IL NOME DEL VENTO

Back with their most accomplished sound ever

A few years ago PFM pulled off an amazing comeback album called "Stati di Imagginazione" which struck me because latter day comebacks of some favorite English bands had always disappointed me. Now Delirium have returned with the remarkable "Il Nome del Vento" proving that the Italians have bested the formula for comebacks-- frankly I think the difference is that some prog giants see a comeback with dollar signs in their eyes, whereas Delirium are in it for the right reasons, first and foremost the love of music. Many prog writers have proclaimed the 3rd Delirium album to be the best of the '70s lot. While I've not heard their first two albums I can safely say that Delirium 2009 has impressed me much more than the '74 album did. This is a work that feels painstakingly crafted with mature composition and sophisticated, beautiful arrangements. The band is legit without a doubt: back are Ettore Vigo, Pino di Santo, Martin Grice, and Mimmo di Martino. Newer members include guitarist Roberto Solinas and bassist Fabio Chighini. They are joined by a string quartet and guests including the amazing Sophya Baccini among others. No shortage of talent! Lyricist Mauro La Luce was brought in and the perfectly representative cover art was painted by Anna Ferrari.

The album "Il Nome del Vento" (which if my awful translations skills are accurate would be "The Name of the Wind") is a skillfully blended and thoroughly fulfilling combination of sophisticated symphonic progressive rock and jazz-rock excursion. I have heard many attempts by today's decent high-profile bands at capturing something this ambitious, and even when the results are mostly good there can be some sections that make me wince a bit for reasons of either poor composition or iffy production/performance. You will find none of these kinds of bush league mistakes on Il Nome, this album is flawlessly executed. Carefully considered compositions, painstakingly perfect production, and immaculate performance from top to bottom. If there is any negative charge to be leveled at Delirium for this album it will come from those who feel they play it too relaxing, not wild enough for adrenalin loving prog fanatics--consider a quote like this from the book Scented Gardens written about 1974's Delirium 3: "All Delirium albums are pleasant enough but sound too common and pedestrian to be really interesting." [Scented Gardens of the Mind]. I have written often enough myself that even the high quality modern Italian prog albums lack the "avant-garde" surprises of the early '70s heyday. While that sentiment is true to some extent one should not write off an album like this because it is far from "pedestrian." True that much of the high-minded weirdness of the old days is gone but what remains is not "common" but exceptional this time around. Maturity is a word the band might not appreciate but the composition demands that I use it. These tracks are so beautifully written and perfectly arranged that I've realized sophistication isn't necessarily the harbinger of soft middle age I might have thought. Like Wyatt's recent "Comicopera" Delirium have infused a degree of elegance that few bands of any age pull off.

In attempting to describe moments of beauty for which words don't do justice, I would say that Il Nome almost has the classic symphonic influence of "Days of Future Passed," the occasional jazz leanings of a Robert Wyatt album, and the upscale rock of a Zuffanti project. (like I said, encapsulating an album like this is not fair but at least I gave it the college try!) The symphonic moments are my favorite when you have these glorious melodic passages rising from the piano, Hammond, or Mellotron. They are grand and stately, adorned with Baccini's lovely backing vocals, gentle flute and strings passages, lovely to the point of intoxication. The title track is the perfect example of this with Sophya's harmonies just heavenly. From these sections they will quite frequently veer into jazz-rock territory with saxophone often taking the lead for some extended workouts. The third component are the rock guitar leads which break through here and there to keep things from getting too laid back, and the bass playing is strong and bubbly throughout. During some of the rock sections with flute the inevitable Jethro Tull comparisons may pop up again but really this album sounds little like Tull to me. It sounds a lot like Delirium delivering the masterpiece that perhaps eluded them in the 1970s. This is an hour long journey that is going to please many progressive fans of all stripes. My favorites are of course the melodic lushness of the title track and the amazing blend of saxophone, flute, and piano jamming on the 10 minute highlight "Dopo il Vento." Every song is strong and the little details keep popping with each new play. I am truly grateful that these legends of the Italian scene were able to have the chance to make this music and that I was fortunate enough to hear it. This is one title to embrace in a relaxed manner. It's not a "type-A" personality album you want in rush hour traffic, it's really an album that begs one to pour a drink or two and listen to relaxed and without multi-tasking. Take in the high level of detail and care given to the performances. Listen to how effortlessly the string quartet is woven into the composition, how the performances just excel from everyone. Listen for the vocal debut of the young Valentino Vera who I believe makes his first appearance and does a wonderful job! Feel the optimism in the cycle of life that the band seems to exude throughout every inch of this project. It is music that feels reassuring, somehow wise, not something you feel everyday. This is without question one of the premier releases of the 2000s, a triumphant return for this outstanding progressive band and I imagine they must be thrilled with the results.

Black Widow Records scores another big victory with this Delirium return. They deliver the disc in a tri-fold digipak boasting great artwork, a beautiful 24 page booklet filled with color photos and lyrics, a bonus track, and even a bonus video. I've only spent a short time with this album thus far because I wanted to get a review up and get the word out about its release. I give them 5 stars based on a quick initial impression of about a week, but we'll have to see if that holds up over time. Sometimes they don't but I've a feeling this one just might. Bravo Delirium!

First of all, Finnforest's review of this album is incredible. I'm not going to attempt to perform my own analysis of this album in detail as I could not have said it remotely as good as Finnforests review. All I'd like to do is piggyback on that review and add my 2 cents worth. I've had this album for about 3 days now myself so maybe I have not given time for the "initial excitement" to wear off. But then I ask myself, so many other new albums don't give me that kind of "initial excitement". Therefore, this album must have really hit a chord with me. Other 90's and new millenium albums from 70's italian prog acts have rarely excited me as much as this particular release. I was slightly disappointed in Metamorfosi's Paradiso (gosh I hope they do Purgatorio) and was very dissappointed in Locanda Delle Fate's album in the late 90's and I never felt Le Orme's 80's/90's/new millenium output equalled the warmness and appeal of their classic 70's output. The same for PFM and Museo rosenbach's newer output. I did happen to like Murple's new album very much though and I thought New Trolls Concerto Grosso #3 was a masterpiece and better than the first 2 concerto grossos so those 2 are excellent additions to those who love 70's italian prog bands and want to check out some newer output from those same bands.

Now to this one, I did not know what to expect since Delirium has always struck me as a very versatile band who's 70's albums have so much variety that it's not even funny. You will always get some folkiness, jazz, progressive and even touches of classical music on their albums. There's no "sameness" or predictability with them.

This album is no exception to Delirium's output from the 70's. It's beautiful when they want it to be, powerful when they need it to be, delicate/melodic when it's time for that, bombastic when they want to remind you that they can rock, etc...

Would you believe me if I thought this album to be everybit as good as any of their first 3 studio albums from the 1970's? In many aspects, it's better. They add some beautiful female harmonies on some of the material.

This is 1970's italian progressive rock done in 2009.

What a fantastic album by a fantastic band. I'm so glad they did this and I really hope they'll consider touring in the USA and I really do hope they'll consider another album.

For ANYONE out there who likes 70's italian progressive rock and Delirium, I can whole-heartedly say, "buy this album with confidence". It's one of the most safest no-risk purchases of 70's italian prog acts reuniting for newer albums. Don't even blink an eye or wonder if you'll get ripped off. Everybit as good as any of their 1970's output while not sacrificing that 1970's sound (I don't hear digital keyboards or anything like that). Vunderful album.

Excellent album

Really weak start of the year - first quarter of 2009 reveals a couple of clumsy albums. The only one impressive work up to now was Berbares by Nemo. I had to wait until the release of italian band Delirium and its album Il Nome Del Vento to hear something really pleasant. For me this is the second best album of the first quarter of 2009.

The album begins irresistibly with dynamic three songs - Intro, Il Nome del Vento and Verso il Naufragio. Verso il Naufragio contains some really well-fixed elements from Van Der Graaf Generator's Theme One (thanks to Finnforest, micky and andrea; they know why...;). This song is true example how can be made really good songs using you own elements and combined with an alien element. L'Acquario delle Stelle and Luci Lontane calm down the tempo of the album with superb jazz sound. In my opinion, this is the best part of the album.

Afterthat, it came the time of more varied sound - first calm, then dynamic. I would like to mention the harmony of the genres and themes in this beautiful album. Folk-sounding flute and jazz-sounding sax play in well builded combination. Il Nome Del Vento is a kind of dramatic and philosophical album appropriate for soundtrack of drama or new wave movie. The discriminating sound rule all over the album.

Very appropriate for people who want to become more spiritual and philosophical! I wish you enjoyable listening.

For my 100th RPI review I thought i'd do it on DELIRIUM who have made an amazing comeback in 2009. They've employed a string quartet and some guest vocalists including Sophya from the band PRESENCE. Lots of variety here and this is first class all the way. Hammond organ, mellotron, moog and Fender Rhodes along with flute and sax and the traditional instruments fill out the sound. Vocals are in Italian of course. The artwork is so well done, as are the pictures in the liner notes.

"Intro (Dio Del Silenzio Reprise)" is as it says, a reprise of a song from their third album from 1974. Cool ! Thunder and rain open the album before vocals, flute and piano take over.The string quartet joins in. "Il Nome Del Vento" opens with the string quartet before sax and a fuller sound arrive. Vocals follow. Female vocals come in a minute after the male vocals. Sax is back as themes are repeated. The guitar before 4 minutes sounds really good. "Verso Il Naufragio" opens with some atmosphere as sax comes and goes. Strings follow then more sax. A change 1 1/2 minutes in as piano takes over. It's brighter sounding a minute later as "Theme One" comes in. I like when it gets heavier and you hear the sound of glass breaking. That "Theme One" returns and then we get some relaxing sax melodies to end it. "L'acquario Delle Stelle" was written by the sax / flute player to celebrate the birth of his first grandson. It opens with the sound of a music box before the flute comes in. Strings before 2 minutes. Almost spoken vocals with piano follow. It all gets fuller with some nice guitar. A pastoral ending to this one. "Luc Lontane" opens with sax, piano and reserved vocals. The vocals get passionate 3 minutes in.

"Profeta Senza Profezie" is an outstanding tune, one of my favs. It's kind of jazzy reminding me of DFA at times. "Ogni Storia" opens with the sound of a baby crying and a music box. Sax and strings a minute in then it gets heavier. Vocals after 2 minutes as it lightens. Female vocals are added then the guitar lights it up. Themes are repeated. Great sound 4 1/2 minutes in. Excellent tune. "Note Di Tempesta" opens with slicing violins followed by sax then piano, drums and bass. It settles with flute after 1 1/2 minutes in as different sounds come and go. I like it. Nice guitar before 2 1/2 minutes. "Dopo Il Vento" is a little haunting early. It kicks in before 1 1/2 minutes. Sax and piano lead the way before 3 minutes.The guitar comes in sounding fantastic. Flute and a calm follow. Vocals after 5 minutes. The song continues to change and evolve. This is the longest track at over 9 1/2 minutes. "Cuore Sacro" opens with flute then guitar and organ join in. Great sound. Drums follow suit before a calm with piano follows. Vocals before 3 minutes then it kicks back in to a jazzy mode. It settles again late with piano, flute and vocals.

Not as good as PFM's latest, but this is so well done and worthy of 4 stars.

Finally got the CD...and waited some good listens on this prior to comment. And how good it is! Me too, as the former reviewer, I'm going to use the "Finnforest" excellent review as a perfect glance on what you are going to experience with "Il Nome del Vento". I'm only commenting trough the glasses of my personal tastes...If Delirium had indulged or developed more on the melodic side, for me this would have been a "5 star" workpiece. While I'm not so fond of the jazzy parts and chiselling interspersed throughout many of the songs. As an example the piece "Ogni Storia": the full band & strings & voice section from 2'04" to 3'28" is absolutely stunning and melodically heart-opening, while the first 2' and the closure are jazzy not-so-interesting (for my taste) and not well fitting the central part. Anyway I can well undersign that this an excellent, strong addition to my collection, and a really happy discover from my country...(FYI, in usual musical channels in Italy you won't find any passage of such a record...how sad!) - so another great reason to stay focused on PA!!!

Is this a good studio comeback for Delirium? Yes... only that this studio comeback is excellent!

Andprobably is important to note that if you wait another 'Dolce Acqua' you are outside of the road. In first because 'Il Nome Del Vento' (eng: 'The Name Of The Wind') is more King Crimson oriented but also because this album is an album of another band. In fact 'Dolce Acqua' is a sort of Ivano Fossati's album. But sure 'Il Nome Del Vento' remember me 'Lo Scemo Ed Il Villaggio' or 'Delirium III' also if the music leads my mind also to the last single of I Sagittari. So 'Il Nome Del Vento' is a true powerful and melodic studio comeback.

Some days ago, in a private Italian broadcasting, I see a part of a concert of 'Festivalshow', an traveling events with band / artists old and new. I see this version of Delirium that plays 'Jesahel'... Arrgghhh!!! Unfortunately, I am sorry... But that is a song of Ivano Fossati. These Delirium... These Delirium are another band. Ok, if I speak about sound I speak of a very melodic sound but the style remaind my mind to King Crimson more that Jethro Tull. This is true from 'L'Acquario Delle Stelle' but i think that this fact is more recognizable because this album is recorded better that 70's albums. The lyrics are essentials, in some cases the lyrics are forced but the sung complete extreme well the instrumental parts.

Certainly 'Il Nome Del Vento' is not revolutionary or emotional album. Sure, however, 'Il Nome Del Vento' is another fundamental album for your great discography

Originating in Genova, Delirium rose from the band Sagittari in 1970 and went on to release three progressive rock albums in the 1970s', Dolce Acqua, Lo Scemo E Il Villaggio & Delirium III: Viaggio Negli Arcipelaghi Del Tempo. They disbanded in 1975. They reformed in 2003 with two new members and released a live album in 2007 and this album reviewed here in 2009.

This album flows beautifully from one album to the next as the song seem to connect to each other, as if not ending but serving as the starting point of the next in line. Starting with a reprise of Dio Del Silenzio from Delirium III, the album goes on to the title track that presents the string quartet that plays along with the band. This is a beautiful, evocative and spellbinding melody, rich sounding and captivating. The strong section adds much to the emotions that dominate this song, along with the sax. Next comes a track that includes VdGG's Theme One. It starts with a wonderful sax lead (no percussions yet) building an atmosphere and later on comes the piano to take over the lead and also provide a powerful rhythm. All this builds up the tension up until more than two minutes in when the familiar theme begins; this is a superb buildup towards this. Delirium doesn't simply plays the Theme, but jams with it a bit and then goes on to "take back" the lead with their own theme, heavy sounding and ominous, returning later on to the familiar theme. More variety comes in again as they shift away from the Theme again to play a jazzy interlude, organ dominated with a sax playing on the top an edited version of the Theme, jamming to it. This is a staggering piece, varied, powerful and haunting. It connects directly to the next piece, which features in first 2 minutes, the classical lineup in full scale and dominating the show alone. This is a peaceful yet strong performance that again reaches emotional climaxes throughout. The rest of the band, including vocals, join towards the middle, achieving the vast sound of the band that is representative of this album. There's not much point going on as you get the idea, but let me just say that the songs are varied in style and mood in this album. It does require several good and concentrated listens to be able to absorb it completely, though, due to its richness of melodies and wide range of moods, elements and sounds.

To sum this up: The sound is rich and wonderful, the musicianship splendid, the instrumentation lineup wide, the vocals powerful and the music varied and beautiful. A wonderful album; get it.

Not just excellent, but unique, really rare. Because for me, it is one of the most melodic RPI albums. Not to say that their "golden" age should be early 70's, but it looks like that they're better now in late naughties. And not only melodic, that would mean that they're melodic pop, but they're maintaining high standard of RPI music. Of course, all these elements we like/love/admire/adore/wants/needs/requires/or are desperately trying to find. They are here. Gentle strings (Il Nome Del Vento), Wild piano and sax (Verso il Naufragio) combined with (let me say) typical synths of this genre, while playing well known melody (arrangement is what counts here) and so on, et cetera. We can continue till the end of album, but I'll gladly leave it to you, dear readers.

5(-), of course, we are humans. And so are guys from Delirium, they did few mistakes, some parts may be too weary, some things too crazy, but in general, this is perfect. Let's stick with it.

When listening to "Il Nome Del Vento", one might almost be tempted to feel that the 30-year hiatus between "Delirium III" (released in 1974) and this album has in some way been beneficial to the band - a lengthy yet necessary 'recharging of the batteries', so to speak. Indeed, this is a mature, finely-crafted album, very much in the way of PFM's "Stati di Immaginazione" - a sumptuous, accomplished effort from seasoned prog veterans that have been forgotten or written off far too soon.

Although "Il Nome Del Vento" is a concept album of sorts (the wind symbolizing the energies that sweep negativity away and usher positive change), it does not feel contrived in the way so many similar efforts can be. Shunning the clichés than often plague concept albums, Mauro La Luce's lyrics opt instead for simplicity and emotion, a perfect complement to the outstanding performances of all the vocalists involved. The latter are nicely balanced by the brilliance of the instrumental sections, where the background of each musician, their individual tastes and preferences, is put to effective use. While Martin Grice's love of jazz and vintage English prog shines through his flute and sax work, guitarist/vocalist Roberto Solinas (a revelation) injects a welcome dose of classic rock energy in what is largely an acoustic effort. The presence of an all-female string quartet contributes an authentically symphonic feel to many of the compositions, infused by that uniquely Italian flair for melody and lyricism.

The continuity between the new and the old incarnation of Delirium is highlighted right from the start, as Intro/Dio del Silenzio (Reprise) references one of the songs featured on "Delirium III". This brief yet intense introduction (complete with sounds of rain and thunder at the beginning) sets the scene for what is to come. The title-track is a magnificent slice of complex yet melodic prog, soulfully interpreted by the band's former guitarist Mimmo Di Martino, whose deep, bluesy tones find a perfect foil in Sophya Baccini's ethereal soprano. The following track, "Verso il Naufragio" (one of two instrumentals featured on the album), is an exhilarating rollercoaster ride of slow, majestic keyboard washes and electrifying guitar riffs; it also incorporates a passage from George Martin's "Theme One" (also covered by Van Der Graaf Generator, Cozy Powell and Osanna). The jaw-dropping duel between sax and organ in the second half of the track displays the band's jazzier side, a constant of their sound since their debut album, "Dolce Acqua".

More jazzy influences surface in the uptempo "Profeta Senza Profezie", further enriched by a commanding vocal performance by Stefano 'Lupo' Galifi (of Museo Rosenbach fame), somewhat reminiscent of the late Demetrio Stratos' acrobatics; while the romantic "L'Acquario delle Stelle" (dedicated by Martin Grice to his first grandson) is a gorgeous slice of classic Italian prog, in which flute and keyboards emote over a lush background of strings. However, it is the double whammy of "Dopo il Vento" and "Cuore Sacro" that forms the album's climactic point. The former alternates jazzy passages with more melodic ones, the string quartet holding the fabric of the song together; while the latter is markedly darker and rockier, enhanced by rippling piano, dynamic drumming, and assertive flute work that recalls early Jethro Tull.

A truly classy offering, and undoubtedly one of the best releases of 2009, "Il Nome Del Vento" is the ideal showcase for the unique talents of a band that seem to be finally about to get the recognition they highly deserve. It is also a textbook example of how classic prog can sound modern without jettisoning its glorious past. Hopefully this stunning comeback disc will lead the way for more releases of the same high quality from a band that still has a lot to offer to the discerning prog fan.

I don't think this is where most fans of Rock Progressivo Italiano would recommend that you begin. The genre has been around for over thirty years, and I'm sure that the music that got them into the genre has been around almost as long. Yet this album was my introduction.

I purchased it because of it's high position in the top albums of 2009. I have listened to it many times, but I have not yet listened to any other Rock Progressivo Italiano. And while it is clearly progressive rock, it is different enough from the other genres of prog that to try and relate it to them would be unfair to the music contained on the disc. With no reference point to know if this music would satisfy fans of Rock Progressivo Italiano, I am in a unique position of rating it merely on its own merits.

To me, one of the most important things about music is that it acts upon you. I can listen to music that has everything that, mentally, I appreciate in music, yet if it doesn't make me feel, ultimately I am not going to love the music a whole lot. There is no denying that the music pressed into this disc has acted on me quite significantly.

The first time I listened to this album, I was lucky enough to be able to listen to it while doing nothing else. However, I was tired at the time, and although I was enjoying the music, right before the track "Ogni Storia' started up, I closed my eyes and just let the music wash over me as I half-dozed. I never did fall asleep, but instead, the music gave me an epic daydream, the events influenced by the music.

The daydream lasted from Ogni Storia until the end of Cuore Sacro, and in that 5 song / 25 minute span, I went on an adventure that rivals Supper's Ready.

Daydream - skip ahead if you don't care

The daydream started with the leader of a group of pilgrims travelling across America in a wagon train, burying a baby who had taken ill during their adventures. The wagon train then continued, but hit a series of hardships, for which the leader was blamed and eventually kicked out. Later, he returned, and tried to kill the current leader of the wagon train (the son of the baby that had died), but failed and was killed, awaking in the underworld next to the baby who had also died. After a harrowing journey through the halls of the underworld, he met with one of the leaders of the underworld, who instructed him to raise the baby according to her directions. Hundreds of years later, the baby was the equivalent of an 18 year old youth in our world, and had amassed an army of the underworld that stretched as far as the eyes could see, which he was to lead into our world.

Meanwhile, on our world and in roughly our time, Spirit Wolf, who subsisted only on the beliefs of a few natives, felt the change as the army of the underworld crossed into our world. He fled and warned his people, and by staying ever ahead of the army of the undead, they were able to rescue and convert all those who survived and escaped their attack. This lasted until the tribe of natives and converts was larger than those remaining that believed in the underworld. The underworld, as a result, lost much of its power, and nature was able to wash them away.

Finally, although the majority of the world was now living in harmony with nature, as taught by Spirit Wolf, there were those who still clung to their cities, and a war broke between the two groups, those under Spirit Wolf attacking the cities with fire. When the last city was burning, city-goers carried burning timbers to a great forest, in the hopes of burning it down with them as a last stand. And it did catch fire, but nature summoned a great wind to send the fire right back to the city, burning down what little had survived.

Daydream is over

I have not been able to listen to the album without remembering my daydream since, so it has taken on additional meaning that the artist probably never intended. (Although the fact that my daydream ended with a giant wind, before I knew that the album name meant "The name of the wind", is interesting.) But furthermore, the sound of the album is one that I enjoy a lot as well. It is the perfect sound to listen to when one is resting, or to help one get into a relaxed state. For the past few days, this has been THE album that I turned to to listen to whilst going to sleep (which is not to imply that the music is boring).

Overall, I would recommend this album to any prog fan - fan of Rock Italiano Progressivo or not. Perhaps not quite a masterpiece, but definitely music that has the potential to act strongly on its listener.

Delirium are an Italian prog band from Genoa that during the early Seventies released three very interesting albums before split up. After many years of silence and thanks to Pino Di Santo's initiative, in 2003 the band came to life again with a new line up featuring veterans Pino Di Santo (drums), Ettore Vigo (keyboards) and Martin Grice (flute and sax) along with two new members, Fabio Chighini (bass) and Roberto Solinas (guitars). They rearranged the old stuff for some live performances and in 2006 they recorded a live album, "Vibrazioni Notturne". In 2009 they finally released a brand new album with original material for the independent label Black Widow, "Il nome del vento", a concept album featuring lyrics by Mauro La Luce. Some guest musicians and a string quartet contributed to enrich the sound and the result is excellent.

The album opens with the reprise of "Dio del silenzio" (God of the Silence), a short and amazing acoustic ballad from "Delirium III: Viaggio negli arcipelaghi del tempo". From the sound of a storm delicately soar flute and vocals, "In a moment of eternity / I'm the blaze without mercy / My body is made of nothing but wind / Bright is the moon into sapphire's waters...".

The short intro leads to the beautiful and intense title track, sung by another Delirium's original member, Mimmo Di Martino and feturing the female vocals of Sophya Baccini. "What is the name of the wind / That is drying me? / I don't know...". Lyrics are hermetic, they don't tell a story but suggest evocative images... Everyone could pass through a metaphorical storm in his life that can provoke a dramatic change making you feel as a castaway carried away by the see, towards the wreckage....

"Verso il naufragio" (Towards the wreckage), an instrumental where George Martin's "Theme One" is revisited and incorporated into an original track featuring perfectly balanced sax and piano passages... Next comes the calm and dreamy "L'acquario delle stelle" (The aquarium of the stars). It was originally written by Martin Grice to celebrate the birth of his first grandson to whom is dedicated. After the wreckage an atoll rises from the blue sea where you can land and shelter yourself surrounded by harmony... It's your island where no one can stop your dreams and your brain get lost. Then, one day you stand up again in the sand with a new dream: to change.

"Luci lontane" (Distant lights) begins with piano and vocals and a touching sax in the background... Rafts set off towards the unknown, even without golden sails but they set out and sail on towards distant lights... Well, when you feel lost, when you feel like if you were sailing without compass, when you feel useless like a prophet without prophecies... Heed you heart and don't lose hope! "Only the baby that's in my soul / Has got in his hands my future / Truth can blossom again and erase the face of falsity / Giving life to dignity and smashing down dishonesty...". "Profeta senza profezie" (Prophet without prophecies) is sung by former Museo Rosenbach's singer Stefano "Lupo" Galifi and it's definitively more bluesy and optimistic...

"Ogni storia" (Every story) opens with the cry of a baby, then a bass line and a sax lead you "on the dark side of your mood". "Children like to end every story / Telling it was just a dream... / Or it was reality? / You know that the saddest lies / Are the ones we tell to ourselves / Don't dive into the dark!". The beautiful voice of Sophya Baccini here contribute to build the right atmosphere...

"Note di tempesta" (Notes of storm) is an excellent jazz rock instrumental introduced by strings and leading to the long and complex "Dopo il vento" (After the wind). After the blow of the wind nothing it's like before, even inside your soul... "The storm has saved only what it's really worth / Only your truth / Don't waste it, never! / Let the light lead you from now on....". Evocative echoes of Brazil are perfectly blended with jazz and symphonic rock.... "Cuore sacro" (Sacred heart) is introduced by flute, then sudden changes of atmosphere alternate to celebrate the sacredness of the heart that defeated the storm... The final track "L'aurora boreale" (Aurora borealis) is a beautiful instrumental that closes an amazing album. At the end of the track you can recognize the theme of "Dio del silenzio" that opened the album inviting you to listen to this work again and again...

1. "Intro (Dio del silenzio reprise)" (1:23) 
has a pastoral beginning with a flute, organ, and vocal soon joining in to introduce one of the repeated themes of the album. (4.5/5)

2. "Il nome del vento" (6:01) 
begins with a classical strings piece before it is joined by drums and oboe in a very familiar VDGG sound. Another one of the album's repeated themes is established before a vocal section begins. Very straightforward pop music except for the occasional brief codas/interludes using classical instruments. The choral background vocals sound much like AYREON's female dominated vocals from "Isis and Osiris." The song has a very nicely balanced blend of rock, pop, and classical. I especially like the operatic soprano (Sophya Baccini) floating above the other vocals and instruments in the background of the last two minutes. (8.5/10)

3. "Verso il naufragio" (6:35) 
is an instrumental that begins with some ominously held low synth chord over which a sax makes a brief intro, yields to Mellotron, then comes back as the lead melody maker until 1:25 when piano and mellotron take over in a much more classical jazz theme. 2:15 sees the sax and electric guitar take over dual recitation of another main theme. 3:00 sees the entrance of some truly prog rock musical sounds and structures: miniMoog solo followed by thumping guitar/bass chords. 4:30 sees the full band/orchestra return to the second main theme before giving way to a more subdued organ, sax, and jazzy cymbol section--very reminiscent of HENRY MANCINI's "Pink Panther Theme." (8.5/10)

4. "L'Acquario delle Stelle" (6:15)
 begins with a child-like/lullaby-like sequence of electric piano arpeggios over which some mediaeval flute/woodwinds play some very mediæval-sounding themes. Very pretty--and even moreso when the strings and Mellotron join in at the 1:30 mark. 2:30 sees solo piano and male voice using a very familiar melody riff (from "Il nome del vento"). 3:35 adds orchestration and some very nice TODD RUNDGREN-like electric guitar soloing in the background. 4:10 Hammond organ, piano and full prog band takeover in a very pleasing section for its harmonic and chord structures. Vocal rejoins till 5:45 when spoken voice lets us slide into a soft outro section with strings, Mellotron and nature sounds. (9/10)

5. "Luci lontane" (4:14)
 chirping birds and spacious piano chords begin this song before plaintive voice and jazzy soprano sax sing over strings orchestra. As emotional as Mimmo di Martino's voice becomes, he actually loses some of his strength and pitch control. 2:20 sees a transition into a very straightforward jazz-with-orchestration section over which the soprano sax solos. This then shifts at the 2:55 mark as some electric guitar power chords join in to accompany a more urgent sounding, if brief, vocal section. The power sounds very quickly disappear to leave the listener with a kind of slowed down mélange of the first and second sections. (7.75/10)

6. "Profeta senza profezie" (4:20) jazz piano and soprano sax start out a very jazz-oriented song. Sax continues soloing until the 0:48 mark when Stefano 'Lupo' Galifi (MUSEO ROSENBACH) comes in to sing in a range an octave higher than the previous vocalists.
1:40 sees a tempo and mood shift--more upbeat--while retaining this jazz-feel. Nice acoustic guitar beginning at the 2:10 mark. The jazz chorus is a bit too but is followed by a very familiar tenor sax solo over mellotron and the rest of the acoustic band (It sounds like the end solo to PINK FLOYD's (Welcome to the Machine"). (8/10)

7. "Ogni storia" (5:02)
 sees a return to a electric piano child lullaby theme--with crying bambino--which, when taken over by fretless bass and then synthesized keys and sax, sounds a lot like "Inch Worm." A more Canterbury/VDGG-sounding song develops until the vocal(s) begin, when it turns into a much more standard pop-rock song. (I like the "Great Gig in the Sky" female vocal screams of Sophya Baccini beneath the electric guitar solo around the 3:15 mark). The finale ROBIN TROWER guitar solo playing over the rolling bass and blues drumming is a fun touch. (8.5/10)

8. "Note di tempesta" (4:29) 
begins with a nearly "Psycho" AFTER CRYING strings theme before turning into a very straightforward R&B/lounge jazz song--it sounds very much like a song by ANDREW TILLISON/THE TANGENT. Very nice alternating and harmonically layered themes played between sax and guitar and flute & keyboard. EMERSON's "Lucky Man" synth takes over soloing at the 1:40 mark--nice segue. Then a ZAPPA-like guitar solo unfolds before the music thins and sax and bass take turns soloing until the band returns to a collective recapitulation of some of the main themes from 3:38 till song's end (which actually ends with group laughter). A very interesting song with some very nice structuring/layering. (9/10)

9. "Dopo il Vento" (9:40) begins with a wooden flute (shakahachi?) sounding as if we're on a tropical Pacific island. At 1:30 the full band kicks in to play an old jazz-rock classic RPI theme before giving way to a slow synth solo while the background jazz-s along while joined by a strings orchestration. Full blown 'soft' jazz with alto sax soloing begins at the 2:41 mark. At 3:15 a brief repetition of the band's main theme precedes a very nice electric guitar solo over the orchestra-supported soft azz theme. An soft, melodic organ-supported flute section begins at the 4:10 mark and which then precedes the 5:15 beginning of a very pretty vocal and flute section--which is then joined/backed by some wonderfully lush orchestration around the 5:53 mark. Dreamy! Return to the jazzy mode at 6:50--now soloed over by a very IAN ANDERSON-like flute. 7:25 piano solo. We're in the beach-side jazz lounge! A softer JETHRO TULL sound. 8:05 sees the sudden entrance of synthesizer to duel with flute and strings. Electric guitar joins in beautifully at 9:00. Song breaks down very beautifully. Music doesn't get much more beautiful than this! (19.5/20) 


10. "Cuore sacro" (6:49) begins with IAN ANDERSON's flute playing another familiar theme
which is then taken over by massive church organ and full rock band. (Is this a rock opera? ANDREW LLOYD WEBER, perhaps?) All clears at 1:40 for a lovely lounge piano solo--repeating themes familiar from the last song in a kind of classical way. At 2:30 a pause precedes the subdued male voice joining the piano for a brief section before the band kicks into a pretty straightforward upbeat rock groove over which guitar, flute, Hammond, and other woodwinds take turns declaring themselves--all with worthy and beautifully woven/orchestrated melody lines. A crash of a gong at the 5:23 mark ends the momentary harmonic chaos, to allow return of voice, with piano, bass and flute accompaniment. Awesome song! (13.75/15)

11. "L'Aurora Boreale" (6:56) (bonus track) is a soft jazz instrumental which regurgitates in a very pleasant way many of the recurring themes from the album. Nice tenor sax/vocal scatting, acoustic guitar solo, congas, background synth strings, electric piano solo. The drums are mixed more forward while the flutes are presented as if in a distant echo chamber, for some reason--all to great effect. Nice song. Kind of ties everything together in a fresh sounding way. (13.5/15)

Obviously, this album is all highlights the further you get into it. Granted, an affinity for the kind of soft-jazz/lounge side of progressive rock is helpful for getting into this album--as well as a tolerance for the lead singer's voice when he tries to reach--both dynamically and in pitch heights. Singing the more subdued, soft melody lines he is wonderful, amazing. Skill and maturity are quite obvious in these songs--especially in terms of composition. They really know how to deliver wonderful themes in layers and harmonically without being overwhelming, chaotic, or discordant. Very beautiful music.

B+/4.5 stars; an excellent addition to any prog lovers music collection.

Several good Italian bands of the 70's had a revival since the mid-90s to the present. Honestly, most did not cover my expectations. Except a few.

Il Nome del Vento is one of those few. I consider it an appropriate continuation of Delirium III, using the melody that concludes that good album. Obviously, it is an acceptable perspective below the more than 30 years.

Tight, melodic, jazzy, complex yet simple, colorful, with Italian spirit in words and music. Drawing wonderful musical and lyrical landscapes, inherent in the nature of that country.

Great prominence of keyboards and wind instruments, combined masterfully with cello, violins. Bass, drums and guitars providing fundamental lines too. It flows naturally and never forced.

Nice!

Despite releasing their most mature effort just before the middle of the 70's, the media were not anymore interested in Delirium and after some mainstream singles, now featuring Rino Dimopoli on vocals, the group disbanded in 1975.During the 90's there was an attempt by the original members to revive the band's legend, but the most determined effort comes in early 2007 with Ettore Vigo, Peppino Di Santo and Martin Grice now being joined by guitarist Roberto Solinas and bassist Fabio Chighini, this fresh formation released the live album ''Vibrazioni notturne'' the same year.With the endless support of Black Widow they started working on new material, leading to the release of ''Il nome del vento'' in 2009.Several guests appear on the album, mostly on strings, with Presence's Sophya Baccini contributing vocals and piano in a few of them, while Museo Rosenbach's legendary singer Stefano Galifi sings on ''Profeta senza profezie''.

''Il nome del vento'' sounds exactly how you would expect of Delirium to sound some thirty years after their demise.Their music and production has been updated to feel comfortable among modern releases, but they kept their sophisticated profile from the vintage period, throwing Classical, Folk and Jazz elements into the mixer and eventually perform a highly artistic Progressive Rock with big time orchestral keyboards and omnipresent use of sax and flute.The big bet for the band was to manage to keep tight links between the jazzier and folkier overtones and the modern, symphonic elements, as offered by the energetic electric guitars and the presence of synthesizers.No doubt, they did an excellent job, and additionally they showed some tendency towards melodic lines and accesible passages, supporting the more complicated and rich textures.Although the album is not extremely consistent from start to end, it sounds like a well-worked effort with electroacoustic changes, ambiental and lyrical moments, highly progressive instrumentals with flute-, sax- and keyboard-based exercises and lots of Classical influences.I find the first half to be more than beautiful, excellent melodies, symphonic arrangements and complex tunes, while the second still sounds attractive, but lacks the efficient ideas of the first one.

This is what I would call a proper comeback for a 70's band.You shouldn't expect from these guys to betray themselves with a different style, but they were clever enough to bring the 70's right next to the contemporary, more recent stylings.Very nice and Italian-flavored music with interesting instrumental and vocal work.Strongly recommended...3.5 stars.

This legendary Italian band delivered four outstanding studio-albums in the Seventies but I prefer their Il nome del vento 2009. Sound is amazing, jazz influences are obvious and tasty. The general mood of the music is varied and intriguing with beautiful sax, flute, keyboards and String quartet. There are also interesting guitar solos. All trecks my favourites from this very good album, exept ''Luci Lontane'', ''Profeta Senza Profezie", ''Ogni Storia''. Many times classic artists record new music, and seem to be trying to recapture past glories. Delirium return with a release Il nome del vento is a very solid piece of art. The music is delightfully pleasant. It is very beautiful. As whole one of the best Delirium's albums and one of the best italian progressive albums. So - 5 stars!!!

In 2006 Delirum pleasantly surprised the progrock world with a stunning reunion gig, one year later the band released a live album, in 2009 a new studio effort entitled Il Nome Del Viento and in 2015 a second studio album named L'Era Della Menzogna. This review is about their first new album since III - Viaggio Negli Arcipelaghi Del Tempo, from 1974!

Listening to this new album is listening to the best elements of their Seventies albums but on a higher level. To me the compositions sound more mature, more elaborate and more captivating, thanks to their experience over all the years. And there is a perfect balance between the instruments (from woodwind instruments to vintage keyboards and rock guitar), between the mellow and more dynamic parts and between folk, symphonic rock and jazz/jazz-rock. Especially in the tracks Dopo Il Vento (very dynamic and wonderful colouring with guitar, flute, sax and piano) and Cuore Sacro (great tension between parts with powerful organ and warm piano). Also interesting is the use of a string quartet in some songs and I am very pleased with the Italian vocals, I always prefer native vocals.

In a Dutch music magazine one reviewer wrote about 60+ musicians still making music as 'rollator' rock, well, Delirum makes excellent 'rollator prog'!

My rating: 3,5 star.