All Prog From Italy Appreciation Thread

— First review of this album —

Perhaps just as much a project as a band, this is another album with Andrea Monetti Roccasanta (also involved in Amanita and Alhambra, both listed on ProgArchives under Prog Folk and Space/Psych Prog respectively) behind the steering wheel.

In many ways those two categorisations give a clear hint towards what you can expect from the music, and in essence La Montagna Sacra is a somewhat eclectic combination of both psychedelic and folk influences, with a clear and tangible RPI vibe that connects and enriches the music further. Very familiar and pulsing, pleasing and nostalgic music that emphasises the freedom and range in style that many of the 70s RPI classics master like few others.

Take for example the theatrical defiance and drive of the latter half of opener Perso Nel Vueto (don’t miss the eerie resemblance to Led Zeppelin’s No Quarter during its introduction), with the action-packed mix of whirling flute, powerful drumming and slightly playful keys that expand into uncompromising and naked guitar solos, and both giants like Jethro Tull and lesser known gems of RPI springs to mind. Salva La Tua Realtà has the same hard-hitting riffs as early Il Rovescio Della Medaglia, but with more emphasis on sweet melodies with once again gorgeous flute in between. Bonus points for pulling off the mandatory drastic changes in tempo and force with a lot of finesse and maturity. It’s easy-going, natural and just lovely for much of the time.

A Song For Timothy is a great light-folk excursion with delicately played acoustic guitar and romantic flute with a soft, absorbing atmosphere to it (no edges whatsoever – smooth stuff), and it’s one of those songs you’re just drawn into whether you want it or not. Mushroom is a bit similar in concept, but stretches a bit further into psychedelic territory (as the title quite bluntly suggests), being quite loaded on a floating structure and spaced-out keys sounds and guitar effects. Introspective, and featuring a rather repetitive and nervous guitar motif, it comes off as more adventurous than it really is, only due to that effectively created atmosphere. Once again Zeppelin references to be heard. The title track offers even more of the elusive folk/psych/RPI mix of this album, being overtly folky in an Eastern kind of way, with propulsive sitar creating the textural weight needed to support the focal point of the music – yes, you guessed it – the dancing flute melody.

Bringing it all together, the music ends up being something like the only track I haven’t mentioned yet, the very balanced E Cadere D’improvviso. A short but sweet rollercoaster piano steers the mind towards Reale Accademia di Musica before the rock guitar kicks in for some powerful licks. The piano will be back later, but sadly understated along with the rest of the keys (goes for a lot of the album – a Hammond can’t be too loud) for a return back to mellower flute-laid soundscapes.

A potential goldmine for all interested in nostalgic, vintage RPI eclecticism and quality musicianship - but really not much more. I love it just because of that, and because of the pride and energy by which these guys acknowledge their musical heritage and influences. The faint hints of contemporary alt-rock are soon forgotten and easily missed. The production is unfortunately of the muddier type, and while I normally don’t see that as a problem, it really disintegrates much of the individual instruments performance, and it is the keys that suffer the most.

3 stars. I will gladly discover the other projects related to Arjuna after this.

//LinusW

Attention fans of Area & Kayo Dot:

Side 1 of this album is simply amazing. The opening track’s 13 minutes feel as jumpy as a field mouse on crack. More on the connections to the above band later.

Rocky’s Filj (or Roky’s Fily according to some) formed in the early ‘70s and were from the Lombardia and Emilia areas. They played at the legendary Villa Pamphili pop festival and toured with Banco around that time. They got their chance to record and work with Banco’s producer Sandro Colombini on their album for the Ricordi label. As shocking as it may be to read…..brace yourself…..this Italian band broke up soon after their album was released. Apparently one of the band members was incarcerated though I couldn’t find out for what. The band would reunite briefly for a single release but never recorded a second album. Leader Rossi was killed in an auto accident in the 80s. “Storie Di Uomini E Non” was released in the monster year of 1973 and was clearly overshadowed by the many classics which emerged at that time. That is a shame because this album should be of much interest to any prog fan who would appreciate a truly eclectic take on fusion and RPI. Gnosis’ Mike McLatchey describes the music as “elaborate and lengthy with plenty of fusion influences. Instrumentally, the primary leads are sax and guitar, and there are a lot of moments where the themes are doubled by both in a manner similar to that of Osanna's early period. The music even has room to jam, where the bassist will set up a riff and give the chance for some solos over the top, including both sax and flute.”

This album is what I would describe as extremely red-blooded and dynamic, for the wild and thrill-seeking Italian fan. In its most frenzied moments it approaches an Area level of craziness but it also has a flip side that I won’t call mellow, but slower, murkier, and strange. The album is paced well too with the three wilder tracks being 1/3/5 while the two breather tracks split them in the 2/4 position, giving the listener a true roller-coaster experience. Let’s look at some of the positive attributes here: 1) These guys had chops! All of the musicians are very good and adventurous as well. 2) The sound is uncommonly good. You would expect a rarity from ’73 to be pretty mediocre in sound but that is not the case here. Crisp highs and strong, upfront bass will give you the ability to crank this up loud without wincing. There are a few sound problems on side 2 but they are fleeting: I was literally rattling the pictures on the wall tonight with very good results. 3) Primarily instrumental and pretty wild tracks. I enjoy the bold and dramatic vocals of Rossi but for those who don’t this album is far more instrumental than vocal. The music of Rocky’s Filj is a unique blend of heated fusion jamming with rather strange divergent avenues. The album plays out as do some of the more adventurous Italians albums in that you’re never sure what to expect, think about bands like Pholas Dactylus, Osanna, wed with jazzier fare like Area and Duello Madre. Bits and pieces of these groups will give you an idea what you’re in for here: heavy-hitting (mostly) jamming with persistent fiery guitar and lots of horns, the album is most likely to please fusion fans who like a little something different on the presentation.

I really have to describe side one for you. “L’Ultima Spiasggia” is 13 minutes of pure madness that starts from the gate at light speed. Driving, booming bass and frenetic guitar lines spar incessantly with aggressive horns very similar to the Officina Meccanica sound I wrote about last week, but frankly Rockys sound is tighter and crisper. There is a break for some eerie flute before the powerful and intense vocals begin. Some don’t like the vocals here—I think they are fantastic. Then another strange section with strings leads back to the manic-paced finish. The second track “Il Soldato” finishes the side and this track could have inspired Kayo or Maudlin. This cool sounding double bass just floats along building tension over these strange, serene guitar chords and lost sounding horns. The two tracks combined may not be the finest or most representative side of Italian prog but they sure do floor me. Side 2 is good but not quite as magical. I want to close by quoting a great sentiment about this album (and listening in general) by reviewer Rushomancy at RYM: “It's generally true that most obscure music is obscure for a reason. Once you delve deep into a genre, you find yourself listening to a lot of stuff that comes off as second-rate imitations of the better-known bands. So why does anybody bother?...Sometimes you find something that's way better than it has any right to be. Sometimes you find out you value different things in music than most people, and you like something most people would hate. Whatever the reason, Rocky's Filj, while not sounding overwhelmingly typical for an Italian prog record nevertheless contains everything I love about the genre.”

— First review of this album —

Pop-prog, sometimes cheesy, but beautifully done

Capricorn College and composer Mario Barimar have teamed up to concoct an album of melodic Italian pop music with some progressive rock influence. This second album is reportedly not as good as the previous “Orfeo 2000” but is quite unfairly maligned in some of the various writings I found about the group (and believe me there isn’t much out there.) The band has worked with Barimar dating back to the ‘60s but reportedly did not participate in the Italian pop festivals of the early ‘70s like so many of their peers.

Let’s be clear: while I have not heard the first album I can confidently say that this is not Italian progressive rock of the likes of Balletto di Bronzo, Area, or Semiramis. And yet I enjoy this album very much. This is an album of short but nicely arranged pop/rock songs made under the influence of the Prog that was popular at the time. There is also some light jazz and very mild psych influence in some tracks. You hear nice piano runs, flutes, synths, sax, and orchestrations. There are some short but well done solos sprinkled throughout on nearly all instruments which serve to add some color and depth to the pop vocal frame. Electric leads, velvety saxes and nice piano are all prevalent. And the songs are well done! The sound quality is good, the musicians are all good, the vocal harmonies excellent. Whoever constructed these tracks and produced the album did a fine job. The lyrics are said to be banal which of course I can’t confirm, but the melodies are very good pop melodies, wistful, nostalgic, upbeat, romantic, and yeah….sometimes cheesy. There is a definite grandiosity that runs through many of the better tracks. Think of ‘60s/’70s pop songs like “Time of the Season” or Chicago’s “Colour my World” but with the Italian Pop sound and you may get a mental picture of what the group sounds like. At times they can remind me of Cherry 5 (though less adventurous than that), the lighter sides of Fabio Celi, Raminghi, or some of the lighter singer/songwriters of Italy who played a bit with prog sounds. Most songs are very short with vocals, usually harmonies, and mostly safe enough that your grandma could enjoy them.

I like this album but could certainly not rate it higher than 3 stars at this site. Only those who love romantic Italian pop/light-prog need apply. For those who are this melodic lost gem will make you smile. The Vinyl Magic reissue featured decent sound as mentioned by no history or Bio unfortunately and in fact the booklet is but a two-page foldover. Certainly not essential but for someone who sells or gives away much of what I buy for reviews, I can assure you I won’t be selling this sentimental, sunny slice of Spring-time love-song vibe, cheesy or not.