All Prog From Italy Appreciation Thread

It is already needless to mention how much Doracor is a band of the modern progressive music; in a more predictable case, who it stands as a band of the modern symphonic interpretation. This year's first new album (cause another one has already been composed and it will be released shortly, making 2007 a sign of interesting moments for Doracor) is one that hardly influences the band's tasteful or rhythmic prog passion, though it could nevertheless be an album to define something. Instead it comes as an album after many others, ones that shined most, others that stood justly by their music - and it brings a modern's time entire profoundness, in a satisfying way. Onirika, straight from the dreams of Doracor, deserves a confidence already formed and tasted, once you are the fan of the band's entire creation. But, without forgetting all these, the new album isn't a stellar, nor a surprising album. The roots of Doracor are felt, indeed, most weakly, since this album has an already evolved taste, but the quality is only at a nice effort of composition, interpretation and progressiveness.

Since it's already forbidden that Onirika might sound like an album defining itself or defining Doracor more than the band's best (and previous) efforts, it is to finally say that the album stands no grand chance, but is perhaps impressive at taste and depth, plus it is nowhere near a most intense effort, yet may be a simpler, casual, prog-trendy absorbing listen, all the way.

The symphonic sextet (with a guest) recreates, with Onirika, some general tastes of what is their art or their "prog dream" - at least the impressiveness of the music may eventually lead to an adequate exclamation that the rich creation is bound to resemble every little powerful prog detail; on the other hand, if not truly liked, the album remains with light or bombastic moments which, one way or another, are way better than expected. Onirika has the likes of a concept-composition, since five considerably epic pieces have sided parts (at least in a reference); but the music isn't that composite and strongly artistic to recreate any concept music, even on the symphonic level.

More fruitful is the entire instrumentality, fixed on classic orientation (it won't be few times this band oscillates between the lost Genesis essence, the neo early movements or the shock of a symphonic sweetener), traditional (or, many, valuable in a rich, but simple sense) interpretations and modern effects, locking up a strong album, at least by its played music. Milton Damia's vocal power is slow, rare and just a bit subtle, always seeming to recreate a Peter Gabriel's tone; Gianna Chillà's vocals remain, to this day, much better. Finally, the "dream" is heavily sustained by integral guitars, of atmospheres, rhythm, acoustic glances and electric glamor and by synthesizers of a healthy movement (and a loud frivolity, whenever art is always searched and rarely discovered), by special signs and drops, which form the entire symphonic modern taste, but also forget about words and orientations, and interpret instead richness' best chance (saxophone and violin, among the best "effects").

The music can't, finally, say things better than already hinted: the album is strong and healthy, but not extraordinary. Most of the five part's grand scent invites the listener to a world of dream, of power, of substance and mist. The strong and dynamic parts alternate the sloppy and simply smoky slow movements, but the actual combination also bears in mind the natural, the theatrical (new-wave especially) or the artificial values (neo-modern nuances, for sure) of expression. Since this band is from Italy's born softness, I think something qualifies for RPI.

The album is enjoyable, far from pompous and worths an occasional deep spin. Doracor will quite convince through their mature progressive music, since their musical compositions are more and more a constant release, less and less a surprising music.

Posted Thursday, July 26, 2007, 01:44 EST
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