Nuova Idea
Clowns

THE REVIEW

Among the many bands in a flourishing scene like the Italian progressive of the '70s, Nuova Idea was certainly among the most underrated artists of their time. Unlike many of their peers like Museo Rosembach, Cervello, Alphataurus, who had the opportunity to release only one album before unfortunately disappearing until the recent and deserved reassessments of their work, Nuova Idea released three albums before disbanding at the end of '73.

The Italian underground of those years was full of talents who, for one reason or another, didn't achieve the success they deserved. In fact, alongside the most celebrated names like Banco Del Mutuo Soccorso, Orme, Pfm, there were a myriad of groups, some of which equaled and even surpassed in quality and originality the big names; some, although not impressive, managed to create good music with few means, and others were not much at all. The band formed in '70 and played many live dates, releasing their debut "In The Beginning" in '71, an album not very mature and still searching for a clear path to follow. The following year, the more mature "Mr. E. Jones," more convincing and progressive than the debut and supported by a concept plot, was released. The short history of this group was tormented by many line-up changes, but in '73, they reached their artistic peak with the third and last album of their career.

"Clowns" is a complex and articulate album, well-played and original, and unlike the first two previous chapters, it is almost entirely free from outside influences if we exclude some glimpses of King Crimson's "Lizard" scattered here and there. The lineup was composed of Ricky Belloni (vocals, guitar, violin), Giorgio Usai (keyboards), Claudio Ghiglino (guitar, vocals), Enrico Casagni (bass, winds), and Paolo Siani (drums). The album boasts an original and fluid concept plot (the story of a circus clown), and from the initial "Clessidra," the work exudes all its charm, between agitated moments and calmer, meditative ones. The sound is dominated by synthesizers and electric guitar, Belloni's voice is unique, vibrant, delicate, and rough at the same time, truly a defining feature of the album. The subsequent "Un'Isola" and "Il Giardino Dei Sogni" continue along the same line, melancholic and dreamlike, embedded in exciting and schizophrenic tempo and atmosphere changes, as well as the mini-suite "Clown," wonderful and evocative in its complexity. The impact of Belloni's voice is disorienting and emphatic; the sound is rich with keyboard arrangements, numerous wind and choir interventions, and the atmospheres evoked by the music perfectly recreate the suggestions of the lyrics throughout the album.

The finale is entrusted to "Una Vita Nuova", a touching and intense progressive ride in a symphonic crescendo, always expressive, quivering, and "difficult" the voice of Belloni, excellent instrumental mastery of the whole band, particularly Usai's work on the synthesizers, one of the most underrated albums of the Italian prog scene, but absolutely valid and full of ideas and pathos, a small, great semi-forgotten gem.