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Still reflecting on the latest venture to the Italian Riviera, ProgBlog looks at the legacy of the port city of Savona: Delirium and Il Cerchio d'Oro who released the rather good Il Fuoco Sotto la Cenere in the autumn

By ProgBlog, Dec 5 2017 09:22PM

The Italian Riviera, stretching from the border with France to the west, down to through the Cinque Terre to La Spezia is a beautiful and often dramatic coast packed full of interesting places with well-preserved medieval quarters and fascinating histories. Genova is the regional capital and is close to the geographic centre; it’s also at the heart of the progressivo Italiano movement having been responsible for a good number of the original 70s acts and also, since the early 90s, producing a quite amazing crop of the current (and future) standard bearers.


Genova - San Lorenzo
Genova - San Lorenzo

Savona, west of Genova, was responsible for Delirium, one of the first Italian acts to adopt progressive traits. Originally a beat group called Sagittari, they changed their name when Ivano Fossati replaced the original vocalist in 1970 and released their favourably-regarded debut, Dolce Acqua (Sweet Water) in 1971. This turned out to be their only album with Fossati, though the televised appearance at the Sanremo pop festival (100km west of Savona along the coast) in February 1972 was responsible for the huge success of their single Jesahel where it finished sixth, which many regard as being the best-known pop song in Italy; I think it’s quite interesting that there’s a picturesque Ligurian town called Dolceacqua with an old, elegant single arch bridge and a 12th Century castle roughly 25km inland from Sanremo. Fossati was subsequently replaced with Briton Martin Grice on sax and flute and, after a disappointment with the jazz influenced prog of their second album, Lo Scemo E Il Villaggio (1972), they produced their symphonic prog masterpiece Delirium III - Viaggio Negli Arcipelaghi del Tempo in 1974 but split up following personnel changes in 1975.


Savona
Savona

I own a budget price ‘2LP in 1CD’ release of Dolce Acqua (with Jesahel as a bonus track) plus Delirium III - Viaggio Negli Arcipelaghi del Tempo, bought from Piccadilly Sound in Livorno on a day trip out from Pisa in August 2014, and managed to get to see the reformed Delirium (Martin Grice, Fabio Chigini on bass, Alessandro Corvaglia on vocals, Michele Cusato on guitar, Alfredo Vandresi on drums and original member Ettore Vigo on keyboards); the very enjoyable set contained a number of songs from the prog-folk Dolce Acqua but there was also good slices of 2015’s L’Era della Menzogna and 2009 comeback release Il Nome del Vento.


Delirium 2LP in 1CD
Delirium 2LP in 1CD

On my second trip to Savona I wandered into the Jocks Team record store (it was closed for lunch on my first visit) I picked up a Yes T-shirt depicting the cover of Fragile and the CD Il Viaggio di Colombo (2008) by Il Cerchio d’Oro who also hail from the city; this was me fulfilling my desire to acquire music from the home city of a group. Though they’d been around in the 70s, Il Cerchio d’Oro never managed to release an album of original material until reforming in the 00s, although they did produce some non-prog singles in the late 70s which emerged on a Mellow Records compilation in 1999 and La Quadratura del Cerchio, an album of rehearsal tracks from the mid 70s, including cover versions of songs by The Trip, Le Orme and New Trolls was released by Psych-Out Records in 2006.

Christopher Columbus lived in both Genova and Savona and provided the inspiration for Il Viaggio di Colombo, a well-presented CD and the first collaboration between the band and Black Widow Records. The sound is crisp and clear with Giuseppe Terribile‘s Rickenbacker bass high in the mix, providing the driving force for some 70’s sounding progressivo Italiano. It’s almost as though the 33 years between the snippets from La Quadratura del Cerchio and Il Viaggio di Colombo never existed. The use of sound effects such as the creaking of the wooden ship show a welcome attention to detail, though the concept, the writing and the playing are all first-class. There’s a bit of a Floyd feel to the production but the music is very much Italian prog; at times I’m reminded of Alphataurus.


Il Viaggio di Colombo
Il Viaggio di Colombo

I completed my Il Cerchio d’Oro collection in the Black Widow Shop, with 2013’s Dedalo e Icaro on vinyl and the most recent release Il Fuoco sotto la Cenere on CD. The former is stylistically similar to Colombo, a concept album in classic Italian prog style, nicely presented in its gatefold sleeve and I haven’t yet made up my mind which is better, Colombo or Dedalo e Icaro.


Il Cerchio d’Oro had played just before Delirium at the Porto Antico Prog Fest and I suspect that they were premiering parts of Il Fuoco sotto la Cenere which hadn’t been released at that time. For this version of the band, the original members Gino (drums) and Giuseppe Terribile (bass) and Franco Piccolini (keyboards) were joined by Massimo Spica (guitar), Piuccio Pradal (acoustic guitar, vocals) and Franco’s son Simone Piccolini (keyboards), plus special appearances from vocalist Pino Ballarini (ex-Il Rovescio della Medaglia) and drummer Paolo Siani (ex-Nuovo Idea), two guest musicians warmly appreciated by the crowd. I recall thinking that the compositions were well structured but there wasn’t the degree of complexity I was expecting though when I got my hands on the new release I thought it was equally as good as Colombo and Dedalo e Icaro, if not better. I was once again 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.


Il Cerchio d'Oro - Porto Antico Prog Fest 2017
Il Cerchio d'Oro - Porto Antico Prog Fest 2017

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 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 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 totally 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 last summer, clearing the way for new possibilities.


Il Fuoco sotto la Cenere by Il Cerchio d’Oro is on Black Widow Records BWRCD 204 (2017)


By ProgBlog, Jul 23 2017 12:25PM

The port in Genoa, overlooking the Mediterranean Sea, is over 1000 years old but has been reinvented during the last 20, thanks in large part to local starchitect Renzo Piano. The facilities, a mixture of new build and renovated historic buildings include an aquarium, harbour offices, a viewing platform known as the Bigo and a 20m diameter crystal sphere, the Bolla (‘Bubble’) on a floating platform containing the largest collection of ferns in the world. The matrix of steel poles which support the Bigo, inspired by the cranes on the old wharfs, also support the membrane above a performance space, the Piazza delle Feste which is where the Porto Antico Prog Fest is held.


Piazza delle Feste from the Bigo (Daryl Page)
Piazza delle Feste from the Bigo (Daryl Page)

It may be entirely by accident but the reinvention of the old port has parallels with progressive rock. In the early 70s before the redevelopment of the harbour area, Genoa was home to some of the well-known names in progressivo Italiano: I New Trolls; Delirium; Gleemen; Garybaldi; Latte e Miele; Osage Tribe; Nuova Idea, and the recent resurgence in the genre has some very strong Genovese connections, from the Fabio Zuffanti projects including Maschera di Cera, Finisterre and Höstsonaten to other now well-established acts like Ancient Veil, Il Tempio delle Clessidre and La Coscienza di Zeno.

The second Porto Antico Prog Fest, organised by local record label and record shop Black Widow, was held over the weekend of 15th – 17th July, with live performances on the Friday and Saturday and, alongside famous artists, featured some of the emerging or less well-known but nevertheless incredible local talent, including Melting Clock on Friday and Panther & C. on Saturday.


Melting Clock was something of a revelation. Fronted by amazing vocalist Emanuela Vedana, the group who also comprise Sandro Amadei on keyboards, Stefano Amadei on guitar, Alessandro Bosca on bass, Simone Caffè on guitar and Francesco Fiorito on drums, have not yet released a record but they performed some wonderful, highly accomplished symphonic progressivo Italiano with a nice full, well-balanced sound. The stand-out track for me was a piece called Antares with Mellotron strings and harmony vocals and plenty of musical drama, although the entire set was thoroughly enjoyable. They may have concluded with an excellent rendition of Firth of Fifth but their music doesn’t seem to be directly influenced by the UK prog scene, it’s seeped in the expressive, lyrical style of RPI. It’s well worth checking out their music at https://www.youtube.com/channel/UCu4J-y-P_JnFFXtHiu2kPfw


Melting Clock
Melting Clock

Mad Fellaz hail from Bassano del Grappa in the Veneto and though they say they were influenced by classic UK and Italian prog bands along with more recent exponents of the genre, the octet (Luca Brighi, vocals; Enrico Brunelli, keyboards; Marco Busatto, drums; Paolo Busatto, guitar; Ruggero Burigo, guitar; Carlo Passuello, bass; Lorenzo Todesco, percussion; and Rudy Zilio, flute, clarinet, keyboards) played complex tunes which came across as a blend of Zappa and Canterbury. It certainly wasn’t music that you could fall asleep to, with unpredictable twists and turns somehow all fitting together brilliantly. I was reminded of some of the bands I’d seen at Prog Résiste in Soignies in 2014 which seemed to specialise in RIO acts – uncompromising, challenging and really enjoyable.


Il Cerchio d’Oro were around in the 70s but never managed to release an album of original material until reforming in the 00s. I was looking forward to this appearance because I’d read some good things about Il Viaggio di Colombo (2008) and Dedalo e Icaro (2013) and there is another album in the pipeline. For this version of the band, the original members Gino (drums) and Giuseppe Terribile (bass) and Franco Piccolini (keyboards) were augmented by Massimo Cesare (guitar), Piuccio Pradal (acoustic guitar, vocals) and Simone Piccolini (keyboards), with guest vocalist Pino Ballarini (ex-Il Rovescio della Medaglia) and guest drummer Paolo Siani (ex-Nuova Idea.) The compositions were well structured but I felt there was less complexity than there might have been – some of the singles they released in the 70s weren’t actually prog. It was still an enjoyable performance and the appearance of the two guest musicians was warmly appreciated by the crowd.



One of the main reasons for attending was seeing Delirium on the bill, another local band who formed in 1970 and whose debut Dolce Acqua (1971) and third album Delirium III – Viaggio Negli Arcipelaghi del Tempo (1974) are considered classics of the genre; the first album is largely acoustic with an Italian folk influence and features Ivano Fossati on flute and vocals and the set at the Prog Fest contained a number of songs from this release; Delirium III is highly regarded and full-on symphonic prog though despite the absence of Fossati, who left to pursue a solo career before the second, less successful record to be replaced by Englishman Martin Grice on flute and sax, there are obvious sonic comparisons between III and Dolce Acqua, especially on opening track Il Dono. Grice has performed with Fabio Zuffanti in the Z Band and I’ve seen him at a number of gigs in the city. The present line-up, reconvened in 2015 after a hiatus of six years for the album L’Era della Menzogna features Grice, Fabio Chigini on bass, Alessandro Corvaglia on vocals (another Zuffanti connection, La Maschera di Cera), Michele Cusato on guitar, Alfredo Vandresi on drums and original member Ettore Vigo on keyboards. A very enjoyable set.


Delirium IPG
Delirium IPG

It’s pertinent that he headline act on Friday, Gens de la Lune, followed Delirium on stage because they feature Francis Décamps, formerly of French prog superstars Ange, and Ange’s crowning glory was Au-Delà Du Délire (Beyond Delirium, 1974.) I started collecting Ange CDs whilst on holiday in August 2004 from what is now Bazoom BD Musique in Auray and, not knowing which best represented their output, decided that Le Cimetière Des Arlequins was most suitable based on its year of release (1973.) I was really pleased that I detected Aujourd'Hui C'Est La Fête Chez L'Apprenti Sorcier during the Ange medley because despite the stop-start expressionist nature of the music and the theatrical delivery of Décamps (in grease paint and long leather coat, performing some serious tongue flicking) and vocalist Jean Philippe Suzan who wore a Venetian plague mask and bowler hat during one song, there wasn’t too much of Ange in evidence. Though touching on prog metal at times where the ensemble got very heavy, the music was pretty varied with more gentle moments such as guitarist Damien Chopard performing an acoustic guitar solo, and the use of a theremin and a Haken Continuum Fingerboard by Décamps. One of the highlights was an unusual percussion duet with Suzan and drummer Cédric Mells. Bassist Mathieu Desbarats was really solid throughout. They were a very good way to end the first day, finishing their set at nearly half past midnight.


The second day began with Panther & C. performing a very accomplished set of melodic symphonic prog. Their latest album Il Giusto Equilibrio was reviewed on ProgBlog earlier this month http://progblog.co.uk/the-blogs/4583484660/Panther-C./11189638 and as I’d only streamed that album and listened to their debut release L’Epoca di un Altro on YouTube, I thought I ought to do the decent thing and buy both CDs from the Black Widow stand.



Mr Punch
Mr Punch

I didn’t get to see the full Mr Punch performance and saw none of The Mugshots because I’d booked a table at a local restaurant, Le Rune. What I did see of Mr Punch, a Marillion tribute act, was pretty good as they played through Misplaced Childhood. Featuring Alessandro Corvaglia for the second time that weekend, delivering a fairly convincing Fish vocal and barefoot, just for the shooting stars, he was joined on stage by another link to Fabio Zuffanti, Luca Scherani (who plays keyboards with La Coscienza di Zeno and Höstsonaten), plus Marcella Arganese (guitar), Roberto Leoni (drums) and Guglielmo Mariotti Pirovano (bass.) I returned after dinner to see the Arabs in Aspic set and was impressed by their brand of prog which tended towards the heavy end of the spectrum but which contained sufficient melody, variation and surprises to suit someone more accustomed to symphonic prog. The Norwegian quartet sang and communicated to the crowd in excellent English, reminding us that we were united by progressive rock and when they’d finished, I was a little bemused that they weren’t helped by a group of roadies to clear their equipment. In fact, guitarist Jostein Smeby stood in the shadows stage left and began to tune one of his instruments because along with the rest of the band (Erik Paulsen, bass; Eskil Nyhus, drums; Stig Arve Jorgenson, keyboards) he was part of the backing group for Saturday headliner and space-rock legend Nik Turner.

I have to admit I didn’t stay for the whole of Turner’s performance but I did watch them tick off old Hawkwind favourites Motorhead, Silver Machine and Master of the Universe. My Hawkwind collection is limited to Space Ritual, Silver Machine and Quark Strangeness and Charm (the latter bought from Black Widow Records earlier this year) and though I’d never call them prog, there are moments when it’s appropriate to turn up the amplifier and blast out some driving riff tracks like Brainstorm and Orgone Accumulator or the electronics and spoken-word Sonic Attack. I think Quark Strangeness and Charm is a much more coherent effort than preceding albums but I do feel Nik Turner’s contribution to the early material (he left the band after Astounding Sounds, Amazing Music in 1976) is a key part of the attraction of their music and it was a real pleasure to see him on-stage, backed by a group of exceptional musicians.


The success of the festival was due to a combination of factors but the organisational nous of Massimo Gasperini and the Black Widow team and the international network of gifted musicians associated with the Black Widow roster were vitally important. It helped too, that the weather was amazing and the Piazza delle Feste provides a really good performance space. My one minor gripe was an over-zealous security guard but that was swiftly resolved by the organising team.

From the old bands to the new, Genoa is the centre of progressivo Italiano; I can’t wait to go back.









By ProgBlog, May 21 2017 08:21PM

Yes, another trip to Genoa. The weekend had to be carefully planned: on call on the Thursday hastily rearranged; gig on Friday; Crystal Palace playing their last home game of the season with kick off at noon on Sunday...

My wife and I left on the 07.10 flight from Gatwick on Thursday morning and returned on the 13:25 flight on Saturday. It was a bit of a whirlwind stay but rather successful. Susan doesn’t come to the gigs so we spend as much of the remaining time getting around. Ideally we’d have been able to leave on the Sunday but the importance of the football match, with both Palace and opponents Hull involved in a relegation scrap, it was a game I was not prepared to miss.

After checking in at the hotel, the first stop was for coffee in a local bar, Caffé del Sivori before moving on for a bite to eat. We were then able to wander into the historical centre where, among the narrow lanes and small piazza, you can find the second-hand record, CD and book stalls. This was where I bought the 1997 Ulisse and the 2000 Serendipity CDs by PFM, along with Anthony Phillip’s Wise after the Event. The main shopping attraction however, was the small but perfectly formed Black Widow record shop in Via del Campo; specialising in progressive rock, psychedelia, heavy rock, ‘dark’ prog and folk. It turns out that the founders of the shop Massimo Gasperini, Pino Pintabona and Alberto Santamaria, used to come to Beanos in Croydon to buy stock and that the reputation of the store within the prog community is really high; the Prog Archives website published an interview with Massimo in 2010, remarking that he’s a friendly guy and I concur - I’ve had lengthy chats with both Massimo and Alberto on the occasions I’ve visited and can honestly say that their generosity, knowledge and graciousness are boundless. It’s easy to form a connection when you share a passion for the same kind of music, despite my lack of Italian.



You might wonder why such a small shop has such a big influence but part of the reason is because Genoa is at the heart of the current prog scene in Italy, with the emergence of a number of new bands seeped in the traditions of 70s progressivo Italiano, plus a renewed interest in the original bands, some of the most influential of which were based in Genoa (New Trolls, Delirium, Latte e Miele, Nuovo Idea, Garybaldi.) This historic connection must have influenced the foundation of the Centro Studi per il Progressive Italiano (in Genoa’s Pontedecimo district) who aim to create a comprehensive archive of material relating to Italian prog and build a complete database of material, but also study the material at a musicological level. The other part of the explanation is that Black Widow also operates as a record label, promoting new talent and, where possible, reissuing old classics. They play an important role in the live music scene, being instrumental in the Fiera della Musica which had been held in Genoa until the area, with buildings by local architect Renzo Piano, was scheduled for redevelopment. (Susan and I visited an exhibition of competitors for this redevelopment and, rather to my delight, one entrant included the cover of Atom Heart Mother in their presentation.)



Black Widow were putting on a Metal festival that weekend, though I was far more interested in their Prog Festival to be held in the old harbour from 14th – 16th July, featuring local and nearby acts Delirium and Il Cerchio d’Oro, prog from France and Norway and Nik Turner, formerly of Hawkwind, headlining on the Saturday.



I walked away from the shop with a selection of British and Italian prog on vinyl: The first Saint Just album (rereleased by AMS on green vinyl); Inferno by Metamorfosi, Acquiring the Taste by Gentle Giant, Future Legends by Fruupp, plus a second-hand copy of Quark, Strangeness and Charm by Hawkwind.


Daytime on Friday was spent in Alessandria, visiting the UNESCO World Heritage listed Cittadella, the most important hexagonal fort in Europe due the integrity of the site, though our access was restricted because there seemed to be some event being set up. We visited the W Dabliu record store but I didn’t buy anything there, however I did come across the first three editions of Prog Italia, bundled into one, for €12.99 which I had to buy, having spent the last three trips to Italy looking for copies of the magazine.

It’s become increasingly obvious to me that Friday night is the time for prog in this part of the country because the excursion had been organised to see a couple of bands, playing on a Friday, at la Claque; Finisterre and Ancient Veil.



I’d seen Finisterre as recently as the 31st March at the Z Fest in Milan, but I enjoyed this performance more. Maybe it was the theatre itself, with tables organised like a club rather than crowding the stage at Milan’s Legend Club (and where the space on stage was divided by supporting columns), or maybe it was that the recent exposure to the band had made me more aware of the material. Despite coming from Genova and performing around the world, Finisterre hadn’t played in their home city since 2004, so it must have been a rather emotional return. Their set list comprised of material from three of their four albums Finisterre, In Ogni Luogo and La Meccanica Naturale: Tempi Moderni, Anaporaz; La Maleducazione; Macinaaqua, Macinaluna; La Perfezione; Ninive, In Ogni Luogo and Coro Elettrico performed as a mini-suite with Edmondo Romano from Ancient Veil as guest; Ode al Mare; La Fine; Incipit; Phaedra; with chat, announcements and introductions made alternatively by Sefano Marelli and Fabio Zuffanti. The musicianship was sublime and despite the absence of anything from In Limine, my favourite Finisterre album, the set was perfect. If I had to make any complaint, it would be that from where I was seated, fairly close to the front and centre, I couldn’t hear Boris Valle’s keyboards too well but the overall sound was clear.

There was a poignant moment when Zuffanti introduced Davide Laricchia, the original vocalist for the band, to perform Macinaacqua, for which he wrote the words but left before he could appear on the first album. This track encapsulates the experimental approach of the group, interspersing classical motifs into some riff-driven prog, Marelli guitar effects and Agostino Macor electronics. The delivery was over-the-top theatrics along the lines of Alex Harvey, though the melodic denouement hinted at 70s The Enid, coalescing into classic Zuffanti material; Macor even used a xylophone on this piece. Their superb set ended with a medley of prog classics; a little bit of Interstellar Overdrive, 21st Century Schizoid Man and the Hackett-friendly portion of Firth of Fifth.



I first came across Ancient Veil after seeing an article about Eris Pluvia, and received Rings of Earthly Light as a Christmas present in 2012. Released in 1991, six years after the band formed, this is an uplifting piece of neo-prog which at times, thanks to the woodwind and reeds of Edmondo Romano, borders on prog-folk. The upbeat lyrics, all in English, and the calm, warm voice of guitarist Alessandro Serri help to give it an almost New Age feel but there are odd time signatures and sudden changes that would suit the most ardent of prog fans. Eris Pluvia disbanded in 1992 and Ancient Veil was formed by Alessandro Serri, Romano, with Fabio Serri on keyboards and they released one eponymous record in 1995, with music very much in the same vein as Eris Pluvia. Ancient Veil reappeared this year with bassist Massimo Palermo and drummer Marco Fuliano and the CD I am Changing. Remarkably, this presentation of their new album was the band’s first ever live performance and though there were a couple of hitches, technical and human, the audience was understandably forgiving. The material was set out in three blocks, commencing with The Ancient Veil, followed by Rings of Earthly Light and concluding with I am Changing but the material flowed seamlessly. I bought a copy of the CD during the interval between bands so I had not heard any of the new songs; I’d also not been able to lay my hands on a copy of The Ancient Veil but it would not be unfair to say that the composers have a distinctive style. Maybe their most recent material contains a hint of wistfulness? They also introduced a guest from the past, Valeria Caucino, who sang on Eris Pluvia’s Sell My Feelings and also appears on the new album, on the song Chime of the Times. And, just as Romano had accompanied Finisterre on stage, Zuffanti and Marelli returned the favour during In the Rising Mist, making four acoustic guitarists (along with Serri and drummer Fuliano); this summed up the camaraderie of not only the musicians gracing the stage that evening, but the Italian progressive rock community as a whole.



What made the evening special was a combination of great music and a sense of history; the return of Finisterre to Genoa after a considerable absence, and the first gig by a band who have long been praised in prog circles – a remarkable double bill and immensely enjoyable. I’m already preparing for my next trip...
What made the evening special was a combination of great music and a sense of history; the return of Finisterre to Genoa after a considerable absence, and the first gig by a band who have long been praised in prog circles – a remarkable double bill and immensely enjoyable. I’m already preparing for my next trip...

Postscript

Palace beat Hull 4-0 on an afternoon basked in sunlight, securing their tenure in the Premier Leaguue for another season. What a fantastic few days












By ProgBlog, Aug 30 2014 04:06PM

I’ve just spent a very enjoyable eight days in Tuscany. Based in Cisanello on the outskirts of Pisa, it was easy to get around the region using the railway system. I love the steep hillsides, with olive groves and vines dappled in warm sunlight and shadows from the cumulus clouds above; the uniform rows of stone pines and fields of sunflower and maize; the ancient hill forts originally occupied by long-passed civilizations.

The ideal holiday should combine a number of things, including appropriate weather (I do like my skiing!), some exercise, some relaxation, some culture, contrasting landscapes, good food. I may be a scientist but I like art and architecture; most of my photographs are architectural when previously they’d been predominantly landscapes. Our summer holiday this year was intended to cover most of the essentials, plus suitable interludes for browsing through the racks in record stores...

I’d put together a list based on personal preferences, descriptions from Andrea Parentin’s Rock Progressivo Italiano and Progressive Italiano by Alessandro Caboli and Giovanni Ottone, amounting to 23 mostly 70s RPI albums that I wanted to buy, believing that I might find maybe five of them. Top of the list was Terra in Bocca by I Giganti, which features prominently in the literature but, from talking to Alessandro Magnani of Pisa’s GAP records as well as hours spent in other music stores, copies are very hard to come by. On this visit to Pisa I didn’t actually buy anything in GAP but I did have quite a good chat with Alessandro. The shop is amazing, not least because Alessandro’s stock includes music he’s not too fond of, it’s full of vinyl and Alessandro can tell you about the style of music on any record. He very kindly played me some of Searching for a Land by the New Trolls which was organ-dominated and more like ELP than the blues-guitar infused proto-prog of the Concerto Grosso. It was evident he also liked prog, recommending Circus 2000 as something I should look out for, but also picking out a single track from an album by a folk artist (I don’t remember the name) that he cited as prog, and it was, but the rest of the album was singer-songwriter easy listening that was of no interest. Flicking through some albums he described one as being ‘very political’ and when pressed, he said it was left-wing, and wouldn’t have anything ‘from the right’. During the time I spent in there, three other audiophiles were browsing the records, asking questions and getting full answers; a truly interactive shop.

Pisa’s other record store, La Galleria del Disco (Sanantonio42 Records Shop seems to have been replaced with a clothes store that sells some music, rather than the other way round) does have a dedicated prog section and, because GAP was closed until a couple of days before we were due to return to the UK, I managed to visit twice and pick up a number of items from my list, plus a CD that wasn’t on my list but did interest me, Atlantide by The Trip (the first album as a keyboard-fronted trio) and a cheap Seventh Sojourn. Upstairs, there’s a fairly impressive selection of new vinyl for sale, indicating that Italians certainly have not fallen out of love with 12” albums and gatefold sleeves. This hypothesis was reinforced by the presence of turntables for sale in a few of the record shops I visited, including a Rega Planar 1 for €299 in Sky Stone & Songs, Lucca. This store has a reasonable collection of prog but it is mixed in with the full range of other Italian artists. Perhaps the most striking feature of the shop was the impressive range of Metal, both on CD and vinyl.

A planned trip to look for sea glass in Antignano allowed me to include a stop in Piccadilly Sound, Livorno. Atlantic Star, 36 properties away on the Via Grande had closed down, but visits to Piccadilly either side of lunch resulted in picking up three titles from my list, plus a fourth thrown in for good measure. Warner has a budget series of 2LP in 1CD and fortunately for me, the two Delirium CDs I’d wanted were included on the one CD. The bonus was the inclusion of Preludio, Tema, Variazione e Canzona on the CD with L’Uomo by Osanna.

The trip to Firenze resulted in another bumper crop, though on arrival I was disappointed with the branch of Galleria del Disco. The sottopassaggio leading out from the station has two stores and it wasn’t until we were returning to the station that we discovered the branch with the dedicated progressive Italiano. Outside of Genova, this is the only record store I’ve found that stocks a good range of BTF CDs, so I crossed another couple of classic albums of my list and indulged in three more recent releases, two from Fabio Zuffanti-related Finisterre and one from another of Zuffanti’s projects, Hostsonaten. I had picked up Fiaba by Procession, something I’d included in my 23, but chose not to buy it because of the absence of keyboards. Firenze is also home to Alberti. I went to the rather large branch in Borgo San Lorenzo, close to the cathedral. The prog was mixed in with other Italian artists and though I didn’t cross off any more titles, I bought myself a special edition 40th anniversary Banco del Mutuo Soccorso that includes three previously unreleased tracks, live tracks and a substantial booklet. I also couldn’t resist picking up a cheap copy of the first Yes album.

All in all this was a very successful holiday, ticking all the right boxes for culture, relaxation, scenery and exercise and also because of achieving 48% of my targeted albums. Tuscany next year?


My purchases were: Franco Battiato, Sulle corded Aries; Alan Sorrenti, Aria; Festa Mobile, Diario di viaggio della Festa mobile; Panna Fredda, Uno; The Trip, Atlantide; Arti+Mestieri, Tilt; Osanna, L’Uomo and Preludio, Tema, Variazione e Canzona; Delirium, Dolce Acqua and Delirium III - Viaggio negli Archipelaghi del Tempo; 40th Anniversary Banco del Mutuo Soccorso’s eponymous first album; Alusa Fallax, Intorno alla mia Cattiva Educazione; Campo di Marte, Campo di Marte; Hostsonaten, Winterthrough; Finisterre, In ogni Luogo and La Meccanica Naturale


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