Premiata Forneria Marconi
Ulisse

Well, look who's back. After the curtain fell in 1987, following that "Miss Baker," which nowadays basically no one remembers, here we are, exactly ten years later, Premiata Forneria Marconi, or PFM to friends, is making headlines again. A leading group in the Italian progressive scene of its golden era, they managed to craft a personal sound in their historic incarnation, capable of blending the best from Albion's shores with the uniquely Italian compositional freshness and melodic taste. Their most interesting phase concluded with "Jet Lag" from '77, a work close to a certain jazz rock style that was very fashionable at the time and made die-hard fans cry betrayal, despite many excellent ideas present.

Excluding the fortunate collaboration with Fabrizio De André, immortalized, thank God, in two concert albums that have become pieces of Music history, with a capital M, Italian, Mussida, and co., after the prog era ended, they moved toward a rock tout-court, certainly keeping up with the times but rarely able to compete with their best works.

While the illustrious ex-member Mauro Pagani was pursuing a successful solo career, becoming a fundamental collaborator on De André albums like "Creuza de Ma" and "Le Nuvole," in Milan it seemed the desire to take risks had faded and by the late eighties they closed shop without much regret.

The following decade, however, saw a renewed interest in the progressive rock of the golden era, encouraging a comeback for more than one band from that Italian scene, almost all ready, of course, to "renounce" those records often recorded more to make ends meet than for real artistic involvement. For a better understanding, see the entries on Orme and Banco.

In the case of PFM, however, the work in question, "Ulisse", beyond containing several noteworthy ideas, had the merit of opening a new and fruitful season for the Milanese group, which would return, for a decade, to record new material always worthy of the name on the cover. With the "10 Anni Live" box set, which presented the best of PFM recorded during their prime years and, especially, in their most congenial dimension, the stage, the following year they were ready for a definitive comeback. Unlike other groups of the same generation, this reunion version of PFM had the advantage of counting on many of the original members and thus also the returning member Flavio Premoli, always an important, often underrated, piece of the sound of the Milanese ensemble.

With Vincenzo Incenzo, a lyricist now among the most appreciated, on board, this PFM sought to explore new territories, setting aside both the straightforward rock of the eighties and the long instrumental passages that characterized the previous decade. "Ulisse," in fact, features nine tracks, plus an introduction and an epilogue, blending sounds close to light music, constantly balancing between a classy pop and a mature and refined rock. At the time, some cried scandal and "Sanremization," evidently forgetting how the group's sound had always found its strength in being chameleonic and eclectic: as was noted once, "progressive" doesn't just mean knowing how to change musical time but also knowing how to change genre.

Having confirmed yet another change of skin, let's "set sail" and discover what this "Ulisse" has to offer. After "Ieri," a brief introduction recited by guest Ricky Tognazzi, we continue with "Andare per Andare", a great rock track, catchy, an excellent opener. "Sei," one of the peaks of the entire work, benefits from a heartfelt performance by Flavio Premoli, great both on keyboards and vocals. Compared to recent studio efforts, everyone shares the vocal parts more, not leaving the singing role only to Franz Di Cioccio, as was done in the eighties.

Incenzo's lyrics take inspiration from Homer's work, providing a reflection on modern life, on the journey as a moment of personal growth, on facing challenges that make us feel alive and that test us, and by reflecting on the relationship between Ulysses and Penelope, one couldn't avoid addressing a fascinating theme like interpersonal relationships.

"Il Cavallo di Legno" is another noteworthy moment, this time with Di Cioccio back at the microphone: Franz has never been a very technical singer, but his performances have always been heartfelt and full of pathos. Pleasant is Premoli's keyboard work, never intrusive but always managing to give an elegant touch to the various tracks.

Also a great piece is "Ulisse," more subdued than its predecessors, once again reminding us of the musicians PFM are: great technique never an end in itself, a taste for melody, and sophisticated arrangements. "Uno in Più" is surely the best track of the entire album, driven by a great rhythm and, particularly, by an excellent guitar work from Mussida.

The album's flaw, unfortunately, is being a bit inconsistent: "Canzone del Ritorno" and "Il mio Nome è Nessuno" add little to what has been said and are quickly forgotten, whereas "Lettera al Padre," again with a charismatic Di Cioccio on vocals, seems to be a turning point that lifts an album apparently destined to close quietly. "Liberi dal Bene Liberi dal Male" is a fitting conclusion to the album, perhaps not a memorable piece but still pleasant, while "Domani," which recalls the lyrics initially performed by Tognazzi, definitively drops the curtain.

What to say? "Ulisse," at the time of publication, received favorable opinions from the general press while the specialized press tended to be more critical. It lacks, perhaps, pieces destined to become classics, despite the many good ideas: "Sei," "Il Cavallo di Legno," and "Uno in Più" are excellent attempts, and "Ulisse," the song, is worthy of the best moments of PFM.

Significant also is the lyrical work, with well-crafted texts that fit well with the philosophy underlying the album. Some parts are not always on point, but it is certainly commendable the desire to propose something new after years of absence, as well as that, almost twenty years after its release, an album like "Ulisse" is still pleasant to listen to, something that perhaps cannot always be said of certain works from the eighties, which haven't aged well.

"Ulisse" also had the merit of showing a renewed PFM, capable of expressing itself on new registers and not interested in living on past glories.

Paradoxically, when listening to a work like this, which highlights the great talents of all the participants, one must wonder what Di Cioccio and co. can still offer today, with two pillars like Premoli and Mussida now out of the group, but this is certainly not the appropriate context for such reflections.

In the meantime, we can confidently enjoy this "Ulisse," not a masterpiece but certainly a more than pleasant album.

Premiata Forneria Marconi:

• Franz Di Cioccio: vocals, drums
• Patrick Djivas: bass, programming
• Franco Mussida: electric guitar, acoustic guitar, 12-string guitar, fretless guitar, vocals
• Flavio Premoli: piano, Hammond C3 organ, Fender Rhodes, synthesizer, vocals

"Ulisse":

1. Ieri
2. Andare per Andare
3. Sei
4. Il Cavallo di Legno
5. Ulisse
6. Uno in Più
7. Canzone del Ritorno
8. Il mio Nome è Nessuno
9. Lettera al Padre
10. Liberi dal Bene Liberi dal Male
11. Domani