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)

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)

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)

Unreal City - Il Paese del Tramonto. 2015 Italy

For Unreal City's debut I spoke about how the album was an excellent representation of the Italian progressive rock genre: "The style by itself allows for various interpretations of the same song over multiple listens. That's the beauty of it - there's so much to digest, each listen has its own rewards. And you will for certain get your money's worth with Unreal City, an album chock full of twists, turns, and great invention."

On their third and (so far) last album, Frammenti Notturni, I added: "Unreal City's 3rd album certainly pushes all the right buttons for the Italian prog rock style. Many shifts in tone and pace, impassioned vocals in the local language, and complex compositions. All that said, Frammenti Notturni seems a bit flat, and the instrumentals can be stilted. Not sure where to point the blame, as there's no real obvious flaws."

Which gets us to the middle child, an album I bought upon release but didn't pen any notes. As you can see from the two scribblings above, it's clear Unreal City are a participant of the Italian progressive rock virtual community. And Il Paese del Tramonto is no different. While it may have that prog-by-the-numbers feel, the album's abrupt transitions are very welcome, perhaps reassuring. I'm not sure why their third album never resonated. I tried on multiple attempts, but ultimately sold it. Fortunately that's not the case here. Maybe the band had reached their creative limit and it had become routine versus exciting. Unreal City have been silent for some time, and their last album is now six years in the rearview mirror. Perhaps this long break will reignite their creative juices. Regardless, Il Paese del Tramonto continues to earn its shelf space. My rating remains the same, now validated.

Ownership: CD: 2015 AMS. Wonderful mini-LP / papersleeve design. Comes with lyrical booklet as well. Never pressed on vinyl.

4/4/15; 11/19/23 (new entry)

Germinale - …e il suo Respiro Ancora Agita le Onde… 1995 Italy

At one point I owned the first three Germinale albums but sold the other two long ago. As I was digging into this release I had begun to wonder why I kept it. Somewhat typical stilted digital sound. Which is becoming a familiar theme, as I said pretty much the same thing about Malibran's third offering. Then comes the flute and vintage keyboards and away we go into proggy Italian land. Another one of those albums that asks that you withhold judgement until you've absorbed the contents in its entirety. Another fine +1 listen. I see this whole weed out thing is going to be impossible to execute on. Hmmm....

Ownership: CD: 1995 Mellow. Jewel case release with lyric booklet. Purchased new near the time of release (1996).

1996; 7/13/06; 11//09; 6/20/13; 9/25/23 (new entry)

Malibran - Le Porte del Silenzio. 1993 Italy

For Malibran's 4th album Oltre L'Ignoto I stated "Their debut was more of an English styled neo prog album, and I eventually parted with it. I plan on revisiting the other pair in short order." And roughly four months later here we are with Malibran's sophomore effort. This is the album where they broke ranks with their British neo prog beginning. However the first 2 tracks here (totaling 17 minutes) maintain the English vocals and the music overall recalls the great Ezra Winston, arguably the godfather of the Italian prog renaissance. It's more polished and mature than their debut The Wood of Tales. For the remaining 35 minutes, Malibran slips into Italian most comfortably, and this includes the 27 minute title track finale. They have eliminated all doubt that their commitment remains with progressive rock through and through. The production and sound choices are clearly from their own era - that of the early 90s. However flute remains the primary instrument, giving it the 70s authenticity we all craved at the time. The songs are well written and repeated listens are encouraged and welcomed. I've owned the album since it first came out, and almost 30 years later, its musical value increases. In fact I enjoyed a +1 listen last night. Having said that, it still falls behind Oltre L'Ignoto. I'll be curious how the 3rd one stacks up. Its day is coming soon.

Ownership: CD: 1993 Pegaso. Jewel case release with a very nice poster booklet and excellent artwork. Their first album was LP only (at the time), and is probably its best asset, so it appears the band was interested in maintaining a semblance of that culture here when CDs were the only choice for consumers. It's limited and numbered, so you would think it would be worth quite a bit today, but prices remain the same as when first released. Though a 1000 copies is a lot for a niche prog buying market (currently only 33 claim ownership on Discogs, including me). In addition, it's been reissued twice in the last 10 years, and the Mellow release has bonus tracks. Interesting about the numbering, because they appended it on the booklet and backplate. On my copy the former is #940 and the latter #976, so it looks like they got them mixed up in production. I suspect the US got the high numbers originally considering I was an early customer.

3//94; 10//09; 10//11; 6//15; 10/8/22 (new entry)

Nuova Era ~ Italy

Dopo L'Infinito (1989)

The late 80s were an exciting time for progressive rock, as all the signals were there for a renaissance. It had successfully moved to the underground, and there was still a market hungry for new talent. Italy was one country that hadn't seen much activity, and so when Ezra Winston arrived on the scene in 1988, happy days were ahead. Trouble was, they were more UK and Dutch influenced than what one would expect from Italy. Ah, but the cavalry was on the way. And leading the charge was Nuova Era. By their second album Dopo L'Infinito, the band had found their footing, and released the first bona fide Italian prog album in many years. Two side long tracks, going through a myriad of dynamic and meter changes, all sung in glorious Italian. As with any great prog band from Italy, the best parts are the breaks, the sudden change that is loudly announced via guitar or keyboards, followed by a barrage of heavy rhythm. And Nuova Era is relentless on this front, making the second side the stronger of the two. Make no mistake though, Dopo L'Infinito is definitely an early 70s styled prog album from a composition standpoint, but the instrumentation is very much that of 1989. So analog purists may still scoff, but for fans at the time, it was manna from heaven.

Ownership: 1989 Contempo (LP). Gatefold with lyrics in the centerpiece.

1990 (first listen); 1/28/22 (review)

Io e Il Tempo (1992)

Probably more than any other band, Nuova Era can be credited with bringing back the classic early 70s Italian progressive rock sound... kicking and screaming into the 90s. They started their career with the rather tepid L'Ultimo Viaggio, but by the time of Io e Il Tempo, their 3rd album, Nuova Era were firing on all cylinders. The basic foundation of the classic Italo sound are here: Classically based compositions, turn-on-a-dime rhythms, impassioned vocals (in Italian of course), and expertly played instruments. And it's the usual palette of sounds with organ / synthesizer, guitar, flute, bass and drums. Two long suites with plenty of unexpected turns; ferocious rocked out parts are offset by tranquil piano interludes which keeps this an exciting listen throughout. The vocals are similar to Sithonia - another standout early 90's Italian band. Despite all of the parallels, there's no mistaking Nuova Era as a purposefully retro band ala La Maschera di Cera. The guitarist can fall prey to "rock star" ambition on occasion, and the overly bright production screams early 90s. But the thoughtfulness and density of the compositions is what makes albums like this stand the test of time, the lack of an abundance of analog equipment notwithstanding.

Ownership: 1992 Contempo (LP)

1992 (first listen); 5/4/12 (review)

5/4/12 (new entry)

La Maschera di Cera - S.E.I. 2020 Italy

La Maschera di Cera is arguably the band that best represents the Italian early 1970s progressive rock renaissance. I made that same point a few years ago for my modern Italian prog list. It's been a full 7 years since their last album, the fantastic Le Orme influenced Le Porte del Domani. So has La Maschera di Cera continued to improve or did the rot sit in? 

The album gets to business right away with thunderous woody bass, crunchy Hammond organ, complex rhythms leading to Martin Grice's (Delirium) flute, mellotron sounds, and Italian vocals. You just got your answer. Boom! And they don't let up from there. 3 tracks and 45 minutes later and there's nothing but greatness to reflect on and savor. This is an album made by retro prog guys for retro prog guys. No room to negotiate here. You're either in or you're out. With their 6th release in 18 years, I think La Maschera di Cera has somehow managed to top everything they've done prior. They continued to improve with age, and clearly are ardent students of their own native early 70's music culture. Brilliant really.

Ownership: CD: 2020 AMS. Comes in a fine mini-LP package with a booklet that contains Italian lyrics and a couple of photos. 

1/25/21 (new entry)

Forza Elettromotrice - Mutazione. 2018 Italy

Mutazione is the second full album from the band sometimes known as FEM Prog Band. This latter moniker has all kinds of conflicting connotations in English, so it's good to see the band moving towards their actual pre-acronym name. Musically speaking, the album is a bit more subdued than its predecessor, though still very much entrenched in the Italian style. New band members Alessandro Graziano and Pietro Bertoni provide two of the more distinctive sounds of Mutazione. The former brings a strong voice and occasional violin, while the latter adds trombone to the proceedings. Anytime I hear trombone mixed into Italian prog I first think of Jumbo's Vietato, and the instrument is utilized in a similar brassy way here. Primary songwriter Alberto Citterio provides some gorgeous piano lines along with the usual synthesizer kit. Highlight songs include 'Il Cielo Di Sé' and the closer 'Se C'É Una Buona Ragione'. Overall Mutazione proves to be an excellent entry for the genre.

Ownership: CD: 2018 private. Recent online acquisition. Jewel case with booklet containing Italian lyrics and member photos. There's a scanner code to retrieve the lyrics in English (maybe other languages too), but I didn't try it. 

1/24/21 (new entry)

Il Paradiso degli Orchi - Il Corponauta. 2016 Italy

Il Paradiso degli Orchi are a band I've been reading about here and there, and was intrigued by the descriptions. Especially one that referenced Jumbo. That's like telling my wife there's a shoe sale going on at Nordstrom. At its best, perhaps it'll be the complete surprise that Le Porte non Aperte's Golem ended up being. Well, not quite that, as the vocals are not Alvaro Fella-like. But rather the music is put together in a way that the classic early 70s Italians would do. It all goes together, somewhat haphazardly, but not in the pejorative sense of the word. From the moment you hit play, until 79 minutes later, you will have no idea where it will take you. But it never gets boring or tedious. Like many of you, I also think 79 minutes of music on the same album is daunting. But Il Paradiso degli Orchi pass that test. Il Corponauta is an investment of time, no question about it. But one that is likely to age well on multiple plays.

Il Paradiso degli Orchi already had one release under their belt - one I've yet to hear - before a familiar presence entered their lives. And that would be Fabio Zuffanti, a gentleman who is almost single-handedly bringing Italy back to 1973. So yes, La Maschera di Cera most assuredly belongs in the conversation here. Even though there's quite a bit of mellotron (probably sampled), the instrumentation and production are not necessarily retro, though it's attempting to be so. In that way, Il Paradiso degli Orchi reminds me of early La Maschera di Cera. Flute is another predominant instrument, and played in a manner that does recall the early Italian masters. Nice vocals sung in proper Italian, guitars, and a snappy rhythm section round out the group. Place Il Paradiso degli Orchi in the stack that also includes Ingranaggi della Valle, Unreal City, La Coscienza di Zeno, and Distillerie di Malto. And many others. Lunga vita al prog Italiano.

Ownership: CD: 2016 AMS. Like most of the AMS albums, the CD is housed in a wonderful mini-LP gatefold cover. Also contains a booklet with lyrics.

7/9/20 (new entry)

Odessa - Stazione Getsemani. 1999 Italy

Yet another one of those forgotten Italian prog albums from the 90s. I dutifully picked most of them up as they were released. Listened. Happy. Filed. 21 years later, here we are again, and I couldn't remember a thing about it. Odessa tapped into that unique strain of songwriting that goes with the Italian progressive rock movement. This is not retro at all - the instrumentation screams the era in which it was released. But the composition style looks backwards 25 years, and that's what makes albums like this endearing. As time goes by, many albums from my collection are finding themselves in the sale pile, and yet these 90s Italian prog albums continue to grow in stature. For certain, I'm predisposed to liking them. Odessa is not where you start your exploration into the Italian prog renaissance. But if you're a fan like me, then it should be on your list to investigate.

Ownership: CD: 1999 Mellow. Fine new album jewel case layout with lyrics.

1999; 5/10/20 (new entry)

Finisterre Project - Höstsonaten. 1997 Italy

Höstsonaten's debut was in reality the title of the album. Originally billed as Finisterre Project, it appears this was to be a one time effort, focusing on Finisterre band leader Fabio Zuffanti's romantic side. It's mostly a pastoral affair, and in some ways this is Zuffanti's homage to the 70s Italian progressive rock classic by Celeste, with flute and acoustic guitar to the fore. One will also hear contemporaries such as Sithonia here. Problem with these references is that Höstsonaten is an English language concern, and that's a drastic shift when comparing to anything from the Italian classic playbook, something Premiata Forneria Marconi proved when they went PFM. What begins to unfold is a distinctly Italian approach on a very English style - one that is not in a hurry, but remains interesting throughout. Mid 70s Pink Floyd is one such reference, and there are obvious Genesis nods as well - from a similar time frame. One does wish however for a bit more dynamism inside of these tracks. The namesake 41+ minute track has one such heavy sequence and it's quite brilliant given the setting, but it also sets an expectation that is never quite met again.

Overall a fine album, possibly the best of the Höstsonaten brand - but it doesn't realize the potential it portrays, and thus feels like a disappointment, even if it isn't one.

Former ownership: CD: 1997 Mellow. Jewel case. Foldout booklet that contains lyrics and photos.

5/30/97 (first listen); 6/17/13; 11/29/19 (review / new entry)

Deus Ex Machina - Gladium Caeli. 1991 Italy

Deus Ex Machina burst onto the progressive rock scene in 1991 with their debut Gladium Caeli. When me and my running set acquired this CD real time, it was quite the revelation - and not easy to handle honestly. I've often referred to this album as chaotic and unfocused. But it's probably been 25 years since I last heard it, when it was found hiding deep in the collection. And after all that time, my conclusion is...

...it's chaotic and unfocused. Which isn't necessarily a bad thing mind you. Deus Ex Machina draw just as much influence from 70s hard rock as they do from progressive rock. And that's a fine mix as far as I'm concerned. There's some long form guitar jamming here that certainly recall Led Zeppelin or even Deep Purple. The vocals are one of many unique twists - Alberto Piras being one of the marvels of the Italian prog renaissance. His idol was none other than Demetrio Stratos of Area, and to add even more distinction, he sings in Latin! Most of the album was ignored by the band for later stage shows, and it's easy to see why, as they lack the kind of memorable hooks one seeks to hear in a live setting. One exception to this is 'Ignis ab Caelo', sometimes referred to simply as 'Ignis'. For awhile the band played a truncated version of 'Dialeghan' arguably the album's finest track, and most certainly the fieriest. There are no major peaks here, but everything is at least very good. It's a fine first effort, released at a time when progressive rock was just rolling again. It was well received, and they would improve leaps and bounds from here. And yet I find this album just as enjoyable, rough and tumble as it may be.

Ownership: CD: 1991 Drums Edizioni Musicali. Jewel case.

1992; 5/9/19 (new entry)

Astrolabio ~ Italy

L'isolamento dei Numeri Pari (2014)

I could say that L'isolamento dei Numeri Pari is Italian prog-by-the-numbers, but that would be rather cheeky of me. See, Astrolabio are not ones to take things too seriously. The album's title means "Isolation of the Even Numbers", and witness the cover as the even numbers are roaming about in a body of water. Meanwhile the tracks are all indexed by the odd numbers (1,3,5....to 21). Musically, the metaphor holds as well - but in a good way. No question Astrolabio have studied their 1970s Italian prog, and though the instrumentation teeters both the 70s and 90s, the overall execution is splendid. If one were to be critical, it's that the album doesn't feature any dramatic highs, nor too many surprises, so in that way they aren't like the very best the genre has too offer. Our good friend Apps79 offers up Jumbo and Biglietto per L'Inferno as a couple of benchmarks, but they aren't near as passionate and experimental as the former, nor as jarring as the latter. And yet, of course, it's a good comparison all the same. I hear more Osanna in the "hard core Italian" aspects of the album, whereas Pink Floyd (cheers Snow!) gives us our Anglo sound (perhaps Mary Newsletter from the home country gets a shout out). Very good album overall. No surprises or head lifting moments, and yet it accomplishes what it set out to do. Hard to complain about that. For fans of classic Italian prog.

Ownership: 2014 Andromeda Relix (CD). Acquired in 2015.

2/4/15; 5/18/18 (review)

5/19/18 (new entry)

La Bocca della Verita ~ Italy

Avenoth (2016)

So what do we have here anyway? Yet another retro Italian prog album you ask? Well, yes, for the most part. Perhaps not enough for Genius Hans, but yes, 70s Italian prog is right. Actually it's more like the 90s imitation of 70s prog than the real deal. I've spoken about this before, and it's a style I quite like, but purists tend to scoff. By no means should this be classified as "neo prog" either (meaning in the British / Dutch / German sense of the term). No, it's not that. Definitely 70s in spirit and 90s in instrumentation. For those that have no use for modern sounds and production techniques, then it's probably best to steer clear. Now the production does leave something to be desired, as it's a bit distorted on the loud side. But if we take out all the modern concerns, and just focus on the music, then we have something to behold here. Long tracks filled with imagination and complexity, sung in the native tongue as God intended, just like any upstanding Italian prog album would have it. For fans of the genre, this goes to the priority cue. Otherwise, not the first CD I would recommend from the modern age.

Ownership: 2016 Fading (CD). Tri-fold thick digi-pak with thick poster lyric and recording detailed insert. Acquired in 2017.

8/4/17 (review / new entry); 4/15/26 

Ingranaggi della Valle ~ Italy

Warm Spaced Blue (2016)

Warm Spaced Blue is an odd sophomore release from Ingranaggi della Valle. Their debut was a kinetic progressive rock album, with powerful Italian vocals, jagged rhythms, and fiery instrumental chops. Very much in league with the Italian school of symphonic fusion like Deus Ex Machina or DFA. On Warm Spaced Blue, they've embraced more modern progressive tendencies, some angular dissonance, representing King Crimson, Anekdoten, and even the Avant Prog contingency of Thinking Plague. In effect they've gone from being an Italian prog rock band to a prog rock band from Italy, if that makes sense. Similar to Not a Good Sign perhaps. As such, the album has been praised in international progressive rock circles, as it's a popular sound amongst the faithful. Personally, I was a bit disappointed, as it seemed Ingranaggi della Valle were poised to take the baton from the much missed DFA, who are unlikely to ever reform. All of this to say, Warm Spaced Blue is hardly an abject failure. To be honest, I'm a bit tired of this sort of cold and clinical modern progressive style. And yet Ingranaggi della Valle somehow brings it to life, adding just the right amount of romantic touches to what could have been just another academic exercise. Having Warm in the title, whether intentional or not, provides an ingenious hint. The compositions are dense, as these kind of albums tend to be, and requires multiple listens to absorb. Even with that, I'm not sure I have - absorbed that is. Which is fine - makes future listens all that much more intriguing.  I'll give it 4 stars on faith.

Ownership: 2016 Black Widow (LP). Gatefold with booklet.

2/10/17 (review)

In Hoc Signo (2013)

And continuing on with the Italian theme, here is perhaps the best new group to land on the scene this year: Ingranaggi della Valle. The band combines musical skill with a nervous energy, to produce one of the more kinetic albums of 2013. They possess a certain nimble dexterity that is missing in many of the plodding bands of our era. The vocals, in Italian of course, are delivered powerfully while the compositions never sit still too long for complacency to settle in. In addition to the usual bank of analog keyboards (Mellotron, Hammond organ, Fender Rhodes, Mini Moog, plus many more), a dedicated vocalist, electric / acoustic guitars, percussion - the quintet features a full time violinist. There is an undercurrent of jazz here, especially concerning the rhythms, though it's far closer to instrumental progressive rock than fusion. Deus Ex Machina (minus the Demetrio Stratos styled vocals), and by extension, DFA (Duty Free Area) are the guideposts here. This is a brilliant debut.

Ownership: 2013 Black Widow (CD)

9/3/13 (review)

9/3/13 (new entry)

Logos ~ Italy

L'Enigma della Vita (2014)

Logos are a seasoned band from the northern Italian town of Verona, who bring forth an intriguing mix of progressive rock styles from the past. Those coming to this album hoping for a 70's-styled sound, however, will most certainly leave disappointed. Even the supposed "vintage" sounds of the mellotron and organ are emulated, or certainly sound that way.

None of which deters this writer in the slightest. Logos seem more like a band of the 90s, that next generation of exciting Italian groups that blended the classics with a more modern sound. From a composition perspective, Logos certainly do look back further to the golden age.

The first impression you'll hear is one of mid 70's Pink Floyd, that peculiar deliberate and methodical songcraft, mixed with heavy spatial atmospheres. It isn't until 'In Fuga', that Logos demonstrate their Italian heritage (beyond the language of course). And the followup track 'Alla fine dell'ultimo capitolo' is where it becomes apparent that Logos came of age during the 90s. In particular I hear the influence of Consorzio Acqua Potabile coming through here. And the third ingredient is a healthy dose of space rock jamming, which provides that spicy kick to take off the implied rigidness. When Logos mixes their ingredients just right, the results can be divine.

One track that will certainly raise your head from your smart phone is 'In Principio', a title that holds a clue. Indeed there is a noticeable pastoral flavor here, reminding one of - yes - Celeste. Midway through there's a splendid space rock jam, as if Sensations' Fix walked into the studio with a bag of psychedelics. I've never heard anyone mix these two styles so splendidly.

On the other hand, L'enigma della vita can drag on occasion, and the rhythms can often be more perfunctory than creative. Personally I found the vocal style to be very good, perhaps not to the standard that Italian prog often brings forth, but if from any other country, Logos would fly high.

There's an enormous amount of music here to absorb, and given that much of it requires one's full attention, the relistenability factor is high. I was torn between 3.5 and 4.0 here (Gnosis 10/11), but given my predilection for the style, I'm staying with the higher score.

Ownership: 2014 Andromeda Relix (CD). Acquired in 2014.

11/4/14; 12/27/16 (review / new entry)

La Torre dell'Alchimista ~ Italy

Neo (2007)

La Torre dell’Alchimista (LTdA) are one of the many current Italian progressive rock acts that are recreating the sounds of the past and moving it forward to the 21st century. LTdA are a bit more purist than most groups in this space, eschewing modern tendencies such as metal, electronica, and post rock. Keyboards are the focal point, like with many of the 1970s classic groups, and bandleader Michele Mutti possesses an impressive array of vintage gear including Hammond C3, Mini Moog, Mellotron, and a 1973 Fender Rhodes amongst many others. However, unlike fellow Italian retro rockers Wicked Minds, modern production techniques are in full force, and there’s no question that LTdA are a band from the current age. All of these historical references don’t matter if the music compositions aren’t there - and LTdA come through on this front. As students of the Italian progressive rock genre are keenly aware, the options of creating exciting and unique music is immense, and LTdA have found their little slice of the big pie. And fortunately they use the Italian language which goes so naturally with the style. File along with La Maschera di Cera as the current torchbearers of the original Italian progressive rock sound.

Ownership: 2007 Ma.Ra.Cash (CD). Acquired in 2007.

9/17/07 (review); 10/15/16 (update)

Also own: La Torre dell'Alchimista (2001)

10/15/16 (new entry)

La Coscienza di Zeno - La Notte Anche Di Giorno. 2015 Italy

Given La Coscienza di Zeno's (CdZ) immense potential, I went forward with their 3rd release La Notte Anche di Giorno sound unheard. Or as we collectors like to say "auto buy". And the result? Well, unfortunately, this band continues to sit on that cusp between very good and excellent - and this time I rounded down instead of up. On the plus side, they did add a violinist full time which adds much to the melody and atmosphere department. Alessio Calandriello continues to belt it out with the best of them, and his voice is truly something to behold. I'll also give them points for supplying more textures and color while he sings, rather than sit back and be content with a simple rhythm. All this sounds like a distinct improvement on Sensitivita. And it is, so what exactly is the issue here? The songwriting. CdZ have this nagging desire to paint with broad strokes when delicate intricacies are needed. There are two long suites this time. The opener is Giovane Figlia, and I was at first quite disappointed in the direction, though I was stricken by the melody. With CdZ, I get a sense of commercial styled pop music at times when the band goes for these simpler structures. Then came part 3: Libero Pensatore, and suddenly I was mesmerized, proving to me that CdZ really are force to be reckoned with. From there through the remainder of the suite, I was captivated with the brilliance of Domenico Ingenito's violin, Calandriello's voice, and the analog/digital keyboards/piano of Luca Scherani. To me, it sounded like the very best of Sithonia (a UTR favorite) updated for 2015 (or 1973 lol). The melody line is sublime, and no one can sing it better. Going into suite number two, I was convinced this would be CdZ's finest album. But I was let down, and the return of the broader - almost Pink Floyd like - soundscapes and slow pompousness returned. The overall effect is maudlin, not joyous, or even introspective. It's not the right sound for the band in my estimation. In reading other reviews, I fear that I'm in the minority here. Let me be absolutely clear though: I like this band and I like this album. But I know they can do better (at least for my tastes, so take that for whatever it's worth). The beauty of progressive rock is that it can be played many times over and new results will emerge. For better or worse. 

2015 Fading (CD). Tri-fold digipak. Acquired in 2015.

3/27/15 (review / new entry); 2/18/24