Does the 80/20 rule apply to the broad categorization of rock progressivo Italiono? We broadly define the sound as symphonic and often pastoral, with classical elements integrated, and I guess that does capture the vast majority of the bands coming at the time in the early 70s. But those edge cases are where the real gold lies, and Il Balletto di Bronzo, while carrying the general theme (as well as being a band that really had one or two albums tops before imploding) also turn the genre on its a head, being anguished and angular and heavy. Ys is not a comfortable album, I’m saying, and that tension is what makes it one of the classics of the space.

Ostensibly a concept album about the mythic French city of Ys, the album is divided into three parts, bookended by two massive epics, “Introduzione” and “Epilogo”. I can’t speak to the narrative or the lyrical qualities, but that’s never been what drew me to an album – any album, really – in the first place. ELP is a big touchpoint with Ys, with Gianni Leone’s keyboards very reminiscent of the power and fury Keith Emerson would put forth with his own band, a definite peer and influence to the prog world already at this point in 1971 when the album was constructed.

“Introduzione” lays out all the major melodic themes that will be expanded on in the remaining tracks, and while there’s a definite European classical form being leveraged here with the grand themes and interpolations, I think what really made (and makes) Il Balletto di Bronzo stand out from what was popular at the time was how much the rock aspect is emphasized. There’s menace in the melodies, and Leone’s vocals are more rock god than melodious crooner. The guitars are also very heavy, and the solo that hits halfway through the track from Lino Ajello shows a big jazz rock influence.

I see the adjective “harsh” get thrown around a lot describing Ys, but I think that’s more a reaction to the way it bumps against the established norms than truly being harsh – nothing sounds dissonant or out of place. It just rips, as the three parts amply demonstrate. “Primo Incontro” feels all solo, with rapid fire snare and organ giving a martial cadence to the track, a flowing Ajello’s guitar to either explore and reinforce with abandon. “Secondo Incontro” is even heavier despite the ethereal keyboards that support the verses. It opens with Leone’s rock and roll voice, bringing a ferocious grit, and the instrumental sections could be straight up hard rock if done a decade later. “Terzo Incontro” brings the jazz to the fore, and it’s here I’ll dole out the accolades to bassist Vito Manzari and drummer Giancarlo Stringa who show that, when called for, they can bring as deft and delicate a touch as anyone.

By the time of the 11-minute “Epilogo” Il Balletto di Bronzo have clearly shown that while other bands at the time were focusing heavy on the progressive aspects, they would more than handle the rock side of the equation. Ys is a challenging album when trying to reconcile what the rest of Italy was doing at the time, but put against the UK influences that were driving this new kind of music forward it makes much more sense. A healthy dose of ELP, the angularity and experimentalism of King Crimson, and touches of Yes to bring the melody together.

Also, just dig those boots that guy is wearing…