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10 Recommended Covers Songs

Tributing other bands through covers has been always a tradition in rock and pop music since the early years, and there have always been basically two ways to approach to it:

There are copy-cut bands who cover their favourite artist’s track making it sound exactly as it was and there are others who completely changes the song’s formula and make their own one. Personally i usually prefer the second category, which is sometimes also the same case of a band that covers an unexpected song from an artist we didn’t even image they could like.

In this list there are some of my absolute favourite covers ever, usually different versions of songs i already use to enjoy very much.

Chris Brokaw – Canaris (2008, CD) - Discogs

Chris Brokaw “Drink the Poetry of the Celtic Disciple (Vlad Tepes cover)” (2008 – original 1994)

Deconstucting and tributing an already existing musical piece may be a hard challenge sometimes and, above all, a non certain success, but this is for sure an impressive case.

Chris Brokaw is well known as the founder of cult band Codeine, a band that during 90’s contributed to create the foundamental elements that compose slowcore and early post-rock; as a solo artist he released different types of music from slowcore/indie rock to acoustic and experimental music. This cover is taken from his album Canaris and it is an acoustic guitar instrumental version of a long epic song by raw black metal band Vlad Tepes, an act part of Les Legiones Noires collective, which was a cricle of very underground  french dark ambient and raw black metal projects that released only limited demo tapes.

The original version is of course one of the most lo-fi things you could ever hear (and it’s the same for the rest of the demo where it comes from), but in the same time it shows a very impressive songwriting and use of melody taking inspiration from classic heavy metal and the most interesting black metal around at the time. The demo is also a very rare cult release for people into underground black metal, and it is a very good surprise to see someone apparently with a completely different musical background making a such interesting version.

The cover is basically the opposite of the original: minimal, soft, elegant, but even if it’s totally revolutioned, it preserve its mysterious and magic vibes showing a very impressive and beautiful take on a track that was already inspiring.

Green Day “Working Class Hero (John Lennon cover)” (2007 – original 1970)

Back in 2007 a John Lennon tribute album entitled Instant Karma: The Amnesty Internation Campaign to Save Darfur was released, with the goal of supporting the cause of the aforementioned Sudan’s region devasted by conflicts, poverty and lack of resources. A lot of very famous acts partecipated (U2, R.E.M., Christing Aguilera and Duran Duran are just a few names), providing several good tributes to Lennon; this version of Working Class Hero in particular has been considerably boosted by the band showing a very strong interest for the cause.

Beside their punk roots Green Day have never hided their passion for classic rock, by showing some strong influences in some albums such as American Idiot and 21st Century Breakdown and by playing various covers during their shows.

Working Class Hero is a difficult song to cover in a memorable way, on first because the original is played with just vocals and guitar and moreover because tons of famous artists have already covered it (Ozzy Osbourne and Marilyn Manson are just a few example), but beside that Green Day provided a massive and well crafted full band version of this classic, giving it even more passion and anger while showing also a strong respect and inspiration for the original version. There are some evident american folk vibes that are absolutely lovely and also the addition of some stunning lead guitar parts and solos that fits perfectly with the song. An excellent take on a classic.

√ Marc Ribot - SONGS OF RESISTANCE 1942-2018 - la recensione di Rockol.it

Marc Ribot & Tom Waits “Bella Ciao (Italian folk song cover)” (2018)

As an italian i can’t be more happy to listen to this cover of a folk song from my country played by two magnificent artists like Marc Ribot and Tom Waits together.

This is also a very particular and delicate chant since it has been created during the struggle between partisans and nazi-fascist oppressors in Italy; it is a song about freedom, love and it stands against the brutality and tyranny of fascism.

This fantastic duo re-interpreted this song adding some english verses and making a beautiful music video that shows images from american manifestations against Donald Trump’s recently ended government and his nationalist propaganda.

This version of the song is absolutely fantastic, with a strong emotional component and a very intimate vibe; the perfect soundtrack for a personal reflection about a certain type of modern politics, that even if have certainly left behind the atrocities of the past, sometimes still endangers the personal freedom of several communities through the weapon of ignorance.

This track is part of Marc Ribot’s album Songs of Resistance 1942-2018, which as the titles says, is a record composed by covers of protest songs.

The White Stripes - Hello Operator b/w Jolene (7")

The White Stripes “Jolene (Dolly Parton cover)” (2000 – original 1974)

Guitar player, singer and multi instrumentalist Jack White is certainly one of the greatest musicians active nowadays with its unique blend of blues rock inspirations and psychedelic explosions perfectly transposed in a modern rock context.

The White Stripes is probably the most famous of his bands and this cover, released by now more than 20 years ago, is still remembered as one of the highest live moments of the band’s shows.

This cover is actually pretty different from the original, especially beacue of a few choices that makes this version incredibly good, like the slower tempo change and the more melancholic and intimate mood that can be felt here. it’s also alwyas nice to see how Jack White’s style is influenced by american country (and of course the original version of the song was as well), without losing the ability of tranforming a very beautiful folk song into a rock ballad with a Led Zeppelin flavour. So, Mr White never disappoints, also his voice seems to be made for singing this song. Even if this cover has been originally released in 2000 as a b-side of the single Hello Operator, the live version released as a single in 2004 is probably more famous.

A Perfect Circle “Imagine (John Lennon cover)” (2004 – original 1971)

Yes, John Lennon again, and, spoiler, this is not even his last apparition on this list.

Well, i suppose we all know Imagine and it dosen’t need a particular introduction, i mean, maybe there are people living on this world that dosen’t, but it’s almost impossible to find them on a blog like this.

The main point that makes this cover so interesting is the overall atmosphere, which is completely opposite than the original version. I’m not only refering to the major chords transposed into minor chords, but to the fact that this is the perfect 30 years later counterpart of a song released in 1970 with a strong message of hope for humanity’s awareness on the evil made by war, diversity acceptance and the danger of the exploitation of our world. This version’s shows no hope, 30 years have passed and humanity is even worse compared to then, people are still doing the same brutal things and showing no respect for the others and for the world they live in. There’s also a very suggestive music video that shows all human’s cruelty and frivolity with many reflective and shocking images, most of them taken from real reportages.

Agape - Lantlôs - recensione

Lantlôs/Lìam “Merry Christmas Mr. Lawrence (Ryuchi Sakamoto cover)” (2012 – original 1983)

Like the Chris Brokaw case this is another cover that completely revolutioned the sound of the original, but since the Brokaw one was a guitar only version of a full band track, this is the opposite case (with piano instead of guitar).

From the homonime Nagisa Oshima movie (also known as Furyo), the original piece by Ryuchi Sakamoto is an incredibly beautiful and famous piano only track, written with the unique style of the multi awarded japanese composer, made of classical music references, japanese traditional music and contemporary composition. This cover have never been officially released, but only posted on Soundcloud back in 2012 (now it is available on YouTube only) and it is performed by members of both Lantlôs and Lìam. It’s incredible to see how certain beautiful melodies can perfectly arrive to the heart in the same emotional way, even if they are playd with a completely different style. Of course Markus Siegenhort and the others have an incredible taste in writing music and the heavy and slow post-rock of this musical piece has for sure an incredibly brethtaking impact. If you guys may ever read this article, please, consider to release this as an official single, it’s something the world definitely needs. Fantastic.

MEEKS - Beatless -Shoegazer Covers Of The Beatles- - Amazon.com Music

Meeks “Norwegian Wood (The Beatles cover)” (2013 – original 1965)

The Beatles’ music and shoegaze are not apparently two very distant universes, of course they are part of different periods, but they both have a certain songwriting sensitivity and come from the UK; even if this band, called Meeks, is actually a side project of members from Broken Little Sister from Yokohama, Japan.

Under this name, the ensemble have only released an album of The Beatles covers in shoegaze variant (entitled Beatless, as tribute to My Bloody Valentine’s Lovess already entirely covered on several compilations), which is par se a very original and interesting idea. The curiosity generated by the album’s idea is definitely worth to satisfy and all the 10 songs choosen by the band are perfectly re-arranged in a dreamy and ethereal way that fits so well to The Beatles’ classics.

Norwegian Wood is in particular one of the best episodes, preserving the psychedelic vibes of the original song, drowning the main melody in an ocean of reverbered guitars walls. It sounds like listening the actual song, but into a dream.

ULVER Childhood's End - Lost & Found From The Age Of Aquarius reviews

Ulver “Magic Hollow (The Beau Brummels cover)” (2012 – original 1967)

The norwegian experimental ensemble is certainly not new to covers; their version of Black Sabbath’s Solitude from their 2007 brillant album Shadow of the Sun is already a classic. But it’s with their 2012 album Childhood’s End entirely composed of covers that they have reached their best.

The record contains only songs from the 60’s psychedelic rock period and beside this stunning version of The Beau Brummels’ Magic Hollow, there are also other tributes of amazing bands such as 13th Floor Elevator, Electric Prunes, The Byrds and many more. Every song is played with the band’s own style and the whole album is an absolutely recommended experience.

Sticking to this cover in particular that’s incredible how the folk vibes and the intensity of such beautiful melodies are completely preserved even if reproposed in a modern context. Kristoffer Rygg’s vocals are so intense and the overall mood is absolutely magic and mysterious; after all the original version was already an incredible piece of music and Ulver is an amazing band, it seems to be the perfect formula for an excellent result.

Nadja “No Cure for the Lonely (Swans cover)” (2009 – original 1992)

Like the case of Ulver and Meeks this is another song taken from an album entirely made of covers. This time the band is Nadja, true experimental drone/fuzzy rock masters from Canada and then relocated to Germany, with an interesting album made of very bizzare choices revolutioned in their personal style; My Bloody Valentine, The Cure, Codeine Slayer and Elliot Smith are just some example of the tributes you’ll find on When i See the Sun Always Shines on TV. The Swans song i picked up is one of my favourite songs ever, so it’s been pretty natural to me to think about it when the idea of a cover list came to my mind, but i have to admit that there are several equally interesting others off this record i could pick up. Here Nadja explores their most heavy, fuzzy and sludgy side, that on this song is also fused with some very intense ethereal and dreamy vibes, creating a super massive guitar wall of sounds enriched by reverbered chants, melodic ambient loops and a slow repetitive drum machine pattern.

The original version is a brief beautiful song with just vocals and acoustic guitars, one of the highest points of Michael Gira’s poetry, and indeed i’ll never understand why it’s been used as a bonus track only present on some versions of Love of Life. This is a pretty good example of a song revolutioned with a completely different approach that mantains its emotional mood. it’s also actually surprising to see Nadja choosing this song in particular from Swans’ discography, since there’s plenty of songs that are already pretty close to their noisy style, but they probably wanted to be more creative and definitely did the right choice. There is also a live version of this cover from the previously released live album Trembled (2006), which is even more ethereal and intense.

Bosse De Nage / Deafheaven - Split - Vinyl LP - 2012 - US - Original | HHV

Deafheaven “Punk Rock/Cody (Mogwai cover)” (2012 – original 1999)

I have to admit i usually dislike a lot metal versions of non metal songs. Using abrasive distorted guitars and harsh vocals on classic or soft songs makes really no sense to me, and i’ll never understand why it is so common among metal bands, but this is one of the cases where i really enjoyed the operation.

Of course this is a sort of anomalous case, since Deafheaven is already a very borderline band with a style made of many different genres where metal is just one of them and their music is also probably closer to Mogwai than any traditional metal band around.

Indeed the use of guitars is definitely heavy but in a very shoegaze-y way, with a super intense loud tone and powerful noisy distortions, there are also piano, post-rock liquid arpeggios and effected loops, making screams the probably only metal element of the song.

This is actually a cover of two songs, respectively the intro and the first full track from Mogwai’s 1997 masterpiece Come on Die Young. On Punk Rock Deafheaven replaced the spoken word from Iggy Pop’s interview with William Faulkner’s nobel price aceptance while on Cody, that was a very calm song with tender vocals, they added distortions, powerful drumming and screams, but maintained perfecly the melancholic aura of the musical piece. After a short interlude with piano, clean guitar and shrieks in the background, the song explodes into an extremely emotional ending, with violent blast beats and post-rock tremolo euphoria. Even if covering any song from a masterpiece like Come on Die Young is a hard operation, Deafheaven definitely did it in the best way possible, creating an incredibly beautiful tribute, full of desperate sadness, deeply emotions and outstanding atmospheres. Impressive.

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10 Amazing Italian Progressive Rock Albums

Back in late 60’s/early 70’s progressive rock has been a real cultural and artistic revolution and it worldwide influenced bands and artists to make very inspired music with the intention of expand what rock had created till then. Of course we all (i suppose) know the bigger british names like King Crimson, Genesis or Jethro Tull, bands that created solid basis for the genre; but there are also tons of less known bands and scenes all over the world, and in particular in Europe, that have given a strong contibution to the movement. There is Zehul in France (Magma, Zao, Weidorje), Krautrock in Germany (Amon Düül II, Tangerine Dream), the Canterbury Scene (Caravan, Gong, Camel), and the Italian scene: one of the most inspired, prolific and worlwide acclaimed of the entire period.

While USA and UK were experimenting new hallucinating and trippy experiences with psychedelic rock during mid 60’s (which is the direct precursor of progressive rock), Italy remained pretty indifferent to the trend since almost every band was still into beat, with the almost unique exeption of Le Stelle Di Mario Schifano and their sole album Dedicato a (1967), which is a real crazy psychedelic experience “made in Italy”. That’s why the italian prog scene evolved mostly from beat rather than psychedelic rock, sometimes showing some very tender and pop-esque moments, but without forgetting some incredibly weird and dark tunes typical of progressive rock with also many recalls of italian/mediterrean traditional music.

Italian prog season had its higher moments between 1970 and 1975, producing many impressive and incredibly inspired records that still preserves their magic today, after that short period punk had already changed the way of making rock music bringing back simplicity and killing the intricated structures of progressive rock.

This list is of course minimal, and there’s a lot of great stuff from the italian season that remained excluded, it is basically a gathering of some of my favourite ones (but absolutely not the only) according to my personal taste.

Franco Battiato – Pollution – Rock ed elettronica combinati alla perfezione.

Franco Battiato “Pollution” (1972)

Let’s start with a pretty experimental album with a strong dose of electronic music, but probably the most close to a canonic idea of progressive rock from Battiato’s discography. Franco Battiato is currently one of the most acclaimed songwriters in Italy, mostly known for his successful pop songs made during the 80’s, his love for exotic music and philosophy, and for his very eclectic personality that makes him one of the most genuine and creative artists of Italy.

His progressive period includes three records: Fetus (1972), Pollution (1972) (the more rock) and Sulle Corde di Aries (1973) (the more acclaimed and inspired according to critical reception), then there’s a more experimental period followed by a pop/new wave one during best part of the 80’s and then by tons of other records of different genres released from then till today.

This work is a concept album based on pollution, and it is a very particular journey made of unique sounds that evocates exotic and spacey vibes; there’s a very solid rhythmic section of bass and drums that gives a very enthralling touch to the music in particular on the songs Areknames (where there’s also a very distinctive harmonisation of distorted guitars) and Beta. The main ingredient is obviously still Battiato’s EMS VCS3 with its hypnotic sound, very distinctive for most of his experimental works, that here creates an incredibly entrancing atmosphere especially when mixed with the sinister guitars of Plancton. Among effects, samples, classical music references and Kafka inspired monologues, the album continues and ends, leaving the listener a bit confused, but certainly impressed.

Inferno: Metamorfosi: Amazon.it: Musica

Metamorfosi “Inferno” (1973)

Progressive rock is one of the very rare episodes in rock’s music universe where guitars are not predominant or in some cases even absent; this happens in UK with the giants Emerson, Lake and Palmer as the bigger example, but also in Italy with some cases that includes this album.

Metamorfosi is a band from Rome and this album is their second full-length. The concept is a modern re-interpretation of Dante’s Commedia first chapter based hell, indeed on the musical side the atmospheres does an excellent work of evocation, bringing some definitely “infernal” keyboards/synth sounds that may be perfect as soundtrack while crossing the Acheron. As said in the introduction that’s very surprising how a record with almost no guitars at all could bring such sinister atmosphere and how much could be solid, enthralling and intense.

There’s a lot of epicness in the vocal parts and a lot of melody on the lead key’s lines, elements that alongside a use of not extremely technical passages, contribute to give a very immediate and distinctive impact on the listener. Definitely one of the most memorable it-prog records.

√ Alan Sorrenti - ARIA - la recensione di Rockol.it

Alan Sorrenti “Aria” (1972)

Even if he’s most known in Italy as a disco pop singer for some very famous singles released at end of 70’s, the songwriter Alan Sorrenti started his carreer creating some of the most evocative, experimental and weird tunes of the italian prog rock season; His first record Aria is a real jewel absolutely worth to listen.

Permeated by a unique magical atmosphere the album should be intended as a meditative and dream-like journey; it is opened by a dark long suite (Aria) characterized by an impressive and crazy vocal performance developed on a very weird, but yet emotional, musical tapestry with melancholic violin and piano melodies, accompanied by dark folk acoustic guitars and enthralling bass lines enriched by experimental sounds here and there (you can hear synths, effects and even trumpets). With a length of 20 minutes this first side is absolutely unmissable and it is one of the most beautiful and intense things you could hear in 70’s rock in general. Withe the following Un Fiume Tranquillo, Sorrenti continues with dark melancholic folk tunes in a very intimate and meditative form, offering another amazing breathaking song, with melodies and sounds that seems coming from another dimension.

The last two tracks of the album brings some more lighter vibes, but still in a very weird and unique way, confirming this record as an incredible masterpiece absolutely recommended.

Il Balletto Di Bronzo – Ys (1992, CD) - Discogs

Balletto di Bronzo “YS” (1972)

Here we go with another uniqe masterpiece that sounds like nothing else: very dark, atmospheric, hypnotic and cosmic, YS is without any doubt one of the highest points of italian progressive rock.

Balletto di Bronzo was formed in Naples at the end of 60’s as a beat band, but it’s with the addition of the talented keyboardist/vocalist Gianni Leone that things completely changes in a revolutionary way; music becomes heavy, space rock oriented and mesmerizing, confirming YS (second album and only one with this style) as pure progressive perfection.

Gianni Leone’s approach to keyboards is absolutely unique and impressive, alternating different sounds and tones and intersecting them perfectly with powerful bass lines and some very acid guitar distortions, mixing sinister sections with pure heavy rock explosions and almost sci-fi effected sounds. YS is a peculiar trip that sounds like a nightmare where you are trapped through the deep darkness of space with no idea of how to come back. Absolutely amazing.

Arbeit Macht Frei" - Area - Artovercovers

Area “Arbeit Macht Frei” (1973)

One of the most interesting, original and acclaimed rock bands coming from Italy, known for their absolutely unique approach to music; Arbeit Macht Frei is their debut album, considered by best part of the critics not only their best one, but a foundamental block of the whole italian progressive rock season.

The album starts with a female spoken word in arabic recorded in Cairo, Egypt by the band’s drummer Giulio Capiozzo and used as intro of the song Luglio, Agosto, Settembre (Nero); a wonderful track that later evolves in a fantastic table composed of prog rock, jazz, fusion, Soft Machine-esque recalls and a huge variety of mediterrean musical reference from north african music to greek, balkan and obviously italian folk. The album indeed sounds like a magic voyage made of different places and cultures, which is a sort of trademark of Area’s music, also able to push with no limits jazz and avant-garde contaminations played with an incredible sensible approach to the instruments (listen to Arbeit Macht Frei if you want to drown in an ocean of fantastic sax and drums solo expolosions with wonderful organ and guitar melodies). The music is composed by keyboard player Patrizio Fariselli and it is definitely close to perfection especially because it’s performed and often improvised by extraordinary musicians.

Lastly it’s impossible to talk about Area without tributing the singer Demetrio Stratos (died at 34 in 1979), an artist that have become a strong influence all over the world among experimental musicians for his impressive vocal work reached with unique studies on human’s vocal range and singing tecnhiques.

Jumbo – DNA (2006, Gatefold, Vinyl) - Discogs

Jumbo “DNA” (1972)

Formed in Milan in 1969, Jumbo is one of the most interesting bands part of the italian progressive rock movement and this album with the following Vietato ai Minori di 18 Anni (1973) rappresent the peaks of inspiration of their career.

Opened by a long 20 minutes suite on the side A (the wonderful Suite per il Signor K.), this record is a perfect mix of pure hard rock with even blues/country references (especially on the scratchy vocal work and some guitar parts), very impressive flute driven progressive rock parts (needless to say a big Jethro Tull influence can be heard) and baroque sections with piano and acoustic guitar.

DNA is the perfect example of an album that results incredibly cohesive and well crafted mostly because of the band’s great ability of playing and composing music together, perceptible through the ability of assembling different lines and sections to build an incredibly convincing blend.

Here there’s basically the best of italian prog rock: from classical music inspired and acoustic instrumental sections to very heavy guitar driven parts and many emotional melodic moments leaded by piano and guitar; but there’s even a very strong dose of originality, i mean, how many other bands have mixed epic italian hard prog with blues and country out there?

Music Tips: Premiata Forneria Marconi – Storia di un Minuto | 1977

PFM “Storia di un Minuto” (1972)

Certainly the most famous italian progressive rock band and probably the most famous album of the period. PFM (short name version of the complete Premiata Forneria Marconi)  have reached an extraordinary success, way bigger compared to all the other bands, that brought them into international music festivals and music charts and let them survive to the punk period.

This is their debut album and it’s a great lesson of progressive made in the italian way; on first production is absolutely perfect for the years and sounds like a very well recorded and mixed album still today, on second it is an absolutely great record, but i guess this last part was quite obvious.

PFM is able to offer introspective italian 70’s pop inspired moments (Impressioni di Settembre, La Carrozza di Hans), enthralling folk-like tracks (È Festa), hard prog euphoria (La Carrozza di Hans) and even medieval/baroque compositions that reminds the masters of the Canterbury Scene (Dove… Quando). This album shows an almost perfect approach to songwriting and musical execution and La Carrozza di Hans is probably the highest moment, showing very technical but yet emotional classical and electric guitar compositions with magnificent violin and organ solo moments. This formula is also repeated in a very well crafted way on the following album Per Un Amico (1972) recommended as well.

Alphataurus – Alphataurus (1994, CD) - Discogs

Alphataurus “Alphataurus” (1973)

Alphataurus emerges apparently from nowhere back in early 70’s, just time to release this wonderful LP and then completely disappearing the same year (and come back around 20 years later). This is an epic journey and it can be imagined already from the fantastic cover art, very sci-fi-esque, there are synth driven parts that reminds a bit Emerson, Lake and Palmer (Dopo L’Uragano, La Mente Vola) and some more melodic rock tunes (Peccato d’Orgoglio).

There’s a lot of atmosphere here, and very singular soundscapes emerge from the melodies generated by the band’s keys and synths, the song La Mente Vola is probably one of the highest points of the entire record with its unique mysteriousness. Impressive.

Banco Del Mutuo Soccorso – Banco Del Mutuo Soccorso (Vinile Colorato) – Sky  Stone and Songs

Banco Del Mutuo Soccorso “BMS” (1972)

One of the most iconic records from the period released by a legendary band as its first album ever. Everyone interested in italian prog knows and appreciates this, and it is one of the most original, emotionally intense and unmissable albums of that time.

Banco del Mutuo Soccorso is from Rome and beside the incredible and very original voice of Francesco Di Giacomo (1947-2014) the band is known for its very rich compositions made by founder and pianist Vittorio Noncenzi accompanied by his brother Gianni at the keyboards (who played in the band until mid 80’s, when whom role will be replaced by various second guitarist); so, “very extensive male vocals and piano and keyboards played simultaneously with a classical music touch” makes the Banco formula interesting without even listening their music, that omn this record offers an absolutely unique experience.

Opened by an epic spoken word evolving on a melancholic tapestry with flute and guitar the album already shows a strong personality on the first proper track RIP with a very catchy guitar riff accompanied by an enthralling piano section that marks the first part of the song that later evolves into a melancholic section that then becomes pure explosive epicness. Melancholy and epicness seems to be the more appropriated terms to describe the music on several sections of the album always marked by Vittorio Noncenzi’s piano and its unique musical sensibility. There’s also time for weird and dark moments (Il Giardino del Mago) and pure experimentation (Metamorfosi).

BTF.IT >> De De Lind Io non so da dove vengo... - Btf Shop

De De Lind “Io Non So da Dove Vengo e Non So Dove Mai Andrò. Uomo è il Nome che Mi Han Dato” (1972)

Another hidden gem from the italian prog period is the only album released by this obscure band named after a model. Formed in 1967 in the Varesotto area near Milan (where they have later relocated) as a beat band, they’ve then completely evolved their sound with progressive and hard rock contaminations and released this very particular record back in 1972.

The music is very close to the big compatriots bands of the genre such as Banco Del Mutuo Soccorso and PFM, and obviously english titans such as Gentle Giant and Jethro Tull (it’s impossible to not think of My God when listening to the flute solo part on Paura del Niente).  differently than most of the albums from the period, the band here has a lot of guitars, also played with a good distortion tone (not so obvious for the time), moreover the vocal work should be definitely mentioned, with its mellow and tender melodic pop (with even folk recalls) vibes. There are also many excellent parts of acoustic guitars and flute that makes this album a really interesting journey made of ancient memories from the early times of man, alternating contemplative parts, heavy explosions and suspensful sections.

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10 Records with Giuseppe Emanuele Frisone (ITA / ENG)

Heliogabalus

First article from this new format which consist in 10 influential/important records lists made by guests.

This time is the turn of vocalist and songwriter Giuseppe Emanuele Frisone, also known as Heliogabalus or G.E.F., known among the italian underground to be mastermind of several projects with a very strong and particular conceptual imaginery, which is a trademark of his musical creations and artistic awareness.

If you don’t know his bands i can’t forget to mention Thecodontion and their pretty good album Supercontinent released last summer, which is a very original and unique project with a concept based on prehistoric geology, palenthology and jurassic creatures; and i don’t even already mentioned the musical side, which is extreme metal with only bass and drums and no guitars at all, with a few strong and inspiring atmospheric passages (i don’t remember to have ever heard bass guitars to sound so spacey and melodic).

In this list you’ll find 10 Records that had a particular significance on him both as artist and as person, that, mentioning his words, don’t necessarily correspond with his absolute favourite records of all time.

A last thing to add about this article is the fact that i was initially planning to write it in Italian (my first language), but since this artist is making music for an international audience, i will keep both italian and english versions; next times for personalities known in Italy only i will probably keep the whole article in italian.

Patriots - Franco Battiato Tracklist, Copertina, Canzoni

Franco Battiato “Patriots” (1980)

Ho sempre amato Franco Battiato e i suoi brani li ricollego alla mia infanzia e ai viaggi per andare dai parenti. Di lui mi piace sia il periodo sperimentale sia quello più pop, ma ho scelto in particolare l’album Patriots perché è pieno di citazioni e riferimenti a posti reali, fatti storici, elementi culturali, e penso che questa cosa mi abbia influenzato particolarmente. Oltretutto pur essendo un disco già del periodo pop l’ho sempre trovato molto sperimentale e innovativo.

I’ve always loved Franco Battiato and i usually link his songs to my childhood and the travels i used to do to reach my relatives in that period. I like both experimental and pop period from Battiato, but i’ve chose the album Patriots in particular beacuse it’s full of quotes and reference of real places, historical events and cultural elements; i think this component influences me in a solid way. Moreover, even if this record is already part of his pop period, i’ve always considered it a very experimental and innovative album.

Non Al Denaro Non All'Amore Ne Al Cielo: De Andre' Fabrizio: Amazon.it:  Musica

Fabrizio De André “Non al Denaro Non All’Amore Nè al Cielo” (1971)

Per De André vale un po’ lo stesso discorso fatto per Battiato, dal momento che anche lui lo collego alla mia infanzia. Scelgo Non Al Denaro Non All’Amore Nè Al Cielo perché contiene le canzoni di De André che mi sono rimaste più impresse e in cui secondo me la sua espressività narrativa è al culmine.

For De André is basically the same of Battiato, since i link him as well to my childhood. I’ve chosen the album Non Al Denaro Non All’Amore Nè Al Cielo because it contains his songs that have been stucked with me the most; i also consider them the highest point of his narrative expression.

Hammerheart: Bathory, Bathory: Amazon.it: Musica

Bathory “Hammerheart” (1990)

Hammerheart è il disco che mi ha fatto capire che amo il metal, mi ha sempre fatto emozionare come un bambino e ricordo ancora oggi la prima volta che l’ho ascoltato. Da quel momento ho anche avuto una fascinazione per i vichinghi che negli anni è andata un po’ scemando, ma nonostante questo riesce sempre ad esercitare la stessa magia su di me.

Hammerheart is the album that made me realize i love metal, it has always been able to move me like a child and i still remember the first time i’ve listened to it. Since that moment i also started to have a fascination for vikings, which has been fading through the years, but beside that i still always feel the same magic.

Sonic Youth - Dirty Lyrics and Tracklist | Genius

Sonic Youth “Dirty” (1992)

Ho conosciuto i Sonic Youth dopo i 20 anni, quindi non ero proprio piccolissimo. Con Dirty mi si è aperto un mondo, perché è stato il primo disco dei Sonic Youth che ho ascoltato e da lì sono diventati rapidamente una delle mie band preferite. Tra l’altro su Dirty c’è Theresa’s Sound World che è praticamente un brano antesignano del post-black metal (e sì, è del 1992) e questa cosa mi ha sempre affascinato.

I’ve discovered Sonic Youth after i turned 20, so i wasn’t that young. Dirty was the first album from them i’ve ever listened, it really blew my mind and they started to become fastly one of my favourite bands. Among other things on this record there’s the song Theresa’s Sound World which is basically a precursor track of the post-black metal genre (yes, it’s from 1992) and i’ve always been fascinated by this fact.

Outre | PORTAL | Profound Lore Records

Portal “Outre” (2007)

Quando ho iniziato ad ascoltare metal estremo, amavo il black metal ma non il death metal. Se oggi ho cambiato idea una buona parte del merito è di Outre dei Portal, perché mi ha offerto un’idea differente su come concepire il genere. Da lì in poi ho riapprofondito il genere e sono riuscito a capirne meglio le fondamenta, tanto che oggi preferisco il death al black metal.

When i initially started to get into extreme metal, i was in love with black metal, but not with death metal. If today i’ve changed my perspectives it’s because of Outre by Portal, that gaves me a different approach to the genre. Since then i started to get more into it and i started to understand its form of expression, so much that now i prefer death metal than black metal.

Treasure // Cocteau Twins | Copertina, Musicale, Musica

Cocteau Twins “Treasure” (1984)

Quando ho ascoltato per la prima volta i Cocteau Twins mi sono innamorato della voce della cantante Elisabeth Fraser e delle loro atmosfere eteree. Sono stati loro a dare il la per farmi conoscere meglio il dreampop e lo shoegaze, proprio con Treasure.

When i’ve listened for the first time to Cocteau Twins i immediately fell in love with Elisabeth Fraser’s voice and their ethereal atmospheres. It’s because of them and their album Treasure that i started to know more about the dream pop and shoegaze genres.

Primus – Pork Soda Lyrics | Genius Lyrics

Primus “Pork Soda” (1993)

Come strumento mi ha sempre affascinato il basso. Quando ho ascoltato i Primus per la prima volta non avevo mai sentito il basso venire utilizzato in questo modo, con un ruolo così da protagonista. Ma non è tutto qui perché Pork soda mi ha saputo trascinare con le sue canzoni che ho sempre avvertito come strane, diverse in tutto e per tutto.

I’ve always been fascinated by bass guitar. When i’ve listened to Primus for the first time i had never heard before a bass guitar used in such a lead way. But there’s more, since Pork Soda has been able to fascinate me with its songs that i’ve always considered weird and different than everything else.

Ved Buens Ende – Written In Waters | Black Metal Ist Krieg

Ved Buens Ende “Written in Waters” (1995)

Sin dai miei primi approcci con il black metal mi piaceva l’idea di andare oltre, di capire se un genere così estremo ed oltranzista potesse essere fuso con altri elementi. Written in waters è stata la prima risposta che ho ricevuto, che mi ha fatto avvicinare al cosiddetto avantgarde black metal, con le sue forti venature progressive amalgamate con la violenza del black metal.

Since my first approaches with the black metal genre i was fascinated by the idea of going over and mixing such an extreme and uncompromising genre with diverse musical elements. Written in Waters has been my first answer regarding that and it started to drag me into the so called avantgarde black metal, with its strong progressive vibes perfectly merged into the brutality of black metal.

Big Black - Songs About Fucking (1987, Vinyl) | Discogs

Big Black “Songs About Fucking” (1987)

Discorso simile a quanto fatto per i Sonic Youth. Ho conosciuto le varie band di Steve Albini solo negli ultimi dieci anni, e tra queste i Big Black mi sono rimasti impressi soprattutto per Songs About Fucking. Mi ha stupito il connubio di noise e punk e le tracce intrise di nichilismo fino al midollo, insieme a un’interpretazione singolare di The Model dei Kraftwerk.

With Big Black my approach has been similiar to Sonic Youth. I’ve discovered Steve Albini’s bands only during the last ten years, and among them, Big Black impressed me in particular with their album Songs About Fucking. I was astonished to hear this mix of noise and punk and this tracks totally steeped in nihilism, there’s also a very singular interpretation of The Model originally by Kraftwerk.

Behemoth - Demigod (2004, CD) | Discogs

Behemoth “Demigod” (2004)

Non ascolto più i Behemoth da diversi anni, ma con Demigod c’è stato il mio primo incontro con il metal estremo. All’epoca non ritenevo possibile che potesse esistere della musica così “malvagia”. Questo mi sconvolse e mi mise quasi paura ma al tempo stesso anche fascino: fu proprio da quel momento che decisi di approfondire quel tipo di musica, per cui a distanza di anni rimane un album indimenticabile.

It’s several years i haven’t listened to Behemoth now, but with Demigod i got in touch for the first with extreme metal. At the time for me was impossible that such “evil” music could exist. This shocked me and i was almost scared, but fascinated at the same time: It was in that moment that i’ve decided to get more into this type of music, for this reason after many years this is still an unforgettable record.