PANGEA E LE TRE LUNE

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

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

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

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

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

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

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