All Prog From Italy Appreciation Thread

I always felt that comparisons of Le Orme to Emerson Lake and Palmer were unfair to this Italian group, as, even in their days as a keyboard trio, their music possessed far more emotion and romanticism than most of Emerson's indulgences. But by 1977 the group wasn't even a trio, and, while still keyboard dominated and lush, they had incorporated plenty of tasty guitars both acoustic and electric. Their sound had largely changed with the times, with medium length song oriented tracks that avoid sounding petty or contrived.

If a point of comparison to contemporary bands is warranted, I can hear some references to the electronic genre and artists like TANGERINE DREAM, PHILIP GLASS, and JEAN-MICHEL JARRE, particularly in the ultra catchy synthesizer theme of "Se io lavoro"" and the repetitive loops of "Al Mercato Delle Pulci". But this is certainly more a grafting of those artists' ideas onto the Le Orme sound, keeping it fresh. "Tenerci Per Mano" is a surprise out of the gate, hardly even sounding like Le Orme, with its reggae tinged segments alternating with Aldo Tagliapietro's most emotive vocals. The title cut, "Il Musicista", and "Come Una Giostra" include pleasant guitars, backed by plenty of melodic and ethereal keyboards, as well as the usual organ and even some creative piano. Throughout the album the myriad shifts and contrasts are executed with grace and sultry Latin charm.

It's pretty hard to find much fault with this album musically, even if it is not a complex progressive undertaking. It only solidified the group's own legendary status in the Italian prog world and beyond.

A long time ago, a phone called in the evening. A man from a very lovable, but expensive shop informed me that an album I’ve order had already came and asked if I were still interested (it was “Mexico” by Ergo Sum). But I had no intension to buy only one album. So I’ve decided to choose one live album by Hawking and “In Ogni Luogo” by Finisterre. It was the first time I’ve ever heard about that band.

A few days later an album came, I listened to it and said to myself - “nice”. Such an Italian Porcupine Tree. I don’t know who should be more angry with me for this statement. Firstly I perceived it as enjoyable and nothing more. Why after more listening something in my brain have unlocked? I don’t want to say that the others are not able to unravel with their limited minds the whole artistry of this music and only mine did it. No. I am not an obsessed fan of some subordinate band. Still I am some sort of a big boy (unfortunately lately I am growing widthwise) and I won’t be tricked by some trifle, or won’t admire any damn nonentity. That’s why have I become such a big advocate of “In Ogni Luogo”? I don’t know. Maybe it’s just my peculiar penchant, or genic configuration.

It’s my favorite prog-rock album of last ten years. One of my favorite album of 90’s – first pentad. After “Amused to Death” by Waters, “American Ceasar” by Iggy Pop, “Grace” by Jeff Buckley, “Stille” by Lacrimosa. “Up the Downstair” by Porcupine Tree and the debut album by Rage Against The Machine. Like I mention, this album began my acquaintanceship with the work of this worthy Italian band. But when I heard other albums, the earlier one’s – “Finisterre”, “In Limine” and recently issued “La Meccanica Naturale” I felt a bit disappointed. The band did their tribute to traditional progressive music – Italian tradition of PFM, Le Orme, Banco, but in more modern version. Mainly, because King Crimson from “Lizard” to “Red” also. “In Ogni Luogo” is the first and by far the last album, which can be fully perceived as progressive. The band have tried to do a diverse music. Not by mistake is it dedicated to Jeff Buckley. And thanksgiving to Radiohead, or Smashing Pumpkins are not coincidental also. It’s hard to unequivocally define what’s on this album. There isn’t much typical progressive rock playing. And you can’t say – here it’s progressive, here it’s not. Everything is permeating and mixing. It’s very close to jazz on “In Ogni Lougo” and “Continuità dilaraneltempo” – mainly because of the stylish, sensual singing of Francesca Lago. And only she sings on this album. And on “Snaporaz” we can hear some dialogues, from Fellini’s “8 ½” I guess… So many voices. The rest are instrumental works. Very diverse works, musically rich – frequent and beautiful violins, sometimes like VDGG, sometimes like King Crimson, sometimes like a music from a smoky jazz club at 3 A.M., when the band plays more for themselves, than for the public. It sounds like a musical patchwork sewed with many different pieces. But it fits to each other and makes the whole thing coherent. Maybe because most of the songs are connected? Like a fifty-minute single.

Warm, dappled patchwork, with which you can bundle up yourself by putting your headphones on and effectively drag away from reality. Truism. But in fact it’s one of those few albums that are worth of such words. And it really doesn’t matter that “Le città indicibili” begins exactly like “Stairway to Heaven” by Led Zeppelin.

One advise – it’s best listened as a whole.

The epitome of overrated Italian progressive rock. A strong vocal presence in the vein of Banco. Musically proficient, but they have that _sound like_ factor going on, as in _they sound like Banco_ or _they sound like Genesis_. If that doesn't bother you, then by all means check it out. I enjoy a lot of Italian Progressive Rock like PFM, CELESTE, PICCHIO DAL POZZO, LATTE E MIELE, LE ORME, AREA and BANCO's _Di Terra_ album(entirely instrumental). Locanda Delle Fatte sound like all of the above, but with a strong vocal presence leaving little room to stretch out.. Nothing original here and definitely in the second string of Italian prog.rock bands and one shot albums. In the same league as Il Volo, Errata Corrige, Maxophone, etc. There aren't many one shot albums by Italian bands tha tickle my fancy, save the first DEDALUS cd. For fans who wish to collect Italian obscurities only - you may be pleasantly surprised. Locanda Delle Fatte, however, didn't do a thing for me(actually grew more agrivated on repeated listens). I rank this band in the overrated file alongside with Spain's MEZQUITA and the USA's YEZDA URFA. Try the sample of Locanda Delle Fate titled _Forse Le Lucciole Non Si Amano Più_ on this website. The whole album sounds like the title track.

A heavy saxophone presence somewhere in between Mel Collins and Elton Dean...at times _The Jaxon_(of Van Der Graaf Generator). Still a _second string_ band in the Italian Progressive Rock genre, but one of the better examples of one-shot bands. The vocalist seems to gel with the arrangements making him part of the composition rather than an afterthought. I haven't heard the English version, but apparently Peter Hammill translated the lyrics. One might also hear a Van Der Graaf Generator influence in Maxophone's music, but not overtly so. The guitarist reminds me a little of Gary Green from Gentle Giant when it comes to soloing. Sort of a blues/rock prog. delivery. Instrumental sections are very reminiscent of early period King Crimson, most notably the jazzy sections a la Lizard or In The Wake Of Poseidon. Maybe a little of Manfred Mann's Chapter Three to boot! Recommended, but nothing essential.

Welcome the Banco's world with full of their essence and Italian flavour!

We can feel the atmosphere of the last supper though we can't understand Italian lyrics. Starting with solemn ceremony on the first track ...A Cena, Per Esempio , Francesco's flat but plain voice spreads over us. I think he's not a well-skilled vocalist (sorry!), but wonder why his voice hits us strongly and sentimentally. Il Ragno , È Così Buono Giovanni, Ma... are exactly Giancomorld I wanna say. But we can't feel peace of mind ever. Slogan , Si Dice Che I Delfini Parlino are more avantgarde part of this album, then we should be pushed actively by the medulla of Italian rock world.

The point of this work is absolutely the 6th track Voilà Mida (Il Guaritore) I'm sure. This track is the real mixture of Italian avantgarde, progressive, classic, ...etc. etc. rocks. Maybe we can't enjoy an massive Italian flavourS in only one song. Very fantastic they could make such a product easily...

From start to end, we should be hit and moved by the work and story. Indeed there is not an aggressiveness of earlier Banco (like Darwin!), but there is APPLIED and MATURED Banco in front of us. I can't help saying them OOKINI (Thanks) for the wonderful album.

Listen!

Absolute perfection from PFM. The way these songs develop leaves my spine tingling. We're talking about an album with 5 gems. 4 of the tracks are flat out masterpieces and the title track is a nice little diversion that kind of takes you back to the fun of E Festa.

So many reviews on this one already but after spinning it again recently it confirmed for me that this is arguably PFM's finest hour, and I thought I'd say a few words about it. The band had really matured here and the compositions are simply not to be believed. They weave in and out of different textures and moods effortlessly. The way the band is working together by this point is nothing short of astonishing, and to have a great lead vocalist seems to have propelled them to an even higher level. I suspect that some of these songs might not have the immediate impact for some folks of some of the earlier material, but repeated listening to this one is really a reward that in some ways transcends even the brilliance of the first three albums. These are highly complex pieces of music that are as much about feel as they are about simply executing them. No better example illustrates this than when the main melodic theme is reintroduced by Pagani towards the end of From Under. It's as if you can feel him caressing the melody. Utterly breathtaking and a moment that truly depicts the inside the note concept if ever prog was able to venture into that territory.

Of special note is the guitar work of Franco Mussida, which is sensational and rivals most any of his peers from the time. He is really off the charts on this album.

Sonically, this is a fantastic sounding album. The original RCA CD is best in the digital world. Avoid the Japanese mini lp versions. If you insist on collecting those, then at least get the JVC version (and note that the regular K2 will slightly beat out the K2HD so don't waste your money on the latter). The BMG Japan release with the original Italian cover is horrible. Avoid that one, BIG time. Oh, and that RCA gold disc is also a kind of a joke. Not nearly as good as the original CD.

I also intend to pick this up on vinyl again soon, because as good as the original CD mastering sounds, I think it had a bit of EQ applied and sounds a bit smiley-faced (read: bass and treble goosed). I ownded this on vinyl years ago and I'd like to do some comparisons with the CD, but for those who just want a nice sounding disc without any compression, grab the original CD and turn it up!