5 Italian Disco and Electronic Albums to (Re) Discover in 2025.

Though released between the late 70s and the early 80s, these records deserve to be un-forgotten.

Many people mistake Italian Disco Stories or the Disco Bambino Instagram account for little nostalgia ecosystems for those who like to seek refuge in bygone times or feel incompatible with today’s entertainment culture. But this isn’t true, and mainly for two reasons. In the first place, the late '70s and early '80s were not without problems of all kinds—political, social, and so many forms of crime, injustice, and abuse. Of course, we all have a tendency to escape today’s horrors, but we usually look at a highly filtered or partial version of those beloved so-called disco years. Secondly, with the work Angelica and I do, we aim to celebrate human genius and creativity, especially when faced with certain limitations. We feel the disco era was so unique and inspiring because artists tried to create the unattainable with very limited means, whether it was the technology available or the knowledge they had at the time.

Having said that, this year we will try to be consistent by suggesting, every month, Italian records that have fallen through the cracks of time or didn’t get the national or international recognition they deserved when they were released sometime between the mid-’70s and the mid-’80s. There’s no specific genre criteria, except that they are all Italian productions or move freely in that disco-electronic musical spectrum we love so much. They might be single tracks or full albums—there’s no rule—but we hope you like them. So let’s start with the first list to kick off 2025, and don’t forget to let us know what you think!

PAULIN

Flavio Paulin

1979

A shock and a flop, Paulin was a truly visionary–albeit misunderstood– album when it was released in 1978. Its creator is Flavio Paulin, Trieste-born songwriter and musician known for his brief stint as the lead singer of Cugini di Campagna, a popular Italian pop band that rose to popularity for the mix of glam rock-inspired style and languid romance-driven songs. After leaving the group in the late 1970s, Paulin transitioned into more experimental and electronic music.

In 1979, he released a groundbreaking but largely overlooked album titled Paulin, which showcased his departure from traditional pop structures in favor of synthesized sounds and futuristic themes. The album was heavily inspired by the krautrock movement and pioneering electronic acts like Kraftwerk who were producing music that sounded drastically different from everything else, mostly using self-made synths.

Thankfully, the album's significance has grown over time, with its (at times prophetic) themes of dystopian futures and advanced electronic experimentation influencing underground music scenes and gaining recognition among collectors of early electronic music. For the production of the album, Paulin collaborated with notable figures in Italian electronic music, such as Mario Maggi, the inventor of the Synthex synthesizer, to create custom sequencers and unique sounds for his work. His contributions to the evolution of Italian pop and electronic music have been retrospectively celebrated, even though his work was under appreciated during his career.

A notable mention needs to be made for Patty Pravo’s version of Paulin’s New York for her “Munich Album”, and young Lorella Pescerelli, who brought an Italian version of the track to Sanremo Festival, that same year, both versions with stellar electric arrangements.

BRIVIDO DIVINO

Donatella Rettore

1979

Beyond any doubt one of the greatest albums in the history of Italian music: with Brivido Divino,Rettore has builther career on her bold and flamboyant persona; she has been a trailblazer in the Italian music scene, blending pop, rock, and new wave elements with a touch of glam and punk, and has been a precursor on many levels of international divas.

Released in 1979, Brivido Divino, is Rettore’s third album, but her first with a newborn artistic identity. Up until that time, Donatella had experimented with folk pop tinged compositions, often about political and social issues. With its signature hybrid of disco, rock and pop, the album shocked the audience mainly because Donatella sings in the masculine genre, something that had never been done before by any other singer before. The disco-driven lead single “Splendido Splendente”is a satirical and provocative commentary on society's obsession with beauty, youth, and perfection, celebrating cosmetic and gender reassignment surgery.

Notable tracks include the funky opening stomper “Divino Divina”, the magnificent disco rock “Eroe”, the masochistic love celebrating “La Mia Più Bella Canzone D’Amore” and dreamy “Il Mimo”.

ATOMIC

The Rockets

1982

The French band formed in 1974 but relocated in Italy at the end of the decade because of the enthusiastic commercial response. In fact, it feels like the band is more Italian than French, especially when we listen to their 1982 Atomic album, which for us, triggered that transformation for Italo disco, from experimental to commercial.

The album represents a further refinement of the band’s futuristic and electronic sound that they had started in the mid 70s. By this point, the Rockets had solidified their identity as pioneers of space-themed music, combining synth-pop, disco, and rock with their characteristic sci-fi aesthetic. Atomic continued their tradition of exploring technological and cosmic themes, featuring heavily synthesized tracks and robotic vocals that evoked an atmosphere of both awe and dystopia. The album’s production leaned into the cutting-edge electronic styles of the early '80s, with extensive use of vocoders, drum machines, and layered synthesizers, reflecting the influence of bands like Kraftwerk and the burgeoning Italo-disco scene.

Thematically, Atomic delves into humanity’s relationship with progress and the future, with songs like “Atomic" and "Radio Station" capturing the tension between innovation and alienation. Italian audiences embraced their theatrical performances, futuristic imagery, and the accessible pop sensibilities of tracks like "Future Game" and "Some Other Place, Some Other Time". While Atomic maintained the band’s core space-age aesthetic, it also reflected a subtle shift towards a more mainstream electronic pop sound, bridging their experimental roots with a broader commercial appeal. This balance of innovation and accessibility cemented Atomic as a noteworthy entry in the Rockets' discography and a cult favorite among fans of early electronic music.

JOAN LUI

Adriano Celentano

1985

Adriano Celentano’s album Joan Lui, released in 1985, marked a bold and unconventional departure for the iconic Italian singer-songwriter. Known primarily for his blend of rock 'n' roll, pop, and blues influences, Celentano surprised audiences with this album, which served as the soundtrack for his ambitious, self-directed musical film Joan Lui - Ma un giorno nel paese arrivo io di lunedì, in which portrays a Jesus-like figure, who arrives in a corrupt and decadent world to deliver a message of redemption and justice.

The album is an experimental fusion of genres, incorporating elements of synth-driven pop, electronic sounds, and orchestral arrangement all converging in an Italo disco vortex that is innovative and infectious. This was not the first time for Celentano to push his musical genre boundaries through the use of soundtracks. We will explore further with a dedicated article in the future.

Thematically, Joan Lui explores existential and prophetic ideas, touching on morality, humanity’s relationship with faith, and the consequences of modern societal decay. Tracks like "L’uomo perfetto" and "La luce del sole" showcase a complex soundscape, blending dramatic crescendos with introspective melodies. While some fans were captivated by its ambition and depth, others found it challenging to reconcile with his earlier work.

ARISTOCRATICA

Matia Bazar

1983

This is one of the most sophisticated and forward-thinking records ever produced by an Italian band. If you think Maneskin promoted an “international sound” , just listen to tArtistocratica, produced by Roberto Colombo forty-ish years before Maneskin ever received international acclaim. The album blends synth-pop, new wave, and avant-garde influences, creating an atmospheric soundscape over which Antonella Ruggiero’s hauntingly expressive vocals soars high.

Aristocratica is more than just an album—it is a statement of artistic ambition also thanks to the contribution of artist and designer Cinzia Ruggieri, known for her postmodern and surreal garments. Ruggieri designed the costumes that the band wears on the cover of the album and directed the video of the album title track. While maintaining the elegance and melodic charm that defined Matia Bazar, the album also delves into experimental territory, influenced by the broader European new wave movement. Aristocratica remains a standout work, both for its technical brilliance and its ability to balance accessibility with boundary-pushing creativity.