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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, 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, Aug 16 2015 08:59PM

It may be the largest seaport in Italy, served by several cruise lines, but Genova is hardly geared up for tourism. I first visited the city in May 2014 for the Riviera Prog Festival but was intrigued by the UNESCO World Heritage designation for the largest medieval city centre in Europe including the Palazzi dei Rolli. This vertical city also has some unusual modes of transport. Your 100 minute ticket (€1.60) is good for the Metro, local train services, the bus and elevators and a funicular railway. The lifts are incredible – I couldn’t quite believe the map last year when I saw ‘ascensore’ marked and I somehow managed to walk right past one; last week, when I went for a return visit with my wife Susan, I made sure we used them. There’s even a Starship Enterprise-like lift that travels horizontally for some distance before ascending – possibly the only example of its kind in the world.

It seems appropriate that Genova should host an annual prog festival though it’s actually a music festival associated with a musical equipment fair held in the Fiera, the exhibition centre reclaimed from the sea in the 1960s.

Last year the excellent Black Widow Records (Via del Campo 6R) had decamped to the prog festival leaving the shop closed but on our first afternoon we somehow managed to make the pilgrimage to what I can only describe as one of the best record stores I’ve ever visited. Small in area but filled with vinyl and CDs, owner Massimo Gasperini is a fountain of knowledge and also friends with a number of musicians. He may not have been quite prepared for the Englishman who came into his shop and encouraged by his wife, began to select a rather large pile of CDs. Rather than having the CDs themselves accessible, Massimo has saved space by displaying four CD covers in plastic wallets the size of a vinyl album. It also meant that the storage racks could be uniform; a system I’d previously seen in Rossetti Records in Milan. On former trips I’d taken lists or one of my Progressive Italiano books but the gaps in my collection are becoming fewer and fewer and I now recognise what I want to acquire without too much trouble. The gaps that do exist are generally more recent album releases, bands that formed or reformed during the third wave of progressive rock and these 90s onwards groups aren’t all covered in my books. I have to rely on engaging the shopkeeper in conversation, mostly in English because my Italian is very basic, using a shared appreciation of the music itself. I was both surprised and impressed to see a copy of Marsbeli Kronikak by Hungarian symphonic prog band Solaris. Initially released in 1984, this is a highly regarded piece of work and somewhat difficult or expensive to come by in the UK. When I last checked my Amazon wish list it was selling for £43; I bought it there and then for €17. It really is a well-crafted melodic piece of work, spoiled only by some harmonica on the last of the two bonus tracks.

An old release from 1973 that I’d not previously come across in any of my travels was Melos by Cervello, the only record they produced before breaking up. I was aware that there was no keyboard player in the band but there’s plenty of flute and they utilise some interesting dynamics; the entire concept is based around Greek myths which is enhanced by a strong Mediterranean feel.

I saw Il Tempio delle Clessidre at the Riviera Prog Festival last year and was impressed enough to buy their first CD and a T shirt from their merchandise stand. I’d previously seen a review of their 2013 album Alienatura in Prog Magazine but I’d not actually seen it other than at the music festival. They’re a Genova band and their material is released on Black Widow Records so it wasn’t too much of a surprise to pick it up in the shop!

I’ve now seen La Coscienza di Zeno twice, on the second day of Prog Résiste last year in Soignies and again the following month, once more in Genova. I think I preferred the Genova set more, possibly because I’d heard the material which has some neat hooks but can also be quite rhythmically complex. A lack of ready cash and a shortage of luggage space meant I didn’t buy anything on either of these occasions but I couldn’t resist buying Sensitivita (2013) this time.

I’d resisted buying Latte e Miele records until I got a copy of Passio Secundum Mattheum from 1972 on a day trip to Padova from Venezia late last year. I‘d originally been put off by suggestions that the members of the group were inspired by religion but found the music and musicianship quite incredible, genuine classic Italian prog and anyway, rather religion than dodgy right-wing politics. I’ve been looking out for Marco Polo Sogni e Viaggi from 2009 but Black Widow had Passio Secundum Mattheum The Complete Work which is a 2014 remake of the original album, extended and rearranged and released on the Black Widow label – Latte e Miele being another Genovese group. It’s interesting to see the list of narrators who appear on the album, a list that includes other Genovese and some of the greats from the original RPI scene.

I’ve been a Goblin fan for some years and managed to find a copy of the eponymous Cherry Five album, which I like a great deal, in Pisa a couple of years ago. I was delighted that a reformed Cherry Five had just released Il Pozzo dei Giganti which is based on Dante’s Inferno, on the Black Widow label. It’s quite clear they’ve picked up from where they left off in the 70s; not only is it thematically Cherry Five material but the analogue keyboard sounds are very fitting.

Finally, Massimo produced a CD that wasn’t in the racks and asked if I was interested: Palepolitana by Osanna, the just-released reinterpretation of Palepoli from 1972 by the current line-up. I explained that I was a big fan of the original album but less impressed by their later material; Landscape of Life (1975) has two great tracks but the line-up was in transition for that album and the remaining material is really very throwaway. Massimo told me that the original Palepoli was supposed to have been a double album and the current group had not only recreated the material released in 1972 but included the songs that would have made up the other LP in the proposed double album, described as “an act of love for the city of Naples...” There are hints of the very early material, the Mediterranean feel mixed with psychedelia but I still prefer the three tracks Ora Caldo, Stanza Citta and Animale senza Respira which continue to reveal surprises.

That’s my advert for the Genoa tourist board. I've not mentioned one other of the Genova greats: La Maschera di Cera. I've got all their albums apart from Petali di Fuoco (2010) plus a considerable number of albums by Fabio Zuffanti. Coincidentally, Genova featured in the travel section of The Guardian this weekend http://www.theguardian.com/travel/2015/aug/14/italy-genoa-food-drink-chocolate-walking - it was as though I was still there...



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