ROCK PROGRESSIVO ITALIANO

Emerging in 1977, belatedly considering that the glorious hours of the symphonic genre had already begun to decline in the face of the rabid siege of punk rawness and other less 'brainy' movements, Locanda Delle Fate swims against the tide and releases "Forse Le Lucciole Non Si Amano Più", their first and only album until the later effort "Homo Homini Lupus" in 1999, twenty two long years later.

"Forse Le Lucciole Non Si Amano Più" borrows elements from Yes, Genesis and Camel, among other icons of the genre, and combines them with some smooth jazz sparks, and the particular and refined taste characteristic of Mediterranean bands, to elaborate a lucid proposal, copious in textures and variants, that starts with the instrumental "A Volte Un Istante Di Quiete"' and the protagonist participation of the duo Michele Conta and Oscar Mazzoglio sharing an arsenal of keyboards and synthesizers, and continues its way with the intricate "Forse Le Lucciole Non Si Amano Più" that intersperses splendid verses sung by the emotive Leonardo Sasso with passages full of colours (surely the best piece of the album), with the atmospheric and peaceful "Profumo De Colla Blanca" and its astral synthesizers very indebted to space rock and the excellent guitar solo by Alberto Gaviglio, also with the Genesian airs of the beautiful "Cercando Un Nuovo Confine", with the awakened "Sogno Di Estunno" and the beautiful and brief flute introduction by Ezio Vevey accompanied by the incisive hi hat of drummer Giorgio Gardino, and with the guitar arpeggios as a musical carpet for the lulling singing of Gaviglio (second voice of the band) in the aseptic and very delicate "Non Chiudere A Chiave Le Stelle".

Almost an hour that flows naturally and that has in the metaphorical dramatism and instrumental intensity of "Vendesi Saggezza" the ideal closing for an album that at the time had no major repercussion and that unfortunately, given its meagre commercial results, ended up weighing down the band's continuity.

Time, once again, has taken care of placing the album in a place more in keeping with its value: an excellent and representative work of Italian progressive rock.

4 stars

The title track clocks in over 36 minutes and has all the hallmarks of a 2025 colossus , showcasing an expansive progressive rock in the finest old school traditions, with expert musicianship, impressive vocals, and enough sudden dives, swoops, course variations and accelerations to dazzle even the most jaded listener. Just like a massive feast, this opus will require repeated auditions as, there is a whole lot of detail that needs slow digestion to fully appreciate. The stately organ pierces through the early morning mist, a marshalling beat shuffles the mood into eventual overdrive ,elevated by a massive mellotron blast, quickly taking ship as the perils of the sea await the navigators. Both extremely cinematic and typically vintage RPI , the tempo is bountifully exuberant, bubbling Moog synths adding to the overall fury, the carving electric guitar chopping fearlessly at the cresting waves. Out of the blue, a blaring pipe organ beckons on the horizon like a siren luring its prey into her seductive arms. Alex handles the bravado vocals with typical Italian theatricality, expressive as well as passionate, setting into the main melodic groove that will define the arrangement. He drops the microphone to settle into a glitzy guitar solo before the transition back into mellotronic paradise, ominous grey clouds threatening the blue waves with oppressive power. An ornately elegant baroque piano, acoustic guitar and synth flute etude appears out of nowhere, a pool of dead calm and serenity, with a glorious melody to boot. Clear and hushed vocals echo in the metallic compartment, as the valiant sailors prepare for the deep-sea plunge that will take them into the void. At first composed and serene, the heartbeat picks up with an almost resigned synthesizer flurry, harnessed by a parallel guitar that swirls with dense symphonics. The contrasts, the 20,000 details and the slick variations keep the attention span on full alert, the softer passages are fluid and impeccable, whilst the stormier ones evoke the sense of risky exploration. This clever blending of orchestrations and straightforward RPI is a blessing for any pair of melodic ears, not the most modern material but neither is the 150-year-old story written by that amazing French writer. Kudos to the rhythm section who keep this musical craft steered in the proper direction, as well as Alex's pleasant vocal work that keeps the tale going. Obviously, Walter Pini's mastery over his arsenal of keyboards will definitely hit the mark with an immaculate display. In the final 10-minute section, the usurping choir mellotron blazes like the setting sun, the Hammond organ spotlight lurching churlishly, a stylish construct that stamps the quality of this whopping epic. The pompous church organ finishes off any possible resistance, as the fatalistic orchestral finale introduces ominous tones and a glimpse of turbulent weather ahead. Tremendous journey.

The periscope is raised on the 16-minute leviathan "Nautilus", named after the famed submarine, captained by the anti-hero Nemo. On a bearing 2-1-0, sonar beacons on alert, compartments and forward room bilges secured, the boat is running silent. In blunt contrast to the previous masterpiece, this aquatic composition seeks out a different feel, markedly more accessible, with an insistent bluesy guitar groove leading the charge. The shift into rockier overdrive has torpedo bass, depth charge drum explosions, and a hard- edged nuclear riff that carves with impunity, as if channeling Museo Rosenbach or early Le Orme (Collage-era), the swooping Hackett-like swoon of the electric guitar underlying the restraint among all this rhythmic exuberance, a gorgeous melody to dive for (pun intended). Once again, the rudder shifts when the keyboard symphonics enter the command station, prepping a virtuoso section with tortuous guitar phrasings that twirl like triple-bladed propellers on full throttle. The final section insanity is straight out of Deep Purple's classic "Child in Time" and what a fantastic manner in berthing this boat into its pen.

The vivid cover art displays a comic book style, four courageous deep-sea divers scouring the depths of new musical frontiers. The Italian scene just keeps on giving ?. 4.5 Oceanic treks

In the early 90s I got a cassette named Il Salto Del Falco by Italian band Lethe to review for a Dutch prog magazine. And now, anno 2025, I got a CD named Il Cavaliere Inesistente by Italian band Lethe to review. In order to get sure this is the same Lethe I contacted the band on Facebook, and indeed it turned out to be the same Lethe. Unfortunately prime mover Stefano Fornaroli (vocals, flute and percussion) had died in September 1994, due to leukemia, only a few months after Lethe had released its first CD Nymphae (1994) on the Italian Mellow Records label. Now Lethe sees the realization of the dream of Lethe's founder, Stefano Fornaroli, to whom this new album (2024) is dedicated (featuring 4 original and 2 new members, and 2 guest musicians).

After a few listening sessions I am more and more pleased with this first Lethe album since 30 years. The music succeeded to keep my attention for the entire running time, due to their pleasant and varied sound, very harmonic and melodic. The 12 tracks are tastefully layered with flute, guitar and keyboards, a strong rhythm-section, and topped with inspired Italian vocals (male and female). I notice echoes from Peter Gabriel-Genesis, Marillion, Jethro Tull and Camel, and of course Classic Italian Prog, but Lethe also delivers a lot of fine own musical ideas to keep the band from too derivative. I am sure the late prime mover Stefano is delighted about this inspired and wonderful effort by Lethe, wherever he is ?.

My highlights.

Mura Di Fuoco (7:34) : Lots of flowing shifting moods, from a mid-tempo beat to bombastic, embellished with sound effects, sparkling flute, a moving guitar solo with howling runs and passionate Italian vocals (with theatrical tendencies). The music sounds accessible, melodic, harmonic, varied and tastefully arranged, this is trademark new Lethe.

Animali Cristiani (10:17) First dreamy guitars and keyboards, soon joined by pleasant vocals. Then the atmosphere changes to more dynamic and bombastic featuring flute, intense guitar leads and powerful vocals. Halfway a dreamy climate with inspired female vocals, a very convincing presence. Then a break with harder-edged guitar, and strong interplay, in a mid-tempo beat with a pulsating bass. After a fine flute solo the mood shifts to mellow with twanging guitars and pleasant male vocals.

Bradamante (3:36) : This short piece contains acoustic guitar and flute, what a wonderful classical atmosphere.

Nel Segno Della Croce (8:06) : Lots of dynamics and tension, between dreamy and bombastic, and a varied instrumentation, from varied work on the flute, tender Grand piano and bombastic organ to rock guitar and twanging classical guitars. The music is topped with passionate vocals (including vocal harmonies) and culminates in a beautiful grand finale.

Pagani (3:39) : This exciting instrumental piece starts mellow with classical guitar and flute. Then halfway a sensational break with rock guitar and flute, to me it sounds like my beloved Rock Andaluz, how compelling, and what a great interplay between rock guitar and sparkling classical flute work, wow!

L'Elmo D'Oro (6:27) : The final composition delivers a lot of variety and fine musical ideas. First delicate acoustic guitar overdubs, soon joined by warm vocals, slightly more theatrical, now blended with soft synthesizer flights. Then the sound of orchestral keyboards and howling electric guitar. Next a female choir sound, a wonderful short interlude. Next the music turns from a slow rhythm into a mid-tempo beat, topped with first spacey synthesizer runs and then rock guitar, in a bombastic climate, with powerful vocals, and finally vocal harmonies, flute and rock guitar, a strong goodbye.

What a wonderful and varied new effort after 30 years by Italian prog band Lethe, featuring pleasant work on flute, guitars and keyboards, and topped with passionate native vocals.

3,5 star.

Alas, another reunion of an RPI band born of the 1970s who felt the urge to fly the kite of creativity one more time. The renewed version of Cormorano consists of original members Raffaello Regoli, Antonio Dondi, and Gabriele Giovanardi joined by Francesco Boni, Elia Filippini, and Raffaele Marchetti. Without getting too deep into the weeds, this is a mostly different lineup from the band who recorded their 2000 album, which was actually material written in the '70s and '80s. If you're confused, worry not. This new album is, in my opinion, very much a refreshed sound deserving of attention on its own merit. In fact, when I noticed Cormorano was releasing a new album, I was not initially all that excited. Their previous album, Giro Tondo (Giro) Fuori Scena, was never a huge favorite of mine. It's pretty good, but it didn't blow me away. The new album has a mix of older and newer compositions. With the new album, it feels like they have released something special and in the moment. If it turns out to be their finale, it is a good ending.

Cormorano's sound has often been compared to RPI legends, Area, but the connection is probably more superficial than anything else. Yes, Regoli does sound remarkably like his old friend and mentor Demetrio Stratos, but the two bands and the songs themselves differ a fair bit. I would say that Area were more radical and pushing toward avant-garde areas of prog rock. Cormorano will head in that direction occasionally, but they also have their own style which is a bit more conventional and melodic. They are still quite unique and hard to compare to other current prog rock bands, but I would put them in the orbit of Altare Thotemico, another group with a bold and enigmatic frontman and vibrant, spicy songwriting. And I would say both the tone of the instruments and the production itself have a more pleasing, organic feel than what was achieved on Giro Tondo some 25 years ago.

The music of Obliquizioni D'Autunno...Prima Che L'aquilone Se Ne Voli Via took a while to seep into my heartspace, but it has grown on me exponentially with repeated plays. While the songwriting is varied and vibrant, it is not trying to confound the listener in the same manner Area may have tried 50 years ago. These guys set up their canvas first, and then each musician (and Regoli) will begin to paint with thoughtful and emotional contributions favored over flashy overplaying. Everyone finds the time and space to shine on their instrument, and when you sit and actively listen to what they are playing, you can hear easily the cool things they are coming up with. The songs seem designed perfectly to highlight the strengths of each player. The overall results are wonderful, warm, and engaging, and I notice more nuance each time I play it. And there certainly are moments where Regoli seems to channel Stratos, peppering certain sections with experimental voice technique and theatrical presentation that will amaze Area fans. But this work is not trying to capitalize by copying those old Area records.

This is a band savoring the chance to create something new and emotional, and they have succeeded. I love the artwork they chose for the cover (a huge improvement over the swan---thank you). I don't have a favorite song here as I loved nearly all of it. I appreciate the work they did on videos as well. Being an English-speaker, I can only catch glimpses of the thematic messages, but I interpret that album cover as notice to grasp at the remains of our life here and now, to seize the day if you will. I feel that Cormorano has succeeded with capturing something special musically, the kite achieving a great height on a most beautiful day. I feel like these guys loved making this music together. Perhaps we all can fly it one more time. Musica magnifica!

One of the best Italian prog bands from the 80s, Nuova Era is a very underrated name on ProgArchives? almost ignored by fans of prog and reviewers.

If you love that vintage sound of keyboards?Mellotrons, ARP, Moog, 70s and 80s synthesizers?plus great drumming, outstanding vocals, technical guitars and bass, and that 70s flavor that I love, then this band is for you.

With clear influences from Museo Rosenbach, Le Orme (Contrappunti era), New Trolls' mid-70s sound, and PFM, Nuova Era was founded in Florence in 1985 by keyboardist and composer Walter Pini. The original lineup included Gianluca Lavacchi on drums, Enrico Giordani on bass, and Alex Camaiti on guitar and vocals. The lyrics were by Ivan Pini.

They recorded four albums: L'ultimo viaggio (1988), Dopo l'infinito (1989), Io e il tempo (1992), and Il passo del soldato (1995) (the latter featuring Claudio Guerrini on vocals instead of Camaiti), achieving good success in the European and Asian markets. Io e il tempo, for example, was even released with a booklet in Korean.

In 2008, Walter Pini, together with Davide Guidoni (drums) and Guglielmo Mariotti (bass), started a project recording unreleased pieces. In 2009, one of these was released on Inferno: The Divine Comedy (CD 1, Canto I), followed by another on Purgatorio (CD 2, Canto XXII) in 2010, and one more on Paradiso (Canto II). These tracks became part of Nuova Era (2010), their self-titled album, which also included a remake of Dopo l'infinito and live recordings with the original lineup.

Since 2013, Walter Pini and original guitarist/vocalist Alex Camaiti, along with new members Rudi Greco (bass) and Maurizio Marra (drums), rehearsed and recorded a concept album with a fantasy-medieval setting. For the first time, the lyrics were in English, but the music remained in true Nuova Era style. The album, Return to the Castle, was released in October 2016 and distributed by BTF. The lyrics and cover were by James Hoog, while the music was composed by Walter Pini.

Their discography includes: L'ultimo viaggio (1988), Dopo l'infinito (1989), Io e il tempo (1992), Il passo del soldato (1995), Nuova Era (2010), Return to the Castle (2016) And maybe their best work: their latest record, released last week, 20.000 Leghe Sotto I Mari (2025). 20.000 Leghe Sotto I Mari (20,000 Leagues Under the Sea), based on Jules Verne's novel, features just two tracks. The title track, a 36-minute epic, is a masterclass in vintage-style prog, packed with dynamic shifts, intricate instrumental sections, and seamless transitions that turn it into a singular, immersive experience. Nautilus, at 16 minutes, is another standout, delivering a perfect balance of melody, complexity, and that unmistakable Nuova Era touch. This album is not just a return to form?it might be their best work yet. With its rich, analog-driven sound and deep connection to the golden era of Italian prog, 20.000 Leghe Sotto I Mari feels like a lost classic from the 70s, but with a modern energy that makes it essential listening. This record it is a strong candidate to be one of the greatest records from this year.

Maxophone was also one of the few Italian groups of the decade that managed to record an English version of their album, although their particular attempt wasn't too great a success. The original lyrics add just the right spice to the album, unlike the translated ones, which could not entirely do it justice (note: this review covers the Italian version). The band were a high-energy six-piece, producing cohesive and forceful music with strong melodies and tightly executed changes. Locanda Delle Fate, Premiata Forneria Marconi (PFM) and Genesis were likely influences on their sound, with a hint of Emerson, Lake & Palmer as well.

Half the members of the band were classically trained musicians, with most also being multi-instrumentalists. Thanks to their diverse array of instruments, Maxophone pushed the boundaries of progressive music on this release by bringing uncommon sounds together with traditional ones, creating a wonderful, flowing sonic landscape.

The vibraphone features prominently, for instance, and while this in itself isn't unusual for a Rock Progressivo Italiano (RPI) record, it is when accompanied by clarinet, trumpet and horn. Along with the more orthodox progressive tools saxophone and flute, the wind instruments generally prove to be the album's driving force. The most distinctive among this group is undoubtedly Maurizio Bianchini's French horn, which adds a very majestic touch to many of the themes.

To say the least, Maxophone is an impressive album overall, released by a band that unfortunately wasn't entitled to more luck. All of its tracks feature complex, multi-part arrangements and passionate performances, and the innovation and creativity throughout the material is astonishing. Although the album may not have obtained the success it deserved when it was first released, it has become a progressive rock classic' over time, a must-have for collectors as it is definitely one of the essentials from the Italian prog scene.

ArcaMiri are an experimental band from Syracuse, Italy, formed in 2017. This latest offering is a digital single available through the band's Bandcamp page, and it was released with a promotional video on YouTube. Musically, it's something of a unique blend of avant-garde that meshes together modern production values with the smoky memories of saucier vintage groups like Opus Avantra, Pierrot Lunaire, or early '70s Battiato; think "Pollution." I love the use of piano and bass to open the track in an unusual way, the piano melodies rolling over each other. About two minutes in, Simona's vocals come in and the mood is one of growing unease, yet the sound is also beautiful at the same time. Unnerving yet beautiful. Piano soon falls away and a harsh rhythmic synth section enters. The solo piano returns for the final minute as we hear what sounds like rainfall in the background. Seven minutes of sublime RPI that just fell into my lap today (by popping into my feed!)

As an English-only speaker, I had to run the lyrics through an online translator, and so I'm likely missing out on much context and nuance by doing so. What I interpret the lyrics to be about is the loss of youth and wanting to go back to the feelings and energies and passions of youth, but not simply in the physical sense of the body feeling better. That's part of it, but I think they are speaking about much more here. I think in a philosophical and emotional sense, they are talking about the experience of being young: love, hate, rivalries, exhilaration, looking at life through a lens of hope and wonder rather than a lens of melancholy. As painful of a time as youth can be, both good and bad, there is still an intense rush of being young that, once it slips away, we are not allowed to taste again. We like to pretend we can: "I'll never grow up. I'm young at heart." Meh. Not really. If we're honest, aging is increasingly about loss on many fronts, and we can attempt to distract ourselves with affirmation or we can face it with reason and faith. But again, I don't speak Italian, so perhaps my attempt to understand their meaning is off. If so, my apologies to the band. Pick it up today. I dug it. I wish it had been longer!

Mikael Åkerfeldt of Opeth, Cristiano Roversi of Moongarden, Enrico Gabrielli of Calibro 35, Diego Petrini of Il Bacio della Medusa, Marco Croci of Maxophone/Jumbo, and, of course, Aronne Cereda of Dalton.

How often does one get to hear a heavy-hitter, Prog All-Star line-up like this assemble to record some vintage-era RPI? In one of the more unusual recent celebratory collaborations of classic work, Dalton original member Aronne Cereda is joined by some musical heavyweights to re-record two classic Dalton tracks in the studio. Apparently, Mikael Akerfeldt is a huge RPI fan (how cool is that?), and the other guys come from their own successful projects in the RPI realm. While only two songs were recorded here, ("Una Riflessione" and "Idea d'infinito" from 1973), each were offered with two versions, one with vocals and one instrumental. Both songs are cool and compare well to the originals. Any artistic review isn't the point here. This is about having fun.

These guys are all outstanding players, and the biggest difference is just the sound, the feel. The originals have that pleasing slightly hazy '70s vibe about them, while these new versions burst through with full modern production values. Possibly you could say they are slightly more muscular or aggressive than the originals. The highlight for me was the fantastic wordless female and choir vocals that they judiciously added atop the instrumental version of "Idea d'infinito," which really took a great song to an even better place. As cool as this EP is, this project is for fans of Dalton, fans of the guest artists, and RPI fans with deep collections. Definitely not essential for those just trying to assemble a modest collection of great titles. For those who are excited about it, they released a special orange vinyl to commemorate this recording. That would be a truly memorable birthday gift to drop on one of your vinyl-enthusiast RPI friends!