Astrolabio ~ Italy

Neo Italian prog; Retro Prog; Hard Rock

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Latest: Una Volta Qui Era Tutta Campagna Pubblicitaria (2026) Mar 8

UMR review page for Astrolabio

3/15/17 (new entry)

Banco del Mutuo Succorso ~ Italy

Italian progressive rock

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Latest release: Storie Invisibili (2025). To be released Feb 28. 

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 5 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 part of the original Italian prog movement, and their records in this style spanned only 6 to 7 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 3 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!

---7/16/20

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.

---12/26/21

Come in un'Ultima Cena (1976)

Banco del Mutuo Succorso started their career with what many consider the greatest 3 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 followup to Io Sono Nato Libero. Since 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.

---3/4/17

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.

---8/25/21

Banco del Mutuo Succorso (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.

---1/10/24

Other albums heard: Darwin (1972); Banco (1975); ...di Terra (1978); Canto di Primavera (1979); Capolinea (1980)

7/16/20 (new entry)

Alphataurus, Italy

Neo Italian prog

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Latest: 2084. Viaggio nel Nulla (2024). To be released Oct 4.

AttosecondO (2012)

For the music, AttosecondO finally closes the book on their unfinished second album, the previously titled Dietro L'Uragano. The Live in Bloom (CD version) concert demonstrated very competent versions of two of these tracks, and it seems the band was in top form. AttosecondO adds the final important track 'Claudette' (13:40), to complete the mystery of "what if these tracks were recorded properly"? For those who bought the Live in Bloom for the same reason as I did - that is to hear the second album performed properly - fear not. The versions found on AttosecondO have been radically reworked from the Live in Bloom concert, to arguably greater success. But that's only part of the story here, as Alphataurus have added two entirely new tracks to open the album 'Progressiva Menta' (8:29) and 'Gocce' (9:27), both of which sound like the best of the modern Italian progressive rock bands that are striving to recreate the past. Of course, it would make sense that Alphataurus would be experts at this  - since they actually were one of those original bands! However, as we all know by now, most of these reunions haven't been near the level we'd originally hoped. Alphataurus is the exception. They clearly have recaptured the spirit of their youth, and seem on the cusp of releasing another monster album like their 1973 debut. Even though the founding two members are in their 60s, let's hope they don't quit just yet and prove that the older guys can be as creative as the youngsters - of which now three of said youth are part of the Alphataurus machine.

---12/11/12

Live in Bloom (2012)

I bought the CD mainly to hear the fully realized versions of 'Ripensando E…' (7:36) and 'Valigre di Terra' (12:02), both tracks from the unfinished second album. As it turns out the former composition is an instrumental and so it wasn't quite as different as I expected. But 'Valigre di Terra' was the highlight of that archival release, and to hear it with vocals, makes this well worth the price of admission by itself. That along with the beautiful cover art (the CD is in the mini-LP format), painted by the same gentleman who impressed everyone with the brilliant triple fold out of the original 1973 album.

---7/12/12

Dietro L'Uragano (1974;1992)

Similar to many Italian bands of this era, Alphataurus seemed to flare out after one release. But Mellow Records turned up a complete album minus the vocal sections. Apparently the band was looking for another singer when they finally gave up. 1974 was the end of the line for most of the Italian scene, so ultimately this should come as no surprise. On Dietro L'Uragano, the music is more playful, slightly less complex, and far more dependent on keyboards than the debut effort. Parts of this remind me of the heavy but simple tracks found on The Trip's Caronte album, though overall Alphataurus is more engaging here. ELP circa Tarkus, is another obvious influence. Unfortunately it's apparent the music was written with a vocalist in mind, so there are some gaps to be found.

I sold the CD a few years ago to no regrets. The good news is that these tracks were re-recorded on their two 2012 albums, and are fantastic.

---9/1/12

Alphataurus (1973)

The Italian progressive rock scene between 1972 and 1974 seemed to foster a culture in which bands would compete to determine who could be more imaginative, which group could create the most exciting, intelligent and challenging album to date. Historically, Italy has always had this mindset. The painters, poets, sculptors and other artisans of the Renaissance dueled frequently to catch the eye of Popes, Kings, mighty nobles and other magistrates of the era. With this is in mind, Alphataurus were one of the better contenders, a clear winner to create the frescoes for the small village church.

Like all worthy Italian bands of 1973, Alphataurus on their self-titled debut, featured top notch musicians to play guitars (electric and acoustic), bass, drums, and an arsenal of keyboards (organ, synths, piano, spinet, vibraphone). And, of course, the requisite dramatic, powerful vocals in the Italian language. The music alternates between heavy and soft, and is at most, heavy rock with hundreds of time signature changes, not to mention navigating through the style changes which include classical, blues, jazz, Italian pop of the 19th century and hard rock. How this all meshes seamlessly is the brilliance of the Italian progressive rock Renaissance. The five long tracks here all display these wonderful qualities and represent yet another classic of the day. Stylistically, they compare most to Banco del Mutuo Succorso.

Fortunately, it wasn't just the music that called for high levels of creativity. The album art work was but one more exciting component of the movement. And here, Alphataurus moves to the top of the class. The original on Magma Records features a triple fold out cover of an olive branch-carrying dove dropping nuclear bombs out of its hatch while an inferno takes place below. A jaw dropper.

---2/12/01

8/14/12 (new entry)

Le Orme, Italy

Italian progressive rock

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Latest album: Il Leone e la Bandiera (2024)

Verita Nascote (1976)

After the disappointing commercial effort Smogmagica, Verita Nascoste is a nice return to form for Le Orme. Having acquired a full time guitarist for the previous effort, Le Orme had a new sound to experiment with. Not that Le Orme do much with it. On the contrary, the guitar seems to only add color and little else. By now, Le Orme are completely a song-based rock band, though more complex than their American contemporaries. This quality is displayed clearly on Verita Nascoste, where Le Orme's unique style makes for an overall enjoyable listening experience. 'In Ottobre' is an excellent example of how Le Orme could incorporate their progressive era sound into a tight commercial style rock framework. Throughout, Aldo Tagliapietra's voice is as wonderful as ever. There's even some nice violins on the pensive title track. While not as essential as their classic progressive rock albums, Verita Nascoste is a very pleasant listen, and a fine addition to the Le Orme catalog.

---3/11/01

Felona e Sorona (1973)

Le Orme's fifth release (and 3rd progressive album), Felona e Sorona, is generally considered their masterwork. The album is progressive rock by the numbers: 1) A heady concept with fantasy lyrics; 2) One long composition broken into nine subsections; 3) Keyboards galore featuring Mini-Moog, Mellotron and the familiar organ. The "formula" track as found on Collage has now been turned into an album length exercise. Going about it in this way, Le Orme came up with a fail-proof album that stills satisfies today. While it would be easy to pass off Felona e Sorona as a typical pretentious progressive rock album typical of the day, few deliver the goods as well as Le Orme. As with any ambitious project such as this, there is plenty for the listener to sink their teeth into. Many dynamic changes between the singer-songwriter tendencies of Aldo Tagliapietra and the bombastic keyboards of Tony Pagliuca. However what possibly keeps Felona E Sorona from the top echelon is the lack of allowing creativity and experimentation into the mix, so it appears most of the album seems restricted by an unspoken protocol. Exceptions to this are the eerie 'Attesa Inerte' and the ambitious closer 'Ritorno al Nulla', both reminiscent of the Uomo di Pezza balance of soft composition, jazzy grooves, and heavy rock. Overall, another classic Le Orme album and a must own for fans of Italian progressive rock.

---3/11/01

Uomo di Pezza (1972)

Uomo di Pezza, Le Orme's fourth album and second progressive rock era release, opens appropriately enough with an organ prelude quickly joined by a complex and heavy rhythm section. Silence begets a piano melody and then Aldo Tagliapetra's beautiful voice enters. The model found on Collage has been rediscovered and exploited.

So with that, Uomo di Pezza is ostensibly going to be a more sophisticated affair. As well, concerning instrumentation, Le Orme becomes more diverse. Here they add more acoustic guitar to the mix and the organ isn't as prominent as the newly acquired Mini-Moog. Gone are the jams and the reckless abandon found on Collage, to be replaced by more angular and thought-out creative music. 'La Porta Chiusa' is the perfect example of the new and improved Le Orme. A thundering bass and drum layer is offset by a Moog dial turn (as in turning the radio from soft to loud). Aldo then begins to sing softly, but somewhat eerily, only to find counterpoint with a thunderous organ, Moog, bass, and drum maelstrom. For pure songwriting, 'Figure di Cartone' and 'Aspettando L'Alba' are brilliant examples of melancholic beauty, especially the latter (which would've been the perfect soundtrack to an arty Italian film). Aldo's emotional voice is perfect for this kind of style and unfortunately they were unable to capture this magic on their later, more commercial, efforts. The album closes with the raucous instrumental 'Alienazione', perhaps the only acknowledgement of their previous history with heavy psych rock, via their opus Collage.

What separates Uomo di Pezza from the other albums in their canon is the perfect balance between the raw heaviness found on the predecessor - with the more uppity aspirations of pretension to be heard on their next opus. A true classic and, for me, Le Orme's finest work.

---3/11/01

Collage (1971)

In the late 1960's, Le Orme were one of the few Italian bands to attempt an American styled psychedelic music, and the results varied from high quality original compositions to trite mimicry. By 1971, Le Orme had changed directions to the new music movement sweeping Italy: Progressive rock. Collage, Le Orme's first progressive album and third overall, is a stripped-down affair with only organ, piano, bass, and drums. The exception is the opening title track which could be considered the bridge between their psych and prog composition styles. This track has a kitchen-sink mentality and features an orchestra, pseudo-baroque motifs, and some trendy of the era moves. The next piece however, 'Era Inverno', is the beginning of the classic Le Orme sound. Aldo Tagliapietra's instantly recognizable alto voice opens the song and then is followed by Tony Pagliuca's fabulous organ and the energetic drumming of Michi dei Rossi. Of all the songs found on Collage, this one would be the model for the future. The amazing 'Cemento Armato' follows. Le Orme has never been known for being a jam band, but this eight-minute organ trio number is one of the greatest of its kind. Blistering organ work and the rhythm section of Aldo and Michi are as hot here as anywhere to be found in their entire canon. Another highlight can be found on 'Evasione Totale', an experimental organ jazz rock piece with heavy echoed keyboards and groovy rhythms. Overall, Collage is Le Orme's most energetic, raw, and experimental album. As such, this album tends to be overlooked by those awed by their more polished follow-up efforts. Fans of heavy organ rock, as more commonly found in Germany, will likely adore Collage.

---3/11/01

Other albums heard: Ad Gloriam (1969); L'Aurora Delle Orme (1970); Contrappunti (1974); In Concerto (1974); Smogmagica (1975); Storia o Leggenda (1977); Elementi (2001)

2/14/19 (new entry)

Aurora Lunare, Italy

Italian prog

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Latest release: Terzo Luogo (2023)

One of many bands I'm surprised to learn that are still around. I do have their 2013 album and rated it excellent, but do not have any notes to support that claim. I'll be sure to do that next time I hear it.

11/25/23 (new entry)

Prometheo ~ Italy

Retro Italian prog

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Latest: Stupor Mundi Vol. 1 (2023) 

D'un Fuoco Rapito, d'un Giovane Uomo, d'un Amore Insensato (2019)

Of a Kidnapped Fire, Of a Young Man, Of a Senseless Love (of course I looked it up...) is the debut album from Prometheo, a decidedly retro band from Italy. Singing in the native tongue while using vintage equipment, the band clearly studied the masters before going into the recording session. While their heart is clearly in the right place, the music is a bit stilted and flat. Some of that is the production and some is the instrument tones. I've seen references to legends such as Museo Rosenbach and Biglietto per L'Inferno, but both are far more kinetic than this album. Perhaps it's too well studied. All the same, a fine debut by a group who shows immense potential.

6/29/23 (review)

6/29/23 (new entry)

La Maschera di Cera, Italy

Italian retro prog

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Latest: S.E.I. (2020)

S.E.I. (2020)

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.

---1/25/21

LuxAde (2006)

Hard working bassist Fabio Zuffanti has many bands (Finisterre, Hostsonaten, Aries, Zaal, etc…), and each one represents a certain sound that he likes to explore more in detail (his initial band Finisterre is the one that is truly eclectic). La Maschera di Cera is his vehicle dedicated to the early 1970s Italian progressive rock scene, with only vintage gear being deployed. Along with the usual keyboard (Hammond, Mellotron, Moog), fuzz bass and guitar sounds, there’s quite a bit of flute, an instrument that was predominantly featured in 70s Italian music. In the end, the group achieves what it sets out to do, though I’d say LMdC are not quite as complex of some of the finest bands of the 70s (Jumbo, Semiramis, Banco, RRR, etc..). LuxAde is their 3rd album, and is arguably one of their finest (as I update this in 2019). It's really hard to imagine being a fan of Italian prog and not walking away from LuxAde completely satisfied. The style has been well-studied and executed here by the band. There's a reason why I chose La Maschera di Cera as my primary group for the renaissance of Italian Progressive Rock list: Italian prog from 1987 and beyond.

---1/4/19

Other albums heard: La Maschera di Cera (2002); Il Grande Labirinto (2003); Petail di Fuoco (2010); Le Porte del Domani (2013)

6/16/23 (new entry)

Ubi Maior, Italy ***Inactive***

News: AMS will be releasing Ubi Maior's 4th album Bestie, Uomini e Dèi on April 3.

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Location: Milan

Genre: Italian prog

Overview: Ubi Maior plays in the traditional Italian progressive rock style sung in the native tongue. They've had releases going back to 2005 and have been a consistent presence on the scene.

Pholas Dactylus, Italy

News: And here we are again with another band that has gone missing for 45 years. We are getting word that they will have a new album entitled Hieros Gamos, and it's to be released on January June7th of 2019 (thanks Bas!). New cover attached.

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Location: Milan

Overview: Pholas Dactylus were a previous "one off" band who released a classic album back in the 1973 heyday. It's most distinguishing feature being that the vocals were narrated/spoken verse sung. I have no notes from UMR to share, though I've owned the album in question for well over 20 years. We'll get to it eventually...

Il Tempio delle Clessidre, Italy ***Inactive***

News: And yet another band who has recently posted news of a new album. No more details than that, but we'll be on the lookout. I never did hear the 3rd album. Will get to it eventually.

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Location: Genoa

Overview: Il Tempio delle Clessidre's debut is one of the finer new retro Italian progressive rock in the landscape today. Lead by the beautiful keyboardist Elisa Montaldo, Il Tempio delle Clessidre is the classic five piece Italian band working their way through increasingly complex compositions, but with melody and passion.

UMR notes

Museo Rosenbach, Italy

News: Museo Rosenbach are still cooking, with a new 2018 lineup! Let's see if anything comes from it.

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Location: Bordighera (near San Remo)

Overview: One of the all time greats from the original Italian progressive rock scene, their 1973 opus Zarathustra is considered a masterpiece of the style. After years of dormancy, the band reformed and released another brilliant prog album in 2013 called Barbarica.

UMR notes

Spettri, Italy

News: Given the age of the band, I wonder how much activity we will see from them again. But it's nice they had this one great moment in the sun! And as I update this post, they are still posting away. So who knows... Last check: February 15, 2020.

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Location: Florence

Overview: For a band well into their 60s, it's fascinating to note how they have managed to capture the spirit of their youth. Their "debut" album (not counting archival) would hold up well in 1973 much less today!

UMR notes

Distillerie di Malto, Italy ***INACTIVE***

News: Nothing at all. Last check: December 26, 2018

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UMR notes

Le Porte non Aperte, Italy

News: Nothing of consequence since 2016. Last check: December 26, 2018

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UMR notes

Oxhuitza, Italy

News: It appears the band played live at least once in 2019. Last check: February 15, 2020

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Location: Tuscany (not sure the city)

Overview: A mix of 90s neo prog metal and 70s retro prog. Unusual band.

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Ornithos, Italy

News: There seems to be some movement in the Ornithos camp. No word of a new album just yet, but Facebook is starting to come alive, including the new band photo above. Nothing since April 2019 though. Last check: February 15, 2020

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Location: Umbria

Overview: Ornithos are a sextet that is culled from the excellent ensemble Il Bacio delle Medusa. Like many new progressive bands from Italy, Ornithos looks back to the classic 1973 era for inspiration.

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Architrave Indipendente, Italy ***Inactive***

News: It appears the band is no more, and they have no active internet presence as of January 2, 2017.

Location: Rutigliano, Puglia

Overview: Of all the retro Italian prog bands in existence today, perhaps Architrave Indipendente are the most accomplished - or at least the most authentic. Great care and research has gone into the creation of their debut album.

UMR notes