For years I want to write something about the inspiring motives that led me to make the figure of the prince a protagonist of the first album of Celeste titled "Principe di un giorno".

Let's return to the moments of the first vision, which I had when I was 14 years old.

It happens during a summer camp and a subsequent excursion, crossing the Alps on the border of Italy and France, along with a group of peers and a supervisor (Father Daniele Fontana, whom I consider to be my spiritual father). After a long walk we reach a small open space surrounded by high mountains.

There we all spend the night. We leave our backpacks in a rock cavernous.  Under the expert leadership of Father Fontana, we put together the tent on the banks of a mountain lake. In perfect survival style we lay the ground sail on the soggy surface. In the rain we place the poles, hoist the tent and slowly pull the tent lines tight. After a long and strenuous day we have a cold meal. Then we enter quickly our tent to go to sleep.

After some time I feel attracted by a distant call. Because I cannot sleep, I go outside without arousing the suspicion of our supervisor. 

It is a clear night and the civilized world is far away. There is an absolute silence in the surrounding valleys. Quiet and without sound I walk to the edge of the mountain lake. I look at the smooth surface of the water level. I'm getting closer to the water, which I can almost touch.

That night the moon is my friend. The light of the moon shows the ripples in the water so that I can't see the bottom of the lake properly. Everything seems unclear, but some contours are becoming more and more visible.

The first form I recognize is that of a throne.

In my experience I enter a beautiful house as in a dream. The memories I have here are still striking. I am sure that then time and space had lost their meaning.

A prince, my prince, has taken up residence there, no one knows when. He waits until someone is willing to listen to his story, his tribulations, his disappointments But also to listen to hist story about the joy, which he has known.

His court is now limited to a trustworthy squire. One night, which may seem very similar to the night I've experienced, he decides to leave life of earth in the saddle of his beloved white horse. He has carefully given his horse the spurs and has slowly disappeared under water.

A new existence awaits him. The person in hiding has all the time of the world to think about his life and to meditate.

Because of my experience that evening I have come into contact with another world, which has never left me again. 

I don't know how long I kept that ecstatic feeling then.

The moon with its silver light moves further and the ripples of the water slowly change along. Scattered fog patches are hanging around and on the lake. It seems spirits, which move on the rhythm of the breathing mountains all around.

They have traditionally been guarding the essence of that ancient, tormenting story.

I have always asked myself about what I have experienced at that time. That special summer evening I was taken in a fascination as a unique witness of the balance between two or more worlds.

Today I know that the prince has decided to return. He feels the need to tell more.

After more than 50 years I decide to go back to the mountains and to find the same lake.

I go back only because I know that I can come across that figure, which I owe so much. With some caution I will be able to say that I spoke to him half a century earlier. I've been his mouthpiece. By the texts of "Principe di un Giorno" of Celeste I have made known the fortunes of such a noble and lonely man from a distant past. He, who has been so disappointed by the performance of his contemporaries. A distant past but unfortunately still current.

His world is full of old stories. (Favole Antiche)

His faithful squire is Eftus. (Eftus)

The dream of the Big Island. (Grande Isola)

The loneliness of games at night. (Giochi)

The assonance with the story of a novel and always old Ulisse with the Dance of destiny. (La Danza del Fato). Even the Prince chooses exile, voluntarily or not, that doesn’t matter. This alienates him from his loved ones, as so often happens with heroes.

The Perpetuum mobile of returning, the eternal returning.

The Chimera of deception. (L'Imbroglio)

His white horse.

When the time comes to take up  the text of the first album of Celeste, the memory of that experience, that magical night is coming back. The texts will coming up automatically. They seem ready, as if they were waiting to be discovered and revealed to the world.

Celeste Ciro Perrino), 20 Augustus 2018.

I am wondering also.

For years I receive constant recognition of appreciation and sympathy for the so far only official testimony of that group, which I still feel deeply connections with.

Parallel to this I receive more or less clear requests why it is not possible to start a second album in the style of Celeste.

After more than 46 years I feel that the magic moment has  come.

I would like to point out that Celeste's short episode with less tenuous scenarios and more jazz-rock has remained limited to tapes. These have been published in 1992 by Mellow Records and later in a box released by the AMS. This short trip has violated the unique sound, which made the group valued and considered unique in the Italian prog and non-prog scene. 

About two and a half years ago I decided to start composing new songs for Celeste under the pressure of many requests. The Celeste project.

I suspend my solo projects for some time to focus entirely on Celeste.

A great challenge. But I like challenges.

The first step is to bring back to life the same colour palette of instruments used almost 50 years ago.

Acoustic guitar, electric bass, flutes, piano, saxophone, keyboards (Solina and Eminent), synthesizers (ARP 2600, ArpOdyssey, Minimoog), percussion, my own voice...My own Mellotron.

I have the building blocks.

I want to stay true to the original intentions of Celeste in 1972.

In this new Celeste project, with the final title "Il Risveglio del principe" I record the cello and the violin which should have been part of the palette of "Principe di un Giorno", the only official album by Celeste.

At that time, the cellist and later the flute player/saxophonist, as well as the female voice, a British singer, who returned to Great Britain shortly before the recordings, left the band for personal reasons. Thus, Celeste is now a quartet.

The planned parts that should have been the dialogue between violin and cello disappear almost totally in the archive. There is something left on the album like the beginning of "Principe di un Giorno" where the violin plays in the beginning together with the Mellotron. This story has been recorded on Wikipedia and in the enclosed textbook of the CD-box "Celeste The Complete Recordings", released by AMS Records.

But let's go back to the present.

During my solo experiences, I always manage to keep a good balance between a clear creative inspiration and empathy ability.

I am a son of Celeste, of Il Sistema, St. Tropez and La Compagnia Digital.

I start with a framework of the first harmonies, the first arpeggios with the guitar and clear songs with the Mellotron.

The first obstacles are already looming.

I am well aware of working with full respect for what Celeste "Principe di un Giorno" still was and is. At any moment I force myself to think about whether or not I am in the right mood and emotion of that album.

For the time being no easy task.

The attempts are numerous, but remain unanswered. I am not satisfied. They do not reflect the essence. At the same time the lyrics are in my mind without writing anything. The rules of the songs will come. But it is becoming increasingly clear to me that the prince must give up his voluntary exile at the bottom of the lake and must return to us. In these cases the images, formed in a conscious and unconscious way in the creative process, affect each other sooner or later.

A sound reminds someone of a word, a phoneme (a set of sounds) asking for a new sound.

The title of the new Celeste album is emerging that way. First timid and uncertain, it becomes more clearly and more defined. " Il principe ed il Lago "(The Prince and the Lake)," Il ritorno del principe "(The Return of the Prince)," Il principe triste "(The sad Prince), etc.

At the end of the process sounds the usual remote voice: "Il Risveglio del Principe" (The Awakening Prince).

At this point, the new compositions are slowly but surely becoming more form.

Celeste (Ciro Perrino) 27 Augustus 2018

Track 1 Qual Fior di Loto

Qual Fior di Lotto (what a lotus flower)

We start today with the first part of my notes. This describes how all eight numbers of the new work "Il Risveglio del Principe" of Celeste are created.

The first track: "Qual Fior di Lotto".

This composition has to bring the listener back into the mood of the first album "Principe di un Giorno".

We are at that magical and current moment when the protagonist is still at the bottom of the lake. There, where we left him long ago.

The spoken introduction describes the atmosphere, which is the prelude to the return of the prince to the mainland. The atmosphere in this description is not only entrusted to the synthesizers, which simulate the sounds of natural events, but also to the voice of a child, who radiates innocence and purity. With a few simple phrases he has our attention and explains what's going on at the little Lake.

Everything has been postponed.  Nothing has happened for a long period. Nature unleashes itself with the elements that are most suitable for it. Thunder, lightning, rain and impetuous wind. Then the nature calms down and returns the silence.  The surface of the lake is now quiet and flat, the peace is restored. We hear the first tones, which are present and which bring a melody. Then the music continues. But the music shows itself so that new events can be omitted. The music describes itself and everyone must feel free to form his own images. The nebulae has been solved. A graceful play of two flutes takes us by the hand and invites us to listen to the sequel of this story.

Celeste (Ciro Perrino) 3 september 2018

Bianca vestale (white vestal virgin)

First I treat this composition, when I decide to bring the Celeste Project to life. I feel closely connected with all compositions, but "Bianca Vestale" has a special place. The reason is simple.

I start with the sound of the Mellotron as a source of inspiration.

The beginning is a typical example of the atmosphere that is so characteristic of Celeste. The characteristic and special sound of strings. Resembling real strings and no sampler ante-litteram. When the Mellotron is in the game, everything stops.

Everything gets a magical frame, our imagination defies every reality. The emotion is felt. In fact the Mellotron in the beginning of "Bianca Vestal" serves to give the composition an aura of ceremony. Then in the sequel of "Bianca Vestale" the violin is introduced, which will lead us to far boundaries. Here the lyrics as in the best tradition of Celeste are essential and I would almost say scarce. Every verse and perhaps every word or part of a sentence give a number of impulses.

It feels at the moment that I write it as the being of antiquity, with a reference to the distant echoes from the history of the human past.

Through fragrances we can reconnect with ancestral memories, perhaps with past lives that we are not fully aware of at the moment. The first final in the sequence of the consecutive songs gives the musicians, all excellent soloists with a refined technique, the opportunity to express themselves and express the creation of intriguing musical dialogues.

Celeste (Ciro Perrino) 10 september 2018

Statue di Sale (Images of salt)

The stylish solo of the acoustic guitar at the beginning of the song immerses us in the atmosphere of Moorish Spain. Melodies with Arabic influences are heard, worn by expressive violin play. I want to compose music since a very long time, starting with guitar playing full of influences of Flamenco. This is a good opportunity for a composition in the style of Celeste. The composition then develops into different consecutive moments. These moments are yet closely linked. This is in my opinion always the hallmark of Celeste in "Principe di un Giorno" and now definitely not less. The desire to unleash emotions is stronger and is confirmed with every step.

The title is partly suggested by the beautiful sketches of Laura Germonio with images of interiors of buildings, which date back to early periods and historic eras. These sketches are the outcome both in time and image of the performances, which I have always had in my mind. I am thinking of the Alhambra, the palace in Granada. I don't know why, but I think the prince would have gone there. Walk through those rooms and atmospheres, of which I have suggested that they are abandoned and cleared.

After having come back after a long time, further trials will endure. He doesn't have to face all the challenges. The task of the Prince is observing, contemplating and proceeding.

An overwhelming orchestral opening with the Mellotron on the front and passionate dialogues between violin, cello and flute characterize the course of this composition. Eventually the music goes out into a stream of sounds from nature, which are evoked by the synthesizers.

Celeste (Ciro Perrino) 17 september 2018

Principessa Oscura (Dark Princess)

"Principessa Oscura" has a fluent beginning, with which we enter a dream world full of suggestions and dangers for the prince. This female figure, which we see on the cover of the album overlooking the balcony of the old country house, has long awaited the arrival of the prince. What is going on? Will they meet? Will there be an exchange?

What dangers will cross the prince's path? It is not known. The progress of the composition is quiet, almost reassuring. I use all the tools to support this flow of events and feelings. The Mellotron with the sound colour of the strings, the violin in dialogue with the flute and then with the recorder.

This creates interactions by listening, making the descriptions of the image progressively clear and transparent. Both here and in the other compositions, the references to the music of "Principe di un Giorno" are inevitable. The coherence, which I have tried to keep with regard to the choice of instruments, contributes to the feeling of a natural continuum between the two projects now and almost half a century ago.

The figure of the princess then hasn’t worked out. In my notes, I couldn't find a place for her so she doesn't come across the lyrics of the first Celeste album. The time, however, has kept the intentions alive to give the princess a place on the current album Il Risveglio del Principe.

Celeste (Ciro Perrino) 24 september 2018

Fonte Perenne (never drying source)

"Fonte Perenne" opens in the beginning with more classical music. A short and powerful ruffle of the drums in two-quartz size. Hear how the mellotron here with full power and supremacy makes its appearance to take us to a new episode of the story. The violin and the cello offer at different times the possibility to immerse yourself in defined atmospheres, where everyone can find themselves.

The next step is the enchanting dialogue between the flute and the violin. Later the recorder inserts itself. I would like to share a little anecdote with you that arose from an incorrect intervention at a certain moment of the recordings. During playback, all instruments suddenly disappear. There remains only a sound carpet that consists of the Solina and the Hammond organ, very far away and very soft. Great Panic!  Where do the drums, bass and flutes remain?  Despite the feeling that something has gone wrong, it seems that it was necessary to create an empty space right there. When size 69 is used, a calmness comes over me, while I wait for the two flutes that will bring us back to the sequel of the composition. At that moment everything is interrupted, unreal and enchanting. I hope you may not experience the same feeling, but at least a meditative moment. A muted gong stroke, which echoes back the end again, closes the end of the song. This echo effect as a beater on a door works calming in anticipation of the next issue.

Celeste (Ciro Perrino) 10 Oktober 2018

Giardini di Pietra (Stone Gardens)

"Giardini Di Pietra" is one of the two songs of the album which are entirely instrumental, without lyrics. The base of this composition is created many years ago. In the beginning of 1974, I start with it, when the Mellotron was part of my life. Endless nights I work with it and thus discover its charms and secrets. At that time I couldn't find any room for this song in the compositions that were in the pipeline.

In 1974 all the material of "Principe di un Giorno" has been perfectly defined, tested and proven. This could no longer be adjusted.

Now the moment to enter the studio was approaching. Together with other pieces this composition remains in a kind of "parking space" for all these years.

But I have recorded and saved it with the intention of using it again. After more than 40 years the composition has returned to make his "voice" heard. The pure essence has remained intact. After having found it again after a long time, however, I realize that there is a need for a renewal without having to force the original meaning.

I start playing again and again to get closer to the essence. A bit like when you encounter an old friend again, whom you have not seen for years. To revive the old friendship and intimacy again, you talk and talk. And so it is. It is a composition, still without title, which asks for solutions and atmospheres, which can be executed again.

Then it is very easy to let it be listened by the musicians to let them experience the right mood. So they can let their creativity and inspiration run free. Listen to Sergio Caputo's violin in the song. The song starts and ends with the same motif, played by the Mellotron, logically, with there in between in the violin as a small treasure. A pearl protected by the two valves of an oyster.

Celeste (Ciro Perrino) 8 Oktober 2018

Falsi Piani Lontani (Valse verre Vlakten)

"Falsi Pian Lontana" is the composition that gets its final title at last. I have long been in dubio about the following titles: "Dolce Marzapane" (Sweet marzipan), "La tua veglia infinita" (Your Endless Vigil) and "Sortilegio Immane" (Immense enchantment).  Then the first verse, which is missing in the beginning, arises as a flash during the singing rehearsals. "Falsi Pian Lontani" is the solution.

It becomes the first verse and will also be the title. As always, everything reveals itself in the imagination. I imagine a steep slope from where I can dominate wide valleys. The reflection of the rising sun, shrouded in nebulae shows me a glimpse of false plains far away. Here is the title. Magic!  For the beginning, as with "Statue di sale", I have chosen in writing for a free form, which immerses the musicians in an uninterrupted stream of impressions, which are arising, listening to each other. I improvise a long piece on the piano with some suggestions, to be developed by the acoustic guitar, bass, drums and percussion. Then I leave a part with the Mellotron intact with the flute timbre, dreamy and almost atonal. Right after the sung part, also here as in the Celeste tradition, very short and concise, there is a unanimous chorus consisting of men. Emphatic, lively and powerful, but at the same time withheld and modest. Immediately thereafter, well worth mentioning, there is a special dialogue between saxophones, cello and the violin, which plays almost a provocative role. This is not foreseen in the original score. Sergio Caputo, the violinist brings it in and I decide to leave this discovery of great beauty intact. The terrifying finale in the form of a kind of Bolero allows a number of the soloists, who play along with this project, to improvise and thus get the best in themselves. I ask you especially to listen to the flute play of Marco Moro.

Celeste (Ciro Perrino) 15 Oktober 2018

Porpora e Giacinto (purple and hyacinth)

"Porpora e Giacinto" is the last composition and clearly has the task to close the series of songs in the CD version. It is the second instrumental number. In this case I do not feel the need to add lyrics.

At the beginning there is a discreet whisper of children's voices, which exchange secrets with each other.

This number will be absent for technical reasons on the vinyl plate. Because of the technical quality of the music you cannot exceed the time limit for the length of the disc. That’s why there are two different versions, CD and vinyl.

It is clear that "Porpora e Giacinto" is not the usual bonus number. It has the class of a real composition. It fully meets the level of the other compositions. In the execution, this composition has been given the same care as the other compositions. The enthusiasm is the same as with all other songs.

The variation in the different parts of this song is masterful. All instruments are practically present with a continuous change of roles, answers and challenges. The beginning is almost classical with violin, cello and piano.

Then you are arriving after a short breather in a wavy 6/8 bar, which gradually presents itself supported by a soothing base with drums, bass and acoustic guitar with first the flute and then a flaming part with the saxophone. In the central part of the composition improvises the piano in an almost jazz-like style.

Approaching the end we hear the flutes with almost medieval melodies. Here and there you hear the mellotron buzzing around. The song has come to an end and leaves us in some sort of uncertainty. The Prince now, where is he? Is he left without us saying goodbye? He has left the lake, he has experienced and shared his experiences in our world.

What will he derive from this?  He will be returning enriched and no longer disappointed.

Celeste (Ciro Perrino) 22 Oktober 2018

For years Ciro Perrino has it in mind. He never forgot his first musical love. He has always kept the material in his archive to awaken the Principe di un giorno, who was dreaming quietly since 1976. Of course It's a wonderful shock to be surprised halfway 2019 with new scores.

If it is true that Perrino  continues where the “Il Principe di un Giorno” stopped (with all stylistic features of that album), it is also true that this new collective evidence of the renewed Celeste is the product Is of the varied and eclectic creative layering, developed in the last decades by the composer from Sanremo.

The original impression mainly derived from the  “acoustic” King Crimson (who however doesn’t give up the electronical magic of the Mellotron), remains. But the impression merges with the experiences of a musician who has always traversed various areas (electronic music, contemporary classical music and piano improvisations) with an enthusiastic curiosity.

With all its Complexity is Il Risveglio del Principe especially appreciated for the harmonic constructions and the combination of sound colors. You understand one kilometer away, that the work of arranging and put together of sounds arises after profound (and-it seems to me too understandable-tiring) efforts.

Numbers such as the Opener Qual Fior di Lotto, Bianca Vestale, Falsi Piani Lontani and Porpora e Giacinto sound more subtle and nuanced than the first King Crimson from the years 1969-1971.

They also have a positive impression on the solo cadence of the saxophone (all perfect, really, but with a climax in Alex Bailey) and on the contrapuntal contrast play between violin and flute (always Bianca Vestale), between violin and sax (Fonte Perenne and Falsi Piani Lontani) as well as the intriguing strings play (Statu di Sale)  and some baroque entertainment like the Bachian way played sweet flute, which makes pirouettes through the air of Giardini di Pietra. 

Perrino cannot even resist the temptation to use for his palette electro-acoustic artifacts (go to the opening of Principessa Oscura  ear dissonant movements of Mare di Giada). 

Less convincing however Is the construction of the melody lines in connection with the vocal parts, written with little depth and with less imagination (compared to the remarkable instrumental part); This is a detail, which I have only emphasized in the past by listening to Principe di un Giorno And that remains within the framework of a coherent expressive choice, that should not be understood as a defect.

The music is above the lyrics (despite research and improving the lyrics): the fascination for the music is so Sunny, that it overshadows the vocal parts. A simple song But never, however, simplistic or rushed. 

Son of an elementary approach (that, with humility and Indeed simplicity returns to the "Elements" of the vocals (canora). You can argue about the results, but the fair aesthetic principle remains valid.

From: Jochen Rindfrey @

Critic of the Babyblauen Seiten, German-language prog rock encyclopedia.

This is probably the most surprising comeback of 2019. I write that, while the first quarter of this year is not over.

Celeste arose in the early years 1970 from the remains of the previous bands il sistema and also museo rosenbach. Celeste makes 1976 his debut with "Il Principe di un Giorno" (which also appeared under the simple title Celeste). Celeste falls apart in 1977 without having a successor. 

In the early ' 90 the label Mellow Records, which was co-founded by Celeste mastermind Ciro Perrino, publishes a demo called II (or II with addition of some bonus numbers).

Except another publication from the archive with recordings from the time before the debut album, nothing was heard of Celeste.

Until beginning 2019. Then to my big surprise a new album called Il Risveglio del Principe was born.  The first real publication after 43 years. I admit that I therefore initially was sceptical, because in recent years more than enough moderate Pop and AOR (Adult Oriented Rock) of dated PROG heroes has been poured out about the people. But there are also some positive surprises. To make a long story short: This includes "Il Risveglio del Principe".

Ciro Perrino was in the years after the falling apart of Celeste as a soloist involved in the electronic music.

Now he has gathered a number of musicians around him, which have contributions with violin, cello and woodwinds. There are 43 years in between the debut and this album, but it could also have been three days.

“Il RIsveglio del PRincipe” connect seamlessly with the floating, dreamy sound world of the debut. He uses the swelling, but not excessive mellotron, subtle played acoustic guitars, lyrical flute play and melancholy strings. It fits well that the pieces are played at a thoughtful pace and have extensive instrumental parts. Often there is a longer instrumental introduction before singing. The vocals fit the music perfectly in an inconspicuous way.

No, the motto is not faster, higher, further. There is no question of ultracomplex freaking. The fetishist who prefers freaky music will not find it here.

Instead there is a pure and nice sound, guaranteed without fraying. 

That would not normally be my matter, but thanks to the colorful and refined arrangements and the varied structure of the songs, the music never slips into sweet juicy. Well maybe on one or two places a little, but that is not important.

Of course this album will Not win an award for musical innovation. It is clear that this is a nostalgic journey for lovers of the first Celeste album. The fans are well served by "Il RIsveglio del Principe”.

Compared with to so many moderate releases of other old Prog masters, this is a successful comeback.

#Mellotron #melancholy #quiet 

Out of the axle of the group Il Sistema shot two not less legendary groups: Museo Rosenbach and Celeste. Drummer of the first hour Ciro Perrino also took care of the Mellotron and now has an integral on keys. All compositions on the new album are also from his hand. Together with Mauro Moroni, Perrino founded the famous label Mellow on, so it makes sense that this new gem has been released on the Mellow label. Just as with the debut from 1976, the current Celeste also brings quiet, melancholic, symphonic rock backed through a lot of keys, bathed in Mellotron, violin, cello, flute and saxophone. The album starts with a short story narrated by the son of Perrino. Soft rippling and lyrically put it the tone for the remainder of the album. In Bianca Vestale the Mellotron is first generously removed from the fridge, and it will not be the only time. Ciro Perrino does not have the strongest vocals but rather a narrative voice that lets the Italian texts merge beautifully with acoustic violin and cello. The addition of saxophone is not only daring but also enriching for the song and contrasts nicely with the sultry flute. Melancholic, mediterranean guitar sounds, complemented by sounds of a waxing sea and shells, give way to Statue Di Sale, until that celestial Mellotron opens the doors to the true soul of the group. Fonte Perenne opens bombastic with again that orchestral Mellotron on the front row, closely followed by the violin. As on the entire album, the vocals are not impressive here too, which makes the vocal pieces reminiscent of Angelo Branduardi. The colouring of saxophones, among others, masks this evil with brio. Add to this the guest role of Elisa Montaldo, known for her own group Il Tempio Delle Clessidre, and you will nevertheless receive a brilliant song. The use of a simple recorder makes Giardini Di Pietra a  gem with signs of folkmusic with a small nod to Gryphon. The album also appeared on vinyl, in an edition of 300 pieces in a folding cover. The last song on the CD, Porpora E Giacinto, however, is missing on the LP, while it is a highlight, that blends almost-classically with a jazzy approach. Il Risveglio Del Principe is therefore a must for those who like quiet old school quality progrock.

John Bollenberg, iO-Pages

There sounds a hobo, the musette resounds, dear ones, after all the prince wakes up and it's just Celeste. 

Let's go back to the royal age of the progrock, when the group CELESTE recorded one of the best Italian progressive rock albums from the history, "Principe di un Giorno" or the prince of one day. In 1976 this little, pastoral progrock masterpiece had been released of the caliber albums such as "Trespass" of GENESIS, "Si on avait besoin d'une cinquième saison" of HARMONIUM or "Storia di un minuto" OF PFM.  The following year marked the end of a very short reign. The two other albums, which have appeared in 1991 and 1992, and also recorded during the 1970s, are simply not of the same level, which possibly the postponement of the release can explain.

 "Il Risveglio del Principe" is therefore the fourth gift and announces the return of a group from the great era of progressive music.

The first thing we notice, is that only one of the four original members, CIRO PERRINO, has participated in the resurrection of the prince.

During four decades, which are separating us from the two eras of the group, Mr . PERRINO has developed his musical talents in various types of music such as electronic music, classical music, ambient and New Age. This has resulted in fourteen albums in his name.

Back to the source, he the composer, singer and keyboard player during the fifty minutes of music destined for our ears. This talented musician has managed to gather a wonderful group of musicians that play with flutes, saxophones, harpsichord, violin, cello and all keyboards our beloved style.

The second fact that can be noticed, concerns the instrumentation. The first album was the perfect example of using the mellotron, the new album offers a different balance by using a different instrumentation. For example, the piano, which he in the course of time has played often, got a prominent place in the compositions.

In addition, the important presence of real string instruments and drums gives the album a personal character.

As on the first album, we are very pleased to note the use of the flute in most of the compositions. The saxophone and voice, even if we found two lead singers on the historical album, are also orientation points. So it is no copying/pasting here, but the recognition upon seeing again is beautiful and royal of course.

The formation of the group dates from 2016 and it took three years of  work to create "Il Risveglio del Principe" . As well as at "Principe di un Giorno", pyrotechnic demonstrations or symphonic eruptions are not remarkable. Here the melodies, the sheer beauty of the music and the pastoral side of it are touching our heart and soul. The compositions have been created to perfection to charm us and then to show us the details. These are abundantly present, a touch of Hammond as in "Falsi piani Lontani", a saxophone solo in "Fonte Perenne", the participation of ELISA MONTALDO of IL TEMPIO DELLE CLESSIDRE in the vocal part of "Principessa Oscura", a bit gypsy like music in "Bianca Vestale" and so on.

These are just some examples, but all pieces have something beautiful to offer, violin play game here, a piece of flute there, a children's choir, a sublime passage with the mellotron, etcetera. This instrumentation evoked the most beautiful moments of the first three or four albums of KING CRIMSON.

A bit folk, a little classic, a little jazz and full progrock, give CELESTE a powerful return and give us a second excellent pastoral progrock album in 2019, a bit like DALTON did with his return and the album "Eden".

What a great year to experience the return of this group together with the royal quality that goes with the return of the prince. If you appreciated really the first album and if you like Italian progressive rock, you can add this jewel to your RECORD/CD collection to listen to with  closed eyes and ears wide open.

Note from the artist: if you want an autographed CD or vinyl with possibly a personal word, simply mail to: ciroperrino1950@gmail.com

Review from Quebec Canada by www.profilprog.com