quality disks over the last couple of decades, including a new one this year.

My own tastes ally most with the band as they were in the early 1990s, so even though this isn't much better than the old teenage trick of putting a mike to the clock radio speaker - actually, that's probably pretty much what it is - to me the spirit shines through and handily overcome any obstacles, generously offering, warts and all, the definitive, versions of these chestnuts. Step by step indeed.

 Alive by GOBLIN REBIRTH album cover Live, 2016
4.05 | 2 ratings

BUY
Alive
Goblin Rebirth Rock Progressivo Italiano

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars I'm not really familiar with the GOBLIN history, which actually seems to have been closed down in 1978. However, since then there were, respectively still are, several band incarnations underway, who define a clear reference to the original. This due to some extensive recruiting and overlapping personnal-wise for sure. Fabio Pignatelli (bass) and Agostino Marangolo (drums) have been core members from the beginning and are part of this GOBLIN REBIRTH line up here as well.

Furthermore the keyboard/synth fraction is represented by Aidan Zammit and Danilo Cherni, where Giacomo Anselmi finally completes the quintet on diverse guitars. The band name refers to a daemon or monster. Thematically as well as musically there was always a cinematic, dramatic touch to state, just as a trademark, thus reflecting a soft spot towards making soundtracks for movies. You won't miss that here too, at the very beginning during the opening synth intro of Killer On The Train and of course due to the closing Profondo Rosso.

The recordings were taken at Rome, soon after having re-formed in December 2010. During more than 100 minutes they are playing a best-of crossover, including the entire 'Roller' album nearly, which is said to be their masterpiece. While stylistically mirroring a blend of jazz rock/canterbury and symphonic this meets my taste very much. Relaxed and propulsive moments are constantly alternating. Including diverse solos they are delivering a highly concentrated performance, reaching the gig's point of culmination with the self-named track Goblin.

While missing any vocals the instrumental outings are top-notch, especially Fabio Pignatelli makes my day with his extraordinary bass presence. Overall I clearly would favour this songs when checking against the band's original studio stuff I could listen to so far. Additionally the sound mix appears to be rather priceless. Black Widow Records have released this fine contribution on double CD and DVD. If you should not be aware of that genre defining band from Italy yet, this affair will be a recommended entree to make it good.

 Cook (aka Live in the USA) by PREMIATA FORNERIA MARCONI (PFM) album cover Live, 1974
4.12 | 153 ratings

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Cook (aka Live in the USA)
Premiata Forneria Marconi (PFM) Rock Progressivo Italiano

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars PREMIATA FORNERIA MARCONI or simply PFM for those of us who are multisyllabophobes, was at the height of their success in Europe, Japan and North America around 1974 after having been discovered by ELP and added to their Manticore Records and allowing ex-King Crimson lyricist Peter Sinfield rewrite their lyrics in the English language to garner international attention. It all paid off, of course and PFM released albums in both English and their native Italian but most of all were the first act of the burgeoning Italian progressive rock scene to have huge success in touring North America and beyond. This album is the only testament of that mid-70s peak of PFM and captures them at full musical form with all those intricate mind blowing instrumental workouts and the full force of their progressive compositions pleasing huge crowds of hungry fans.

The album came out in 1974 and was released as both "LIVE IN USA" in Europe with the totally cheesy light blue album cover with a blurry photo of the band on stage and also as "COOK" in North America which displays a much cooler album cover depicting snakes in a pot over the sun with the planet Saturn in the top right hand corner. The original release contains performances from the Convocation Hall at Toronto Univerity, Ontario, Canada on the 22nd of August 1974 and from the Schaefer Central Park Music Festival in Central Park, New York City, NY, USA on the 31st of August 1974. So why did they call it LIVE IN USA when part of it was recorded in Canada? I guess they realized this faux pas and changed the title to COOK.

This is a difficult review for me because i'm only now coming to this from the perspective of the 2010 remastered Expanded Deluxe Edition that improves all the poor production flaws of the original release but more importantly expands it to a 3 disc CD boxed set that includes the entirety of the Central Park performance in NYC. Truth be told, the two additional discs are a lot better than Disc 1 which is the original release of the album. While the original disc finds the band in their prime, it does have some sloppiness attached including poor vocals, out-of-sync instrumental disasters and just doesn't capture the overall perfection of the albums. It does however prove that there are no overdubs and is the real deal totally unedited and the flaws are hardly enough to bring down the extreme exuberance and professional musicianship on board here.

DISC ONE: the original album that was basically the only thing fans knew of as LIVE IN USA aka COOK for 35 years. My main complaint on this one is basically the track selections. After hearing all three discs of the 2010 triple disker, i'm asking myself why they went with the ones that they did? The versions on the other discs are better. It contains "Four Holes In The Ground" from "The World Became The World," "Dove? Qunado?" from the debut "Storia Di Un Minuto," "Mr 9 Till 5" from "Photos Of Ghosts" and the medley finale "Alta Loma Nine Till Five" which incorporates different riffs from various tracks and includes a virtuosic workout of the "William Tell Overature" which was composed by Italian classical opera writer Gioachino Rossini around the year of 1829. Now i'm not saying anything on this original roster of track choices is bad by any means, i'm just saying that i find that Discs 2 and 3 are just BETTER! Take for example the band's most popular track of their career "Celebration." It is on the original but also on Disc 3 of the remastered and it is the latter where it just blows the roof off the house. It's simply a better performance IMHO. Of course, i admit i have not heard the original album and its purported sound quality so there were obviously issues beyond my comprehension that went into play regarding track selection.

My point is simple. If you are going to invest in this album DO get the 2010 remastered Expanded Deluxe Edition. The production is great and the performances of the NYC concert are without doubt superior to those of Toronto. On the bonus discs we not only get more classics like "River Of Life" and "Is My Face On Straight" but the duplicates are more interesting IMHO with the band's chemistry gelling and unleashing all the prog yumminess that they are famous for as well as tasty guitar and drum solos that are lengthy but not flashy in any way (not that there's anything wrong with that but does turn some off.) I can only recommend this fine collection of live performances in the manner it should have been released in the first place and that is a complete collection of the NYC venue. Simple music magic going on here with the few flaws only serving as a reminder that this is a real band of talented musicians subject to the limitations of being human doing the best they can and in this case the best really means a lot.

4 stars for the original album. 4.5 stars for the remastered Expanded Deluxe Edition. This is simply a must for PFM fans

 NT Atomic System by NEW TROLLS ATOMIC SYSTEM album cover Studio Album, 1973
3.63 | 67 ratings

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NT Atomic System
New Trolls Atomic System Rock Progressivo Italiano

Review by poito

4 stars The spinoff of New Trolls maintains in this album a genuine prog rock style in a soft Italian format, away of the hard rock tendencies by former members. They use the ingredients of the time, flute, synth, pianos, and a good bass-drum section, with some less standard instruments adding a particular flavor. The album is well balanced, no fillers, all themes have a vocal part sang by De Scalzi in a warm voice that reminds Cat Stevens, and instrumental sections with catchy melodies and room for development of solo sections at times close to jazz. The tracks have quite different styles though, which is usual in NT releases. Some say they never formed own style, but rather, the Italian Prog Bands have more than one composer member, they are good instrumentalists, many have classic background and they can really blend anything. This is an excellent album with nice inspired tunes for lovers of Prog rock of the seventies.
 Concerto Grosso Per I New Trolls by NEW TROLLS album cover Studio Album, 1971
3.68 | 179 ratings

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Concerto Grosso Per I New Trolls
New Trolls Rock Progressivo Italiano

Review by poito

3 stars Excellent musicianship that of New Trolls band members. That's something you can always expect from Italian Prog bands. At the time of this release, we were enjoying what many would deem the climax of music creativity of all times, an explosion of sounds and styles that we would never see again. Amongst the experimenters, this New Trolls were experiencing with classic orchestral instruments and contemporary electronic ones. The compositions have no a predetermined audience, you listen and if you like it, keep it. It is not easy to blend a classic violin and a Hendryx guitar and get out unharmed of the adventure. These guys did it quite well. This album has some interesting short pieces of such blends, and a much more digestible 20 min long improvisation including sounds a la Soft Machine, a band that was a reference for creativity and possibly the pioneer of it all back in 68. That track includes an 8 min long drum solo amongst the best of that period. An interesting album that you'll listen a couple of times just to confirm what you just heard was indeed possible.
 Photos Of Ghosts by PREMIATA FORNERIA MARCONI (PFM) album cover Studio Album, 1973
4.08 | 433 ratings

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Photos Of Ghosts
Premiata Forneria Marconi (PFM) Rock Progressivo Italiano

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars PREMIATA FORNERIA MARCONIA broke big in 1972 releasing two bedazzling masterpieces that year and carried out a very successful tour around Italy which put them on the top of the Italian prog heap of outstanding bands to have emerged at that time. They were fortuitous enough to attract the attention of Greg Lake from ELP while they themselves were touring the Italian countryside, which turned out to be quite the burst of luck for PFM as ELP had just launched their very own record label Manticore Records and was scouting out new talents. Well, it's no brainer that they were extremely impressed with the outstanding musical wizardry of this band. First action to be taken was to go global for a wider reach of audiences and that meant going English language all the way and PHOTOS OF GHOSTS is the the very first album by PFM to be sung in English. However, instead of making a totally new album with new songs, what we get here are remakes of tracks from "Storia Di Un Minuto" and "Per Un Amico" with the sole exception of the instrumental "Old Rain" which is the only new track created for the album.

While lovers of Italian lyrics which suit the music better may not be totally thrilled (such as me), the rest of the world was exposed to a new international rock sound and PFM became one of the few Italian prog bands to find success abroad. PHOTOS OF GHOSTS actually cracked the top 200 albums chart on Billboard (#180) and scored successful tours across all of Europe, Japan, Canada and the US. The new lyrics were written by Peter Sinfield formerly of King Crimson and the new English lyrics are totally rewritten and not merely translated. Unfortunately the rhythmic cadences and flow of the music i find to be better suited for the original Italian language as the English sounds a little stilted and clunky as it's not their native tongue but truth be told, the lyrics are really a footnote between the massive instrumental workouts that placed PFM in a league above most of the competition and Franco Mussida's vocals are heavenly even if sounding out of their element.

It is quite confusing, this one. Here's a track-by-track list of which song came from which album and other details:

Track one "River Of Life" ("Appena Un Po") (6:56) with totally new lyrics in English and is the first track on "Per Un Amico" as well as here which is a great lead

Track two "Celebration" ("È Festa") (3:50) became their best known song once re-recorded in English. This one was totally re-recorded including all instruments as well as vocals

Track three "Photos Of Ghosts" ("Per Un Amico") (5:20) was originally track three from "Per Un Amico" with all music the same and only the lyrics re-recorded in English

Track four "Old Rain" (3:40) is a mellow piano and acoustic guitar doing a proggy dance together with flute and piccolo joining in. Prog folk as opposed to rock actually. It's a nice little interlude between the more rocking tracks

Track five "The Banquet" ("Il Banchetto") (8:34) was track four on "Per Un Amico" with same instrumental arrangement and re- recorded lyrics in English

Track six "Mr. 9 'Till 5" ("Generale") (4:07) was originally track two on "Per Un Amico" with same instrumental arrangement and only newly recorded lyrics in English

Track seven "Promenade The Puzzle" ("Geranio") (7:35) was track five on "Per Un Amico" also with same musical accompaniment with revisions only in the lyrical language department

I guess i couldn't call this one essential because i prefer the original versions and the one new track is a nice welcome newbie to the old crowd but is noticeably inferior at the same time. It is perhaps a tad too mellow for its place but it's certainly not bad either. Even though i can't find a logical argument to say this essential, i still find it to be so. This music is brilliant and breathtakingly beautiful even if the lyrics sounds a little off. So perhaps not THE most essential release of PFM but still an excellent album nonetheless. Way too good for only three stars.

 Volo by GOBLIN album cover Studio Album, 1982
1.61 | 12 ratings

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Volo
Goblin Rock Progressivo Italiano

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

2 stars So, the dreaded `black sheep' of the Goblin family gets to join the rest of the clan at the Devil's banquet table! One of the last Goblin-related releases to arrive on CD thanks to the Cinevox label, the notorious `Volo' from 1982 is now reissued, very likely to the (excuse the pun!) horror of the true Goblin-ites! The Eighties was not a banner year for much of anything prog-related, and with bass player Fabio Pignatelli the sole founding member here, he's joined by a mix of related ex-Goblin members and session players, and together they delivered a sleek set of pop/rock/funk pieces very much in the manner of the popular commercial styles of the time.

The first seven tracks offer a variety of straight-forward poppy tunes sung in Italian, with most of the pieces revealing some brief little interesting musical idea or soloing spot for a few fleeting seconds, and admittedly the album is made more enjoyable by Mauro Lusini's warm lead vocal. Opener `Polvere Blu' sets an early template, a solid polished driving pop-rock song with a catchy chorus and strong melody that can quite easily become lodged in your head, and the sax/keyboard/piano solo spot in the middle is a highlight. `Fortuna' is a breezy tune with male and female vocals and a very Brian May-esque guitar solo in the middle, the highlight of `Giornata Isterica' is the gently murmuring bass and tasty guitar soloing, and the charming romantic `Agrodolce' has a lovely melody, sweetly sighing group harmonies for the chorus and the briefest of whimsical keyboard soloing.

The upbeat piano-driven `Armonia' opens the second side with softly funky bass and the obligatory feel-good sax solo, the up- tempo and foot-tapping title track `Volo' boasts one of the better keyboard solos of the album and comes complete with hand- claps and some vocals that briefly call to mind Phil Collins and the emerging poppier Genesis pieces of the time. `Punto di Rottura' is a little more restrained but is still a fairly bland pop tune at heart, but thankfully the album ends with an instrumental `Est', apparently a leftover from previous recording sessions and a piece that would later be reworked for the `Notturno' soundtrack. It's unsurprising to find it's far and away the best moment on the album, and the eerie synths, murky soloing bass and drifting faraway sax brings plenty of atmosphere, and the piece would be warmly received on any other Goblin album.

So the question comes down to this - if you're an obsessive prog or Goblin fan, do you commit to collecting just the key albums, or are you happy to add the less special or even average to bad albums to your collection for completest reasons? While it's mostly a world away from the darker horror of their defining soundtrack albums or even their pure RPI gems like `Roller', `Il Fantastico Viaggio del Bagarozzo Mark' or even the peppy `Reale Impero Britannico' album, `Volo' can at least claim to be a melodic, undemanding and well-played surface level pop album at best.

Two stars for a competently made and enjoyable pop/rock album, but only really of interest to the Goblin completest.

 AttosecondO by ALPHATAURUS album cover Studio Album, 2012
3.92 | 96 ratings

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AttosecondO
Alphataurus Rock Progressivo Italiano

Review by Mellotron Storm
Prog Reviewer

3 stars Right from the first spin I just wasn't "getting" this latest album from ALPHATAURUS, and many listens later I'm still not "getting" it. Maybe my expectations were too high after enjoying their "Live In Bloom" cd from 2010 and feeling like they had captured the spirit of their debut album an album I consider to be a top two in the RPI field. Two of the tracks on "AttosecondO" are from the unfinished second studio album "Dietro L'uragano".

"Progressiva-Mente" sounds pretty cool to start with the dark guitar expressions as the drums and synths join in. A calm with floating synths after a minute as the vocals and piano arrive. It kicks back in after 2 minutes but the tempo will continue to shift. I really like the prolonged calm after 3 minutes. It's around 5 1/2 minutes before it kicks back in. I'm not a fan of the vocal harmonies to end it. "Gocce" starts off really well with the organ and that heavy sound. Some FLOYD-like guitar early on as well. A calm with piano 2 1/2 minutes in as reserved vocals join in. More of that guitar before 3 1/2 minutes along with mellotron. The tempo picks up with synths and prominent bass as the vocals continue. Good song! "Ripensando E..." and the next song were both on the "Dietro L'uragano" record. Deep bass, synths and drums standout early on in this lone instrumental. The tempo picks up big time after 2 minutes before settling back a minute later. Love those nasty synths after 4 1/2 minutes as we get a great sound right to the end.

"Claudette" is mellow to start as fragile vocals join in before 1 1/2 minutes. It kicks in a minute later with lots of keys and drums. A catchy sound 3 minutes in as it changes again and the vocals return. Guitar before 4 1/2 minutes and I love that rhythm with keys 5 minutes in as the vocals continue to come and go. Another calm before 8 minutes with piano and fragile vocals like earlier. Strings too but I'm not a fan of the sound before 12 minutes or the ending. "Valige Di Terra" opens with atmosphere and drums as keys and more join in. It calms right down with piano and reserved vocals as the organ also joins in. It does pick up some until we get a calm with piano 3 minutes in. It builds during this instrumental section. Great sound 6 minutes in and we get passionate vocals before 8 minutes but they are brief. Some nice guitar work 8 1/2 minutes in then the vocals return. Check out the bass 9 1 /2 minutes in!

Clearly I'm in the minority here with my rating but this really does pale when compared to the majestic debut.

 Concerto Grosso Per I New Trolls by NEW TROLLS album cover Studio Album, 1971
3.68 | 179 ratings

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Concerto Grosso Per I New Trolls
New Trolls Rock Progressivo Italiano

Review by Warthur
Prog Reviewer

4 stars Named after a baroque music format in which a group of soloists trade licks with an orchestra, this doesn't actually include a full orchestra to my ear but does have a string section coming in from time to time to back up the New Trolls. Not that they entirely need it - they prove themselves to be a more than capable prog unit here, taking influences ranging from some decidedly Jimi Hendrix-like guitar (one of the songs here being a tribute to Jimi) to early King Crimson to the sort of sound Jethro Tull best captured on the Living In the Past compilation. (Vittorio De Scalzi has Ian Anderson's "toot then yell" motif down to a fine art.)

Where the Trolls excel is in taking all of these distinct influences and mashing them up into a whole which has a personality of its own. It is no surprise, then, that this release ended up being an important foundational document of the Italian prog scene, coming out at around the same time as Le Orme's Collage did and thus, along with that album, prompting the deluge of Italian prog that would later emerge in 1972.

 The Sun is New Each Day by ARMONITE album cover Studio Album, 2015
3.96 | 15 ratings

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The Sun is New Each Day
Armonite Rock Progressivo Italiano

Review by Conor Fynes
Prog Reviewer

4 stars 'The Sun is New Each Day' - Armonite (78/100)

I have an undying respect for Italy's progressive rock underground. In the good old days they were arguably second only to the British prog powerhouse, and even then they had a theatrical sound that was distinctly their own. I'm not sure it would be quite fair to lump Armonite in the same canon as Premiata Forneria Marconi and their ilk, there's a similar sense of adventurousness in their sound that you seldom hear in modern prog anymore. The Sun is New Each Day bridges the gap between avant-prog and art rock. Blended together under an instrumental approach, it's surprising that this is only Armonite's second album. While they're a bit too eclectic to have a distinctive sound of their own, their consummate playfulness clearly indicates they're confident enough to know what they're doing.

In my experience of avant-prog, I've noticed groups fall into one of two categories. The first focus heavily on the cerebral element of the avant-garde, treating their art as an intellectual exercise. The second tries to inject that serious framework with character and humour. While it's lamentable that few of these artists are as skilled as comedians as they are as musicians, it's a great blend when it works well. It's impressive in its own right that Armonite are able to get the impression of humour across with a minimum of vocals. Save for a handful of spoken word samples, The Sun is New Each Day is entirely instrumental, but you can still tell Armonite approach their craft with tongue-in-cheek. Arguably the best example of their humour at work is on "Insert Coin", where a playful rhythm is spruced up with 8-bit video game samples.

Musically, Armonite are defined by Jacopo Bigi's electric violin arguably filling in the role of a lead guitar. Although the band's sound shifts too much more song to song to develop a singular sense of character, his violin carries a lot of the band's performance along. As performers, Armonite are at the top of their game; such as it is, I'm shocked they've been relatively silent since their debut release nearly two decades ago. Veteran proggers may be excited to hear that Porcupine Tree bassist Colin Edwin takes part on the album. The thick bass grooves on PT's material are replaced here by playful licks, but the same talent is undeniable. Hopefully it won't be another sixteen years before we hear another record from Armonite. This approach may have been heard before, but it's not often you hear it done with such liveliness.

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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
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