PANGEA E LE TRE LUNE

I've just returned from Genoa after going to see the album launch of PANGEA E LE TRE LUNE by Il Cerchio d'Oro, opening for Balletto di Bronzo who were presenting their first new album for 51 years, LEMURES, with limited edition copies of both new LPs in my cotton record bag. PANGEA E LE TRE LUNE is the fourth and last in a sequence of albums representing each of the basic elements water (IL VIAGGIO DI COLOMBO), air (DEDALO E ICARO), fire (IL FUOCO SOTTO LA CENERE) and earth and whereas its immediate predecessor was a collection of disparate songs which all concerned a different meaning of 'fire', PANGEA E LE TRE LUNE is a return to the linear narrative style of the first two albums in the sequence, following an imaginary creation story written by the band's long-term lyricist Pino Paolino where Earth (Pangea) is transformed from a flaming ball of gas to a green planet full of life. Pangea originally had three moons, each with different aspects and characteristics. Mirroring human foibles, a cataclysmic quarrel between two of the moons results in their mutual destruction, leaving nothing but 'a million stars'. The remaining moon is destined to become the satellite we know, imbued with the qualities of comfort and romance.

As with their previous three albums the music is predominantly in the style of 70's symphonic progressivo italiano, though there are moments of bright synthesizer and guitar which adds a hint of neo-prog but the overwhelming feel is an album of melodic prog with effortless changes of time signature. Il Cerchio d'Oro are known for their attention to sonic detail and once again great care has been taken over the selection of analogue keyboard sounds, for example Franco Piccolini's Hammond solo on third track DIALOGO. Another key component of the definitive Cerchio d'Oro sound is the use of Rickenbacker bass, an instrument that's surprisingly uncommon in Italian prog, but which is used to great effect by Giuseppe Terribile. I've previously been a little critical of some of the vocals but I'm unable to fault Piuccio Pradal or the Terribile brothers, who on this release are particularly effective singing in harmony.

There's a nice link between past and present through Armando Mancini who provided the cover illustration. Mancini has designed a lot of album sleeves including the first LP by Quella Vecchia Locanda where American violinist Donald Lax was featured in the line-up; Lax was invited to play on PANGEA E LE TRE LUNE as a guest along with other well-known characters from the local prog scene, Ricky Belloni (Nuova Idea, New Trolls) and Tolo Marton (Le Orme). 

The LP contains three tracks per side but the CD has a bonus track, CRISI, a single dating from 1981 when the band had reinvented themselves as a heavy rock outfit called Black Out. The beauty of the LP is that CRISI doesn't really fit the Il Cerchio d'Oro template or the album concept (they played it at the gig with a guest appearance from former Black Out guitarist Valerio Piccioli which was warmly appreciated by the audience) so its absence from the vinyl format is quite appropriate.

PANGEA E LE TRE LUNE's production is gorgeous with crystal clarity and good separation of instruments; the songwriting and playing are faultless, making it an enjoyable listen from beginning to end.

An easy 4.5 stars

What is great with certain transalpine formations is that they are still present fifty years after their debut. This is the case here with IL CERCHIO D'ORO founded in SAVONA in 1974, dissolved in 1980 and reformed in 2005 with no less than three original members.

We really had to wait until 2008 with the publication of "Il viaggio di Colombo" for us to be able to relate the Gold Seeker to the Italian school of progressive music of the seventies dotted with luxuriant symphonic arrangements and morning of more rock sections. And since 2008 we can say that IL CERCHIO D'ORO has only improved (I particularly recommend the album preceding this one in 2017 "Il Fuoco Sotto La Cenere").

Squaring the circle for IL CERCHIO D'ORO with this "Pangea e le Tre Lune" representing earth after water with "Il Viaggio di Colombo", air with "Dedalo and Icaro", fire with "Il Fuoco Sotto la Cenere". The Earth (PANGEE) originally had three moons with different characteristics hence the title of the album, two of these moons came into conflict and disappeared, thus leaving only one.

The terrestrial journey begins with the longest title of the work, half eponymous "Pangea", welcome to the depths of the RPI of classical obedience, organ gorged with the Mediterranean sun (SAVONA is only about fifty kilometers away west of GENOA), guitar alternately lyrical or swift, the vocals of Piuccio PRADAL are very correct (provided that he does not force, however), the rhythm of the TERRIBILE siblings providing the necessary foundation for instrumental digressions always interesting (9/10). The sequence towards "Alla Deriva" is done through the soloists, the keyboards of Franco PICCOLINI on the one hand (the organ once again similar to that of Mike PINDER) and the six strings of Massimo SPICA on the other hand , a piece without genius but pleasant to listen to (8/10).

"Dialogo" follows with a guest of choice, the original violinist of QUELLA VECCHIA LOCANDA in 1972 (!) Mr. Donald LAX, in the introduction of the piece (accompanied by a mellotron) then in his mitant with a plaintive intervention and finally in his final on a more playful tone, a little sung piece which could perhaps have benefited from remaining instrumental? (9/10). Second half of the eponymy with "Le Tre Lune" almost as extensive as the opening title, very well sung by Piuccio PRADAL (he does not force even if we feel the pangs of time here and there...) and Carlo DEPRATI's narrative passage gives air to this track worthy of the best Italian progressive rock (in French in the text), my favorite track from the album (10/10). Note the six-string intervention electricity of Tolo MARTON who was a short time holder of the position at LE ORME.

Already the penultimate piece with "Dal Nulla Così" where Piuccio's voice is very hoarse, it's the starring guitar, very lyrical, too bad the end is so sudden (7/10). For "E La Vita Inizio" a new guest in the person of Ricky BELLONI who participated half a century ago in the third and best record of NUOVA IDEA "Clowns" in 1973 then in NEW TROLLS for five albums between 1976 and 1983, without any of these remaining in our memories.....An "E La Vita Inizio" (8/10) which remains a pleasant track without being exceptional, beautiful solo of moog by Franco PICCOLINI and guitar of the previous named Ricky BELLONI, then two brief organ and piano solos by the same PICCOLINI.

The bonus track "Crisi" could have remained in rock oblivion, no one would have missed it, a more than common rocknrolling track that the deep purple would probably have rejected. Conclusion, a very good work that will delight above all the supporters of Italian progressive rock, of which I am a part. Even if it remains subjective, I found this "Pangea" a bit lower than the previous record of 2017. Previously published on profilprog

Il Cerchio d'Oro is an Italian prog that was founded in 1974 and is still active. In 2017 Il Cerchio D'Oro released the album Il Fuoco Sotto La Cenere featuring guest musicians Paolo Siani (Nuova Idea and Equipe 84), Giorgio Usai (Nuova Idea and New Trolls) and Pino Ballarini (Rovescio Della Medaglia). And now, anno 2023, the 5-piece band presents a new album entitled Pangea E Le Tre Lune featuring guest musicians Ricky Belloni on electric guitar (Nuova Idea and New Trolls), Donald Lax on violin (Quella Vecchia Locanda) and Tolo Marton on electric guitar (Le Orme). The cover was designed by Armando Mancini who was in the 70s the creator of covers for Italian prog bands such as Quella Vecchia Locanda, The Trip, Rovescio Della Medaglia and Raccomandata Ricevuta Di Ritorno.

As a huge fan of the Italian progressive rock I am delighted about this new album, it is firmly rooted into the Classic Italian Prog tradition (vocals, vintage keyboards), but wonderfully blended with the melodic rock sound of the Eighties Neo-prog, like early Marillion. The six original tracks are tastefully arranged, featuring flowing shifting moods and fine musical ideas, embellished with strong work on guitars (2 band members and 3 guest musicians) and keyboards, fuelled by a dynamic and powerful rhythm-section, and topped with inspired native vocals.

My highlight is the longest composition entitled Pangea (close to 9 minutes). After a dreamy intro with Mellotron (flutes and choir section) and classical piano, romantic native vocals join, this is wonderful Old School Italian prog. Then a slow rhythm with Hammond organ, gradually a more lush sound with electric guitar, culminating in a tight mid-tempo with swinging piano and sparkling synthesizer flights, in the end a fiery electric guitar solo. Halfway the music turns back to a dreamy atmosphere with twanging guitars (like early Genesis) and spacey synthesizer flights, topped with pleasant vocals. In the second part lots of tension between slow rhythms, bombastic eruptions, mellow climates and a swinging rhythm, embellished with powerful guitars and majestic Hammond.

Alla Deriva blends the Seventies Hammond sound with Neo-prog featuring pleasant work guitar and synthesizer in a mid-tempo, strong vocals, and finally fiery guitar solo with bombastic keyboards.

Dialogo features an intense violin sound and soaring keyboards, then a catchy beat with swirling Hammond solo, and a harder-edged guitar solo. In the second part again intense violin work, blended with rock guitar, a beautiful combination.

Le Tre Lune starts dreamy with emotional vocals, then gradually a more lush sound, culminating in a sumptuous outburst with moving guitar and Hammond, what a compelling prog sound. Then powerful interplay guitar and rhythm-section, the unsurpassed Mellotron choirs join, with sensitive guitar, wow. Halfway sparkling Hammond runs (strongly evoking early Genesis) and powerful vocals, in an up-tempo. Next the focus is on a moving guitar solo, followed by a flashy synthesizer solo with pitchbend and Mellotron choirs. Finally a dreamy atmosphere with warm vocals, what a variety, very harmonic and melodic.

Dal Nulla Così' opens in a bombastic climate, then a catchy mid-tempo with growling bass and cheerful, synthesizer flights, topped with powerful vocals. In the second part a moving guitar solo, I love the varied guitar work by the several guitar players on this album, a strong bonus.

E La Vita Inizio' alternates between bombastic and dreamy, from warm vocals to blistering guitar and bombastic Keith Emerson kind of Hammond organ.

Finally the short bonus track Crisi (from 1981 when the band was named Black Out), lots of heavy guitars, raw vocals, a thunderous rhythm-section and powerful Hammond, it ain't no surprise that the band plays some notes from Smoke On The Water!

This review was previously published on the website of Background Magazine, the oldest Dutch progrock source.

IL CERCHIO D'ORO was a first wave golden years Italian prog band that first formed as far back as 1974 and stuck it out until 1980 but never succeeded in finding a record deal. Releasing only three singles during its initial run, this band from Savona sort of became a footnote in the Italian prog encyclopedia with virtually anyone knowing a thing about them. Starting out as a Le Orme influenced band the sound slowly degraded into a commercial sound that signified the downturn in the classic prog years.

Fast forward 25 years and the band reforms in 2005 the same year the archival material from the heyday was released in the form of "La Quadratura del Cerchio." This second wind proved to have some staying power and the band has since released four fully-fledged studio albums with the latest being this 2023 release PANGEA E LE TRE LUNE (Pangea and the Three Moons). This concept album is all about the supercontinent Pangea and exclusively sung in Italian so most likely a mystery to all except those who speaka la lingo.

The band started out as the trio of Franco Piccolini (keyboards), Giuseppe Terribile (bass, acoustic guitar, vocals) and Gino Terribile (drums, vocals), all three who are still very much on board but also newbies Piucio Pradal (vocals, guitar) and guitarist Massimo Spica. The album also includes a few guest musicians such as Ricky Belloni (electric guitar - New Idea, New Trolls), Donald Lax (violin - Quella Vecchia Locanda) and Tolo Marton (electric guitar - Le Orme). If the cover art is seems like a throwback to the 70s that's because it was designed by Armando Mancini who handled the artwork for a number of bands including Quella Vecchia Locanda, The Trip, Rovescio Della Medaglia and Raccomandata Ricevuta Di Ritorno.

PANGEA E LE TRE LUNE is very much a 70s retro album only unlike some of the newer bands this one sounds like it was authentically crafted in the 70s most likely due to the fact these musicians lived through the golden years and have it in their DNA. The album features seven tracks at a classic running time of vinyl with a bonus track "Crisi" appearing on CDs. IL CERCHIO D'ORO (The Golden Circle) deliver an authentic wayback machine of classic 70s Italian prog. While still maintains the rather folky deliver of the Le Orme influences, this newest release also excels in turbulent keyboard arrangements as well as some knotty guitar workouts. Bands like PFM, Banco and all the classics come to mind of course but IL CERCHIO is a bit more subdued and doesn't ever break any speed barriers. The bonus track "Crisi" picks up the pace and rocks out unlike the album proper. Sounds like classic Deep Purple with a nod to a quickie "Smoke On The Water" keyboard salute.

Piuccio Pradal nails the classic vocal style of all the aforementioned bands by delivering a passionate display of Italian enunciations in fine form. The music is melodic but engages in many mood shifts, chameleonesque motif changes and lots of variety to keep the album from sounding stale. For some old timers the music is fairly fresh and creative and doesn't sound like material salvaged from the recycling bin. While not ridiculously original in sound, i can never pinpoint any moment that i would mistake this band for any other either. Everything is just different enough to keep me interested. IL CERCHIO is proof that bands can become infinitely better in the latter years as most critics panned the original recordings. Not a band i'm overly familiar with but this album certainly wants me to explore what i've missed.

This is rertro/vintage-sounding Rock Progressivo Italiano exactly the way many old school progheads want it. The band was there at the original prog era of the 70's, it's only that they didn't get a record deal back then. Upon their reforming in 2005 the couple of first releases rooted in the old stuff weren't sonically very convincing, but each of the four latest studio albums seems to be an improvement of the preceding one. In 2018 I reviewed Il Fuoco Sotto la Cenere (2017) pretty positively, and I felt immediately that I like this new album even more. Starting from the great cover art done by an artist responsible of several classic RPI album covers.

Discounting the heavy rock oriented bonus track 'Crisi' (I agree with the former reviewer that it's not on the same high level with the album and it could have been left out altogether), there are six tracks between five and ten minutes in length. There seems to be a lyrical conceptual coherence, dealing, in a manner of a legend or a fairy-tale, with the forming of planet Earth and its continents, and the Moon. See the album title! The lyrics are rather sparse since the emphasis of the compositions is in the playing. 'Pangea' starts in a classic Symphonic Prog style: the instrumental intro is dominated by piano, flute and Mellotron, and it fluently leads to the sung section. The 9-minute piece contains plenty of dynamic, progressive shifts and never loses its direction. An uninformed listener would undoubtedly believe if (s)he was told this is a RPI classic from say 1975. Also the vocal harmonies are enjoyable.

'Alla Deriva' has even bigger emphasis on the instrumental expression, containing only a brief vocal section. The melodically powerful music is not too dominated by the lush vintage keyboards of Franco Piccolini, also the other musicians are well present in the soundscape. You may think of Genesis with Peter Gabriel and Steve Hackett. An extra delight on this album are the guest musicians from classic RPI bands, including violinist Donald Lax (Quella Vecchia Locanda) whose contribution is important on 'Dialogo'.

'Le Tre Lune' is the second longest track (8:34) and a fantastic mini-epic in a pure seventies classic prog fashion. Speaking of the whole album, the vocal harmonies are in my opinion more enjoyable than the grittiest solo voice I'm not so fond of, but it's used sparsely enough that it doesn't become a nuisance. This album is a guaranteed delight for anyone enthusiastic for the vintage/retro RPI with Symphonic Prog style featuring lots of keyboards, especially for those (myself included) who are not that fond of the heavier & darker end of the spectre -- also on that department the trusted label Black Widow has been active lately.