Runaway Totem ~ Italy

Zed (1996)

Runaway Totem are one of those bands where I've dismissed more albums than I've embraced. Their primary stock-in-trade is Zeuhl, one of my favorite forms of progressive rock music, which makes that a curious conclusion. And I started with them at the beginning, and I still think Trimegisto is an unheralded masterpiece. I purchased Zed not long after release, but it never resonated as much with me, though I did enjoy it. Nonetheless I sold it some years back. I never had it on LP, and when a friend recently offered it up for trade, I thought why not hear it in that format. Let's see if my perspective changes.

I'm not one to usually call out sound differences between vinyl and CD issues, but it does seem to have more bass depth than I recall from my last listen six years ago. Without having the CD here for comparison, that could just be positive thinking.

What I really enjoyed about the debut is that it possessed some nutty Italian styled prog breaks. Zed has none of that and is full on oppressive styled Zeuhl. Complete with orchestra and choir-like voices. The heavy guitars and synthesizers remain. Though it's clearly Zeuhl, it really doesn't remind me of any particular French, Japanese, or American band operating in this space, Magma being the closest. The vocals are very different from the latter, creating separation. And on Zed, Runaway Totem stays in build up mode for most of the recording, not letting themselves go as they did on their debut. Or as Magma themselves would. There is some doom metal styled riffing on the B side, which is a welcome reprieve.

I was borderline on this album when I had the CD. I think the LP, and my long history with the album, puts it back into the collection. Even though my rating remains the same. Interesting to note that you can still get this LP new here in the States for relative cheap. Not too many CD-era 90s underground LPs are going for a song these days.

Ownership: 1996 Black Widow (LP). Gatefold. Inner bag with lyrics and recording details. Acquired in 2026.

First copy: 1996 Black Widow (CD). Acquired in 1996. Downsized in 2020.

1996; 6/16/13; 7/4/20; 8/28/26 (review)
 

Affreschi e Meditazione (2012)

A very odd new release for Runaway Totem. Those coming to this album looking for their trademark Zeuhl sound will be sorely disappointed. It's mainly an electronic album (heavy on the brass sounds) with acoustic nylon guitars, all heavily filtered - and could almost be considered an ambient release. There are a couple of rock moments, with Italian vocals, but overall this one is a real curveball. That's not to say it's a bad album - it is indeed a very forward looking and progressive release in the truest meaning of the term. Not sure where I stand on it. Definitely not what I expected so I stand confused. 

Former ownership: 2012 Lizard (CD). Acquired in 2013; Downsized in 2018.

5/9/13 (review); 3/15/18

Also own: Trimegisto; Le Roi Du Monde

Previously owned: Andromeda; Manu Menes

5/9/13 (new entry)

Procession ~ Italy

Frontiera (1972)

Procession's debut is one of those albums that help define what Italian progressive rock sounds like. Dynamic changes from acoustic guitar ballads with passionate singing to brutal hard rock, oftentimes within a few seconds. Histrionic vocals, dual guitars, occasional mellotron, ADHD rhythm section. Not that dissimilar from label mates Quella Vecchia Locanda minus the extended instrument palette. Most of these groups, had they come around 20 years later, would have likely been part of the prog metal movement. There's plenty of riffing and creativity to go around.

File next to other 1972 Italian heavy prog stalwarts like Il Rovescio Della Medaglia, Osanna, J.E.T., Raccomandata Ricevuto Ritorno, Jumbo, Garybaldi, Osage Tribe, and many others. If you're into the scene, you'll want this title too.

Ownership: 2009 Belle Antique (CD). Gatefold papersleeve. Comes with the "suitcase" handles that are usually missing on the original LP. Oddly it appears none of the LP reissues include the handles either. Acquired in 2010.

First copy: 1993 Vinyl Magic (CD). Acquired in 1995.

1995; 6/13/07; 4//10; 8/7/26 (review)

Also own: Fiaba

8/7/26 (new entry)

Banco del Mutuo Soccorso ~ Italy

Darwin! (1972)

The middle album in Banco del Mutuo Soccorso's incredible three album start, many consider Darwin! the best of the lot. I've long held the opposite view, though by no means is that a condemnation. I think it's an excellent album with the others, but not quite at the same level. Today I'm going to dig into why I might think that. Or have a change of mind.

The stylistic brush is wider here than the other two albums. Some of the compositions seem odd for Francesco di Giacomo's operatic voice. It's a bit showtooney. Hard to explain but you hear this peculiarity on A1 and B2 in particular. I picture him dancing with a cane in hand during these sections. Which is not Banco DMS - at all. If looking for a song that befits his incredible voice, B3 would be a good example. And is arguably the best cut here.

What separates this album is the lack of that one great track. The opener of Io Sono Nato Libero is a stunner that leaves one speechless. Their debut has three brilliant pieces as noted below. Saying that, Darwin! definitely brings the goods, primarily with the keyboard breaks. The final two tracks are more experimental in nature. I'm beginning to think I might enjoy Come in un'Ultima Cena a little better at this stage. Regardless, still an essential album in any Italian prog rock collection.

Ownership: 1972 Ricordi (LP). Gatefold with lyric inner bag. Acquired in 1989.

1989; 2004; 11/21/15; 7/31/26 (review)
 

Banco del Mutuo Soccorso (1972)

The debut album by one of the pillars of the Italian progressive rock movement. As good as advertised, Banco DMS brings out all the elements that made them so stellar: Dual keyboards, heavy guitars, complex rhythms, and the operatic male vocals sung in glorious Italian. Highlights include long time favorites such as 'R.I.P', 'Metamorfosi', and the lengthy 'Il Giardino del Mago'. For my tastes, this comes in second place to the almighty Io Sono Nato Libero. Table stakes for any progressive rock collection.

Ownership:

1972 Ricordi (LP). Piggy bank shaped cover. Crazy packaging and difficult to store. I have it on a night stand laying flat by itself. Acquired in 2000. 

1972 Ricordi (LP). Gatefold. Acquired in 1988.

2003 BMG Japan (CD). Papersleeve edition that mimics the original piggy back design. Acquired in 2003.

12//88; 2003; 1/9/24 (review)

Garofano Rosso (1976)

The odd album out in the Banco del Mutuo Soccorso canon, though they were to repeat it again on Di Terra. That is, this is Banco without vocals. Francesco di Giacomo is such an integral part of the band, it doesn't seem possible to hear the music without him. And he's still a member, being credited here with "documentazione". The music (a soundtrack to an Italian TV series) is still patently Banco DMS, though they're changing with the times and adding more jazzy elements to their sound. The Nocenzi brothers continue to lead the band with their organs, pianos, and synthesizers ripping away. You'll hear some familiar themes from past albums as well. The music isn't as edgy or as epic as their earlier efforts, but taken on its own account, Garofano Rosso is a fine listen.

Ownership: 1976 Manticore (LP). Textured sleeve. Acquired in 2021.

First copy: 1979 Ricordi (LP). Acquired in 1991.

1991; 9/17/16; 12/26/21 (review)

Io Sono Nato Libero (1973)

After two remarkable albums to start their career, could Banco del Mutuo Succorso maintain the momentum for a 3rd? The answer is a resounding YES. The sextet possessed so much talent, in both instrumentation and composition, it seemed that their imagination was endless. But the heroes of the band remain the Nocenzi brothers, who bring an arsenal of vintage keyboards, along with the latest in synthesizer technology. They play off each other as only two brothers could - each knowing what the other is thinking before they think it themselves. If I had to pick just one song from Banco's canon, it would be Io Sono Nato Libero's opener 'Canto Nomade per un Prigioniero Politico' which packs a wallop, and goes in dozens of different directions. Giacomo's powerful operatic voice sends the message home, that yes, we are born free! To take this even further, when someone asks me to play one representative of Italian prog, this is the track I pull out. The album doesn't stop there, as Banco mixes melody, complex instrumental sections, intense passion, and immense creativity. For my tastes, Io Sono Nato Libero is the best Banco has to offer, and considering the stiff competition, that's quite an achievement.

Ownership: 

1973 Ricordi (LP). Rounded corner sleeve with a booklet in the same shape stapled inside. Acquired in 2000.

2003 BMG Japan (CD). Papersleeve. Replicates the above cover. Acquired in 2006.

First copy: 1978 Ricordi (LP). Acquired in 1989.

1989; 2000; 2006; 8/25/21 (review)

Transiberiana (2019)

Banco del Mutuo Succorso would be a good example of my concept of "bands as brands". With charismatic opera styled singer Francesco di Giacomo and long time guitarist Rodolfo Maltese no longer with us, there's no chance for a true reunion. In addition, the original rhythm section is nowhere to be found. And finally, brother Gianni Nocenzi hasn't been with the band for some 35 years. That leaves only keyboardist Vittorio Nocenzi carrying the torch. In tow are five new members, each talented in their own right. So if Banco were to remain an functioning entity, it could very well do so even if V. Nocenzi can no longer participate, or even want to.

This prelude is poignant with Banco del Mutuo Succorso because Transiberiana lays out a blueprint for the future, not a retread of the past. When looking at the history of the band, they were leaders of the original Italian prog movement, and their records in this style spanned only six to seven years. Which for a typical Italian prog band is a lifetime of records, but from a chronological standpoint, it's a very small period of time. Then "Banco" became a pop band throughout the 80s. They returned to participate in the 90s progressive rock renaissance, but mainly as a live act mostly recreating the past. As for new music, nothing special ever surfaced. Their highest rated albums are simply new recordings of past compositions.

Until now. Transiberiana has all the earmarks of the past, including the depth of composition, the talent of the musicians, and those oh-so-critical turn-on-a-dime musical breaks. This is the music of 1973 Banco del Mutuo Succorso moved up 46 years. It sounds every bit like an album from 2019, and the new members bring many contemporary influences to the table. It's up to Nocenzi to school the others on what it's like to be a part of the legacy that is Banco del Mutuo Succorso. And he's done a great job at that, and one gets the sense the band could continue in this vein for many years - evolving the brand as it were. Is this the best Banco album? No. It would be nigh impossible to beat their trio of original albums, perhaps the greatest three album run in history. And Come in un'Ultima Cena is another tough one to top. But their best album in the last 42 years? Yes, most assuredly it is!

Ownership: 2019 Sony / InsideOut (CD). Digibook. Comes with a 44 page booklet, though much is duplicated in English from the original Italian. Acquired in 2020.

7/16/20 (review)

Come in un'Ultima Cena (1976)

Banco del Mutuo Succorso started their career with what many consider the greatest three album run in all of Italy, and one could argue for progressive rock in general, competing mightily against the likes of Genesis and Yes. Then silence. 1974 blew by, and 1975 saw only the requisite might-break-in-the-States-probably-not English language album, that featured unique arrangements, but a bit watered down from the massive beasts they opened with. By 1976, Banco confusingly released an all instrumental soundtrack album, that has little to do with their namesake. And finally we get to Come in un'Ultima Cena, their true follow up to Io Sono Nato Libero. Since they were still signed with Manticore, the band were obligated to do a co-release in English (As in a Last Supper). Nevertheless, that version didn't see an English language country release (until 2010!), having been dumped into Germany as an afterthought. And so this was the last hurrah for the classic Banco del Mutuo Succorso as we knew them. They had one more fantastic instrumental album left in them (Di Terra) and off the pop cliff they went, only to return during the prog revival years. But they were broken.

This premise leads to the album itself. It's important to understand the background from which Banco entered into this recording. And let's not forget the 1976 landscape in general, where progressive rock in Italy were in their last throes of survival. And that provides the story here. This is Banco neutered and ready for a domiciled life. No more hunting in the wilds for their food. Once that premise has been accepted, then the album can now enter your stereo for a proper listen. It's the name Banco del Mutuo Succorso that usually holds this album back. But a careful listen on its own, demonstrates the same intense progressive rock composition style. Di Giacomo is also in fine form here, perhaps a bit more strained than prior. But the edge of the instrumentation is gone, along with the youthful exuberance. It's progressive rock by professionals. Which means, it's an excellent album throughout. And yet, you know they can do better. My rating reflects more an objective viewpoint in this case, rather than my usual subjectivity. I owe them that.

Ownership: 1976 Manticore (LP). Comes with a 16 page booklet. Reacquired in 2017. First purchased in 1996.

1996; 3/4/17 (review); 4/16/23

Also own: Di Terra; Canto di Primavera

Once owned: Capolinea; Da Qui Messere Si Domina La Valle

3/4/17 (new entry)

Madrugada ~ Italy

Incastro (1977)

---3/21/07

Incastro improves on the debut in every way. Gone are the singer songwriter moments, and in its place is a more expanded instrumental approach, almost towards space rock and jazz fusion in places. Violin, flute, sax, and electric guitar are added here to great effect. Locanda Delle Fate was the last hurrah for major label Italian prog, but this can’t be far behind on that list (remember Italy’s best label of the time, Grog, wasn’t a major). 

The CD adds about 30 minutes of bootleg quality bonus tracks, that shows the band firmly in jazz fusion mode.

---6/10/26

Strange album, Madrugada's second and last effort is. Like the debut, it's very inconsistent. Rather than adding in SSW bits, Madrugada goes experimental. Even the more traditional progressive rock songs will bolt on avant garde moments, and you hear this on A1, B1, and B4 which are arguably the best tracks here (along with A2). B2 is an awful attempt at a pop song, and B3 is largely a waste of time, albeit short. But their mixture of space rock and fusion is fascinating, and there are sublime moments to be found.

Ownership: 1977 Philips (LP). Acquired in 2005.

11//05; 3/21/07 (review); 6/10/26 (update)
 

Madrugada (1974)

---2/22/07

Madrugada's debut album is a diverse mix of styles. On Side 1 the album opens with a light instrumental, which is then followed by some rather straightforward singer songwriter material - and quite off-putting and dull at that. Side 2 is far more expressive with elaborate jazzy progressive rock compositions, including some wonderful Moog runs. Of course, it’s the latter half that holds my interest. This is a quintessential Italian sounding album, so if you’re a fan of all that might encompass, you’ll want to hear it for sure. Otherwise, this obviously isn’t the perfect place to start.

Former ownership: 2006 AMS (CD). Papersleeve gatefold. Liner notes in Italian and English. The latter was done by me, but was accidentally credited to a friend of mine. Acquired in 2006. Downsized in 2018.

2/22/07 (review); 3/14/10 (update); 5/30/18

3/14/10 (new entry)

Sensations' Fix / Franco Falsini ~ Italy

Sensation's Fix (1974)

---5/12/07

I didn't know until recently that Sensations' Fix even had a self-titled debut album. Apparently it was only a promo and not sold through stores (ED: I was later to find out it was a sound library album), despite sporting a unique cover. It's a little more underproduced than their later material, but it unmistakably has the Sensations' Fix space rock sound. Much of the material represents earlier versions of songs that would show up later on Fragments of Light though some of the material is entirely unique to this release. 

---3/16/26

A few years after those notes, Universal released the 6th volume of their Progressive Italia series. And today, I'm hearing the album for the first time in 15 years from that same CD. Such an interesting album really. While generally regarded as their debut, this is probably true from a chronological recording data standpoint. Fragments of Light had been released by Polydor in 1974, though it remains unclear if this sound library album was sent to stations before or after that fact (note the misspelled group name). Consider that Portable Madness was also released in 1974, there's only so much time in a year. Musically this sounds like a raw demo. The kind of album that a metal band would release on cassette before maybe hitting the big time with an LP contract. Which certainly doesn't make it a bad album. One can already hear the great ideas Falsini had in his head, and his guitar playing is as soulful as ever. The sound is demo quality for certain. Hollow and thuddy. Part of the charm I think. The CD is taken from vinyl, so it's difficult to know how the original tapes may have sounded. And the odds of me obtaining the original LP are slim, especially since it was never for sale in Italy, much less here in the US.

Speaking of which, all these years later, and the reissues of Sensations' Fix remain an embarrassment. If there was ever a group who needed professional treatment, it's these guys. A box set of carefully mastered tapes would be amazing. Do those tapes even exist? Who knows. Only the Falsini anthology Music is Painting in the Air gives us any clue of what the possibilities may be.

Ownership: 2010 Universal (as part of the 6 CD box set Progressive Italia Gli Anni '70 Vol. 6). Acquired in 2011.

5/12/07 (notes); 2/5/11; 3/16/26 (update)

 

Franco Falsini - Cold Nose (1975)

Franco Falsini's only solo album takes in one part Manuel Gottsching, one part Richard Pinhas, and three parts of the outer galaxy he apparently emigrated from. Analog wedgy electronics, and thick oozing heavy guitar shards define the sound palette, whereas the melodies are pulled from his own Sensations' Fix cookbook - you'll hear plenty of snippets from Fragments of Light and Portable Madness within. I would love to see the movie that was inside of Falsini's mind during this recording. Essential head space music.

Ownership: 

1975 Polydor Special (LP). Acquired in 1989.

2010 Universal (as part of the 6 CD box set Progressive Italia Gli Anni '70 Vol. 6). Acquired in 2011.

1989; 2/5/11; 11/21/17; 5/25/18 (review)

Portable Madness (1974)

And here we have... the single greatest space rock album of all time!

No small claim that. Not an irreverent throw out to grab one's attention. Not an epiphany on the 4th beer. No - this is pretty much where I've stood for the 26 years I've owned the album. Last night it comes up again, and reminds me that it is, indeed, the single greatest space rock album of all time. Of course, not everyone will agree with that, and probably the it's overrated crowd will be along here any minute.

Twisty, turny, kinetic, psychedelic, jumpy, murky, primordial, psychotic, and melodic are just a few adjectives that come to mind here. The opening two numbers are great enough, but once 'Phase One and Phase Two' starts spinning in multiple directions, you are sucked into the vortex of another world and dimension. If this doesn't happen to you, then stop surfing the net, watching TV, texting on Facebook with a Russian hooker, or vacuuming the rug. Start from the beginning and pay close attention. OK you there now? Good, so now by the time you get to 'Pasty Day Resistance', you have reached what I consider the single greatest space rock track of all time. There's more twists and turns on this five and half minute track then I've heard on full double albums. 'Leave My Chemistry Alone' will finally polish you off, and presumably you're in a cold sweat by now. The album closes with two relatively sane compositions, and tries to return you to Earth, but doesn't quite get there. You are lost forever.

The fuzzy photograph on the front cover, taken in the same spirit as Big Foot and the Loch Ness Monster, tells you all you need to know about its provenance. This can't be Italian - nor German as it may seem - but something from another galaxy.

Ownership: 

1974 Polydor (LP). Textured single sleeve. Acquired in 1991.

CD: 2009 Universal (as part of Progressive Italia Gli Anni '70 Vol. 1 - The Universal Music Collection). Acquired in 2009.

1991; 5/28/09; 9/19/12; 10/27/17 (review)

Also own and need to review: Fragments of Light; Finest Finger; Boxes Paradise; Music Is Painting In The Air

10/27/17 (new entry)

Locanda Delle Fate ~ Italy

Forse Le Lucciole Non Si Amano Più (1977)

---3/10/01

By 1977, progressive rock in Italy was all but dead. Most of the movement had moved either underground, or more towards the experimental (Pierrot Lunaire, Picchio dal Pozzo). It must’ve been quite the surprise for collectors of the day to see Locanda delle Fate appear on the horizon, with major label backing (Polydor) and the visual eye candy of the gorgeous gatefold fantasy cover. Generally considered the last hurrah for the great Italian music scene, Locanda Delle Fate appropriately provide the final benediction. A seven piece group, with a rather complete instrument lineup consisting of organ, Moog, flute, piano, vibraphone, clavinet, acoustic & electric guitar, bass, drums and vocals. In some ways, Locanda Delle Fate's album can be considered a move forward, an updated take on the classic sound. An argument could be made that the album is almost too slick – too many compromises for a more fidgety contemporary audience. In reality, Locanda Delle Fate were more subtle than their predecessors. It really takes many listens to peel the onion as it were. For those weaned on the musical acrobatics of Semiramis or Il Balletto di Bronzo, Locanda Delle Fate can quickly be waved off as lightweight and simple. This would be a poor assumption to make. Perhaps this is why Locanda Delle Fate took longer to surface than other bands of their ilk: All of the lessons learned from observing the last seven years.

The opener, 'A Volte un Istante di Quiete', is a brilliant instrumental with active rhythms and flute leading the melody parade. The next piece (the title track), demonstrates why Locanda delle Fate needs more time for evaluation. The music here is almost pop-chart-commercial except there is much more complexity brought forth. It's a testament to the savvy of Locanda Delle Fate to harbor this kind of intelligent composition style, while not being show-offy in the slightest. Each of these apparent chartmakers contain outstanding instrumental sections that focus on the ensemble rather than the solo. What stands out most about Locanda delle Fate are the memorable melodies all within the context of the overall complex instrumental work. While all the instrumentalists are fantastic, special mention goes to flautist Erio Vevey who typically owns the melody line. Track highlights include 'Sogno di Estunno' which is Locanda Delle Fate at their most aggressive and 'Vendesi Saggezza', the stunningly beautiful closer.

---2/2/26

I had completely forgotten that I'd written a full review 25 years ago, until searching my hard drive for previous listens. And, as it turns out, that was the last instance that I heard the album! It's about time the random number generator picked it then. So the album makes it's long awaited debut on UMR. Let's see how I hear the album today.  

Perhaps no surprise, but I hear it better than ever. There's an Italian romanticism the group captures that is very much of the 70s era, and one I adopted for myself in the late 80s and early 90s. Strangely I have a sense of sadness surrounding it, as the optimism of youth is now replaced with nostalgia and reflection. Albums like this bring those emotions out. I called out the highlights on my original review, though there truly are no weak moments here. B1 is Locanda Delle Fate at their most commercial and yet even here they add plenty of complexity. B3 is as beautiful as the closer. 

Reading today that many have issues with the vocals. Once again, he was of the era, a gruffer voice that was prevalent in many Italian prog groups. Like Odissea, Delirium, or a more controlled Jumbo. To be honest I didn't really take to this album much in 1990 either, thinking it wasn't "progressive enough". Haha, such is the quick judgment of a young mind. It's plenty progressive, but it is more subtle in its approach. Something I clearly understood by the time I did get around to writing my review.

The CD includes their 1978 single 'New York' / 'Nove Lune'. Italy seemed to be obsessed with The Big Apple in the 70s, perhaps not overly surprising given many of their families had relocated there over the last century. As to be expected, Locanda Delle Fate is attempting to find a more commercial stance on this 45. The A) side is too singy-songy-whiny for my tastes. The B) side picks up the pace, and adds back in some progressive rock complexity. They still had it in them, and a full album like this would have resulted in another heralded classic. But that was an impossible ask for 1978 Italy. It was over.

Ownership:
1977 Polydor (LP). Gatefold. With lyric inner bag. Acquired in 2003.

1982 Polydor Japan (LP). Gatefold. With Italian lyric and Japanese insert. Acquired in 1999.

2001 Polydor Japan (CD). Papersleeve gatefold. With lyric inner bag and insert. Acquired in 2003.

First copy and since sold: 1988 Polydor Japan (CD). Acquired in 1990. These Japanese CDs were hard to find back then!

1990; 3/10/01 (review); 2/2/26 (update)

The band reformed in the 90s but I don't have any of their other albums in my possession.

2/2/26 (new entry)

Triade ~ Italy

1998: La Storia di Sabazio (1973)

---March 2005

Funny, as I hear this album again, it’s clear that when the Japanese want to emulate Italian groups from the 70’s, this is what they sound like! Mahoujin, Social Tension, Ars Nova, even Pochakaite Malko borrow heavily from this album. Triade themselves are clearly influenced by ELP, but with the usual overblown style the Italians are famous for. Though not as insanely bombastic as Metamorfosi on Inferno. Now that’s side 1. For side 2, more of the same, but they change gears on ‘Espressione’ towards a more mellow sound dominated by piano and acoustic guitar. Reminds me a bit of Latte E Miele’s Papillon or even some of Gli Alluminogeni’s more lucid moments. This is pretty easy to digest, standard issue Italian prog. Not sure why it gets dogged, other than it’s not Semiramis or Museo Rosenbach (they can’t all be). And standard issue from the 1972-1974 era means 4 stars around here.

---12/22/25

And that was my last listen, which was pre-UMR. Until today. My Japanese reference, of course, related more to the composition style. Not the sound, as Triade is every bit the era of 1973. Hammond organ and that fuzzy production that make Italian albums so endearing. The first side is all instrumental whereas the flip has vocals.

Ownership: 1983 Nexus / King (LP). Gatefold. Acquired in 1999.

First copy: 1994 Vinyl Magic (CD). Acquired in 1996.

6//96; 6//99; 3//05 (review); 12/22/25 (update / new entry)

Il Rovescio della Medaglia ~ Italy

La Bibbia (1971)

---Jun 2005

This is one of the more misunderstood of the Italian progressive rock albums. Most known for Contaminazione, this has about as much relevance to that album as Tangerine Dream’s Electronic Meditation has to Phaedra.  A concept album around that always popular topic of the Bible, this mixes studio electronics and an experimental edge with primal blues hard rock. It’s not that it’s simple music - just unrelenting. A trio with more hard guitar than you’ll find on almost any Italian album. I had forgotten there was flute interspersed in a couple of places. 'Sodoma E Gomorra' is almost like a big band swing jazz track as done by a hard rock trio. Too funny given the topic.

---12/8/25

My viewpoints today are, predictably, very similar. I didn't mention it above, but there are similarities to Krautrock here, especially in the atmospheric sections with studio manipulation, flute, feedback, and other like-minded ideas.

Ownership: 2005 BMG (CD). Papersleeve. Contains a replica of the original circular insert.

1990 (LP reissue acquired); 6//05 (CD acquired / review); 12/8/25 (update)

Contaminazione (1973)

Contaminazione is Il Rovescio della Medaglia's 3rd album and quite a departure from their heavier early works. Now with a keyboardist, and fully orchestrated in the same way as the New Trolls Concerto Grosso and Osanna's second album, RDM brings about some Bach n' Rock to the table. Take away the window dressing though, and it's your prototypical Italian prog album, mixing harder passages with romantic songwriter tendencies. Many twists and turns, but with a highbrow flavor. Highlights are the more radical heavier pieces such as 'Il Suono del Silenzio', 'Scotland Machine', and in particular the heavy metal riffing 'Alzo en Muro Elettrico'. Contaminazione is considered table stakes for any self respecting Italian prog collection, and it's easy to see why. Though it's by no means the best album Italy offered in those days, it is indeed very representative.

Found this album in the Classical section of a Houston record store way back in 1988. I had presumed I would luck out that way again, but it never happened.

Ownership: 1973 RCA (LP). Gatefold. 

8//88 (acquired); 2004; 8/29/22 (review)

Also own and need to review Io Come Io

Also once owned Giudizio Avrai

8/9/22 (new entry)

A Piedi Nudi ~ Italy

Creazione (1995)

When Ezra Winston kicked back open the Italian prog door in early 1988, they ushered in a new wave of Italian prog activity. Most of the groups were influenced by the neo prog of Marillion and the likes, and also went boldly forward with English. Not a wise choice. While certainly a few bands were operating in the older forms of the art, sung in proper Italian, namely Nuova Era, Sithonia, Deus Ex Machina (in Latin no less), and Malibran (later), none of them tried their hand at the darker recesses of the early 70s past. Until A Piedi Nudi showed up on the scene. An updated version of Il Balletto di Bronzo was much needed, and well received. I know some bristled at the metalish guitar, but it was a reasonable facsimile, especially for the era. When A Piedi Nudi came back a year later with their sophomore effort, I don't think anyone was quite prepared for what it unleashed. Yes, Italian prog in its most herky-jerky form was back. A brighter day indeed.

After polishing off Il Balletto di Bronzo, A Piedi Nudi tried their hand at Semiramis. Now they're really going for it! And Campo di Marte, French Horn anyone? Amazingly, even though they lost a key ingredient when vocalist Mirko Schiesaro left, drummer Carlo Bighetti proved to be just as adept. So take that Phil Collins. And sure, the keyboards are still digital and the guitar decidedly metal toned. I'm in the so-what? category here. The album is one big rollercoaster ride, just like the masters of the early 70s. Jumbo, Museo Rosenbach, Capitolo 6, De De Lind, and the rest of them. Many modern groups would follow, some converting back to analog gear. All positive developments that led to the great Italian prog renaissance that peaked in 2013. I submit this album had a huge hand in that overall development.

According to my journals, I show no activity for this title since 2004. And yes, it does seem like forever since I last heard it, at least 25 years. But I listened to Creazione a lot after first receiving it. It was so exhilarating to hear my favorite type of Italian prog done by a contemporary group of my age group. Despite the lengthy break, I recognized all of it immediately. One of the landmark progressive rock albums of the mid 90s.

Also love the bizarre artwork, that perfectly reflects the contents within. I plunked down for the LP when it was released for that reason. Today it is featured on my Wall of Albums.

With all these bands coming back after 20 and 30 year breaks, is it possible we will hear from A Piedi Nudi again? Maybe with a real organ and mellotron this time.

Ownership: 1996 Mellow (LP). Gatefold. Adds a 12" with one bonus track. Acquired in 1996.

First copy: 1995 Mellow (CD). Booklet with lyrics and band photo. Acquired in 1995.

1995; 12/1/25 (review)

Eclissi (1997)

A Piedi Nudi's 3rd album continues on in the same fashion as its predecessors. There's a prog metal component here, though the scales still point more toward traditional prog rock. In this way Eclissi is more like their debut. They seemed to be heading in a similar direction to fellow country mates Garden Wall, though always more Italian focused. A Piedi Nudi were one of my favorite bands of the 90s. Revisits are only confirming that for me.

Ownership: 1997 Mellow (CD). Booklet with lyrics and original art. Acquired in 1997.

1997; 5/2/20 (review)

A Piedi Nudi (1994)

A Piedi Nudi's debut album sounds very much what it strove so hard to be: An updated version of Il Balletto di Bronzo, especially from their fabled Ys album (it even opens with 'Introduzione' and closes with 'Epilogo' - not a coincidence). Not as brilliant or groundbreaking, of course, but a valiant effort all the same. We'll start with the vocals of Mirko Schiesaro. Without any doubt he studied Ys intently, as he sings very much in the same way as Gianni Leone did, especially as he truncates the verses and lifts his voice near the end of each stanza. Perhaps not as histrionic - or as effective honestly - but oh yes, the style is basically the same. Now onto the guitar of Nicola Gardinale, who also happens to be the only songwriter here, so it's clearly his show. Gardinale's tone is decidedly 90s metal, with plenty of riffing. It's quite jarring against the expected heavy psychedelic tone of the almighty Balletto, but very exciting all the same, and fits well within the style of music. He also composes sudden breaks similar to Ys. On the downside would have to be the keyboards of Cristian Chinaglia. He's a competent player for certain, but the sounds are exactly what one would expect from the era's plastic digital gear, very typical of the 80s and 90s. Even when the "organ tone" is on, this is no match for the real-deal mellotron and organ of the masters. Lost in all of this is the fantastic rhythm section of the Bighetti brothers, who are perhaps the closest of all to the original Balletto recording, and are up to the task in keeping with the constantly shifting meters. The music, over the course of the album, begins to blur together in a samey sound manner, though a close listen will reveal many differences within. A Piedi Nudi's debut is one of many classics of the 1990s Italian progressive rock scene - and as with the 70's bands - will likely be discovered some 20 to 30 years after the fact. The band would improve from here and include more references from the 70s Italian scene, but this debut is outstanding, and I've never tired of it some 20+ years later.

There is at least one review out there that only references UK groups, including 80s neo prog bands (and hair / grunge metal? OMG), and was disparaged because of it. That just completely misses the point, and the historical references that A Piedi Nudi were clearly aiming for - and were inspired by. Certainly the original 70s Italian progressive rock scene was heavily influenced by the UK masters to begin with, and so that point is never lost. But the sub-genre cannot simply be written off as copyist, considering the tremendous local culture imprint, all of which has been well documented as such for over 25 years now.

Ownership: 1994 Mellow (CD). Booklet with lyrics and recording details. Acquired in 1994.

1994; 10/19/12; 2/9/16 (review)

2/9/16 (new entry)

Gruppo d'Alternativa ~ Italy

Ipotesi (1972)

Ipotesi starts off in the grand tradition of Italian prog with some native narration, similar to I Giganti and Pholas Dactylus. Some fluttering flute, organ, guitar, bassoon, piano, and impassioned vocals follow. Oh yea, this is the classic Italian prog sound as we know and love it. The jarring dynamic and meter changes equate to elements of Capitolo 6 and Osanna. There's a bit of underlying folk recalling the pastoral moments of Formula 3 and Premiata Forneria Marconi. There's also a light amount of chamber classical music, leading some to compare it to the not-known-yet RIO movement. I see it more of being a highly creative one-off album that did not follow any particular movement, nor did anyone hold then up as an example to imitate. There's also plenty of loose jamming on Side 2 that I find highly appealing in what one would think to be a highly structured setting.

Interesting to note that the narrative one must follow on RYM is that the vocals are terrible. No idea where that notion comes from. They are of-the-era and of-the-scene. Histrionic and passionate, I wouldn't want to hear it any other way.

There weren't a whole lot of Italian progressive rock albums from the early 1970s that were still relatively unknown going into the current century, but Ipotesi was one of them. The album was completely ignored in the reissue market until 2007. I recall hearing about Gruppo d'Alternativa in the 90s, but the running narrative of the catalogs of the time was that they were "experimental" which has a different meaning to me than what the group were about. No more or less experimental than Pholas Dactylus, an accepted classic even back then. So I too ignored this album, which was an obvious mistake. Acquired the LP some 17 years ago, and never looked back.

Ownership: 1972 Harvest (LP). Gatefold. The stock image from Discogs is brighter than the actual album.

2008 (acquired); 9/8/25 (review / new entry) 

D.F.A. (Duty Free Area) ~ Italy

4th (2008)

4th is another one of those albums I haven't heard since acquisition. This would prove to be D.F.A.'s last album due to tragedy. It is possible they could return but nothing has transpired. The album title is a bit of a misnomer since their 3rd album was a live effort culled from the two albums below. 

Speaking of those two albums, 4th takes those as a base and you can tell they've really progressed on a professional level. What makes D.F.A. so great is their ability to craft memorable melodies inside of the intense and edgy instrumental work. They provide rough analog fuzzy rock within the confines of jazz fusion. Making it more progressive rock oriented than what we usually hear coming from the jazz school. I love the acidic guitar tone that Silvio Minella obtains. Plenty of Hammond organ and flute as well from Alberto Bonomi to add to their adoption of the 1970s sound. The counterpoint mentioned below is still in full force here. This is an album that is both exciting and difficult to predict. The kind of progressive rock that captured my imagination at age 15, and some 46 years later that I still love and enjoy.

All three D.F.A. studio albums proved to be brilliant works. I'm not sure what else the band had left to prove anyway, though I know they would have liked to end it on their own terms.

Ownership: 2008 Moonjune (CD). Tri-fold digipak with lyrics, recording details, and band photo.

2008 (acquired); 8/25/25 (review)
 

Lavori in Corso (1996)

When this album first hit the scene, it was a marvel. One of the most exciting releases from Italy, and it really has nothing to do with classic Italian prog. Rather it is rooted in complex fusion with hard rock overtones. Just demonstrates that having a digital sound doesn't mean the album has to suck. D.F.A. (Duty Free Area) - along with others from the 90s - proved that. The music here is jumpy, melodic, kinetic, and constantly challenging. I've owned it since it first came out, and 24 years later, it sounds as great as ever. Don't miss out, if this is the first time you're hearing of the D.F.A. name.

Ownership: 1996 Scolopendra (CD)

4//97 (acquired); 4/29/20 (review)

Duty Free Area (1999)

D.F.A. play what I'd call counterpoint fusion with a space rock edge. They should trademark their sound, as I can't think of anyone who sounds quite like them. A little bit like Deus Ex Machina maybe, in their most intensive instrumental sections. The often jagged rhythms seem to create a sense of urgency, when it is really a facade. But it's a great trick, and keeps me completely immersed into the music. Top that off with some vicious solos right out of the space rock school, perhaps even with a modern bent ala Ozric Tentacles.

Ownership: 1999 Mellow (CD)

2000 (acquired); 2/14/10; 6/28/11 (review); 10/14/23

6/28/11 (new entry)

Claudio Rocchi ~ Italy

Essenza (1973)

---2004

Essenza is Claudio Rocchi's 4th solo album. The first track has phased voices, tablas, droning synthesizers (similar to Battiato's early work), and a little boys voice reciting something in Italian. This reminds me of Picchio dal Pozzo on their debut and sends chills down my spine. Other tracks have flute, sax, organ, piano, and quite a bit of acoustic guitar strumming. Rocchi sings in a very unique way, though not that dissimilar from others of his ilk in the 1970's Italian scene. In fact, parts of this remind me of Sergius Golowin's album considering the obvious stoned vibe. The phasing has a lot to do with this perception.

---8/18/25

And 21 years later I'm back for a revisit. The above review certainly encapsulates my point of view today as well. I didn't mention that there's quite a cast supporting Rocchi on this outing, most notably the duo who made up Albergo Intergalattico Spaziale plus Elio D'Anna from Osanna. The music belongs as much to folk as it does to progressive rock. As noted on Arturo Stalteri's Andre Sulla Luna review recently, Franco Battiato is the reflex comparison though not entirely accurate. Alan Sorrenti circa Aria would be another point of reference. Some of the keyboard work reminds me of Stalteri actually.

Ownership: 1973 Ariston (LP). Gatefold with lyric inner bag.

Not reissued on CD as of 8/18/25.

---

I never did pursue Rocchi's other solo works in earnest. 

2004 (acquired / review); 8/18/25 (update / new entry)

Pierrot Lunaire (& related) ~ Italy

Arturo Stalteri - Andre Sulla Luna (1979)

Next up on the stack of forgotten albums in my collection is Pierrot Lunaire's keyboardist Arturo Stalteri's debut. Looks like I picked this one up enthusiastically not long after being reissued, heard, filed, and that's the last time I listened to it. In fact I didn't even have it stored in my electronic collection (physically that is), but rather it was in the prog rock section, taking me a bit to even find it.

The eerie keyboard sounds Stalteri produces is most certainly those of Gudrun, but here they are the focus. The music has the Systems feel of Roberto Cacciapaglia or Franco Leprino mixed with a French styled rock aesthetic. Random bursts of electric guitar are unexpected and much welcomed. In this way Philippe Besombes becomes a name checked reference. Franco Battiato must also be mentioned, though perhaps it's more compulsory than accurate. Andre Sulla Luna is most certainly just as influenced by academic classical music as it is Italian pastoral folk. As with Gudrun, the album demonstrates it's more one-of-a-kind than a scene fitter. Random yet exhilarating. An album I didn't have any recollection of, but did give it initial high marks on arrival. That rating stays and now I can justify it as well.

Stalteri is still actively releasing new product and has well over a dozen releases to his name. If I find them in the wilds I'll have to give them a spin.

Ownership: 1997 M.P. (CD). Cardboard sleeve. Booklet with notes in Italian. Includes five bonus tracks that are largely more primitive editions of the LP versions.

1998 (acquired); 7/30/25 (review)
 

Pierrot Lunaire (1974)

Like many Italian prog fans, my first exposure to Pierrot Lunaire was from their avant-garde masterpiece Gudrun. With that backdrop, Pierrot Lunaire's debut is a bit of a shock to the system. The album is a low-key, pastoral, folk influenced progressive rock. Flute, keyboards, vocals, and acoustic guitars are the primary set of sounds. There isn't much here to latch onto, with a low set of dynamics, and yet it's a peaceful 45 minutes of listening. If looking for comparisons, Pierrot Lunaire is more subtle than Saint Just's La Casa del Lago, and less compelling than Errata Corrige, but both are in the same ballpark. Side 2 contains the album's highlights, with the keyboard heavy symphonic piece 'Il re di Raipure' and the hauntingly beautiful 'Arlecchinata' with wordless female vocals. Pierrot Lunaire's debut is very consistent and fortunately there are no low moments to endure. A solid record that comes recommended, though it doesn't predict the brilliance of their sophomore release.

Ownership: 1994 Si-Wan (CD). Liner notes in Korean.

1989 (LP reissue first acquired); 1996; 11/10/14; 8/22/15 (review); 7/18/24

I own and still need to review Gudrun.

8/22/15 (new entry)

Taproban ~ Italy

Strigma (2013)

At some point I managed to hear Taproban's first two albums, but I'll be damned if I remember anything about them. So a revisit is in order for certain.

Almost ten years ago to the date, I had an opportunity to secure Strigma, their 4th album, on the cheap. Suitably impressed I filed it away with a nice rating. What did it sound like again?

Taproban, at least on this album, has tapped into the dark side of Italian keyboard progressive rock. Almost entirely instrumental, take away the vocals from Il Balletto di Bronzo's YS, Metamorfosi's Inferno, and Le Orme's Felona e Sorona, and you have a pretty good idea what Strigma sounds like. Three lengthy epics with heavy organ, mellotron, flute, piano, some guitar, and a competent rhythm section. In many ways they are emulating what Nuova Era started with Il Passo del Soldato. This is one of those "Italian prog albums for Italian prog fans" type of deals. It's not entirely original, including a couple of lifted bits from Genesis, but it's a small matter overall.

Ownership: 2013 Musea (CD). Booklet with photos, recording / instrumentation details, and lyrics. Acquired in 2015.

6/13/15; 12/16/17; 6/21/25 (review)

At some point it would be great to hear their other four albums (two again apparently), plus whatever compilations they contributed to. 

6/21/25 (new entry)

Premiata Forneria Marconi ~ Italy

Jet Lag (1977)

Jet Lag is not the album that most PFM fans hold up as the best example from the band. Generally regarded as their move towards jazz fusion, there's some truth to the allegation, especially in the way the instrumental sections are structured. Side 2 in particular illustrates this. However Bernardo Lanzetti is still on board and he's certainly not content to stay quiet. So it really still belongs to progressive rock and isn't that far removed from the preceding Chocolate Kings. Violin, electric piano, and guitar are the primary solo instruments of choice.

Ownership: 1977 Manticore Japan (LP). With original Italian insert. Acquired in 2014.

3/6/14; 4/11/25 (review)
 

Chocolate Kings (1975)

On Chocolate Kings, PFM were moving on from their classic romantic sound onto a more heavy and English friendly approach. Of course to do that effectively, one had to drag along Bernardo Lanzetti (Acqua Fragile), as he appeared to be the only Italian who could sing in English. Or so it seemed back then. Personally I like his affected vocals, a bit like Roger Chapman. Great album as far as I'm concerned, though I agree it doesn't match their trio of brilliance released prior.

The original Italian pressing features an awful cover, so Asylum altered it for the North American market.

Ownership: 1975 Numero Uno (LP). Poster lyric insert. Acquired in 2017.

First copy: 1976 Asylum (LP). Acquired in 1986.

1986; 2005; 8/3/15; 2/12/22 (review)

Per un Amico (1972)

As strange as it may seem, I was already familiar with albums by Il Balletto di Bronzo, Jumbo, Celeste, Il Volo, Formula 3, and a few others before I heard the Italian language Premiata Forneria Marconi albums. Though they all happened very close to each other chronologically in my life. As noted in the Live in U.S.A. review, my first exposure to Italian prog in general was PFM's Cook, an album that was beyond my understanding at the time, and really isn't representative of the band's foundational roots.

Another quirk was trying to understand exactly what Premiata Forneria Marconi had released. I had some mail order lists - and many entries from Goldmine - a dizzying array of what early PFM might be. This album, Storia di un Minuto, Premiata Forneria Marconi (which I later guessed to be Storia di un Minuto), Photos of Ghosts, Cook, Live in U.S.A., L'Isola di Niente, The World Became the World, The Award Winning Marconi Bakery. I kind of threw my hands up.

Finally I found a copy at a record show, and knew it was something I didn't own - and needed to own. Now the picture is beginning to form. The album today is considered an all-time classic of progressive rock, regardless of the country. It's not a chops heavy release, nor does it feature the usual raft full of meter breaks. Quite simply Per un Amico is a beautiful album. There are few albums that can invoke peak experiences track after track. In particular, 'Il Banchetto' is stunning. Mellotron is a feature instrument throughout the album, along with acoustic / electric guitar, flute, soft vocals in Italian, and violin. Few albums capture the pastoral countryside of Italy like Per un Amico does. It's a timeless classic. Not to say it doesn't have its critics, most coming from the "show me what you can do" camp. That approach is not going to work with Per un Amico. Wait for the sunset, grab a bottle of wine, sit on a hill in the countryside, and view the village below. The music will provide all the color you need.

Also worth noting is that when we started the Gnosis Project in 1999, Per Un Amico quickly rose to the top as the best album. One year after this, an Italian newspaper - I wish I could recall which one, or had at least preserved the article (so shortsighted!) - noticed the same phenomena that despite being an American based project (though global in scope), the Italian prog albums (sung in Italian no less) had risen to the top. Such is the timeless nature of recordings like this. 

Ownership: 

1972 Numero Uno (LP). Gatefold. Acquired in 1988.

2003 BMG Japan (CD). Papersleeve gatefold. Acquired in 2003.

1988; 10/10/22 (review)

Live in U.S.A. / Cook (1974)

Truth be told, this was the very first Italian prog rock album I ever heard. Long before I truly "discovered" the scene, I found a used (and warped - much to my dismay later) copy of Cook for $1. It was 1984, and I had no perspective whatsoever to what I was listening to. Because the record was in bad shape, I didn't really form an opinion, and it would be another three plus years before I started deep diving. Once I did that, PFM surfaced quickly, and like just about everyone else, fell hard for their first three Italian language albums.

They were popular in Italy too, and started to gain a nascent worldwide following. ELP's Manticore picked up both PFM and Banco, and made a go at this potential fertile scene. One eentsy weentsy change: Gotsta sing in English fellas. And that was the Achilles' Heel, the music just doesn't blend the same. But at the height of their fame, Premiata Forneria Marconi managed to tour here in North America. The full concert has since been released (and to this day, I haven't heard it), and this record represents an extract of two distinct concerts - one in New York City and the other in Toronto. The first side doesn't offer too much, a typical run through of studio versions, though it's quite spirited, and 'Dove... Quando...' remains beautiful (wisely left in the native language). The allure here is the second side, where PFM shows their tremendous improvisational instrumental chops. Definitely a unique enough album to want to keep.

The original Italian release features a lavish booklet that is half empty - someone didn't pass their Scrapbook class! For certain, the original release has its quirks from a packaging / marketing perspective. For one, I'm rather sure Toronto was never part of the USA. Live in North America would have been the better title. In America the album was retitled as Cook, with a completely different package, understandable on a number of fronts. The back cover is hilarious, looking all the world like your typical smog filled 1974 New York City day. I encourage everyone to see a vintage episode of Kojak (starting with the second season), which was filmed on location in the same era, and compare. The crowd appears to be like a modern progressive rock gathering, ya know - about 40% full. And the audience looks like they all came up from Little Italy or down from the Bronx - word of mouth from the locals apparently. And it's sponsored by none other than Schaefer Beer. The ultimate example of what was later termed a "city beer", it eventually was gobbled up by other cheapy beer companies and now exists in name only with a different formula. In other words not exactly a Budweiser sponsored event, and one wonders if they even managed to get an ad spot in the New York Post, much less the Times. While pouring over the credits, I noticed Tony Harrington gets a Grazie Speciale. He would later form the All Ears label, America's first private label dedicated to progressive rock.

Ownership: 1974 Numero Uno (LP). With booklet as described above. Acquired in 2020.

First copy: 1974 Manticore (LP). Titled as Cook. Acquired in 1984.

1984; 1995; 1/19/22 (review)

Also own: Storia di un Minuto; L'Isola Di Niente

1/19/22 (new entry)

Cherry Five ~ Italy

Il Pozzo dei Giganti (2015)

I bought this a couple of years after it came out, but to be honest it didn't make much of a mark on initial impact. Not really sure what troubled me, though it could have been "too much of the same thing" - at the same time! I was OD'ing pretty hard on newer Italian prog in the 2010s and I think I was reaching saturation point. A long break has helped me to hear these albums with a completely different perspective.

Il Pozzo dei Giganti doesn't have much in common with the original Cherry Five album. That debut is really the anomaly in the Italian prog sphere, with its lyrics in English and a sound similar to Yes, Genesis, and Gentle Giant. Their sophomore effort (40 years on mind you) is more like traditional prog from Italy sung properly in the native language, with plenty of vintage keyboards. The rhythms are from the stop-start school. Only the new guitarist brings a modern touch, though not unwelcome at all. This new incarnation features the non-Goblin members, and three new recruits. Ten years later, it's clear this was to be a one-off reunion. A very good one though, and worthy of collection status.

Ownership: 2015 Black Widow (CD). Lyric booklet with photos, artwork, and recording details. Acquired in 2017.

10/28/17; 1/9/25 (review)

Cherry Five (1975)

Cherry Five are an anomaly for the Italian progressive rock scene, in that they sing in English and have a sound that is squarely from the big names of the scene like Yes, Genesis, and Gentle Giant. In this way, they recall Mass Media Stars era Acqua Fragile, though Cherry Five are significantly more heavy and complex. Formed by the main two protagonists of Goblin with participation of drummer Carlo Bordini from Rusticelli & Bordini. So if you can blank your mind of images of Museo Rosenbach and Il Balletto di Bronzo, and pretend Cherry Five are from London, then this is quite a good mid 70s progressive rock album. All the vintage keyboard toys are on display and there's plenty of complex compositions to dive into. A really great album.

Ownership: 

1986 Nexus (LP). Gatefold. Acquired in 1999.

1993 King (CD). Acquired in 1993.

1993; 1/29/12 (review); 9/22/23 (update)

1/29/12 (new entry)

Aria Palea ~ Italy

Zoicekardi'a (1996)

Of late I've been digging into my 90s obscure prog collection, especially from Italy. One of those bands is Aria Palea, a group who released two albums before riding off into the sunset. Both of their albums I bought real time, and then filed away to not return again for many years. Aria Palea's second album Danze D'Ansie was released in 1998 and I finally covered it again in 2020, and the review is here on UMR. I concluded that review with: "Had you told me this was an archival album from 1976 originally destined for the Grog label, I would have believed it. And that's the story line here. If you're a fan of Italian progressive rock, this is one of those hidden titles you'll want to seek out. I also have the debut, which I'll eventually need to report back on as well." There's no time like the present. It's now been 28 years since I heard this debut. Let's give it a fresh spin.

In reviewing those notes for Danze D'Ansie I called out Area, classic Italian prog, and a decidedly retro angle. Aria Palea were a pioneer in the Italian prog renaissance by ironically setting back the clock. What separates Aria Palea even further is their willingness to explore the experimental side of progressive rock, a sound we might associate more with the term Krautrock. Flute is the primary lead instrument, though when the guitar amps up, it's in the raw state we typically find in early 70s Germany. Vocals do have a Demetrio Stratos bent, and this is heard on the very first notes. Zoicekardi'a is the type of album that ages well because it's unpredictable yet pleasing to the ears.

Of interest to me is the low ratings the band receives on ProgArchives. Most of those ratings were from the early days of the site, and it shows the mindset of the era, and of the original reviewer's perspective. Had Zoicekardi'a been released in the last few years, I believe Aria Palea would fare far better based on the reviews I see there today. I've said this many times in the past, but I'm most curious if we'll see a nostalgic enthusiasm for 90s prog, like we have for the 70s and 80s. We may not, as it was a niche audience from the beginning. But there was plenty of output back then, and rabid fans (like me) paid good money for these CDs, hungry for more new progressive rock. I'm personally grateful that I hear many of these albums better now than ever. The perfect reason to own something rather than rent.

Ownership: 1996 Lizard (CD). Lyric booklet with photos.

8//96 (first acquired); 9/28/24 (review)

Danze d'Ansie (1998)

As I've mentioned a few times before, the 1990s hold many prog rock gems that were little known even back then, and now have been completely forgotten. Aria Palea is one of those bands. They released two albums in the late 90s and basically disappeared save perhaps a comp contribution. Many of the 90s bands took a page from the 70s Italian prog cookbook and then proceeded to record using modern production techniques. Not Aria Palea. While it's not retro prog in the purest sense, it definitely sounds more like an earlier album. The primary reason for this perception is that the predominant lead instrument is the flute, one of those timeless sounds that transcends current fads. The other is the decidedly Demetrio Stratos styled vocals, using a similar affectation. While not near as demonstrative as Alberto Piras (Deus Ex Machina), the overall impression remains. There's plenty of guitar to savor as well. Had you told me this was an archival album from 1976 originally destined for the Grog label, I would have believed it. And that's the story line here. If you're a fan of Italian progressive rock, this is one of those hidden titles you'll want to seek out. I also have the debut, which I'll eventually need to report back on as well.

Ownership: 1998 Lizard (CD). Unique die-cut-in-the-center lyric booklet.

1998 (first acquired); 11/6/20 (review)

11/6/20 (new entry)

Entity ~ Italy

Il Falso Centro (2013)

Two years after the release of Entity's debut Il Falso Centro, I purchased the CD along with four other contemporary Italian prog albums (the others were by Astrolabio, Aurora Lunare, Locus Amoenus, and Marchesi Scamorza). That's a lot of intense music in a short period of time. Entity was the last one to click, some nine years later. But why? On the surface Il Falso Centro is pitch perfect by-the-numbers prog rock as only the Italians know how to do. The dynamic and meter changes; the passionate instrumental and vocal sections.The retro instrumentation (mostly modern variations to emulate the sound). Respected writers on ProgArchives are gushing in their praise, and reference check some of the greatest 1970s bands from Italy. What else could you possibly want? 

Well.... I want something to stick, that's one thing. Last night's listen was to be the feature, an album I will focus on and nothing else. But my mind started to wander as the music began to develop. I started researching other things on the internet. By the fourth number I was enjoying what I was hearing before realizing that a half hour had blown by and I still had no idea what I was listening to. I stopped the music and started again. Closed my eyes and tried to process every note. Objectively speaking Entity has a great understanding of the genre. But perhaps it is too well studied, a doctorate dissertation of Italian prog. As the album unfolded more gems began to shine and I was finally immersed into its contents. I was battling the perception of "too much of the same thing" from a collection perspective. And maybe that still holds true. But that "same thing" is a sound that I cherish.

Ownership: 2013 Locanda del Vento (CD). Acquired in 2015.

1/31/15; 12/28/23; 8/19/24 (review / new entry)

Etna ~ Italy

Etna (1975)

Etna is quite simply a powerful instrumental heavy fusion album with light progressive rock touches. Elements of Return to Forever, Mahavishnu Orchestra, and fellow countrymen Perigeo and Il Baricentro abound. The proggier elements cross over into Arti & Mestieri territory. In particular I'm quite fond of the inventive bass work and the busy drumming. Essential for the style I'd submit.

Ownership: 1994 Mellow (CD). Acquired in 1994.

1994; 2003; 6/5/24 (review / new entry)

Garden Wall ~ Italy

Principium (1993)

Garden Wall's debut is a rather humble beginning for a band who would eventually blow the doors off of the creativity well. All the same, it's aged quite well for me. I didn't even like it the first time I heard this not long after release. If I recall my headspace back then, it seemed too lightweight for metal, and not complex enough for prog. While it could be called more "typical" prog metal, there are plenty of progressions here that were unusual for the time. A groundbreaking group who continued to improve leaps and bounds from here.

Ownership: 1993 Music is Intelligence (CD). Lyric booklet. Acquired in 2011.

1993; 12/14/11; 5/13/24 (review)

Towards the Silence (2004)

---Jun 2005

Not sure where the band would go after Forget the Colours. After a slightly ordinary beginning (for GW at least), the band launched into yet another indescribable opus prog, metal, avant-garde, God knows what classic album. Progressor says this about them: “No doubt, Garden Wall is the most underrated prog-band of the present day. As a matter of fact, these very Italians are, in my opinion, the most innovative and original contemporary progressive band.”. He also says they are the metal equivalent of the RIO movement, which I thought was perceptive. Towards the Silence is definitely not as aggressive as the prior album, and that’s a good thing, or it could’ve been a mess (some say it was anyway). Even a couple of (gasp) mellow tracks. With music like this, I usually start at 4 stars… some stay, some go down, some go way up like FTC did. Really great to hear such innovative composed music with so much muscle.

---1/13/23

  

I've written extensively about Garden Wall in the past. From the brilliant neo Italian prog of Path of Dreams to the insane prog metal of Chimica to the psychotic thrash meets VDGG of Forget the Colours, Garden Wall successfully challenges the realm of possibilities. But I can't get into Towards the Silence (so it went down as the above mentions could happen). It's just too much. Too much of what I dunno, but it's a bit forced in trying to find its muse. If you can't find it, grind it. And grind it they do, for the full length. Just not very enjoyable though admirable all the same. I have enough Garden Wall to satisfy already.

Former ownership: 2004 Mellow (CD). Acquired in 2005. Downsized in 2023.

6//05 (review); 12/30/08; 1/13/23 (update)

   

Path of Dreams (1994)

I've written about Garden Wall in a few posts already, so I won't cover too much of that again. Path of Dreams is their second album, and the one I point to as the beginning of the sound they are most famous for. As I've said before, Garden Wall pretty much marched to their own drummer. While listening, whatever you think might happen, probably won't. Like watching the original Game of Thrones episodes, it defies all normal convention. Looking like a couple of mental patients on the back cover (on purpose I presume...), Path of Dreams fulfills that one expectation, especially considering Alessandro Seravalle's vocal delivery. This is one of those albums that ostensibly gets filed with prog metal, but could just as easily be true progressive rock (though not the kind that what we typically associate Italy with). Any way you slice it, complexity is its calling card. Almost every track here requires multiple listens to absorb. My favorite is 'The Bride of the Wind' as it contains the album's most memorable melody, and its placement in the album order is bizarre and fascinating. Of course it is. The 1990s harbored all sorts of these odd progressive bands that are mostly forgotten today. Rediscovery awaits, but I'm certainly glad to have lived it real time. If you're looking for something different - and very progressive - Garden Wall is a band worth following. And Path of Dreams is one of the easier albums to get into compared to some of their others.

As an aside, can someone enlighten me on the language used in Maj di Muart? I presume it's a regional dialect, as the group's origins are very close to Slovenia and Austria. I tried typing the lyrics into Google Translate but it kept flipping back and forth between Italian and Krio, the latter is a Creole type language spoken in Sierra Leone. Ah wait - I think I answered my own question after further research: Friulian it's called. It's a part of Italy I've never been to. Though I've been on a train through it coming from Slovenia. Need to go there.

Ownership: 1994 Music is Intelligence (CD). Recording details, lyrics, and paintings. Acquired in 1995.

1995; 8/9/13; 7/25/22 (review)

Chimica (1997)

---8/26/06

On Chimica, Garden Wall’s 4th album, the band had really progressed to new levels of intensity and intelligence. It wouldn’t be too far out of place to state that Garden Wall are a few branches of further growth from the Semiramis tree, demonstrating their Italian progressive rock heritage. Lead vocalist / guitarist Alessandro Seravalle is truly one of the more creative minds to emerge on the progressive music scene in the last 20 years. He pretty much just marches to his own drummer and could be seen as a genius, or insane, depending on one’s perspective. His vocal style is best described as strange, somewhere between Peter Hammill and a madman (some would argue that’s the same thing). It’s a style that’s very appealing for the chaotic music he and the band create. Keyboardist Mauro Olivo plays almost entirely in counterpoint mode, giving the music a disorienting feel. While Garden Wall always had a heavy streak, Chimica is the album where they leaped whole hog into the metal camp concerning the guitar tone. Which is not to say they are a Dream Theater style prog metal group, not even close. This is real progressive music, in the true sense of the word, not just a genre tag. The 34 minute multi-part opening track ‘Chemo’ goes through many different sections while still maintaining the sense of a whole composition (something that is rare to find in modern bands). For fans of their earlier style, Chimica is seen as an album going in the wrong direction, but since there are plenty of keyboards and acoustic sections, it was passable. For folks like myself who love this kind of creativity while still rocking out, Garden Wall were continuing to progress into new exciting realms. It would be five years until their next album, and not only did they continue to polarize the progressive listening audience, they blew a hole in the universe.

---6/6/21

Listening to this tonight. Not much to add to the above. I wish it had more bass - it's very trebly. And Mauro Olivo's keyboard tones are pretty much the same throughout, minus the piano of course. Seems he should have taken advantage of the modern technology at his disposal. All that said, it really is an imaginative album that goes all over the place. Few bands were at this Italian band's level of creativity at the time of release.

Ownership: 1997 Music is Intelligence (CD). Booklet with English lyrics and computer artwork. Acquired in 1998.

1998; 6//05; 8/26/06 (review); 6/6/21 (update)

Assurdo (2011)

For those folks that are constantly asking to hear an album that is truly "progressive" rather than "it's progressive in the 1970s sense of the word", then I offer up to you Garden Wall's Assurdo. Garden Wall has always been a creative bunch, but they've really upped the ante this time. After about five listens, I cannot possibly describe this album. Many others have attempted to do so however. All of them very thorough, and quite excellent. No two are alike. I don't think it's possible for anyone to hear this album the same as someone else. About the only continuity in the reviews I've read is that Assurdo is unique. That's for sure.

They still have the Van der Graaf Generator meets thrash metal backbone of Forget the Colours, but do not be scared by that description. There's so much at play here, that at times you imagine you are hearing the classic Italian progressive rock scene being played out 200 years from now. Is it genius? How could I know - I'm for certain not one, but it is impossible to deny that Garden Wall continues to push the boundaries of progressive rock. This isn't tuneless cacophony in the name of Avant Garde, but rather a fully realized and coherent work. Check it out for yourself. Write a review. It will be different than the others you have read.

Ownership: 2011 Lizard (CD). Lyric booklet. Acquired in 2012.

3/13/12 (review); 1/22/24

Other albums I own: The Seduction of Madness; Forget the Colours

3/13/12 (new entry)