Arpia was born in February 1984 with components that haven't since than changed: Leonardo Bonetti - voice, bass guitar, synth; Fabio Brait - guitar; Aldo Orazi - drums. Since from the dawn of the band's experience it has been possible to retrace a common factor being above all in the will to break with the narrow schemes and the dominating asset in contemporary music. This meant terroristic action against the ruling and very solid clichï¿½s of a rustless institutional and cultural apparatus. In fact, right from the name (Arpia means Harpy, the mythological figure described by poets with the face of a woman and the body of a bird that used to defecated on the sailor's meals), the very first expressions of Arpia have been characterized in opposition and in reaction to an enviroment and an atmosphere to precise and significant models of a philosophy, not only of art but also of existance. Arpia has addressed to a recover of the national as well as western world modern roots, identified in 19th century litterature in an attempt to blend together lyrical and musical aspects. Already in 1985 Arpia began to experiment, even in concerts, forms of aesthetic contaminations envolving mimes and actors in a project that was to be more than a traditional musical performance headed towrds theatrical research. After two years of work in this direction, in 1987 finally de lusioni is recordered being a result of the first compositive phase, as a product nurished by an existentialist philosophy and by a tragic and vivid vision of the world. In this sense and in apparent contradiction, Ambigo with its insisting positive and creative contents of doubt and contradiction is the piece that better than others represent the link between the first and the second phase: between de lusioni and Resurrezione e Metamorfosi a suite recordered in '88 with a duration of 40 mins. In this work, that pictures a moment of crisis and transition towards a clearer and more painful realistic sensitivity, one can notice a melting and flaking off of forms both from a musical and linguistic point of view. In the wakeming of the rythmic junctures, in the syntactic clashes, in the unravelling and juxtapositions of the melodic phases, one can catch an evident explosion of the traditional harmonic structure. The relationship between various arts becomes there fore tighter because of the typically nineteenth-century similarities leading the group to develop with more emphasis the theatrical aspect already undertaken. The result of this work was a performance called Metamorfosi (Metamorphosis) that had a good response from the public. But the experimentation undertaken by the band lead it to the creation of an original dearly dramatic text with a musical support having an acustic mainstay. Unforunately this work has not yet been ultimated for the evident problems in the organization of its exposition, but it was already a distinct and definitive figure: its title is Oniro. In the two following years, that is, the ones before the last work on cassette Bianco Zero , Arpia has drifted its attention, with more and more energy, to the richer aspects and more problematic consequences of reality from which the more recent production is planted. And in fact the latest evolution of the band sees a renewed demension in the way of structuring the shows that lose most of its mainly theatrical aspect to gain sharper body in what is a comunicative tension; the sounds change considerably with the introduction of the keyboard and lead to the last trades recordered on 7" in september 1992. The names of this tracks are Ragazzo Rosso and Idolo e Crine , compositions that belong to a development that is in course at the moment and that are giving an important response of critic and public.