DRIFTWOOD

"Driftwood", the fourth opus of the German group Deafening Opera, is also my first encounter with the production of these five musicians. And I must say that I was far from expecting what I was going to listen to: for a band classified in heavy prog, this album is everything... but heavy!

After a brief musical introduction vaguely orientalizing ("Murghab Morning"), the album opens with a singular piece ("25.000 Miles") carried by a piano with furiously jazzy accents. Moritz Kunkel signs there a beautiful performance, in particular with a descent of some notes which returns like a leitmotiv and gives to this piece a singular color and a strong identity.

"Snowman's Meadow" features the bass of Christian Eckstein, often accompanied in unison by the guitar of Thomas Moser. Nothing very surprising for a deliberately funky track, even if the rhythm remains rather heavy. Adrian Daleore develops here all his talent as a singer, accompanied by perfectly mastered vocal harmonies.

We were desperate to hear the guitars in the foreground... here they are finally with "Outlaw Feline". Country atmosphere from the first measures of this complex and rather successful piece which ends on a rock part that we would like to be longer.

The album continues with "As Night and Day Collide", a rather conventional ballad whose only interest lies in the quality of the vocal harmonies.

"Farewell Kiss" is a piece all in nuances which oscillates between country ballad and blues. Note that the vocal section receives here the reinforcement of Alexandra Stovall.

As soon as the introduction riff of "Man and Machine", we feel the potential power of this seventh track which is not without reminding some compositions of the French band Nemo. But alas, hampered by the omnipresence of the vocals, the more progressive track of the album never reaches the expected climax.

The album concludes with an ode to the stones of the road. Once again, and perhaps once too often, the vocals alone drive the course of this final piece.

In conclusion, here is an album which has the defect of its qualities, with its lines of song as beautiful as invading. The band shows us the extent of its musical culture through the various ambiences, but the whole is singularly lacking in unity and power. However, I give it three stars because of the presence of some beautiful successes in the first rank of which is "25.000 Miles". Now I just have to listen to the band's previous albums, which will perhaps allow me to understand why it has been classified as heavy prog.

Heavy Progressive Band Takes Hard Turn!

Read All About It!

So, German quintet DEAFENING OPERA forged a path filled with heavy riffs interspersed with gentle acoustic passages, tempo changes and musical twists and turns, and clean male vocals that are an acquired taste.

Now, their latest album "Driftwood" has this tagline, which seems pretty appropriate: "handmade acoustic prog influenced by folk and jazz".

Here's the lineup on this album: -Moritz Kunkel / guitars, pianos, backing vocals; - Thomas Moser / guitars; - Christian Eckstein / bass, backing vocals; - Adrian Daleore / vocals; and - Konrad Gonschorek / drums.

Yup, basically the same as on their most recent album, 2018's "Let Silence Fall". The only change has been the departure of their keyboardist, and Moritz Kunkel handily fills in there.

But I Did Say 'Hard Turn'

You'll have to decide for yourself if it's a hard turn left, or right. For me, I enjoyed it- seems to me, that the pandemic scourge has had a few silver linings along with the inevitable heavy losses and profound changes it has brought.

For one, progressive rock outfits have outdone themselves perhaps having, and taking the time to write, reflect, rehearse, and experiment. DEAFENING OPERA presents on "Driftwood" seven-and-a-half engaging, melodic, tender, energetic, intense, restrained, and varied progressive rock that is somehow at the core, acoustic.

Baffling Lyrics/Concept

One carry-over: baffling lyrical content (and this time I had to specifically ask for the lyrics) which at times suggests enormous loss and grief, and uses imagery that leaves me guessing. It's more than possible things get lost in translation, and it could be lyrics matter too much to me anyhow.

The Music

What makes the album special, and makes the music shine however, is the acoustic core of the music. It makes the music intimate and closer to the heart (to borrow a phrase). It reveals some vulnerabilities without having the flash and panache of electric guitars and crunchy bass and pulverizing drums and glittering keyboards.

We still get plenty of musical variety, lots of mood changes and tempo shifts and atmosphere. There are strong melody lines, and some most enjoyable vocal harmonies. I could tell the band worked hard on vocal arrangements, and it pays off.

The crisp acoustic guitar strumming and chording makes a nice center. At times there is tasty classical guitar, and once what sounded like acoustic guitar and electric guitar lead duets. Acoustic piano ripples and roams, and there are other rather understated keyboard settings which provide atmosphere. Bass guitar is deep and full, rather than punchy and lively. The drumming often has touches of jazz and blues, with delicate fills, or use of brushes and hi-hats.

Standout Tracks

For me, "Man and Machine" with its crisp opening, then very laidback jazz feel, which grows more intense. and very slick electric piano/acoustic piano, and guitar interplay wer highlights, in a tune that just seems to go from slow burn to full flame.

Also, I like "Snowman's Meadow", with the spiky opening, some electric guitar and complex lines, shifting to jazzy, solo male voice, and a jazzy/funky feel seemed pretty great.

Sum It Up

DEAFENING OPERA have decided to take some chances, take a 'hard turn'.

For all these reasons- the risks taken, the sense of intimacy and vulnerability, the elegant musicality brought by the acoustic center, and the variety found here, I think this album is an excellent addition to any progressive rock collection.

I give it four warmly glowing stars.

DEAFENING OPERA, which I have already reviewed in 2018, is releasing a fourth album here following the still present Covid situation. Born in 2005, they quickly orient themselves towards a prog metal sound, here and there approaching PORCUPINE TREE, ARENA, RIVERSIDE, FAITH NO MORE, ETERNITY X, ECHOLYN, GENESIS or SYLVAN! Varied voices with big riffs, planing progressive atmospheres, rhythm breaks, in short a good inventive group. Let's not wait any longer to let you know that this short album is "unplugged" acoustically oriented with a jazzy, folk, funk, country and pop slant; a singular album so let's see what wet, driftwood it is made of.

"Murghab Morning" for an acoustic intro, bass and vibrating percussions, spleen and languid air, ideal for a frank attack !! "25,000 Miles" from 'Blueprint' with a piano starting up, well that reminds me a little of the MAIDEN UNITED and their soft acoustic covers because, you understood it, we are good on that; I read a column from someone who didn't know them, he thinks it's their trademark, you need to learn a little! Repetitive Philip GLASS piano, the rest kind of acoustic beef.

"Snowman's Meadow" folk-song unplugged on jazzy notes, it's sweet, fresh, long gradually, cool. "Outlaw Feline" on a more country rhythm, a fast tune that we dream of having the electric guitar that arrives just in time for a few notes with bluesy overtones. "As Night and Day Collide" by 'Let Silence Fall' on piano, slow, majestic, jazzy drums; another facet of a heavy prog track at the base, confusing, the accent is also put on the vocals in chorus for a reworked ballad. "Farewell Kiss" with here a banjo that adds even more to the pleasant countertop acoustics; musical sweetness to listen to after work in a trendy lounge bar; aside with the voice of Alexandra in duet with Adrien; a very bluesy slide solo adds a moderate atmosphere.

"Man and Machine" covers their latest too; rhythmic intro which can shock, the tune arrives soft, bluesy again then takes off in all moderation; the shattered notes and the acoustic riff energize, the keyboard solo then the guitar solo tries to get us off the ground but we are too much in the memories of their electric antics. "Little Stone" ends this album with the same observation, a soft acoustic song whose chorus easily stays in mind.

DEAFENING OPERA without warning gives us the hit of the acoustic album, rather unplugged, but with new titles and only three covers; acoustics filled with sensitivity, stylized, pleasant to listen to both jazzy and country sounds. A well done album with beautiful melodies which hardly has any place here given the lack of progressive depth that one would expect at a minimum. Let's wait and see the next? electric.

Here we have the fourth album from German band Deafening Opera, and given they were previously described as a heavy prog outfit we have seen a major shift from where they were to now. In fact, this is not prog at all but instead we have a band who are now heavily influenced by the likes of country and folk, while there are also some jazz influences. I note with interest that they no longer have a keyboard player, but don't know if he departed due to the change of direction, or if it was his departure which had the band undertake a rethink. Consequently, it is probably best to think of this as a whole new group, and not compare them at all to anything they have done in the past. When I first listened to this I was quite confused as it was so far away from what I expected, and consequently was quite negative about it, but once I made the decision to treat this as a brand new band I found I enjoyed it much more.

There is a lot of acoustic guitar in this, gone is the heaviness we used to expect, with arrangements designed to keep the vocals front and centre. There is a lot of space within it, and while often commercial it is always interesting, with "As Night and Day Collide" featuring some lush harmonies and gentle drums providing some structure to the piano (care of guitarist Moritz Kunkel). Some of the numbers are beautiful, but if this a solid new direction for the band, as opposed to a one-off then they should really consider a name change as they are moving very much into a different audience than the one they had before. Alexandra Stovall provides some lovely supporting vocals on "Farewell Kiss", one of the few songs which has prog elements, yet it is still very middle of the road, and one would be hard pressed to describe it even as crossover, as there is both banjo and lap steel on this, giving it very much a country feel.

If you are looking for the band which has already released three albums in a heavy prog vein then they have left the building, but if you want something which has strong acoustic elements then this may well be of interest.