IL CERCHIO D'ORO

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.

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.

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.

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

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

1. "Ouverture" (2:40) keyboard and acoustic guitar intro. (4/5)

2. "Sognando la Meta" (4:54) very bluesy guitar searing in the lead position. The drums are recorded rather poorly. I like the down-to-earth vocal of lead vocalist. (8.75/10)

3. "Colombo" (4:49) base on a borrowed theme from EDGAR WINTER's "Frankenstein" (7.75/10)

4. "I Tre Marinai" (7:17) a mariner's tale using the acoustic guitars from PINK FLOYD's "Wish You Were Here" to set the scene. By 1:45 the chords and styles of the acoustic guitars have morphed into something more GENESIS-like-- just in time for the vocals to enter. With the fretless bass, it's actually quite nice--but then a weird, quirky abrasive guitar-based passage disrupts--for a bit--before we return to the gentler 1960s feel of the acoustic guitars. That weird passage returns for guitar soli before the song ends with a fuller version of the pastoral theme. (12/15)

5. "Ieri, Oggi, Ancora Niente" (5:54) interesting mix of styles, as if experimenting with Gentle Giant and other early prog styles. Slightly jazzy, slightly bluesy, slightly classic rock, slightly ELPian. I kind of like it despite its unfinished/unpolished feel. (8.5/10)

6. "Il Silenzio Rumoroso del Mare" (7:10) opens like a keyboard-centered jazz vamp over which fuzzy guitar solos. Yet another lead vocalist enters. He's not quite as well-trained, skilled, or confident as the previous vocalists. Then, suddenly, the song turns into a kind of Mellotron waltz before shifting back into Drive for the more impassioned second verse. At the 3:00 mark we again have another sudden stop. The bass and distant fuzz guitar are held together by thick, slowly delivered keyboard notes. Kind of cool in a dramatic Pink Floyd way. The red light is over and we race off again into a YES/CSN&Y group vocal passage. Weirdly likable in a "Certain Smile" kind of way. (13/15)

7. "Preghiera al Vento" (2:18) picked 12-string guitar with organ & piano beneath vocal. 1960s proto-prog folk comes to mind (even Rod Stewart). (4.25/5)

8. "Tre Giorni (l'Ammutinamento)" (3:36) multiple electric guitar and piano charge fast and furious into the fray with bass and drums holding the pace--until 0:45 when piano and Hammond hold out to support multiple lead voices singing in harmony. (8.25/10)

9. "Tierra ! Tierra !" (4:13) feels like a filler song. (7.75/10)

10. "Cercando l'Approdo" (3:57) a keyboard étude? At least until 1:20 when strummed 12-string joins in, then it becomes bluesy early Pink Floyd. (8.25/10)

11. "Conclusione (il Ritorno)" (2:17) keyboard flute and guitars. Sounds like something from Paolo Farina's 2014 HUMANA PROG album. Not terrible. Like a family finish. (4.25/5)

Total Time: 49:05

Unpolished music from a group of musicians in love with the early, early days of progressive rock music.

C/three stars; a fair representation of RPI but nothing that anyone needs to hear.

I recall thinking at the time that the compositions were well structured but there wasn't the degree of complexity I was expecting, however when I got my hands on the Il Fuoco sotto la Cenere CD I thought it was equally as good as Colombo and Dedalo e Icaro, if not better. I was reminded of Alphataurus despite detecting a subtle shift towards a more conventional rock format, and where the concept is presented as a series of snapshots, rather than the linear narrative of the two preceding albums. In a move reminiscent of their 70's performances, the final track on the album Fuoco sulla collina (Fire on the mountain) is a cover version of an Ivan Graziani song, which fits the overall concept, the idea that we live in a world where feelings smoulder under the ashes and from time-to-time, fire erupts, often violently.

Title track Il Fuoco sotto la cenere (Fire under the ashes) is a really good piece of prog which commences with a melodic figure and goes through multiple changes (including a section with a heavy, distorted guitar riff and some excellent organ which reminds me of Il Biglietto per l'Inferno.) It's about the state of mind of a person who becomes unable to deal with everyday problems and suppress the rage which has been building up as their inner strength gets worn away, the fire that bursts from the smouldering ashes.

Thomas uses the Great Fire of London as an analogy for our ability to turn a bad situation into an opportunity; fire destroys but it clears the path for new opportunities and life can emerge phoenix-like from the ashes. The organ and guitar work really well together and the vocal melody is nicely underlined with synthesizer. The solo vocals aren't particularly strong but there are some memorable melodies on the longest track of the album. Per sempre qui (Forever here) relates the story of a character who spent much of his life away from his homeland in exchange for prosperity but in the end, the desire to return to his origins, the 'fire under the ashes' prevails over the materialistic urges. This is a relatively short number, sung with great emotion by special guest Pino Ballarini on the recommendation of Black Widow Records and who, it transpires was perfectly placed to narrate the song because the sentiment coincides with his personal story.

I due poli (The two poles) is about the conflict between two mental states, including the suppression of either one of the aspects. There are obviously different degrees of this bipolar phenomenon which affect individuals to different extents. At its most extreme, there is perpetual conflict between the two sides with one dominant and one suppressed (under the ashes), instantaneously switched and transformed into 'fire' when the conflict switches. It begins with some almost Hackett-like acoustic guitar which resolves to melodic piano and Mellotron cello before commencing a short riff and getting a bit Floyd-y. It's in this track where I find the greatest similarity to Alphataurus, in the vocals where they work as a chorus (and this is where the vocals are at their strongest.) There's nice expressive guitar and some great organ work and even a trippy synth solo.

Il Fuoco nel bicchiere (Fire in the glass) is a story of alcohol addiction, where the protagonist never fully overcomes the need for drink though he's fully aware of the consequences of his failure to do so. The melancholy which besets the character is reflected in the slow melody; the song was written by keyboard player Simone Piccolini who has been described by his father as possessing the appropriate DNA for penning Il Cerchio d'Oro songs. This is dominated by moderately heavy guitar riffs but has some nice piano and an interesting section which includes a theremin sound.

Il Rock e l'inferno (Rock and hell) plays on the idea that rock music is frequently though inappropriately associated with the devil, when it's actually a means of communication, just transmitting a mood. It's altogether heavier and the beat more simple than most of their other material, with the band stamping their melodies over distorted guitar riffs and classic Hammond sounding organ and wordless vocals which recall some classic early 70's RPI moments.

Some critics have pointed out the weakness of some of the vocals and there are times where I'd agree, though I think the music more than makes up for these moments. The band acknowledged the difficulty producing a suitable follow-up to the critically acclaimed Dedalo e Icaro and the time spent attaining their trademark 'vintage' sound without compromising cleanliness and quality was obviously worthwhile; it's a very good album. Though I'm not a great fan of the artwork on the cover, I do understand the links between the painting and the songs and I'm impressed that artist Pino Paolino, a former vocalist with the band, has used images set partly in a 17th century fortress located in Capo Vado, not far from Savona. By strange chance the area was devastated by one of the fires which raged in the hills along the Riviera in 2016, clearing the way for new possibilities.

For those interested, apart from a rich maritime history (Christopher Columbus lived in both Genova and Savona), striking architecture (from medieval to brutalist) and its RPI connections, Savona has a pretty good record store, Jocks Team (Via Pia 82/R, 17100 Savona SV, Italy) where I bought my copy of Il Viaggio di Colombo and where I would have bought a vinyl copy of Il Fuoco sotto la cenere but they only had the cover ' the record itself was along the coast in Black Widow Records!

The long opener, "Il fuoco sotto la cenere" (The fire under the ashes), begins softly, with the sound of a burning fire in the background and a piano pattern that could recall Goblin... This piece describes in music and words the hidden sense of rage that slowly grows in everyone and sooner or later can burst out eluding the control of human reason. The music follow this thread, going through calm passages and sudden surges of rhythm leading to a beautiful finale in crescendo with an excellent interaction between electric guitar and keyboards.

The second track, "Thomas" is another long, epic piece. The title refers to Thomas Farriner, a baker in 17th century London whose shop in Pudding Lane was the source point for the Great Fire of London on 2 September 1666. The music and lyrics evoke the smell of bread and the daily work at the bakery, then the raging fire, the flames spreading out, the clouds of dust in the air, the crumbling buildings and the smoking ruins under a dark sky? But Thomas Farriner managed to escape the fire and, in the end, under the ashes there's still room for hope, there's the will to start again and rebuild what was burnt off?

The following "Per sempre qui" (Forever here) deals with the hidden fire of nostalgia that burns in the heart of a successful immigrant. The music alternates lively passages that could recall PFM to calm, reflective sections. That's to mark the contrast between the hectic life of the protagonist in his new homeland and the happy memories of the far village of his childhood...

"I due poli" (The two poles) begins by a dreamy piano section, then the rhythm rises and the atmosphere becomes tense... This piece tells about a man who, looking in a mirror, can see the duplicity of his personality and feels his inner conflict emerge. Someone calls this character a clown but inside him it's like if fire and ice were constantly fighting each other to take control over his actions. So, he feels like a flame living under the ashes...

The melancholic "Il fuoco nel bicchiere" (The fire in the glass) deals with alcohol addiction. It begins by a delicate piano solo intro, then the heartfelt vocals interpret the feelings of a lonely, desperate man who every night goes back home staggering on his feet, drunk and lost. His life is nothing but a broken dream to drink up and he feels the fire inside while the irresistible call of alcohol draws him on his way to an infernal place from where there's no comeback...

The ironic "Il rock e l'inferno" (Rock and hell) describes in music and words a strange dream. A man falls asleep in his armchair in a house near a cane thicket in a rainy, windy night. From the sounds around him a music rises, starting from Brazilian rhythms and exotic flavours it changes into rock'n'roll. As the man suddenly wakes up the house is on fire and he realizes that rock'n'roll and hell are almost like Siamese brothers...

The last track is the cover of a 1979 song by Ivan Graziani from the album Agnese dolce Agnese, "Fuoco sulla collina" (Fire on the hill). It's a beautiful piece where music and words describe the dreams of a boy that clash against reality. In fact, in a summer night the boy dreams of joining a battle on the hill, he can even see the fires of the guns and hear the shots. But a man wakes him up from his reveries and points out that what he sees are nothing but the lights of the harvesting farm tractors...

On the whole, I think that this is really a great album where the band successfully blend vintage atmospheres and original ideas.

What a wonderful layout this album has: a fold-cover with sketches that carry you to the time that Columbus set sail to America and met the native Indians, an encounter of two different worlds (how bad for the native indians, the Statue Of Liberty is not for them).

On this first studio album Il Cerchio D'Oro sounds melodic and accessible in the thirteen alternating songs with passionate Italian vocals from drummer Gino Terribile, bass player Guiseppe Terribile and guitarist Piuccio Pradal. Sometimes you hear a typical Classic Italian Prog atmosphere, like in the bonus track Futuro Prossimo. A strong feature of their music is the way they colour their tasteful arrangements with strong and varied guitar work and keyboards. You can enjoy a slow rhythm with sensitive electric guitar or a dreamy atmosphere with twelve-string acoustic guitars. But also mid-tempo pieces with swinging piano and bombastic atmospheres with powerful organ (Franco Piccolini). It is hard to mention absolute highlights, because Il Cerchio D'Oro arranged the thirteen compositions on this new CD in a very tasteful way. You can enjoy lots of shifting moods and nice musical ideas, especially the guitar pieces. Two members play acoustic and electric guitar and Guiseppe Terribile plays besides the bass also twelve-string acoustic guitar and keyboards. These elements give Il Viaggio Di Colombo a very special flavour.

My rating: 3,5 star.

Il Cerchio d'Oro is an Italian prog band that was founded already in 1974 but which didn't manage to sign a recording deal at the time. To the pleasure of all progheads enjoying the retro-style symphonic Rock Progressivo Italiano, the band re-activated in this millennium and has now released four well-received albums. This latest release is my first acquaintance, and it actually took a while before I really realized how good album it is. Perhaps one could say that they "play safe" and therefor sound more or less like a connoisseur of the genre would expect. But no complaining, as long as it sounds so good. The title of the album (and the opening track) means The Fire Under the Ashes; the lyrics are printed both in Italian and in English. The very dynamic opener serves as a perfect example of the band's strengths. After a nearly four-minute instrumental intro enter the vocals, for the most part done in harmonies. By the way, there is no separate vocalist, and also the composing credits are divided between several members, e.g. keyboardist Franco Piccolini and bassist Giuseppe Terribile. This democratic approach sort of describes the music, which is rather free of the most self-indulgent features but always maintains the power and passion.

The group sound, served with those mentioned vocal harmonies, is warm and retro-ish. Lots of various analog keyboards (organ, Mellotron, etc), electric and acoustic guitars, and a tight rhythm section, all delivered with excellent production. The expectable British vintage influences such as ELP, Genesis, early King Crimson & Yes, and slightly also Uriah Heep, are there, but never in a downright derivative way. The compositions, all between 9½ and 5 minutes in length, are both melodic and full of symphonic prog dynamics, without going into distinctive multi-part epic direction or towards fancy drama á la Nursery Cryme -era Genesis. This music might be suitable for introducing prog rock to a non-connoisseur, not too demanding in that matter.

The whole 48-minute album is nevertheless pretty strong all the way. None of the seven tracks is weak, but perhaps the music gets slightly closer to mainstream rock on the two final 5-minute songs 'Il Rock e l'Inferno' (Rock and Hell) and 'Fuoco sulla Collina (the only one missing its lyrics in the leaflet), but they still sound proggy and contain some instrumental solos. The fifth song 'Il Fuoco nel Bicchiere' (The Fire in the Glass) is the slowest in tempo, and amidst the lyrics about alcohol-fuelled moarning for a lost love there are beautiful passages for various keyboards.

If there were also special instruments such as flute, violin or whatever to add pastoral ingredients to the sound, I'd enjoy the album even more. I'm very close to give a full rating; maybe this album slightly lacks originality and great surprises, but it's a guaranteed pleasure to the friends of symph-oriented RPI.