DEDALO E ICARO

A very welcome comeback from the lost classic age of the vintage 70's Italian progressive scene, Il Cerchio D'Oro return with only their second proper album in an almost 40 year career! We had to wait until 2008 for their proper debut, the band never having had the opportunity to record anything other than a handful of singles in the second half of the 70's, and curious fans have only had two inconsistent compilations to offer them a glimpse of what potential the band had. That all changed with their official studio debut `Il Viaggio di Colombo' nearly six years ago, and they now follow it up with the lush and joyous `Dedalo e Icaro', a concept album based around the mythological legend of Dedalus and Icarus, with the help of some Italian prog notables such as Pino Sinnone (The Trip), Giorgio 'Fico' Piazza (PFM), Ettore Vigo and Martin Grice (Delirium)!

Where the `Colombo' album saw the band finding their feet (yet still delivering the goods, it was generally considered a winning album by Italian prog fans, and was something of a personal favourite of mine), `Dedalo...' sees the band in a more relaxed, warm and excited mood. Their skills have been honed by practice and a return to live shows, the rust worked out of their system from the uncertainty of their debut album, and they deliver grand, melodic and charming Italian progressive rock that will surely please fans of the RPI genre.

Opener `Io Mio Nome e Dedalo' makes for a lovely introduction, an upbeat and stylish pop/rocker with a catchy chorus, warm vocals and nice use of mandolin by special guest Athos Enrile. But the album truly starts with the second piece `Labirinto'. Beginning with a regal, faraway triumphant synth refrain that calls from the distance, electric guitars come roaring in with a real driving Pink Floyd sound behind a sprightly foot-tapping electric piano melody, humming Hammond organ and murmuring bass. This up-tempo and infectious instrumental also finds time for a touching solo piano spot in the middle and a spiraling darting flute solo from Delirium's Martin Grice during a reprise of the main theme in the outro with some peppy drumwork. This one ticks a lot of essential RPI boxes, not exactly challenging, but impossibly pleasing and very hard not to like.

Don't be fooled by the first two minutes of `La Promessa' into thinking it's just a lovely power ballad! Lead vocalist Piuccio Pradal still has that scratchy, lived-in voice full of wistful heartfelt passion, and despite sublime group harmonies and a very stirring electric guitar melody that is repeated at many points throughout the song - just try getting it out of your head - the track has a very dirty and blustery middle section and lots of extended soloing in the later sections. Wailing guitar solos that sound very similar to the rougher style of their previous album, a loopy synth solo in the finale, and drummer Gino Terribile gets to show a little fire right near the end with some rapid-fire bashing fills. `L'Arma Vincentre' that follows is a reflective and thoughtful ballad, with a lovely grand classical backing. Listen out for the whirring moog soloing and extended guitar solo in the second half.

`Una Nuova Realta' moves through bombastic, punchy rock bluster that sees the band in perfect unison with eachother. Lots of quick snappy runs, somber and thoughtful piano passages, ghostly veils of Mellotron wisps, emotional guitar soloing and lovingly weathered vocals from Piuccio. I love the uptempo final moments in the last minute and a half that sees the band racing to the finish line with as many quick little musical fills as possible. A moving, exciting and unpredictable track full of energy!

`Oggi Volero' is a short gutsy bluesy guitar number over dreamy Mellotron and Hammond washes with more of those winning group harmonies.

The dramatic and frantic `Io Sogno Spezzato' is tinged with darkness, as it details Icarus' epic flight and tragic fall to back to Earth. Classical piano tension, snarling guitar runs, snapping Hammond stabs, punchy bass and gothic classical organ soundtrack this climactic finale. Italian prog at it's most dazzling and sophisticated best.

The lazy atmosphere of `Ora Che Son Qui' wraps the album in a very sobering manner. A shimmering other-worldy treated vocal from Piuccio over warm acoustic guitar strums, pulsing Hammond washes and layered group harmonies remind very much of Seventies Pink Floyd, perfectly suited to the lyrics filled with regret and stream-of-consciousness ponderings. The final two minutes features a brief but commanding sax solo again from Martin Grice that is both sad and triumphant at the same time.

Available on both LP and CD versions from Black Widow Records, you may wish to purchase the vinyl for an exquisite larger-format gatefold recreation of the stunning cover painting by Stefano Scagni, but the CD version comes with three video live performances from 2009-2012. The lyrics are displayed in both Italian and English along with photos of the band and special guests.

2013 has already seen a number of outstanding quality releases from Italy, and the second proper album from Il Cerchio D'Oro is no exception. So it may not have the same reckless energy, rough around the edges charm that a lot of the vintage defining releases had back in the 70's, but there is no denying it is a high quality album, full of strong melodies and terrific playing. It's also nice to hear something so upbeat and full of life, from a band that is really excited and humbled at still having an audience craving quality Italian progressive music. Definitely one for fans of the first album after a more sedate pleasing listen, and deeply romantic Italian progressive bands like Locanda Delle Fate.

Four stars.

It is always interesting to find a band that makes others such as Credo to appear incredibly active when it comes to releasing albums. These guys started their career in the Seventies, releasing some singles etc., but not actually releasing a proper album until after they reformed in 2008. Now here we are only five years after that and they are back with their second. So, when the comment is made that these guys sound as if they should be back in the Seventies then there is a lot of truth contained within, as they were! Truly, this album firmly belongs squarely within the Italian progressive rock movement as we plenty of Hammond organ and mellotrons to go with the rest of the keyboards, and an approach that certainly does sound as if it belongs from forty years ago.

But, there are a few things that make it stand out as being part of the current scene and much of that can be laid at the feet of bassist Giuseppe Terribile who provides an incredibly fluid and warm sound to the bottom end. It is his bass that really pins all of the others together, whether it is a dramatic piano/keyboard solo or some plaintive guitar, it is the bass the makes it whole. Marin Grice may only be a guest on this album, but his use of flute and sax on different numbers need to be commented on as each time it is dramatic and totally changes the punch of the song.

There are times when it is reflective, but for the most part this is progressive rock that while hearkening back in many ways to a time gone by, is also driving forward with a passion. Harmony vocals and strong melodies just strengthen the proposition, that this is an Italian prog album that needs investigation. www.blackwidow.it

My goodness, what is in the water in Italy? as the past 6 months have unleashed a series of simply stunning releases from the storied land of RPI, making 2013 the year of the Azurri , at least in prog terms. Mamma mia!

The story of Daedalus and Icarus, the two merry Greek adventurers of mythology who sought to soar into the mighty skies by imitating the flight of birds is the theme espoused by this interesting Italian band. And what an adventure it is, with parping synthesizers that somehow elicit a sense of the majestic and grandiose, in a proud coalition with a biting electric guitar that sears the heavens. Needless to state, the quality of the displayed musicianship is up to the usual lofty RPI standards, adding a terrific voice to the mix, that of the amazing Piuccio Pradal. As far as rhythm sections go, the brothers Terribile are far from terrible, quite the opposite, as both Giuseppe on bass and Gino on drums keep the rhythmic fortress strong and mighty. The stellar art work is a Michelangelo-like depiction of the fabled story, as Icarus flew too close to the sun and his melting waxed wings dooming to perish.

'Il Mio Nome e Dedalo' starts off this weaving opus on a bright, highly melodic tangent that will exponentially grow with each passing track. Mandolin, vocals and tight interplay all combine to create a wonderful introduction to all the pleasures inside this bright recording. One definitely can conjure images of classic Loccanda delle Fate (as smartly expressed by the ever astute and eagle-eared Aussie-Byrd-Brother), as the underlying romanticism is palpable and highly entertaining.

The grandiose 'Labirinto' is the perfect RPI classic with all the famous ingredients: the swirling flute courtesy of Marin Grice (Delerium), the sublime melodies, a romantic piano, some sensational bass underpinning and a lasting sense of serene beauty. Roberto Giordana's tortured guitar only adds to the delicious torment. This has to be immediately stamped with the loftiest marks, both for technical merit and artistic impression. The piece has a shiny and bright modern veneer that only sets the table for the next surprise.

'La Promessa' actually regresses in terms of style, offering an obvious 70s feel, as the gritty organ colludes with the gritty voice and the 'boom-boom-tchak' drums. The sound is remindful of Il Volo, Osanna and that ilk. The various soloing sections, especially the droning synth extravaganza by keyboardist Franco Piccolini only reinforce the sense of historical perspective. The axe solo fade-away is bluesy and grit-laden which really settles the quality perfectly.

'L'Arma Vincente' solidifies the retro feel but in a more Italian ballad style (canzone) with up- front vocalizing and suave slitherings of keys and guitars, held together by guest bassist Giorgio Piazza (ex-PFM). Sweet renderings and highly enjoyable music, to say the least. Typical of any Italian feast, having enough with all the tasty appetizers as the vast array of delicious sounds move into a meatier direction with flick-o-the wrist riffs, organ explosions and stop and go rhythmic convulsions.

The torrential 'La Nuova Realta' enjoys supplying the contrasts as well with some a glorious spacy mid-section that only sets the stage for some wild emotional rambling from Pradal, whose hushed voice slightly resembles PFM's Franz di Cioccio! Guitarist Giordana and ivoryman Piccolini then grab this mother by the scruff of the neck and start smoking up a storm, usually a wrestling match between Hammond and electric guitar with no holds barred.

'Oggi Volero' has brief tinges of bluesy hard-rock until acoustic guitar and mellotron together drift in to scatter the clouds, the lofty vocals and tight drums taking over the mood. Hammond and axe provide a very old school tone with a nearly 60s choir of harmonized vocals that left me speechless when I heard it the first time. Like, whaaaaat? Fly me to the moon, will ya?

'Io Sonno Spezzato' reflects on Icarus' broken wings and his colossal fall from the skies, arrogantly believing until his body finally hit the ground that he was destined to reach the stars. The music therefore is brooding and choppy, a dark spiraling ballet of incomprehension and disbelief that will seal his fate. The mood is more experimental prog with loads of complex polyrhythmics, some vocal gymnastics and rapid-fire delivery.

The closer 'Ora Che Son Qui' is a killer finale, led by an echoing voice of plaintive despair as if emanating from the netherworld, an inglorious epitaph for a legendary failure. The oily organ plays a major role here, as in tandem with Grice's forlorn sax, each instrument craftily representing Daedalus and Icarus.

Perhaps not as extreme as Ingranaggi della Valle, Progenesi or the sterling Unreal City, Il Cerchio D'Oro still provide a wonderful mythological musical fantasy of the highest order.

4 greasy feathers

Since the comeback of the Italian band Il Cerchio D'Oro in late 2000's I've been paying attention to them. Their first proper studio album Il Viaggio Di Colombo (2008) was released by Black Widow Records a few years ago and I got a vopy to review. Now 5 years later the Italian label once again presents us with another album by the band, their second concept album Dedalo E Icaro (2013).

The base of the band is still the same with Gino Terribile (drums and backing vocals), Giuseppe Terribile (bass, acoustic guitars and backing vocals), Franco Piccolini (keyboards), Roberto Giordana (guitars) and Piuccio Pradal (vocals and 12 string guitar). But now they also have Bruno Govone (guitars) in their line-up. As in their previous album, the band was smart enough to have its Italian lyrics translated into English in the booklet, there's also a track-by-track explanation of the concept behind it.

The eight tracks in Dedalo E Icaro (2013) are still in the same Symphonic style of their previous album, but slightly better produced as we can see in the opening song 'Il Mio Nome È Dedalo'. It's visible that Piuccio Pradal has his voice weakened by the years, but that really doesn't ruin the listening experience. Following the story we have the good instrumental 'Labirinto' and on the next track we have the intro of 'La Promessa' with the trademark of the band, many vocals at once forming a great melody. The track has also many great double guitars and synths. 'L'Alma Vincente' is acoustic driven and has some weird drums sounds that I'm not very fond of!

'Una Nuova Realtà' is a strong track with a great intro. Gotta love this organ leading the song with some great riffs and with heavy guitars in the background. This riff is the backbone of the song. The song also has some great vocals towards the end. 'Oggi, Volerò' is another song with a great (and fat) intro and good guitar solos, almost Hard Rock, but in a Deep Purple way. As soon as the vocals begin the Symphonic sound led by organ and acoustic guitars comes back to life. Great track! 'Il Sogno Spezzato' is another great track! Broken tempo in the rhythms and a weird melody are the main points here.

Final song on Dedalo E Icaro (2013) is 'Ora Che Non Qui (La Fine De Icaro)' and it has some really nice acoustic guitars. But there's so much echo in the vocals that it became quite hard to really enjoy the final result. A shame because it's a good piece of music and a fitting ending to the album/concept. The strongest point on the track is the great sax solo by Martin Grice.

With Dedalo E Icaro (2013) Il Cerchio D'Oro proves to be a strong name on the new Italian scene (even if they've been around since late 70's) and I would recommend the band for everyone that appreciate the Progressive Rock made in Italy. And it includes Dedalo E Icaro (2013) too!

(Originally posted on progshine.net)

Il Cerchio d'Oro's roots date back to the seventies when they released some singles. After a long hiatus, the band came back to life in 2006 and in 2008 released their first full length album, Il viaggio di Colombo. In 2013 they released an excellent second work on Black Widow Records, Dedalo e Icaro, with a consolidated line up featuring veterans Franco Piccolini (organ, piano, Mellotron, synth), Giuseppe Terribile (bass, acoustic guitar, vocals), Gino Terribile (drums, gong, vocals) and Piuccio Pradal (12 string acoustic guitar, vocals) plus a new member, Bruno Govone (electric guitar). During the recording sessions they were helped by some prestigious guests such as Pino Sinnone (drums), Marin Grice (flute, sax), Giorgio "Fico" Piazza (bass), Ettore Vigo (piano), Daniele Ferro (electric guitar) and Athos Enrile (mandolin) who contributed to enrich the sound. The new work is a concept album freely based upon the myth of Daedalus and Icarus where the music and lyrics do not try to tell in an emphatic way a story that probably everyone already knows, but rather focus on the emotions and feelings of the protagonists trying to stir your imagination. Well, maybe the beautiful art work by Stefano Scagni describes the content of the album better than all my words...

The music and lyrics of the opener "Il mio nome è Dedalo" (My name is Daedalus) introduce the character of Daedalus and his challenge. We meet a proud, unscrupulous genius who is able to invent an endless array of tools and who is jealous of his secrets and of his craft. The music starts softly, then the rhythm rises following the course of a baroque vanity. At last Daedalus accepts to build a labyrinth without a way out for the king of Cnosso and the following "Labirinto" (Labyrinth) is a beautiful instrumental track that depicts this challenge trying to evoke all the difficulties of the project and of its realisation...

The long, complex "La promessa" (The promise) begins with a vocal part a cappella, then the rhythm rises and goes through many changes in mood and atmosphere and you can feel desperate rage, hope and overwhelming energy. This track depicts in music an words a man betrayed but still untamed, prisoner of his work and art. Daedalus is in the labyrinth now, there's no way out, his world has begun to fall to pieces around his head but he does not accept his destiny and he's planning an escape for him and for his beloved son. He swears that he'll find the way...

Next comes the calm, dreamy "L'arma vincente" (The winning means) that describes the feelings of Icarus. He's just an unconscious, curious boy attracted by the splendour of the sun and he's sure that his bravery will help him out... Then it's the turn of "Una nuova realtà" (A new reality), a beautiful track that announces the end of the nightmare and conjures up a feeling of hope in a better future. You can dream of a breakthrough obtained defeating old taboos, soaring in the air and talking to the wind...

"Oggi volerò" (I'll fly today) describes in music and words the day of the take off and the strong, fiery emotions of the departure, a dream that comes true, flying away, higher and higher, towards the sun... Then the nervous rhythm of the following "Il sogno spezzato" (The broken dream) takes you back to earth. Icarus is falling down, his ambitions are melting in the sun like his wings of wax. For Daedalus it's time for mourn and pity, his moaning will to fly for ever... Can you hear it?

The last track, "Ora che son qui (Icaro... La fine)" (Now that I'm here - The end of Icarus), describes Icarus' final lament, his last thoughts and feelings, his regrets and his pain. Now he's in the afterlife and asks just for a flower that will bring him another bit of sunlight... Can you hear him?

On the whole, I think that this is really a great album. Of course, every now and again the influence of bands such as PFM, Le Orme, New Trolls, Delirium or the Trip is apparent, but the band managed to recreate a vintage atmosphere without sounding out of date nor derivative and the final result is impressive!